Transcripts
1. Introduction: Hi, everyone. My name is Kevin Martin's that my graphic designer in childbirth Decision. Every company. Beijing Willow I'm based in Montreal, Canada, and I'm here to introduce you to my class. Watch fruits. I step by step guide on how to being fruits Using wash in this class, you're going to learn some drying techniques as well as how to paint with wash for the class project. I'm going to ask you to create an illustration of one or a few different fruits using wash on paper. At the end of this class, you will develop her own creative style by learning different drawing and painting techniques. This glass doesn't require any drawing or painting knowledge, as I will guide you through every step for you to have the skills to create great illustrations. I hope you guys have fun, you enjoy and I'll see you guys later
2. Intro to Brainstorming: Hi, guys. Welcome to our class. And in this first video, I'm gonna be talking a little bit of how you guys can start bringing storming ideas for your project. So some key elements for you guys to consider when brains for me is you should write your favorite fruits and or what would you like to see in your final piece? So just write out some ideas and look for pictures. It's always great to have some visuals, so get her images and put them in front of you. It always helps when you are trying to have a vision off something that he wanted to create . So I would recommend for you guys to make copies, have the computer in front of you, have books, have magazines, have actual things in front of you when you're brainstorming. And the other thing is like think of the layout. So our difference overlapping. Are they side by side? You guys want us use just one or few. So, uh, start sketching. Start getting that going. See what you prefer letter. Very good brainstorming technique to get you guys going. It's to think of the collar palette that is actually very important. So you have to think how the fruits look together in terms of color. So what kind off harmony, or what kind of ideas you're trying to portray? So some people would like to go, Maybe more it'll. So just use one shade of color on some other people. Maybe do it owns, which is like two shades of colors so you can experiment with those or some people would like to go crazy and use a lot of colors. But always think of what kind of callers go well together. You need to have some sort of harmony to have things working for you. So another thing would be to think of the approach your guns one your illustration to have more like realistic five to It's so realistic. Fruits, for example, an apple. And then that will be read, you know, or would you want to use a more illustration based. So maybe your apple, it's actually blue. You know you can go crazy. It's let your imagination flow and let your creativity Oh, just try to think what approached you on realistic versus illustration. So also a great way a free, especially for stuck, is to share your ideas to the group. You can send me messages. I'm gonna try my best to let get back to assume this possible and share with others. Because sometimes you do need your community around you to be telling you like this is a Grady. Or maybe not so much. Have you tried that? So it's good to get your, like, brain going. So? So next I'm gonna start showing you what I would you like my brainstorming process?
3. Brainstorming: So let's start with our brainstorming. So I want you guys to make a list of all your favorite fruits. Just start like, not think too much because I want your brain just like getting used to thinking off some fruits and fine apples. Watermelon. So at this point, I just want us to make a little list. Start putting down like the fruits that you can remember your favorite fruits. If you want to do a little bit of research, just make a list, because I want you guys to really think off these and choose the right one for your illustration. I'm not anything that I want you guys to do after you do your list, and when you guess you actually like, go look for images off the fruits. So I'm gonna try and post thes. But one thing that I like doing it's actually like gathering some images and looking at that. Close this cream looking on the computer. It helps because you can zoom in into, like, details off, like you know the skin and, like, how is it? Cut house the texture and stuff. But I actually like to have these in front of me when I'm drawing because I get you, like, even, like mimic a bit with the pencil, you know, get a sense of like how I could draw this kind of shape hunched my paper. So here we have a couple of apples. I try also like to always have different angles off, like the same fruit. So here's the bottom here is like, how would look cutting half and green ones and then red ones, yellow ones, maybe in like, little slices. And so just to get a sense of how the fruit would actually look in different angles So here a couple pairs have all the images that someone pineapples, watermelons just get her the ones that you were actually gonna go ahead with your illustration and then just look them up, get a sense like, for example, watermelons. They have this beautiful texture on the outside, which is agreeing. And then the inside is red, and there's also like this very watery in veiny like kind of texture. So get a sense of your fruits. Choose one if it's too complicated, or maybe choose a few and start thinking of like what colors would actually go together How would you guys like practicing? Um, your thoughts in Lake getting a sense of like how