Transcripts
1. Introduction: We are going to frame some
artworks in this module. Now, I have to hold it, right, so that the sun doesn't
reflect too much on it. We're going to work on this
one. That's not all of it. I'll show you the
other one at the end. We're going to make
something really pretty. Let me put it down again. So far, we've just drawn and colored and created
pretty flowers, but what about the backgrounds? We're going to create some
backgrounds in this module. Now, we're not going to
create huge details. All colored Backgrounds. Now, we're going to do
it in an effective way because we're still doing
some quick coloring, so we don't want to spend
hours on the flowers, and we don't want to spend hours on the background, either. So I'm going to show you
some effective ways to add a subtle background or sometimes less subtle
background to your drawings, and that will create
something pretty. Now, I've showed you
the framed artwork, but before we get there, we're
going to do some practice. I'm going to show you some
techniques with background. I got to hold them a bit better. Here you see some of them. And once we've done,
those practices, we're actually going to work
on two framed artworks. At least, I'm going to work
on two framed artworks. This is the second one, one in watercolor pencils and
one with colored pencils. If you only have colored
pencils, then of course, you only going to kind of do
a colored pencils artwork. If you only have
watercolor pencils, obviously, you only
have to do one. But I created two to show how to work with a
little bit a background. Now, the background
on this one is really subtle. That's
the whole idea. We don't want the background
to get the attention, but we want the flower to
get all the attention, and the background
needs to aid that. That's the function
of the background. To bring all the attention to
the flower to your subject. And that's what we're going
to do in this module. Alright, I'm going
to stop talking. We're going to create something really nice together
in this module. See you in the next lesson.
2. Mixing it all up: Now, in this first lesson, I'm not going to
do any surprises. I'm just going to do pretty
much what we've done before, but I'm going to combine
it into one artwork. So I need this paper. Now, this paper is
glued onto four sides. That is great for Watcll
painting, but I don't need that. So I want to get this
out. I'm going to show you how to do that
on the other camera. Here's the paper.
Now, on this one, it has a little arrow and it says that I have
to open it here. Now, I can't just pull
this out since it's glued. So what you're going
to need is a knife. Now I'm using one of
these hobby knives, you could also just use
a regular kitchen knife. And what we're
going to use is the blond side of the knife, not the sharp side, then
we're going to just destroy the paper,
just cut through it. So what I need to do is I need
to find this little ledge, and I'm going to slide
my knife into it. Tricky from my angle. And then with the blonde side. So this is my sharp side, so I'm not going
to push this way, but with the blonde side, I'm just going to
pull it right there. It's kind of tricky
from this angle. Normally, I wouldn't use
crazy angles like this. And then I'm just
sliding my paper. Sorry, I'm sliding the knife. And by doing this, I'm
going to move that paper a There you go. Oh, that was my nail. That wasn't the paper,
that noise. Don't worry. And I might as well do it from this side with the blond side. Carefully. Alright. And now I should be able to get
the rest out like this. And there you go. And
there's the paper out. Now, I got to just remember
that this is my top. And this is my bottom. I want to work on
the top, so I need to make sure I
remember that well. So I've got my paper ready, but I don't need all of it. I just need part of it. The first thing
I'm going to do is transfer this drawing
to the paper. Now, I'm not going to walk you through that, you
know how that goes. Once I'm done with that,
I'll just come back. What I do right away, too is, once I have transferred it, I'm going to shade it using
the information on this part. In this lesson, we're actually
going to use the ink, watercool and color pencil and combine them in one artwork. So let me start
with drawing first, transferring this one, then
shading it. Speed that up. Once I'm done with that, we're going to continue this lesson. Alright, so the
quick part first, and then I'll talk to
you once I'm done. Alright, I'm done with it. Next part, and you
see them already, me holding it will be
the watercolur pencils. W the watercolor pencils, I'm going to create
a background. And what I want to do is I've
got three colors and I just want to take Note of the
light where it is lightest, I'm going to use
the light color. Where it is darkest, I'm going
to do the darkest color, and then the mid tone, I'm just going to blend
in a little bit. For my darkest color, I got a Amatis purple. My mid tone is a Prussian blue, and my light color is a Moos
blue for my lightest color. Alright. What you need also, of course, is then
jaw with water. And we've got two brushes. Not sure if I need both of them, but I keep both of them at hand. I'm for sure going to
use my round eight, perhaps my round two.
