Transcripts
1. Introduction: I am Rena, and I welcome you to my class as I guide
you to create a beautiful way balanced read
that you can be proud of. We will be learning a lot
of elements into the class. I will also be critiquing my own art I made as a beginner. And I've come a long way. So hopefully it will be helpful
to get that perspective and adopt small changes that
will create a huge impact. I think of this as an adventure
and you are the heroes, you are going to face problems. But the key here is to not
give up and just keep going. I can see that
you're restless to get started and
stopped listening. So let's just get right into the tools and supplies we
will be needing today.
2. Tools and supplies: I'm going to be listing
the exact tools and supplies that we'll
be using in this class. So make sure you check
the description for that.
3. Brush Strokes: The first step
towards understanding your tools is
obviously to answer, what are the brush marks as
possible with your tools and how you can achieve different brush marks
using different pressures. So let's just start. So this is going
to dip my brush in water and mix it up with a nice amount of
pigment, nice and watery. Now I'm going to gently start with applying
the least amount of pressure with
my brush on paper. So I'm just going
to touch the brush. So that's giving it that's
very less pressure. So the mark is also very small as I'm increasing
the pressure on the brush and more of my brush comes in
contact with the paper. My brush mark also is
increasing in size. I'm just repeating that again. No pressure. As I increase the pressure, more of my brush comes in
contact with the paper and the size of my mark
is bigger, right? So here I have 0% of my brush. Here, I have about 25% of my
brush touching the paper. Won't have my brushes
touching the paper and my entire brush is
touching the paper. You're going to do
a simple exercise that we're going to get
us into the flow state, which is basically you're going
to start with 0 pressure, increase the pressure
as much as you possibly can and onStart
reducing the pressure. We're gonna do this,
these continuous lines. So be mindful of the fact that my brush is not losing its
contact with the paper. If you want this to
point downwards, then your brush should
also point downwards. Right? Now if you want it to point
upwards to, your brush, should either point in either of the directions it either
top or you do it like that. If you want to point, if you want to do a
stroke like this, then again, your brush should
point in this direction, in the direction of what
you value on the stroke. So it's either this or this. Similarly, if you want
or slanted angle, your brush should also
point in that direction. Just be mindful of that
and practice this stroke. It's an important one. Once you're done with
this, just draw. Anytime you need angles, circle, and practice
your strokes. I'm gonna do that. This side, my brush
is pointing here. My brush is pointing. This side. Rashes pointing here. Once that is closer, it becomes a flower. This was a very simple, like a straight line stroke. Now if we wanted two alleles, thicker stroke, we
do the curved line. But the concept
remains the same. So in the curved line, we go from 0 to full pressure
to releasing the pressure. It's just in the
shape of a curve. Okay, similarly, if we wanted
to do this, we do downward. Now with a curved line stroke. If we apply maximum pressure on both sides and join
them together, we get a leaf. So it's literally as simple
as that to make a leaf. Similarly, if you
want a chubby leaf, you do a full. Use the full part of the brush. Use the entire brush
to make a curve. Similarly, using
the entire brush to make a car and bad
forms a choppy leaf. If you want a thin leaf, then just a longer, just long. The strokes has to be you
have to drag it just for a little more time instead of
lifting it off super oily. So that's a tenant leaf. If you want finer
leaves and that we will use something
called as a stamping, which is basically
just very pressure. So 0 pressure, but we're literally
just stamping the brush in all directions up down side, the other side. And whatever, like
tractors all your strokes. When I was a big nerd, I used
to practice it like this. But as I became more free and expressive
with my brush strokes, it just goes like that. I'm not concerned about
it being too uniform. I just want that I love that
natural organic feel to it. And that's what I'm after. Most of the times. If you want a thinner stroke, then your entity or if
you want a longest job, then you drag it a little bit. For. That is pretty much
about these drugs. These are stocks that
you need to practice. I'm going to give you
like five rows of each. Let's practice them together. Yeah, Shelby ever
is another stroke which is extremely
important in the lesson. So I just want you to
practice that as well. Which is going to
be the M, The W, or the curvy road, whatever you wanna call it. I'm going to do an M. M, but with different pressure using different
areas of the brush. So I'm just going to be using
the full brush sometimes, sometimes just the tip. This is really to all to
understand the strokes, but I'm gonna do another
m and this angles, so 20% pressure, half the
brush and the whole brush. Similarly, I'm going
to do another M, 20% the brush, 50 per cent of the brush and
the whole of the brush. This way I can really get
different kinds of strokes. And I'm able to use all these strokes in the
final competition, of course.