they harmonised together in terms of the shapes. In terms of the colors, everything is like very different. Maybe I wouldn't put red apples with the red watermelon or you from doing monotone. That's all I want all the red fruits that I can find. I'll put them together. So start writing down some ideas, so that will be like the first step to get your mind going. And chemical salts and nine also think, Do you want to be like realistic, for example, as this, or do you want to be more illustration? These like, for example, this is one of my paintings. I try always to do different angles because he makes me understand the fruit a little better. Also, why not just grab the actual fruit and then look around? Look at the shape, for example, this apple Here. It's this shape, not so much texture, but this one, on the other hand, has a lot of little dots. It's a little shorter, so the bottom is different, so look for the details and it doesn't have to necessarily be on rial fruit. This one is plastic, but pretty realistic. This one, Israel. But you don't get the sense of, like, the actual feeling, the actual texture feel it. Such it Look at the details. Look at all the little dots because sometimes we just look at, like, the plain yellow. But we forgive. We forget. Like all these little details that makes your drawing a lot more interesting. So keep those in mind. Start drawing some ideas, maybe, like if you want some apples, are they going to be like, side by side, or are they going to be like overlap? He may be a bigger one in front and, like two little ones on the body on the on the back. I wanted to to think of like the Leah off your illustration. What is it exactly wanna achieve at the end? You want, like, a piece of paper that it's like filled with fruits and things and they even, like, bleed to the to the margins. Or you just want one fruit or you want maybe a Siri's off posters or illustrations? Where you here? You have one. Here. You have to like this. Just get her those thoughts put them on paper and for the next step, which is the sketching. That's when all these ideas will start coming to life. So just right down, look at images. Look at the actual objects you like. Some quick sketches, think of like the layout, and for the next step, we're going to start some sketching and things will start coming a little bit more together .
4. Sketching Exercises: Okay, so we're going to start doing some sketching exercises. So if you want, just have, like, a piece of paper pencil, some reason and maybe some more alert, you not necessarily need one, but I'm gonna show you why. So one thing that I like to do it should just like, um, create haven't exercise to have this risk motion. So every time I draw like a circle, it's a little bit more perfect instead of like, a little weird and stuff. So sometimes you see some people they can drop perfect circles perfect, like lines, straight lines and stuff. But it doesn't come just out of nowhere. It's a lot of practice, but it's pretty simple, pretty easy. So I was I'm gonna ask you guys to just start drawing, like, rolls off one type of shape so we can start with circles so you can start, like, kind of small. You can start a little bit bigger, but I want you guys to be consistent, and that's when the ruler comes in. If you would like, you can just, like, come up here and you a little, um, guide for yourself. So you're gonna try to be consistent and always draw the same size off circles, for example, so you can start, like going around it, and then again, and this makes your risk work this motion. Try not to be outside of the line like I did here and here it's a bit your short, so try to touch the top and the bottom. They will all look a little different, but they don't have to be perfect. I just want you guys to have this motion off, like having to do the circles here. Not good as well. So you keep practicing. So then, if you want, you can increase the size off the circles. Once you're like, you feel comfortable enough. Because for sure, the bigger the circle, the harder it gets. So it's a little bit more difficult, but you get the idea. So when you guys to feel out like a sheet of paper, not necessarily you can't like. You can do just a couple and maybe for a very good at it just jumped to another shape so you can start trying to draw some straight lines. You can just practice them, you know, and same goals would like. So after you practice a bit, jumped for like squares. Try to like have perfect size squares again. If you guys want, you can use a guide for the square. It's a little bit of lake cheating a bit, so I would not recommend because otherwise you would only just do straight lines. But if coming like this, it's too difficult. Start with the guide. Try to even, like maybe go through in Mimic where the ruler is just to have a better sense. Repeat yourself and keep going. Make them bigger. Make them smaller. If you want, just go tiny. If you don't feel too confident, then you grow a little bit more. Then you can make a huge square. Doesn't really matter, so circles for sure are a little harder. But you have to practice so another shape that it's very hard. Sometimes it's ovals, so it's like, you know, because you have to have this side. This same is this one. So it's like a mirror motion, so it's very hard. But, you know, feel free. We were just practicing you. I just want you guys to get used to, you know, using your wrist, having the motion special one were sketching because we don't wanna have to, like, sketch something and it's like, Oh, no, not so good And