Transcripts
1. Class Intro: Hello, I'm Daniella melon and author and artist. Today's class is a very interesting one. Combining love of history with moderate or IRC. A student requested a class on Egyptian images. Miss intrigued me. I'm a researcher by nature. And this topic brought me full circle to an interest, which is ancient artifacts. Today's class is the first and the artifacts series focusing on ancient Egyptian images. Egyptian art is at the crux of history. And today's class is my tribute to its magnificence. Today's class includes the steps to create five beautiful images. Some will be created to look as if they're made from stone, while others with gold. And some as if they're etched into a stone surface. They're relics that have survived for centuries. I've included a class supply list and class template with all the images that you can download and trace. Then follow along as we paint them. Not only will we be sketching, then painting the images of the symbols and objects themselves. But we will illustrate them as if they were found on an archaeological dig. I'll show variations on how to modify the templates to make them appear chipped, warned, and aged. So gather your supplies and join me for this fun class.
2. Class Supplies: So here, the supplies that we'll use for our ancient artifacts class today, we have the template and I have all the images that we'll paint in class today. The images on the template are complete and you'll just trace them. But I'm going to modify mine and I'll show you each of the modifications before we start painting. Because their artifacts, I want them to look like they were found or buried or lost inside a tomb and recovered. So they will look maybe a little chipped or missing some parts or dirty or scarred a little. And that's the look that I'm going for. You don't have to follow along and do that look yourself. But I want to show you a technique in case that's something that appeals to you. But if not, you have the complete images here. Each of the images I'll paint onto a piece of five by seven watercolor paper. And to do the tracing, I have a light pad, but any light source like a window will work. I have a pencil and eraser to do that tracing. And then I have my watercolors. Now I'm only using six colors. Try to stay true to the way the ancient Egyptians did their paintings. They used white and because it's watercolor, we don't need a white, black, blue, green, yellow, and red. So I used a parallely read, a deep yellow, a dark green, a cobalt blue, Payne's gray here. To make it look like artifacts, what I like to do is incorporate a lot of brown into my work. So I have three Browns that I'll use throughout the projects. I have a set via a burnt sienna, a yellow ochre. Now you could also, if you happen to have metallic watercolors or metallic paint pens or anything metallic and you want to incorporate those. The Egyptian artifacts lend themselves beautifully to bat. I won't be using them today, but this is a great way that you can use those really fancy and gorgeous colors. In the next chapter, we'll go over using the template.
3. Using the Template: Now I use my template, I printed out, and then I take it to a light source and eliminated window would work. A piece of glass with a light bulb underneath or this little light pad, which I find very handy for tracings. So I simply set my template on my light pad and then I take the paper that I'm going to use and I choose the image that I want to trace. I illuminate the source. And then I put my paper on top of that image that I want to trace. And so the first thing I'll do is find out where I want to put it, where I want to make my tracing on the paper for the actual placement. And then I'll go around and just very lightly make my tracing trying not to etch the pencil. Because right here I'm going to erase the pencil eventually. So I'll make my Tracing, adjusting the paper as I want. And then once I have my image complete, I'll take a look and see if I want to make any modifications. And here's where I would modify it. So the image itself is just line art. And if I want to make it look like the hieroglyphics, I could really remove some of the detail work. But the Egyptians were quite talented artists. So I think you can get away with using a lot of detail work. You can make this painting look like it was just a hieroglyphic and a wall or you can actually paint it with color and inlay. So and that's what we're gonna do today. Make a rough shape around my image. And I'm going to try and make this look like it was just a block or a chipped of a block. And so I can really play around with the shape. And once I have the shape of the block, I'll erase any extraneous pencil marks and they will have the block on some of the other images. I have altered them slightly or made them look like. For example, this NC, I tried to make it look like it was an amulet. And I'll show you those techniques before we start each of those paintings. And the next chapter, we'll start our paintings.
4. Ankh: So for our first painting, for doing the ANC, I've traced it onto my watercolor paper. And then I decided that I wanted to make it look like it was an amulet, maybe something found in the dirt on an archaeological dig. And because of that, because it's, instead of being a hieroglyphic, it's going to be an actual three-dimensional object. I gave it a little dimension. I just took my pencil and created a bottom piece. So for that, I took all the points and brought them down and then just made that into three-dimensional piece to make it further a little more interesting. And again, to look like something, an artifact, I created like a little chip here in there. And I'll do some other techniques with watercolor. You could add more chips, missing parts as you like, and just erase gently those parts that you don't want to be part of your amulet. So I've altered my template by creating the three-dimension. And I added like a little missing parts. And lastly, because I want it to be an artifact, I'm gonna make it out of a precious stone or a semi-precious stone. So I'm gonna make this out of a bluestone like a turquoise. So to that effect, I'll mix my color. I have a number six watercolor brush here. I'm gonna put a little water on my palette and take a little of this cobalt blue that we have. It's a beautiful medium blue. Then I'm gonna take a little of this deep green and I'll combine the two to get a turquoise color. And right here it's a little more green than blue. So I'll add a little more blue to that. And then I'll just add a little blue to the other green, so I get a few variations. And lastly, because I wanted to look like an artifact, I'm gonna take a little bit of this Payne's gray on my palette. And I'll also wet some sepia. So I have all my colors at the ready. And for the entire painting, I'll leave these colors on my palette and just really wet them or add to them to make them for the different layers are readily available. First thing I'll do is I'll whet my brush. And I'm just going to whet the top of this ANC. Now I'm gonna switch to a number one brush, a nice small brush that I can control. And I'm going to pick up that blue turquoise. And I'm going to fill in some of this color just in sections. I'm really carving out the top shape here. And I don't want any straight lines. So I'll dip my brush and water and blend out any areas so there are no straight lines. And I'll continue this all the way around the top of this ANC. I don't want this all filled in with this blue. I want there to be Variations. And I also want there to be some spots that are left white, the white of the paper. And that's really just for a highlight on this watercolor illustration. So I lay down my blue from the turquoise blue. I'll go in there with a wet brush and blend out any edges. And then over here I might just pull a little bit around to create that shape and various areas. Now I'm going to take just a little bit of the green turquoise that we mix just a little bit. And I'm going to deposit that in some areas up top here. Again, I'm working on creating the shape and I'm creating a little bit of a color blend as well, where the two colors will meet. And in just a few areas. I'll go and get my brush again, pick up a little of the blue on a water down, brush and blend out those areas. Again, I don't want harsh edges anywhere. And then I'll rinse my brush so it's all clear. Remove some of the water and just blend out any areas. And then I'll let this layer completely dry.
