Transcripts
1. About the Class: This is your skill level
that you want to paint. A painting like this one. Then this class is for you. Hi and welcome to my class. And this class, I will teach you step-by-step how to create
a fashion illustration. I will walk you
through the process, step-by-step firms
catching the figure and how to approach it using very simple methods
to color get with watercolor and finalizing
their last details. So even if you are
drafting skills currently only extend to draw
stick figures. This class is still for you. In this class, I explain how to sketch a passionate
figure and how to tackle a complex pose using
simple geometric shapes. I will demonstrate how to
make skin tones and what are the essential
colors for creating natural skin colors
that to EV cloth. You will learn how to paint a gorgeous desk for your
fashion illustration and how to shamed and paint
the pattern without making it look black
or white down. This class is not a
beginner watercolor class. A basic knowledge of how to
mix colors is preferred, although I will talk about
it in the class too. My name is Maria. I'm an illustrator and graphic designer living
in Reykjavik, Iceland. I started my illustration
and design business in 2009. And I have worked with more than 900 clients for projects including
logo and branding, book cover illustration, and custom watercolor portraits for a wedding invitation and
save the date designs. I also license my
artwork and have sold more than 6 thousand
a clip art graphics. I have always enjoyed painting human figures
with watercolor. And I hope that
through this class I can share my joyful
experience with you. Sure, how you can do it too. So join me for this class and let's draw and
paint together.
2. Class Project: For your final project, you will pay one fashion
illustration from one of the photos that are included in the project and
resources section. The reason why I encourage
you to choose a photo from the set that I selected here is because the pauses
are rather simple. That way you avoid
any frustration that may come with
more complex forces, especially since this
is a beginner class. You will use the basic
method you learned from that class to create your
fashion illustration. Before you start
gathering your supplies, I have included the
full art supplies in the project section. You will start by
sketching our finger on an A4 sheet using the method I will
teach you and Douglas. After you are happy with
how your sketch books, you will proceed to transfer
to your watercolors. After you transfer your sketch, you will start coloring
it with watercolor. I said just that you block one hour of your day to
work on your project. If you find yourself stuck
or unable to achieve what you want to step
away from your desk, go to something else, go for a walk, cook, or even watch TV, then come back to it later. You will find it easier
this way you've done to keep tie when you are
tired or frustrated. I encourage you to post pictures of all the
phases of your process. Stick, figure, sketch,
sketch off the full finger, and finally, the fully
colored illustration. That way I can give you feedback
for each step and we can tackle all the challenges you may encounter as you
create your first piece. What I promise you, it's going to be so much fun.
3. Materials: In this class, you will need
the following materials. An A4 sheet paper. Just initially it will do. That's what you are going
to use for sketching. Watercolor paper. I recommend 100% cotton, but if you don't have it,
that's perfectly fine. I'll explain in a bit. These are fantastic
watercolor paper that I got from Amazon as 100% cotton, six by nine inches, and 300 GSM. Here's a good option for
student grade watercolor paper. It's Canson watercolor paper. And I really like it. You will need a doing
word or, or MDF board. You will use this to put your watercolor paper
on it. As you paint. You will need to tape it down so it doesn't
buckle as you paint. I'm also need a
masking tape that you can find in any
hardware store. You will need an HB
pencil and two H pencil. A regular eraser,
kneaded eraser. I use these brushes, silver black velvet, size 48. Clean water jar. Caught an arc to dab the excess paint and small spray bottle
to wet your paint. And of course, watercolor and scrap of paper to
test your color. Pigments, watercolors I'm
going to use in this class. Or raw sienna, yellow ocher, quinacridone, red, vermillion,
ed, and alter mine. I will also use sepia
and burnt umber, as well as burnt sienna. This is all you need
to get started. See you in the next session.
