Transcripts
1. Welcome: Well, hi, everyone. My
name is Carrie Sanders, and I'm an artist, a teacher, and a creative here in
beautiful Farmington Utah, hi in the northern mountains, and we are in full
swing holiday here. And I have created for
us today this fun, exciting, jolly Santa,
who's laughing. And this is a class that is for people who have
had some experience. If you've never painted before, just take one of my other
classes first and come back. You'll have a better outcome. We are going to be doing things like mixing our own skin tones, and we're going to do
highlighting and shading, glazing, wet on wet. We'll be slattering our snow, all kinds of great watercolor
techniques that are going to help you in your art
journey for years to come. You know, I have started posting
my classes in real time, which allows you
to stop and start, speed up and slow down
the videos to give you the best possible experience
you are in control. I have been teaching
for many, many years, lots of students, and I absolutely love
instilling art in others. And I was lucky enough
to be picked up by a Big boot store and have my book published and
set across the nation, along with pattern packets. I've been in many art contests
over the years and won awards for my personal art
in my personal art journey. And I share this with you so
that you understand that art has been a big part
of my entire life. And I am so thrilled to be here on skill
share with you today. I would love to have you join
me with any of my classes. Here's a few holiday classes
that I have behind me. You can see more of what I have available by just going to the top of this page and typing in my name
in the search bar, Carrie Sanders and everything
I have on Skillshare will populate and you
can take a peek and see if something looks
interesting to you. Also, if you wouldn't mind looking for this button
and just follow me, then you'll just get a little notification
whenever I pop out a new class and you can take a peek and see if that
looks good to you. If this class looks
interesting and you want to dive into Jolly
Santa Claus with me, then let's pop into the
next video where we talk about our class
project. See you there.
2. Class Project: Alright, my fellow
friends and artists, your class project is to
complete one jolly Santa Claus. And you do this simply by following my video step by step. You can speed them up, slow them down, stop and start them, do whatever you
need to make it the best possible
experience for you. When you have finished
your Santa Claus, if you could take a
moment to snap a pick and look for this button on
this page of Skill Share, and you can easily upload that into our class gallery below. And that will allow me to get a little notification
saying that you finished the class and I can go in and make comments
on your piece. And nothing but Love guys. No harsh judgments here. No. And it also allows students to see what each
other has accomplished. You know, it's a little
like baking a cake, and you give everyone
the same recipe, and they all turn out a
little bit differently. And that's because
you are unique. You have your own special set
of talents and abilities, and I would absolutely and genuinely love to see what
you have accomplished. So please take a moment to upload that into
our class gallery, and I look forward to seeing
what you have accomplished.
3. Supplies: H Welcome on in, everyone. I'm so happy that you're here, and we get to do this jolly
Santa Claus together. It's going to be a really
fun portrait to do. And let's dive right in with the supplies that
you're going to need. I've provided for
you on this page of Skill Share a PDF
of the pattern. So if you could print that out, and then you're going to
need some tracing paper to trace that onto then you'll need a piece
of graphite paper or a light box to apply that
to your watercolor paper, and I'll go over that with
you in just a moment. Today, I'm going to be using some 140 pound 100%
cotton hot press paper. You could use cold press paper. It has a little more tooth to the paper, and
that's totally fine. This is just my personal
preference today. But I highly recommend
that you always use 140 pound watercolor
paper for your piece. You'll get the best result. It interacts the best with
your water and your paint. It expands and contracts and does just what
we need it to do. So please treat yourself to some really nice 140
pound watercolor paper. This is my favorite pencil, and we'll need a little
pencil here and there. This is the black wing palomino, and you can, of course, use
any pencil that you like. I'm going to share with you the tools that I prefer to use. And if you're going to be erasing anything on
watercolor paper, please always use
a kneaded eraser. It's very soft and
easy on your paper, or a soft plastic
eraser would be okay. And then for our brushes today, not going to use a big
variety, but a few. So you're going to
need a large flat for doing our background. You're going to need an angle
brush for doing the beard. And then you're going
to need a detail brush. This is a liner.
It's a one ought. So I recommend something
that has a little bit of longer hair like
this, a one ought. And then for rounds,
I would say, choose a variety that you have and use what you're
comfortable with. I'm going to be using
a variety throughout. I've got a four,
a six, an eight, a ten, and another six, and these two, as you can
tell, have different tips. This one is very sharp tipped. And there's a purpose
for that that, you know, I may need. I don't know. So
I pulled it out. And then, of course, handy dandy tissue my favorite tool of all. And you'll need some water to keep your paints nice and wet and a nice clean water container and a
towel, a shop towel. And let's go ahead and
review our palette. Let's go ahead and review
our palette for today, and we will be mixing
our own skin tones. So you can substitute some of these colors.
Of course, you can. However, depending on
your level of experience, you'll want to stick pretty
close to what I'm using. Or, you know, if
you already know what you're doing with
skin tones and mixing, then, you know, feel more free to choose whatever you
want to substitute with. I'm going to use naples yellow, cad red light, brown matter, blazard crimson, burnt sienna, burnt umber, cobalt blue, indigo blue, and pains gray. And then some bleed proof white. We'll be using a lot of this
for all of our white work, and I prefer this
over white gouache because it's much more opaque, and it gets the job done better, faster and more
white, in my opinion. And then you will, of course, need a palette for mixing and go ahead and
pull those together, and we'll apply
our pattern next. Okay, guys, I have
printed out the pattern that I provided for you on
this page of Skill Share. And then I trace it onto some tracing paper and
I'm ready to apply. I've just positioned it on my piece of watercolor
paper where I want it. I'm going to actually put a taped edge around
my watercolor paper, so I slid it over a little bit. Now I've just slid a piece
of graphite paper underneath and make sure that you
have the proper side down that will
apply the pattern. Just test that out
if you need to. I choose to use a
stylus to apply my pattern because then it saves the integrity
of my pattern, and I can reuse
it over and over. But of course, you
can use a pencil, a pen, whatever you would like, whatever
you're comfortable with. So at this point, I'm going to apply the pattern
going over the lines, and I'll tell you in advance, I'm just going to
do a a dotted line, a dash for the beard and for the hat because I don't want big lines that I have
to worry about later. So if you want to watch
me first, that's fine. I'm going to speed
up the camera for this portion because
let's face it, it's really boring to watch
somebody apply a pattern. And then I will see
you in just a moment. I've moved the camera up so
you can see pretty close up where I put the
pattern indication, and it's pretty slight, but that's why we have a pencil. If you need to fill
it in more, you can. It's much easier to remove a pencil line if needed
than it is a graphite line. I didn't want to get
too carried away with graphite lines
other than to be sure I got the eyes and the nose and the mouth
placement properly. So go ahead and
apply your pattern, and I will see you
in the next video, and we're going to start
painting. I can't wait.