5. Ankh: Layer #2: So now for our second layer, because I'm trying to add dimension to this piece. I'm gonna use my small number one brush. And I'm just going to add a little bit of water and wet the base each of these sections and leaving a little bit of white between each section, as well as the base and the top of this amulet here. These are very small areas, Tsongas taking it slow and saturating that paper. Then I'm gonna come in here and I'm gonna start with my Deep Blue. And I'm just going to create the shape. I'll go right on the bottom. So I have my base and they'll do the same thing over here. And again, I'm just trying to create the shape, looking to get that nice edge. And I'll do this all the way around. I can leave some spots undone. Think having a little bit of white from the paper is actually a very nice look. O in there with a rinse my brush, remove some of the water so it's damp and just move that pigment along. And then this last area here. Now I want to take a little bit of that green turquoise that we mixed. And just to posit that in a few places, if I put it down on the color, we just put down, it'll run. Create a little blend. And I'm not going over all the areas we put down. Just some of them make sure that it doesn't look all solid blue. But I'll use this to smooth out any lines on the edge that are there. When I'm happy with the way that looks, I'm going to start aging my piece. The little water on my brush. I'm gonna go in here with the sepia. And I want this to be controllable so I don't want too much pigment here, nothing dripping on my brush. I'm just going to come in and dab a few spots with the sepia. Adds a little bit of an age look to the peace. The areas that I really want to make sure that I get with these darker color are the areas where the dirt would really congregate on an aged piece. So right on the edges, the intersections. And I'm really just sticking to the bottom of my piece right now, not worrying about the top piece that we put in yet. I'll come back in, remove all the water from my brush, take a little of this blue and just deposit it in a few spots are the posited over that dark color. And I'll do the same thing with the green. Just a few places. I just wanna make sure that that blue is really the dominant, or that turquoise is really the dominant look that we're going for. And I'll let this layer completely dry.
6. Ankh: Layer #3: So here we have our basic amulet. Now I want to start adding an inclusions and different parts to make it really look like stone. You can stop here if you want, but if you want to continue, here would be a good time to use maybe your metallic, your goals. And you can use this technique for any of the illustrations, but I'm just showing it on the ANC today. So I'm going to take a wet brush, removes some of the pigment, and then just pick up a little intense sepia. I want to remove a lot of the picnics. I want to be able to control it and have a very sharp point. And I'm just adding a little bit. So I'll start by just adding a few dots here and there. They don't even have to be dots. There can be little lines. These are to look like a little inclusions that you'll find on a piece of stone. And I like to add them in all the different sections. Not so overwhelming, but just because it adds a little bit of texture. And look to our piece. Then I'll take a little more of the sepia and again, I'll remove it from my brush because I want the sharpest point I can get. And then I'm going to create just a few little cracks and streaks in the stone. And I'll go back, add more pigment and sharpen my brush. And so when I add the cracks, if it's on a piece that goes down on be sure to make sure the cracks continue down a dimension. The cracks don't always have to have veins, but they can. And you can just have a nice thin little crack here in there. Like a real stone. Once I have a few, and I'll just continue to add a few little dabs here. I'll go in and rinse my brush. And I'm gonna do the same thing with that blue color. It won't show up quite as heavily as our sepia texture, but it will dry and add an element to it that is very interesting and intriguing on the I. And there are some areas that I can add quite a bit of texture. I'll add a few little streaks here and there. Again, I want to make sure that that brush is nice and sharp so I dip in my pigment without having too much water on my brush. And then I roll it around to sharpen it. And the last thing but it take that green turquoise. And I'm just going to create a very nice outline to the top of our amulet. It will dry, light it, but it will just give the edge a little more sharpness without looking like there's a line there. And go back in. Because we left that little spot, a little white spot between the dimension, the background of this amulet. It's a nice look. And here's where I connect the bottom pieces here. On this area that's chipped, I want to go in there with a teeny bit of septa on my brush and really make that chip darker than the rest of the amulet. And that will really emphasize the imperfection and it will do the same thing on this little missing area. Maybe you have a few cracks coming out from it. And there we have our finished piece.
7. Painting the Eye of Horus: For our second illustration, the Eye of Horus. What I wanted to look like is that a piece of the hieroglyphics, the etching came off the wall. And so this is going to be painted the actual eye itself. But the wall, the area behind it is going to be left stone color. But I'm going to look, we tried to make the eye itself appear that it was raised but also painted with different colors. So with my number six brush, I'm going to start by painting that stone, that area behind the eye. So I'm gonna just what the area behind the stone. And this area in between the upper eye and this area here, the swirl, the Eye of Horus is supposed to look like a Falcon I of human and Falconer combination. It's kind of an interesting, there's a lot of history to that piece. So I'm going to mix my color here. I'm gonna take a little yellow ochre on my palette. Will sepia and just a little cobalt blue. Now play around combination, adding a little sepia. And then to that piece I'm just going to drop in this pigment. It's a light color and that's the look I want. It's not quite sandstone. That would be a little more golden. But I'm just going around the pencil drawing that we have here to create that shape. Now I plan on painting color between the eyebrow and the eye, but not over here. This part I wanted to look like it was etched onto that wall. So I add my color. Then I'm gonna rinse my brush and just blend out any areas just so there's no harsh lines. I'll come back in with a little more yellow ochre and just deposit that. In some areas. This gives a little variation to the stone. And it kind of implies the sandstone, We have a little of that warmth and a little water to my palette. And just make this Color blend almost like a glaze, except we're putting it on wet pigment already. And once I'm happy with that, I'll set it aside and let it dry.
8. Eye of Horus: Layer #2: So just to continue with this piece, I'm taking my number one brush and I'm gonna take whatever's left and there's pretty much nothing left on my palette here from that color remixed. But I'm gonna add a little separate to that in a little more yellow ochre. Oh, my dry paper that take my brush. And I'm going to create just a little depth. And I wanted to look like the light is coming from the top here. So therefore we'd see this side and the bottom. So I'm just going to take my brush and I'm going to eyeball just a little bit, quarter-inch or so. And I'm gonna mimic that shape. And because this is supposed to look like a piece of stone or rock, it doesn't have to be perfect. And it's actually preferable to not be perfect. So I'm just going to add a little bit of pigment. After I've made that line a quarter inch or so below. I'm just starting with the base. I want to leave a little weight at the top. Now I'll go in and take just a little of the SEP, EA by itself and just pull that on the bottom of the stone, creates a bit of a shadow. As well as really emphasizes that base and that depth. I won't go over all the areas. And like I said, I don't want to create a straight line at the bottom, but I certainly want it to be evident that that's the base of that stone piece. Then I'm gonna take that original color we had. And I'm gonna do the same thing here. Now because I want this piece up top to have that rounded edge. This is where I'll go and I'll start first off by my making my little borders. And that gives me a guide. So I'm going to start my shadow bout here. So again, I go approximately a quarter of an inch and I can always extend this if I want my piece of stone to look thicker. And then I'll take that color and build it up, leaving a little bit of space of white here on this dimension. And I can come up to here, continue to build it up. Now I'll go in there and add my color. And they'll come in with that sepia. And I really want to emphasize the dark color at the base. And just a little bit around up top here. And I'll go in with a sharp brush and just add some color here and some texture. Once I have that, I'll take a little more sedia and mix it with whatever remains of my pigment. And I'm going to create just a few little thin lines like little vines from the stone. Just a few. I want them to look like a little bit of cracking that you'd see in an ancient stone. And then I'll take that same color and I'm just going to add little specs. Can also outline any areas I want to emphasize. To really sharpen this piece up for now. But we're gonna go in there with a color. So I don't want to do too much. And I'll just make my little dots, little imperfections in the stone. And I'm really playing up the blends and the color variations that we got with our first layer. And I liked the way that looks, will come in and make more later. But for now, we'll leave it just like this. And will at this layer, completely dry.