4. Stick Figure vs. Advanced Stick Figure: Here's how we all do
other basic stick figure. A circle for the head and FU learned for the
body and limbs. This section, I will
explain how to use a stick figure to create
a full human figure. The reason why I use
the stick figure method is because it makes it easier to catch any pose you want quickly without getting stuck with
the unnecessary details. Starting with the
stick figure is always the first step in creating
a full figure illustration. Now, here's more
advanced stick figure. I will start with a
circle for the head. To make the circle more of
an upside down egg that is slightly thicker on top rather than just a perfect circle. Next, instead of drawing
another line for the torso, I'm doing a half oval shape. You can also do a
rectangle if you want. Then I draw an oval shape
for the pelvic area. Here I am drawing the arms. They are pretty much very similar to our
basic stick figure, but I am adding circles
to the elbow area. Generally speaking, the
elbows should do each. The waste of our figure. Same goes for the leg. I'm drawing circles to
represent the nice. This method greatly helps when you draw a more complex pose. You can always start
with this method before you add the details to make it look more like
a human figure.
5. Height of the Figure: Generally, the height of a fashion figure is
nine heads or even ten. For me, I just use the standard height that is
not for fashion figures, which is seven over 7.5 heads. I sometimes make the
height eight heads, but it is totally up to you. Use your creative license. And this sketch, I
fixed the abs EBIT. The elbows did not reach
all the way to the West.
6. Sketching a Fashion Portrait: Here I am doing a
simple portrait. Our forecast here is the figure. So I'm keeping the face simple. Drawn upside down, egg shape. Then draw two lines across
horizontally and vertically. If the head is facing forward, the land should sit in the middle of the center
of our upside down eg. On the horizontal line, we will draw two arches. These are the eyes. Make sure to leave distance between the eyes that
is equal to one. Next, divide the area between the eyes and the bottom of
the oval shape in half. The line does the plates, the area is where
the nose will go. Again, divide the area between the nose and the bottom
edge of the oval shape. That is worth about football. Next, I add the bros, define the eyes a bit more, add hair and ears. Remember, the focus here is
on the figure and garment. So keep that pace symbols.
7. Sketching the Figure: In this section, we will use
the same method we talked about previously to create
the figure in the picture. We first start with the upside down egg
shape for the head. Next, we study the
pose of the figure. She is walking with
her left leg forward. That means that the left side of her pelvic area of the figure is higher
than the right side. The shoulder area, in this case will be in the opposite
direction with the finger. Left shoulder. Right shoulder up Next, her legs. She is walking with
her left leg forward. Her right leg knee should
be below her left leg. Me to indicate woman.
8. Adding Details to the Figure: This section, we will
add the details to our figure and transform it homeostatic forgot
to a human figure. When you draw that this, try not to use too much pressure as you sketch with your pencil. Keep it light and airy and try to move swiftly
with your pencil. Feel free to exaggerate
the shape of the debt. Add more volume or more
movement and have fun with it. Also in this sketch, I did not add the
pattern on the desk. And the sketch phase, I will add the
pattern as eye color, but you can sketch the pattern
lightly with your pencil. I will talk more
about that when we transfer the sketch to
the watercolor sheet. To study the cell howard of
the desk as your sketch, add bolder lines
to mimic the desk. Folds on top, curved lines to the bottom of the desk to
indicate false and movement. So basically what I'm doing here is adding thickness to her and adding flesh to have body rather than
just stick figures. Here I am during the apartheid, just like what we
learned before. It's the same method. And adding eyes,
nose, and mouth. Mostly suggestions
of facial features. Because our focus is on the figure and the
government, not the face.