4. Wash Face & Cheeks: Who's ready to dive
in M. Alright, we are going to mix
our skin tones. Today, I'm going to be doing
a Caucasian skinned santa. I will put my formulas for skin tone in the supplies list. So if you'd like to do
a different skin tone, then I've got a couple
of them for you there. There's a darker skin tone one and more of a medium
range skin tone. But if you're following
me on this piece, then we're going to start
with some naples yellow. I have a spare piece of
paper here to test it on. So you're going to want
some watercolor paper scrap that you can test yours on too, make sure we get it
just how you want it. The key to great
skin, guys, is water. We're going to use lots of water because we use very,
very little pigment. However, we do a lot of glazing. So glazing is adding a layer
on top of another layer, and it changes the
overall color value. And we'll be doing
lots of that today. So this is probably
98% water Naples and naples yellow, 2%. And I'm going to add to this a little bit of cad red light. And I want a really light
pinky tone because of his bright pink cheeks and nose. If I were doing a
regular portrait, I would probably use
a cad red medium, and that's fine to use today
if you would like, as well. It's your piece,
do what you'd like to do? Just test that. Remember that it's going
to dry one value lighter, and this is just going to
be our first overall wash. We're just basically going to go over everything on his face. And it's going to
activate our paper, get some moisture going, and give us a little bit
of a base to go with. I'm using my angle brush. Could use a regular flat. Don't worry if you go into his mustache or up into the hat, it's okay. We're
gonna cover that. So no worries. Alright. Great. That is a super
good basic color. Let's take this cobalt blue. I'm picking up the tiniest
amount on the tip of my brush, adding it to our skin tone. I'm gonna add just
a tiny bit more. You can always add more, but
can't take it out, right? Yeah, we're gonna add
just a little bit of a shadow underneath his hat, go add just a tiny bit more. Under the hat and down the
shaded side of his face. Great. And I'm actually going to
add just a tiny bit around his nostril and nostril area there. Good. Okay, so coming into
our brown matter, this is probably, oh, a 98% water, 2% paint. And you'll hear me use
ratios throughout my class. I think it helps you
understand what I'm using, what I'm doing, and then
you can choose to do it or not. It's your painting. I want you to be
happy with it and do what makes you comfortable. I'm going to start
just coming and adding some color here around
in that shaded area. And your paper
should still be wet. So it will blend nicely. I just got a water brush. And I'm gonna be using
tissue a lot to kind of keep an eye on how
much waters on my brush. Great. Now, let's come back
in some more brown matter. I'm keeping it more on
the tip of my brush now. And let's lay in a little
bit on these cute cheeks. Now throughout. I'm going to be mindful of a little
highlight on that cheek there. So you noticed I wiped, touched my tissue, and
it pulls that paint off. And also, I'm not closing
off this little area here. I'm gonna want that to look like part of his cheek,
his full cheek. Okay, so I'm picking
up a little bit on the corner, my brush again. And we're going to do
the same thing now. Did you notice I
flipped my brush. So that corner that has the
paint on it now up here. I'm going to pick up
a little bit more. Great. Bring them down. Water on my brush. Just go
to soften that a little bit. It's still wet, so it's
blending really nicely. But I'm just pulling out that highlight when I can maintain a little
highlight there. Again, I'm keeping a little
bit of an open space here into that nasal
cavity up there. Good. How do you do? Also, we're going to keep
there's a little space between the cheek and the rosy
cheek, if that makes sense. Let me see if I can
define a little bit more so you can see
what I'm talking about. And we're going to try and
maintain that because there's just a little highlight a
little highlighted area. So see how his cheek comes
all the way out here, but we're maintaining
that rosy cheek here. And kind of the same thing
over here, actually. I don't think I pointed it out. I just did it, so
now you can see it. The cheek actually comes
all the way over here, but we're going to do
that rosy cheek in there. And just keeping a nice line there 'cause my paper was wet. Great. Alright, so I'm
kind of keeping an eye on these cute highlights,
these little cheekies. Let's move to the nose. Again, I'm just picking up a little bit on the
corner of my brush. And I'm going to do the
same thing just like we did on the cheeks,
bring that around. I'm gonna flip my brush over If any of you are toll painters
from back in the day, this is called floating, where you have water on half of your brush and paint
on half of your brush. I don't know if you
remember that, but oh, the good old days when
we did toll painting. I'm telling you how
old I am, aren't I? Okay, great. Now, I'm just gonna clean that
up a little bit. I'm using a good size brush, so it's kind of big for his little nose, but that's right. So I'm just gonna clean
that up a little bit. But I am going to
just bring some down. We don't really want to close that off with a complete circle. So while it's still wet, just
kind of bring that down. It's okay to go
into the nostrils. And we're also going
to bring it up. Give a little collar
right up into the forehead, pull
it out a little bit. A little water on my brush. Yeah. Good. I'm gonna come in with
a number six round, and we're just
going to noodle it a little bit, as I like to say. Yeah, I'm gonna pick up a little bit of this burnt sienna. And I may actually mix it a little bit with
some brown matter, so it's got a little more pink. Yep, a little more
pink hue to it. And I'm going deepen this shadow a little
bit up under the hat. You're gonna soften
that edge with water. Hey. Let's do some more on the cheek side
here on the beach. Look at you mixing colors. Good job, guys. Okay, I'm
gonna bring that down. Now, I don't want to come
into the cheek, really. I just want to keep
a little edge of. Let me see the
tiniest little space there, if it's possible. If not, it's not the
end of the world. Guys, here's the happy thing. Here's what you can hold onto. At least I'm holding onto
it. This is Santa Claus. It's not a commission of a loved one that has
to be perfect or someone in your family that
you know that their nose is a specific way or their eye is a specific shape. This is Santa. So it's whimsical. It doesn't have to be
perfect. To the pattern. You know what I'm
saying? This is a great place to learn
how to do a portrait, frankly, because
the pressure's off. Santa's not gonna care. You see what I'm saying?
