Transcripts
1. Introduction: Hi, this is puhazholi. I have been interested in
AD since my childhood. One of the most favorite
and interesting medium is Watercolor. For me. In this class, we are going to Paint watercolor eye will explore what are the
record materials, color palette for any skin tone. How to mix colors for skin, and some techniques like wet on wet and wet
on dry techniques. The Eyes gates is given and you can download or even
you can draw it by you. I wish to see your wax
in the project section. I hope you will enjoy this class
2. Supplies: Hi, we need tissue paper. I'm going to use
one more brush for the larger area on the other two for the working
on minor details, I'm going to use round
synthetic brush number six, triple zero for fine details. The Mop brush number two, I'm planning to
use for working on large area and to wet the paper. Now, let me introduce my skin tone palette is my
all time color palette. I use Crimson lake, Burnt Sienna, ultramarine deep, a lot Ochre, Cadmium
Orange, Bright Rose, Turquoise, Green, Paynes
Grey, and Blue Violet. This color palette can be
used for any skin type
3. Eye sketch and how to mix skin tone: In this video, we will
see what are the parts of the ice and how we will call it. So it cannot be a big mess when I'm talking about the
particular name of the path. And you will be easy to find it. And also you can
paint along with me. I'm drawing here era phi sketch. So I will be naming
the parts of the, I. Consider the light
source falling here, and I will be calling it
test the highlighted area. Highlighted area of a pupil. I can say iris. And
opposite to the light, we have the internal reflection. That is in the, in the internal
reflection only V should be Painting deaths in
a very light color. The outer part is iris, and the inner part in
nothing is your pupil. The white area is
called the sclera. In the eyelids. Eyelashes always start drawing from
inverse to the outburst. Will show here. See the eyelashes
should be started from the islet Towards
upside or the downside. So accordingly, if you are
drying for the upper eyelid, you have to point towards upside and do it for the lower eyelid, it has to point downside. So let's start with the eyelid. See the eyelid is bulged
so the eyelashes will not be always pointing towards
the downwards or upwards. So you have to draw from the side work then
downward or sideways. I'm talking about
the lower eyelid. For the upper eyelid, the similar way from the side work towards
upside or inside. What? I used to be zero brush
for drawing the eyelashes. Now, let's see how to
mix the skin tone. Now we'll start with
wet on wet technique. That is, I'm using
the Mop brush to wet my paper and wet paint on
the wet paper, wet on wet. So initially I'm
taking Blue Violet. Then I use Bright Rose or
prepping our Quinacridone Rose. So what about pink color or Rose color you have,
you can use it. I'm mixing these both. Also. I'm adding little
bit Crimson lake for getting the skin tone. Initial layer. For the initial layer, I'm starting with
starting mixing now. Again, I'm taking Blue, Violet and being color,
sorry, Rose color. And I'm adding little bit
Burnt Sienna. Burnt sienna. So to make it little bit darker. So I am mixing it three all the way in
these three colors. Let's see what it, what will get along with the burnt sienna I'm adding little bit. Crimson lake also. See our first initial layer, almost like we're getting. So this is where I'm first layer we are going to Paint with. So do always remember wanting, Don't take it in a very thick
consistency for Watercolor. Do add more water until you get the desired color mixes
before mixing, before, sorry, before applying
into the paper, make a swatch and
check whether you are satisfied with the color and then apply it over
your painting. And again for the
darker shadow area, I'm using burnt umber. And along with that
I'm using a locker. And plus you can
use the red color, light red color, Crimson
lake, or Rose color. Please make sure you
are avoiding them. Muddy consistency. Don't apply the dark color. We're in the very
first layer itself. We here also we need to build from the light to dark area. The final layer we can
use wet on dry technique, that is wet paint on the dry
paper for the fine details
4. Base layer : Wet on Wet technique: First we're going to
apply water as we are starting with Wet on Wet
principle, applied water. And then we will
apply our colors. So it will enhance exist
tradeoff over Colors. Who were the picture. Now we will make it ready
with our color palette. We have seen how to mix skin
color using base colors. I have shown to you. I have taken here the subject
of lighter skin tone. Start mixing the color. I am taking lighter skin tone. We know what are the
colors we required. We need pink, Rose, Burnt Sienna, Yellow ocher, and Alizarin crimson or Crimson lake level, the
