Transcripts
1. Introduction - Simple Birds in Watercolour: Hello, everybody. Welcome to my painting tutorial. My name is Luke on today we're going to be painting some loose birds in watercolor. The name of the game today is just having fun with it and again being loose. I think watercolor is one of those mediums that really benefits from the kind of mentality where you just sort of surrender control to medium. And you don't worry too much about the end results. So let's jump into it. First, we'll talk about the supplies that I used. Then we're gonna go through the various painting stages in the drawing stage, of course, and they will wrap it up with a little conclusion. I think more important than the technical approach that I kind of execute throughout the painting process is the mentality that I have, which is just whatever happens, happens if it turns into a great painting. Yea, that's great. That's a great painting. If it's a bit messy, I will try again. Okay,
2. Drawing Stage - Simple Bird Drawing: All right, let's get to drawing before we do, though. Let's just keep one thing in mind. Let's be speechless about this. Let's try to have fun. I don't think necessarily that try and draw bird or whatever should be like, super realistic and tight. No. Bird is gonna look at this picture that I'm drawing right now and say, Hey, that doesn't look like Steve. You know, that's not gonna happen. Uh, so don't worry about it too much. Just try to have fun with it, all right? So you can see the, uh, picture years on the left. Copy from a reference that I found online. Yeah, got do it again. So let's see how this works. Youngest over here, I think. I see what beginnings. That's always Yeah. I suppose this guy's name is. It's Steve. Might be. I wonder what Steve thinks about. Get home to be the wife and kids. That's what I think about. That's roughly right. You give this guy a little high right here. Okay. Let me have this. It's with a band of darker feathers coming this way in this way. Also, we have this sort of you see here this and of dark feathers as well. She was kind of triangular, right? Like a little bit. But when you're drawing, always look for abstract shapes that you can you can kind of copy. It's so much easier to like Draw. We're looking triangle than it is to draw. You know, like, precise thing that you're looking at That makes sense going to the body. Now, I noticed that I'm changing my group on the pencil. Feel free to do that. You feel free to change it up. You know, you don't have to. You're forced. Hopefully, you would if you're writing. For example, I don't know how you were taught how to write, how you were talking to draw, but, you know, mix it up a little bit. Makes certain stroke variants easier. Marriage. Obviously we're overlapping already. Number two here. But that's OK. Never on the tail drops to him. Something like good, cool feet. You commit about here? Can we go? Not worrying too much about it, You know, it doesn't have to be perfect throw. We're gonna paint over it at the same time. No implying details. It's a lot better, I think sometimes in trying to render them. Exactly. When there we go, there's our birth. Why not? I think I'll leave it there. Touch of the wing in between recordings, though, but yeah, all right.
3. Painting Stage 1: All right. On, let's begin. The painting stage I'm going to do here is I'm just gonna wet the entire drawing surface just so the colors can spread nice and easily. Because this is this Andi Watercolor works best placed. In my opinion, when it's wet into wet like this, we're just gonna being drowned. Steve. Number two here. Yeah, that's the extent of my imagination. These birds air all named Steve. Maybe they're part of a club. Steve's only club, which sounds incredibly lonely, obviously. All right. Yeah. No, don't use too much water because it takes a really long time to dry. And then the carters spread a bit more uncontrollably than you might want them to. Uh, that's not always good. All right, there. We can get some down into the lower appendages. Yeah. Get rid of any spots. They're dry. Apologies for the lighting. Using just natural light, I realized that the pencil is very faint, so yeah. All right. I'm gonna get rid of this brush here. Pressure is a bit too big for what I want to do. Move onto in number eight round. Here we go. Number eight. Okay. With this guy up get started with the yellow chrome, yellow lemon. This is like the first yellow that I ever owned. What do you like it? Right. So we have some yellow here, mostly mostly in the main part of the body. I was gonna kind of scrub it in roughly because my worry here as well also here and there is some that goes up and under the wing. So this is roughly where yellow begins and ends with this little guy. All right, good night off. Why not throw in some Prussian blue along this side? Because this side is where the blue starts that descends into the tail. So let's do that. Just a little blue pressure. Do I have, by the way, is M. Graham. That's honey based on it. Like it re wets grouper easily. So may have had a bit too much there. But it's OK again. We're not trying to be perfect. All right, so there's that spreading nicely grabs from French old Marine. I love Daniel Smith's French Ultra Marine. I'm using that for ages and running really low. Good. Throw that up here. They're nice and delicately that I do this thing. It's granulated which means it spreads like crazy and has that sort of texture, texture look to it. But every like so, Yeah. Next color I'm going for is called Shadow Violet. Also by Daniel Smith. Andi? Yeah. It's a really cool, neutral, like a lot just for creating life shadows, and it's gonna spread them over the top of the feathers and so on. Here is a good place as well, and it's also pretty dark begins. All right, you're gonna mix up some burn number and French als your marine for the legs on the other fees part the face part, Of course, being the technical term for this part of the birds anatomy don't look that up in, uh, you know, some kind of bird journal bird dictionary unknown. I'm saying, because it's true. I know lots of bad birds, including that they have wings, which you mean out of No, you know, I was gonna tap it in here. It's part leads to the Yeah, all right. More or less. That would be the first painting stage done