It's totally fine. Alright, I've just picked
up a little bit more of this brown matter
and burnt sienna. This is probably 98% water. And we're going to start
to lay in a little bit around this orbital cavity
here around the eye. So I'm coming down to
the side of the nose, and we're gonna maintain a highlight above the
center of the eye. So I'm going to go
ahead and lay down a little bit on this
side of the eye and maybe even a
little bit down here around this part here. Now, water, remember, water's
gonna be our best friend. Softening. Great. Now notice I left a
pretty sharp line right there. You have to have some
sharp lines on the face. Otherwise, you have a flat face. And yes, I said flat, not fat. So we need to have some of those contour lines,
guys. So here we go. We're gonna do it
again. And soften it, bring it down this way. We'll bring on this
side of the eye. Okay. Bring it
around the center of the eye here, that inner eye. Maybe a little bit. This is our shaded side here,
so maybe a little over. So we're maintaining
our highlight. Now let's come in with water. Let's soften that. It's okay if you go
up into the eyebrow. It's gonna get covered. Just water. And Good. Now, again, I'm going to leave pretty hard line right
there and there. And that's great. That defines. See how that sinks the eye in and leaves our
nasal cavity out. It's what we want it to do. All right. Now, same mixture. We're gonna go around the nose. Just around the
nasal, the nostril. Let's do the nostril itself. Pull that down. Our mustache
will probably cover this, but we're gonna
put it in anyway. It won't cover that upper lip. And let's go ahead and put
in our lower lip, as well. Just a nice light wash. Remember, we're at
98% water here. Just gonna start to lay that in. No, we don't want
it on the teeth. And mine went down a little bit too far, so
I'm pulling it off. Alright. Good. Okay. I'm
gonna soften this just a tad. Okay. Bringing back my little circle spot
right there. Okay. All right. Let's add some of our cad red
light to our cheeks. We'll be glazing those
cheeks multiple times. The key here is always add more, but you can't take it off. So slow and go. So this is a strongly
pigmented color. I'm I'm 9055-9082 on this ratio. Now picking up some water. And I'm just softening. Now, I want to keep
a highlight up here on the top
portion of the cheek, so it's okay to bring some of this cad red up a little
bit if you need to. But try to maintain
that highlight. If you lose it, it's okay. We'll add a little white. But if you can keep
it, all the better. And again, we're gonna keep
this little section open. It's gonna lead all the way
up to the nose, so to speak. Yeah, there we go. Good.
5. Eyes & Nose: Let's do the other side. Cad red light, 98%
water. Somewhere 95-98. I'm gonna keep that. Keeping that little
space open there. Keeping that space open. I'm gonna bring it
up, keeping it round. I'm gonna keep my
highlight right there. Wnsing out. Always looking so cute. All rosy. Awesome. Okay, let's do the nose. You
know the drill now. Alright, and I'm gonna
bring it in a little bit. I'm gonna keep that highlight. What does the poem say?
He has a nose like a cherry. There we go. Now, we're actually going
to while this is still wet, we're gonna soften
that bottom line and just kind of pull that down. There we go. So it's pretty
hard line, hard line, but it's open at the bottom, and it's mostly open at the top. Mine's open a little
too far, I think. And then I'm gonna bring it up. Great. And to do a little
more in his forehead. Always looking so cute. Good. Okay, it's time for us to add a little more contour on either
side of the eye. So let's pick up a little
bit of our burnt sienna. No matter this time.
Just the burnt sienna. So it's gonna be deeper color. And let's start over here. Notice I curving. Always follow the contour of whatever
object you are painting. Softening with water. Going out. These are gonna be
little laugh lines, so I'm just starting to give
that little indication. While we're here, we
can go ahead and kind of have a little bit
of shadow there. Was the little contour, amping on the middle, so
go to that inner eye. He Okay, let's soften that. We don't want to lose the highlight in the
middle of the eye. There's usually a
little highlight just around the
corner of the eye. So I'm going to If you get something wet and
touch it with your tissue, it helps pull off a
stronger highlight. There we go. That's
what I wanted to see. Good. I'm going to soften
this up a little bit. Yeah, I like that. Okay. And more weren't
Sienna, 98% water. And saing. Let's just
kind of deep in this. Down, I on the
corner of the eye. Good. One thing. I'm just gonna
lift it a little bit. Right there, yep. Right there. See how it lifted
off right there. Okay. B Sienna and all the contour and pull out a few little
wrinkles, little laugh lines. Good. Alright, let's take
our sienna and let's deepen around the nose. Go all the way
around just in case something shows through a little bit when we do our mustache. Probably won't, just in case you want going
on in the lip. Um Now, we want to maintain
a highlight on the top of the nostrils. But we do want to notice
I'm curving my line. We're going to shave these nostrils a little
bit, curving again. Softening. And just underneath nos part. As if there were a little shadow around that little cherry nose, and I'm going to bring it
down underneath as well. And I'm going to bring
a little bit All right. Okay, let's let it dry now, and then we'll come in
with some burnt umber. I'll switch to my number
one line of brush. I'm picking up burnt umber. It's a 9010 mixture. And I want to put in the main line that
goes across his eye. So this is his eyelid
that is closed. Be sure and put a little bulb or a little round bulb on
the corner of his eye. And let's switch
to burnt sienna. Let's come in at a 9010. So a little stronger
here than we used. Four. And guys, I don't know
if you noticed over here, but I am in my paint. I'm rolling it between my
thumb and finger as I pull up. What that does is pulls my
brush to a really fine tip. And so that way, I'm doing it over here
actually in my palette. It gives me a nice
fine tip on my brush. Yeah, let's finish
out these lines. Okay. And I think it's okay to put in a few of
these little laugh lines. And we'll soften
those in a minute, but let's just get
them in there. Okay. And let's do over here. Now, I feel like. Okay. Great. So we'll start
to place things in. It helps us. Same
with the nostrils. Let's start with burnt sienna. We will come back
with some umber. But again, we're looking for
shape and placement here. Even though he has
his head tilted back, we don't want to be
looking up his nostrils, you know, so make him little. When I was creating his face, you should have seen all the
selfies I took of myself with my head tilted back and
sideways, my mouth open. I deleted all the evidence. And if you try to accuse me, I will deny everything. Oh, dear. Alright, we
are going to give. Let's take this to
a 98% water now. And it's not that we want
to outline the nostrils, but we want to define
them a little bit more. And because we've shaded them, we can come out
on the outer edge and deepen that
shadow a little bit. Yes. And that gives
definition to the nostrum. So it's a good opportunity to get them the shape
that you want them. Then I just pull it out a
little bit into the shadow. Yep. I like that. Okay. And
then if you need to, you can This is just
water on my brush, softening that a little bit. Okay. Great. All right. We're gonna switch gears
for just a moment. I have picked up my paints gray, taking it to a 95%
water 5% paint. And I just want to put in these eyebrows because
it's going to help us with the rest of
our portrait here. So we're just going to
lightly put those in. Okay.