highlighted area. And you can apply base
Painting toward all area. But whenever we're
adding layer by layer, we need to leave out
the highlighted area. That will help us more to building upon the
layers where the Watercolour we need to start to build from the
lighter to darker tones. Here we are applying
for our pupil, the white area around
the people also. We'll start mixing
the colors based on our color palette for
various skin tones. Now women started
applying for color for our outer part
of our eyelid. That is, eyelashes do so far that if you
closely look into, it will be light pink
color, light Rose color. For that, we are going to
miss mix arrows Color, little bit orange and red color. Let it dry for some time. And we will next move
on to iris and pupil. Whenever he was started
playing any color, makes sure that you have
applied some water over it. It should not be
any excess water. It should not be a dry brush. And start always start with very lighter tone to the darker tone he building
onto to dark atom. If the paper is already wet, we can keep on working on it. But if it is dry, just apply till less water
before applying any Color. Few seconds back I
have eye placement of water over the iris and pupil. So I thought it is very x's, so that's why I'm
waiting for a bit. We will start working on
our outer area of our eye. So as we have seen already, we know what are the
color mixes will start building from the
base layer to the top. We know how to mix
the skin tone. We need three colors to
mix the first skin tone, which we have already seen, Bright Rose, Burnt Sienna
in the Crimson lake. Or if you have Alizarin
crimson, you can use that. Let's draw pupil and iris, but the pupil used to
be very dark color. We can use black color for that, for the iris, but we need to, we can use brown color bands and now it can be light gray. It can be a Blue
is bluish color. Whatever color
calorie want based on the real-time
reference you are having. You can use it here. I have used to the brown iris. So I'm just using the breath Burnt Sienna and I'm
painting it over it. Always remember
that outer layer, that is the outer
circle of you at Eyes is not there
like hard line. It will be a soft H, I can say these are ages. Ages of the iris is very soft. So we should not
make it as Drawing, make it like Drawing. Very hard edges. Like drawing with a pen, black pen or putting
their line, black line. We should not do it if it
closely observe the iris, but we could able to
see the part is little or diminishing over the
edges light like grayish, bluish color according to your iris color. With
the light color. And we will keep on
building upon the bilayer Here in the upper part of
my I wear my eyelashes, upper part of the
eyelashes there. We used to have here
shadow like things. So I'm just playing
very dark color over the iris. Coming down. We wrote that the reflection
is the opposite side. We will be having
the deflections. So whenever we face
light or light sources, the light source will be
reflected from the I and II. It has the internal
reflections in the cornea. The cornea where at the place no internal reflection happens. So we have to make it as a very transparent
layer over it. So that's why I'm not
applying. Somewhere else. Eye plays a very dark color where the actual
rights or for that, it will be a dark color. And opposite to
the light source. We have an internal
reflections there, we have it. Very light. They ages of the iris
used to be dark. That is a dark line, but it is a soft edge. So I'm just making
it a dark circle. And afterwards I
will be applying a little water over it to
make it a very soft edges. Now follow the same
procedure as we did below over eye out dry skin tone. The same you can follow
for the upper part. Leaving out the
highlighted area. Gesture. I'll play the
carlos skin tone color. What we discussed
before, over the eye
5. Second Layer : Wet on dry and Blending , Tips and tricks: In this video, we will
see how to add up. The second Layer. Here will be working on
the wet-on-dry technique. And also we will
see how to blend. You are highlighted
in the shadow area. How to blend your
hard and soft edges. Let's start with the
eyelid, upper eyelid. Here I am taking
only two colors. That is Cadmium orange
and the Bright Rose. I'm mixing it to Color. And why? Because I need the very light
pinkish, rock. Pinkish. I mean, that Rose
color in the eyelid. If you vote in the mirror, we could able to see
that party will be very, very light truth. So for that only I'm mixing
these two colors and add little more water and make it as two watercolor
consistency. Don't Mop play very
thick paint consistency. Now it's time to distinguish between highlights
and the shadow. I'm just applying the
mix of cadmium orange, Bright Rose, Burnt