9. Transferring Sketch to Paper: In this section,
I will be talking about the lightbox and how to trace our sketch that
we just created on our A4. I'm paper to the
watercolor paper. This is optional. Sometimes you can just
start and go ahead and just sketch on your
watercolor paper if you are confident that you could keep your pencil
marks very light. But I recommend that
you always start sketching on an A4 paper
and then go from there. It will make you more relaxed
and not have to worry about making a perfect sketch
on your watercolor paper. Because you, if you keep time
on your watercolor paper, sketching and erasing,
sketching and erasing, that could also damage
your watercolor paper. So there are three methods to elect you can use to trace your pencil sketch
that you created here, and two onto a watercolor paper. The first method that I
always use is the light box. So here's my lightbox. And I basically
started like this and then put my watercolor
sheets on top of my sketch. And then somebody
sketch with a pencil. This is a two edge pencil
is very light pencil. And I also try not
to press too hard. It's just enough to
make light marks on, on your watercolor sheet, and that will help
guide you as you paint your watercolor
illustration. So it's my first method. So basically how I do it is to place my watercolor sheet on top of my sketch
the way I want it. And ideally, it's
best to tape it. So it doesn't move as
you as you turn over. So basically, I'll
just do this lightly. Don't press too hard. Just likely. Just like that. Then I can see I don't
know if you can see this, but this is how loud it can be. This is just enough to give you guidance as to pay
and you look at all. Once you start painting, you can always use your
original sketch next to your watercolor sheet and then use it as a
reference as shoe color. So for the iPod method, basically how it works, you take a picture
of your sketch or imported and interior iPad and then open the app
called Lightbox Trace. And then you put your watercolors sheet
on top of your iPad. Just like that. The only
thing is about this method. So this is the first we
need to lock it this way so it doesn't become
smaller or bigger. And then you test over your iPad by putting your watercolor
sheet on top of it. The only thing with this method
is you will need to make your home very dark so you can see through the screen because the screen is not very a byte. The third method is to
taste or via window. Basically you put your A4 sheet and your watercolor sheet. And then there's
over this section, I will show you how I taste my sketch on watercolor sheets. I will pass forward for most of the video
is just basically tracing over the
watercolor sheet. And I use, as I
mentioned before, I used to H pencil for that. And if I make a mistake, I'll use a kneaded eraser. It's perfect for when you make a mistake on what
your watercolor sheet. This is. It doesn't damage the
watercolor sheets as much as just regular eraser. It's kinda, it's
gentle on the paper. I also had to take my watercolor sheet on the
light box and I use masking tape for this kind of
job is perfect for this job because it doesn't
damage the watercolor paper. So what I feel is just easily comes off without
damaging the paper, unless of course you
leave it for too long. So try to be quick. When I say quick, I
don't mean five-minutes, but don't leave it more
for more than one day. When you trace toy to taste
with very light marks. That way, you can easily
erase any mistakes. And also when you painted, it would smudge the
watercolor sheet. And it's just, you don't
need to make it very dark. You just very light marks
to Norway to paint. Just like that. You can see I don't know
if you can see it here, but it's really light just
enough to give you guidance. We're starting to turn off and on my lightbox
just say Hallmark, my sketching for girls go away. Sometimes I might
miss a line or two. So that's why I
turned it off to make sure I have everything covered. Just like that. Now that I'm happy with how my sketch look on the
watercolor sheet. I think in my opinion, there are paths that
are a little too dark. I don't need the pencil
marks to be that dark. So with my kneaded eraser, I needed a little bit and
then I just go over and up. Just like that, just make it a slide as you could without
completely erasing your lines. That way you get much cleaner colors and no
smudges from the pensions. Just all over. You can, sometimes
you can just do this. These marks are just for
you, for your reference. And even if you erase
a little bit too much, you can always use
your original sketch that you did on your A4
sheet as a reference.
10. Prepping the Sketch to Be Colored: This section, I
will show you how I prepare my watercolor
sheet to be colored. I always use the masking tape. And it's perfect for
this job because it doesn't damage the
watercolor paper. At least that's my experience. It's best not to leave
it for too long and not more than a day or two. But I had incidents where I
kept it for a week and it's kind of the edges of
the paper a little bit, but you don't always see the edges because
if you plan to frame, for example, your illustration, you will not really see the
very edge of the paper. To me, it's not a problem. And third, to press
as hard as possible and make sure all the
edges of the paper I stepped in and purse down. Same goes here. Again, same way. Press hard to make sure
everything is taped down. There's a little
bit garbled left. Sometimes I leave
it if I know that I will not use so much water, it would affect it. But if you plan to fill
your paper with water, I made sure that
everything taped down firmly so the paperwork okay. I guess we are ready to cut out. See you in the next section.