9. Eye of Horus: Layer #3: So you have to start painting are Eye of Horus. I'm gonna start here with this little gem stone in the I. I went up to look like there is a Redstone, like a Carmine stone. So I'm gonna put some water on my palette. And I'm gonna mix too little puddles here with this parallel lean red. I'll rinse my brush. And now with a one I'm just going to take the smallest amount of green and mix that in with that red. And that will make that red very dark and very earthy. And I'll just continue to play with the variations until I get that look that I want. Then I'll take a little of this deep yellow in with that other puddle and mix that in. And here I'm going for more of an orangey color. So once I'm happy with that, I'll take my wet number one brush and just wet the center of concentric circle like a doughnut shape. The center of that, I pick up that deep red color. Starting at the top left here, I'm going to create just a deposit of color, pigment here. My goal is to create that shape of the eye. And I want a little bit of a highlight and natural highlight left on it. So I'd say I have a little more than half of the I outlined and about half of the I colored in a rinse my brush, remove the water and pick up that orange. And now I want to make the rest of that I, that shape. With that orange. I'll come back in, pick up that red and deposit it. Again. I'm really playing with getting that shape of that eye painting right over those pencil marks that we created. And then I'll come in here and take just a little bit of this deep yellow, mix it with whatever's left over the orange on my palette. And deposit that in. Take a little more of that red that we mixed. And then it would take just the smallest amount of sepia and deposit that at the top and the bottom. And I'll let this layer completely dry.
10. Eye of Horus: Layer #4: So now in the, I, I wanna go here in between the eyebrows and the i kind of the eye shadow area. So if you just take my number six brush and I'm going to wet this area and look at a wet it completely. I'm going to leave some dry spots and I'm going to leave a little space between the two areas here, the brow and the eyeball and middle switch to my number one brush. I'm gonna take some yellow ochre right on my brush and I'll mix it with whatever's left on my palette. I'm not really going for a different color. You can add a little sepia to that if you'd like. And then I'm just going to create that shape. So I'm going to leave just the smallest gap between the eyebrow and this area here. And I'm gonna put down that yellow ochre. And I'm going just to create that shape. And then I'll fill in with some pigment, whatever remains on my brush. I'll flip it over and I'll do the same thing. But this time I'm avoiding the eye area. So I'm just creating that shape, leaving a little gap. And then I'll fill in with pigment. The area here. I'm leaving a lot of white showing and I liked that look. If you don't care for that book and you want to fill it in with color. Go right ahead. I think it really plays on the watercolor aspect. I'll rinse my brush and I'm gonna take some of this deep yellow, put it on my pallet, actually mix it with whatever we have leftover from that orange and just deposit it in a few colors, a few places. Not trying to make this look terribly yellow, but I do like the warmth of BEC gives. And then I'm gonna come in here and the Cepheids. And I'll read what the sepia put it down on my palette and just really sharpen my brush. And I'm just going to deposit few little areas of this color. And really what I'm going for here is just the darkness, the age look. From that sepia. I'll rinse my brush, removed most of the water, and just blend out any edges that are too harsh for me. And I'll let this layer completely dry.
11. Eye of Horus: Layer #5: Before we add color to our brow and the eye area here, I went to work on that area that appears to be the white of the eye. We know it's not going to be white. And the Egyptians may have colored in white, but through time it will have age to be either a beige or gray. So I'm gonna go in there with my number one brush and clear water and just wet that area. And then I'm going to take a little bit of this Payne's gray on my palette, mix it with some water, so it's a nice light color. And then I'm just going to deposit it in the corner of the eye on both sides. And I'll go around the eyeball just to create the shape. I want a very light color. And I'm just working on taking that paper from being white to just having a few shadows. And I'll let this layer dry and we'll come back and work on adding a color to the eyebrow and the coal of the eye.
12. Eye of Horus: Layer #6: And now we're starting to see r i come together. It's starting to look like an actual chipped off artifact. So to work on this eyebrow and this eye area, it's very ethnic and very detailed in just a beautiful, beautiful piece. I want to go in there with my number one brush and I'm going to wet this area here beneath the I. And I'm also going to wet this little swirl. I'm only working on wedding the center of it and leaving the edges dry. And that will give me control to create the shape that I want. And I'm going to mix my color. Normally this would be done with coal on the Egyptians, a dark brown and you could use that. But I'm going to try and make it a little different, a little artistic. So I'm going to make it into a purple. I'll put some water on my palette. And then I'm gonna put a bunch of cobalt blue. When a nice amount of pigment here. They'll rinse my brush and pick up some of this parallel in red. And I'm going to combine it until I get a purple shade that I like. If it's not dark enough, I can add Payne's gray, but I'm pretty happy with the way it looks. Now with a very sharp point on my brush to control it, I'm gonna leave a little gap between this little section under the eye and the eye itself. And carve out that shape. And I like to leave a little bit of dry area if I have it. All sides here. And as you can see, it's kinda running into the eye area and that's okay. I'll just take my whatever's left on my brush and pull that pigment. I want some of it to stay highlighted the white of the paper. And I can go in there and blend out that line. And that's very nice. First layer, I'll take a little pigment on my brush, not too much because we're working with a very thin area here. And I'm going to start closest to the eye and pull down on the swirl, creating that shape. Again, I'm leaving a little border. We can always go in and fill it. Little white of the paper. And I'm continuing to fill that as I go. I'll dip my brush and water, removes some of it and just come back in. Really create that shape. And I'll continue all the way around this swirl here. When I'm happy with the way that looks, I'll go in there with a little sharp point on my brush and clean up any edges that remain. And then I'll just go in there and deposit a little more pigment here in there. Just to add some intensity in some areas. And I can clean up any thin areas by widening them. And the same thing over here. I'm going to leave the color on my palette because when we come back, we'll work on the brow as well as the eye. But I want to let this layer dry so that I'm not smudging it and I have a little more control.
13. Eye of Horus: Layer #7: So now that this layer is dry, I'm gonna come in here and worked on the top of the brow with my number six brush. I'm just going to put not too much water, but just enough water to wet the area. And then I'll switch to my number one brush. I'll re wet the water here and the pigment on my palette. And then with that sharp brush, without too much pig mix, I want to be able to control it. I'll start to create that shape. And I'll pull that all the way around the eyebrow here. I'll add some areas where I'm starting to fill it in with whatever's remains on my brush. And then I'll continue. Just to create that shape. I like to pull in with short strokes as I go. Once I have the outline of that shape, I can go in there, wet my brush and blend out any areas so that it looks more water color unless painterly. I'll take my more watercolor pigment on my brush, make some areas a little more intense than others. Cause a nice blend here. And then I'll work on the top here. But to leave a little gap between the top of this little eyebrow. And I'm going to pull my color down, following the lines. Just as a guide. You don't have to do this. And then I want to fill in an area just leaving a little space. Just like that. I'll take a sharp brush and just connected on either side. And then areas where there was a line. I want to connect that as well. And I'll just gently work pulling my color down, leaving a little gap still. Between both sections. I find that's an effective way to prevent a coloring book image. While I'm here, I'm going to do the same thing to my eye, but I want to work on dry paper instead of wedding it. This is the area that I feel is very crucial to creating that effective shape. So I'll just go all the way around creating that shape on one side of the eye. And they'll pull pigment, thickening that line as I go. Here's where I can make any corrections. If I made the area to thin with my sketch. Again, I like to start on one side of that eyeball. And then I'll put my paper around work on the other side. Just filling it in, creating that shape. Not worrying about blending those colors just yet. But once I have that shape, I'll rinse my brush, wet it, remove the water, and then just work on creating a blend here. Just pulling that color softly and some areas. So it looks more faded and leaving a little white of the paper still. Now we're not quite done with the eye, but it's a good time to take a break right here, especially if we're happy with the way this is starting to look. Well, let this dry and we'll come back and finish it.
