Transcripts
1. Introduction: Hi, I'm Jane. Thanks
for joining me today. I thought I'd do another
little quick exercise and keeping it loose. So this is another
one of those lessons. It's not meant to be a
beautiful finished painting. It's about getting some
of the techniques down. Now, I am a messy painter. I'm a fast painter. I don't like to get
caught up in detail, but I do like to think
about the focal point of a painting them where I want
to draw the viewer's eye. And a couple of easy
ways to do that. What is with light and
one is with detail. And that's what we're
gonna do today. So we're just going to do
a couple of these little, really simple little painting. So we're gonna do one first
where we just use one color. So you get a feel
for the light and the use of the brushstrokes. And then we'll just do
one quick one in color. So what I want you to get
out of this is working wet in wet, working quickly. Really not thinking at, we're just painting
again lots of little nonsense lines and making the brush marks and getting
them to work for us. And using shadows, using light to draw, to
draw attention. I'll go through the materials. The sketching is really quick
and we'll get painting.
2. Materials: Okay, So we'll go
through the materials that you need for
this little exercise. So I've got some scrap pieces of 300 gram cold press
Arches paper. I'm painting on a
board most of the time I'll be painting
with a slight tilt. Just tend to put my phone
as an eighth the page using just a regular HB
pencil and an eraser, some tissue or some
toilet paper brushes. Now I'm just using the two. So this one is important. I want you to use a flat brush because this gives
you the shape. Yeah, it's quite
nice to paint with. I've got in the materials
list what this one is, just a synthetic this one. Then I've also got
a small round brush again and other synthetics. So keep it, keep
it really simple. But a palette and some water
and then contents of paints. Now that the paints absolutely
can use whatever you like, it really doesn't matter. We're gonna do a monochrome one first and then we'll do
some with some colors. So for this first exercise, I'm using some spectrum, Payne's gray, you
could use indigo. Really could use
anything you like. Just pick something a bit. It's gonna be devoted
to a bit dark. I like this one because I
liked the way that it moves. For the colored one
that I've got here, I'm going to use
some Winsor, Newton, burnt sienna, some yellow ocher, some Daniel Smith pyro
read. Some Daniel Smith. They are blue and
fellow turquoise, but, but again, don't
go and buy those. You can use whatever you've got. It's really, it really is an exercise in deciding
what colors you like. Me to think I need any
other materials in that. I'm actually not going to give you a template for a sketch
because when you see it, all we're doing is sketching
three houses and that's it. So I want you to do that. It's just triangles
and rectangles, so you won't need a
template to do that. Okay, So we'll get started.
3. Sketching Up: Okay, to start off,
we're gonna do is super, super simple sketch
rendered to them. I want a cluster of three
little houses on either side. I've just got my HB pencil, give myself a triangle. So I've got just a bit of, a bit of a house, really rough. Do the same thing.
I'm going to put a number house behind this one. So my triangle. And keeping my verticals, then I'm going to pop a longer
one. Just in the middle. Same thing on the other side, you must offer them triangle, Red Cross, same
angle. Triangle down. You don't want to be big. Like come a bit smaller. With the size of these, I'm really thinking about the size of my brush that
I'm using because this is about the right
size for getting those groups in the
triangle behind, right across from a verticals
and one in the front. So really messy. Absolutely don't need to think. That's all I'm gonna
do to the sketch.
