Watercolor Urban Landscape : Bougainvillea and chair by the window

1. Class Introduction: Hey, you guys, my name is bunch of me. I'm a water the artist, and I'm so happy to see you guys here. Taking my class open landscape is one of my favorite subject on I absolutely love to recreate my travel memories on the beautiful places that I come across. He had some off my urban landscape pain base. I presented this class when I paint my absolute favorite, the Bogan Villa, on a simple urban landscape. I have broken down every single step, explaining each and every confidence off the spending below. How to paint Bogan Villa foliage. Simple technique to paint shadow on. Add some highlights to make your painting more attractive. I believe that we can see progress in a scale only if the challenger said on. If you believe the same, then this class is just for you would like to bring their notice that this class is so table from beginners to intermediates on. I'm so, so, so excited to share my fifth sen tricks on and my process on painting this simple urban landscape. A nice fully age of windows, some shadow. So without further ado, let's begin 2. Material required: let me show you the materials needed for the class to 70 or 300 GSM 100% Corton cold Press paper A palette. Watercolors. You can use any shade off red, yellow and green that you have a flat brush or more brush for washes size eight and size for brush on the rigger brush. If you have 40 dealing pencil and Raisa for sketching clean water, paper towel or right cloth to wipe your brush clean. And that would be all about the colors I will be using for this class. Crimson on opera pink You can use any shade off dark and light thing that you have if you don't have the exact same shade. Lemon yellow on Hooker's green mixture off these colors will give me a good shade off light green. Alternatively, you can use permanent deep yellow as well any shade off dark blue, either indigo or Prussian blue. I chose indigo because it gives a deep shade when mixed with green, and I like it. You can mix yellow, pink and green to get different lighter shades if you don't have the exact color amusing. Frankly, that's more fun 3. Color composition: Let's do some color mixing and see if the colors I chose get along well. I highly recommend this exercise after choosing your colors. This allows you to loosen up and get comfortable and confident with your color mixing on a side. Note. Do observe the consistency off the water and paint mixture that I'm using here. Even though you have worked with these colors before, I would still insist on this exercise. I personally always try out mixes before painting. This allows me to plan my color mixes and explore possibilities and rule out unattractive color mixes here, a mixing out crimson opera pink and yellow deep. And I absolutely love this juicy result, adding some water on the paper on diluting the mix to see some blooms. If you do not have opera pink, use any other light pink all just one shade off pink and mixed with yellow to get the lighter tone. Let's repeat this exercise with yellow green on indigo, Amusing hooker's green on greenish yellow. You can use any shade off dark green and light green that you have. Mix yellow with your green and you get a lighter shade. You makes indigo vit green, you get a doctor shape. This is my goto mix, and I always like to mix my greens rather than using it directly from the tube, squeezing out some indigo. Now I just love the mix off indigo and green, and it gives such a nice, shadowy effect. I will also be using brown for the tree trunks. Let's get started with the painting. 4. Lets do some practice : let us do a quick practice on how to paint the Bogan villa foliage. I will show two approaches here. Weight on right and wet on dry drawing. Good off sketch here on the shaded part is for the greens, beginning with wet on dry. First, I will apply the lightest color in the center portion riches yellow on top, off which I will go with pink, such that the pink mixes with the yellow at certain places and blends very well on paper, followed by dark pink highlights. Make sure you do not cover the entire area with just one color, so just dab there, Doc Shade here and there on the light spread as you move towards the bottom. Use darker shade. Do notice. I have left some white gaps, which I will fill with my greens. My first layer off yellow is still wet, which is why I have added some green on top off that yellow mixing my favorite dark green mix, which is green and indigo, applying the same method that we followed for our yellow and pink first paint with light green, followed by dark green, which is mix off green and indigo. I played this dark green on the bottom off the light green patches. This is to depict the shadow off the leaves, moving on to wait on wet. Follow the same procedure as with wet on dry. But the only difference is we went the foliate section first with clean water and then apply paint on top off it. If you're wondering what is the difference in both off these approaches, then here it is. With wet on wet, you will get bigger blooms. On the other hand, the saturation will be greater with wet on dry. Also for beginners, I would suggest to dry wet on wet first, as it is easier to control the water in right on red, you see how we're getting bigger blooms with the wet on wet technique. Next we will add feud, the dealing strokes, off leaves and flowers. This should be done when the first layer has completely dried pain. Tiny brush strokes in random directions to show the floor flowers and leaves. As I said earlier, see how the blooms are better with wet on wet. Let us practice the highlights on one off the practice foliage. Please note, not overdo the highlights. Paint highlights strokes only in few areas off the foliage, so that the first layer off colors is not hidden under these highlights and is seen. Now let's start painting our final project. 