Transcripts
1. introduction: What's happening to you? Folks? Welcome to another class here on Skillshare by I
paying creatures, that's me. I also go by IPC. Today I thought I'd take you on a little bit of
a journey of using a water brush with
acrylics on a canvas. And I've been doing these
really colorful portrait, its attributes to some of the greatest musicians
and artists that have influenced me
along my path and my journey as being a creative, full-time professional artists
whose work for companies like Lucasfilm and Apple
computers and Microsoft, and Intel and IBM all doing very high level of creativity and independent
filmmaking and storytelling. I specialize in
character creation and concept development
from your imagination. I offer a lot of
classes on here that basically focus on
drawing from painting, from your imagination that address the fundamentals and how to get going and drawing. And if you request, I'll do more of those. But mostly I like to bring it into the inspirational realm. Tell you all about
the tools, processes, how I think about why I'm
laying down certain colors and why you certain artistic
tools and art materials. And I'm very also
very story-driven. So we will take you through
this loose, very colorful, loose painted portrait of
the late great Janis Joplin. And I'll talk a little bit about how I get the
drawn repaired and then what I think about when I'm coloring and specially
doing what I call intuitive coloring right
here where not really following realistic skin
tones and exactness. More do only with a lot
of values and shades. And just making a really fun
portrait and color painting. Ms. Janis Joplin, give me a
little piece of my heart. This is a real in method
and wanted to turn on to talk a lot about the versatility of acrylics and how you can use a
water brush on the canvas. Just recently started
using water brush on more than just a
watercolor paper on campus, on snap back canvas hats. Even used it a little bit
on painting a backpack. And we'll definitely go through how I use the advantage of
using this water brush, but also will give you a lot of tips and
tricks of what not to do. So it'll work a lot better. I pretty much works a lot like how just takes a lot of
practice to get used to it. And then the different
effects it will give. I will go through
all my tricked bags and tips as much as possible
to let you know how things work in mostly here
to influence you and inspire you to get up and paint and draw and loved doing
it and be successful. I like to call a lot of these art ventures
because it's very important that you go
through this process and be successful and make
something that you'd like. I will include my sketch of
janice, the class exercise. So you guys can
basically paints along. You can kind of get more into the intermediate level and when their drawings
already done. And concentrate on this
fantastical method of painting with acrylics. Using a water brush
and taking it more toward the
watercolor type pain. Definitely use some
other tools in the end, some ink is refine it and we'll go through
the different type tools I use there and all my methods and what
I'm thinking about to get to this final version of the fabulous feathers R&B rock and senior
clean Janis Joplin. And like I said here, I'm using a pilot oil-based ink or you find a lot of the
details and sharpness of pain. The next video, there's only
one video in this class. Basically, I will go from top to bottom all the tips and
tricks and every thought I possibly have
about being able to paint this free and do what
I call intuitive coloring. And get a beautiful, beautiful portrait of one of your heroes or Janice herself. And let's get over there and
get out your paint brushes. And you can do this
not only on Canvas, you could do it on
canvas paper or even good stiff
watercolor paper. And it will work on there too. But definitely wanted to show
how the water brush works great on the canvas as long as you follow certain guidelines, I'll see you over
in the next video.
2. Painting - Coloring: All right, Welcome to the main video of this
class on Skillshare. This is easy in a water
brush with acrylics on a canvas to pay it a
real intuitive coloring. Portrait of the late
great Janis Joplin, The Rock and Roll R&B senior. What I'd like to
talk about first is how I get the drawing. Basically, I will look at
a series of references. So take your time and look at all the
series of references. And of course, someone
like this who's an epic, epic figure, you're probably
going to run into a lot of the same photos. You'll see the ones
that were used more for promotion and had the right pose and her anatomy comes across so you can
recognize his Janice. And usually we'll just go on any search engine and type the candidate for the portrait. And look at all different
angles of the bean and study the certain features and the certain shapes and what distinctly makes who they are. And then I'll spend a lot of time love to
work with charcoal, charcoal pencil first, and just draw what I call thumbnail,
little tiny portraits. I'll make a little bunch
of little squares, little tiny squares on my page. And I'll basically
just sketch over and over again and really
spent a lot of time observing the features and looking at all the
structures around nose, mouth, the hair, and definitely
the shape of the hand and where you want to concentrate on your drawing
and get it locked in first is definitely concentrate
on the main features, the face and the hands. Make sure you get the shapes. And mainly what you're looking
at a lot is the ratios, the different sizes and
then the proportions, how the sizes match
up with each other. And then perspective or
his drawn in perspective. And the last thing always
looking at the right angles in the right shapes and lot of
times they're very random. You would think
that faces and all that is very symmetrical, but the accident
are very random. So it's very
important to look at just the simple little
lines and stuff. And then I will Sketch and Sketch and Sketch
and Sketch in a while. I like to use charcoal because I'll bring in a lot of values. Because when you do a lot of portraits and you want
to get the likeness, it's always in the shady
more than the line work. And so you've got to just
make sure you lay that down, especially when you're doing intuitive coloring piece like
this where I'm going to use a lot of bright colors and I do follow the
rules of values, which are the tints
and shades to make basically make the
foreign be expressed. Then I'll get open to