4. Getting the basic shapes in: Strand onto the page. Now I'm going to use, I've got some spectrum, Payne's gray, you
could use some indigo. Doesn't really matter. I'm going to use
this flat brush. This one's a three-quarter
tech long blades knife brush. And I'm going to use a
little synthetic is walking. I start with the
sky, wet my brush, just gonna get a bit of tissue. I want this to be messy. I don't want to overthink it. I'm going to take
up a little bit of my not too much water. So if it's really wet, you can just touch it
to the basal tissue. They become straight onto paper, line straight across, possibly
be darker than I wanted. But that Surat, so there
are my three roots, so I'm just pushing down, pulling across, do the
same thing on this side. Pushing down, pulling
straight across. So I haven't done
anything tricky with perspectives with this one. I'm just going straight across, so nice and easy route. And then while that's still wet, I'm going to wash my brush. I'm going to tilt my page just
to touch on I'm gonna get milky Payne's gray
and I'm just going to dragged down again, keeping it Missy, I'm
touching to the roof line. And just dragging down. Doesn't matter which
order you do them in. When I get to this
one, I'm kind of chiseling out the shape there. Right? Then what I'm gonna
do, I'm gonna pop a little bit of
water in the front. So washing my brush again, picking up just a
bit more paint, saying with the Payne's gray, I'm not going to overthink it. I'm going to just put a
few brushstrokes across. Walk. Do you get enough
paint on that one? A couple of down because
I don't want to worry about the edges of the
paper finishing off, I just want some
stuff on the page. Now what I'm gonna
do is I'm going to switch to my small brush. And while this is still wet, I'm going to grab
more solid paints, so creamy paint now,
I'm not going to think. I'm going to put some marks
across and some verticals. So I just want some nonsense
working from side-to-side. Letting the water take the
paint and do its own thing. And when I come and see I've put this on the side of
the building here. I'm just kinda chiseled that
shape out a little bit. So that's the only place
that I've given any thought. Move to the other side. Again, I'm just putting
in some nonsense and letting the water
do the work for me, chisel out the shape
of that building. So this is practicing you
different brushstrokes. I'm down flat, putting on some solid bits of paint
coming up to a point to give myself some little messy stuff
in here could be anything. It doesn't really matter. The only thing when
I sit back and mark, I've ended up with a gap
on either side there. Maybe I'll close that in a bit. I was going to come
out and let that dry. But I think what I'm going to
do is while that's drying, I see here for a minute and
just keep an eye on it. I'm going to put in some windows
that bleed a little bit. So taking advantage again
of the water in the page, I want less water on my brush then in
the pay so I'm gonna pick pick up some solid paint, touch the heel of the brush to my tissue to make sure this is
a really dry brush. Then I'm just going to put
in a couple of windows. Do it again. Heel of my breasts and my
brushes dry that my page. If I've got too much water
in here when I put those on, it will just form big splotches. So I want it to
stick a little bit, but I don't need it to be
a really defined shape.
5. Finding the Focal Point: Okay. So we've been about 10 min
now and I'm completely dry. Now I want to think
about where I want the focal point to
be in both of these. And this is really about just using light and a little bit of detail to pull attention
to where you want it. In this one I think I might make the focal point around here. In this one I might
make it on this house. So first up, I'm
going to close and the light where I don't want
you to look for this one. I'm going to take a
milky wash of indigo. I'm sorry, I'm
using Payne's gray. Just see what it's
probably like. Jazz. I'm just going
to paint that down, dry my brush and just make sure that sort of sits into the
wash underneath. On this side, I'm going
to do the same thing, but on these two buildings, I think I'll probably do both. So again, I'm just checking
the consistency of my paints. I really milky wash. Come and close that. And then likewise at one
I'm a little bit as well, so not too dark. Just I'm just drying my brush and making sure because I've got wet and dry paper
that the washes kind of sitting to each other. So already, when you're
looking at that here, my eyes drawn to the
light here on this one, it's more drawn to
the light here. But to help that further, I'm going to go now to
my small brush again, pick up really solid pain. And here I'm going to just paint some windows on the other side. Thick paint. Really sick. Okay. Make that one. So when I'm painting
the windows, I'm not painting windows. I'm just using the tip of my brush to just
put some shapes in. I'm gonna do the
same thing while these two whip bits of drawing, take some more thick paint. And again, just dropping
in a couple of windows on those bits as it's
drying so that I get a little bit of bleeding but not not shooting off everywhere. While I've got that on my brush, I'm gonna just put
in a couple of dark, so I'm putting the
other side of the roof in onto dry paper up here. It's a bit wet down there. And then if I want to, I can also just add
a few more dark, small detailed lines, again to draw your eye to
the focal point. So I picked up thick paint
and not enough water. So we need some water
in there to move. So I can just put eventually
a few more bits of nonsense around where I want people to be
looking so I can put that shadow underneath
the roof and come out. So I'm not really doing
it on these ones, just focusing here.
On this side. It would be opposite, maybe some down
pipe, just a few, a little bit more detail
walking my brush around a few random marks just to pull, pull, focus, pull attention. Those are big, heavy. During my cat is
attacking things. That's what the noises
in the background. Okay, so that's
all I'm gonna do, really simple exercise
showing that. I'm hoping that when
you look at that, the light and the
solid dots here, focus you here on this one. Here on this one. Now what we're gonna do is we'll do the same exercise,
probably just with one. And we'll add some color
so you can see what you can do when you have
a play with color, okay.