5. Sketching: Let's begin from the beginning. I usually refer to portals like Pinterest and Shatter. Stop for sketch inspiration. For two days painting, I'll type indoors and Bogan Villa on the search bar and hits such You will get hundreds off beautiful images to take inspiration from for your sketch. Or you can also help to free image bottles like picks. Obey with copyright free images for you to use. I will be using this image as an inspiration for today's project. I have used masking tape to secure the boundaries off my painting. In the size off eight into six inches. I will likely sketch the outer shape off my Bogan villa foliage, which is the top 1/3 off the paper, drawing some branches and the tree trunks. I will add some thinner branches to and also branches popping out off the foliage. Images off the final sketch are available in the class under the material and Resource section. You can download them and use us reference while you're sketching. This is a sample resource from my previous class, and here is where you can download it. For those who finds getting tricky, you can watch me draw first and replicated with the help off reference image from the resource section. This way, you can avoid multiple raises, a quick sketching tip. Sketch lightly and try toe raise as little as possible. The more you raise, the more you damage the paper sketch over your mistake, and it is on one date lines when you have your final outlined ready, moving on to the window here at its dimensions, I prefer to begin with the center line off the window and build the window panes around it . With this, I can easily control the position off my window on the paper, either at the center or on the top or in the corners. Right now, I'm choosing center off the paper. As you can see, I have four rectangular boxes now to windowpanes, and so does for these pains, adding some details to the window. As you would have noticed by now. There is this little left off corner off the window that iss on top off the foliage. So this is the part part of the window that I want to be somewhere hidden behind the Bogan villa foliage or probably casting a shadow. - Now let me add a chair here. This looks like a place one can sit and chill in the evening. - We have the sketch ready now. 6. Painting layer 1: ready a proportion off the paper evenly with clean water. I like to make horizontal and vertical strokes with clean water to make sure it is evenly wet. Applying yellow to the center. Stretch off the foliage. This is a section which is exposed to sunlight the most, hence using a light on here, followed by Oprah Ping, as we did in our practice session. Blend some think with yellow at places, but make sure you retain some yellow as well, and you're not covering up the entire yellow section. I'm using a size eight article brush here for this first layer off. Foolish because I want bigger blooms and I'm covering a bigger section and I want to do it fast. Don't forget to leave some white spaces for the greens. Now play dark, pinging to the bottom off the foliage, because this bottom is a section which will always be under the shadow. When there is light on top, some dabs off. Dark pink also goes on the top off the middle stretch to depict some shadow. Let's begin with the greens big, some light green on a plate. The white spaces, which we have left for the leave section earlier to paint leaves. I have switched to a smaller brush that is size for brush. Here. I'm using a smaller brush because I want smaller blooms for greens. Also, dab some greens here and there in portions today, picked leaves popping out off the foliage. It's very important that we paint quick for this first layer off foliage. We want the paper to still be with so that we can get good blooms and blends. For all the beginners, I would highly recommend to do the practice session from the previous video, make some indigo and green together darker green. Or just use only indigo to paint the shadow for the leaves for this painting via assuming that the source of flight is on the top. Which is why, whenever we're going to paint a shadow, it will always be at the bottom, - adding some more random patches off green. It seems like my first layer off shadow is a bit light, hence darkening it. Furthermore, make sure that your paper is still wet when you're adding more layers. If your paper has already dried off, then don't add more player. Either You wait your paper again or just leave it as it is. My paper is almost drying at this point. Hence the blooms are not spreading too much. So I think I should stop here. As you can see, I have painted on top off the section off window here I have painted this on purpose, trying to depict foliage which is falling over the window. I want to add a few splatters off pink here, but my paper has already dried. So at this point, if I add some splatters, it'll just look like being dots. So I lot add more Onda move wanted my painting making an extremely diluted makes off indigo or dark blue paint. This is for the first layer off the wall right on a rough sheet. And make sure that it is really light if you don't have indigo than makes very little black toe the shade off dark blue that you have maybe a dark blue shade like Prussian blue. This way you can get a close to indigo color. I do notice the consistency off Michaela mix and see how diluted it is. I'm a playing wet on dry here because I'm not expecting any kind off blooms or ah, any watercolor effect. I just want tohave. Ah, even wash off very light blue. It's okay if the color is not even, but see to it that you do not have any straight lines or, ah, straight creases when you're painting, if you're not confident than please do where theory of it clean water and then apply pain so that there are no rough edges formed. I was black to some drops off blue on this wet wall to get some nice texture. Oops, saying autumn splatter outside the masking tape. I can just remove it by dabbing with the tissue, since it is still wet. Also, painting the first layer off the floor with the very diluted makes off brown and yellow, splattering some more drops off blue on the wall because I feel it's, um, still a little plane, and it can take some more texture, using smaller brush here this time