Transcripts
1. Introduction: Hello everyone. I'm, I'm an artist and
illustrator based out of bed. And I go by the honey name, color underscore on Instagram. And welcome to my
Skillshare class. Being thing this project might seem a little intimidating, but trust me, it's
not that difficult. And I really want him to take
in one module at a time and enjoy the whole process of
making art and paint your hot. This is one of the most
requested classes by you also, I've gone through eating
every detail step-by-step, including thumbnail
sketches, the final line, drawing, the composition, and my whole thought
process of making it. So let's have some fun and let's get started
with the project.
2. Supplies: Let's get started with the materials required
for this project. We require a washi tape
to stick the paper and tracing sheet to the
surface while working. Washi tape is also kind
of less sticky than your normal tape and doesn't tear off the people
while removing. If you don't have a washi tape, feel free to use artist tape or any deep that won't
tear your paper off. Next, we would require an
eraser and two pencils. I usually use those
Staedtler pencil to sketch lightly and upset or pencil
to make darker sketches. But please feel free
to use any hedge b2, b3 be Pencils of your choice. We would also require a glass or a bowl of water to rinse off
your brushes after painting. Next, we would require a set of gouache in different colors. I'm using PBO and mints
and Newton colors. So feel free to use
whichever gouache you have. It doesn't have to
be the same colors or the same brand
that I'm using. We would also
require a tissue to take off the excess
water from the brushes. Next, we would require a
set of four round brushes. Those sizes can range
between 00 to eight. We require larger
brushes to cover larger areas and the smaller
ones for the details. Next two b would need or set of palettes to mix our colors. This particular palette
came with a set of pins. I absolutely loved
the large area to mix my paints and also the
number of events it has. The next pallet cure. It's an airtight
palette where you can premix the colors while
working on your projects. And also it doesn't
collect a lot of dirt when compared
to an open palate. And this is the one I
normally tend to use. Please feel free to use
whichever palette you have. There's no compulsion to use
a certain kind of palette. Next, we would require
or tracing sheet. This one is slightly thicker and the other one would be
a slightly to know one. Please feel free to use whichever one you would prefer
and whichever you like. Next, we would need
some people's. I normally tend to use a watercolor paper
that has slightly, a slight texture to it. So this is from
Canson Montville. It's the people I usually
use for most of my projects. And you also get these
gummed pads like this one, which are gummed on
all the four sides. So it's a 300 years and people, and it's really good
for your gouache works. I tend to use cold press paper, which is slightly texture
than a hot press paper, which has a smooth surface, but feel free to use
which one you want. But for this particular project, I be losing people from a
homegrown brand or from India. So as you can see, there's a slight texture to it and it's slightly
thicker paper, which is like 750 GSM. But please don't worry. If you don't have the people
of a similar thickness, please feel free to use a virtual watercolor
paper you have, it's totally fine to use
any watercolor paper, about 200 gypsum or
mixed media paper for your gouache works. And you can also use gouache on different papers to
see how it works. So please feel free to
use any people you have. You would also require
some computers sheets or your roof sheets to
make illustrations. And yeah, let's get started
with the next class.
3. Thumbnail sketches: Let's start making
thumbnail sketches. Basically, thumbnail sketches. I used to dump all
your ideas onto paper. I'm a self-taught
artist and I learned about thumbnail
sketches very recently. I have been using it
to plan out my ideas. It's done in one
inch by one inch square or even rectangles
and helps you a lot in trying out different
compositions, elements, etc. These sketches need nor have
to be detailed in any view. You can just start with making
these geometrical shapes. And it helps your walk and walk into greater
paintings and sketches. I have used a little bit off the reference
from the Internet, except for the main element, which is the typewriter. In this case, the other things
are coming right out of my head and basically I'm dumping in all my
ideas onto the paper. I don't know a lot of history about the
thumbnail sketches, but I did some
research and found it's used in a lot
of advertising, illustration, and in
different forms of art. And in fine art you can use
it to get a better idea of the layout values by adding
colors, composition, etc. For me personally, thumbnail
sketches helping meeting the things that I do not want to include in the
mean and this station. Since thumbnail sketches
are not final sketches, you have the liberty to sketch out n number of ideas
without worrying about it. Being perfect. And being perfect with my sketches is something
I struggle with. So this is a good way of getting all your
ideas onto the paper. Making thumbnail sketches
is not a compulsion, but if you enjoy making them
enlight to improve your art, then I would suggest you to
enjoy the process of making art and making these sketches and make tons and tons of these.
