Transcripts
1. Prepare your workspace: Hey, guys. So this is a quite are quick introduction into older materials I'm using in this course, and here is my watercolor paper pad. It has quite light texture. And it's 190 g s m sickness. So I'm gonna tear off a sheet is gonna be easier for me to paint. And here is my little I bought it in a little. His name is, uh, Jackie. Here is my brush sets and I keep all my brushes in this little bag. I'm gonna use natural brushes. And this is the disable Natural brush size number one? No. So no one size number six It's a bit bigger and very for Washington Sneaks. I also have a synthetic brush. It's very good for details. I use beans are in a professional with color sets. I love it. It's very, very nice pigment over there and professional quality. And also, of course, I have a soft sold for this catch and a razor and some other helpful material set aside after four years in a big cup of was, there is no need to change it too often. So that's it. We're already and prepare your materials so you're ready to start
2. Let's sketch alpaca!: All right, So first things first, we're gonna make a sketch. Um, I'm painting from the photo, and you can find this picture touched to this course so you can download it and have it on your laptop on the screen. Or maybe next to you. Print it out as a photograph. I will start from the virtualized sketch to outlawing the faceoff. Alpaca. Usually artist start from painting or drawing an oval to outline the shape off the face so you don't need to go into details right away. Just on draw a quick mobile wider on the top and a little bit smaller on the bottom and then go on and draw some years than eyes also is quite interesting that the ice open heart please kind of a little bit on the side and, well, um, their eyes were slightly smaller than other ruminant animals, like cows or horses, but also has a smaller hand. So that's the reason why eyes look much more permanent. Then other animals eyes, then super quickly. I'm just outlining that, the nose on mouth, taking away, raising some lines that I don't need bear in mind that she didn't want to press your pencil to heart because your lies should be very soft and smooth. Remember that the paper doesn't like hard lines because when you erase them with your razor is gonna damage the texture of the paper, so it will affect how it will absorb the what color later on. So to make this case from the first time, or your lines should be very, very light, so you barely see them and that this this way, it will be easy to erase unnecessary allies if you need them. It's interesting that alpaca is often confused with llama. However, packets are often noticeably smaller than llamas. And when I was in peril, I spent quite a lot of time playing with focus and that we're just jumping around on the field and because see them pretty much everywhere on the street door in the park and super funny to watch them. And if you have some food like some leaves are no some aggressive stuff, you can go ahead and play with them, and they would be super playful, so happy to be with you and hope is that they just want your food. But you know, it was fun. Don't stress too much about your sketch, because it's quite important. Step in the process. You need to You need to look at your droving and be sure that you don't want to change anything afterwards. Because when you will start applying first layers in what color, it won't be pretty much impossible to change anything. So take your time, maybe take a break, walk around and let your eyes a rest and then come back and look at your sketch again with a fresh eye and make sure that all the proportions are kept. The person is all right. And then we will start painting in watercolor here. We're not going to paint the whole animal. It's gonna be just a poor trace. But if you're interested to paint the ACA in like in a landscape, I'm gonna record another course where I will teach how to paint much big truth with the taka somewhat on the background, so doomed
3. How to start painting: first layers: Hey, so let's move to our very first step off. Applying first layers are usually it's gold under painting in order to start painting in button. But let me. First of all, we should get some water on your brush. I'm having quite wide brush the number six. It's quite big round. It's really good for modern, but the critics and nature of brushes generally absorbs much more water than synthetic brushes, so it works really well with butter. What techniques? I already applied to the water among the face off our paca, and I only appointed on their areas that I'm going to cover with the color off the for. So I didn't touch eyes. I didn't touch the nose or mouth yet, and you should remember that water is like a natural guide or barrier, and the pain will not go anywhere else except of that exact place where the water is so the first color for our under painting the first layer I chose to be yellow gra. You can go ahead and pick up any brown brownish color you prefer even orange. I just think this is the closest color that fits the for open back up now when you work with watercolor and you're not for me there just yet with the names I would highly recommend to create to, like, a template, um, and paint each color from your political or said in separate squares or circles whatever you prefer and write the names down. So this way, every time when you look at your side and you look at the this template, you know the name of each color, so you will remember it first. And also you will be familiar with each each color to have in your sad. Now moving forward, I chose a warmer color, my favorite burger. CIA. I use it quite often, um, darker and more concentrated yet warm color that is very nice to all kind, the eyes of God to make them about, move around the eyes and spread the pain softly. And considering that