Watercolor Still-life for Beginners: Memorizing Realistic Methods in a Simple Way

1. Introduction To Course: Hi, I'm Abishek route, well into my course in sql share. Hello. This course has a very simple motive. It is to make students understand some techniques, gain confidence, and also memorize the truly essential things in watercolor Journey. This course is designed to teach any student or any water contrast. Couple of things. One has to observe things better. Number two would be to understand simplified brushstrokes using bare minimum strokes with the proper amount of water and the pigment to achieve a very simplified goal, which brings it to our third topic, which is understanding Donald value system. Normally we have three don't value systems. But in this course we are going to understand the dude tonal value system, which will basically lead you to memorize the techniques and eventually in your further studies can help you to achieve the three total values in a better, better way. So if you practice the techniques which I am going to show you in this course, you will gain confidence. That's one. You'll definitely be better with your brushstrokes that's due. And also the techniques which you are going to memorize automatically when you learn a lot of different things and experiment. They will help you. As simple as that. We are going to do. Still live studies with small subjects like fruits and vegetables, which are going to be clearly direct approach, use realistic and also fast. So join me in this course and we will learn together. I'll see you in the class. 2. Materials Needed: Alright, let's start with the materials. The first thing first, we need the paper. Let's understand this. This is a, a full-size Bao Han, 300 years in cold pressed paper, has fine grained, as you can see the texture. So this is what I am going to use. You can use any brand you have no need to worry. Of course we need brushes. So let me just show you. I have a lot of them you are here. So we just need one or two. That's on. So what am I going to use? This is a natural hair brush. If you have one brilliant, if not, this is a mock brush. You can use a mob British. But I would recommend you to have a synthetic brush like so, which is slightly stronger bristles than the natural hair. This is quite good and its size dwell whichever you have, you can definitely use. We also need to use 110 synthetic brush. And couple of them are branded. Couple of them or not, which is totally okay. A pencil to draw. We don't need the lasers because the simpler things we have, it's better. Also, the drugs are going to be quite simple. Okay, we need some sort of a ballot. This is affordable plastic palette. I also have an aluminum one, But the thing is, you can basically use whatever you have. So we are going to use a bat it as of now, if you have a blade and if you do not have a valid, that's totally fine. Use a plate. Ok, we need some sort of container for water. I'll be using a glass jar full of water. Quite blame. I would recommend you to use to want to clean the brush. And the second will be done the paint on the pallet. So bureau water for colour mixing. We also need to show neighbors of toilet paper. If you have a sponge that'll do the job. So this is basically what we need. Now let's talk about the beams. We don't need any fancy brands because this is a practice work which will enable you to understand techniques. So we need some sort of a medium yellow, as you can see, Benito, medium yellow. We need yellow ocher, quinidine chameleon. When it comes up. We also need some sort of a green energy. Green would do the job, but I'll be using the viridian green. And if you have, because there are so many colors over here, if you have a bow, that's good enough. And one blue, I'll be using. Cobalt blue. If you have cobalt blue, it's fine. Other than that, if you have ultra marine, This one that'll do the work of Bush and glue. Anything would do, no issues. I'll be using cobalt blue for this entire course. There we have it. Now let's begin. 4. Lemons- First Project/ Demo: Let's start with our first one. We have a cut piece of a lemon and a whole lemon. Very simplest subject Really. And the technique would be even more easier. So I'm just trying to make the shapes quite simple. Let me go. Alright, that's all there is. And probably I will just add a leaf over here, which is not quite visible. I'll just add maybe do after. Just like that. And here we'll add. So there we haven't. Now let's start the painting process. Very easy. I want you to focus on a couple of things. So first, I'm going to pick a little bit of cadmium yellow over here. You can use any yellow you have any medium yellow that you have. Somebody who do already. And I'm going to apply a over here straight. I already explained the water ratio. So that's all there is. Would leave a spot right there, cleaning up the brush. And now I'm going to blend it a little bit depending on the tissue, just like that. And now let me just quickly began to treat their water. Nothing to worry. Very simple approach. Now here and here we are trying to add a touch of Brown in the dialogue itself. I'm using burnt sienna. You can use anything that you have and it's all fine. So somewhere here, somewhere there. Just like that. And if we add a little more water, will just add the kinda of a here. Just like this. Just like that. They recur quite simple. And now it's time to connect it. Just like that. Now what we'll do is we'll take a