Right. Let's go. I'm starting with
the lightest color. I know that my light is
coming a bit from here, even a bit straight, but let's go from here. So then this would
be a light part. This would be a dark part. And I'm just going to go
through it with all the colors. Alright, so I'm beginning with that light blue
color and just on the edge where my
light color is, I'm just adding this. So that would be more
or less around here. I'm going to do the
same around here, too. And right there here just a little bit now, obviously on this side. I want that light color. And down here on this
edge, too. All right. And I want to add it down
here a little bit, too. And obviously around there, too, around here a little bit. And then I would want
this part to be light too. And this part. Also quite light. There we go. This. We're going to
go to the next one. Now that we're going to
go to the Prussian blue. Now, let's go to
the amtsPurpleF, this will be my dark color. So I would want that
dark color right there. In there tricky bit under there. In there too. Definitely,
on this edge on the here. I want that dark color in here
a little bit, definitely. On that edge, might just mix
it slightly a bit there. All right, on the rest. I'm going to do
with this mid tone. Oh, that's not the mid tone. Sorry, this is the mid tone. Adding it in right
there, too, a bit. There, too. I'm
going to add some of that. It's all right there. I'm not going all the way
to the bottom or the edge, leaving myself a little bit of room to drag my colors out. All right. I think
I'm fine with this. I want to have that purple
there a little bit, probably just a little bit more of that purple
color in here. There we go. Alright. Blending this already in. Just a little. Let's
see, midtone here. Now, I'm just
correcting my part, seeing where the mid tones or my highlights in this
case, aren't strong enough. I think I should be fine as soon as I should
start adding water, I should get a nice,
interesting background. Alright. Bit around here still. Right. I need my eraser. Somewhere is an eraser. There it is. Make sure I
erase a little bit there. I don't want it there. Alright,
I'm ready to go, I think. Good. So we've got this. Well, interesting
background for now. So we've got some light colours, some dark colors, bit of midton. So I want to add
water to it now, but you know that bit already. So I'm going to speed this
up and then once I'm done, show you the result
of my backgrounds. Okay. Okay. That
is my background. I'm going to leave this to dry while it dries pretty
quick while I'm talking. And as you can see
what I've done, I've done my brush under an
angle with most of them. I got to see if I get that
angle right like this. So that creates a very
interesting effect. If I go round with my brush, that would create more
of a cloudy part. If it just go straight,
you get straight lines, if I go straight and
mix it in vertical, horizontal, you get
a different effect. So I've tried to
keep it in, I think, this angle a little bit, and that creates just
an interesting part. Now the next part is coloring. I'm going to show you
the colors for that. And I got to get these
artisas out of the way. I'm going to color with the
oil dominant colored pencils. Okay, I've got
some yellows here. I had some yellows here. I've got some yellows here. Now, that is a
very light yellow, more lemon yellow, and a
stronger darker yellow. These three yellows
I'm going to use. And they might have names, but there's only
numbers on this. So the lightest
yellow you can find, then a bit darker and
then slightly darker, but not going into the orange. With this one, I'm not going
into the orange because it's mainly all yellow. There's some pink there, see, but I'm not going to do
that. We keep it yellow. My greens. I'm doing a
bit of the same thing, starting with a light
green with a mid tone, and I'm moving slightly
towards the olive, but not a dark olive color. So a nice range of greens. And I've got my indigo at hand, too for the sharer,
the darker shadows. And I might do in the
end some outline too, but we'll see that in the end. All right. I'm going to color. No, I'm not going to talk
you through this whole bit. Now you may have noticed I haven't used the
alcohol blender. Since this is a smaller piece
and I did part by part, I think the blending by itself in the
pencils worked well, and to make sure the
blending is really nice, I use the lightest color at the end to blend it
in a little bit, especially with the greens. With the yellows,
because I want to keep that nice distinguished
darker and lighter parts. Now, with the indigo,
I brought in some of the shadows to get some deeper
parts, some lighter parts. I'm not going to do
a background shadow. I'm just going to
leave it like this. But what I'm going
to do is, right away, I'm going to
frame this one. So let me get that.
Frame with it. I'm gonna put that flower
out of the way for now. And it's open. Yeah, I can pull it out. Good. And here's the paper
I don't need anymore. Now, carefully, I need to take off this make sure I'm not touching this with my hands as little as possible. And there it goes. That's one bit. And I'm gonna see if I can peel off that other
bit like this. Yes, that's gonna work. Gonna use my brush to hold it. Slide it up. There we go. Now, let me put that artwork
in it. Put the cover right. I put in the artwork. Like this, so I need to put
in this one with the stand. Like that, too? Closing it. Wah, that's
a tough one, this. And there it is. Alright, that's the first one. See, nicely framed, and it looks totally
different right away. Looks nice, doesn't it?
Let me move it closer and framed really looks
nice with the black frame. You could do a white frame, but that might fall away. Now, the frame really
enhances the artwork. Alright, in the next video, I'm just going to show
you the next part. But first, you need
to do the first part. So, have fun creating this, and then once you're done and
have your first part ready, then I'll see you
in the second part.
3. Quick backgrounds Part 1: Now, this lesson started a bit different than
all the previous one. I started with some
drawings, which I've done, and I'm going to use
these drawings in this lesson to
demonstrate some things. So what are we going
to do in this lesson? We're going to add
contrast to our drawings. Since we want to do
some quick coloring, we're not going to do complete
complicated backgrounds. We want to find some
methods to quickly do that. Now, in some of the
previous lessons, we have done backgrounds, but not a complicated
one, just quick ones. I just want to add to that. So in this lesson,
I just want to show you a few tricks how to add a little bit more to your drawings to let them come off the page.
Pop off the page. That's a good word
for it, isn't it? Now, the first thing you
did see me doing was creating this sunflower on a bit of a different
kind of paper, a paper with a color. Now, this is still
mixed media paper, but it has a color already. Instead of, let's say
something like this, which is white,
going to the white. This has a nice sanguine color. Now, using a color gives you a different outlook on your drawing right away.
So that's a use pro. Now, a bit of a con
is that it takes more work to get those
colors really well on it, and not every color works with
the paper you may choose. But working on a
color just makes it quick and you
don't have to do background because this
is pretty nice as it is. So that would be
one simple method. Now you did see some
more images that I did. So I did this one,
and I did this one. And I'm not only going to
show you pretty pictures, I'm actually going to show you what you can do
for a background. Now, we're going to start with which one should we start with? Let's start with this one. Now, I did draw the
flower already. And how I want to
add something to it. I want to add a bit
of a background, but I don't want to spend time, ages on it to do that.
I just want that quick. Since we're still,
quick coloring. I want to add some
background really quickly, and a great way to do that is just to simply use a pencil. Not just a regular pencil, but I've got a two B here, and I've got a second pencil. This is a four B. Until now, we've just used an HB pencil, but now we're going to
use two B or a four B. Now, the advantage of a
two B and a four B is that it just gives off
a lot more graphite, so you can work a
bit quicker with it, get some deeper tones. Now we can talk a lot
about these pencils, but what I'm going to do? I'm just going to
demonstrate it. Now, here's my flower. Here's my pencil. What you
need to make sure of is that you got quite
some lead exposed, and that is why these
clutch pens are very easy. You can expose as
much as you want, although if you go too far,
you might actually break it. So what am I going
to do with this? I'm going to simply color this in the same way what
we've done with coloring. I'm going to use the
side of the pencil, and I'm just going
to color like this. I do that rather quickly, not spending too much time. And I'm just adding a nice
background through this. Well, it's gonna get
nicer than this. And just the same as
what we've done with the coloured pencil
the same grip. But now I'm just
adding this graphite. Now, closer to the
flower on one side, so I got to determine the
light comes from here. So closer to the flower here, I got to add some dark color to give that impression
of light and shadow. Do some under here too, and that's good, right? And now slowly fade
it out a little bit. Now let's do a little
bit in there too, and just a little bit up there, a bit extra close to the flower. And you already see that that is actually
quite interesting. Now this flower comes forward
due to a darker background. Now, you can do the whole thing, the whole paper, of course, I'm not going to do the whole paper. You get the idea. Now, I
could leave it like this. But we can keep on
going with this. I'm not going to
take that four B. If you have a four
B, and the four B, of course, obviously,
because it's soft, it will give up even more of this graphite
and close to the flour, I'm just going to add
a little bit more. There you go. And now I'm
going to try and make this a bit darker, too, but also a bit even
making it a bit darker, but letting it fade
into some light too. Now, And the nicer, the better you do this,
the nicer this will look. But since we're quick sketching, I just want to show you what we're gonna do with this next. Because I'm definitely not
gonna leave it like this. Alright, now, that is
reasonably nice, isn't it? Not a flower comes forward
right away because of the darker background.