your paper is still bad because your pride water just before they would take our pain will just spread and makes softly so you will not have any rough spots or dots or lines. Now, if you do have some rough spots, airlines, what you want to do, you want Teoh make your brush wet, but make sure that the water doesn't drop from the brush. Now picking up some French order Marine, you can see any blue color warm blue collar on your plate and I hided in the areas that are mostly called covered in shadow on the photo. Please don't worry. We're not gonna leave It blew. Remember, it's just the first layers the under painting. So later on real applying you layers that will cover and blending So you will not see you like a bright, colorful blue on the face of Parker. These color will help us to create shadow. And instead of using black, for that matter, we use blue. I also got some ultra marine French on the mouth awful parka and mix it up with burnt sienna. So the color turned out to be greyish, which was the goal painting this alpaca portrait. I'm working piece by piece. So I kind of, um, split it their face off the animal into different zones and then working zone by zone like a zone on the nose, on the mouth, under the eyes, about the eyes for had I'm just saying that So you're not scared. Why back on right now Looks like a clown with different colors over the place. This just just trust the process. Now, when you look at the photo, you will see that there direct sunlight covers the left side of the face off the back of making it much lighter and brighter. And then the right side, starting from the nose in a bit of the mouth, is covered in shadow, meaning that the tones off that part of the case would be much darker. But in my case, I don't want to make such a big extinction between those departs. I don't want to make one side of the one part of the face super light and another super dark and draw like a line in the middle of the face. I want to make colors more smooth. For this reason, I'm picking up warm colors and covering with the ultimate in blue, the lightest areas often Parker Oops, and things like that happen to know, moving to paint the eyes. And even though on the bottle eyes look like completely, absolutely black bubbles, I'm still covering them in light blue, in water, marine blue or French or vomiting in, my said, because I'm trying not to use completely black color or just clean black color from the set and avoided instead, I want to mix up the colors to create this feeding off a very deep in nice color, which is not, which doesn't consist only from the lab, consistent with a variety of different colors. That together gives this feeding off a very dark I. But that is coming soon safety.
4. Practicing glazing technique: Hi there. Um, I left my painting for a little break. Teoh, give it some time to dry. It's very important to remember that one of the most important qualities and features of what color is that it's transparent, meaning that we just supplied the first layer off over portrait. And then we will work on second or even third layers, and you will still see the first layer shining through. That's a wonderful quality off what color media that will give you such a beautiful effect . In the end, I guess the first layers will still be visible. Another reported moment to remember is that after the color dries up, it appears to be not so bright and and concentrated, even dark as it looked like when it was wet. So remember I told you that before aid the block, our would not be so bright and the brown or orange will be so not, not to be so bright. Sorry. So now when you look at the paint in deaths over the dry, you see that all the colors are really mild and nice and kind of flowing, and they have very smooth transition between each color, so all the job now will be to create a second layer that will deepen the color, create volumes and gave the three dimensional effect to this face. I've just picked up her sienna and mix it well. Actually, you can mix it with a little bit off ultimate in blue summer on the bullet on, then workers and then work around the eyes off Ibaka in the areas that are the darkest on the photo. This way, we're kind of building up layer by layer and create this feeling off volume that the face is not just let line on the table. It actually is a three dimensional object. Naturally, because Parker has kind of a bulging eyes, it will drop the tiny shadow just right under the eyeballs meeting that we want. Teoh pick up a little bit darker tone and mix a little bit darker tone to again outline the shape the I eyeball degrade this extra shadow. As you noticed. I have this specific way of moving, and I'm kind of dropping the paint on the paper. I make it on purpose Teoh to create this feeling of for which is not very smooth, and it's kind of from In Tangled and Crumpled. It's actually interesting that pockets Wu is very similar to the ship's one, but it's actually warmer and hyper allergic. And alpaca fiber is actually very valuable on the market, and the quality of it is determined by how Quimby it is. Another thing that I find really fascinating is that alpacas they actually make a variety of sounds, and those sounds are sort of communication between each other and also humans. They're super cautious about their surrounding, and that's why they will make different noises, like humming Snowden, grumbling, screaming, Even it's been interesting areas over the face of Ibaka that has the most sunlight, how they are obviously the lightest, and I kind of want to leave them as is, the days quite light do again create the feeling off dimension and spaciousness. So as you can see, I picked up some, um, burnt sienna, and you can also mix it with your core rosiana if you prefer to make more mild and lighter color lighter tone. So this way I actually created like a natural border and outlined