then you come up, you were raised and then you're like It's still not good and that that takes too much time . And I want you guys to have the freedom to do, like, very nice looking sketches and be proud of them. So, as I said, just like, keep practicing. Maybe do like bigger ones that it's kind of like a circle, maybe some skinny ones, because throughout this whole process, you will understand why I want you guys to master some of the shapes. They don't have to be perfect. If you want to go for more illustrative kind of approach to your drawing. Napier Apple's gonna look a little funny, doesn't have to be perfect. You can be, you know, very skinny apple, But still everything is shaped face. So it's nice to have this motion, which are wrists. So when you get to practice, you can post pictures of your sketches. But this is just exercise. Remember, they don't have to be perfect. I just wanted to keep doing them over and over again and still, you feel comfortable enough, But honestly, don't go crazy. I don't want you guys like obsessing about this, because for sure, when we draw like an apple, we're gonna have to refine the edges. We're gonna do things like this, you know, to go around it. And then that's more like an apple sheep. So things like that, we're gonna do some exercises, and you guys will see what I'm saying. So practice. And if you want some feedback, post them online. And I would love to see you guys, uh, try new things and your process, so I'll see you guys soon.
5. Intro to Sketching: So after you guys practice with circles and the exercises for your wrist and when you start to start actually sketching. So I wanted to pay attention, for example, an apple. So most likely, like this will be a little better for you guys to understand. If you think of like the apple cuts in half here, you have on overall shape, and here you have a 2nd 1 and that's what shapes an actual apple. So I want you guys to go ahead, look at these details and mimic on paper. So here, we're gonna have, like, we went over and then another one, remember, they don't have to be perfect, because this is just like free guest. You have a sense of the shape. So once you put these together, you start connecting the dots. So put this more outside like this here. Then you would start seeing a more realistic shaped apple. So for sure, after you would just series the inside and here's a bit more of a realistic apple instead of like, one circle with the scene. Maybe that's the approach you want, but I just want you to understand how shapes work before you actually choose to go. You know, more illustration like not too realistic kind of thing. It gives you a better understanding, if you wanna later on, do a little bit more refined shapes and stuff. So same thing. Get her images and look at them. So for dip air, for example, here we have more of, like a circle on the bottom and then a little one on the top. So after you do that, mimic it, own paper. So as we said, it's a little check your own, the bottom and skinnier on the top here. But then you go ahead and connect them. And again lose steam is there you go. So little things like this actually make you understand the shape and then later on, you don't even have to look for the object. They will be already lake in your mind, and you're gonna be used to doing these. So for sure, practicing a little bit like this. It's a lot helpful, So just draw some. I don't want you guys to go ahead and just already draw the final thing. Just experiment and practice and I will teach you a little more once we start painting
6. Sketching: So let's start with some sketching for our project. I'm gonna go ahead and start drawing some fruits. So if you guys, when I use the techniques that I told you earlier, like, for example, I'm gonna do a payer. So, you know, you do like to circles one bigger than the utter, and then you join them to get her to make her pair. You can go ahead and do it this way, and then you would just have to you raise the middle. But I'm gonna go ahead and, uh, do my way of lake because I'm used to doing it. So I'm more comfortable heavy the freestyle. But you guys can do I had a freestyle or the techniques that I told you for sure, It's better if you trained a bit with the circles in the shapes. And once you're like used to it, you can just go ahead and freestyles your own drawing. So I decided to go with some payers for my drawing and remember, try to erase any leftovers, anything that you don't need on your drawing and try to make it as the lighter as possible , as light as possible, because that's gonna impact are drawing later on. So let's see. I can also do maybe a line behind it. I'm going to stick my fruits. You guys can do whatever you can make them separately. You can put them side by side. You decide your technique. Usually they have a little bump here again. Look back at pictures to refer, um, back to the actual fruits, How they look like maybe I'm gonna put some lemons also on the back here. I'm going to add, like, some elements, little elements just to enhance my, uh, illustration. You guys can stick with the fruits or, you know, sometimes lemons, they have leaves. So I want to put a leaf here, and I'm seal doing that. A pair here, So feel free to experiment with the fruits that you want. See? How do you look? How do you like them? Maybe we're gonna do leave. And I always remember about the color palette. So here I'm gonna be using a bright yellow, a green and something in between, like a yellow green kind of thing. So they all complement each other, even the lease or