Transcripts
1. Introduction to the class hydrangea in watercolours: Hello my dear friends. I welcome you in a new
skill share class. My name is all, I'm
a sketch illustrator and water colorist. In today's class, I invite you to draw and paint hydrangea. The most interesting part
of this work is that I will be showing you not to draw and paint the
whole hydrangea, but we will take it in
a very artistic way that will take only a few
flowers from the hydrangea, and we will represent
those in this way to create some of the
flowers up to the front, others to the background. In this way, to catch
up the viewers, I
2. Supplies you will need for the class: Dear friends, I welcome
you on a new class, and in today's class, I invite you to paint
a beautiful Ron Gia. And we will do it in
a very artistic way. We won't make a really
realistic sign. We will paint not
the whole heron, Gia, but only a part of it. For this class, we will
need watercolor paper. I will use 300 S and
multicolor paper, 100% cotton. If you have any other piece
of paper, you can use it. I just remind you that
to work with wet in bed, we do techniques and we will wet the paper
from both sides. Be prepared that we need
a proper paper that will help us to create the
effects that are needed. We will need an
eraser and pencil. We will use pain brushes. We will need a wash pain
brush to apply the wash, the main wash. Then
we will apply with the Zero Devin
squirrel pain brush, the background, and
all the details. I will paint with number
four Vinch Synthetics. If you have any smaller
pain brush as well as Ok, I will make use of my 36
colors pens, white night. But actually we will need two or three different
colors of blue and two or three different
colors of red, pink colors. There is no as well. We will need some yellow and
Ok colors, but nothing more. We want to use the whole plate. If you have these colors, it is more than enough. We will need plain water. We will need a hair dryer
and some tissues to remove the excess of water
from our paint brushes. That's it. Let's get started.
3. Drawing process, creating the composition: Let's proceed with
the drawing of the Hydringgea because we
are not jewing everything. We are drawing only
some of the flowers, we just proceed with flowers
that we want to paint on. Yeah, I will have
one flower here, another one that is
smaller over there. Here we have petals of the other flowers
that we don't see, but we will draw those after
positioning, more or less. Which flowers I wish to draw? I can start over with this mean flower that is
right in front of us, in the middle side of this
flower is already here. I'm not drawing all the
details of the petals, I'm just making those
round that later on. We are not getting
confused while painting. You can do the same. I
remind you, we are artists. We can change the
picture as we wish. We are not photographers. And here, the last pod
that we see over here, so the first flower
is more or less done. And let's proceed with the other flower
that we have here. We see a beautiful
petal over there. Then, interestingly enough,
we see here a petal, but pay attention that it
is turned a little bit inside and we see like
very thin side over here, a tiny, tiny side. But as well below here, we have another petal that is seen a little
bit over there here as well we have
petals that are not regular form because of
the other flowers here. The last petal that
is over there, we are not wing everything. Then we have here, more or less the same side here. We have the petal
that comes up over there, another petal here. Later on we have another
petal that is super. And we see the other
side of the petal on another petal here. Pay attention that
I'm drawing the flow of first flowers first. And I will go with the petals that we
don't see all the flower, only some of the petals. Here we have another flower
somewhere over here. One petal. Here we have
another petal here. The petals actually are
close one to another, but we have very dark
shadow in between. Then we have small
petal over there. Here it is, another
petal coming up. Let's draw here the flower, even though you
can see that it is not as clearly seen
as other flowers. So here we have another flower, but actually this flower, we see only two petals. Here we see another
petals and another one. You see that I'm not drawing
everything of the petals. I just leave that. It is not interesting
to draw everything. Let me remove the wines
and I will chew again, only with one dinner
lines everything. And I will prepare my
work for painting. The protagonist of this
drawing is this hydrangea, this flower that we
have in front of us. The others are just
complementing the work. If you feel that I'm going
too fast with the drawing, you can stop the video at any time and proceed
on your path. You don't have to run with me and draw the work
exactly as I do as well. You just can change
and as you wish, you can change the petals. How those are painted
don't necessarily have to create exactly as I do. The idea is that you learn another tricks and other
forms of Jewling in watercolors and
how you can do it in an interesting vatistic way. Let's proceed with the
painting with watercolors. I will remove the paper
from my pads because I will work with wet techniques
from both sides as well. I will make use of this kind of plastic that I'm not painting straight away on
the table if you want. And if you don't
have this plastic, then you can paint on the
surface of the table.
4. Wet on wet technique, application of the first layer: First thing we will do, we will apply water on
both sides of the paper. I will take my wash.