6. Eyes & Nose Part 2: Using my number four, I'm going to come
into burnt sienna, we're going to glaze
on yet another coat. So this is like a 98% water. And it's time for us to
just shape up the nose, and then we're almost done. So we are getting there. Now, because we have
this round cheek here, it needs to have a
little shadow around it. And we're gonna have a mustache. We're gonna want a little
shadow behind that. Okay? Let's soften
that up a little bit with some water. Good. And same situation over here. Deepen that a little bit. It helps make our
cheeks pop out. It also gives
contour to the nose, which is what we're
going for. All right. And then let's come
back over here again, and we're gonna leave a little triangle of that light colored skin
tone. Too much water. And I'm just gonna bring
this up a little bit. And to meet, it
almost meets that. Orbital bone. I'm
softening that with water, see how I'm leaving that
tiny little highlight. Because that's part of his nose. And it's all part of
this little bit of a highlight that comes all
the way down right there. Yep. Great. Now, I'm going
to add just a touch around his little wrinkled eyes. Tiniest amount, just to
blend those in a little bit, add a little emphasis to them. Maybe a little bit more here. This is our shadowed side, so it can be pretty deep
compared to the other side. Coming right up to
the cheek there. I'm going to leave
a highlighted area, meaning leaving it lighter. I'm not coming all the way down. Just some reflective
light there. If you've ever done portraits, there's almost
always a little area of reflected light along
the cheek and the chin. All right, so take a
look at your area here, where the eye socket is and see if you just
need to emphasize the depth of that
shadow at all and make sure you're leaving
a little white area, not white, but light
area around the eye. Now we're just being
really picky guys. Now we're just emphasizing, but you can see how it really
shapes that eye nicely. And I'm gonna bring a
little bit a little contour underneath because
that eye is closed. He's laughing, his
cheeks are raised. Yeah, I like that
better. Yep, yep, yep. Good. Okay. Let's move
to the other eye. Okay, we won't need to do near
as much to this other eye. He's tilted up, so the
light is hitting this side. Always need to be aware
of our light source when we're doing a portrait. Okay, and keep that little light right around the
eye right there. Soften that just to touch. Good. Yeah. I do want to. My line was a little thin. I want to thicken
that out there. A bit. I'm going to emphasize
these laugh lines. So in them? Not coming down into
the cheek, though. I'm gonna. That's a little Good. Great. And I like this little
highlight right there. So touch it. That Yep. Let's see. Anywhere else. Soften that. Just touch. Just noodle it guys keep looking at your piece and seeing
where you need to touch. Soften, strengthen. Soften this up
just a little bit. A open. Yeah. Good. All right, I'm going
to add a little bit here with this Jerry nose. Okay. Good. Let's look that dry and we're gonna come in
and glaze the cheeks. I'm coming in with my number four picking
up ad red light. This is 9055-98 depending on what you need for your piece and how red you
want his cheeks to look. And again, this doesn't
have to be your last glaze. You could add more. So whatever you want
to do. I'm going to stick mostly to
just the outer edge. Water. I'm gonna go ahead and put a tiny bit over all
our burnt sienna right there by the
cheek a little bit. Great. Anything with the nos? I'm gonna stick to the outer
edges on the sides, mostly. Water. Bringing it down that V. Oh, my gosh, she's so cute. I'm having a blast. I hope
you're having some fun, too. Alright, and then
this check over here. An water. And just like we
did the other side, I'm gonna add a little bit
just to this nostril area. Well, next to the
nostril, I should say. Just a little bit.
It ties it in, gives you some continuity. Good. Alright, step back. Take a look at that and see if you need
to add any more red anywhere. I'm coming into my burnt sienna. It's probably 955. And I'm just going to
strengthen this shadow right here and here. So open that up a
little bit. It down. Good. Okay. I'm coming in with my liner
brush and some pain spray. I made sure your
eyes are completely dry before you take this step. But we are going
to do that eyelid. We've already laid it in once. I do that so you
have it for a guide. But it can also add some depth. Now, we're going to add just the slightest hint
of some lashes poking up. Now, don't do girl eye lashes. Make them kind of clumpy. Just an indication of he's
scrunching his eyes closed. Sorry, I've got to
cheer on my board. I want to keep that
little round heart right in the corner of his eye. Good. Little little
triangles, kind of, not equally space, you know?
Just a little indicator. Alright. Great.