green. So it's gonna be a more green yellow illustration. So keep that in mind. It's always ah, helpful. Your drawings, uh, you're drawing is gonna be a lot more consistent if you think about it. Also, you can go ahead and do a sketch many sketches before you actually paint, uh, or before you actually come up with the final piece because you have to be 100% satisfied with the final results. And, um, sometimes it takes time. Maybe we're not gonna like it right away. And maybe we're going to question it a bit. Move the fruits, change them around, do your own way. But be satisfied at the end with the final result before you start painting. Because once you start painting, then that's pretty much it. So I see you don't have to end elements doing like, for example, you can even add little flower. Sometimes some of these fruits they come with little flowers like thes, but you don't really have to. It's really up to you, um, letter imagination run your illustration, but try to be consistent because you want a nice looking illustration again, and you want to be happy with it. So maybe in letter, lemon over here and remember lake fruits. They don't have perfect shapes, depending on the fruit, but the majority are not perfect. So you can make them a little like, uh, uh, a little odd shapes here and there because, you know, let's face it, they're not always the same shape. Anyone you don't want to have the same angle. A swell. So, for example, here I use the payer right in front of the whole thing Here. I use it a bit more inside, so you're not going to see the whole thing, But you're going to see the shape, the same color, same details and pattern, same texture. So you will understand that that's also a pair. So you guys go ahead. You do your sketching, Try to, um, sketch, go back to it, raised what you have to raise, enhance where you have to enhance. And, uh, because the idea is that you guys were going to really like your illustration and you're gonna be happy with the final results. So I just checked a bunch of fruits together, and, uh, we'll see one sweet paint. We're going to know for sure how it looks, but you have to have a good understanding of how it is right now. So, um, go ahead, give it a try, and I would suggest you guys too. Do the sketch first. Post it for some comments and feedback before you paint. Because, uh, people can give you good ideas. I can maybe give you some feedback and, uh, because you want to be for sure, satisfied with this before you go in pains, because then it's a little more tricky if you have to. You raise stuff, then the paint is already on the paper. But anyway, so do your sketches posted online. Ask for feedback and I'll see you guys on the next video.
7. Intro to Painting: Hey, guys, welcome back. So today we're gonna be doing some exercising and testing some brushes. So here I have a couple of different ones for wash. You wanted to be using brushes that works with watercolor, so they're pretty soft, as you guys can see. And I would recommend you buying a set off different sizes because it's less you actually test them and see which ones were more comfortable with. So there is really pretty soft, and it's easy to remove pains. And on paper they're really, really smooth. So, uh, I like smaller brushes because, especially for detailed illustrations, they work better, at least for me. Some people might think that bigger brushes would do a better job because would paint faster, but it's some mostly like about painting it fast. But honestly, it's mostly about attention to detail. So sometimes to Zulu texture or like little things and corners. So you need to be, sometimes to be precise. So I find it. I do less mistakes when I'm using a smaller brush. So, um, to just test him out here. I brought some paints that I use, and to be honest, they don't have to be insanely expensive. I use pretty regular art store kind of wash pains because they can go really fast. So, um, what I'm gonna ask you guys to do, it's actually to lay out all of your materials. It's always easier when you have everything in front of you. So, um, I recommend you guys having a little container with water because we're gonna need it. I personally used to, because that way I don't have to be changing the water all the time. Especially like I like separating a family using light collars and your colors. So we for using very lights colors and then you like, clean that up, use something a bit darker, and then you clean on the same water. Your your brush is gonna be too dark. And then if you tried to dip it again, all those little leftover paints will be here. So as you can see, like my brush before this one is still brand new. It's pretty orange. This one used to be the same. So it carries a bit of the brush off the paint. Sorry. So I want to recommend you guys to lay all of your material in front of you. So have some razor Bensel, the brushes, the paint, the water. However coming you guys using Powell paper to like clean up the brush every time you use it , you might want it clean a bit because it does hold a bit of the paint in the little hairs here. Onda, um, if you guys want, you can use a little paint palette like this one, which is, like pretty, uh, cheap and easy to find, which is plastic. But personally, I think I work better with just oil paper. This way I use. And then once I'm done, throw it away. Sometimes you can actually like folded, and it keeps the paint for a little longer. So personally, I use for paper, but you guys can use whatever you want. So for in terms of the pencil, um, trying to use the