14. Eye of Horus: Layer #8: So now to finish this piece, this is when it takes time and this is really about doing something, evaluating it, re-evaluating it. And I'll just show you my process and you could continue this as much as you like for your own. I'm going to continue this by finishing that I first. So I'll go around this I here. And I'm leaving a little gap between the top of the eye, the liner and this eyeball here will do this on both sides. And I'm even leaving a little gap between the inlay here, little gemstone we made. I can always go back in and change that if it's too thick, but it's hard to remove if you overdid it with paint. So I'll go around both sides. And I'm liking how that's looking. I can go in here and modify it further. And I want some areas to be more intense than others with pigment. Just like this and I'll fill this out a little. And this is what I mean by the evaluating and re-evaluating the area. Well, I have this color on my brush. I really want to emphasize the texture and the dimension here. If you remember, when we use the template, this had lines. So I'm just going to really create those lines with my pigment here and emphasize the shape of the top of this piece. And I'll do the same thing down here. This headlines like this. Now I like to add little lines to the eyes. Here. Are the eyeliner here. Gr I create little sections. Feel like it's an interesting piece. It looks man-made. It's obvious I'm not trying to make a human eye or a falcon eye. And the color will dry lighter. And lastly, to really pull this piece together, I'm going to take some sepia on my brush. Now I don't want a wet brush. So I'll rinse my brush, make sure it's clean, dry it, and then just pick up pigment. And I wanted to just go over a few of these cracks. The very sharp point, really emphasizing them one more time. And by going over the layer that's already there, it adds a lot more interest and makes it a little more authentic. I also want to create a few cracks on this piece here we add a dimension two. And then I want to add a few cracks in a few dots to inside the eye area here. So it looks like it was painted on that same stone. Can add a few inside the eye. And lastly, I'd like to add a little more intense color. And I go around this inlay of the stone here to make it really stand out as a stone. And I'll just pull that, those veins and really want to emphasize the AI. So I'll just underline that with the sepia. And there we have our completed piece.
15. Painting the Shen: For our next painting, we have the Shen, which is a round circle symbolizing eternal life. And they usually it's held up on a post here, a gold piece, and it's usually held by Horace. But if you look at Egyptian art, you'll find it in a lot of places. It's really subtle and I don't think it gets as much attention as some of the other pieces, but it's quite beautiful. We're gonna make it into an amulet and we're gonna make it look like Carmine stone is in here. So to do that, I want to create that three-dimension. I wanted to show you how I go about doing that. I create those lines straight down the piece here. And I will also go over this little area here that's the rope, just like this. And then I want to go over this circle as well to make it look like it's three-dimensional. So there I've created my template, making it 3D. I'll go in here and tidy up any images and a pencil marks just so they're, they're, they're not so pronounced. And now we can start our painting. I like to start painting the outer edge. And this would be a great thing to do if you have that gold metallic paint. But if not, we'll show a technique to get kind of a foe look. So I'm painting just the top of the shen here. And I'm going to take some of this deep yellow and put it on my palette. I'll make a second puddle next to it. And I'm going to add yellow ochre to that. So I'll take the yellow ochre and I'll put it down, creating my shape all the way around, leaving some gaps of space. And I'll take that yellow and put that in as well. Come back in. Just like this. I'll come in here, take a little sepia and deposit it in certain areas. And this will make the a p start to turn like an actual antique gold. Just in some areas, the dominant colour is still that yellow. Just like that. I'll clean my brush, take that yellow ochre again, and fill this area up top here, leaving a good space between it and the ring. And down here as well. And then I'll do the same thing over here on dry paper. I'll just fill in the top of this with the yellow ochre. And then I'll come in and add a little bit of the deep yellow to that. So we have our first layer down. I can come in here on the bottom to make this three-dimensional and add some of that deep yellow. Again, I'm leaving a lot of white showing. And then with a yellow ochre I can go in and some areas. I want the base of the dimension to be the deepest color. And so then I'll just take a little of the SEP IA and make sure that that blends right in. And that gives a nice little shadow. Don't need very much of it. And I'm going to the very light hand on my brush. But I like the way that looks. While I have that sepia on my brush and it's very faint, I just want to come over here and add it to this area. This is actual rope tied around the bar here to hold it into place. So I want that to be a little different color than our ring. And I'll let this layer completely dry.
16. Shen: Layer #2: So now I want to fill in the second piece here, the center of this Shen with Carmine gem. If you want to fill it in with a Carmine gem, you don't need to do this three-dimensional piece back here. I made the mistake of doing it, but it's easy enough to cover up with next layer. But if you wanted to leave the shen just like that, you could. I'm gonna go in there and I'm going to put water on my brush and just blend it around in the background here, leaving a gap between the edge of the Shen and the center here. I'm also going to go over my piece that I already put down, blending out those edges, making it easier to cover. Because I wanted to be a Carmine stone. You can use any stone. You can use the same stone we use in the first technique with the turquoise. But I'm just going to mix my color. Now you have two ways to do this. You can use that burnt sienna that you have, which is a beautiful orange color. Or you can mix one, or you could use both. So if you don't have one burnt sienna, you would just take your parallely and read, put it down on your palate, mix a little green with that. And then mix them SEP EIA. You'll get kind of a red color, reddish brown. And you can play around the proportions. You could also mix in some deep yellow with that. And there you get more of a burnt sienna. And here's the burnt sienna. It's very orangey by comparison. But by playing around by adding more yellow or yellow, OK. Or you could get that same look. I'll drop in some burnt sienna. Again, not everywhere but a good amount of places on my center of the shen here. And they'll come in with that color that I mixed and just deposit that. It's a kind of a darker version. And I liked that look as well. Again, it's a stone. So I'm looking for a lot of variation and a lot of buildup of color. I'm going to switch to my smallest brush here, and I'm gonna take some yellow ochre and I'll deposit it and letting it blend with my colors that exist. And I'm really liking the way that's starting to form. Going to take some powerline read. I'll mix it in with whatever remains from that first Brown that I did. And I'm gonna put it down right in the shed to get that nice reddish orange color. I'm also going to sharpen the edges and pull it around. It will blend and mix with the brown and the orange and the yellow that's already there. And that's what I want. For stone. I like leaving some areas white. It's a highlight and it adds interest as well. So when I'm happy with the way that's blending, I'll stop and let it completely dry.