touch of yellow mixed with Brown. And we're going to add, so right about here is like this. We're going to clean up the brush and the lift pigment. So automatically they'll blend. And the color that they are going to create. That's more than enough for us. Just like this lady, go. Quite good. Blending it in, blending it over here a little. That's what it is. Now. To the next one. Pushing up yellow again, drop of water. And look at this. I'm just gonna glide like so focused on my brush stroke. I'm pressing it fully. Dead. Very simple. And now again, I'm Sienna touch I've, you know, and I'm going to add over here, just like this. Very simple. Now let them blend and let them do whatever they want to do. Then we have it. It's almost finished. Actually. Here. We can add another door, which is the three dawn. Just to give you a little more idea. There, that's it. Let them blend that the Korean, whatever they wanted to create. Now it's time to get some highlights. Now I'm using a brush to get the highlights done. If you want to use a tissue, you can definitely do it. But if you use a brush, it'll get a softer highlight. Now, I'm mixing green onto the yellow I have on the ballot, which is viridian wet. Simple. Touch up here. Again. I'll get a brighter green. Just like this. Take a look. And they're gonna bring it over here. And now what we'll do is we'll try to add a little bit of dark tone. Very simple. Focus on the brushstroke. It's just gliding. The don't have to wait for it to happen, but you just have to glide them. Likely an easily not it during docked on, I'm adding Muncie and under the green, more green, more green. Touch-up, burnt sienna. Noun, add the shade. Just about. Here. There we go. Very, very, very, very simple. So half dark and half light. Just like this. So now I'm going to use a tiny brush to do some adjustments. I'm going to add more brown to it. Touch off cobalt blue. So it could be a dark, thick greenish color. And I'm going to add a line like this, maybe a line like that. Basically, we are done cleaning up the brush. I'm gonna pick a touch of Brown. Just a little. And I'm going to add right here. Copy of touches. Coupled flights, which are quite dry, and we are good to go though. Anything that's actually the real. Now, I'm going to do the shadows a little bit. So I'm adding a little bit of cobalt blue on top and a touch of crimson. The green got mixed with credit and blue now, and we're going to get a very poor we shadow. Just like this. It's basically neutral but bluish. Which of water. And I'm going to add a shadow just about here. And I have it. As you can see, that looks beautiful already. Maybe a very tiny bit of a shadow for the Leaf. Just like that. That's more than enough. Maybe a touch of bluish shadow for the leaf over here, which is basically the shadow of the lemon. And we are good to go. But now I'm going to use the small brush it up quite enough to lift a little bit of pigment, just like this metallurgy. And again, look at the brushstroke. Very simple way of lifting. Whether this give us and bubble formation and we are done. Should we do something else? Yes. But what do we do? We can add a lot of depth by adding a little more shadows on a little more color. But this is not the purpose. So I'm just going to show you a tiny bit of it just like that. And I think this is more than enough to understand. Let's move on to the next one. 5. Pear- Second Project/ Demo: Okay, so the next one, as you can see, we have a single bear that's more than enough to understand and probably I'll add another one. And that's basically kept on a plate. And if we add two, obviously to honor played. So let's just go ahead and do the drawing. It's a very simple drawing. Just have to follow the structure. Just like that. I'm not going to be fussy about it. So I'm just gonna draw simple shape. Maybe I'll add another one over here, which is behind it. And that's going to be the shadow. And this is the plate. Now. The blade is not really my concern over here. But maybe we can paint. But we'll see that afterwards. Let's just start with the actual painting. Now for this meeting, I'm going to use yellow ocher. So make a very good base d pigment with water that mixes great, rich. As you can see, pretty good. Now. The lighting is this way, the shadows are this way. For this particular course, I'm trying to keep things simple. So now let's go ahead and paint. See, I'm holding it close, just trying to glide the colors. Nothing fancy. We're going to use soft lifting for this. But still, I'll try to keep a little bit of light in here. So I can easily lifted afterwards the midsection. And now take a look at this. I'm using the same color over here. And I'm trying to leave a white spot in the middle. And now I'm going to add burnt sienna and a touch of green cup of water. So that's going to be our doc do not value, which is very simple to apply just like this. And then that touch, touch, touch more than enough. Not let them do whatever they want to do. We are not going to fuss about this one. Touch of water, more brown and green. A little dark going over here and there. That's all to tonal value system. We're not going to add another duck live on top. Now they are mixing. In the meantime, I'll try do soft and this area a little bit. It'll work. Let me show you the tissue technique as well. So we can just take a blame tissue and touch over here. That's more than enough lighting for us. A touch over here, just like that. And now let me