6. A Coloured Version: Okay, So now we'll do
a little bit of color. Start with my really
simple sketch again. So my one roof line. Second roof line behind that. Slightly longer
one. Front. Yeah. Really messy. Done. I think it gonna go
straight to my flat brush. A little tissue. So I'm going to use on the roof, I think I'm going to
use some burnt sienna. I've got a freshly squeezed
out bit of burnt sienna here. Got a little water in that. So I might just back
that off a little bit. Straight onto the page, cross right onto the page, cross straight onto the page, drag it across, turn
the angle of my brush. And I'm just gonna
put the roof on in just on the other side there. Then I'm going to tilt my
page a bit wobbly already. Now I'm gonna go with
some yellow ocher. If I've got any lifting the
palette here, really milky. Straight down, straight down, chiseling out and I'm going to set building
actually, I might, I might painting, I might
close the face of that one off and keep the light on
those to run out of paint. I'm just really messy dragging down further than the
house is actually go. And I'm going to pick up a bit of some fellow turquoise
in my palette, and I've got some violet blue. I'm not just grab a
bit of both of them. I'm just going to
come across into that yellow messy wash my brush
a bit more water on that. Don't overthink it. Don't get to pattern. I just want something
happening in the front there. Okay, then I switched
to my small synthetic. I'm gonna go into here. I'm going to pick up some red
I wasn't pyro reading here. And I'm just going to come
and do my nonsense marks. And I'm going to
do a mix of into the wedge and onto
the dry paper. I'm going to wash
my brush again, pick up now some Payne's gray. Now I like the Payne's gray, this particular brand
of Payne's gray, the art spectrum because it moves really nicely
on the webpage. Not all will do that. So it will depend on, you know, more so even the color is
which paints you've gotten your kid how they move. So if you've got ones that
spread really nicely, I'd be, I'd be picking them, might even just take a bit more turquoise and
I'm just going to put a few little bits of turquoise
through front there. Okay. While this is drying, I'm going to put
some little windows. So I've got some Payne's gray taking the excess
moisture on my brush, putting some windows
around that will move a little bit because it's still
got some water in the page. I'll put my dark I've got
enough paint underneath. So my problem I've got here
is I should really squeeze out fresh paint
because my paints gotten pretty dry in the palate. So it's hard to get enough up that was too heavy that surround that will
disappear under a shadow. See whether I can get that. Probably a couple
of another window. Now I'm gonna do my
windows on the dry here. So more Payne's
gray back it off on the tissue that was too
solid, but that's okay. I have to live with that now. I've got that chunk
up on my brush. I'm just going to walk
and that'll get through. And I want a few little lines that don't have to
make a lot of sense. Horizontals up there as well. You don't know what's going on in there and it
doesn't really matter. Okay. Now I'm gonna sit back.
I need to let that dry. What I'm gonna do is
I'm going to put a bit of a shadow along the
face of this building. And half of these two relates
a little bit more lush, but I need it to be 100% dry. This is all still pretty Guinea. And so if I try and come up with another wash.
Now I'm just going to force bloom so I can
let that sit for 5 min. Then I'll come back and add
add one more dual wash. Okay, So it's been 5 min. I'm not quite dry but
I'm being patient. I'm flat. I'm going to take really milky
wash with my Payne's gray. I'm going to come across
This building here, dry my brush and just drag that into the underlying wash a bit. Much. I think I'll probably
cover in this one as well. Then I'm going to come maybe maybe I'm
going to do a show. You don't know what
the shadows, what, what else is around so you can
get away with anything but the shadows help
release the lives. So I'm just doing that and
maybe I'll put a cover that. Oh, I didn't get any
paint then cover that in the front
as well. All right. Then All pumped out. And that's all I'm
gonna do because really the exercise is getting, getting the focal point here, getting a little bit
of color in deciding what combinations of
color you actually like. And sometimes you put
them together and go through I don't
like that at all. Other times you think
Yeah, that's great. And potentially colors that maybe you wouldn't
have put together. I don't like to think
too hard about color. So what I would suggest you do is get yourself
some scrap paper and just go along and do a bunch of four-five with
different combinations and see which he liked. And again, remembering
this isn't meant to be a beautiful
finished painting. This is just an exercise
in getting focal point, getting some different
tones on and working with a different brush strokes so that you don't get too
caught up in the detail. Okay, So if you
do a few of them, if you're happy
with some of them, post them in the project
section so I can have a look. I'd like to see what your what color combinations
and you come up with. Don't overthink this
and just remember it's, it's just an exercise. You're not meant to be getting
too caught up in this, but I do want you
to work on getting your dad's dark
enough in your points where you want the attention
to be drawn and make sure that you really saliva and
vary your brush strokes. Like Hey, thanks for joining me.
Nadine Dudek, Professional Watercolour Artist