4. Color value chart: You are about to paint in the paper in front of you
is a color value chart. So first up, what is
a color value chart? A color value chart
is a chart in which you understand the
different values of a particular color
and also understand how one color mixes with another color to
create a third color. For the first row, what we're gonna be doing is kind of changing
up the value. So the first column is
going to be a 100% pigment. So your app, you're
using very little water. I'm going to take
Oprah pink cure straight out of the tube
and just watching it. So as you can see, it's nice and pigment
it is almost to pay. For the second column. I'm going to swap my brush
a couple of times in water, brush off the excess and
do the second column. So as you can see, the amount of water
has increasing, the amount of pigment
has decreased, which results in
a lighter color. I'm going to again swell
it for a couple of times and then do the total. Now the two colors
will be mixing today are brilliant
reading or probing. So I'm taking a 100% value
of the brilliant rain and then putting it in
the first column. Again, like we did, rush off a few scores. Then you have 50% water. If you don't get the
exact value, it's great. Because then this
is teaching you. This is teaching exactly
what it's supposed to like, how much water and how much
pigment you need to use. So don't worry if you skip a few steps are
if you go wrong, lift off a little bit, if you feel it's too much. This exercise is basically
for you to understand how the ratio of pigment and water required to
achieve a certain value. And also, while doing that, we are also trying to understand
how two colors mix and what colors do they give as
a result of being mixed? For the second one, I'm
going to take favorite of opera pink and add
very little red to it. So probably just a teeny
amount of red, not a lot. So the idea is a lot of oprah pink is mixed with
a little bit of red. We want to see what is the
color that comes out of this. So that's going to
be the second row. So as you see, it's obviously a little darker. And I've added, I think
a little bit too much. So I'll just go over a little bit more or prop
into that mixture. Brush off the excess. Do the second row. Again, brush off
the excess water and the third row to
achieve the lightest color. This exercise may not
be exciting for some, but I think it
should be because it has a potential to
literally answer all your questions and clear so many doubts of you
have about this medium, about color mixing, about how
much water you need to use, how much pigment
you need to use. All these questions are gonna be answered by none
other than yourself. Because the more you
do this exercise, the more you're
going to see that. How different two colors
to create a third color, how you can create
different values or different color or hues
with the same color. And you're going to explore and loans so much about
this medium-term. I think this is a must-do
exercise for any beginner. As we go down each row, the amount of red on the
Oprah pink increases. And with every
column the value of that particular color decreases. I definitely want you to do
a color swatch out of say, viridian green and primary red, or any other two colors
which you want to explore and link it in the project section of
this particular class.
5. Color palette: Let's start mixing the
colors for today's painting. The first colors of thing, which is like equal parts
of opera, pink and red. I get asked this
question a lot of times. How do you get
that vibrant pink? And the secret to
the vibrancy of the pink is by starting off
the base of any pink color with an or plopping because of the pigment of opera rose
itself is so vibrant that whatever color you mix with that creates
a vibrant color. The second gunner, which
we are going to be mixing for today's
directly is again, equal parts viridian and red. Red viridian by itself is
a very saturated color. Adding the red to the
viridian D saturate the color and it gives a
beautiful dark green shade. So that's gonna be the second. The third color which we will
be using today is probably, which is gonna be a mix of
cobalt blue and opera rose. So because I already
have opera rose here, I'm taking the cobalt blue
and mixins equal parts. Cobalt blue and opera rose, or maybe not equal
parts like let's make more of opera rose and a
little bit of cobalt blue. Maybe three parts opera
rose and one part cuboidal. You're going to get
that beautiful color. We read the blue and
the pink as you like. Like if you want
the paper to shift debate tried to
add a little more blue if you want it to
shift a little more pink, right, while allele
model prepping. And like that, the
food color which we are going to be using it
straight out of the tube, which is the indigo. If you don't have indigo, you can always make integral by mixing any blue color with
a little bit of black. I think it pretty much
gives us the same color. So that's the fourth column. The fourth column we're going
for is the greenish yellow. If you don't have
the greenish yellow, just use lemon yellow and a little bit of this
green that we mixed. And it'll adding
yellow to anything, we'll make it a
little bit warmer. Of course, lemon yellow
is a cooler yellow. So if you have like a
primary yellow or something, it'll work great as well. I feel like it's a little
bit to like sap green into. I'm just going to add
a teeny bit of red, very small bit of red
here to just warm it up a bit so that you
have a nice warm green. Yeah, I like that. I think these are pretty
much the colors you are going to use and also a
little bit of yellow, I think for the centers of the flowers and
stuff like that. But yeah, nothing much. This is just gonna
be a highlight. If you do actually do, I do. I can't find my tube
of the warmer yellow, which is a primary yellow
with if you have that, you use that if you
have this uses, there's no hard and fast rule. You're just use the
colors you have.