11. Mixing Skin Tones: Let's talk about skin tone
and how to paint skin and what kind of colors I use to create my
skin tone colors. For me, I usually mixed
three basic colors, yellow, blue, and red. It's much easier to use these two colors and
mix them with that. Honestly, any red. This is quinacridone red. And this is very early on that
when I mix them together, they make very nice skin tone. I'll show you in a bit. But sometimes if you don't have these two
colors, no problem. You can use cerulean blue
or ultra marine blue. And you mix these two blues, either one with by
my yellow and that. But you buy the tones so you
kind of experiment and see which color which
don't you like the best because you will not be able to get it from
the first tile. I'll show, you know, here's your yellow ocher. This is raw sienna. Here. They're very
similar and tones. And here is quinacridone,
red vermilion. I just mixed with either one. Let's try these two. A little bit of
red mixed before I put it on my watercolor sheet and before I color
my illustration, I always have a scrap of
paper to test my color. Has good enough. I'm gonna throw it on
the watercolor paper. This is more white skin color. Let's try these two. Good enough. Then you can
see it's more yellow tones. Can you can of course, add more yellow depending on the skin tone
you're painting. Now let's add blue to our mixes. This is early and blue. And this is all mine, blue. And mix this with this more. This is more Bache skin color. You can always control
how much yellow, red, and blue we want
in any skin tone. It's really your decision. There is no right or wrong here. So this is a little bit too big, too similar to this one. So I'm going to add some
yellow here. See what happens. Then. Let's try the
ultra marine blue, maybe with beryllium.
And they LL. Now we get more of a
darker skin color. If we add more blue, Let's see what
happens. Even darker. And sometimes I use these two blue colors
to paint shadows. So, let's say, for example, ultramarine blue is better, in my opinion, for
painting shadows. So it's just a tiny bit, maybe mix it with
a little bit of skin tone and let's
see what happens here. It's kinda create a
cooler tone of our color. Although it's not the
same original mixed I'm, I made in the beginning
of this session. But you can see how it's create a shadow area here
and it's convincing. So I'll just use Payne's gray. You can try that, but
that's not my favorite. It kind of deals. Dolts, the color. I always stick to the primary Carlos when
I create skin tones. Let's tie this color here, maybe mixed with a
little bit over it. Let's see what happens here. More of this. Maybe here. You can always glaze over
your original paint. So we have this here. Maybe it's a little bit
too big for my liking. I want to add more red tones
to it, tiny bit of it. Let's see what happens. Just some odd. Maybe it's just stupid. Then I add a little
bit of yellow. Now it's more of a flesh
tone than it was before. It was two-page in my opinion, but of course it
does what you like. You can go with this one. So this is it for skin tone. And I will see you
in the next session.
