Transcripts
1. Introduction: Hi, thank you so
much for tuning in. This is a mixed media tutorial. We're going to paint
this alarm clock in watercolor and color pencil. I chose to paint
this illustration in mixed media because I think it's just always fun to use two different
kinds of paints, and also combining
color pencil with watercolor makes this a much more beginner
friendly tutorial. I will run you through
the basic techniques of both colored pencil
and watercolor. If you're already
familiar with those, you can just skip ahead and
start painting right away. If you do like this class, please take one or 2 seconds
at the end and give it a good rating to keep the
class on the platform. It will really help me
more than you know.
2. Materials: The materials for this class
are pretty straightforward. We're going to be painting on hot pressed watercolor paper. Then you'll need your
set of watercolors, three brushes, size, four, one, and an eradicator brush. I have a mechanical pencil, a small paper smudger, a sharpener, eraser,
cup of water, your set of colored pencils, and then to do the outline tracing paper and
charcoal paper, and then a piece of paper towel to dab off your
brush, and that's it.
3. Painting Techniques: Before we get started
with the actual painting, I'm going to very
briefly walk you through the basic painting techniques that
we're going to use. These are wet on dry
glazing and using color pencils to complement
and enhance our watercolors. The first painting technique
is called wet on dry. If you've already painted
with watercolors before, you have heard of
this and you've done it a couple of times, it's basically applying
wet paint to dry paper, and I just mixed up
some lemon yellow here, and I'm just filling out the
square evenly with my color. This is a very light wash, meaning that I have more water than watercolor on
my brush right now. Wet on dry is almost always used when you're trying to
paint in very small areas, and you know that you can
get the paint quickly on il the paper or when you're
painting very detailed work. In this course, we're
going to use it to lay down the basic colors of all the different segments
of the alarm clock, and then we're going to apply a second or maybe third
wash of watercolor and at the very end colored
pencils to enhance our colors and get the grading right and
add some detailed work. So now my first wash, my base layer of watercolor
is on the paper. It's completely dry,
which is always the most important thing
before you continue painting, and we're jumping right in
with our second technique, which is called glazing. Glazing basically means
that you're applying a second color of watercolor
on top of your first layer. You can either do this on dry paper or like
I'm doing here, you can paint the second
wash on wet on wet. And to do that,
you're just going to apply some clean water
onto your first layer. And here, I've got some
winsor orange mixed up. This mix is a bit
more saturated, which means I've got more
color and a bit less water. And now I'm just applying the
orange onto my wet surface, and you can see how the color
is bleeding into the water. That's on the paper. This is
going to help me to create a smooth gradient so
that the orange and the yellow are going to blend in more nicely,
more smoothly. If you paint wet on wet, it means you always
have a bit more time before your color
dries on the paper. Which in this case
is a good thing because it means I
can take my time, I can blend like I'm doing here, and you can see that I've got a nice and even gradient
from orange into yellow. Moving swiftly on
to colored pencils. Now, this is a very
brief summary and a very simplistic introduction to colored pencils, if you will. People do paint
incredibly sophisticated, detailed and realistic
illustrations just with colored pencils. This tutorial, however, is a
bit more beginner friendly, so the introduction
to the technique of using color pencil is
also beginner friendly. You can see that I'm applying very light pressure
here on my paper. And I am painting not
in straight lines, but in small circular motions. So the key is to keep the
pressure as light as you can. And it's always
better to just put another layer on top if you want the color to
be more saturated. But it is very hard, if not impossible to get color
pencil off the paper if you've used too much pressure
and you're not happy with the saturation and the
intensity of the color. So now I've used
the color pencil, I spread the color evenly
across the whole square. And now I'm coming in
with my paper smudger. And I'm just moving it
across my area to even out smudge and blend the color
that I have on the paper. Now, even though we're
painting on hot press paper, we do still get some
not really structure, but some granulation, maybe some texture with
the colored pencil. And these smudges that
come in different sizes. This is a bigger one. I
also have very small ones that we're going to use
in the later chapters. These smudges basically even out the paint that you
have on the paper. So I use these in between
all layers that I paint with my color pencil regardless of the illustration that I'm
doing. I always use them. So now the first layer
is nice and smooth, and I'm coming in with, again, the same color of
paint, same yellow. And I'm just painting
a second layer on top. I'm speeding up the