6. Leavesandfillers: Using the techniques we
have learned so far, we can do a few practice leaves to get better at painting
and find your own style. It's important for us to
paint from real subjects. I have a leaf from
just my garden which is irregular weed. It's not something special, but it's something that
can work for us today. As you can see, the leaves are really thin and they are long. So the key factor here is not to apply a lot of
pressure on the brush, but to just make sure
that your strokes are thin and long with as
little pressure as possible. This brush also
makes it easier to achieve that because
it's really tapered. And so even if you apply
a lot of pleasure, the stroke which you
get out of it is really thin as I'm going on top of the leaf
and being mindful about changing the
values up a bit. And also if you want, you could add some
completely different color, like an unexpected color, which one would probably
not noticing a leaf. It's always handy to practice a bunch of filler
elements and keep them in the back of
your muscle memory because they are
such great elements. So just add onto
composition to just fill up any real
you're unsure of. Or just add a little
bit of free GI illness to the composition
and stuff like that just as you would
enter your bouquet. Also notice how I'm doing. The budget is red, even though the actual subject
matter is green. This is really where you
can use your creativity or imagination and kind of do
whatever you want to do, not what you see. I'm really trying
to replicate that.
7. Flowers: I'm going to teach you how to do these multi petal flowers, which we will be
doing in the red. So first up, we'll start
off with a little bit, with a little marking
just to keep. Sometimes it's really
difficult to draw a circular shape
flower as a beginner. So these markings really help. And you're just going
to start drawing strokes using these markings. While you're painting
these petals. Be mindful of changing up the value a little
bit to add interests. So some petals are darker. Some petals, I'm
just washing away the pigment and just using
plain water to do it. This sum, I'm just changing up and adding a little bit
of purple here or there. Just to add that
added interests. And just for changing
the color and keeping the peace a
little bit interesting, more interesting than it would normally be if
it's plane, right? This is one way of doing it. Always when you're
trying to do a piece, try to loosen up if you can, because I really think
it makes a difference. So I'm still going to go
ahead and do the markers, but this time it's not going
to be so prim and proper. It's gonna be a lot to carefree. Also reminding myself to
change up the values a bit, maybe change up the
colors as well. So that it's going to
add a little bit of depth and interest
to my painting. And it will not seem flat. It will add more contrast, it'll add more depth, and it will just be
more interesting. Once I'm done with that, I'm just going and
filling up the center. Do that for this now I've
used the same color. Keep changing your
colors and values. I think that's something I
did not do as a beginner because probably did
not learn how to do it. But it's such a
beautiful way to just add character into
your paintings. There is also this flower here, which I would like to
show because I just think it's super fun to learn. So I'm just going to
take a little bit and this flower is
facing upwards, right? So I'm just going
to draw a circle. Lot of water here. And now I'm going to use
that little m stroke that we learned on the top
part of the oval. Now remember whenever
I'm doing this M stroke, the bottom of the pedal
always touches the circle. The top doesn't. So I have an m stroke or
w or whatever on top, one at the bottom. Now, always a Florida
is forming, right? So you want to cover up all these other dots by using single stroke
petals singular, like, just like random strokes. And make sure you're collecting all of these to the bottom. The flower I covered
is in real life. It's fine. I'm just going to
take the tip of my brush and I'm going to go dancing team to perfect. Just dancing around
with it, play out. While the paper is still wet. What I'm going to do is
just add a few interests, blend with the areas
are still wet. Then bought him, I'll just
add a little green so that there's that nicely wet in
wet action happening here. Drag that out and make it what is at the bottom of that beggar
touches the circle. The bigger you want
your flower to be open, the more bigger you can do this.