thumbnail and then I'll get real tricky if you have the time and the
patients and to build your skills to look at several
different references of the portrait are
you gonna do and kinda invent and bring them together into one type drawings
and paintings and large, that is the risk of
losing the likeness. And then you might have
to spend a lot of time, even someone like me who's very experienced at doing this, still doubt myself
a little bit and half to just constantly sketching, sketching,
sketching, sketching. And a lot of times the
Believe it or not, is I kind of fool myself. The one that I will finally come to do the
final painting on, usually really done really
fast and really loose. And I just seem to get a lot of the emotion because you
can get the likeness, but then we can also get
it so it's very stiff. So I'll get a lot
of these thumbnail sketches and get all of them already and then find one I really liked
that really nails it. I'll go back and observe again and look at the
photos and made sure the proportions and
I'm laying everything outright designing
where the nose goes, ride the right kind of shape, the certain kind of hints
I'll do with the shadows. And then I will refine it and sit there and usually use
a mechanical pencil and really take my time and put
down the lines and start hinting where all the
shading is going to go to the face and the
likeness, right? Then after I have that, I will basically just
sketch it at the size. And at this point I've
drawn it so many times and I'm confident with it and I really have a design in my head. I know how to assemble the drawing so it keeps the likeness and it has a
lot of energy and emotion. And then I will either use some type
of transfer method or With this one, I was so confident and I really liked
the drawing that I just sat there and I just
sketched it with a mechanical pencil and
got a really good drawing, was really happy with it. Then, of course, we'll
stop at lunch and go observe and make sure I'm
nearly in a lot of things. And then had a lot of firm with a lot of her beads and her hair, fun dues or whatever you want
to call them all over here. Then I'll bring it in here and then that's where we start, pretty much have
the drawing done. And then when I first
started coloring this, I used a yellow ocher, burnt sienna, which is a very
earthy kind of a yellow, kind of close to
like a skin tone. And so I started to use that. And if you noticed when
I first started here, I start blocking
in all the shadows and not necessarily using
traditional shadow colors. Once again, I'm using a method called what I call
intuitive coloring, which is basically just really, just intuitively doing
looking at the drawing, seeing how certain parts of
the drawing are coming out. And you see I've been bouncing
around all the time and that's part of a painting in any joined the
creative process. So I bounce all around, but I use this a kind of yellow shade. And you see, one of the most important
shadows was knocking on our hand to make sure the hand has that right kind of shape. Then of course, some
of the distinguishing between her clothes in
our body and your skin. So you've got to make
sure those are pumped in. So I started to use
a lot of purples and that really strong magenta
red I'm punching in. Apparently of that is when you punch in real saturated
like I've been doing, which is part of how I do
the coloring because it makes it more like you're basically working like
in a coloring book. What is your own drawing? You've locked in the drawing is that's why I will bounce all over the place
because you got to remember it's always
picture-making. The first-person, the
first customer is you and that you like the
painting waves coming out. Besides all the fundamentals of keeping the likeness down and all the rest of it is making each element pop and she has a lot going on on their body. That's why I wanted to
kind of show this one. I've done a whole bunch
of portraits of it musicians that we have lost in the pandemic and heroes of mine that started this whole series. And I usually do a lot of sketching with a pencil or a
ballpoint pen and then give the image on there
and then spend a lot of beautiful relaxing
time painting like this. And I have a lot of
experience with color theory. So that's another
thing you can observe before you go into
your coloring is look at your color wheel again and just get that
in your mind and remember what colors
work with each other every once while
and take a risk. I did right there and use
that kind of teal is green. It wasn't dark enough and value but used in your nostrils. And looks kind of
strange right now, but that's part of the method. One of the tips right
now is I'm really pretty much using
acrylics, watercolor. And what I'm, my palette of there is what's
called a wet palette. So you can look those up on the Internet and they're perfect for doing acrylic painting because acrylics
dries really quick. So what basically that
consists of is there's a towel or shammy underneath
what's called pallet paper. Palette paper is
kind of synthetic and it will absorb the water. Basically. Yeah.
Basically allows the acrylic paint to stay moist and stay wet
and you can use it over. And you just basically
sprinkle it with a spray bottle and
keep it all going. But if you notice
a lot of them have these color halos around
and that's the water. And basically if
you use a lot of water in your water
down your thin it down, you can use acrylic just
like watercolor paint. And so what I'm pretty much
doing right here is using that water brush
to basically move the paint around and it
acts a lot like watercolor. The difference is
acrylics is very, very saturated, so I can
punch in when I want it to. Then the last step
I was using these, I use either a grease pencil, dark black grease
pencil or I had a dark brown or sepia
oil income pilot pen. And I'll just go in and make sure a lot of the
outlines are in there so it'll hold the color in and
make sure I have a lot of my depths and shadows in there like in-between
their hair in her face, down below the microphone, and that's pretty much it. So definitely go out and use the example or spend time
and get a portrait right? Basically leave
comments down below. If there's specific, you
want me to do in specific. If you want me to get back to fundamentals of creature
creation and character design. So thank you for attending the course and
watching the video. I appreciate all of you and I
will talk to you real soon.
Ipaintcreatures . poet painter illustrator and storyteller, drawing and painting from the poetic imagination