Now, the last thing I want to do is
deepen his nostrils. And I don't want to do it
with that dark indigo. I'm going to come
into the burnt umber. This is probably a 9010. And even still, I'm not gonna
make it super dark, guys. Like I said before,
it's not like we want to be
looking up his nose, even though he has
his head tilted back, so you kind of it. No need to emphasize
it. That's not the point. That's all. Now, I'm going to pick up a
little bit of brown matter. We're just fine tuning
now with our number one. This is gonna be a 9010. I'm just going to
do the tiniest hint on the side of his nose. And I'm not going I'm
gonna leave it open ended on the bottom
and on the top. I just wanted to emphasize
that nose like a cherry. You can also do it on
your cheeks if you want. I don't think I'm going
to. Maybe this one, it's a little weak over here. I'm gonna lighten it up. Yeah. That one doesn't need it. Okay.
Take a deep breath, guys.
7. Wash Hat Trim & Beard: We can move down to the mouth
now and get started there. Now, teeth are
never white, right? So we don't want to
have stark white teeth. I like to do them just a
really light light shade of blue up under the shadow. So the tiniest is
like 99% water. Just a hint of the cobalt. And I'm not bringing
that all the way down. This is the shadow up
underneath his mustache. Lots of water. While
our teeth are drying, before we can come
in with the mouth, let's go ahead and add
some of our gray up here. We're going to let
me switch to a nice big I'm going to
use my angle brush, and I'm going to come in with
some of this. Pains gray. I like to use gray or
blue under my white. So how do you make a
highlight stand out? And white is a highlight, right? Well, you do that by
putting dark behind it. So we have to always start with something darker than white if we want our
white to stand out. It's about a 955 mix. I'm washing it in.
Remember, wash is all one value,
all the same color. If you get this on your red, it will most likely show. So I'm being fairly careful. That's gonna be our hat. Brim. And here comes
our little pom pom. Build up quite a well so we can get that beard
going, as well. Hm. Don't worry about getting
exact edges around this beard. That's what the
White's gonna do. For this, I don't care if my wash is completely
all win value. If I have here a little there a little darker,
lighter, that's okay. It'll just add
interest to the beard. Come up really carefully
next to the face. Now, could I just go
right over my mustache? Yes, but I like to do
different parts of the anatomy separately because it gives you that mindset of it's
a separate piece. Being mindful of the
red cap over here. Now, this area right here is
actually going to be beard. I'm just gonna take
it all the way up. And now I'm gonna
do the moustache, being careful of my mouth. Great. Okay. Let's
let all of that dry. Everything should be dry now. Coming in with cad red
light, my number four. This is 9010, maybe 955. And we're putting
in the mouth area. Be really careful
with your teeth. Actually, we can go
right over into the lip. And the upper lip. Okay. Now, while it's still wet
up there towards the top, I'm gonna come in and just
add a tiny bit of cobalt. This is like 99% water. This is picking up
the tiniest amount on the tip of my brush. And we're gonna go right
underneath these teeth. This is a great wet
on wet technique. I'm not stroking. I'm tapping my brush, just touching in
some of that blue. Let's let it grow for a
minute, see what it does. And I'm gonna tap in a little bit right down the
center of the tongue. I'm not going all
the way to the lip. I don't want it to
go onto my lip. And I'm going to
do a little bit on the side and a little over
here on the side as well. I know it might look a little funny right
now. That's okay. We're gonna play
with it. Alright, so I'm going to soften this touch. So I'm staying off the lip
keeping it down the middle. Gonna pick up a tiny bit more. Alright, we're
gonna let that dry. It's gonna be a good first coat. Well, it is. I'm gonna add just the tiniest amount
on these teeth again. If you don't set your teeth
in with a little shadow, they're gonna look
like buck teeth. They'll look like
they're standing out. Okay, so you're aware
while this was drying, I added one more layer of
red on my cheeks and nose. I just wanted him to
be a little more rosy. But that was a personal
preference of mine. Okay, this is dry now. I'm gonna come in
with cobalt blue 955. And I'm just coming in
the very back, and again, on the sides, keeping
the shape of the lips. And a little bit
down the middle. And what we're doing is
we're starting to shape a little highlight
area of that tongue. And then I'm going to
come up on the tip of my brush and just
follow the edge of that lip ever so lightly,
meaning a thin line. You want to keep that
highlighted area. Okay. Kind of a little more now. Being really careful,
slow and go. All right. Now I'm gonna come
in with some brown matter. Just go to add a little bit of shape to the looks up here. Just in the back. Yeah, we're gonna leave a highlight here. Bring it down a little bit. Great. Let's see
how we're doing. Okay. Now, pick up some clean tissue and
using a water brush. We're actually going to pull out some highlight on that tongue
where we've left it red. I'm kind of curving my line. And the other direction as well. See how it picks up? Now,
if you pick up too much, we can always go back
and add it back in. It's okay. Alright. Let's leave that area to dry
completely for now.