We're not gonna stop here. We're gonna do a little trick. Now, we can do this in freeways. We can use some kitchen
towel or cotton, or you could use what they call a blending stump. I'm
going to make it easy. We all have a finger, so we don't need to buy anything else, so we're going to
use the finger. Make sure it's clean the finger, that there's no colors
or something on it. And let me just show you
what we're gonna do, but I'm catching you already know what I'm gonna do next.
Alright, let's do that. So with my clean finger,
what I'm going to do? I'm going to spread this
graphite out. Now, look at that. Now, as said, you
could do this with the blending stump or with your kitchen towel
or with some cotton. I'm just going to use my finger. I'm just moving it around a
little bit, spreading it out. By doing this, I'm just pushing the graphite into the
paper, into the groovee. And that way, if somebody
else is touching it, then he doesn't
smear it everywhere. Alright, now, my finger is starting to look pretty
black, isn't it? We'll continue. It's
not black enough. All right, push that graphite, and for some parts, I may need to push a bit harder. I'm just going to
simply go this side. Since this is my right finger, it's easier to have the
paper like this now. And there we go. Now careful at the edges. You might cut yourself, so be a bit careful
with those edges. Now, understandably,
you're going to need a bit of a thicker paper,
of course, to do this. Not too thin paper. Good. Now, I smeared
some of it in here, so I'm just going to push
this around a little bit. Get rid of that a
bit. All right. Good. Now, my finger is
pretty black, isn't it? I'll make use of that. Just
add some to the edges here. And what I'm going to do next, I got to clean my finger. That's what I got to do next, but I'm going to do
something else and next. Since it's a bit black there, what I'm going to do is
carefully take an eraser and very carefully
erase the pencil. Now, if you push too
hard with the eraser, I'm going to do a
colored pencil, too. I don't want that. So that's why I'm trying to do
it really careful. I might erase some of
my colored pencil, but I could always
add that later on. All right, good. Get my thing. All right, I'm
going to stop here. Now, I could take, indeed the colored pencil
and my base color, that was the carmine red. And the clever thing is to
add some of those color back where I've gone
with the graphite. Now, normally with
graphite pencil, as we've seen, if
you put it on there, the colored pencil won't
go over it easily, but with this, since it's
just smeared out graphite, this will work pretty much. And there you go.
Now, that's a trick. That's a pretty nice
trick, isn't it? Alright, let's keep on going. I'm going to take this yellow. I'm going to bring
in some highlights in here. Alright, let's do that. Alright, now, I've got
this darker side here. I've got this light side. So what I'm gonna do, I'm just going to tune the light side. Add just a little bit
of this yellow pencil. As a highlight,
just as if it is, how would I say this sun
kissed, sounds nicer. As if my flower is sun kissed at some of these parts,
especially these edges. And that is going to create some contrast with the black to bit around there.
I'm doing the edges where sun easily would have access to even this
one here and around there. Now, let's see, we here. And as you can see, suddenly, my whole artwork looks
a lot different. So that would be
a really easy way just to add a background. Okay, I'm going to stop here. We could go for
hours, of course. Alright, and there it
is. Trick number one. Just use a graphite
pencil, preferably a 2b4b, mix of two B, four B, or if you only have two B, use that. And then darken. Let me get the right it edges, darken those edges just
a little bit more. Don't press really hard hard with the graphite
pencil because then it will be pushed into the paper and you
can smear it around. All right. That's number one. It's a bit awkward
holding it like that with my thumb down. I'm going to switch
hands for that. That's the first one, but I have another empty one.
That is this one. Alright. Now, I got
to clean this finger, and once I've
cleaned this finger, we're gonna do
something with this.
4. Quick backgrounds Part 2: My flower is ready
for the next lesson. Are you ready too?
Let's get going then. We've done in the previous one, I've done a
background like this, and we've just created something like this I did
on a different color, which just gives you
automatically a background. Now, I want to have this flower, which is pretty nice, but I want it to
pop off the paper, but I don't want to create
a whole background with it. So what are we going
to need for that? We're gonna need
some pencils for it. I'm going to use gray, a range of gray
from light to dark, and I can call out what I have. I think, I've got a dolphin
gray, the lightest, a cloudy gray, and a charcoal
gray. Those are my grays. I'm most likely going
to use the indigo. And of course, you
need a drawing with a flower on it. I'll
leave that up to you. So I'm going to use these pencils to create
a bit of a contrast. Now, you could use
different colors, too. Let me see, with these reds, you could use dark purples,
dark blues would work, too, even very light
yellow and go, but that won't make it pop. I want to use a bit
of a darker color to let the flower come forward. So I'm gonna use these grays and create something
interesting with that. Let's go. Alright,
now, here's my flower. Here are the f colors I got. So let's do something with that. Now, obviously, the light
is coming from this side. This light, the
dark side is there. So I'm going to just
make use of that. I want to create a
bit of a background, but what I'm going to
do, I'm only going to go opposite of the light. So on the darker area, I'm just going to
create some shadows. I'm going to start with
this lightest color. And I'm just going to where
I would think it would cast a shadow onto the background, I'm just going to roughly
throw that in a little bit. Around there. Let me
get some there too. And definitely
some up there too. Some down here, too. Now, make sure you're not going
over the flour, as I did with the graphite, although there was
after smearing it. And I'm going to let this shadow disappear a little
bit into the paper, so that basically means
I'm hardly pressing. And that would be
that. Well, that will be the first step. Now the second step would be taking, of course, obviously, the darker color and a
bit closer to the flower. I'm going to just simply add
some of this darker color. Might need some indos Yeah. What are those? The
ends of the pattern. I want to have a little
bit on there too, there, there, definitely here. Then that would be
my second step. And there we go.