smooth this pencil you can find, I tend to stick with, like a to h pencil. But it doesn't matter. Even if you have a very dark pencil like the H once or the bees try to, like, experiment with them as well. See which one's your preferred, But I would strongly recommend that when you guys were doing the final piece. You do very light light enough that you're gonna be seeing it. Probably in Kent on camera. You won't be seen this, but don't go crazy and like doing super Heart and then wants to try to like you raise it. You're gonna have little leftovers. When you draw, like, a bit more smooth, it's easier to you raise. And sometimes you do wanna have little traces of it. And now, when you put the paint over, they're not gonna show us badly. So if you do very hard and you don't erase when you pain, especially for paint has super soft tones to it, it will show. So maybe we're gonna have to do, like more and more layers to cover up, and we don't want that. So next I'm gonna show you what exactly what I'm talking about. So you guys can have a better idea
8. Quick Tips: so I wanna just show you guys something really quick. So if you guys do like a very dark sketch when you go and you paint like a soft color I just did some paints just for experimentation. You guys will see right through. Sometimes it doesn't have to be a super soft collar, but quash can be quite transparent at times. So, for example, here, if there's more water for sure would act like watercolor. But even if you use quite a lot, you guys are going to see right through it. So you don't really want that you really want avoid it. So if you guys go and you're a bit of more like a softer, um, sketch for sure, it's gonna be a lot easier to cover up so you can do less layers exactly like here. Like what I'm doing right now. So you don't see it like compared to this one. So that's my first tip. Uh, draw very likely. And that's gonna save you a lot of headache later on, because if you see through, you have to do quite a few codes for this. So my second tip for you guys is to actually experiment your brushes, See which ones, if you more comfortable with. So for example, this is the biggest one I'm using for this demonstration, so you can see when you dip it. So another tip, actually real quick. If you don't dip your brush and water, you're gonna have a harder time. It's gonna be a tiny bit more difficult to have to do your painting because the the pains, like wash can be very dry. So personally, I like dipping my brush into the water. And then because brushes they tend to carry to hold a lot Same happens with water. They hold a lot of faint, they hold a lot of water. So I just tried to do a little bit of this and then I paint, see, he brings still a bit of water with it. So you always have to experiment and be careful, because this is a bigger brush. For sure. It's gonna hold a lot more water than, for example, this tiny little one. So depending on the brush you did you have to just step a little bit on the paper towel or UTEP quite a bit. To save time, I actually like to put a little bit of water into my gosh, because sometimes the wash tends to dry out really quickly. But if you put some water, it goes back to normal. So just like try experimenting. If you want the watercolor effect, you can always go back and add water to the paint to have that kind of like transparent if actu it. And so, um, my recommendation is for you guys to actually try different brushes. See which ones were more comfortable with c O. I don't like when it's too much water in it, because we can always go back and add a second layer. So I like to just do one layer off paint. I look at it, I like to dry a bit. And then if I'm very happy with the colors, then I go and I think in my my paints to look more crisp. So that's another quick. A letter tip for you guys is to choose your paper so I use watercolor pads because it holds pretty well the paint and it is recommended for wash. So what are color is vapor is not just recommended for water. Car works perfectly with blush. So my advice for you guys is to actually use hot press paper. And I'm gonna explain the difference. When you shop for paper, you're gonna see a little detail of all the paper. This one says hot press, which is the one I love and I use the most, but it's hard to find. Not everyone carries this kind of favor. You're gonna find cold press, and the difference is old press paper. It's more grainy, so you can see they're thicker and they're more green. You not necessarily thicker because you can also choose the weight. But you're going to see more details. More grains, more paper, brains on cold there, too hot press. It's a lot more smooth. The paperwork's well, it's justice thick but less greens, so I can show you two examples here. So here I use gold press so you can see all the grain ease in all the this kind of texture you see through on your drawing. If that's what you're expecting, that's great. You can use cold press here. It's another example, but you can see like the texture of the paper, this one. It's hard pressed so you can see, it's a lot smoother when it comes to the paints, somebody on the inside by side so you can see clearly a difference and, uh, gold press. It's usually also a little more yellow, but not much, so it's That's not gonna affect your illustration. But just by touching, you can see this one. It's a lot smoother than this one. This is a bit more rough. This is a bit more soft, so I would recommend hot breasts paper. But if you can find it, it's okay. It will work well with the cold press.