My flat pain brush. I will start wetting the
paper from the other side. You will work wet on wet first and later on
with wet on dry. I'm waiting the
word from side to now. We're read to work. See it stitch on the
paper on the table. And we make sure that
all the paper is wet. Now I will take my pain
bridge diving chin and I will take some
different colors of yellow colors and as well of different rose
color, pink colors. I think that I will take
some lemon yellow color because we have very
poor colors over here. I didn't understand that I moved my work differently here. I see that I have
some lemon colors. I will have some
lemon colors here. On cadmium lemon, I will, I will have here as well. I can add here, even if we
have greenery over here, I think that I will add
more yellow color here. I will also work
with ochre color. Yellow ochre will add over
here where we have shadows. The shadows are pretty warm. I remind you that the colors
stay once the paper joys. Just make sure you are
not ping to light. Now I will add kind rose look
which rose color you have. I will add it here. Lighter colors, I will add here. At the top here, I have plenty of rose color. I'm not afraid to add it here. What we can also do is to take some rose color and add this
kind of spluttering effect. And we can take yellow to make it just more distant. And now I will take a here
and we'll try my work.
5. Glazing technique, how to combine colors well, part 1 : Now, after we applied
the first layer, and actually it is the
base of all our painting. As you see, we have added different colors just to make
sure that work is a sketch. It is a beautiful sketch. What we will do, we will
proceed with the mid tones. I will start with my
smaller paint brush. I will use number. We'll proceed with this.
If you pay attention, we have some warmer colors on our petals and I will
take some Ok color. I will mix it up with
pink color with Kina Cre, Don Rose with this mixture. I will add the midtones. We see that we have the
midtones over here. This is actually
the shadow as well, but add it over here. And here we see a really
light reflection and how we will apply this color to make the reflection
to be smoother. The transition to stay smoothly, what we will do, we will take
a tissue with plain water. We will remove the
excess of the water. We will come up
closer to the middle. Pay attention that I have
water on my pain rush. It is not any color
over there as well. Here we will see I have a
little bit lighter color. It is as well as the reflection. But we can, we have also here some shadows
that I will represent. The color is lighter the same. I take the plain water. I make the transition
apply here. Here instead we see the light. It is almost over there. But here we have
some shadow from the inside outside as well. We have the mid tone here. It is not all the petal, that it is light enough. I will apply it over there. Now with plain water, what I will do will
make the transition that we don't have the
strong edges coming up. Let me take again ocher color. Quinacridone rose. Touch Quinacridone rose. Let me take Rosiena. At this point, it is
important that we are not passing with too much color. We have some light here, but strike below the petal here. We have darker color here. We have the mid tone color is pretty darker than at
the beginning I took. That is why I will take plain water and remove the edges first. And at the same point, I will take care that the
color not to stay too strong. We still have plenty
of time to make everything looks to look dark when it is more difficult
to make it looking light. I remind you that now at
this step what we do, we are painting the mid tone. We are not painting the shadows. So this is the reason that I'm not applying too much color. What we can do now, at this point, it is still wet. We have here details that
we can adjust with incred, usually the details
we paint at the end. But now because
here it is still, we can add these details. Once I'm going here, I add more pink color in the
shadow. In the mid tone, I play around with plan of
water and with my tissue. Here we have more yellow. Here we have more Oca color. So you see that somewhere
I add more Oc color. Somewhere I add
more yellow color. Somewhat pink color. Same you have to do on your way. Once you are showing I haven't drawn
here this flower, but I decided that it is
an interesting to do it. We are painting this sign
much darker than it is, but the idea is that we make it just interesting
for the viewer eye. Here we have more
yellow, I would say, and this mix, and more wood, because the color is much light.