Alright, I want to have slightly more of the
light color up here. Just blending the
light color in. Now, as you can see, this flower is already starting
to come off the page. Bit there, too. Alright, now I'm going to take
that darkest gray. What I'm going to do first this needs to have a
reasonably sharp point. I'm just going to add a shadow. Where it would cast a shadow. So not up there, it
wouldn't cast a shadow, but down here, definitely. I might even do a
little bit there, very little bit there,
just a little bit there, and, of course, a
little bit there. Alright. No, the next thing, what I'm going to do is add just carefully a bit of a
shadow. I like that. And there we go. Now, I said, you could pick different colors
for this Blues, purples. Any contrast would look
quite interesting. Alright. A little bit there.
Now, that looks nice. And now I just want
to get my blue, and I want to create a
more natural shadow. So bit with the points. Same where I've put
that gray in here. Very carefully there, bit
stronger there again, and some there too. Obviously, some there. I need a little bit
there. In there too. Might do a very
little bit like that. Blend this in. Just a little
bit more into the gray. Sure. Alright, now, that looks already
pretty interesting. See how the flower is
now coming forward, just because some
dark around it. Now, we could go around
the edges very carefully, too, but we also could give it the highlight
as in the previous one. But before I'm going
to do that, I'm gonna try and see if there is enough pigment already there to just start painting a little
bit of this with the copies. Or whatever alcohol
marker you have. Now, let's not even
go for the copies. Let's go for the more
precise one, this one. Let me make sure it is clean. Think it is. Alright,
let's give it a try. And now I'm going to start
contrary to the other ones at the dark part and just pushing this dark into that lighter. Ah, there's enough there is enough pigment down
to do this nice. Pick up as much of the
pigment I can here too, and just push it into that gray. Alright, there was plenty down, so I can color as
far as I can turn this picking up the pigment and pushing it away
into the paper. Let's do that here, too. Even a little bit there, although, be careful
with that red. Some more here. Right.
Now, look at that. Going around a little bit. All right. Now, that looks
nice, doesn't it? See? Now we're just getting suddenly a whole different
outlook on this. All right, that will
be the first result. Now, the second
thing we're going to do, we're going to
do the same here. I'm going to use yellow.
Try to get some yellow. So I'm going to need
two yellows for that. A really light one, and I
would say slightly darker one. Let's give that a try. Alright. Let's start with this light one where
the light comes. We're gonna add in some of
this yellow around there, too. I'm going to just color
it just a little bit. Something under my paper.
Gonna get rid of that. On the top here, too. Really light, fading it out, mixing it herein with
that blue a little bit. And if I put too much down, it's not a problem because
I'm going to use the marker. Anyway to get rid of that. Let's go slightly further
out with this. Not too much. Now I'm going to get that darker yellow and around the edges. Add a little bit of
the darker color. Put it in there too under
there a little bit. That will just make it
interesting with blending. Might want to do some yellow. Just some yellow
on the top there. There we go. Now, look at that. Alright, now, that looks
pretty, doesn't it? See? Now I've created a
very simple background. Use some dark colour,
some light colors. And I could take
the alcohol mark, blend this out a little bit, or you could just make a choice
and leave it like it is. I'm gonna try the alcohol mark. Of course, I have to. Let's go. Go to use the same market, but I'm going to make sure it is clean because there's
this blue and gray in it, and that would ruin everything. I think it's pretty clean. So again, I'm
starting at the edge, and I'm taking that
color out that I've put there mixing it even in
there with some of the blue. And here, creating a mix. Right, up there a little
bit. Standing it in. Slightly there. And there we go. Alright. Okay. Okay. That either dry for just the sack, and then I'm more or less done. Now, almost, what
I want to do is bring back a bit of that very
light gray and mix that in. There and here at the bottom. I just want to do that, too. All right. And now I am done. Yes, I am I done. Yeah, now, you could
keep on going, of course, but this is done. Alright. You get the idea. And I'm gonna leave
it like that. What you're going to do is
just draw some flowers. Perhaps pick a
color background or create something like this and experiment a
little bit with it. Get some colors, mix even your graphite and
your colour pencil, see what you get with
that, and just have fun. Just create some contrast and interest to your colored
flowers drawing. Alright, have fun, and then I'll see you in
that next lesson. Well, we're going to do
that project together. All right. See you there.