17. Shen: Layer #3: So now I've erased the pencil marks and as you can see, the ones that I painted over did not erase for this painting. That's fine because we're going to go over this with more detail. But you can see I have the shape. It's starting to look like a piece of jewelry, which is what we're going for. And this is really looking like stone. So to start this, I'm going to take some clear water and rewetting IPEA. Now the SciPy is a little dark for me. So I'm just gonna set it over here and add a little bit of cobalt blue to it. It'll give it a slightly different look. And I can add more separately as well. But that's the look I want. And with a very sharp point on my brush, by twirling the brush around. I'm gonna go and just outline the shen here. I can correct any mistakes. If the edge is dried on even or if I erased pencil mark that was really hiding an edge. This is the time to fix that. So I'll go around the edge. All right, all the way around the face of the shen. When I have that done, I'll work on this piece back here. And then I'll pull it in and work on the bottom. Again, light little strokes. Want to work on the top here, creating that outline. And then lastly, I'm going to work over here. When I have that bar, I'll work on the bottom of it. Again, leaving an area here for that rope section. And then I'll work on that rope section. Because it has a little bit of rope, it has little dimension on top. And I can go over that, pull it down as well. Pull those lines, and then match them underneath. And I'll create that matching line over here as well. Now I take my water and I really mute to brushstrokes of water, whatever was on my brush. So it's a much lighter color. And I want to come in here and just create a shadow between that bottom bar and the top of our apiece. So I introduced that first muted color. And then with a wet brush, I blend it out. I'll take that same muted color and do that up top here. And on the side as well. And I'd like to do that from the side of the rope. So I introduce one layer of the muted color. And I wet my brush and blending that out. I'll take some of that intense color with a sharp brush. And I'm just going to outline the center here, where that gold rim holds in the stone. So the setting doesn't have to be perfect. And there can be some areas with more intensity than others. But I like the way that looks. I'm going to let this dry and then we'll come back and add some final touches.
18. Shen: Layer #4: So now that our pieces dry, I can come in and add some more touches to make it look ancient, unlike stone, a wet my brush and pick up that sepia. And with a very sharp point, I'll make sure I have enough pigment on my brush. More pigment than water, but enough that I can control. And I'll come in and make some cracks here with very light hand. I'd rather go over it multiple times then make a thick line. I'll come in here and create some, some little cracks in the stone and some inclusions. Just like this. And like to add a few inclusions here and there to really make it look like it's Stone. I'll take that sepia as well. And I like to just go around the rope one more time to really emphasize it. I'll just put a little color out from either side. Rinse my brush. And with the damp brush, blend that out. It'll blend right into that layer we already created. And I like the way that looks. Lastly, I'll take a little bit of Payne's gray on my palette and mix it with that sepia just to get it a little darker. And I'm gonna go right inside the stone here. And this is where all those years, centuries of dust and dirt will be trapped. So after I have my dark layer will dip my brush and water and just blend that out ever so slightly. I'll come around the base here with whatever's on my brush. It's dark color. Rinse my brush and blend it out. Take a little bit up here and just in little sections making it look aged. I could do the same thing over here and those bar. And the key is just to blend that out. The color is still gold. And if you have gold, metallic gold watercolor, doing a few layers of that will be very nice and very effective. And there we have our completed Shen.
19. Painting the Falcon: So here we have our Falcon. For the first layer of our Falcon, I went to work on that background. So we'll just some clear water. I'm putting a lot of water on my background, trying to avoid the falcon. Again, I want to create like a stone background here. And I'm gonna make this one a little more red than the previous one that we made. So I'll take some yellow ochre and a little burnt sienna could also add a little powerline red to that. If you don't have the, the burnt sienna. And now I'm just gonna pull that color just in section's, leaving a lot of white. The paper. I'm trying to go around the falcon. And this brush isn't the greatest one to use for detail, but it does create a very quick wash. Now, before I let this dry, I want to go in there with my number one brush, pick up that pigment and go up-close little gap between the falcon and the background and just deposit more color right by the falcon. And that'll create a little shadow. That area will be a little more pigment did. It's still a very light color. But it will emphasize the falcon. And that's the look I want. Take whatever's left on my palette here and just deposit little sections of color creating that shape of that broken stone. Take a little sepia, mix it in, just in a few areas. Blend that out. It'll give a little darkness to the Stone, a little variation. And it adds interest to our piece, which is what we want as artists. Tilt this around, make sure that those colors are going where I want them to go. And when I'm happy with that first layer, which is very light coming here, this a little more deep depths of color. Oh, at this dry.
20. Falcon: Layer #2: So to start our Falcon, I want to cover in some of the big areas that are simple. So with a wet brush, I'm going to cover the area here on the head and the torso. And I'm just going to start with some clear water saturating that area and leaving a border around the other areas that are going to have more color. I'll also what the legs while I'm here. Not the feet, but the legs. So I'm gonna make a very pale color here and I'll take a little of this yellow ochre on my palette. And I'll make another pile here and just take a little step. Ea, I just want vary pale colors similar to the background. And I'll start. And on one side I'm gonna add a lot of pigment on one of the legs. And then I'll go to the next leg and do the same thing. So the highlight is on the right-hand side. And with the body, I'll do the same thing. I'm going to start right under the wing, adding my pigment, leaving a little white right at the edge here. I'll come around with a wet brush and it's a very soft color and I will just go around the face. Again. I'm trying to leave more color on the left-hand side of where I'm putting my pigment here. Then I'm gonna rinse my brush, take a little of that sepia, and just place it in those areas on the wet paper. And that'll create a little bit of a shadow in a changes the color slightly. But again, it's still very light. And it still gives the impression that I'm looking for. And I'll let this layer completely dry.
21. Falcon: Layer #3: So now I want to color in the feet and the beak with a wet brush. I'm gonna take some of this yellow ochre, set it down on my palette. And I'm going to add a little of this deep yellow as well. And then I'm going to take this color and I'm gonna create the shape of the feet though. Little short, stubby legs and feet. Really focusing on one side and now go to the other one here. And do the same thing. Again, I'm not coloring the image entirely, just creating that shape. And I'll take that same color. And I'll make the outline of the beak. And then I'll add more pigment. Then I'll come in here with a little sepia on my brush. And very, with a very sharp point and very controlled. I'm just going to deposit a little bit of that sepia up top and Let It Bleed around the beak. I wanted to kind of flow out towards the entire beak, but I don't want to color it in myself. And I am going to be very, very light hand. I'll do the same thing here on the feet. And I'm just going on one side. Go underneath of feet as well. I'll come back in and make those sharp little talons. And I'm just going to outline those. Orange my brush, dry it off, pick up little yellow ochre and really blend those feet out. Don't want any harsh lines. Just a little variation in shadow. Pick up a little more of that color and deposited at the base of the beak. And I'll let this layer completely dry.
22. Falcon: Layer #4: So now I want to work on the head here, the little helmet as I call it the falcon, with some water and a small brush, I'm going to wet that top part of the Falcon, as well as this little mask around the eye. Just putting in a little bit of water. And then I'm going to take my cobalt blue, put it on my palette. And I'm gonna mix a little Payne's gray in with that. Still want it to be more blue than gray. But I like that look. I'll add a brush full of water and so I have a nice rich color. And then with a sharp point on my brush, I'm gonna create that shape. Good, gently. Pull that shape all the way around. Working on this Hellman area, creating that shape. And now will deposit a little more pigment as I go out from that original line that I created. And I'll just use whatever I have on the brush and move my pigment around. I'll get my brushing again. Deposit even more pigment on the areas I've already put pigment down. This way, I let it run, but I still make a very intense area. I'll take that color and I'll create that shape of that little mask over here. Again, I'm doing the perimeter first, creating that nice shape, outlining the eye. And then I'll go in there and just deposit more pigment. Again, I'm leaving a little bit of the white of the paper exposed here and there. And letting that color blend. I'll rinse my brush. Take a look and if there's any areas that are harsh, I'll remove some of the water from my Brush. Oh, it's damp. And I'll just blend those areas. Can go in there and deposit a little more pigment. And so I have the impression of the darker feathers up top. I'll let this layer dry.