8. Red Hat & Background: Picking out my cad red light
is probably an 85 15 mix. And we're going to
go ahead and lay this in all one value. I'm using my angle brush. Great. Okay. Now I'm
going to rinse out. And I'm going to come in
with my number eight round. So I'm going to put
some indigo here, where the pain's
gray used to be. And this is probably a 955. And while this is still wet, I'm just going to
touch some in right up close to where it
might be shadowed. Probably not up here on the top, but down here towards
the shadowed area here. Right around that little ball. Okay. And I'm just going to let that work with the water and
the red for just a moment. And remember that our white fur is going to come up over it. So don't be stressed and
anyway. It's all good. The only thing I don't
really want to have happen is I don't want
it to come up too high. I'm going to kind of keep
it down here in place. Alright, so while we're
waiting for that to dry, let's go finish blending. Let's pick up some
more of our red. I'm just gonna stick with
my number eight brush here. I Okay, Let's come back in. And, I mean, I'm a little under this beard area. Okay. And I'm just gonna shape
this a little red. This is just water
on my brush. There. Got better. I'm just gonna
shake this a little red. A little dark for me, so I'm just gonna pick up a little red. Water along. Right. This edge is gonna be
under white beard, so smoothing it out a little
bit. Good. All right. Now, we're gonna let that dry so we don't smear
our arms in it, but we need to come back
and finish the mouth. Make sure everything
is dry enough to be touched before you
come back to the mouth, especially if you're like me
and you're wearing white. Alright, so I'm
going to add some more red to his
cute little mouth. This is a 955 and I'm just
gonna add it to his lips. I'm gonna make this lip
a little bit bigger. Still leaving that highlight
in the middle there. I like that bigger. I
felt too small to me. Okay. And then Ooh. Let's come to 98% water and just glaze over a little bit of this red in the dark areas. I don't want to lose
our nice highlight that we worked so hard for. Um, this is just water, but I am going over
the highlighted area just to pinking them
up a little bit. Good. No, I'm gonna pick up
just a touch of the blue. Teeny tiny on the
tip of my brush. Lots and lots of water. I'm
gonna touch that in again. Just the very back
right down the middle. This is wet, so it's gonna bloom a little bit, which is
what I wanted to do. A little bit right here
in the back corners. Good. Okay. I can
leave that for now. We'll come back. Now,
one note on the red. If it's not dark enough for you, this is the time to glaze
on another layer of red. If it's the way you
like it, then great. Sometimes it dries
a little bit light, and I need another
layer, but I'm good. If you're good. We are going to go ahead and
put in our background. So this is when you need
to decide how much snow, if any, you want to add
because we do it while it's still wet in order to get
the snowflakes to bloom out. I'm going to add some snow just not as much
as you see here. So make that decision, and let's pull out our white. And we're going to get
a nice well of your blue and your indigo ready, and we'll get started
on the background. Alright, we're going to do
a wet on wet technique, and so we're going to start by getting our background wet. Do not come into your red, so leave a little hallo around it or your little
puff ball there. We're going to take
this in sections, so it's just easier to manage. So just maybe this top quarter. Remember that your paint is going to flow wherever
the water goes. Paint flows where water goes. So that's why you want to be really careful with
your water here. Okay, now we're gonna
pick up some of this Oba Blue and start
to lay it in there. See it starts to go. It's
just what we want it to do. By that in. Now I'm
going to che it along. 'cause we want to
work kind of fast. Okay. Yeah, I'm gonna pick
up some of this I go. I'm gonna start away from my
cobalt and bring it down. To blend. I'm going to soften this edge where we stop so that it's easy
to pick up there we go. Good. I want to have a nice blend between your cobalt
and your indigo. You just kind of work
with those a little bit, bring them down, Mush
them together a little. Great. Hey, get it how you want it. I want it to be a little
darker in the corner. Little heavier on
the pink there. Good. I like that. Now,
I've covered the face. I'm gonna spray the hat a little bit so that
when the snow hits it, it's gonna go ahead and spread. But you're gonna thin
your paint down. This is the bleedproof white. I'm using my number four. It's my favorite
to splatter with. I'm gonna thin it down
a little bit more. I'm gonna hit that wet
paint, and it will grow. It starts to look
like snowflakes. Alright, let's go
ahead and keep moving. M do. Mm. Watt those blend
just a little bit? I bring that down. Oh, isn't it pretty. Love it. Right. Now it's Hein's letter. Okay. And then I'm just covering the beard area so
that it doesn't go in there. It doesn't matter if
it does, but I'm just gonna splatter it a
little bit. Little snow. Now, it doesn't have to be wet, and it'll still look like snow. I just like the way it
spreads when it's wet, and then it really looks
like individual snowflakes. So I'm being a little particular about
that for this piece. I love the way that spreads, and each one looks different, just like a real
snowflake, which I love. Okay. All right. Now, I don't care that it
bled down into my beard area. That doesn't bother me at all, but I do want to get rid of
that halo around the hat. Up here, the beard or the hat is gonna cover
the fur, we'll cover it. So I'm gonna turn this
while it's still wet. And I'm just gonna encourage
that to go up a little bit closer to my hat. Is a smaller brush and
just pick up some paint. It's a 955. And I'm just going to encourage
this a little bit. Now, if that white halo doesn't bother you,
just leave it alone. It's just easy to get rid
of when your paint is wet. Not a problem. Okay. Great.
9. White Hat Trim & Beard: Okay. Last area is right here. Okay, let's let that
dry completely. Picking up my number one lino brush and a little
bit of cobalt blue, and add a touch of red to it. This is probably 98% water. The tiniest amount. We want to add an indicator
between the teeth. Maybe his side teeth.