8. Final wreath part1: Let's begin by drawing the bunch of blue flowers
here in the right. And 23, just putting a
few little markings. And how I would do here is
just take a nice amount of pigment and just do Point, press, drag and lift. Press dragon. As I'm progressing with the
flower and being mindful of shifting the values
throughout each petal. Which means that some
petals will be lighter, some petals will be darker. And this will just add to the overall interests
of the object. Now wait for it to dry
and once it dries up, which is defined the
sentence a little bit more. As we progress
through the flower, I'm going to take a
little step back and kind of tried to see how I can lose in this flower
a little bit more. It feels a little
too tight for me. So the way I'm going
to lose in it, losing it up is to increase the speed of my
strokes and not really worry at this point
about it being perfect or all the petals
being of the same size. And we'll give it the battles
being different size. I'm okay with the strokes
going here, wire. All of that is going to add just that extra added
interests to the composition. Sometimes going fast
will just take you off part because your
hand is moving so fast, it's easier to lose
control of the brush, which is where markings
come in handy. I think I went a little overboard in this
corner of the red. So now our job is going to be to try and
balance this out. Think of your read as a traditional balance and what you're constantly trying
to do throughout the, throughout painting,
the red is trying to keep the needle of the
balance in the center. If you add too
much to the right, you also have to add something to the left in order
to balance it out. This balance could
be in the form of the same color being
in the opposite side, or it could be like a bigger
flower on the opposite side. It could be anything. It's just that always try and balance that needle
in your balance. Starting off with that oval marking to kind of shape the
Florida in the right way. And then using the
M MAC techniques that we've learned
before in this class, we are going to quickly
draw the upward flower. Thank you. That's a nice small plan. Are we gonna do
that upside down? So again, doing this, do a nicer M here. Nice and down. Yeah. Some parts are light and
some parts are dark. He spoke at the places
where you wanted to defuse a bit and
give that veteran back, which we read for the flower to dry completely
before we fill in the center. That's something I did
not do here and you can barely even see that
it has the same dose. So that's something I would
absolutely do differently. Now that we have a
little pink, this say, this is too saturated, I'm sure it will dry
down in a second. But now that we have a
little bit of pink here, we also need to add
a little bit of pink here just to
balance out the red. I am not going to repeat
these star-shaped flowers. Instead we just go
for these little buds and add a nice
little side stroke. And just two of them that nicely balances out while the body is still wet, I'll take some green and poke it towards the
edge so that again, we're trying to use our
wet-in-wet wherever we can so that it gives a
beautiful effect. And I'm just going to
take that and drag down a bit to the right. This one is going to take that
and drag down to the red. Now this green has gone into the pink a
little bit too much. I really don't like that. So I'm just going to pull it. This is how you make a
correction pulled back. Since it's wet. You can just tap
it on your paper. You can just remove it. Corrected. Once the
paint is lifted off, go back again with the
color you want to fill it. This time I'm just taking
a little bit of green in a slightly thicker
consistency and just ever so lightly just
touching it to the bottom. Because the consistencies
take the veteran may bleed is not as intense as it was before. So I'm just going to use that same thicker paint and not really encourage flowing
into each other, but just a slight blending. So once we have that, we have the pink going on, I want to add just a little
bit of pink here because I feel like it has pink on
either side of the bill. And I would just
like to replicate that at the bottom as well. So I'm just going to do these little tiny flowers for
referring little flowers. So they're obviously
just straight lines, but they are joining
at the center, right? So that's what I'm gonna do. Very, very minimum pressure because you want the lines
to be nice and thin. You can take the consistency of the paint here needs
to be like 50% pigment, 50% water, so not to
take, not too thin. I really like the effect. This is adding a lot of light here because
there's one here. And I'll also go ahead
and add just to balance the textures that we have it, I just feel like
adding a few more of these small flowers
on top. Again. All we're trying to do throughout this is to
balance out the red and make it look even symmetric. I'm really happy with