the shape of the mouth. Do they need to use any white paint too, to show their white areas off the face. You just leave the paper white literally. Don't cover it with anything. It will show where the sunlight drops and look really or getting please. Sometimes I probably color, but I never use it just as a single color on the paper. Usually it goes on top off the way or that already exists. So together they still have very nice deep tone, the black color and the home who just look flat. I don't know when I'm applying black color black paint on the eyeballs off aka, it doesn't really look bad because you already have some blue on the background, So this blue is still shining through. Given this nice, deep effect later on, I will add even more color to make it look even deeper. A little teeth, a zit. It is initially a bowl. You don't want to apply one single color from top to bottom to want to. For example, if you just just black or mix of black and purple or pool, you want to apply the darkest color just in the bottom of the eyeball and keep the lighter tone in the top part off the I. This will give you a feeling off sphere rather than just a circle on the back of the paper . One of the rules of watercolor. You never start painting from the darkest color or from the doctor stone. You always think off what is the lightest spot on your painting? What is going to be the lighter spot on the painting? Or if you work with the reference, such as a photo, you look at it and you you find this lightest color, and this is where you start from the first layers. The first color should be the lightest months. Why? Because it is really difficult. Or actually, it isn't impossible to if I light color on top of the dark one. So if you would paint, there's no since lax and then you would want to add some blue or yellow. It will just make everything gray and messy and dirty. But if you want to have a nice and clean color, you should build up this color starting from the lightest one, as then building it up to darker doctor, darker and darker. So even the black, the blackest. If you want to say that e like a fresh one German Got the old get the whole cool to Cruces door Shit. You on even brown with me? Boss, I got a hothead She want the last name with the Rangana Because I pulled out a 1,000,000 cast off playing on you Medio Thank you for me Too much for you along maybe going back Bring no the jet song I'm a car My best for you, you know, Pick up that dress for me Lead arrest too much 24 20 She left No, my no, no gold Just I finished up painting the ears with some colorful decorations just like a sharp lines off Various colorful pains A lot of Peru variously put some clothes on their own pockets Some traditional proving stuff on looks really kid I like actually this colorful stripes on their years looking make, like a look very festive in order to make them look like they're hanging on and moved by the wind and they're super light. I just a dry brush And I picked up a very dry pained So my so my strokes are actually not her solace. This effect gives this paid enough kind of windy weather. - Uh , now I picked up the mix of personal and oak to paint, then back off, back up. And because it's covered in light, I don't want to pay too much attention to then draw old Dido's. I want us to focus on face as the main object off this painting. So what? What the EQ allows me to have this very soft transition from the tiny serpents bother to the rest of her body. Also pay attention than the neck is the area which is covered with the shadow created by the head of a doctor, so naturally it must be darker. I want to make it too dark, and I want to mix up some black washes, so I simply take off favorite French timbering and quieted on the neck over Paco while it's still wet, so nicely mixed all together without about ages. This also gives us a feeling off, very solved on a nice pair of animal
5. Finishing up: background: Hey, guys. So we're on the final line off all over with the color cause. And now it's time Teoh paint on background. Um, so we're gonna use the button. What technique? I almost always use only. But what technique? Paint in the background because it allows you to have very smooth and nice color transaction, especially if you're mixing up some tones and colors. And it's not just one single color. So you start from fine water on paper and you cover everything except off the face of Al Baqa. Obviously, um, and then you would start find some color. In my case, a picked Windsor blue mixed up with French Alter Marine. I love both of those colors, but the tones of those pigments are quite different, so I kind off like the effect that got. In the end. They mix off those two bright and deepen warm colors. That's, um, coming close to the for alpaca. I actually don't cover the background completely, all the way down to the face. What I mean is that I don't touch the years and then touch the forehead. Um, I'm leaving a little bit of white space, and I do so, too. First of all, leave some space in case I want to add some for, like, fluffy, fluffy fur on top. And also I want to have this soft transition between the bright background and very light for off the animal eso this white space. It's like a safe space that gives me this chance to blend the edges between the end off the Bagnall color and the beginning off there for color. If you understand what I mean. Later on, you will see how I will manage this to be Morgan delicate With the painting, I switched the brushes from the big size number six to the small one. Number one or two and then when it comes to the details and when I'm working with this edge I was talking about earlier between the hair there for and the background, I want to make sure that the transition is smooth as possible. So this little pointed brush allows allows me to, uh, blend. Uh, the background colors the blue