9. Starting the Project: Okay, so now it's the time to actually start on your project. So at this point, you guys already brace, form your ideas. You guys catch your ideas. You even experimented with wash. But now is the time to actually build your illustration. Some people they have already started. If you haven't, it's OK. I'm gonna show you how I would do. And along the way, I'm gonna give you some tips. I'm gonna give you some ideas of things that I thought about how I got there, but I'm gonna be doing this step by step next to you. So now I'm gonna be showing you guys everything that we've learned so far, and I'm gonna put everything to get a paper.
10. Painting Part 1: Okay, so now it's time for us to start painting. So I like having everything in front of me, my brushes, the paints, the water Don't forget some paper towel and also the paint. So I or I'm kind of organized, So I like putting them kind of close together. So I can kind of have a feeling of like, how is my paintings gonna look? So I told before I'm doing pears and lemons and limes So there's a lot of like greens and then some yellows, maybe tens of like little touches off like orangish and some brown food like the skin details. So I just put little dots because I wanna have a feeling how they're gonna interact with each other on paper. But once you are completely satisfied with the the actual quality, you guys want to go ahead and use. Put a lot more so because, gosh, it tends to dry fairly fast, but not your panic. You can also always, like, dip a little bit of water, and then it goes back to normal. But it's just gonna be a little bit more transparent. But you just have to do more, coach. So nothing to worry about. So let me choose my brush. I think I'm gonna go with something in between. So I'm choosing this one, which is a size six. So I thought about maybe the size eight. But I really want to, like, work on my edges and take my time. So if you're more comfortable with a bigger brush, go ahead. That's completely fight. That's just my style. So let's start. I want to start one tip that I want to give you guys. It's trying to use the light colors. First reason why it's because if you decide to go ahead with the same brush, you're gonna have some issues. If you use too much of a dark color on it and then you go with a lighter and it's not completely clean, you're drawing is gonna be a little darker than you anticipated. So I choose to do light colors first, and then I go ahead with the dark ones. But I also tend to change my brush so I keep one for the lighter ones and then another one for the dark ones, for example. This one is fairly green now. It doesn't mean if I paint with it. It's gonna be green. But you know, it's still carrying little bits off that caller in it, so I don't like, take chances and ruin my drawing. So anyway, so first thing, if it's a new brush, I would recommend you guys should just go ahead and dip it in the water to kind of clean if there's any wax, anything from the the brush. So I would debit a bit if it's too much water. But I actually like dipping a bit of the water, just getting the excess from here and then going ahead in a dipping in the paint because, as I said earlier, Wash 10 should ride out. So I like doing it a little bit of the dipping and, uh, going back and forth because it's more smooth to paint. So let's start here. So what? I like to do its layer it very flat. Just one caller. We're going to mix them a bit, but that's more later on when I start putting details on it. So sometimes you might be limited on your paint sets, so you might not have exactly the shade that you want, which is happening to me right now, I only have these collars as, like yellow. I want to put my pair more yellowish, but with some hands of green because that's usually there. Caller. So I'm not happy with those colors that I have right now, so I might have true just mix it up a bit. So I'm just gonna use some whites and again, another quick tip. I'm gonna make some. If I'm completely satisfied with it, I'm gonna do a larger amount because you don't want to run out of it. But it's not a big deal if you do, because, you know, fruits, they're not always the same sheet. But sometimes I like to keep the same, uh, shade for most of my an drawings throughout my whole drawing. So I'm gonna mix here and maybe even put a tiny bit of green. And that's another reason why I just do little dots. Because here, my green, if I want to use completely just green, I can't anymore because it has a hint of yellow in it. So it's makes me think it's a bit too greenish, but it's getting there. Not true. Unhappy with it. Maybe I'm gonna put this one. But play with your collars. See what you kind of ones. And again, I'm just gonna do a more accurate illustration. I'm gonna keep it with the the actual real callers. But if you want to put blue in it, you know, like a blue pair you want to go with the