4. Gathering inspiration and final line drawing: For the inspiration,
I have saved some pictures under
vintage and boards. So I'll walk you down through some of the
pictures over here. Under vintage, I've saved some typewriters
as that's what's going to be our main focus
for the whole illustration. And I'm looking for two or
more pitches so that I can combine the designs to
sketch out one main design. There are two pictures
I like or here, and they both are front-facing, which is what I'm looking for. This is the first one. And your goals, the second one. Next, let's run through some of the pictures
of the board. Here. There are some really
colorful birds. So my aim here is not to paint the board
exactly like it is. I want to be adding in
my own flavor of colors. The only thing I am
going to concentrate is to get the shape
of the board, right. So I liked this board or cure with all steel and two
for those at the bottom. So I'm going to go with it. So here's the rough sheet where
I've taken the outline of the paper where I'm going to be painting the final
illustration on. Once that's done,
I've divided that into three equal horizontal
and vertical lines, which gives you a
line equal squares. This method is called
the rule of thirds. It helps your composition
get the lead better. Once that's done, we're going to sketch out
the typewriter. And I'm not really
concerned about getting all the
details correctly. I'm going to concentrate
on getting the basic shape right and make sure it's the focal point of the
whole illustration. So let's start laying down the basic shape of
the typewriter. Now, I also have my thumbnail sketches to refer
to as a start sketching. And I am particularly liking the last
thumbnail schedule here. I also keep referring
to the other image so that I don't copy
anything exactly. Instead, I'm going to try and combine two or more of
them in my sketches. I use the lines inside once I
get the outline of karaoke. Once I'm done sketching
the typewriter, I'm going to add in the things that I like, like the bugs, some stationary
stuffed mushrooms, plants and books, et cetera. So that's what I'm going
to sketch over here. Next, moving on to sketching
the board over here. Next we sketch out a box
on the left hand corner. I'm going to sketch
out the mushrooms or at an angle or Huo
on the left side. We can sketch out the
stationary and the flower. So here I want to sketch all the pencils on
the right hand corner here. Then lastly, I'll add
in some leaves on the right to make the
composition feel balanced. And that's it. I'll meet you in the next class.
5. Warm up 1 Drawing elements: Let's start drawing
in some elements that would be included in
our main illustration. I'll start drawing a bunch of leaves you with a pointed edge. I'll also draw some leaves on doping onto your right as
well as your left side. I'm going to add
another bunch of pointed yeasts which is
coming onto your right. Note that this isn't
just a warm up, so you can draw in different
shapes you use by taking inspiration from your garden
or on Pinterest or anything. And also note that each leaf
doesn't have just one call, but I slightly bigger
while I sketch. Next, Let's start sketching out the stock and the
cap of the mushroom. The stock of the mushroom
always starts with a white edge and narrows
down as you go to the top. The cap of the mushroom
is going to be a nice half. Or Winship? No, We can try drawing, go to mushrooms, attach. So when you are sketching
out to mushrooms, you need to keep in mind
the sizes and its position. It would look odd if
you had to Muslims at the same size and the same height and in the same position. And the composition
would look really odd. Next, I'll go in and sketch
out a small bit low here. No scheduled and nice. And leaving the top
20% drawn nice, cool. And putting some hands
and legs or antennas. And yard Beatles sketch is done and ready to
get some colors. Next, let's start
sketching a board. We start by drawing a
circle for the head, then goes into the second sock, and then start joining the head and the
body of the board. Next, we can add in the tail, the feathers and a
beak of the board. No, you can erase out
the circles and make the sketch a little
lighter to be painted on. Just one of the simplest ways
that I used to draw board. But feel free to use inspiration
and dog, dog the board, how we're realistically or illustratively that
you feel like. Now we are done for the class. I need to in the next class, while we paint these elements.