4. Painting Stage 2: already. Second painting stage here is where we get just a little bit darker Docker in the sense that watercolor goes from light to dark because it's transparent. That's how we do things here. I'm going to start with some French ultra Marine actually gonna go down the back bird here , I expect. Right. Okay. Okay. So here, look at the winning a little bit. Let's go back to our shadow violence. I want Teoh make this here is part arching part. Look a bit more repressive. Let's go out to the feathers. And there we go. Very good. I'm gonna make these feathers of less and transparent. So what I'm gonna do is I'm gonna drag the pigment across. I just have a kind of bleed into the Clearwater that I'm introducing to the people. Here we go, the way you still get the color, but it's got a faint, you know, transparent looks. All right. Okay. And I want to add a shadow across the bird's body as well. So shadow is coming from this direction. We're excusing the shadow violet here to achieve that. Violet is a mixture of ultra marine blue meridian and I think pile orange. So it's pretty compatible with Ultra Marine and the other cars that using here. There you go. On here, around here, that's about right. Let's return to our mixture of Payne's gray, which is the ultra Marine and be burned number. You were too dark in that kind. In the top half of the birth of birds. Head got switched to a smaller brush, actually, because it seems smart. You mean more burnt number. There goes my paint tray. There we go. That's better. All right. All right. Yeah. Here. Scripting. Not worrying too. I'm pretty. Course, I'll be going darker later. But for now, this is good. More for that, actually. What while I'm here, get a little shadow. Violet. No. Stick it here just to kind of to find the border of the head. Don't do that here, but Okay. Cool.
5. Painting Stage 3: All right, let's do the final painting stage. Then I want to just throw in all the like, the darkest parts. So let's grab some more show violence. You stick that up here, you cannot trust. I'm down here. That's what I see in the reference for again, I'm just being kind of liberal with that, you know, don't worry about it too much. I keep saying that, but not to sound like a broken record, but like literally because, you know, that's the point of this. You're not trying to produce a photograph. You're trying express what you see in front of you and enjoy yourself. I get so stressed out when I'm trying to be, like, really tightened, realistic with painting and drawing as well, and starts to deviate from the image that I'm trying to copy. And that's not what art should be about, at least for me. Oh, dear. That's way too Derek. It's much to Derek. Cool. I can fix that a bit. Okay. Again, clean. My brush gets on the excess water off. Just kind of soften it. Taking it in this direction in this direction a little bit, really enjoying the, uh, French ultra Marine is looking actually, perhaps more of that over here. Keep pushing my little tray away. I set up. Definitely needs to be worked. All right. S'more burned number. I love burn number on so many paintings That air just burnt umber and French Ultra Marine, Every girl like that. This Yeah, I think Feel free to disagree. Go back to the legs which I painted off camera tapping a little bit. There we go. That's fine. Gonna consider that. Okay. And some more shadow violence. No. Some French Ultra Marine Brent number more grandchildren. Marie, here we go. I'm going. Introduce that just on the right side of this black like kind of feathers and also the I like that I'm gonna soften it out, can clean the brush. I should have changed brushes just cause I don't want too much water back to my number four . It's what's number four? Good stuff in it. All that friend, You're too. What? Yeah, There we go. Of course. The I is very dark now, but naturally tries tries little fate. So strong. All right, I don't call it there. Go back to the shadow, Violet, Just quickly here. That's better. There's some shadow going on under here. I think once again, I'll just clean my brush off in self in those I don't know. Okay, they're real.
6. Conclusion: Okay, there we go. There's are finished piece. Your results may vary My results, as you can see, in fact, varied. And that's okay. I think what's most important with watercolor on art in general in some ways is just making peace with the fact that you might make mistakes. You might produce something that is not perfect to the I, Andi surrendering control to the medium on allowing it to, you know, have its little idiosyncrasies. Like how watercolor likes to you blend all over the place and bleed into different colors in a way that might, you know, look a bit Massey sometimes. But it can also be quite pretty. So hopefully you had fun. Hopefully you are. You did something. You know you attempted this. Please do. Of course. Um, and send me your results would be really cool. Also leave any feedback that you'd like to leave. This is my first tutorial. As I mentioned earlier, I'm probably not the best tutorial in the world, but that's OK. I could only get better. Yeah, take care of yourself. Have a great day and or nice
Luke Gleeson