video a little bit here. So I'm just doing
what I did before. And then again, I'm going to use my smudger and
soften everything. So now that the first layer of yellow is smoothly and
opaque and nice and even, we're going to do the same thing that we did in the first square. We're going to use some orange. You can I think this
is a cadmium orange. You can use any
orange that you have. And we are going to paint a third layer on
top of the yellow, and you can see that I'm really
using almost no pressure. There's very, very little
orange coming onto the page, and I'm doing this
because I want to create a smooth gradient and
because I would rather build up my colors and my layers very delicately and slowly, then just get too much color on the paint and then have my
whole illustration ruined. Maybe I'm a bit
too careful here, but I like to play it safe. So again, this is
the paper smudger. I'm smoothing everything over, and then I'm going
to add more and more orange until I'm happy
with the result. So you can see how
subtle and how smooth the transition from
yellow to orange is here. Moving on to the
third little square and our last bit of
painting techniques. Now I want to show you how I use colored pencil to
enhance my watercolors. So again, I'm
painting wet on dry with the yellow lemon that
I used in the beginning, doing the same
thing, painting it on smoothly without
any watermarks, and I'm letting it dry. And now that it's
dried completely, I'm going to use my colored
pencils just to kind of, like, yeah, really enhance the
color that's on the paper. Starting with the yellow. This is a bit of
a darker yellow. I think this is cadmium
yellow and not lemon yellow. It's just easier for you to see. And here I'm painting with quite a bit more pressure than I did just before in
the second square. But I can do this because I already have a base
layer on the paper, so I don't have to create
this smooth base layer. I already have it, so I can be a bit more quick
with my color pencils. Now I switch to a
lighter yellow. This is the lemon yellow, and I'm just finishing
the whole square here. Again, I'm using the
big paper smudger to smooth everything over. So I hope all of this
made sense to you. There should be no
surprises coming your way when we're going to paint the actual
illustration. So let's dive right in.
4. Part 1: Watercolour: So I went a bit
back and forth on whether or not I should speed
up the painting process, and I decided on, yes. Not because the tutorial would be hours and hours and
hours as long as I didn't, but just because I'm
so slow at painting. When I recorded
this, I think I had an audiobook or some
Netflix show on. And whenever I'm listening
or watching something, while I'm painting, I'm
just so slow at painting. So this is twice the speed, but I think you'll still be
able to follow really well. Okay. So after I've transferred the painting to the
outline to my paper, now starting on the
right hand side, just because I'm left handed. Statistically, most of
you will be right handed, so sorry about that. But I wet the right part of
the illustration with water, and I'm starting
with lemon yellow, and I'm getting this
onto the paper. This is a very light
and even wash just to get the first base
layer onto the paper and also for me to know where my lightest colors
are and then later on where my medium colors
will be and so on. So I'm painting all of the yellow area here
in lemon yellow. The water on the paper is just there so that the wash
is nice and even, and it just buys
me a bit of time. I'm continuing up here
with the same color, lemon yellow this time on dry
paper because the area is small enough and I
can get the color onto the paper without
hard lines forming. Now, while the other
bits are drying, I'm moving on to
the clock phase. Now, the clock face itself
is white, technically, but because the alarm clock
is turned at an angle, there's a shadow
on the right side. So I'm wetting
everything with water. I'm not using too much because I don't want the color to
spread uncontrollably. And then I'm going to
use ultramarine to paint in the shadow,
like you see here, just on the right side, and
then I'm letting it bleed into the center part of the clock phase and then
I'm smoothing it out. So there's a very
soft transition. So the blue looks good, and now I'm using
some paints gray to darken the darkest areas
of the shadow even more. I'm making sure that
I'm painting quick enough so that my gray
comes onto the paper while the blue is also still wet so that both colors blend
into each other nicely. So now that
everything has dried, I'm moving towards the
outside part of the clock. Again, I'm wetting
the very last segment with water like
you can see here, and then I'll come in
with some much more concentrated cadmium yellow to get a very strong color onto it. Now, if you look at
the reference image, you'll see that the color is strongest and most
saturated in the middle of a clock and that there's some reflected light on the upper part and
the lower part. So to illustrate that
on the painting, I'm going to let the color fade out towards the top
and the bottom, and that will imitate the reflection of
light on the metal. Because the part we just
painted is still wet, I'm not painting the
segment right next to it now because then if I did, the two areas would bleed into each other and
we don't want that. So I'm leaving some