Sienna together, and I'm applying in
the shadow area. Later, I am blending it with my dry brush or else you
can add little water, little water in the brush, very, very little
water in the *****. And you can smudge it. You can spread the water. Here if you see I have not wet the paper before
applying the paint. I'm directly applying the paint and then later I'm blending it. Wet on dry technique
always work when we are, when we need to
distinguish between the highlight and
the shadow area. In a similar fashion, start applying your color over the shadow area and then start blending it with
the highlighted area. It means that we need to blend those hard edges
with the white area. That is the highlighted area. When Blending, the brush
should not contain any paint and it must be
dampening the tissue paper. And then you have
to blend it with the highlighted and
the shadow area. Why? Because the paint should
not be there for Blending. Otherwise, you will get to damage the painting
AND painting itself. The Painting with
the highlighted and the shadow area
won't blend at all, or is paint the shadow area. Cavell comes over the
highlighted area. It will definitely going
will be affect our painting. So that's why always make
sure we're bending the pair. The brush should
be very clean and damp and it should
not be too watery, and it should not be too dry. We could able to see
the differentiation of highlight and the shadow
in the upper eyelid. And a similar fashion we are going to work on in
the lower eyelid. Here, one important
thing is that we need to distinguish between our eyelid
and the lowest skin part. So far that I'm applying
little bit darker, little darker between the area of eyelid and the skin tone. Continue the same process
as we did before. For the upper eyelid. In the start blending it makes sure all the tips
what I have chat right now, keep working on until you
get the satisfied result. It is doesn't matter
how many layers we are adding to our painting. So make sure that you are
not damaging your paint. And the paper also let
the before layer dries. Because one leaf we can, when we are going
to add the details, we need to work on
wet on dry technique. So make sure you are previous layer dry before you are
applying your painting. It doesn't matter how many
layers we are working on. Until we get the desert
desert we can work on, but make sure that you are not damaging the paper and we are not what we're
doing our painting. Now coming to the
pupil and iris, but I wish I need to how
the iris color as Brown. So what I'm doing, I don't the Bupa, I am painting
with the Burnt Sienna. And then outer of
the Burnt Sienna, outer edge of the Burnt Sienna, I'm using the Yellow Ochre. So here we have already seen
that internal reflection. So that over highlighted part is the opposite direction
in the iris. We have the internal reflection. So don't forget this. And more thing. So for the upper eyelid, we need with that upper
eyelid shadow will be casted in the eye. I respond So that also we need to have some darker or
lighter darker thing. We need to color it
with some darker. So that's what I have date. And again and again
I am building upon the layers to make my iris
very dark brown color. I know it's, I'm adding
little bit a Yellow over the outer of
my Burnt umber. Starting with the
age of the iris, I'm making it a
little bit darker. Later, I will be applying. We're Wanli the clean, wet brush ****** over the tissue paper to make it
a little bit softer edge. So this we have
already discussed in the previous video
that the outer part, that outer butt of the iris, the outline of the Irish
should not be hard hearted. Ensure this. Just have a look at in the middle and closely
I'll show you where it is. But you could able to understand what is
the pupil and how you were in this part is the desire was designed
and how they dessert, like hard or soft edge. Again, start
blending that sclera in the outer edge of your iris. Whenever the paper is dry, I'm keep working on
the top of that layer. So always don't use any chart paper or any other cardboard paper
that doesn't work at all. For the Watercolour, it
always preferable to use 300 GSM paper or
140 loops paper. So when we are working
on layer on layer, the paper will not get
damaged or an are bulged are, we will get very good result. I'm using here the 100% cotton, 300 years paper, watercolor paper I'm using
here, Canson, Montval. There are three kinds of this cotton paper
that is cold pressed, hard pressed and rough. I almost prefer the cold
pressed paper because it will absorb my painting well and
it will not be bulged at all. And I could able to achieve
the desired result if we want to go or if you want to
work with very fine details. And if you're painting contains
very much minute details, you can use hot press paper. This they hundred GSM paper