23. Falcon: Layer #5: So anyway, I went to work on these beautiful feathers here. I'm gonna take my number three brush can use a number to brush also. And on that same area where I have my dark blue, if there's any that remains, I'm going to still use it. But right now I just want to take a little cobalt blue and put it down on my palette. With a very sharp point. I'm going to take it and I'm just going to go to the largest areas first. And I'm gonna pull color, write down from the shape, from the top of the shape. And I'm just really doing one row at a time. Maybe I'll do another row as well. Just pulling some color right from the top. This brush is a little too big for this task, so I'll switch to my number one brush. And now I'll just pull that color down. And I'm starting to create that shape. Going to each little section of the feathers here. Not touching the other section though. And I'm just using a few at a time. Go back in, wet my brush, and then blend out my color so that it really fades by the time it gets to that bottom section of the feather. Continue on with a few others. And this is just for the short section of feathers. Again, I'm just adding a little bit of pigment at the top of each section. Then I'll go in with a damp brush and blend out the others. I don't go all the way to the base of each section. When I blend it out, I still want a little white border. Come back in and a little pigment to start at the highest point of each feather. And then I'll go in there and blend it out. If I have areas that have run together, I'll take my brush and dry it off. Just try and push out some of the pigment. So I'll take a dry brush and pick up like a sponge. Some of the pigment I've already put down. And I'll do the same thing if there are areas where I put too much pigment, so little section. And then I'm gonna come in with that darker color and just deposit a little bit up top of each one of these feathers. I like to do this while it's wet so that it really blends. If it has dried on, if some of the feathers have dried, I'll go in there with a damp brush. And what that in a moment. Now, come in the damp brush and help it to bleed a little. So now I have two layers of blue on the feathers. Predominantly that cobalt blue. But then I have some of this darker blue that we blended. And after I have all the feathers done to my satisfaction, I'll let it dry and then we'll start working on the tail feathers. Again. I'll just come in here on the bottom with the damp brush and blend anything out. Blue is a kind of forgiving color. You can reweight it and get it to work again. Just like that, we have some nice texture. I'll let that dry and then we'll come back and work on the tail feathers.
24. Falcon: Layer #6: So now that that's dry, I wanted to do and layer on the tail feathers. I'll stick with my small number one brush. And I'm just going to take the sharp point and I'll start with these curved feathers first. And I'm just going to whet, starting at the line, leaving a little white gap at the base of them. A little dry paper, which will in turn become white. I'm gonna pick up a little of this dark color on my brush. And I wanna pull the color from the top and just deposit it. And when I say the top, I mean the top of each of these rounded feathers create that nice shape. And then let that color blend out right to the bottom. Just like this. There's any areas that are not blending. I'll take o damp brush and help those out. Causing a little more of a blend. For now, I can go in there and create any shape up top. And I'll let that dry. And then we'll start on these other layers. Now I have a couple of small, rounded layers here. But because it's a small area, I want to really control it. So I'll go in with my color and they'll go in with a damped brush and blending that out a little. And then I'll do the same thing for these areas. I'll add my pigment right on the line. And I'll do two or three at a time. Rinse off my brush. Brush, blend that out. Continue that two or three to time. Blend out the remaining pigment. And then I like to take the pigment and really up top close under the feather and under the legs here, blend out an area. And this is just the first of our layers. While I'm here, I'll take a little of that dark color in my brush. And I just want to sharpen up the tops of all of these rounded feathers here. Just going in there. The little line. Again taking that dark color, creating that nice shape. This also creates a nice blend because we're tying in the color from the top of the mask area, the top of the head down this big feather, right to the tail feathers using that blue. And then I'll just go in there and blend it out. They can take some of that lighter blue to help it blend or just wet my brush with water. Depends on the look you're going for. Just looking for a blend, soft lines. And I'll let that layer dry.
25. Falcon: Layer #7: So now I'm gonna take my pigment and I want to work on the I and a little detail work to the feet. So I'll put a little water on my palate. A little of this deep yellow. And I'm gonna color in the eye, leaving a little area white. Just want to give that a little color. To work on the feet. I'm gonna take that deep yellow again. And I'm going to mix it with a little sepia. So there I have like a lighter sepia. And I'm gonna come in with a very sharp point and I'll remove some of the pigment for my palette. I want to be able to control this. I'm going to keep redoing that outline until I get it nice and sharp the way I want it to look. And again, I'm going with a very light hand here. When it dries, it'll dry a little lighter. I'm just trying to create a shape. So now I'm gonna take a little of that deep yellow and I'm just gonna go over the feet on some of the areas, trying to stay within those lines, but just make them a little brighter. And I'll do the same thing here with the beak. Then I'm gonna rinse my brush, clean my palette, and put a little sepia down with equal amounts of water. So if I have to brush fulls of CPR, I'll have two waters. And I'm gonna come on one side here and just make some lines up and down on each of the legs here. Mimicking the lines of a Falcon. Doesn't have to be terribly neat. Gonna take more of a sepia, increase the intensity of the pigment. And with a very sharp brush and just going to outline the top of the beak here. And again, I'm just trying to create more intensity like we had originally. I'll sharpen my brush by twisting and on my palate. So I have a very sharp point and very gently, I'm going to outline this beautiful shape of the bird here. Come right down to the feet and the legs. And I'll complete that outline. Again. I'll sharpen the point. An outline just the perimeter of where the bird, the falcon here meets the stonework. Flip it around and continue outlining the perimeter until it blends right up top. I'm going to outline each leg here. And then I'll outline the different tail feather sections. And I'll let this layer completely dry.
26. Falcon: Layer #8: So now I want to tidy up the feathers is particularly the base of the tail feathers. I'm going to use this dark blue color here. And if I don't have enough, I'll mix more cobalt with a little Payne's gray and with a very sharp point and barely touching the paper, I'm going to create that little lines again with this dark color. I'll do the same thing up top here, where I want my darkest color. And then down the tail, dip my brush and water. So it's a little weaker and pull that pigment to help it blend out. I can also go in there and add even more water and blend it further down. But I like that, that graduation can come back in, pick a little that up. And I'd like to take a little deep pigment and bring it closest to the areas where it would have a natural shadow. I'm going to clean my brush and I'm gonna pick up a little of that deep sedia that we had wasn't pure sepia from the color was little the deep sepia here. And I want to make one more layer right on top of these little lines. So the lines are going to be a little smaller. There's still going to be jagged. And they're just going over the lines we already made. And that really emphasizes that portion of the falcon. Then I'm going to switch to my number three brush, rinse it with water, and I'm just going to go underneath the belly here with clear water. I'm going underneath the belly and all the way on the right hand side. So from underneath the beak, the belly, and all the way down to the foot. And then I'm gonna take a teeny amount of that sepia and just deposited in. And I want to create just a little shadow, very light shadow. Just to the right of our illustration. If any areas blended more than I expected, I'll just deposit more pigment and then I can go in there and just blend that out even further. And that just gives a slight glow and looks like it's set back. Then take my smaller brush and go underneath the falcon over here as well with clear water. And then I can go in there with my sepia to create that glowing shadow. Gang, go back with clear water to blend it out. So there's no areas that are harsh lines. And I'll do this all the way around the falcon. Start with that clear water so that it blends. The color isn't harsh. I try not to reweight the areas I've already painted on the falcon. And I'll just put a little more up here on the top of the beak. So we've come all the way around. I can pull that pigment around, blend any of it out. Well, let this dry. And then we'll come back and add some final details.