how this has gone. Now as going, move on
to the purple flowers, which are again lately, but like just emerging gene. So I'm going to grab that purple testing
out that color here, watering down that
purple quite a bit because I don't want the
bubble to be saturated. I want it to be light and of lesser value using small strokes and making sure that all of them kind of pinch
to the bottom. We're going to create a series
of these small flowers. I'm adding two more of
those purple flowers, just the same strokes, just pinch it to the bottom. But as we go up, the flock keeps getting smaller. And as in case of every
red, we are always, always striving to do the
balancing act where you're, if you're using one
color and the writer, right, you're going to balance, you're going to want
to balance it by using little spots of that color on
the opposite side as well. Again, for usual, we
are going to poke the age of the base
of the fly using a bean green paint which is slightly thicker
inconsistency, so bad. Too much bleeding
is not happening. We wondered is a bit of
control but don't worry if you're in there a little
bit extra bleeding occurs. We really need that irregularity to achieve the effect
we are going for.
9. Final wreath part2: We're gonna take that nice
warm shade of green and draw a nice thick leaves using the strokes
we've learned before. And while that
leaf is still wet, we're going to go in
with a darker color and poked to that
leaves so that the wet-in-wet occurs and you get a beautiful light and dark
gradation on the leaf. As we now know that threat
is all about balance. So doing the same leaves
and the other side as well. In order to add a little
bit more interests, I'm just kind of swing the
leaves this side and this side a little few leaves
drooping down earlier if you leaves going upwards, varying the values of the
leaf leaves a little bit. And also adding loose strokes here and there to just loosen up the composition as a whole. I'm also going in and adding a few small leaves near the
blue cluster of flowers. At this point, you're free
to add leaves where we want, remove leaves at places where you don't
want to do as much. And then we'll proceed
towards adding a few finer and thinner
leaves to the composition, because with a lot
of chubby leaves, I feel like that Tino
leaves just add that. Just adds a beautiful
contrast and gives that fragility and
freshness to the piece. I'm using a thinner
brush to do so because it's thinner
brush automatically will change the thickness of the
leaves and it'll just give me like some thing different as
compared to the round Josh, this is one of my
favorite tricks. If I feel like a
piece as being too monotonous or it's not being or it doesn't
have the variety. I wanted to, I immediately switch the brushes
and oh my God, what a difference does it make? As I'm doing these leaves, I'm being mindful of just
adding movement to my piece. The moment is added by swinging the leaves
in different directions. Some of them drooping down, some of them are upright. And also as I'm doing all this, I am not forgetting to change the value in each
and every leaf. At this point, you
should be able to really loosen
up your movement. Go really fast, go really
slow. This is right. Initially excited
or super important. Just repeat them with
varying speeds because that veering speed
is nothing but energy and that energy
translates onto the piece. And this is how you basically add emotion to your art piece. The red looks pretty complete, but I wouldn't like little twigs coming here and they're
out of the red. Just to add more freshness. And four, to add
those two weeks, I'm just taking in
the darker green, mixing it with some purple. Always, constantly keep mixing colors in your palette before
you touch onto the paper. This is a foundational habit, which as a beginner, if you build, if you
build this habit up, it is going to change your life. Truly. Other building the
twigs and making sure that I'm adding
nice thin strokes. But I'm also making sure that my values of the
twigs are different. Some of them are darker, some of them are lighter. With Sam, I'm
adding a little bit pink with some of them
adding a little bit purple and then
finishing them up with these little
tiny pink buds, which adds so much freshness
to the whole composition. At this point, you're probably going to start liking your head. And if you don't, it could
be one of the two reasons. One, all the values in the painting are
pretty much the same, so the painting looks flat. And two, you have
not losing enough. So if that is where you're at, don't worry, just
finished this painting, take another piece
of paper and start over almost just adding
this plateaus now to add that whimsical elements splatters when
strategically placed, literally can take the look of your painting and change it completely in case those plateau goes and falls in a place where you
don't want it to be, you can easily just lifted