6. Warm up 2 Painting elements: To paint the leaves, I've mixed up some green,
yellow, and white, and I start painting this as
a base color for the leaves. I continue painting the other leaves the same year as well. Next, we'll mix up some
of this green with a black over here to
get a darker shade. And I'll start painting
the leaves and also some of the
means for the leaves. As you can see, I'm not fully painting the outline
of the leaves. I'm leaving some gaps
and then painting it. No, I'll start painting some
of the veins for the leaves. I'm going to switch
the brush to get TIN lines for representing
the winds, for the leaves. And I'm going to go in with magenta to paint
the cap of the mushroom. Once done, you can either
use burnt umber or mixed some blue and black to paint
the gills of the mushroom, which is what I'm
doing over here. Next, mixing some green, blue, magenta or read whichever
you have and white to get a violet or purple shade and paint the stock
of the mushroom. And going with some white and
blend it in properly and do a dry brush or I didn't small strokes with the
darker, purple or violet. Now we can start painting the mushroom cap with little
white strokes or lux. We can add in a bit
of details by adding these squiggly lines for
the gills of the mushroom. Before I'm going to
paint the board, I erased the dark lines for us and since I'm picking
up some pink, I show you how to make
fibrin loose florals, which we will be hiding
in the main illustration. You're just going to
use the brush to make small strokes in all the
direction to make the floss. The bigger the stalk, the bigger the flock,
the smaller the stroke, the smaller the flower. Next, we are going
to paint the body of the bird and the
two little feathers at the bottom with
the pink color. Next I'm going to mix up
some blue and pink to create a YA lit and
data brush which creates little specks
in creating this on the bird's body to
represent the feathers. I'll also add in the pulpal on the side
of the bird's body. Or here. I pick up some light blue
and start painting the tail or the feathers
off the board over here. I'll add the same blue here. And for the highlight, I use a darker blue or black. And I add the same
color for the legs, eyes, and the beak. Next, we move on to
painting the petals body, the antennas, and the legs. And I'm going to use
black over here. I'm going to add some green
to the head of the beetle. If you want a contrast, you can go in with magenta, red, blue, or green. Then add in some black for
the eyes and then go in and add some white dots or any geometrical
shape that you like. I didn't some purple to
add a little contrast to the floss by painting the
leaves Endo, Poland's. That's it. I'll meet you
guys in the next class.
7. Transferring the image: Once we have done with
the finance sketch, your decoded tourism sheet, laser tracing sheet,
or the people, and start outlining the design. As you can see, I already
did twist off the sketch. You also make sure you tease out the design
on both the sides. There are different ways you
can trace out the design. This isn't just one of
the ways that next, tracing sheet cuboid with graphite on both sides onto
your watercolor paper. The size of the pupil, and your sketch on
the previous sheet. And place your tracing
sheet properly. And then use your washi tape to stick the tracing sheet of watercolor paper to the surface
so that it doesn't move. Now you can start transferring the design onto the
watercolor paper. And why do you use
a blunt pencil? Is sharp pencil because chances are you're
tracing sheets. Might use a sharp pencil. Once done, your watercolor paper will look something like this. Now, we can start painting and meet you in the next class.
8. Painting the Background: Let's start painting the
background. For this. I am going to need a bit
of cyan, gray and white. Mixing. Weiss degree
in three to one ratio. And I'll be adding routine, but off the cyan, blue to get a nice
greenish gray. As you can see, it's turning
Nice, nice and clean. So once that's done, since we will be
painting a larger area, It's always advise
to mix the colors. Britain more than you think. It's too quiet because
it's kind of difficult to get the same color when
you mix the second time. If you want to
understand how to get the right consistency of gouache and the different
types of gouache. Please watch my first-class. Make sure to fill in the larger areas first
with a bigger brush, it makes a task
faster and easier. I always like to start with painting the
background first, since it lets me choose the colors that
actually stand out. You don't want to distract
from your foreground colors. So we are painting
one solid color. And also by choosing a light
color for the background, I'm allowing to draw the eye to the foreground
when I get there. And while you're painting,
say for example, you added more water
to your mixture. And after leaving the
color onto the paper, you recognize it's more diluted and it's kind of
patchy at this point. Please don't worry or panic. You can always come back and
add another layer to it. Just make sure you don't add too many layers
because in gouache, there are chances of the paint cracking if
you add a lot of layers, except when you're
working with washes. While you're painting, make
sure you paint the outline of an element of force and then fill in the gap liter makes it really easy for you
to fill up the gap. As you can see, I'm making
sure to add water to my brush, mix regularly so that
the paint doesn't get dried up easily and it becomes easy for me to load
up my brush here. Once you're done painting
the larger areas, you can go in with the
smaller brush now to fill in the smaller
gaps in smaller areas. And basically we are done
painting with the background. I will meet you in
the next class.