27. Falcon: Layer #9: So now to just add some details to make this look like it's a painting on a rock. Gonna take my smallest brush here. And again, I'll take a little of that sepia and I'll add a little bit of water to it. And I think I'm going to add a little yellow ochre as well. Then I'm going to super sharp point and just create some cracks in the stone. And I'll create some dots here in their little specks. Inclusions in the stone can even just spatter it on the paintbrush. And I'm going to add some specs inside the bird because I don't want it to look like a bird. I want it to be a painting. I can add some cracks there as well. Again, just a few little speckles here and there. Just some texture. And there we have our watercolor Falcon.
28. Painting the Lotus: So new for our lotus. I created little stone background. So this looks like it broke off a stone wall and it's going to be an inlay painting. So there will be color as if it was painted. And I drew the template, but I didn't make the lines on the lotus is particularly the buds. We'll add that in later. But for now I want to start my painting. So with a wet brush, I'm gonna come around and just wet the background here, the area of that stone. And I'm gonna avoid wetting the lotus is both a buds and the flower. Once I have that down, but to take a little step, IA, put it on my palette. And it'll take a little another section with whatever I had on my brush and I'll mix in some burnt sienna this time. And with the burnt sienna, I'll come around, create that shape of the stone, particularly the perimeter. And then I'll go around each of the shapes that we've added. Because the color is nice and light. I don't have to worry about getting it perfect. And I like to leave areas of white with the paper, doesn't have a lot of pigment. And this creates a nice variation. I do like to have the most intense color around the illustrations here. So in this case around the lotus is. So I will come back in after I had my first layer done while it's still wet and deposit more pigment. But for now, I'm just creating that base layer. Add a little water as well to help us Color blend. And then I'll come in here with that sepia, that water down sepia. And I'll make a little bit more of it. And I had a little bit of burnt sienna there. And I'll go around the shapes One more time, really emphasizing the darker color here. And I'll do the same thing around the main Lotus. And after we have that color down, I'll come back in with a little more burnt sienna and a little bit of the separate to that and a lot of water so that, that blends all out. But we have the deepest shadow around the illustrations. So we're covering a lot of territory here. And then we're just looking for a soft blend. And once we have that, I'll let that layer dry.
29. Lotus: Layer #2: Together our background is dry and I want to start adding layers here to the Lotus. In Egypt they had Blue Lotus and White Lotus. And I'm gonna do blue mainly because I love to work with blue. So I'll put some water down on my palette. And I'm going to take just a little bit of a dark green in there. I want to work on a somewhat of a turquoise color just because I am partial to that. And then I'll add a little water. I'll clean my brush and I'm gonna work on the buds first. So with my number one brush, I'm gonna wet from the base of the pedals to the top of each of the buds. Gonna leave this area because I'm going to paint that green. But this is the area that I want to paint with my pigment. So I'm going to wet each of those areas. And then I'm going to take a little pigment on my brush. And starting closest to that green area, I'm going to deposit that pigment. I'll go in there after I had my initial deposit and go down some more. And then I'll go into third time. So my most intense pigment is closest to that bud. And then I'm going to wet my brush and wet to the top of this lotus. And I'm just going to very gently ease my brush, my wet brush down to that area where I've added the pigment. Turn it upside down, let it start to bleed. And then I'll come in here and deposit even more pigment just in that area that we first added it. Then I'll gradually worked my way up, adding a little more pigment, echoing the shape of that blossom. And then I'll let that kind of work its way around. I can add even more water to the edge and then pull it back here. And the pigments will actually do their own thing with enough water and enough prodding. So I'll come back in here and my second one and do the same thing. I'm going to add my first layer of intense color. Continue to add pigment. I'd like to build it up, echoing the shape. Then I'll rinse my brush and make sure this edge can really, with the water. And the pigment up there, come back in with a little more pigment. Again, making this area ultra intense. And then I'll pull that color, tilting my board. And I'll let this layer completely dry.
30. Lotus: Layer #3: So now those two buds dried and they can't have gave interesting effects with the watercolor, which is why I love watercolor. I went to work on adding the blue petals here to the background. Now these three main pedals, or what looked like petals are going to be green, but the other ones are going to be blue. So I'm gonna take my time. And I'm going to start with the biggest ones here on our wet them first, the two in the center. So I put water down on my paper and then I'll carve out that shape. And I'll do the same thing on the other side. Pull a little of whatever's on my brush up, whet my brush, and just make sure all of it blends nicely. And they'll come in here with a bit more pigment and just deposited the furthest spot at the base. And then I'm gonna do the same thing here on the end. And on the next one over again, I take my color, leaving a little gap of space between petals. And I'll continue working all the way down. Again, leaving a little gap between the pedals. Wet the pedal, add the pigment and blend. Here I'm gonna push my pigment closest to the base of the pedal. It looks really good on that last one here, but the other three need a little help. So I'll draw my brush, start at the tip and push that pigment in. And not only my pushing it, but I'm absorbing some of the water and some of the pigment on my dry brush. Once I feel like I've controlled that water on the tip, I'll come back in with a little more pigment and add it to the base. Here, it bled into this next one. So I'll just draw a little of that up. Again with a dry brush. I'll pull the pigment, whatever remains on this one. And then I can go in there with some more intense pigment and just stroke it up from the center base. And if it gets too thick, I'll just do that same technique where I pushed the pigment. And then I'm going to let this dry and we'll come back and add details after it's completely dry with that color.
31. Lotus: Layer #4: So now I want to add some detail work now that my pieces or dry, I'm gonna take it, make sure I have enough of this color of my palette. So I'll take a little more of the cobalt blue and the deep green just to mix my color, make sure I have enough. They'll make a very sharp brush and barely touch the paper here. I want very fine lines. So I'm gonna start just like I did here on the inside of this petal. And just gently stroke downward, pulling some striations. And it'll do the same thing here. We don't want a lot of detail work because it's supposed to be a carving. But I just like to have a little bit. I'll do this on all of the pedals with my Deep Blue. Pick up more. And now I want to work on those lines that we had originally on the template for the lotus blossoms. And I prefer to pull towards myself. So that's why I flip it upside down. I'm going to start in the center and then just slightly off-center. And I pull a line and then I match it on the other side of the boss them. Just like that. I don't want too much on my brush. So I go to the center and I go just slightly off. And I just try and match my lines from either side of the blossom. And I'm very pleased with how that looks. I'm going to let that dry and we'll come back and work on the greenery.