space between that and I'm wetting this
part right here. I'm going to do more or
less the same thing, wetting it with water and then coming in with some
cadmium yellow, and then I'm going to intensify that on the top
with some orange. So now I'm dropping in a
little bit of winsor orange. The orange is a bit more concentrated because my
paper is already wet, and when you have more
water on your paper, you need less water
in your paint. If my cadmium orange
would be very diluted, it would just be a watery mess. I get blooms and
it'd be very hard to control what's happening
in these small areas. Trying to stay inside the lines. It's a challenge
even as an adult, and here I'm blending
the transition a little bit to make sure everything
is nice and smooth. O. I'm turning my paper now, and I'm going to do this a
lot for this illustration. It's just much
easier when you can paint and keep your
hands straight rather than trying to keep
the paper straight and just bending your hand
this way and that way. So always feel free to turn your paper around as much as you need if it
makes painting easier. This is cadmium yellow, and I'm painting on dry paper. I'm painting the whole
upper part except for the highlight area that you can also clearly see in
the reference image. It should also be part of
the outline. I'm sure it is. Otherwise, I wouldn't know. Was there while I'm painting. And while the yellow
is still wet, I'm dropping in
some winsor orange, like I did just before. So I'm painting the shadow
with orange, and again, I'm just dabbing my brush on a little paper towel
that I have on the side, and then I'm smoothing
out the edges. And on this side, I'm
doing exactly the same, so it's cadmium yellow first, and then winds are orange
for the shadow areas. So I'm looking at
this part again, and in the meantime,
the paint has dried and it's dried
way too light. We need much, much
more contrast to make the alarm clock really pop off the page and look three
dimensional in the end. So I'm just intensifying the orange again and
the shadow areas. I'm painting on dry
paper right now and dabbing off my brush and just smoothing
it out a little bit, dropping even more
orange in there because the more I can
paint with watercolors, the less I have to paint with
color pencil in the end. I mean, you can also do less watercolor and more
colored pencil. I just wanted to adjust it
while I was still at it. So now that both areas around the center part are
completely dry, we can paint this bit in. Again, I'm putting down
some water, nice and even, really not too much because
we don't want any puddles, especially not in
these small areas. So I'm just making sure that
my water glaze is very even. And then I'm painting very saturated winsor
orange at the top. Then towards the middle, I'm going to add cadmium yellow, and then I'm going
to make sure that it fades out into the lemon
yellow towards the bottom. So while I'm painting, I'm looking at the reference image, and I can see that
this part up here is just way darker, really
brown, actually. So I am painting in some new gambose in an
attempt to make it darker. It will not work.
And in a second, I'll go over it with
some dark brown so you can just really skip
this and drop in some Vandyk brown or
whatever dark brown you have while the
orange is still wet and then smooth it out and make sure that the that
the blend is even. So here I'm adding
the dark brown. Should have done this in the
first place. But it's okay. Sometimes you try
and you figure out, okay, this isn't really
doing the trick, and then you do
something else and then you let it dry and
you add more layers, and then it all works
out in the end. This is just the process. I thought I would not edit
it out just so that you can see that sometimes you need to go back and
forth a little bit. I'm adding even more brown. So my paper is
still a little wet after this whole Van ****
brown situation up there, but it's almost dry. So I'm trying to
move quickly here. I have some cadmium yellow on
my brush very concentrated, and I am adding a bit
more depth and shadow to this side of the segment
that we're painting. If your paper is
completely dry by now, make sure it is really
bone dry and then just wet the area again and paint in
with the cadmium yellow. I'm dating off my brush
and just smoothing it out. It still works, but if your paper is already too
dry for you to work on it, just dry it off
completely and then wet it again and
start with the paint. And I'm turning my paper. This is cadmium yellow
as well on dry paper. There's no need to wet an
area when it's this small. It will just create
a mess, potentially. I'm dabbing off my brush
on the paper towel and smoothing out the transition. Then again, I've checked my reference image and saw that this part
down here is really, really orange, almost red maybe. So I'm painting in
concentrated winsor orange, dabbing off my brush,
smoothing it out, making sure it's even. Now I'm painting in this bit. This is cadmium
yellow on dry paper. Now, this is the segment
that doesn't quite reach that is not right
next to the clock face. So just make sure that you're
painting in the right one. Like I said, this is cadmium
yellow on dry paper. I'm just painting it
in nice and evenly. And afterwards, I'm using my
eradicator brush to smooth out the edges a
little bit because I did paint slightly