just quickly blended properly. And we are good to go there, we have it. And now let's do the next one. Same thing, we are going to use yellow ocher again. Maybe we can change the combination. I'm going to use yellow ocher, a touch of mammalian triple of water. And the lighting is this way. So adopt line over here, over there, leaving a white spot, right? That living awaits launch just about this place and will continue forward. Just like that. Very easy. Now let's make a Docker mix. When do you use a lots of burnt sienna touch of green, just like that drop of water. Now let us see. So this idea is going to be quite dark over here as well. And just like this, we do this more than enough. Now. Same thing over here. I'm going to make a very soft highlight. Just with the brush and blended over here little bit. Just like that. It's more than enough. There we have it. Now. Let's do the shadow areas. I'm going to mix cobalt blue with the same bond Sienna mix, touch of crimson. So things would get slightly cooler, slightly neutralized drop of water. Now remember, we are only doing do tonal value systems, so I'm not going to do any layering on top. For the shadow. I'm touching the edge of the bear, just like this while it's wet. And I'm dragging the color slightly forward. So angle and I'm going to A very nice, easy shadow. There's like this. Now what I can do, now this is optional. If you want, you can do it. If not one, that's totally fine with me. I'm going to make a little bit of Brown with the cobalt blue, slightly thicker, more brown touch of crimson. And I'm going to introduce this that just like this, very simple and drag a line out of it. Like this. If you want it to be brownish, you can just pick a touch-up around 30. Very simple. So we have the lighting which is drawn values to tonal value system. We also have the texture. Now we can sprinkle and we can actually do a lot of things, but that's not really important. I'm going to add some more to over here. Maybe a touch of blue, little more blueberry. And now this is not really important, and I'm just gonna do it. And that's the dark area which I'm trying to paint. And I'm leaving the White as automatic highlighted areas and we really don't even have to touch them. And the blitz shadow, just like this. And holding it glows as you can see. And dragging the goal is very simple. It's just like drawing. So try not to be too much. I am in a what he zone, you know, so don't try to think too much. Here. We can have a lighter value and a touch of water to the mix and do a very, very light blend like so, and feed them just like this. Lifting, lifting. A simple lifting technique will go a long, long way. That's more than enough for me. And now what I can do, I can just make this area slightly smoother, slightly blended, and drag the thing across a little bit. That's more than enough for me. Quite happy with it. Now we are done. And yeah, that's about that. Remember days. Try not to first with too many things. There is a high chance you might ruin it. So less is actually more. There we go. Quite heavy. So we are basically finished with our there also the other ones. Now, let me just talk about it for a while. So will understand and will do a quick recap. Let's go. 6. Tomato- Third Project/ Demo: Alright, so the next painting we are going to do would be the three tomatoes. So I'm just going to draw simple circles. Nothing much. One wouldn't that just one smaller than the first one. And we are going to add another one right here. So we are going to use as this, the shadow side. Then I am going to add some marking hole here. So I can add the stem. Very simple. And now let's start the painting process. So for this painting, we are going to use Chameleon as our main color. Touch of water. As you can see, I'm trying to mix chameleon, lots of Boolean actually. And now we are going to keep the light from the left-hand side. And this is going to be slightly darker. Sound is going to start from here, leaving maybe a little bit of light. As Highlight. Look at my brush strokes. It's just simple. Stroke. There. If I mix a little bit of orange with it, it will be even more warmer. So if you have orange, use, if you don't have, maybe you can add a touch of yellow. Well, it's not really required. I just wanted you to see the change. Now the second tune would be Crimson, which is obviously quite dark. And we are going to introduce Crimson just for the shadow side. And with Crimson, I'll add a touch of brown a little bit. We don't need really that much. That should actually work. And now let's take a look, just going to add right here and let them blend. We are not going to do anything else. Only for the darker areas just like this. Now, let's continue with the second one. This one has lighting over here. That's basically the highlight. Now when you do this tomato as your project, I want you to be slow. No need to rush. Take your time to do an glide your brush like this. Just glide half breast and be patient when you reach the side. Now let's add a touch of crimson. Now, the trick is, don't start painting directly on the white. Touch. The mammalian are little bit and then progress. So I'm going to touch like so at the bottom, the darker Duchess. And I'm going to fill it up. No, we are not doing a layered painting, so this process is direct its symbol. There we go. Now. The other one is actually a little darker than usual. So I'm going to pick this, which is bra million chameleon and a touch of crimson in