off. It's no big deal. Now let's tackle the centers of the flowers mindfully
and very fast. Placing the dots still
too wet or dry or paint and the yellow dots but in the center, if it bleeds somewhere,
it's totally fine. Like I said, similarly
with the indigo, I'm mixing up a little bit of green with this integral just to darken that
Indigo a little bit more than on the scanner. Just random. You see my brush, it's just
moving in a very odd way. Nobody knows how you can do the exact same thing because your hand will also move
in a different way, but that's how we
want it to look. Repeat the, repeating this row, all the flowers here. As I stepped back and take
a closer look at the red, I see that the top sorry, the bottom right of the
red is a little bit heavier and this is
because of the indigo. It is a darker value compared
to all other colors. So it is, it is heading
that element of heaviness and putting
the ref off balance. And in order to balance it, it's very simple thing. We will just add a little
bit more blue color to the top left of the text. Once the leave part of
that is completely dry, I'm just going to go with a darker value of the
leaf and just add a little darker or
leafy elements into the leaf areas just to add
a little bit more interest. Once the pink flowers
are completely dry, I'm taking a darker value
of pink and just adding a few strokes that act
as shadows probably. Again, all of these small things may not look like a big deal, but they make a ton of
difference in your finite piece. Now that all the shadows around, we're going to add a big
fat yellow center to the little furry flowers
that we only are made. And with that we have come towards the end of
this beautiful red.
10. Critique and conclusion: This is the complete wreck, but now I'm just
going to compatible with and tell you what
I feel about this. So first up, the first
impression is, for me, for my eye, it's
very obvious that this is a hot press paper and
this is called press paper. So obviously I can see more texture in this painting
as compared to this. There is a little legs texture. You're, there is absolutely
no extra urine vesicle, which is also making
friends by the way, to how the pigment is getting absorbed in the
paper and all that. Also the paper companies
are widely different, so that also matters. Next up. Sure, I see that the object is absolutely beautiful
and standing of course, but what I see here is that
it's still very tight. It's a loose watercolor
fluorine and all that. Yes, But it's still very
tight as compared to this. Obviously, there's a lot of
freedoms and movement when it comes to this
particular epic, feels more like swaying. It's swaying. It has a
lot more personality. This is more uptight. That's what it feels like. Next up, let's go
into the details. What I can see you all haven't been used straight out
of the tube. Of course. They are all the
exact same color. There is not been any
sort of adulteration in, whereas the green goes here, it's straight out of the tube. The same green
across all colors. There is a little bit
of difference in value, which I appreciate
here I can see there are lots of different greens
that are warm greens, which are then balanced
with a cooler greens. Lighter value of green, there is a darker
value of green. So that's adding
much more contrast and much more of character
to this particular. Next up with these also, the strokes are really tight and there is variation in value. Here the strokes are
more wild and free and there is a little
more variation in value, although I think even
more could have happened. You're like the difference
in value. What else? These little things
that look like, just like blobs of paint look like actual
flowers you are, which is a great sign. And also all these
tiny leaves look to define it and I'm
not a fan of that. This is a beautiful
red of course, but it kind of feels like
there is no wind blowing. It's very stable, it's
very prim and proper. This is more widely free. It has a lot more
personality, it's more loud. And yeah, that is the difference
between these two red. So if you are at, if
you are a beginner, then know that even
this kind of read, even if you achieve this, it's very, very, very
good for a beginner. And if you achieve this as well as very
good for a big night, it really depends on what style
you want to go right now. My mood is all about
free, white, lose, carefree, don't give
a **** to anyone. Just personality
and time in life. I guess. That's where I'm at. Here. I was starting out, I was like a little
a little less, so I was a little more scared
of freeing my strokes. I guess I was new learning
that medium grade for that stage of my life where everything was very calm
and my life as well. Livers know much uproar against. And so these are the two paintings done
by the same person, but they are so, so different, which is exciting for me to see. So I really hope you
enjoyed this video. Thank you for watching.
Vinaya Muralidharan, Artist and instructor