or hundred percent Archie will type I and it can
last long forever. As you can see in this video, I'm keep on working
with a layer on layer. So building start building from the lighter tone to
the darker tone and equity able to blend it from the highlighted area
with the shadow area. So I hope you have
understood that techniques, wet on wet technique, wet on dry technique and
how to blend it. All the tips and tricks
I have provided. Keep working on this technique until you get the
desired result. I'm keep on repeating this process until I'm
getting the desert desert. Walking on the shadow
area if you need little more darker
or you want to keep on working with
the more darker thing. Add more Burnt Sienna to
you or Cadmium Orange, bank Rose, pink or recite,
I could say like that. Or as you are Alizarin crimson, the Burnt umber should
dominate over the iris part. I have painted the pupil, the pupil always
the black color. So I have used the black here. Now I am keep on
working with the islet. I am distinguishing my
flesh and the eyelid. That is the INRA, but Now our job is to
differentiate between eyelid and the cornea eyelid, that inner eyelid eye with
the outer flesh tone. So what I need to
achieve here is I need, I need the 3D in boost. That is, we are achieving
the realistic thing. No. So I need to
achieve that result. So I need to distinguish
between the three parts, the flesh tone, the
eyelid, and the cornea. If we did mood, deeper dark, shadow, dark area. So we can use, we can add Ultramarine blue
with you or Burnt Sienna, Bright Rose, and Crimson lake. So previously I have said about three colors
for the shadow area. For lighter shadow area, that we can use. Cadmium Orange, Crimson lake, Bright Rose, Burnt Sienna, the bonds and now
must dominate there. If we want the deeper
ordered very darker shadow, you can add ultramarine blue
or the Prussian blue to this mixture coming
to their iris pad. So I have already, in the picture sketch I have described about the
highlighted and the internal reflection area if you closely observe
this painting. So I have left some highlight that there is a reflection
part, very light. And where the highlighted part, that area should be very dark. I'm keep working on with
the age of my iris. Why? Because when it is getting dry, my paint become very lighter. So that's why I'm keep on
working by layer by layer. Also, if you observe around the pupil that is
in your iris part, you have the fine lines, fine lines in the
brown area, isn't it? So that I am drawing it with
very light brown or the way I can use Burnt umber or the binding is Grey for
drawing those lines. I don't concentrate much
on the details of drawing those lines because providing over details will
renew at Drawing. Keep drawing those lines in a very lighter
manner so that it is not details only visible to
their audience or to you. Now concentrate on the eye
outer part of the iris, outer edge of the iris, that little bit make it
clear with the heart. You are hard and soft edge because it is not
completely soft edge, it is not completely hard edge. I can say the hard edges some deeper sent and the
soft edge is 30%. Likewise, we need to make it. Otherwise, it is like we
have some IDCs in eye. So just to make it the
sharp line, the other line, the other colors already dispersed and we have
already spread it. So already we have made
it as a soft edge, so no need to worry about it. We have already discussed
that when we are facing the highlighted
on the iris part. Here my highlight is one, the upper eyelid is part. So there will be a shadow
in the cornea also, that is for the sclera. Sclera, we have a shadow
of our upper eyelid. That is what I am
making it here. So I'm making a little bit
share shadow over my sclera. Here also you have a tape that the sclera
won't be pure white. It is light gray or
light bluish color. If you closely observing the
Mereruka able to see that. So don't make your sclera part of your eye as they
complete pure white. It's never going
to be like that. If you're making, that means it is like you are seeing dark. I always the highlight and the shadow part may cover painting more
three-dimensional look. So don't forget to provide the proper shadow area and
highlight the necessary area. Suppose if you want to make very darker complexion
of your skin tone, you could add Ultramarine blue, Burnt Sienna, Crimson, lake, Cadmium Orange little bit, and Yellow Ochre,
and Bright Rose. If you need mixing all these three not in
the equal proportion. The Prussian blue will, must be added very little part. If you add very little pot also, it will start creating
a very dark complexion. So make sure you are
Cadmium red, Bright Rose, a logger, and the Crimson
lake in equal proportion and add little bit Burnt
umber and ultramarine blue. The ultramarine blue, we'll keep on increasing your