so that I can get smallest plateau while the world rice , Let's pain the window, painting the wooden frame off the window with the light brown. A quick dip. The first layer off wall, floor and window is painted light so that we can use darker colors or darker shades off those colors. Toe pain, the detail ings and the shadows, the window frame hidden behind the Foley age. I'll paint it very loose. Let's paint the window doors, um, mixing dream and indigo For this, I'll be using a more off green and less off indigo in this mixture, testing the calla mix on the rough paper, and I like it. It's good to go making some irregular dark edges with the tip off my brush at the bottom off the fully age, also adding some sports around to depict the transparency off the foliage again, adding some more irregular edges. - While my paint is still wet, I'll either change off light green at the corner off the window door or probably in the center toe. At some contrast, I do not want the color off the window door to look flat. 7. Painting layer 2: Let's move on and add some details to the painting. My paper has completely dried now, so I'll alternatively take opera pink and acting toe paint. The foliage highlights. We have seen how to paint these highlights in our practice video, just beating up a notch here. You can watch this painting off highlight process first and then pass a video to paint your project. There is no particular order off painting these highlights, so you can just go with the flow. Make sure you leave some part off the first layer. As it is. No need to fill the entire for slayer With these flower highlights. I like to leave some part off the first layer, as it is to show the lovely watercolor blooms. As you can see. First, I paint the highlights with opera pink or the light pink on. Then, with dark pink, I paint over it to add some more highlights. Don't forget to add highlights on the foliage falling on top off the window, not just with the flowers, but also when ah, you move onto painting. The greens now paint some leaf highlights. Similar toe war pleaded with the flower foliage at the similar leafy highlights, with greens on the green section taking a darker green mix on da Eidinger docker. Highlight off green. Now, - as I said earlier, do not fill your full age with highlights. Leave some off the first layer as it is to show the lovely watercolor blooms. Even with the greens, I have added only few highlights here and bear that is all. Let's pain the tree and tree trunks with the brown using wet on right here. First layer off the tree is ah to be painted with the life brown, - adding some tiny on thing tree branches here and there, mixing some brown and indigo to get her dark brown here, darkening the bottom off the tree. With this dark mix, my first layer off tree is still wet. I think the tree can be a bit more docker, so I'm repainting over the tree with this darker shape, taking some indigo and darkening the three joints here darkened at the points where the tiny branches meet the main tree trunk, or where the tree cubs just dabbled with, Ah, just a bit off indigo so that just that section darkens because my first layer or my, uh, tree. The paint on the tree is still wet. Now let's paint some tiny tree trunks falling out off the Foley aides say here, - just two or 33 drunks is just enough. Now let's paint highlight on the window. I will lose our dark makes off indigo and green in the ratio off newest one. Painting the ridges off the window pane. The lines need not be uniformly take. You can paint them lose on the lines off your sketch, painting the pain behind the foliage with some broken lines to indicate that it is ah, hidden under the foliage. Do know that on both of windowpanes have only highlighted the left vertical line to depict the shadow darkening some section off the window. Here I found the brown is a big to light. That's why I'm painting it again with the second layer off brown. But if you're brown is dark enough, you can just leave it as it is, painting the spot like extension off the wall from which the tree is coming out with the dark blue. Let's pain the chair now. I'm just using lose horizontal brush strokes for the chair, just painting some lines to outline the chair here. Nothing complicated, really. You can just use any color on da pain. The outline off the chair. - Let's take a small break to practice on how to get some texture on paper. Dry your brush first and take some pain. You can achieve the texture easily. If your paper is rough and greeny, make sure the pain makes that you take has take consistency. Paint light strokes on your practice paper till you get some texture like these. My usual practice, while painting with texture, is to try them on a rough paper. First on. Once I start getting textures, I paint on my final painting instead of trying them directly on my final painting. Now let's paint some vertically aligned fixture on the floor. Make sure your pain consistency is thick, meaning less water. And if your paper is not rough and grainy and you find it difficult to get textures, then just paint something distant line instead, off textures to depict the tiles on the floor with some clean water, I'm blending the browns near the wall, adding some indigo to the bottom off the wall in that little section off to horizontal lines. It's all right if some off the indigo bleeds into your brown now, take something and that something spots on the floor to depict the fallen flowers from the tree, adding some more highlights with indigo. I'm using dry paint again to get some nice texture, however, adding these textured highlights is optional. But here are the things you definitely need to do. Highlight the pot and then darken the end off the wall on both sides off the part with indigo or dark brown. At this point, your paper would have completely dried painter irregular rough on a broken line so that the line blends in the painting and does not look too perfect or are adding DACA highlight right under the port. To art some perspective, it has to be darker than the ends off the wall. Next we