over my lines, but if you don't you
don't have to do that. I'm also using the eradicator
brush up here to smooth out the transition from
the colored bit to the highlight because
it's just a bit too harsh. And it is a hard line, but it's not as hard as my
paint made it out to be. Also here, these are just little corrections
that I'm making. Okay, now onto this side, as you can see, I'm just painting down some
water, painting water. I mean, watercolors, we
are painting with water, so just putting down some water. Again, not too much. And now I'm using
cadmium yellow on this left side of the circle, and then on the right
side of the circle, I'll paint in some
Windsor orange. A a Now I'm switching to
my size zero brush, and I'm adding a
bit more orange to the very outside
rim of the circle. It's easier to do this
with a smaller brush, dabbing it off and smoothing
it out a little bit, and then also adding some more orange here
on the right side. A And then, again, if you look at the
reference photo, you'll see that also
on the left side, there is orange just on the
very outside of the circle. So the paper is almost
completely dry here, but I decided to keep going, and I'm just painting
on some orange on the outside and then dabbing off my brush and just
smoothing it out. It's more or less the
same process everywhere. So now, after
everything has dried, I'm coming back up to these. What are they bells? I don't
know what they're called. Anyway, I'm painting
the inside of it, whatever it's called,
with Windsor orange. And then while the
orange is still wet, I'm dropping in Van **** brown. If you look really closely
at the reference image, you'll see that there is a
very fine white line between the outside and
the inside part of this bell part of the clock. I'm trying to preserve
this white line by not painting right
to the edge with the Windsor orange and I'm also not painting right to the edge with
the Van **** brown. Now, if that is too
fidgety for you, you can paint right to the
edge and then either use your eradicator brush to erase the color and then
create this highlight, or if you have white
Quach or a white gel pen, you can paint it in afterwards. Same procedure on this side. Again, it is winsor
orange on dry paper. And then on the top part, I'm going to paint Van
**** brown, and again, I'm leaving a very
fine line between the inside and the outside
part of this bell. I've just decided I'm
going to call it a bell. Y y So now, again, with my smallest brush, I'm going to get started
on this piece of metal, and I'm going to paint
it in three colors. First, I'm painting
in some yellow ochre. And then while the yellow
ochre is still wet, I'm dropping in Van **** brown. And I'm painting it in
from the bottom towards the top and it is supposed to fade out and get lighter
towards the top. And then while the
color is still wet, I'm dropping in some very
concentrated paints gray. So the lower part of this metal piece is going
to be almost black. And then as the light hits it on the top, it'll
be much lighter. A Same procedure on this side, except on this side is
much more in the shadow. So I'm skipping the
yellow ochre because the whole piece of metal
is much darker generally, and I'm painting
in a light wash of andyke brown and then some
paints gray on top of it. A Moving on to the inside part of the clock, I'm painting wet on wet again. So I'm just putting
down some water. You can see that the water
is not entirely clean. I do have some color left
on my bigger brush here, which is fine because
we're going to add van **** brown and it's
not going to be visible. But if you do want your white to stay white and you are
painting wet on wet, just make sure
that your brush is really clean because yeah, it's a nuisance if you get accidental color
where you don't want it. So this is Vandyk Brown. I'm making sure that I
have crisp edges here. And the top part is going
to be really, really, really dark, black, and
the bottom part as well. And then because the light
hits it more in the middle, the middle section of this segment is
going to be lighter. A I'm now switching to my small brush again
just because it's so detailed towards the edges that I don't want to mess it up. And this is much more
concentrated Vandyk brown. The paper is not 100%
dry, it's 90% dry. So I do have a little bit of
an issue with the gradient, but it's still fine. I can dab off my brush
and then smooth it out. If your paper, I said this before, but I'm going
to say it again. If your paper is already too
dry for you to work on it, why don't we dry
it off completely, wet it again with water and start painting
in the color again. Okay. So I don't really have a system to paint
these small bits of metal. I'm just looking at
the reference image, and I'm trying to identify
where is it more brownish? Where is it really dark? Where is it maybe a bit bluish because of the
reflection of the light. And then I'm just painting
in little piece by piece. I'm trying to preserve the
white where I feel like I'm going to need a very
bright or white highlight. So you can just
watch me do this, I guess, and then hit
pause and paint after me. The colors are Van **** brown, and then on top here
is yellow ochre, and then I'm just
dropping in pains gray and some more brown whenever I feel like
it's necessary. But we will refine
these little areas with the color pencil in the