it already. And this time the light is going to be over here, the highlight. That's more than enough. And it's a simple painting. So normally to complicate the thing, and I'm not gonna use any extreme colors. Now. Let's introduce Crimson, a little bit of burnt sienna, which is darker. And now I'm going to add maybe a touch of green. So the read will be slightly darker. You can use blue also. That's okay. And now I'm going to add over here and touch up here and just make around, no need to worry, Don't think too much. And now as these areas are wet, just like this, Maybe I'll just do a little bit of touch-up, just like so. And we are actually finished with this. Now. Let it dry. In the meantime, I'm going to take a little bit of yellow and a touch of viridian drop of water like so. And simply, if you hold it close and use the dip like I described in the beginning, it would get a very watery line like that. And just connect, connect, connect. Drop the colors in, let them blend themselves. This is practice work. I want you to understand how it works. So I'm not trying to make an absolutely realistic painting here, but I'm definitely going to add a touch of dark, bright there. Just like that little bit of touch up. Just run that water. You don't have to press your brush. Just drop the colors n and let them create their own thing, which is quite abstract as well in the same time. And now drop of water, it doesn't yellow. And I'm going to do this. It's a simple stroke. As you can see. It's just like this. They're more than enough. Can clear all those small nodes and weeks just like a couple of them, more than enough video. Now, let's establish the shadow. We already have the Crimson mix. I'm just gonna use a little bit of cobalt. That's more than enough for me. And now I'm going to Dutch the edge of the border over here, as you can see, which is striking the ground musically and create a linked shadow just like that ligate. Non-intuitive, and connect them. Just like this. A simple thing. Even this much is good enough. Just like that. Linear, maybe a little too much on this side. So I'm going to lifted. There we go. A little bit of a blend. And you know what? We can actually go ahead and do a lot of things on top. But that's not gonna serve the purposes of this course. So I think we are done. We can add a doctor over here. Let me show you how if I did a little more green, which is dark, a touch of burnt sienna with it. I can create this beautiful dark color and all I have to do is drop it at the edge. Only the corners. See the bigger. And we are done. You can put your signature if you want to. Alright, that's done. And now let's move on to the next one. 7. Final Thoughts : Alright, let's do a quick recap. So these are the three paintings which is did, which are quite simple, quite easy, fast, use, yet quite realistic. So the first one, we have highlight over here. Highlight over here. Do simple leaves which are not really detailed, but it was not really required as well. So what we understood was when you add a light color and you add a Darker, blend them together in the middle. While the first light Gullah is rent, they will blend, really cleared their own dishes. So the same thing is with the bears, that last painting we did. As you can see, we have a highlight exploitable here, lighten, dark dawn, which is basically the three tonal value system, like I was talking in the beginning of the course. So overall we have a return value system, but we painted using only two tones, which would be the dark, solely the dark area and the light area. We did a little bit of a hard lifting here. Soft lifting over here, soft drifting or here to create the highlighted illusion. Now, these areas are also highlighted. Little bit of light don't over here, later over here. Pretty easy. Shadows which you just have to connect way the body is slightly vet and the shadow. Brilliant painting. And also we did the tomatoes. Now in the tomatoes, as you'll see, we have a hard lighting over here because I wanted it that way. But it's implementing same technique, same formula. You just have to glide your brushed, hold it close if you have to put water on the paper and if you have to glide it, hold it slightly farther away. And that's all there is. Look at this. We have a late don't over here, over here, a tip to remember when you do light don't end up, don't. You have to make the doctrine slightly thicker. If you choose dark Gallup, but to keep it quite watery, then it will not work. So please do not forget, we have to have a late dawn and doctrine. The doctrine should be slightly thicker than the first tonal value. What, whatever color you choose doesn't really matter. But the dark area should be slightly thicker. So now, what else should I say? Yeah, brilliant bending, brilliant study, pretty good thing to do. Practice to tonal value system studies. So you can progress yourself. Donald value, accurate and realistic system. Now, if you practice the two terminal value system, it's easy to memorize and it'll take you a long, long way. So I wish you all the best. Please practice if you have any questions, any doubts liminal in the project section, and I would be honored if you put your paintings are there. So I can see interview. Alright, the course is finished and I'm pretty sure you learn something out of it. And all I can see is keep practicing, keep honing your skills in a better, better way. Daycare, I wish you all the best. And the water glitazone ticket.