Those probably won't show. I'll probably be under his
Mustache, but just in case. And then I'm going to add a
tee a bit more of a shadow. Again, we want to
push those teeth down underneath the mustache. I'm not putting the line between the teeth
all the way up. I just want it to be
a little indicator. And then we're going
to do a little bit of a line around that bottom lip. This is that red and blue mix. Just trying to deepen
that shadow a little bit, but not so much that
it looks pure blue. Good. No. All right. I'm gonna
use my number four. We're gonna pick up a
little bit of white. I'm gonna wipe most of it off up to a bright dry brush stage. Add a little hint on
the apple of his cheek. So I picked it up,
wiping it off, wiping it off some more just, giving that a touch
of a highlight there. Name on this one. Good a little bit on the nose,
the top of the nose here. And then same, I'm coming
into this dry paint. Same thing along the lip. Good. Okay. I would say take
a last look at the face, see if there's anything
else that you want to do. We're going to go
ahead and move on to do some white work. I'm working with white. And this is going to be just
the opposite of what we've been doing as far
as our ratios go. So this is going
to be 80% paint, 20% water using my number
four around 80% paint, 20% water. So we just want it to be
workable, in other words. And we're going to start laying in some of these eyebrows. And we already have
our nice underlay. I like to start
with the outer edge just to kind of get
the shape going. I like that. And then you can
come in and add a few more. We don't want to lose
all of that gray. That's what makes
our white stand out. And the white's going to
dry a little bit lighter. So we can come in and add just a few highlighted
eyebrows after it's dry. You decide how bushy you
want Santa's eyebrows to be? I've seen all kinds. When I was creating mine
doing some research, I saw some really bushy brows. I saw some that could almost be combed or braided,
I'll tell you, but I'm just gonna do
mine kind of mellow, so to speak. Alright. And then I like to come in and just put in kind of the
shape of my hat. Now, notice I'm
getting a wispy edge. That comes from
pressing and lifting. And I like to just kind of
start on the outer edge, and I want them to go
all different ways. I'm gonna have to
turn my board, folks. Don't worry we aren't gonna do this technique through
the whole thing, the outer edge where we want
that little wispy look. Okay. Now, around his face, you can have a few
coming onto his skin, but be really careful. I tend to do more
sideway strokes. So it looks kind of scallopy, but as long as they're not, you know, a pattern,
you're okay. Otherwise, they grow on you and pretty soon
you lose his face. Now when we get into
these on the red, be careful, meaning watch your brush and see if it's
picking up a lot of red. And if it is, rinse
it out, dry it off. We're gonna switch
to a bigger brush, but I thought while we
have this little one out, let's just come over here. Let's give that a good rinse. Let's come over to the mustache. No, I like to start
on the bottom edge. Again, we're looking for
that shape. Be careful. I'm going to have to
turn this a little bit. Okay, that gets us started. It doesn't mean that's all we're going to do
for the mustache. I just like to get started, and then I'm going to
shape it a little bit more and let that dry and come in with more,
see what I'm saying. So let's go ahead and
switch to a larger brush. Still got about an 80
20 mix on the paint, meaning 80% paint, 20% water. So it's very thick. And I've switched to a
number eight round. And we're going to do
fairly thick in the middle. Good. Now, leave some of your gray, and we're actually
going to come in and do some more shading
in there to give it more depth and dimension. Let's let that area dry. Let's come in to I
like to start in the middle that's where it's
going to be the most white. See I'm going both directions. This is the relaxing
part, isn't it? It's like, you can't
mess it up. No stress. Oh And I'm just putting it on. This is kind of a dry brushy. I haven't picked up any
water or actually any paint. I'm just getting
it off my brush. But I'm sticking to
that center band where it's going to
be more highlighted. Good. Okay, we're
gonna let that dry. I'd like to start by getting some direction from
the mouth down. Make sure you're
curving your strokes around the curvature of
the chin, the mouth. Okay, that will help us. And then we're going
to I'd like to start with the outer edge. Now, I'm not going to
do where the hair is on either side of the
face until later. So I'm aware, but we're
gonna hold off for a minute. I'm just shaping the beard. This won't be the final shape, but we're we're just
getting started here. Okay. Alright, I can see that I need to come
over a little bit. So I'm gonna add
some right there. Yeah, I like that
a little better. I actually think I want it to come out here a little more. So step back, guys, and take a look at
your beard from a distance and see if it's the shape that you want it
to be. There we go. Okay. Now I'm going to thin the paint down a bit. I'm
adding some water. This is going to be more
like 30% water, 70% paint. And you decide how curly or straight you
want this beard to be. But we just start laying them
in on top of each other, leaving some of the gray. I like mine to be wavy. I'm gonna add some
more around the mouth, and I'll come back in with
a smaller brush there, too, but I just wanted
to lay some down. You could make some
that are curly cues. I've seen a lot of those.
I've done some of those. I'm gonna stick with wavy today. You can go.
10. Hair & Beard: And we'll come in, and
we'll reshape the bottom. We are just laying it in, guys. Isn't this fun. Oh, this
is such a fun piece. So relaxing. Okay, we want to follow the
edge of that beard. A am I have hair there, beard there. We just kind of gauge
out just a little more. Good. All right. Yep, I'm
happy with that shape. Now, if this is dry,
we can come back up. And if you're happy
with the shape, then just kind of touch
up where you want to. I'm covering up some of the
red that shows through, some of the I just want
it to be quite white. You know, I got it
too. Sometimes, if you look at it from
a different angle, you see it different. I've got, like, a straight
line right there, which I don't want. So I'm gonna puff it up here. There we go. And then
in the middle where I wanted it really
white, add some more. Okay. Alright. Then around his face. Good. The same thing here unless you're good
if you're finished. Great. I'm not coming
onto his skin here. I'm just bringing
down some hair. H But Alright. Now, see how I
touch, press, lift. I'm just gonna add
a few big big ones. Touch, press, lift. Touch, press, lift. Just to add some variety. Good. Sticking with the white at the 70 30, 70% paint, filling in here and there with different
lengths of strokes, different widths of strokes. Just make all of your marks a variety or interest for depth. All right. And then
towards the bottom, if you want some to come
out, you certainly can. Just again, be aware you're
going on red with white. It could probably
transfer to your brush. Woop, a glob of paint there. Okay, step back and
see where you need to fill in or add to I need
to do around his mouth. I've just been
concentrating down here, and we need to work on the
mustache a little bit. So I'm going to actually
switch brushes for that. And I feel like I need to push out his brows a bit now
that I've got his beard in, they feel a little sparse. I'm gonna go with a number six, kind of a medium size round. I was using an eight before, so this will give
us some variety. Okay, so I've got a lot of
gray right around his mouth. I love these little tiny hairs. Yeah, I like that better
around the mouth. I'm going to bring some
of these up, as well. We're gonna come and
shade these a bit, and blend them in so they don't look like they
were just added. Okay, this is the time to get any spots that you don't like or that you
think need a second coat. It's kind of hard
to cover this red. So if you want to go over those one more time,
this is your chance. Alright. That's wet, so I'm
gonna be really careful, but I just wanted to work on
this mustache a little bit. I like a more chunky mustache, so and I want it to look like
it's on top of the beard. Now, we'll make that stand out. Remember how do you
make a highlight stand out by putting something
dark behind it. So we will come in
and put a little dark behind this. But I
like that better? Okay. Great. There, I like a bushy
brow or a bushy mustache. And now I am going to come up to that brow and give
it a little p. Gosh, guys, we're almost done.