5. Light and Shadow in an alternative way: Welcome to this lesson. We're going to do our project. We're going to frame an artwork. Now, actually, I'm going
to frame two artworks, but I leave that choice up to you whether you want
to do one or two. I'm going to do one in
colored pencils and I'm going to do one in watercolor pencils. Both, I'm going to demonstrate,
but the colored pencils, I'm not going to talk you flu, but with the watercolor pencils, I'm going to talk
you flu pile of it. Now I'm going to show
you first what you need. You're going to
need two designs, and this is the one
you need to transfer, and the second one is then
the one with the shading, both of this dahlia. I actually do have
the dahlia with me. I'm going to use this
dahlia for the colors. Just to pick the colors, I'm going to pick some pink
going into the red and, of course, some greens,
putting this one away. The next thing you're going
to need are the two brushes, and you're going to
need, of course, some watercolor paper. Now I'm going to use let
me find it. This one. No, that's not the one. Sorry. The other one, this one. I'm going to use this
one, hamula and I'm going to use the Hot Press for both. I'm actually going to do
both on the same paper. The colored pencil one and the watercolor pencil one,
I'm going to do both. Then of course, you're
going to need some colors. Now I picked some
colors and let me see. Let me get them all with you. Now, the indigo, we know, I'm going to put that one aside. I got the indigo and I
got the midnight blue. I'm going to actually
use both of them. For the flower, I'm going to use a pink and that
is the fruit punch. I'm going to use a rose red as a midtone and as a dark
tone, a Spanish red. So basically more
of a pink color, just a regular red
and a dark red. For my greens, I
got a lime green, I let me see this one, an apple green, lime apple, and a fern green, a light
midtone and a dark one. And then for the shadows
I'm going to work on, I want to use these
two to free colors that are the ones we used
before in the colored pencils. I like them a lot dolphin gray, storm gray, and the charcoal
black. Go to use those. Then to get some really
nice effect in it, I'm going to use that midnight
black, not the indigo, this indigo, the midnight black, which is a tongue darker. Now while I'm going, I
might add some yellow. That's probably going
to be a nice bright yellow for the highlights,
but I'm not sure yet. I'll determine that at the end. The first step would
be transferring this one to paper
and then shade it. Now, I've done that
already, so mine is ready. I've shaded it. Now, what am I going to do
with the colors? We have two choices here. We can do each petal and have its colors
from light to dark. That's going to
take quite a while. But what I'm going
to do instead? I just want to go over
a general light and dark and I'm going to let my light come from
this direction. This will be the light
part on this flower. Then I'm going to
do a mid tongue part part and under there, a very dark part. Same with the. Where are the leaves? Here
are some leaves there. I got to check that
I'm saying that right. So let's say light
comes from here. This will be light and
then going into the dark. For color, I'm going to use an overall impression
going from light to dark, not on every little detail, but on the whole. Let's do that now. I'm going
to begin with those reds, of course, the reds
and the pinks. I'm going to put these
with me to this there. I'm going to start
with that fruit punch. I'm going to do with
the fruit punch. I'm just going to do color
the whole flour in one go. Put some nice layers down. One thing I forgot, you're
going to need water, of course, a jar with
water, just like this. I totally forgot about that. Because without water, our beautiful watercolor pencils aren't going to do a thing. I'm making sure I got nice
layers down to get a nice coa. Now, this paper is pretty
interesting smooth paper. You could also use
Cold press for this, of course, or mixed
media paper when I'm going for the
hot press paper. Since I want to frame it, I just want those colors
to come out really nice. Framing. Now I'm
talking about that. Let me show you the
frame I'm going to use. I want to use this frame. This is an A free size,
what I'm going to do, I'm not going to go with my
artwork to the out of frame, but I'm going to use
this inner frame and there's the A four size. I'm going to put
it up like this, go get a nice artwork in it. Before you start and
pick your paper, you need to know your frame because your artwork needs to fit in the frame, of course. Hey, with that out of the way, I'm going to continue. So if you have
determined your frame, then you can determine
your paper size, and then you can determine
how large you're going to transfer the original design to what kind of paper you go to. You could go really small, you could go really large. Now with what I'm
showing you here, this would work on really small and really large this technique. But if you go really,
really large, you could decide to
do petal by petal. But keep in mind, petal by petal will
take a lot longer. I want to switch to
the second color. This will be my midton. I think I'm going
to go about here. I'm going to leave
this part light going to go around here with my mittne some up
there, some under here. So there. I want to
go a bit there too. And I want this one to
have a mid tone too. More of a general light
and shadow part now, the shading is a bit
different in this one. Now the technique
is still the same. We're using free
colour technique. But we're not
regarding every petal, we're just going to do it
in an overall fashion. Might call some red. There. Now when I'm going to do
the colored pencil one, I'm going to do basically
the same as I'm doing here. This part I leave light. This part, I let go very dark. Now I'm going to go
very dark under here. I just want definitely the dark to be under
there and under here. Some of the dark there.
This needs to be dark. This definitely some
dark there there too. Later on with some of these
dark parts here and here, the underpars I'm
going to just use that indigo to
strengthen that again. All right. I think I've got
quite some color down by now. There you go. Going from light to mid
tone to a dark tone. Let's see. I want
some more there. Now, that should do it. Okay, I got my first part down. Now I'm going to just add
water to this right away, and then the rest I will
definitely speed up. I will do one of the
leaves though still. Let's do that right
away so that we can continue painting right away. I'll do the leaf first.
All right. The leaf. I got these nice colors here. I'm going to see which leave not this leaf because then I need
to wait until this is dry. I'm going to do a
leaf under here, let me just don't
pick this leaf here. I'm going to just do the same. Put down nice application
of this green. Let me do this too. Larger since we're working now larger scale, you want to work from part to part and making sure
that if I do this part, I'm not going to
do this part right away with the water because then these colors will go over into these colors and you
don't want that. Even with these
leaves, this is light. This is going to be
dark here, this part. I'm just going to
go leave by leaf. Now, I could color
it all, of course. You can color it all at one go, but soon as you start
applying water, you just need to take that
into mind that you're going to apply water part
by part and then let the part dry and then go somewhere else where these
parts are not touching, so I could do this flower, this flower and this flower, then I could start working. So leaves here, this leaf
here would still work, and then I wait till it's dry, I could do this leaf,
the other leaves, and then finally the stalks or however I'm going to do that. All right. If you work small
scale, that doesn't work. That works still
that same principle, but sometimes it's
working so small that you lose a little bit of water and it
doesn't really matter. That's the first green. Let's
go for the second green. Now, this is the really
dark part here, this two. I don't want to touch
this, but I want to have a little bit more of this
midtone. I'm going like that. I would say about there is good. And then the dark tones go
around the bottom, definitely. This one is very, very sharp. All right. Might do
a little bit more. Of that lighter color.