12. Coloring the Skin: Now it's time to color
our illustration. I will have the reference photo right next to me as I paint. I will also have the upper
hand sketch next to me too. It's very helpful to have it. I usually use these
two watercolor brushes from silver black velvet, size four and size eight. So as far as good for details, size eight or larger
areas, for example. So I would use size
four to color the skin, the hair, the facial features. And then I will use the larger
one to paint her dress. And I will switch
between as needed. We will first start
with the skin tones. As we discussed before, I will use a combination of these colors to
paint the skin tone. Since our original photo, the model is of a
darker skin tone. I will try to mimic the
color of her skin tone. Also, I want to
note you don't have to use this color combination
to create a skin tone. You can use raw, umber and lighted and combine them together with
a little bit of blue. And you still can get
very nice skin tones. Adding ultra marine blue here. This is close enough
for me to origin my skin tone and I
usually work in layers. So this is just the first layer. Try to make it not too dark. So that way you can
darken it as needed. If you start with a lot
of colors too dark, then you cannot go back
and make it light. It you can, but it will
be more complicated. So let's start lightly. And then we add
layers as needed. I told her to leave white
areas where the US would go. We don't have to be
very precise with this. And I want to access water
or paint in my brush, I always start to dab it. And if cotton cloth that I
always have close to me, so I don't get too much
color loaded in my brush. And this is we'll not
go well on the paper. It will just spread
to work quickly. So you don't get these blotches. Always reference your
original sketch. Sometimes it's better to use your sketch than
the original photo. I tried to fix this
area because there was a little bit too
much pigment here. I was not quick
enough to paint it. I just add a little bit of color and then just
spread it more. At least this is how I do it. Now this is, we are done
with the first layer. Now that the first layer is dry, it's time to add
the second layer. I want to mention her gardening, adding shadows to
our illustration. If you look at the
original photo and how I find where
the shadow areas, I what I do is I
sequent my eyes. When you sequence to sequence your eyes now and
look at the picture, or look, or look at
any picture you have. And when you squint your eyes, you will find it much easier
to see where the dark areas. You will find that much
easier to see where the dark areas are and
where the highlights are. Now, I'm squinting
at this photo. And when I see the dark
areas around her eyes, dark areas out her cheek
bones and of course, under her chin
where her neck is. And of course, if you
go down to her arms, the dark areas is. My hair, torso, and on
the edges of her arm, on the outer edge of her arm. So I will loosely use this
observation to add shadows. I also want to note that I'm not following the original
photo closely. I'm using, I'm using my artistic interpretation
and working from there. It doesn't have to be realistic. It doesn't have to be
a copy of the photo is just what you see and
what you want to express. So I usually start
with the neck. And as you can see, I added a little bit of blue. And always dub because it's
too much blue and then go back and slowly mix it with mice can
tell that I have here. And if you have
much larger skin, can turn to cover, then you make a bigger mixture. Again, I'm not painting all
the details and it's to me it's not needed is as long as it's I'm painting the edges, covering the shadow areas. I'm good to go. Remember,
with every painting you do, does a face that I
called the ugly phase. For example. Now we are
painting through an ugly face. You will look at your
painting and you'll say, this is just too ugly to finish. Let's not invest
much time on it. Let's just give up on it. Obviously, this is what
I'm thinking right now. I'm almost wanting
to start over, but I'm going to just keep
pushing and see what happens. I go through this ugly face with every time I paint anything, just to stick to a plan
and don't give up. So I'm painting
out the eyes here. The area between the Pro
and the eye. It's dark. I'm painting on the nose. The nose. The tip of the
nose should not be dark. It's where the highlights are. We just paint out the nose. Again. I don't have
to follow exactly how the original photo is. It's just using some
artistic interpretation. It gets dug on her forehead. Cheekbones. Again. We again, we are trying to keep the portrait
as simple as possible. I will not pass too much with tying to paint
every details such as, such as Eyes, eyelashes, and brush, just make
suggestion of these things. It's why I do this
is because this is a fashion illustration and we
want the focus to be on let us not on her facial features. Now we're running out of
friends or they'll add more of this yellow and add a
little bit of raw sienna. It's my favorite color. Tested here. Maybe a little bit more blue. I don't follow an exact science. There's no formula here. All I do is mix and tests.