next chapter of the course. Oh so I said before that whenever
you're painting in these small areas, you don't really need to
put down water first. But I'm doing it here because
this is a round surface. So I have a highlight
in the middle, and then I have shadow
on either side, and there's a smooth transition between the light
and the shadow, and I want that to come
across, so I am wetting it, and then I'm adding yellow
ochre and then Vandyk brown, all the while making
sure that I'm preserving this highlight in
the middle because that will make it look three
dimensional in the end. If you end up losing
your highlight, it's not the end of
the world. It happens. You can erase the color with your eradicata brush or
you can add white paint. You can add gouache
or a gel pen, like I said before, and paint
in the highlight as well. So now up here, I'm
painting wet on dry. As you saw just
now at the bottom, I was painting wet on wet again because it was
a round surface. Now, this is just
a very fidgety, bit of a weird part. I'm painting yellow ochre and
then gray and dark brown. If you don't get
this the way you want it with
watercolor, it's fine, and I would leave it more I would leave it as simple
as you feel comfortable and then just add detail
in the next chapter with color pencil because
with the color pencil, it'll be much easier to
control and to really paint the details than with watercolor on
these small areas. It's a bit of a headache, to be honest, for me, as well
while I'm painting this. So if you feel like you're just creating
a mess right now, just leave it, and then you'll be able to correct it with colored pencils, I'm sure. This is a very transparent
wash of Payne's gray. And while the gray is still wet, I'm dropping in some
yellow ochre on the right side and some more concentrated darker
gray on the left side. The handle is very shimmery, if you look at the
reference photo. So I am painting
wet on wet, again, because it's around surface, and I'm at first glance, seeing a lot of blue. It's like a blackish,
blue, shimmery color. So I'm painting
ultramarine blue on the outside and then dark brown, Van **** brown on the inside, and I'm just going to be
alternating between these two, and then also, of course, adding some dark gray, very,
very dark gray. And I'll just try
to kind of imitate the reflections that I see
in the reference photo. So we're almost done with the watercolor part
of this illustration. I just need to paint
in the two hands. I'm starting here on dry
paper with yellow ochre. And then I'm painting the hands also with
yellow ochre and Van **** brown on the outside edges of it only to realize that it's
not going to be dark enough, and then I'll go over with
brown over the whole thing. So feel free to just use
Vandyk Brown here while I'm painting and wasting
all of our time with yellow ochre.
But it's fine. At least I hope it
is. Yeah, so here. This is the Van **** Brown
and then I'm realizing, no, this is not it. So I'm almost done here, and like I said, this is it. For the watercolor part, you can put your paints away
and get your pencils out, and I will see you
in the next chapter. H
5. Part 2: Coloured Pencil: Now it's time to
deepen our colours, deepen our shadows and also paint in all
the little details. I'm starting by using
a black fine liner, and I'm painting in all
the little lines on the clock dial and
then also the numbers. Now, when you paint
in the numbers, do them very thin at first
and then maybe thicken them, but make sure that the
lines really are straight, that your curves aren't
wonky because if you mess up with the
black fine liner, I don't know how you'd be
able to correct it really. Now I'm using a black
colored pencil to intensify the colors on the inside part of
the clock here. I'm using quite a bit
of pressure because the upper and the lower part
really need to be pitch black. And then I have a
small paper smudger and I'm smoothing out the edges. Again, going over it with the black and then smoothing
it out a little bit until I'm happy with the
intensity of the color and also the smoothness
of the gradient. Looking at the reference image, I can see that
this lower part of this metal piece is
really, really dark. So I'm not even trying
to do it with gray. I'm going in with black right away and smudging it out again, blending it into the watercolor, and I'm doing the same thing on the right hand side of
this metal piece as well. So when I use colored pencils
on top of watercolor, I almost always use the same color that I
painted with watercolor. So if I paint watercolor
with dark brown, I'll go over it with
a dark brown pencil. Here, the section
was yellow ochre, so I'm using I think this is a terracotta or also
an ochre color. This is pains gray. Now I'm making sure that I have a very crisp and hard
line towards the bottom, but a softer gradient
towards the top, so I'm smoothing it out with
my smudger on the top part. Doing the same thing
at the bottom here. And then this is a
very light gray. And here, like I said before
in these metal parts, now it's much easier to add details with
the color pencil. So I'm being very
careful to preserve my white highlight because that will make it look three dimensional and more realistic. And then I'm using
the pains gray and also the colors
that are already on the paper to just intensify
when I already have. Here I'm deepening