complexion of your skin tone. And the first and
foremost tapers in which every artists must
keep in mind is don't use black and white color
for mixing with any other color
that will bring you a painting because it
will result in the muddy, muddy, bendy, like
the muddy painting, where will not be
corrected at all. And it will completely
ruin who are painting whatever drawing you are doing node that will
be completely ruined. So don't make any of the black or white color
with any other colors. So that is important tip here. Now we are almost in
the end of our video. So we have work then off with our painting eye and let
it dry for some time. Then we will start adding the eyelashes and the
highlight in the cornea. In this class we have learned
wet on dry technique, how to blend with so
hard and soft edges. Hand how to blend with
highlighted on the shadow area. Not to end up with a muddy
results of your painting. How not to damage your painting and what
paper we could use. What are the types of the paper? Cold press, hard press,
and rough drawing. How to distinguish
each area so that it can result in the
three-dimensional Painting. Also, realistic painting. How to work up on
the layer by layer, from the light to dark skin tone and how to mask for the
darker complexion skin tone. So all we have
learned, I hope so. Thank you so much. Join for the next video, how to draw the eyelashes
using a brush and also vida micro banks.
Thank you so much
6. Fine details : Eye lashes, highlights: In this video, we will draw
the eyelashes and we'll concentrate on how
to make highlighting your pupil and the
internal reflections. Here, we will be seeing two things for drawing
the eyelashes. Eyelashes that we
have already seen in the previous video. That we have to start
from the islet towards the outer words it for forms
like a triangular shape. You can see how to draw it
from dilated out diverse. I have taken very thin brush, bigger brush, that is
triple zero brush. I have used the paint buying
this grey minus gray. And I'm drawing from a node
to the outlet outputs. We have already seen
that we have practiced that the direction
of your island should not be downwards
and following all the eyelashes should be for following the
same direction. Or low, how I wring my hands and how the eyelashes I'm
drawing towards downwards. Not all the eyelashes
will be pointing towards the same direction. So just to follow how
I am drawing here. All right. No. Now we will draw the
upper eyelid eyelashes. So here also we need to draw
from dilute to the upwards. And here also it forms
a triangular shape. And one motif, the
larger eyelashes always home the tire
triangular thing. We have a short hassles so that will not fall
as triangulating. So we can draw with the remaining pain then
what we have in our ratios, we can directly draw this
shot that has that ugly. That is, it should not
follow the mixture, it should not follow
the triangular thing. Hi bro, providing
the highlight area I naught pupil and iris. But so already we have
drawn the day Area and we just need to cover the
area with the white gosh. You can use white gouache or white gel pen or white paint. So whenever, wherever
I am drawing, so here I'm drawing
the opposite part, which we have already
seen in the video The opposite part that we'll be having that internal
reflection part. So far I've talking
about the iris and the pupil. Now the Clara. Clara, that is the white area. Not about the clearer
that is that no, not about the white area. I'm talking about your iris only when the light falls
into it and the lower ladle. So we will have
some deflections of the water so high there on
time providing some highlight. And in the pterodactyls I'm providing some highlight because when the light falls, we eat. If you observe in the URI in the mirror, you
can able to see that. So just I am highlighting
waiver wherever the highlighted part required
using my white gosh. We're almost done
with the drying over I but I I'm just
missing that I need. My eyelashes should be very, very thick, very dark one like apply after
applying mascara. For that effect, I am using
the 0.1 fine liner pen. I'm using it over the painted
area of my eyelashes. So just I am drawing it over it. And also I have for drawing the small eyelashes,
small hassles. I'm using the 0.1 micron pen. A big obsession from my side. We have done with our
drawing and kudos to all who have participated in this
session. Good work guys. And very important thing
which every artist should do this without forgetting in their lifetime that we
should sign in our drawing
7. Final touches: Don't forget to
sign your artwork. I hope you enjoyed
this class very much. Thank you so much for
joining this class. I would like to see your
works in the project section. Thank you so much for joining
Puhazholi Saravanan, Artist
