Transcripts
1. Introduction: Hi, I'm Dean, professional artist. I've done my final fall ones of farts in two. And since then, generally I am a cityscape or what? The artist on a very much fascinated about making sit escape radius It escaped watercolor on an equally passive about teaching watercolor toe. Maybe big nose on all the watercolor enthusiastic order who? Mr Dorn, and paint their own their work. So in this particular in this watercolor class, I'm going toe teach you. That's this is going to be ready. Interesting on very from loving or regular exercise. And I'm sure after one to this class, you will have a fantastic experience, Onda. And I'm sure that you have a company dignity beamed watercolor city escape with more confidence. This'll teach you that hard to be confident, hard to enjoy presidents and how to be, You know, hard just made this process more joy. So I hope you have a lot of time with us, and I've seen there
2. Sketch the subject: today we're going to make our you know, one cityscape. Oh, which is? Ah, optical inspiration from Austria. Now you know the street where There, the trump, you know, on you would just see this reference. So I am just taking this reference images from their on. And I wanted to make a very simple Oh, you know, a watercolor cityscape for you. So I hope you're going to enjoy the street real on. Duh. I'm sure that after this class, you'll be ableto you know, make your own words enough for you. No particular cityscape. So let's go ahead and faster, create in us. Drawing first for watercolor. So this is a four size, you know, one other paper, so you can just use any paper you want. You know, any any watercolor paper, any brand. Okay, so you dismount. Didn't like this, you know, with the mosque in Cape on. Duh. Have toe Sofus as, like a 20% in 20 degree angle. 2025 degree angle. So that will be That would be like a slight slope kind of thing. So let's go ahead. So I'm going to make a comparison here. So what? I'm gonna do is I'm just deciding that this area here, this is me myself. It's 11. Okay, Onda and my background will be this area. And I'm leaving this much space for, you know, for for sky, right? Is open sky here. So I'm just so you know, divided in a two different set. So one of the sky and the background, and this is like in a sulfites 11. So what I'm going to do is I'm gonna make a sketch off the strong. Okay? So very simple. Sketch sheer, we go. It went from the meter. This is a front part of this trap. So even before that, if you want to make you know, some practice, you can do that. You know, you can make a few few drawing this so that will give you, Ah, a lot more, you know, confidence. And anyway, you have to do a lot of scotch. Scotch is super important, right? So, like, that land here is the other, it's been it's out. Two compartment off this. Come. Okay, here's these are the windows, but so this is the cam. And now we have a few people here, just, you know, waiting this time toe passed through. That's some crowd this cheering up, having a good time. Night. Andi, you may be one car just clean. Just behind up this. A few more people see how and making this people. I'm just getting on in creation off it. Okay, lets in creation of it, right? No. So this office level is done. So this entire surface level we did it. No. What I will do is I'm gonna make go behind those buildings and I want to make it very simple. Very, very simple for you to understand. And there the buildings here. What? So this dis building is slightly far, I suppose. Slightly closer to your eyes. No. So here you go. So this is what we have. Our sketch, the drawing on a maybe some peeler here for cable. His time cable which will walk later. Look a So Yeah. So what I'm going to do is, uh oh will go for the next layer. Like the first layer of this self call. You know, painting Onda. Uh, once. Once we complete that Fosler tend to go for a second and totally So this is our sketch. Onda will go forward for Slayer
3. First watercolor wash layer: So we are doing our force layer. So let me introduce my color palette. So I'm using this one. Horace and Blue, this is called a marine blue sat green, yellow ocher, burnt sienna orange, sepia red. So that's the kind of you know, the color competition I'll be using across the painting. So I would request you to look at the the color palette I'm using the way the deep volume off water. I'm mixing the color on how I'm mixing colors, you know, together. And how am using it? I'll try my best to make this very simple for you to understand on implementing your painting, right? So what we will what do way we're going to do is we're goingto make our first layer on. We are going to start with Tusk. I right. So I'm taking this water a little bit off ultra marine blue. Zen DLLee had just for like, your on you can have taken the You know what in a bus on central below that make it like this? No, for this roof, we need to take a little bit off orange at the bon Sienna onder. Just gently. A little bit applied color down there. Don't they see a walker like this? And I want to make this wall that's a white. So I just taken little bit of for just like this meet Just a little bit off will come there . I just left the space and this win where the cards are there. So we walk in the later part and feel the game the same color at some little more color here. So I'm using this. You'll walker and Bones, you know, together for this. Brooding gently. Just applying this kind of So these are the human figure. So we just leaving this white space and we'll walk later, Layer, I need to walk on this drum. Yellow occur, but reducing the temperament off this color on way. We're living this white space. - Ultra marine blue banshee, Anna toe, Bring some contrast. Yeah, So this is mobile first layer. So the first layer, so you will see the things are on the tools, you know? Has he Onda, uh, you'll not see the contrast, but that's a typical, you know, characteristic off this watercolor. But when we'll go for in the next layer, you know, in a second layer you'll see things are coming out on. Things are becoming more brighter, you know, and taking the all the objects seats. Right? So that's the kind of you know, the evolution You will see, you know, next. Well, you know, layer So yeah, let dry completely. Don't work under. Let's not try. There is the most sharing the people. OK, so don't walk on this very dry.