6. Glazing technique, how to combine colors well, part 2 : Here. I will take some rose
Kinnock on rose color. I will add some old
shimmerin car here. I feel like it is needed. I will add Okra car here
with this old child. I come back somewhere and add more shimmering color
whenever I feel like it is. For example, we see here some cooler sites
where we could add it. Now. I apply with lots of water. The color and even though
I feel like the color, it is too dark for me somewhere. So pay attention when you paint. How do you feel with your color on the flowers? We also have the mid tone. We have the shadow. We have the highlights. We always need to take
into account the tone. We don't have to
forget about it. Take him in and oh, cri, color. If you feel that you don't have the paper,
it is still wet. When you paint, make
the transition, the colors flows one into another and you
can't control it. I advise you to take
a hair and dry. In my case, my paper
is trying fast enough. It is warm outside, It is easier for me to here. I can allow
myself to apply darker colors for the
shadows here that we have. I'm coming back to my
mid tones and flowers. Here I have some
light and the shadow, but I will act with the same
color as it is the mid tone. Later on when the
shadows will be applied, I will reply on this too. For example, in this petal, look how interesting it is. It has some yellow even though the petals more
pink than yellow. And I add yellow color onto it. I added codum yellow medium. But I think that it is properly to use
just codonum yellow here and we make the transition. Don't be afraid to
mix up the colors straight on the
paper. Not always. We need to mix the
colors on the plate. Sometimes it is prettier
and the colors are just light and it is not
getting this dirty color. When we paint straight
on the paper. Here we see more al
shimmering color. I look how interesting
one petal can be. It doesn't necessarily need
to be a yellow or all. We have different shades
here on this petal, we have the reflection
of E marine color. More gray color over
here, too dark. Now, what I will do, I will, I will dry me, my H dry, and we'll proceed
with another layer.
7. Glazing technique, how to combine colors well, part 3 : I have dried my work. And as you can see, the paper is not
anymore on my table. But I needed to stay
fixed. I'll wet again. The paper on the other side by the paper will get
on this, on here. I was looking at this flower propri and we have also some old
Shim Marine car, obviously with lots of water. But as well, what I can say here is that we proceed
with the shadows. Again with plain water. I remove the edges and make
the transition smoother. Meanwhile, it is still wet. It is interesting
enough to create the lines that we
see on these petals. To make those petals vivid, I mixed up all amarin with ocher color and I
get some gray color. I will also take
some green color. I will take yellowish green. I will add some green
color onto the form. I have beautiful yellow
reflection here. This petal, I'm waiting it
first to work wet on wet and I will add chi marine cover because we don't have the
shadows here prominent. I want to make these details in such a way that it is
beautifully expanding. Here, I will add, it
will be more violent. I make the mix of Siena and
this violet color that I got. I will make your stride,
not going further. I make this super dark
shadow that we have here with plain water
and with tissue, making the transition
smooth enough here I add some yellow. I just like the way that this petal looks
super light here. And to make this
beautiful contrast same, it happens with this petal. And to make it more evident, I will bring it, I again will take marine color and we'll
make it even dark. In this way, we bring
it to the viewer eye.
8. Glazing technique, how to combine colors well, part 4 : Adding contrast, negative painting in the
background to bring the petals. So we play with colors to bring somewhere lighter, somewhere,
darker colors. Somewhere we have
lighter petals. But I'm not painting those. For example, here we see
as well lighter petals. But I bring it with
a dark background. Because I want to make
these petals to look light somewhere I remove the color. If I see that the color, it is too strong. So here we have the shadow, and they'll make it darker. I decided that this
petal is just too bright and we needed to make
it not as bright as our. Main, main protagonist of
this work is this flower, mixing up altri marine
and ocher color to get grayish color
for some details. So the same color, Kinagerden Rose will
trimmerine color. Somewhere I take color where I take warmer color just to make sure to make it as you wish. For example, now I will take
more kinase or gray color with green color. I will take a look here. Actually, here you
will add more yellow here. The yellow color will come up here. Great color.
9. Last details hydgrangea: Let's proceed with
final details. I have tried to work
again with my fine brush. Now what we will do is we will take straightaway darker colors. We will work on negative
painting to make the details to bring
up this flower. Once again, I took
grayish color. I mix up all with Siena. But as well, you can use paints or you can
use any gray color. And I will start eating details wherever I
feel like doing so. So here with Bas Green, now we worked with
different layers. We worked with different washes. It is slightly different
to ten technique. We work many layers to take a little bit more time than
usual when painting the work. But as well, once we
apply different layers, you can notice that the colors
are mixing up beautifully. The work is not
getting there. Do. Our work came to an end. I hope you enjoyed
painting these flowers. If you have any questions, please don't hesitate to ask me. I will be happy to answer
all of your questions.
10. Last thoughts: Dear friends, when we are
working with different layers, the class cannot finish at all. But it is really important
to know how to stop it. Because in watercolors, the
most common mistake that everyone is doing is that want to apply
more and more layers, The class came to an end. I hope you enjoyed
the whole process. Please leave in the comments
under this project, the results that you've got with the hydrangea flower as well. If you have any questions
comments, Ps. As well. Share those with I
will be happy to answer all of your questions
till the next time.
Ala Lopatniov, Illustrator & Watercolorist