prepare to paint the shadow. I have mixed a light consistency off indigo, but it needs to be darker than my first layer off light blue wash on the wall. This mixture looks too dark, so I'll add a few more drops off water and diluted. This looks just perfect. So now let's paint the shadow 8. Shadow and detailing: Okay, guys, via the last part of this class, adding the shadows. So let's begin with the chair with pencil. I'm drawing some light lines just for my reference, but the shadow need not perfectly match with the size off the chair for this section, you can watch me pain first, pause and continue video painting because we're painting wet on dry now on. Do you can take your own sweet time if you notice I'm not painting the shadows for each and every line off the chair, it's OK. If it's not 100% accurate, just enjoy the process. Oh, I did a mistake there, so let me just grab a tissue and try to remove that extra line. But these mistakes are often part off the process. We can overlook them when we look at the bigger picture. All I have learned over time is not to stress much on the mistakes, but to be happy without progress, beginning with the foliate shadow on painting some random patches, make sure to leave gaps as well. Again, I would suggest Observe me pain. First pause and then go ahead video painting. - I want to stress again that you have to leave these white caps. When you paint these shadow patterns, these white gaps are what brings the shadow to life. - Oops , my mixes too dark. So I'm just adding some water to it. As I mentioned earlier, my light source in this painting is on top corner the top right corner, which is why my shadow will follow the size and shape off the foliage, moving down to the bottom left. Here, I'm painting the shadow out off my imagination, but you can always use reference picture till you get a better understanding off the concept, darkening this area under the window to add some perspective. Now we need toe. Add some dark shadow on the windowpane, which is right under the foliage user Dark mix for this at some shadow on the white curtain off the window with the later mix. Also, some dark shadows sports on the windowpane as well. Notice how I paint shadow even on the wooden frame off the window. I want to remind you guys again to leave gaps while painting the shadow off the foliage, adding some more dark shadows. Sports on the windowpane now and try to keep it minimal, adding some more dark highlights toe portray the shadow behind the window pane. This is the thin strip off shadow that I have added behind the right window. Now, at this point, my camera turned off for like, two minutes because of some technical glitch. And I'm so, so, so sorry for so to compensate with that, what I do here is there are three highlights that are actually missing in the painting. One is, um adding these are dark. The doctor windowpanes. Here s so what I do is I paint this or alternatively in in the practice sheet, you can follow the same in your final painting. So this way you know what? My process waas and it won't be a mess. There another thing. Waas the highlighter that is in the corner, off the window. The shadow. This is missing at the same time. The shadow off the three. I's a part that is missing. Barto. Never mind. Um, further in the video, I'm going to show you how to paint this in an alternative sheep or just repaint on this so that you know how you can do it. Now let me show you how to paint the section on the foliage falling over the window on a practice sheet. The doctor color in my case, indigo pain the bottom off the foliage with uneven edges like we did earlier. While painting foliage on top off the window pane. Fill in the bottom section with indigo. Now add some sports with indigo here and there to show the parts off the window that can be seen through the foliage. The concept is called negative painting, which we are using here to highlight the foliage falling on top off the window glass. And just like that, we paint their top two window glasses with the very diluted mix off indigo, paying the shadow off the tree. Next, let's pain some design on the window curtain. Make sure the paper is completely dry. You can use any color you want. I will be using brown paint the design with very 10 strokes. We do not want the design toe pop out in the entire painting, so it has to be as light and as often as possible. If you're not confident, toe paint within strokes, then just go ahead with simple design like just add a few dots. You can also paint Vertical lines are big checks, so just go ahead and do your own design. Last few highlights with Jelly Roll Pen Alternatively, you can use whitewash or writing or even take white water color paint. I didn't think lines off white on the windowpane. If you don't have jelly roll pen, then please keep this as the lines need to be wary. Tin on it is quite difficult to achieve this with brush. Some white highlights on the tainted black Glance toe show the shine. Some more white highlights. Just watch and follow, marking these branches where they connect to the tree, adding some bite dogs on the flower like factor. And we painted on the foliage at these white dots only on their dark pink patterns. Great job you guys are final. Painting is ready before peeling off the masking tape. Make sure your paper is completely dr Toe, a white fading off the paper. To be extra cautious, dry the edge with hair dryer if needed. Step back and look at your painting, doc, on the highlights at places where you feel it is light. I hope you guys have enjoyed the class and I'm really, really looking forward to see all of your class projects. Hesitate to get in touch with me with all your doubts over my instagram handle, brush, paint and everything. Or you can just start a discussion in the skin shop class itself. I definitely clear all your doubts and you can also help other fellow students on day. One more thing that ever like to tell you, is pleased to leave. And feedback on this will help me to grow as an instructor 20 once again for taking this class until next time Goodbye.