illustrative approach. Go ahead. Do you feel free to do it? I think I'm happy with this. So I'm gonna start beating. So wash. It's fairly smooth. It's ah, great medium to do some paintings, like easy paintings. It's not like oil paint that takes for ever to drive it rise fairly fest. So if it dries and you're not happy with it, you can still dip in a little bit of water and I blend a little better. So So let's start. I'm going to dip a little bit my brush into the water, mix it up, and then I'm going to start putting the layer dough. So what I like to do, I like starting by the edges because you know, that's where gonna get to see the shape of the drawing overall, and I always go back and try to blend, because sometimes there's too much ink or too much paint, uh, into the paper. And you don't wanna have, uh, you know, when it dries out, you don't wanna have bumps and things like that, unless that's what you're going for. So dip a little bit in the water and just be careful not to dip too much all the time, because then your paint's gonna be a little wet. If that happens, you can just wait a bit because you will dry. So just really edges. So what I like about wash it's because it's a very easy medium, very easy to blend, so like right now, because it's a little chilly, wet. I'm not gonna dip into the water anymore. So once you're painting and you will feel like if you need it to be more, uh, reverie or not, there you go. Gonna make it. Try to use like the edges of your brush, should you. The corners, as I said, washes really easy so it doesn't bleed for the edges. I like dipping in the water and then have it more watery because it runs more smoothly. So even though it might be a bit too transparent at times, I just like putting it, and then I can dip again and go over it one more time. But so here I have my hair. So fairly easy, justly one layer off the paint. Don't worry. If you see some transparency, it doesn't have to be completely flat because, you know, fruits are not perfect as I mentioned before, and I keep saying it, um, we're gonna do a second layer, but then we can start laying some more details, some more shades, um, some shadows here and there. So, uh, I'm gonna go ahead, and then I'm just gonna, uh, forward a little bit video, so I'm just gonna do all of the pairs, and then I'll go back to the other fruits.
11. Painting Part 2: Okay, so I lay down all the colors that I wanted, so that will be the first layer. Um, it depends on how you guys want your drawing to look. If you wanted to have a more realistic approach, you know, you can go and make them perfect. But this is a painting, and I like when it looks like an actual painting. So right now I'm looking at it. Since I lay down everything, I think these air a tiny bit, a little darker than I want it. So that's why I also wait until everything, uh, it's laid out because once it dries, you tend to get a tiny bit darker. So and I can still see, like, some transparency. But this is just the first layer, so it's normal. So I'm gonna go ahead, and then I'm gonna put a second layer on some of these so you can go back to it and see Oh , this is too transparent here. I'm going to do a lot of layer. This is too thick and here, too transparent. I'm gonna do another leave here, but like the lemons, they look pretty decent, so I might not touch them. So also, I just have to go back to these And since this is darker, it's okay for me because I wanna have a dark edge here. So because these three they're touching, so you want them to have a bit of distinction between them, So I'm gonna go ahead, and then I'm gonna put a second layer on some of them. Probably not everyone but just some of them. So let's check after. So I just want to explain what I did. I mentioned that I thought the pairs were alluded to dark, but then I realized it wasn't dark enough on the edges. So I made a bit of a darker shade, and right now I'm just doing on the bottoms off the fruit. Um, also, when I stopped putting them down, I noticed they were The new shade was really dark, but it's OK because I wanted something on the edges here so you could see a distinction in the fruit. But then I don't want this line, so I just did, um, my brush in the water here don't get it too much water, but then you go over it and then you try to blend so you don't have that kind of line. So that's one of the good things about why she can just go back to it and blended in. But see, now my fruit is a bit more round. See, here you can see the lines still, so I'm gonna blend it a bit of water, and then you start like getting that paint and landed in There you go. Now you don't see the distinction anymore. So, for example, here I need this to be a little darker so I can see that they're not the same fruit. So again, that's going to the edge on this one. I'm very so play with the shades of caller. If they are too dark, you can just, you know, put water. And what