Oh, there we go. Now, that's a bit better. I want a nice application. Of colors. Otherwise,
you won't see it. Okay, that's it. Normally I would call
it the whole thing, but for this lesson, I'm going to do this part,
I'll paint this part, and then I'm going
to do the rest. At the end, I'll
come back to you doing the shading, the
shadows behind it. Let's start painting that. I'm going to do this one and
move. No that one is right. Going to get that large brush, add some water to
it, not too much. You may need a paper towel
ready in case you're going to just do something outside
of it and get rid of that. Not too wet, still reasonable
wet, you got to go. I'm just going to paint
that first color. That nice pink, spreading that
around, that looks great. Moves really nice on this paper. Even in the parts
where I haven't painted at all. Let's see. Got some more here.
A little bit there. Now I'm going to go
for that second layer. Now I'm getting a nice
blend of this red and this pink. All right. Look at that nice color. Now I'm going to
do the last part. Paint this in. You're getting
this nice dark color. Bit more water, bit too much. How do I know that I have
too much water here? That's a good one. You can see that in your paper, then I see a whole pool of water laying there, which
I do not want. I don't want pools of
water on my paper. I want just enough to
spread the paint nicely, neatly around or I can pick it up and drag it somewhere
else, there you go. Now that looks
great, doesn't it? Now we've got a general, more general color scheme. Instead of having every petal, we're going from a light
to mid to a dark tone. That looks really nice.
The great advantage of this is that you can
work nice and quick. I'm going to move this, this
is a bit more in the center, and I'll make sure that
my brush is clean. Not too much water on it, still enough and we
move this first paint. The light color here is a light color too.
Neatly painted in. Now I'm going to get
that second color, mix it a little bit
with the first color. Because I got that
first color under it, same with that pink that shines nicely
through and now I'm working on the dark color here, just a bit more careful,
dark color only. Add some here, spread that out a little bit,
and there you go. Cleaning my brush very
little bit and just want to move this paint a bit
around and there too. All right, so that would
be my demonstration, the pink looks nice. I'm going from a
light to a very dark now because I put that
pink undertone under it, it's going to come
through that red, so you get more I'm going
to get the flowering in a bit of these
colors where it is light and dark and
some red mixed into. Then the green now, the green, I chose to do a nicer
brighter green. You could go with
the same green as this a muted more dark green, but I like this nice
bright green with it. All right. That's it. Well, that's not it, of course, because I'm going to continue
this. But that's it. What I'm showing the
rest I speed up. Once I got this
whole flower done, I'll be back and then
explain what I'm going to do with no
shadows. All right. I'll just keep on going, but
this will go really fast, at least for you. Not for me. For me, it will go
reasonably fast because with this technique, you spend less time
because you go quicker. You just go on an overall. Details take time,
take away the details. You can go quick
painting. All right. I'm going to have some fun and when I'm done, I'll
talk to you again.
6. Watercolor Pencils Artwork background: Alright. Well, that's
the result so far, and I think you
would agree with me. That's very pretty, lovely
colors. Nice and bright. But we're going to
make that flower, pop a little bit more by adding slightly a shadow behind
some of the parts. For that, I'm going
to use those grays and that midnight blue. So let's go into that now. I want to start
with that dolphin. And what I'm going to do
with that dolphin gray where this flower
if the light comes in would cast the
flower onto my paper, I'm just gonna carefully
draw in a bit of that color. That would be here, and this is going to be the color that I'm dragging away a little bit, there would be some color
there, maybe in there. This I would do in
a bit of shadow. This too, it's going to be a very light color.
That's the whole idea. Under here, I want some
color down here, too, in there, there too in here. And under there, on this
side, here a little bit. This flower would be casting
a bit of a shadow there. In here a little bit. Now, I'm noticing a mistake. Technically, this
should go here. So let's change that
mistake right away, get my pen before this
one would go right there, and there would be
green in there, so I'm not going to do anything
with that at the moment. We're going to add some gray
here. Oh, let's add some. More gray on there, too, and down here. And let's add on this
side, some shadow too. Now, there's the light color, the less intrusive color. All right. That's
the first color. Add a little bit more there. Slightly more right there. Okay, now that second color. That's going to be darker.
That was that cloudy gray. Gonna keep that
closer to the flower. On places where
there would be gray, more dark color in
here a little bit. Now, on under here, sum where the stalk is. Alright, let's see.
Under here, some, I said, Under these petals, this flower, on this side, too, right there, too. Now, on the here, definitely. So in here and in there on the here
and then on the here too, In there. A little bit there. Don't
forget this flower. In there, a little
bit. And there you go. I think that would
work good for this. And now we're going
to the last color. That would be that ah black. And with the ah black. I'm going to add a bit of a shadow line where the
strongest shadows will be And I'm going to drag the color out
from this shadow line. So contrary to the
flower started light, this part we're going to
start at the darkest part. Right. Here some. In here, some. In the bit dark here, too, and definitely on
here and around there. And let's not forget this part. See, on this part, do a little bit here and
around there a little bit. Let's go for a little bit
there too. All right. We're going to work
with this now. Alright, gonna take my
brush and I'm ready to go. So I've got some of
these shadows in. Now, they're hopefully
not going to be strong, strong because I didn't mix
in that midnight black yet. We're gonna do that
later. We're going to try to create
some subtle shadows. Let's go. It's up,
I need some water. Start on the top,
around the edge. And I'm going to
pull out that color that gray as much as I can. Bring it up there a little bit, even in there. Keep on going. Now I want to make sure I am not painting it on
the flower itself, but dragging it away from the flower or in this
case, the petal. And now I need my paper towel
because what I want to do, put it into a ball and take
away some of those edges, and then you get a nice,
interesting transition effect. Add some color here. It's got to be a subtle color. Let's see how this dries. Dragging it out
again. Here, too. I'm going to do the same
again at those edges, just step them away. Just a little bit. Some of this color there. There you go. Bit on the edges. And now I'm going to do
this color? Make sure. Not color, this side, of course. Make sure I'm doing all of
the parts there are in there. Dap away a little
bit of that and let that dry. Bit here, too. And a bit there, too. Here, a little bit. And let's make sure we
take this away, too. We want dap some of that. This is now quite strong, too. So I'm gonna take away
some of that, too. All right. I'm
gonna let that dry. I might do this a bit more. Subtle. Here, too.