9. Painting the Foreground 1: Let's start painting
the foreground now. Let's take some black. I'm using the number four
brush to paint the typewriter. So white painting the
typewriter we are going to be painting
all the details, will be coming back to add
in the details or delete the street element to be painted and then
fill in the gaps. Because that way
it's much easier. At any stage if you feel like your brush is involving
easily on your paper, it can either mean your
brush isn't loaded up with the pain or it can
mean your brush and doesn't have enough water for your brush to slide
smoothly and a bit both. So always make sure you
add a bit of water and paint and have the
right consistency so that your brush too smoky. I'm going to be leaving
a tiny little gap here and paint the other
things of a typewriter. Now, we can go in with those smaller brush to fill in the smaller spaces are the gaps. And it also gives you a little bit off control
over your strokes. Once I complete door typewriter
painting the typewriter, I'm going to make
some primary yellow, yellow ocher and some white because I usually
don't prefer taking yellow directly out of the tube because it's
really transparent. Most of the loss in most of
the plants are transpiring, so I prefer vibrant,
warm yellow. And I perform mixing
my own yellows. I'm just going to mix them up and see if I like the shade. I'm not very pleased
with the shade, so I go back and maybe add in some white on the
side to see if I like it. I'm absolutely not liking
this pistol yellow because it wouldn't stand out against the
background color. So I'm going to go and I
didn't more primary yellow, which is cooler shade and add in some white swatch it like how warm and white
printers yellow is. So I am going to go
ahead and paint it. Or here, as you can see, via just blocking in
all our colors first. I'm also using a
smaller brush to cover this area as I
am not comfortable. Comfortable using
a larger brush. Once I'm done painting this, I'm also seeing how we can
balance of the colors. So I'm painting this people with no load that I have mixed. Again, speaking of
balancing out the colors, we'll also print
the pencils laying in different directions
in yellow here. Since we are living this yellow
on top of another color, you might require two
coats of our painting, yellow because as I said, yellow is more transparent color and it might require
two layers of it. Once I'm done painting, I'm going to take some
magenta onto my palette and start painting both
the mushroom caps. And as I said before, I always like painting
the outline first and then coming in and then
filling up the space. It makes it much
easier to paint in. Those spaces are the gaps. I absolutely love how
vibrant this magenta looks. If you have a magenta, you can use your rate for any other color
that you prefer. I'll meet you in
the next class for painting the rest
of the foreground.
10. Painting the Foreground 2: I'll mix some white with the
magenta to get a nice pink. Or here, we can go in and fill this notepad sheet with
the pink that we mixed. And I'll also start painting the cover
of the book or here. And I'm doing this because I want to balance all
the colors or you're, so the whole illustration. We can also fill in this board over here with the pink as well. Again, I want to balance
out the colors for the whole design to feel
balanced and compost. It can take some time
to rewrite the paint that's already dried
on your palette. And that's what I'm
trying to do here. Next, I'm going to
pick up this blue. And being told, though,
stationary people here, I pick up some of this ultramarine blue would
that's already on my palette and swatch it to see if
the consistency is right. Then I'm going to block this design of the book
with the blue color. I'm also going to add in some blue here to
the blood stain. I didn't know. Premixed a low this
little space over here. I'll mix up some blue and white. Or here to get a nice
light blue color and paint the body
of the Beatles. For the two feathers
of the board. I'm going to add in a few
different colors to make it look white print and
really colorful. So the tail of the bird, I want to go in and add a
bit of a lighter shade of blue and pink for the contrast. You know, while I
paint with gouache, I always liked playing
with values and colors, which is what I am doing to
the voids fed over here. I'm going to go in and paint the body of the
board in pink color. For giving a feather texture
to the body of the board. I mix up something with a bit of black or blue and kind of dab the brush and smaller
strokes to get the effect. I paint the beak and the eyes of the board
with black color. And I'm going to
paint the stem of the flower running to
the boats beco here. I'm going to go in and paint some little strokes with
bright pink to make a flop. Let's add in a bit of green, primary, yellow, and white, and mix it up to
get a nice shade of green for painting the leaves. And I do this because I usually don't prefer using
green right out of the tube. It's just, it just
looks really tacky. If it's the right
words to say, oh, but I don't use it before using green
right out of the tube. It just looks very
artificial to me. Now, let's start painting the
base color for the leaves. Fulfilling the smaller areas, always use the
smaller sized brushes as it gives you much
control while you paint. For painting the
stems of the new use, I prefer having my final
sketch in front of me. It makes it much easier to
navigate to add these details. So once you're done
painting with the stems, now let's mix some of this green with the black
I already have here to get a darker shade of the same color and start
adding in the details. As you can see when I'm
adding the old planes, I'm leaving lucky gaps
between the lines. To see how I paint
these leaves screws up. You can go back and watch a
painting elements module. Once I'm done with
painting the leaves, I'm going to go back in and take some blue and lyric
or this element as I feel the colors kind of merging with the
background color here. So I'm going to pick up some ultramarine blue and
leave the color. This is one of the advantages of wash when compared
to your watercolors, you can easily or one
color on top of an adult. You layer see to
it that the paint is not watery and has
the right consistency. I'm picking up some magenta here to paint the
head of the beetle.