This one's so fast. Wow. Okay. Step back, six feet. See if there's anywhere else you want to add white
before we come in with our final little tiny
touch of shading on the white. And then we'll be done. So let's let that white dry
and you take a look at it.
11. Shadows on Beard & Sign Project: Okay, guys, final step. Before we do that, I just
wanted to let you know when I stood back six feet and
took a look at mine, I felt like I needed to add
a touch of a highlight. So I add a little bit
of white here and here, here and here and a little bit here and here
on these two nostrils, just to match the
cheeks and the nose. And that's all I did.
So I have pulled out. I'm going to use my number six. And a little bit. This is going to be a 98% water, 2% paint on indigo. Now, you could use
the Payne's gray. But now that we've got this
beautiful blue background in, I think it's going to reflect
on the white of his beard, and we're going to
just lightly touch in. And I'm just watch I'm just using the very tip of my brush because I'm not making any
flat marks or brush strokes. I'm using the tip of my
brush to just put in a little bit of shadow
here and there, which deepens in
those, you know, makes the fur look
like it's got texture. And I'm not going to do much, and I'm staying away from the center because that's
where it's really highlighted. So just a little bit,
little hint here and there. And I did go out and
clean out my water. If you haven't done that
yet, it's probably really milky and it is going
to impact your paint. So take a second and go
clean that water out. See how that makes
such a difference. Oh, I just love it. Okay, adding a tiny bit
in that center area. And now I'm going to enhance the shading a
little bit stronger. It's still a 982 mix. But what I mean is I'm going
to strengthen where it is. So I'm going to add see This is where the hat
ends and his hair is a little shadow there.
A little distinction. Let's do it on the
other side. Good, good. All right. And now
that this is dry, I just want to bottom edge is gonna be a little bit darker. It's gonna add a
little bit more. Yep, I like that. Just
a teeny bit over here. Okay. And let's move over
to our little pom pom. Okay, let's move over
to our little pom pom. Well, that was a big
blob in the middle. Okay. Now, the bottom edge is gonna be a little
bit more shadow. This is gonna help
us with depth and also with the
dimension, the contour. I'm gonna leave the
top quite white. Good. Okay, I'm just gonna have a
teeny bit here and there. Definitely some underneath. It's hard for me to see under
the glare of my lights. Here we go. You
need to soften it, just put water on your brush. It's too much just
touch it or you can soften it out with water. Oh. That might feel strong
right now, but that's okay. It's gonna dry a
little bit lighter, but also we don't have shading in the rest of the beard yet. So it's like feel little
strong. It's right. Now, for the beard, I tend to just go into where
it's already got an area. I want to keep it at that 98%
super light. Lots of water. So I would just say here
a little there a little. Just all we're
doing is deepening a shadow that's
already layered in. But you don't have to
be, like, super careful. Yep. Just touch it
if it's too big. Much. We. I might need to
switch to a smaller brush. Okay, I'm switching
down to a number four. My favorite brush, as you know. Yeah, you just have a little
more control over it. You're trying to do
those little spaces. Now, the best way to
decide when to stop is to step back frequently and look at it from a distance. And because you don't
want this to take over all of your
beautiful beard. But you can see that it's
really giving it some depth, which is what we want it to do. All right. Now, this is
really bothering me, so I've got to come
in and fix it. The light was in my eyes
and I put too much down. If that happens to you,
just pick up some white, go over it with water,
pick up with some white, soften it out. I like that better? Okay. One last time. Let it dry. Step back, six feet
and see if there's anywhere else you need to add
some shadow in the beard. I'm gonna add just a
touch of this same color. We're doing this
indigo, I'm just gonna add a touch into
his eyes, eyebrows. So everything is continuous. Great. Like that
flutter. We did it. I am so excited that we were able to complete
this piece so fast. My goodness, it
was so fun to do. Thank you so much for
spending your time with me. I know your time is valuable, and I hope it was well spent. I hope that you not only
enjoyed the process, but that you were
able to sharpen your skills or perhaps learn something new in
doing portraiture and that it was
worth your while. Always sign your artwork. Let's sign our artwork together. Be really proud of
what you've done. I am so proud of you, and let's go ahead
and sign our artwork together, guys. All right. Thank you again.
I will see you in the next video where we
will wrap up this class.
12. Congratulations & Bloopers: Well, congratulations,
everyone. You did it. You have finished
your jolly Santa. I'm so happy that
you took this class, and I really hope that
it was a benefit to you and you learned something new or you sharpened
your skills, especially since we were
mixing our own skin tones and doing some things that are a little more on
the trikie side. You know, if you
know someone that would benefit from this
class or would enjoy it, would you mind taking a moment
to look for this link on this page of Skill Share
and sending it to them, and both of you will benefit from Skillshare,
which is pretty cool. Also, if you would like to look for this button and follow me, then you'll just
get a little ping whenever I pop out a new class, and I'd sure love
to have you join me again sometime soon. Speaking of which, here are
some of my holiday classes. I have a number of them
here on Skillshare, and you can just go to
the top of this page, type in my name in
the search bar, Carrie Sanders and
all the classes that I currently have on Skill
Share will populate, and you can take a peek and see if something is of
interest for you there. If you'd like to take a peek into the world of
Carrie Sanders, then you're welcome to
hop onto my webpage, which is carsanders art.com. And you can see some of
the things that I'm doing professionally and in
my personal art world, a little more in depth there. And thanks again for
joining me, guys. I'm so grateful to have your
time spent here with me. Oh, I guess it's
time for bloopers. I mean, Alright. Happy holidays, everyone. Take care. I think I
have a cherry nose. Me and Santa, we're like this. Well, congratulations,
guys. You did it. You finished your
Holly Holly Jolly. It's not Holly. He's just jolly. And splattering, we'll be
doing Color we'll be doing. And that's all. What
are we gonna do? I don't know. I don't know. It's Holly Jolly Christmas. Bill Santas everywhere. Get it together, girl. Jingle bell, jingle bell. No. Just stop the singing. Just stop it. It's not
good. Jingle, jingle.
Kerrie Sanders, Artist, Teacher, Creator.