13. Coloring the Hair: While the skin
colors are drying, I'm going to work on
the hair right now. Her hair is quite dark. So what I have few
options to use. You can either honestly, you can use any brand new hub. For me. I like burnt
umber, which is this one. And then you can
use burnt sienna. But the burnt sienna is
a little bit too red. So what I do, I mix, alter my blue here
to turn it down. As you can see, it's
almost black here. So I'm going to add
more burnt sienna. It's basically very
close to right, Amber. I don't follow any formula. I just go with my instinct. And the original photo hair, hair is almost black, but I will not start with black. I'm just like I
mentioned before, I use light colors and
build my layers from there. So I'll just use this bone
and see what happens. And also make some space for her earrings
that I read here. So I'll just leave it here. Again. You don't have to paint
the hearing exactly, just a suggestion of it. And third tube, whose swift
moves with your brush. So not taught, don't get
stuck with the details. Start to be creative. It doesn't, again,
it doesn't have to reflect the same exact
here on the photo. Use your imagination,
make it more flowy. You'll want to make it shorter. Or if you want to
make it longer, feel free to do so. Just use an artistic license. Usually the hair is dark
cast out the neck area. That's when the light
does not reach it. So you want to if
you want the hair to be to look at a little bit
realistic and not flat, tied to shade the
neck like this. And and also shade around the forehead and her
and the border of her face. And try not to get caught
up in the details. Try not to paint. Try not to paint every stan
it will look over at work. Use big sweeping
movement for this, like this, and leave. Because this is, we are
creating a second layer now. As you can see, because now, as I already painted
the first layer, which is the entire hair here. But now I want to add details
to it so it pops more. With watercolor. When you add a second layer, you are glazing and you
are darkening the colors. It never gets lighter. So for example, if this is, if I think this is
too brown and I went, I want to make it lighter. I cannot add y talk, I cannot add yellow
to make it lighter. It will not work this way. The more layers you add, the darker it will get so hot. Now, I'm adding a second layer. Can see this is a thought
too dark for my liking, but let's see what happens. Again. I don't want to spend so much time painting the hair. Here is the darkest
area here on the neck. Again, if you're
not sure about it, sequential eyes on your
original photo and see where the darkest
area in the hair. I don't cover every
single photon. Second layer doesn't
mean we have to paint over our existing layer, all of it, just part of it. And we leave the first layer as the highlight or the light area. Right now, I'll stop here. And then I will go and paint her facial feature
in the next session.
14. Coloring the Face: Now I'm going to paint her face. I will lose burnt umber again and just use a
lot of it and make it less water and more concentrated because I just want to go straight
and paint the eyes. I'm going to use sepia here too. Because CPR is almost black. For me, I never use black. Rarely do I use black unless I paint a whole painting
in black and white, because black visually
dulls the colors. Now I'm testing my dark colors. This is good enough for
the eyes. Let's see. Let's Spend the eye. I'll go back to my sketch. This is how I drew her eyes and I'm going
to do the same here. Burst or a little bit
lighter in color. So I will not use
the same metal, just water it down a little
bit and then add colors. Now her eyes look
funny a little bit, so I need to fix it. I'm adding some eyelids
here with lighter bone. Just slowly working out that. No good. Next, I go down to the
nose using the same bone. Just make suggestion where the nodes would go.
And now her lips. I tried to keep her lips
similar to skin tones. You can also give her
red lips are too. Let's see how this goes. Somewhere with the skin tones, so it's not too bad. Let's try this. For the next step. I
will work on her cheeks and give her some chick bonds. And I want to give her a
little bit of arithmetic. So I will use some red here, but it's short Turkey. So here's what I use. That, a little bit of it. Test it a little bit to
load. This is better. Now when I add it here, we'll just plot
all over the face. So I use a Q-tip and just dab and take away
the excess paint. This way I can
gradually add more red to her cheeks without
making it look to it. And try to avoid sharp outlines
and make it blend more. Wood, the face, like this. Okay? Uh, feel free to add some
of that on her face. It's it gives it it
makes it more lively. So it's not just page. And then you can
continue to do this on her skin, arms, and neck. Again. Preserve the
area of the highlights. Here. Here. We have highlights here. Highlights here. It's still the lightest areas
of her skin here and here. So try to preserve it. And your illustration. Now add the details to her
hair phase and her arms. And we will move to that us defining her mouth now a little bit more. I added more of
the vermillion it. Now I'm not liking her eyes, so I'm going to add
more details to it. Maybe add eyelashes
or suggestions of eyelashes and make her gaze a little
bit more attractive. She looks scared here. So what I do is that I thought to cover some
part of the pupil. So it's not so popping.