11. Painting the Foreground 3: I am going to pick
up some magenta, a bit of blue, green to get a darker
violet or purple shade. You know what? I guess this needs more
magenta and a bit of green and maybe some
white or black or brown. And mix this up nicely
with some white. I'm going to swatch the color to see if I like it before
I started being due. I kind of like the
color or here. So now we can start painting
the stock of the mushroom. And as a bean stalk. I also go in with a bit of white and blend in both
the colors nicely. At some places to play with
the light and the shadow. I'm going to use the
same technique or two, being the stock of this
bigger mushroom or here, I've mixed up some
blue and black to paint the gills of
the Moscow, Russia. I'm going to go and paint this muscle gills again because I feel it's kind of become very
transparent after drying. So I'm going to apply
another layer to it. I'm going to put in
some bond on board my palette and mix
up some white and brown to get a nice shade
of light brown color. Let's paint in the pages of
both these books over here. I'm going to go in
and outline layer or stroke toward a prison the side of the book with
the pink color here. Now I'm going to
dry brush the pages of the book with
the burnt umber. By dry brushing, I'm kind of trying to create the
texture for the pages. Let's meet in the next class
to add in some details.
12. Adding details 1: Let's start painting
some details. I'm going to take some black and start painting
the outline of the paper that's attached to
the type right over here. Once done, I'll go in and add a loss and then
legs for the B2. And I have the outline
for the body of the beetle and I didn't the ice and some patterns
to the body. Next, I'm going to add some paddling lines
to the people here. Next, I'll add ice and
the legs to the board on the top and meet some parallel lines on
the bird's body as well. And then I did some
design on the bottom left corner and I put
little lines to the paper. So here I'll pick up some white gouache and start adding the lines here
on the blue paper. Since white-collar would
stand out better on a blue color people rather
than adding a black color. Now let's start painting some patterns on the
cap of the mushroom. I'm just trying to really
making some brushstrokes, but please feel free to add any geometrical patterns or
any other patrons you like. Moving on, I'm going to
make some loose florals using white on the cover
of the book. Go here. Make sure to defer the size of the flowers so that the
composition feels right. And I didn't some use, using the pink color
to add some contrast. For the pink color of the book. I didn't some blue
florals and I didn't some leaves and stems
using black color. Also feel free to add in any lead tours or
quotes if you want to. I'm going to add in the outline
for the book cover here. For I didn't little details like the flowers and some stationery
items and the pencils. I prefer having my
sketch in front of me. Let's start painting
these details. No, I'll start with
the flower first, and then I'll add in some green leaves and
Poland's for the flop. Next, I am going to add in the scissors
and the paperclip. No, Let's start painting the lead for the pencil and
I didn't some other details. Let's pick up some
gray here too. I didn't details for the
guilds of the mushrooms. Once done, I'm going to add a magenta to the
beak of the board. And then I'm going to add some black to split the
beak in-between.
13. Adding details 2: While painting the typewriter, we had covered all the details. So now I'm going to add in the details for
the typewriter and keep this tracing
sheet and trace over all either details
and start painting it. Once we are done
tracing the details, your design will look
something like this. You can see this pencil marks
leftover after tracing. Know, we can go in and paint it. I pick up some white pure and start painting the details
for the typewriter. I use a lot of water and it
kind of dropped on my people. So I'll just use my tissue to absorb the excess water
and continue painting. Why layering a light color onto darker color
with the gouache, always make sure you have the right
consistency if there's more water than there are high chances of mixing
with the bottom layer. I go in and add a bit of
highlights to the stock of the mushroom with a lighter
shade of purple here. Since I feel the background is a bit blind and I
am a maximalist. When it comes to painting. I go in with a bit of
white and I didn't look inspects to cover up the space. And that's it. We are done with the project. I hope you enjoyed
painting along.
14. Final thoughts: I really hope you enjoyed
the whole class and I'm really looking forward to seeing all your projects under
the project section. Also, please feel free to use your imagination and
improvise on this project. And challenge yourself to include some elements
that you like, say like a photo frame or
a bouquet of flowers, etc. I'd really appreciate it In case if you can
leave class to use, which would help me
understand if I'm doing a good job and at the places
where I can improve upon. So yeah, I hope I need you in my next class and
buy from my side.
Sharanya V, Artist, Illustrator & Educator