4. Working with second layer: All right, So now we have, ah, you know, completely dried, You know, the first layer with no moisture at all. And now you can see that there is a very less, you know, blocking. So what we're going to do now as we're going to walk on the second layer? So second layer, the first thing, what? We're going to do it. So we will be walking on these, you know, the roof off these building on duh. And then we'll slowly come down and we work on these details. Right? So I just taking this Ponsana mixing orange. Okay, Not too dark, Not too soft. Also. Yeah. Onda, just leave some space here in there like this stun best. So basically, all you need to do is just play around with medias softness and the videos. So the color, their temperament from soft edge heart egx Right on. Uh, just Philip thes color. Now we have this blue color, so I am just taking this blue color on, uh, just being a little catches here and there. As you can see, I'm working on this to color mixing together because I wanted to make a little deaf here like this, and, uh, you can ticket plea in color. Also somebody of color in the background. I want to make this one s roof painting roof. So Tinga is you don't need to walk all over the place just somewhere here in there. Some weight off. That is bits and pieces kind of operation. Like this. Justin impression. You really don't need to work every detail off it, right? Some deft here and there. Some patches like this, But make sure when you're walking they should be in a hard color, like it's on a hard floor and that's loaded. Ghouls vanishes like this. So it should be a very soft edges And hear some hard edges like this when I say edge edge Mintz this these all the things I don't Now we need to work on this part. So Dr sticking this Bunce una andi a bit off yellow occur and ultra marine blue. If you have an extra water than you can, just more bit like this extra water, right? Because you need to have in a some bit off should not have a too much off water in your breaths all the time until unless you're any needless, but it's a good fault. You can give some seats like this to stay it on that, and here we have a little dark. So the meeting stocker and just using ultramarine blue. And once you know, do. Whether mixing on that gives him a little dark edge to walk on, make sure that leave some space like it should be. Your first layer should be visible. That gives very interesting place ever to your art, to somebody off work. And now we have to come to this, so there's a kind of full seeds of this drum.
5. Second layer continue...: so basically the delight the source of light is coming from this way. So most of your seed schools that side like this comes and fall. You're like this on these buildings, also the same thing. So these this strong we just work on this. This is, uh and yeah, very subtle work. You don't I need to get to it. Failure. Just some patches on their and you're good. So for this one we need to make it should look like a damn in small exact. So I'm just mixing yellow car and bones, you know, just gently like here and all those I don't fit. It's a green. It's a green tram. Destroyed also. Yeah, a little dark here. This so most of the time, we will be working on giving a deft off it, working with death patches and alert. So here again, not just use a little left. So this moment I don't have a much water in my breasts, can you? It's the since moved left here? No, we need to give even more left here. Some brittle foot here. This part because you know you need to. So you know how the prospect of walk right, so that's very important. Display it on. Just enjoy the process. Don't hesitate. Toe. Do some unexpected things. That's the kind off track, and we need to have. This saves off this building also just a little bit of walk before that new left, because the reason I'm giving deft here because a lot off, you know, the lights coming from that side. So most of this place will be a little darker because there's a new much school off light those side. So it's good to have not to have much like this, but give me pretty turned up. Somebody stops in ceiling, you can see a doomed have much water My press again, mostly the dry.
6. Depth light & values: No, we have We should have a deluge that this will be like a human. The crowds will walk later, but before that let's work on this side of this building. So I'm just mixing this color. No, - make more deft what you want. You give some texture. You're also just Sprinkle a little bit off. Not much. So I want leak. Just mope. Thea Girth extra Think. OK, so let's walk on a human finger. So for that I'm just taking directly or red color. I'm taking this right color. Slip it not to contract. It's took on Trust this aboard that con trust around that's below this. We have a few people. You just make an impression at this moment like this and little dust in the bottom where the legs are and all that tonight Some people in front here we need to just give the deft and don't This is how basically we make human. What's that trials there were. We'll get more clarity about his son currently readjust putting some for to make thanks, which is not very much obvious. But later worms we go further, you'd see some human characters, so we still need to give a little more death. Who understood nothing. Doing a little here and there. Maybe he is wearing a translator. No, that Yeah. No, Come to this, Sarid. So here again. Look, some crowd people, okay? Just feeling though this whites, please, as a record, right? No, What we need to do iss digi orange color directly from the tube. Onda, uh, you can dig Jiro number Bruce, something like this. Andi directly from this deal on, you can make the face off these people this dignity, dance and weak something like this. Okay, now we need to give us the tools details on these barely. So what? What I'm doing is I'm just taken the studio color ultramarine blue and Mancina and not taken much water this time. So it just a little bit here and there just to give the kind of impression that this is window and older and don't work just here and there. That's all
7. Final artwork: okay? No, We have a several Gables pool so that we need to make. So what? We need to go as the stick this ultramarine blue and bon Sienna. Not much water in your Bruce. Andi, just go in a one like this. Jeanne, My Bruce. So this is like it works. It's a city light. Also, I learned also works as a lot cable. Very rough war killing there on for the cable, but just marked the extra water and gently hold it. Talked. Andi, you know, one go itself. You just, you know, just go like this. Kind of the one like this. So that is a too many wars here and there. Bulls Now you can if you want. You can just put some board that is here, here and there for these people to make them war off this, right. Good. Also, you can just put a little walk on this part where the drum is connected. The deeds kibble Just a little. Do you Onda some truck still required few track. Get in there. Deuce. This? Yeah, So this is it. So I hope you got what a what I wanted to do. So this is something like, you know, a patches here and there. You know, it's all about the living, the white giving the, you know, some space and then working on the test and light. So basically, it's more rebar, deft. And the light. Right. So this is what this is all about. The watercolor. Okay. And it won't happen in a in a one goal. It requires some time to, you know, to get expertise on this. So you need to delicately, you have to put a lot of a fort practices the wounded key to get success in the water color . So do a packed us to a lot of tractors every day, right? So if not every day, there's a weekly at this one or twice. If you're being making our one art, that's a good enough. So if you conclude this, uh, so hope for you, hopefully you got something from this. You know, there's a lot of school in this on, uh, there's a lot of there's a lot of learning, you know, which will come in a further lesson. So thank you so much.
Nitin Singh, Let's fall in love with watercolor