It just like this. Defy the nose a
little bit better, and then work on the hair using the same brown that I
use to define her face. Again, this is why dark. Well, so I should not usually I don't paint
over the lightest. I just defined the
shadow area even more and paint part of
where the shadow goes. Now, I'm trying to be
a little bit bolder with the shadows to define her. Forgot butter. Because when you keep it light, I will look like she's failing. To me. Bolder shadows
make the figure pop more. So as you can see here,
once I added the shadow, she started to pop more. Time not to be afraid
of experimenting. If you're ever in this painting, you can always start a new one. This is how I learned to bed. By trial and error. Adding more definition
to her hair, maybe a bit more stones and
just make it more lively. No, I mod, it looks just do it. So I add a little bit
of shadow area here, where the corner
of the mouth is to define how smile or her mouth. Here and here. I made a mistake.
I'm, I'm going to fix it by napping away the pit. You can use paper towel, but I had this alone, which is just called them towel and just dab
it to take it away. And now I'm adding the earrings. Just suggestion of a cookie. I will darken the area
around her eyes a little bit more using cerulean
blue and some skin tone. I'm going back to the skin
and adding even more shadows, darker one and bolder one.
15. Coloring the Dress: Our next step is to
color the dress. Before you start coloring
that was tied to study the pattern of that
to us and the fault. And the main color of that does, as you can see here, it's white or off-white. The Foursquare, it's
kind of grayish shadow. The main colors of
the test pattern is red and purple blue. I tend to be spontaneous
when I paint such dresses. So I don't like it
when it's so detailed. I want it to look
flowy and organic. So I'm going to show you
how I color and pattern. The first step in tackling
how to paint this does, is to create some kind
of a neutral color. By neutral mean,
gray but not light black or gray that are a
result of mixing two colors. I'm going to show you
my favorite colors that results in a
very beautiful gray, ultramarine blue
and burnt sienna. And you see it's really nice. Gray. You can sometimes
see the blue in it. Sometimes you can see the bone, orange, burnt sienna
edit like this. And of course it's up to you
how intense you can make it. I think this is a good start. Now, before I start painting, I should be ready with the color mixes I
am going to use to paint that or to color that just because I'm going
to work very fast. And again, in layers, the first layer will
contain our gray mix, a little bit of the red
and the purple blue. So now I'm going to start with very light
wash of the dose. Because esco, Because this is going to be the base
color of the deaths. Remember to leave areas
for the highlights. I'm not coloring
the entire paper. I'm not coloring
the entire address. I'm leaving some
highlights here. You don't want to cover
everything in gray. And losing the larger
brush here to, to cover a larger area quickly. We don't want to use
small brush because you will not have enough
time to cover everything in, your paint will start to die. I'm going to thin it out
a little bit with water. Again, leaving highlights and not covering
everything in a gray. I'm always also referencing my original pencil sketch because I use some
liberty in it. I did not copy the
exact same photo, so I'm using it as
a reference here. Try to have fun
with it and don't. You don't need to
be very detailed. This is for me, this is good enough. I once I'm done with this, I must leave it to dry
before I add anything. But while this is still wet, I'm going to put
some colors in it. So I will maybe. Who said, remember
with watercolor, colors, always dry, lighter. So if you think
this is too Bert, Don't worry, this is
going to get lighter. Was ist die. Looking at the original photo and I'm tying to see
where the pattern. As you see, I'm not exactly
following the pattern, just dying to loosely
locate where the red is. Blue is. So now I'm working on I'm trying to have
fun with it too. So here I am using were not good on earth, just to why the
colors a little bit. So it's not just One warm color. It's nice to have
variation in colors. Of course you don't
have to do it this way if you want to
stick to one color. But I think in my opinion, it makes it more interesting if you mix more than one word. While the red is still wet, I tried to add
blue on top of it, so they mixed together. It makes more of a complex color and makes it more interesting. Don't be afraid to experiment. I don't even know how this
is going to turn out. We will find out later. We will have, now that we're