color with water so the edges are super solved. So now if you look at the painting, it looks like it's tiny white hair that the human eye country noticed star. I didn't care. There's a stone you're starting and still your star Stone, you're starting. You don't belong Also, as I continue covering the space off the background with a blue color, I make sure to not go too close to the for again on the cheeks and on the neck. And I leave white space between the background and the for. So this gives me kind of like a double effect off this sloppiness off the animal. If I would use 100% cotton paper the this blue collar that I'm using right now for the background, it would absorb in a bit different way. And the transitions on the background would be much, much, much more smooth than now. Also no orders that I left the space of white space in the area off eyelashes off, back up. A bit later, I will add some details to the area to make it look like I delicious. But for now we want to just keep them white. Okay, you can choose any color for the background. It really doesn't matter. And we are not trying to make an exact copy of the photo over here But I do prefer to use blue colors and blue toes. They're more or less neutral. They look like a sky or just some air on the bank ground. And they balance very well with those blue color that we added before to the fur off common Fade me, Don't they hate me? So when you're finished with the background painting, just leave your artwork to dry, take some rest, maybe get some coffee or something and get back to this artwork when it's completely dry. We're gonna work on the final final stage of this are painting and finish off the scores with Ed in the last details that will make your pocket a life.
6. Final touch: working on details : Hey, you made it. It's almost the end of the course, and this is the funniest and easiest part off over quality. We're gonna finish up over painting and add some tiny details that will actually play a huge role to bring your pocket life. So I've decided to work on the right. I ibo off Parker because it feels like it's not. How would I put it? It's not bulging enough, and it's it really makes it look very cute when you make the I stand out more. So I added little bit off the color on very top off the I, and this way I want to make it stand out even more than it waas. Also, I corrected the shape of the eye and this stage. It's quite possible because the background eyes very light blue. So, as I said before, when you apply darker color on top of the lighter one, it is very easy and possible rather than you try to do the reverse. Using a tiny brush, I picked up very, very blurred light blue collar. In my case, it's French or memory work off the eyelashes and just in the bottom of it where the eyelashes are going from. I want to make it a little bit darker, so I want to create the shadow over there to make the I look more realistic because if you just leave it white, it just it just looks weird and, like just a flat white spot on top of the I'm. So in order to make it look again three dimensional and like a sphere, you want to show that the eyelashes are covering the I. So from the top it will be a little bit darker. Do other small details were going and played right now, and I'm just picking up mostly birthday, you know, because it's one of the most concentrated brown colors in my set and making dots and lines to create this feeling off the for make sure that the direction off your strokes are same. So you're not making those talks from, like, right to left and upside Now it should be in the direction in the same direction as their hair off pocket grows, actually, so my strokes are pointing down again. The head creates this shadow on the neck and the rest of the body, So that's why I'm adding a little bit of more tonal. Watch under the hand to separate the head from the rest of the body and her show that it's actually if and just ahead. So this way we're creating this shadow. Some of the tricks I like to use is actually the mosque in liquid. It's just a very thick white liquid that carry as a pen, and I applied on my painting. When it's completely dry, you can't do it other. You can't do it on the wet every, because otherwise it will just go blurry. So I want to show this tiny hair that is going on the years and in the face of a backup. And because it's why I can't just really pick up white color from my set and put it on, because it won't be visible for exactly the same reason I was talking about, because it is the lightest color on our painting and just can cover the brown paint that we already have. So go ahead and at some tiny strokes over the face where you see the hair off, Parker shines the most. But also be careful. Don't overdo it down too much because in the end of the day, you wanted to look realistic and natural. And if you overdo it with this super white pen, it will look kind of separately from the rest of the painting. I hope this makes sense. So when you feel like there is nothing else to add, and also remember, that is really important to stop when you need to stop, not overdo the painting. Don't forget to sign it and take a picture. Clip yourself in a shoulder because you've done a great job. And if you feel that you have any problems along the way or you have questions or anything you want to share with me, please do so ask me questions in Commons to the scores. Or you can reach out to me to my email, which is written right here. Or you can find me social media on Facebook and Instagram, where I'm super active and ask me any question you want. Or I would be very, very excited to see the final work that you've done. So please do share it with me, and I promise I will give feedback to every person that pains this kid and Parker. Hey, thank you for being with me and have a great day
Yana Shvets, Professional watercolor artist