32. Lotus: Layer #5: So now to work on the greenery here for these petals and the bug bases. Because start with my number three brush. And I'm just going to whet each section kind of in the center, not worrying about getting to the edge. Just like that. The same brush I'm gonna mix a little water and my palate. And then some of this deep green and I'll make a second puddle of whatever remains on my brush. And then I'm gonna mix a little this deep yellow. And I'll start by mixing it in with the first one. And they'll MX just a little bit more in with that second one. I'll come back and add a little more yellow that second one. And so now I have some nice green variations. And I'll even put a little deep green on my palate. So now I have three to work with. Their switched to my smallest brush because these are small areas and I'll start with the buds first. I'm going to start with my darkest color. And right at the base of the bud, I'm going to create that shape. And then I'm just gonna take a little of the green of the next shape, of the next shade of green. Pull up on it. And with this shade, I'm going to create that shape. And just very lightly go over, kind of cleaning my brush on paper. And now I'll actually clean my brush, gets some to be clear and wet. And I'll go with the lightest shade and deposit that color on the layer we already painted. But so that it blends outward. And I like the way that looks. I'll do the same thing over here. Start with my deepest green. Create my shape. Pull it up. Then I'm going to go right to my next green. And here I create my perimeter of my entire bud area. Add the green and then kinda just clean the brush. Then wash the brush and pick up that lightest color and pull it down. So I get a nice variation of greens. I'll go in there with some clear water, rinse my brush, and just stroke that color down. And I'll do the same thing over here. Now I'm going to jump to this piece. I'm going to treat the main Lotus a little differently. We're going to start at the top three petals of green. And with my dark color, I'm going to go around the base of each petal, and I don't mind if these three petals blend. Could pull that color up a little bit. I'll come back in, taken other swipe and just pull that color. Rinse my brush and go for my second green second shade. We mixed and pull that up a little further, blending with the first layer. And then lastly, I'll pick up that lightest color. And I'll bring that right to the top of each of these petals. I'll flip my piece over. And now I want to do the same radiation but in reverse. So starting with my darkest color could have come under this line here and deposit that down on my paper. And I'll come back in and add more pigment, again closest to the top. And they'll come in with my next color right next to it, letting it blend together just a little ways. And then I'll rinse my brush and take the last color, the lightest color. Just like that. Well, at this layer dry, and then we'll come back and add some final touches.
33. Lotus: Layer #6: And now to finish off this painting, my number one brush, I'm gonna come in here and pick up more of this deep green, mix it with it, with whatever's on my palette and add just a little bit of this parallely and read to it. So it's a nice deep, deep color. I'm going to outline here this little line. I'm going to outline on both the bottom and the top of it. This is really to make our central load is stand out. And I'm just going to push that color in. And I'll push it in from each of the sections. Wet my brush, remove the water and just cause that to blend together. I'll take that same color. And I'm going to outline these little buds here as well. The little line in the center of these buds had my pigment. Rinse my brush, and then just further help it blend. Just like that. And now to add the detail work to our stone, Could a wet, some sepia, could mix it with any areas that are on my palette. And now I want to outline each of these very gently. This helps really sharpen the shape. And again, the centre one is the most in-depth for outlining. Can I take an a sharp point on number one brush? And I like to pull strokes towards me. And then I'll continue by outlining the remaining two blossoms. Now I'm gonna take a little more Cephei SY wet it down and create a very sharp point. And now I want to create my little inclusions in the stone, My little cracks, my little areas that have little dots, little marks. Just make a few of these and just some cracks. I also like to go in here and the shadows and just outline the edges. With again, a very light hand, barely touching my brush. Not looking for any width of the brush. Just that wobbly edge and any areas that kinda come to points. So good area for a crack. And play around, add the inclusions if you want. You can even do a, another group of inclusions done with Payne's gray or even adding a gel pen. And don't forget to add a few little inclusions on your painting itself. And there we have our lotus inlay.
34. Class Wrap Up: So now to review all our pieces, we started with a template and I've showed different variations for each piece. Any of those variations can be translated into other pieces. So if you wanted to make a turquoise Falcon like we did with the ANC here, you can do that same technique, just different shapes. So here we have the ANC. And if we look closely, we will see all the different nuances, the little chips that make it look ancient, the cracks, the colors, and the richness that we're hoping to capture, to capture an artifact from history. With our second painting, we did the Eye of Horus. We did this on a piece of chipped stone. So it looked like it was a wall that we found in an archaeological dig, just a remnant of it. We still have some of the paint. It's a little faded, a little chipped, little whether worn. And it looks really, really interesting and intriguing, makes me want to research this even further. For our next painting, we did the Shen and we turn the Shen, which is just that rounded shape. We made it into a piece of jewelry and amulets, something you might find it a Pharaoh's tomb. And because we chose a stone, semi-precious stone, it really added a whole other layer of intrigue. We have lots of textures, the appearance of rope, the gold, and the stone, as well as the old Jewel. Another interesting piece, my favorites, the falcon, falcons, just amazing birds anyway. But then to see it throughout history and how another culture embraced it as well. It's kind of a way to connect people through centuries, through cultures, their experiences. I love the way it looks on this wall. Just a painting, a tribute to this magnificent bird. And then we have our lotus inlay. Now there's a lot of variation you could do with the lotus inlay. You could swap the pieces around. Here I did two buds and a main flower, but you could do a pattern or an entire wall of the lotus. You could alter it many, many ways, changing the colors, the textures, you can make the lotus added precious stone. So you've got quite a bit to work with. Now, during class, I did discuss how you could swap any of the pieces and change, transform them by changing the dynamics of them. So you could make them all look like hieroglyphics, like they were on a wall carved in without being painted with any particular colour. You could make them all at attribute as if they were used as jewelry by different stones. So here we have the arc that we made as a stone. And then we inlaid a stone in the shen. But we could also take that same drawing and create this piece here, the Eye of Horus. And we can make it just as a little stone that looked like maybe something worn on a person or tucked into a tomb. It's the same technique that we did throughout the piece and the same sketch, but it has a completely different look. Now the last Look I wanted to show you was just something that looked like hieroglyphics in a wall where it wasn't painted, it was etched in. And then there's the shadows from the wall and the dirt from the years revealed the actual artwork here. So I took all our pieces and I fit them onto one piece of paper. And I kind of did them in rows. It's clearly not a study in hieroglyphics, but it is an art piece where it was my tribute to the different artifacts we created in a single piece. And I really love this. Look, it's very effective and I simply use those three Brown's from class, the sepia, the burnt sienna, and the yellow ochre. And I have a video as a bonus class, just a fast forward video showing the process. It's just countless layers really to achieve this result. So it's a different effect. I hope you'll try your hand at one of these pieces or maybe even all of them. Feel free to use metallic paints, changed the paints, use completely different precious stones. Then we showed in class just using the same techniques. Please take a photo of your work and post it in the project section. I'd love it if you'd follow me here on skill share, and then you'll get notified of future classes. And it's always helpful if you could leave a review. Thanks for joining me today.
35. Bonus Class: No. Yeah. Ok. To date. And to do that.
Daniela Mellen, Artist & Author