done with the first layer, we will need to wait for it to completely dry
before we proceed. To add the second layer, it's time to add
the second layer. This layer, we will add more
details to have pattern. I'm going to use the same
red and maybe a little bit of quinacridone red. Again, study the
pattern out at us, then talks, I think, a second layer of red color. Keep it free form just
like how the twist is. Not to add colors to everything. Just a selected area. And this layer, the colors are a bit bolder as you can see. I'm using the portal. Also a false and loosely based on my pattern
on the photo. Again, it doesn't
have to be a copy. Now, we will add the blue color. The blue is a little bit
less pronounced versus one, so just keep it light. No, but pattern looks
good enough for me. So I have no goal to
add a little bit of shading where the folds
are here, here, here. And add it with
caution because you don't want to smear the bank. You can let the neutral color mixed a little bit
with the paint, but not so much to the
point, it gets muddy. Here's our fold here. This is the main big fault. So try to make it a little
bit more pronounced. And adding the gray color
where the shape is. As you see, I'm running my
brush over the blue lightly. Tried to keep it very light and transparent because the
test itself is transpired, who don't want to weigh
it down with with colors. No.
16. Adding Final Details: This section, I will add the final details
to my illustration. Right now it's almost finished, but I'm not quite
happy with everything. It feels like it's
need a focal point. This is what I am going
to work on art now. Needs to be a little
bit more details. Her hair needs some
finishing touches. And same goes for her to us. And we also still
need to add her. Sure. So I'm going to start
first by adding her. That is speaking from business. No, but I painted the
entire skin area. And then also same
goes for the hair. You can mix sepia with ultramarine blue to make
it even extra dark. Just the flight, the edges, and maybe the shadow areas. Here's his dog. We can darken it a
little bit more, but that doesn't
mean we have to pay the entire area
just a little bit, just to help define it
more and let it pop. You can see already
it's popping war. And here we have shadow area. This is where we are
going to put our stock. Note here is taller delight. We want to leave
it as highlight. So I go here. You still can't do this, but
it will look overworked. So just go over the old lady dark areas and define that a
little bit more. And then with the
same dark color, you can also add tiny bit
of Stearns has two ads, Lucas and perhaps dark colors out her earrings. I am going to go
one more time and mix another neutral color, ultramarine blue
and burnt sienna. Now, now I am going to define
this a little bit more, especially where the folds are. Here. Again, I would not
paint over the light areas, just leave it alone
and just go where the dark areas already are and don't bend the
entire dark area just a little bit over. To emphasize the shadow area. Before I get to sequence
your eyes as your paint, I see now it's, the painting has more intense
colors here versus here. When I say caught my eye, I see this area is
a little too light. So I'll go over it with
some neutral color. Not all of it, just part of it. So I balanced the distribution
of color and intensity. Our last step is
completely optional. I am going to add a light
bar going behind her. It's really
completely up to you. I am going to choose
a light pink. I guess our fan thing
is already know. The final step is to
remove the masking tape. Please remember to wait for
the painting to completely dry before moving
the masking tape. Otherwise, your
painting will buckle. Now, this is how our
painting looks like. I hope.
17. Final Thoughts: Thank you for taking
the class with me. I hope you found it
helpful and that each step was clear
and straight forward. Please remember to always tackle any human
figures sketch and illustration using the
simple stick figure method we discussed in class. It simplifies the
process and makes it easier to create any figure. And andropause. Also, don't be afraid
to experiment. And even if you mess
up your painting, you can just start a new one. Learn from experience. You can watch a 100 classes, but you can only learn
from experience. That is how I learned
trial and error. Please be sure to
post your project in the project section
so I can take a look at it and share
my thoughts with you. Please do not hesitate
to post every step from pencil sketch to the
final colored illustration. And if you have any questions, please do not hesitate to ask
in the discussion section. I cannot wait to see
what you create.
Rhian Awni, Watercolor Artist