the shadows a lot, adding a lot more pains gray. And then here's my ochre color. And I'm just alternating these. And I'm just there's
really no recipe here. I'm just going along and I'm trying to build the
colors gradually, and I'm trying to just make it more realistic
step by step. Here I'm adding
more blue because there is a very
distinct blue shine to this metal and then adding black where the color is just deepest and the shadows
are the darkest. A so now we're going to add a bit more
color on these two bells. This is cadmium yellow,
like we had before. And this is Windsor
orange or cadmium orange, I know, doesn't make much of a difference with color pencil. I'm always using my
smudger in between to make sure I have soft gradients. Also, don't forget to preserve your white highlights here. If you manage to do that
in the previous chapter, this white little line
that we were careful to paint in so
wherever I see orange, I put down more orange
wherever I see cadmium yellow, I use more cadmium yellow, and I'm just adjusting
the colors so that my darkest yellow is the
same dark everywhere, and my lightest yellow is the same light yellow
everywhere, if that makes sense. And here I'm using a
medium brown to deepen those little edges
here some terracotta. And like I said
before, this part is actually really dark brown. I didn't really paint it
dark enough with watercolor. But like I said,
it doesn't matter. We have the colored
pencils. We can go over it. We can add a lot more
color, a lot more shadow. So I wasn't too
worried about it in the previous chapter,
smoothing everything over. And really this whole
process is just enhancing and building
on what's already there. There's nothing really This
is a light red, actually. There's nothing really new
coming to the illustration, so I don't really know if I need to do a
lot of explaining. I just keep looking
at the reference, and then I keep looking at
my illustration and I see, Okay, where do I need more? Where do I need less? There's
a bit of a light blue tint. On the top here, that's
due to the reflection. So throughout the sole section on all of the yellow
parts of the alarm clock, I'm really just adding more lemon yellow, more
cadmium yellow, and more orange where I basically already
have it on the paper. So you can just watch what I'm doing here and then maybe hit
pause and paint after me. So I'm coming back to
this section again, because I'm just looking at it and it's not
dark enough for me. It looks like it's been bleached
by the sun or something. It's just not saturated enough. So I'm just adding
more pains gray in the middle and then more dark on the upper and the lower part. And here I'm adding a bit of a white highlight that I can
see in the reference image. So coming up to this bell again. So this is some more orange, and then we're going
to really paint in some shadow on
the inside part. Again, remember that we do have a white line here that we
still want to preserve. So just make sure you
don't paint over. Now coming back to
the hands again, I'm now doing with
colored pencil what I previously attempted
to do with watercolor. I'm using a medium
brown here and I'm just accentuating the outside
parts of both the hands. And then I'm adding a bit
more detail in the middle. Coming down here, I'm
using Van **** brown and my ochre or terracotta brown, my lightest brown to adjust the saturation in
the intensity down here and also to make sure that it really does look three
dimensional these round bits. I'm using a bit of white
again just to make sure that my highlights really
pop and are really visible. I feel like they have
dulled a little bit. Now, with a very,
very sharp black, I'm painting in something that we didn't actually paint
in with watercolors. I'm guessing that the
back of the clock is black and because the clock is at an angle in
the reference image, you can see a little bit of
the material of the backside. So it's not all the
way on the outside, it's just a little
bit here and there. I didn't paint it
in with watercolors this little line because
I think it's much easier to do it
very precise with the color pencil and the
black is opaque enough. I'm actually switching
to the fine liner here because I want
it really dark. Just make sure the
line stays quite thin. You don't want it
to be too thick, otherwise, it might look
weird and a bit out of place. Then also with the
black fine liner, I'm adding a few
more little lines just to create a bit more depth. And now we're basically
done with our alarm clock. I would actually really love to see what your
painting looks like. So if you want to upload
it in the project section, it would be really cool for
me to see what you've done.
6. Last, but not least: All right. So first of all, congrats on finishing
the painting, which I hope you really did. I would love to see
you upload them here on the platform so that I
can see how you got on. If you do have any
particular questions that didn't get addressed
in the tutorial, please drop me a
message either here on Instagram or via
email on my website. I'll get back to you
as soon as I can. And again, if you did enjoy the class, I would
be really, really, really grateful if you gave it a good rating here on the platform so that
it can stay on, and other people can enjoy it too in the future. Thank you.
Sophia Neumeister, Watercolour Artist. Published Author.