All right. Good. Now, that gives a
very subtle shadow. I just forgot one bit,
and that's here, I see. So let's do that
right away, too. Pull that out here, too, and then take that piece of paper again and get
rid of those edges. Alright. Let's move the
flour a little bit. Want to paint a little
bit here. There you go. I'm letting this dry now, see? It's a nice, subtle
shadow now behind it. Now, we're going to strengthen
this shadow when it's dry. I see I missed a few parts here. Pull out the color a little bit. Now I'm going to let this dry. I once this is dry. Then we're going to take
that midnight blue I have. Make sure this is really
painted a little bit better. And then I'm going to just
play with that a little bit. You could do around this side, too, around the whole
flour you could do. I'm just going to
leave it, I think, at one side makes
it interesting. Alright, now I got to
wait for this to dry. Alright, that worked
out well, didn't it? This is a subtle shadow effect. No strong, but nice and subtle. And now we're going
to just make sure the flour is gonna
pop a little bit, but I wanted the
subtle background, and that worked well by adding those grays and not too
much of the dark gray, lots of the light gray, less of the midtone gray, and the least of that
dark gray so that you get a nice sub o shadow behind it. Alright. I don't
think it's dry yet, so I got to just
wait till it's dry. It's dry enough, I'm going
to get that midnight blue. And I'm going in there
with the midnight blue. So not the indigo
within this time. If you don't have
a midnight blue, the darkest blue you can find or then the indigo
works too, of course. But I'm going to
give that midnight blue a try. So let's do that. Alright, so we've got these subtle background shadows now. And what I want is around
some of the obvious shadows. I'm going to add that
color a little bit. Now, the paper isn't
completely dry yet, so it just will go in a
little bit into the paper, but it's almost dry. There. I want some. There, too. There you go. Some there. Bit there. Get some shadow in there. Definitely. Shadow there. A little bit there,
and I want some there. Let's go for it. There's
some there that looks good. I need some there too. Now we'll get a nice shadow
behind it. Some in here. I go. Bit there, and of course, obviously. Munger there. Around there. Bit in there. Bit under there. Okay. Then on the here and in
there a little bit, in here a little bit. And under here. All right. O. And a little bit more there to get a bit
larger shadow part here too. There you go. Now, this
flower. Starting to. Come off my paper
slowly but surely. See? Let's go for a little
bit up there too, here too, there too,
even a bit there. Let's do that here, too.
And a bit more there. Alright, now it's starting to. Look quite interesting. A bit more here. All right. Now, that
looks nice, doesn't it? Let's see if we done. I'll wait. Missed a
little bit there. Alright. I'm done with this
part. Now I have a choice. Do I take water and make that more subtle or
do I leave it like this? I'll leave it up
to you. I'm going to make it a bit more subtle, but the choice eventually is up to you whether you
want that or not. So for that, I need that
small brush and some water. Let's go. Right, I want to make these shadows
slightly more subtle. Just add some water to them. Paint them, but I don't
want to drag them out. Just only very little bit. I would say, more or less, let's call it, activate
the color a little bit. See you and now you
get this nice Shadow there. Here, too. There we go. Let's go in here first. A little bit there.
Obviously under here. Right there. Let's do in there. Take this color. It out. Let's do the same right there. Add some there. U. I think I'm going to
stop with this. I'm going to leave this to dry. And now the shadow is nice behind it in a nice
some strong way close, and some more subtle
one we're moving away, and that makes a
really nice image. Okay, now, I'm going
to call this done. I think I'm totally done. What we could do is you
could bring in some yellow, some highlights, nice pinks, but I'm not
going to do that. Spend enough time with it, and I'm going to call
this artwork done. I'm leaving this to dry,
and then I'm going to do the other one
and once I'm done with both. I'm going
to frame them. I
7. Colored Pencils Artwork background: Alright, before I
continue to speed up, I want to just explain a
little bit what I'm doing here that will be
helpful for you. Now, if you look at this pencil, this one has a flat side, so it was a point,
but I flattened it. So if you have a
point and you put it under angle and you start
on a scrap piece of paper, drawing like this, you get a
piece of a flat side here. Alright. As you can see, right there, it's
a flattened side. And by pushing it
continually on surface, you get that flattened side, and I'm making use of
this flattened side that makes that nice soft background. And now the other pencil, that it just has a regular
tip which I'm using. So with that flat side, I'm just pushing
it on the paper, and I'm carefully just
adding a background, because this paper has
a bit of a texture, that is why you get that nice
soft effect on your paper. If you would use
the point for that, you get the scratch
sheet out and you have to go over a lot of layers, but I don't want
a lot of layers. I just want this nice
soft background effect. Now at the shadow, I've drawn in the shadow with this pencil. I'm just using that
same flat side, going over that shadow here and softening
this a little bit, blending it into the paper. And now you get a
nice soft transition instead of this harsh line. And you can more or less blend the color a bit
into second color. I saw the first color, really, that light and see. And then you get this
nice soft shadow on it. And that's what I'm doing here. Don't go too far out. Then you get everything dark. But I want to create
that nice dark kind of shadow here a bit more, see? And that's what I'm
doing. Alright, so I'm only using the 2 grays, the very light one, and the
bit darker one for that. Alright, I'm continuing.
8. Project 5 - Framing your Artwork: I've now got two beautiful
paintings of this Dahlia. Here's my finished work.
One with colored pencils, this one, and one with
the watercolor pencils, and both came out beautifully. Now I do want to frame these. I don't want to hang these
like this on the wall or put them away where
nobody can see them. No, I want to just show them, put them even perhaps
behind me in my gallery, or still room there, so
I might hang them there. So for that, I'm going
to need some frames. Let me get those. So I've got two frames for my artwork, and I put my artwork in
there, and as you can see, the frame is slightly much
too large for my artwork. But I still want to frame
it this way because if I put in an inner frame or
a pass battu like this, it's going to look nice. Now, if you buy a frame, you may want to pay
attention that they come with this inner frame if you're planning
on doing this. Or just buy a frame.