kind of like dissolves the color a bit, But don't put too much water because then you're going to start getting too much for transparency, and then it's going to start looking a little weird and the paper's gonna start raising, and then you really have to let it dry and in order to go back to it. So I'm just gonna keep doing the exact same thing. So as you can see at this point I'm pretty satisfied with the pairs. I just have to do 1/3 layer, but not of completely like paint all over it. But just the little details on, like this kid, you know, like conspiracy. They have little dots, so that makes their skin sometimes darkened places and also lurking other ones. So but I'm gonna keep doing the same thing that I was doing to the Bears to the rest of the fruits because I like this kind of like, three d ish effect and one thing that I would suggest for you guys. It's always to get the consistency. It's almost like there's light coming from this side. So, as you can say, put Dirk just on the right so it kind of means like there's light coming from this side here, so I'm going to keep the same in terms of the other ones. So just trying to darken one side gives this kind of more three D effect. But that's in my case. You don't have to do all of these effects, but if you want a more realistic approach with, like, different textures and things like that, so go ahead. Put some like dark tones with the light tones just to make this shadow effect. So I'm gonna go ahead and do the same thing on the rest of the other fruits and the leaves and the little flowers. - Okay , so you guys can see, um, the effect that it gives Brady satisfied as it is right now. But the only thing that I would do and I'm gonna do right now it's, ah, just into the little dots. So I find it more, uh, unique. If you give those tiny little details, you don't have to. At this point, it could have stopped. And I'm okay with this and pretty happy with this result here. But I wanted to have that more unique tone to it, so I'm just gonna do the little dots on each of the fruits. So for the pair, for example, I want to keep it like the dots a tiny, darker. So I'm gonna use, like shades of brown things that would complement the collar. So this will be like more shades of brown. This will be little shades of like darker green and here a little bit darker yellow. So let's go ahead and do that. Okay, so that's it. Um uh, happy with the results? Some people might not want to do the little dots. You might not want to do the shades. I feel free to do it. But one of the things that I love about wash it's that you can explore with it. I did a little bit of, like mistake when I was like putting the dogs. Some of them were big, too big. So then and went ahead, dipped into the water and then blamed it all back. And then I like to drive it. And then it went back to do the dots again. So even at this point, if you don't like the dots or something that you guys did, you can always like, blend the paint with some water, go back on top, and then it should blend in. So that's pretty much it. I'm looking forward to see everyone's illustrations. Please post them as soon as you were done. And if you're stuck. If you have questions, ask. Your colleagues asked me, and I hope you guys have fun, so I can't wait to see the final results from you guys. so I'm just gonna do little close up here. There you go. That's my piece. And as you can notice, I decided to do a Dolittle illustration. Meaning I only used the yellows and the greens. So there you go. I hope you let you guys liked it. You had fun, and I'll see you guys soon.
12. Conclusion: Hey, guys, this is our last video, and at this point, you should have your project. But don't worry. If you don't really take your time, you have to be 100% happy with the final result. Any first stuck again? Just feel free to message me. Share your comments or progress with the class. I'm sure everybody can help each other and we can all come up with better ideas together. So I would like to thank you guys so much. I had so much fun in this class. I hope you guys also liked it. And just to recap, you know, you came a little weight. We start bring storming Just some ideas, putting some ideas, writing down on paper what we would like to dio. And then we did some sketching some exercises to have your drawings more refined and way also try to wash some people. They are already familiar with it. But maybe for some of you was the first time. So I would like to know what you guys thought about it and for the final project. I'm so excited to see everybody's progress and I hope you guys have fun. I had a lot of fun doing this class. I'm gonna be for sure, doing some other video Samata classes, so keep you guys posted. And thank you so much for trusting me with this class. I had a less So I hope you guys also enjoy. And I'll see you guys hopefully soon.
Ketlin Martins, Graphic Designer + Entrepreneur