Let me get that too. You should have one, too. Yep. That is just exactly
the same size. But if you use that
inner frame with it, the larger frame,
compared to the artwork, it looks a bit more impressive. What am I do? I'm going
to frame this one in the small frame and
the other one in the large frame so that you
can see the difference. That's a good plan, isn't
it? Well, let's go for that. Alright, we're switching
to the top camera. Or the third camera. Alright, let's see. I'm going
to get this thing open. I might need scisss
for that carefully. Open it. Somewhere. Put
this away a little bit. And there I'm going. Alright. Opening
it a little bit. A, there you go away
with the plastic. Now, with this frame, I already know if
I'm opening it up. That there's gonna be the
inner frame it and the sorry, the plastic in it. The glass. Well, this is not glass, it's some kind of
plastic plexiglass, I think they call it in Dutch. Not sure what it's
called in English. But I know this glass is
having a layer like this, so I got to peel that off. Let me start at the other
side. Let me do that first. See if that goes as easy as
got to find the beginning. That's always the tricky part. And once I find that
beginning. There you go. I really don't want to touch
the glass too much anymore. I'm gonna hold it
with something else. I'm gonna hold it down with this in so that my fingers
won't smear it as much. Now, the other side is fine. I'm gonna grab it to
the edge a little bit. There you go. Put this around. Now I'm
putting it in there. And now let me hold
this down feeling of this thing and there we go. My frame is ready. And let me put that
artwork in it. So let me just pick the first
artwork, put it in there. There it goes. Put it in nicely. Let me check the back.
See? That looks great. Want to slide it down
probably a little bit. Let me see if that works. Yeah, slide it down. Now I've got to make sure
that I put this thing. This is one that
can hang and stand. It might be standing on my desk. So I've got to make sure
that I put this in right. So I know the flour
is like that. So I got to put this
in, turn it around. Like that. Let me put that in.
Let me close it. And that one is
pretty much done. There we go. Looks nice, doesn't it? See? Looks great. Now, we've got
some white around. That is why we don't
try to work too close to the edges so
that this works great. So it's nicely framed now. Now I'm going to
do the second one. Put this one aside for a moment. Somewhere. Alright, and here's the second one we're
going to frame. This is a bit larger frame, so let me open that. I had it open, but there you go. Now, this is a relatively
cheap frame, I think. Alright, plastic is going off. There you go. The
plastic is off. Now, this is a fairly
inexpensive frame. You can, of course,
buy a frame like that. This is a more expensive frame, and as you can see, this
has the inner frame in it, too, Oh, there's a lot of reflection due to
the plastic color. This is a more expensive
frame, sturdier frame. This is the cheaper frame. So if I would give
it away, well, I might go for the inexpensive, or the expensive is
up to you, of course. And so, but the
more expensive one often have the
inner frame in it. This one, the other one doesn't, but I've got plenty of
spares. Let me open it. And there we go. Get
that piece of paper out. And put that aside. Now, what I need next
is, first of all, oh, I need to get, of course,
the plastic cuff. So I've got my frame. Now, obviously, my image
is not going to fit here, so I need that inner frame. Now I'm going to make sure
that the inner frame it has, you can see here an angle sight. So I've got to make sure
I put in my inner frame first that should fit. There you go. So I've
got my inner frame in. Now I've got to
line up my drawing, and I got to check which
is the top that is there. I got to remember
that. So I'm lining up my drawing check that. On the other camera, I think
that looks pretty good. I got to check it myself, too. That looks good, so it's stuck, and now I got to get that. Played on it, and I got to put it straight down carefully. Oh, it's not go open well. That I'm not going to
move the other picture. And before closing it, I'm going to check that
everything is right, and I'm going to keep
pressure with my thumbs on it so that the inner
one doesn't move. And now I'm going to close it. And we should be okay. Well, let's check
it. Looks great. Yes, there we go. Now, you can see it from the
top. There we go. Okay, well, there it is. I got to hold it a bit like
that to prevent it from being catching that reflection
so much. But there it is. Here's my framed artwork. Now, let me get the other one
with it, too, right away. And we have both of them. Both, too, really
pretty artworks. Nice colors, nicely framed. Now, there is a difference,
and you can see that right away probably
because of the frame. I think I like the one with
the inner frame a lot better. This one looks great, but this one just because
of the inner frame, it just looks impressive. As long as you don't hang
them next to each other or have everything you
do in the same frame, same size, it wouldn't
really matter. But putting them side to side, yes, you can really
see that difference, pretty much, can't you? I guess that's it. Now, I want to show you
one other thing. I want to reframe them, and I'll show you
that in a minute. Well, I'll leave the choice
of frame totally up to you, whether you want to hang
it with the inner frame the pass partout or just
frame it like this, or even just do it completely on an A free
This is an A free size, on a large size, make
that flower really huge. That's up to you. Okay,
I've done something else. I have reframed them. Here's one of them. And let me get that other
one with it, too. Here are both of them reframed in a bit more expensive frames. Now they look really
impressive, don't they? This is the way I want
to hang them behind me. You can see that in my gallery. This looks really good like
this. I like them this way. Okay, well, I'm going
to put them down. These frames are a bit more
heavy than the previous ones. Well, that's it for this lesson. So I've framed them
in the small frame, the large frame, showing
you the difference, framed them in more
expensive frames, and now it is your turn.
You're going to frame them. Or only one of them.
That is up to you. I left that choice up to
you whether you want to do two artworks or whether
you only want to do one, so the watercolor one or the colored pencil,
that is up to you. I'll totally leave it up to you. So once you've done your artwork and perhaps you've
done it already, really frame it, okay? Pick a frame you like,
hang it on the wall, and just show others the
pretty work you've made. Because then you really share the joy of art with others, too. That's double the joy.
You have fun making it. It's really a joy making it, and then it is a joy sharing
it and others enjoying it. Well, I'm going to
hang this on the wall. So that others can enjoy them, so that I can enjoy them. And I would say, do the same. Hang them on your wall and let everybody enjoy the
pretty things you create. Alright. That's it for this
lesson and for this module. Okay, I'm going to be
busy hanging them.
Benjamin A, Art Teacher, illustrator Art by Benjamin
