Transcripts
1. Introduction: Hello and welcome along to this intermediate
watercolor class, where we're going to be painting these lovely pair of
penguins in the snow. It's an interesting class
using many of my quick, loose-flowing
watercolor techniques, and it has the added
benefit of being very cute. Though if you're feeling
a little daunted by the subject and would like to try something a
little easier first, have a look at my
beginner classes and these can be found
over all my channel. I'm Jane Davis, I live, paint, teach and walk my
lovely spaniel in the beautiful South Downs
National Park, England. Over the last 10 years, I've taught myself
the watercolor technique that you see today. Not having been to art school, finding my own way and has been fun, but sometime daunting. But it's allowed me to
develop my own style. This has led me to
teaching others either on a one to one basis or as part of a group in a wonderful studio in the heart of the South Downs. I also run a successful
commission-based business, painting pet portraits and wildlife art in my
own home studio. In all my classes, you will follow
along in real-time, where I can guide you
to keep your work loose and fresh
without over-fussing. I'll be sharing lots of tips and tricks along the way too. I provided you with a
beautiful reference photo and template of the penguins in the projects and
resources pages. As I often say, don't feel the
template is cheating, this class is all about
watercolor, not drawing. I'm going to show you how
to create them by simply placing the color
onto wet paper and allowing the paint to be used
as something beautiful and unique in a lovely, loose style. I also guide you through the
process of selecting areas of that control where that
beautiful paint flows to. Of course, I'll share
my tips, tricks, and usings at the end to
bring this cute pair to life. If you'd like to learn
more about me or my work, please pop over to my website at janedaviswatercolours.co.uk. This can be found on my profile, along with links to my
Instagram and Facebook pages. I'm very active on my
social media pages where I love sharing my art, especially on stories
with many ideas, works in progress, and tales of studio life. I really hope you will share all your paintings on
the project pages, as I love seeing
your masterpieces. Don't forget, I'm here
to help if you get stuck or have any questions. I want you to
experience that buzz of painting in this liberating, wet-on-wet, loose style, so come and join me.
2. Materials: Welcome along to these
snowy little penguins. They are all cute, aren't they? I'm going to run through all of the materials I'm using today. Starting with my paints, these are all Daniel Smith. In fact, all these
materials can be found in the projects and
resources pages. Don't feel you have to
try and memorize these. I have got Ultramarine Violet, Quinacridone Burnt Orange, got a new paint to me, that they say [inaudible]. I got Sodalite Genuine, a really firm favorite
Lunar Violet. Which I've been using
quite a lot actually. Quite a lot in my dog
portraits, it's a nice color. Kyanite Genuine, that's just for the snow on the bottom there. I've got Burnt Tiger's eye. Again another firm Favorite. Your color choices. The granulating paints
do help in this. I won't try and
tell you otherwise, they give you a really
lovely sort of texture. Don't be put off if you haven't
got granulating paints, give this a bash and I think you're still really enjoy it. Sometimes paper choices can make a difference to the
texture and overall look. While I'm talking about paper, if can just flick this
over for a minute. I'm using and Hahnemuler's
Agave watercolor paper. I chose this because the
subject is quite little, they're not particularly big. They gave me, let me flick
these guys back again. It gave me some nice textures as a nice sort of watermarks. I like the way the paint behaved on
this texture of paper. As I say, if you haven't
got granulating paints, that again will
definitely help you. Water, I'm plunking on
what is, that's water. I've got paper towel, a little rubber, and my brushes are
I've got a number 1, no, it's a number 2 round. I've got a Number 8 round. I've got a little
[inaudible] brush, which is a really
handy little brush being been well used
and well-loved. It's just for taking little tidying areas up
and taking color out. I won't take a lot of color
out with it on this class, but I do use it a lot. We got just a pencil. Instead of white paint, I've actually got a
Posca pen this time. That's just doing the
tiny little white dots on the back and catchlights. Just stands out a little bit
more than the white goosh. Then the hair drier is
quite handy in this class. Just speeds the process up
so you can sort of carry on. Again, it's not essential if you haven't
got one, so don't worry. Then reference photos
and paintings. There's a really lovely
reference photo on the projects and resources
page is all there. I will pop some of these. Got quite a few of these
[LAUGHTER] painted quite a lot. We'll put a few examples of my paintings up
there for years. I think that probably helps you. I think that's all you need
to know for the materials. I'm looking around me thinking maybe I've missed anything, but I don't think so. I think we ought to
go to start this.
3. Sketching Out: [inaudible] let's
sketch them out. Obviously I've done them
in advance, but again, just give you a couple of
little tips that might help you when you sketch
out your go to. Number one, number two. Should've been more
inventive with my names, but I'm sure you'll come up with something amazing and creative. I think the tricky
part for me was this little beak here on number
one. It's a funny shape. It's easy to get distracted by this top section but
really the orange, which is the bit
that stands out, is a triangle, so really take your time to get that shaping and
emulation with the eye. Now, I've slightly [inaudible] it over from
the reference photo. It's sitting a little
bit to the right, just so I can get
the left eye in. So that's why it
maybe looks a little different to the
reference photo. Number two is fairly
straightforward. It's not too tricky
and the rest of the body is quite easy as well, but try and get the nice
little curves in there. That's how they're
walking so it's the movement of their bodies just pushing their
body a little bit, so to try and get
those curves in. Apart from that they're
fairly straightforward. You don't need to worry
too much about the feet, they're just a swipe with the paintbrush so don't
get too carried away with trying to do details
on those because [inaudible] as you painting them that'll distract that you. I think that's it, so I think
we ought to get some paint on these little
chaps or chapasses.
4. Beak and Eyes: Let's get some paint
on these pair. It's all going to
be a little brush. Pick up your small brush, get on it some wet, take out for the
excess moisture. We're going to use the orange. Now, she said, simply going to
paint in these beak. Just go really carefully
around those shapes, and because the black surround, it's quite easy to lose your
paint when we come to put in the color around the head. Just take your time, it's
literally just paint them in, there's nothing tricky about it. Just wet this [NOISE]
color on that already. Might actually just
wet this one down and I've got a lot of
paint in my brush up. We're just going to
go with it like this. [LAUGHTER] It doesn't really
matter whether we wet this little area
first and drop color in or you paint in like I have, it really doesn't matter. It's nothing more
complicated than that. While I've got this
orange in my hand, I'm just simply going
to paint that in. Nothing more
complicated than that. But just be really careful, mindful of staying
inside that eye line. Because it's very easy to
get it all a little bit messy to keep really
neat and tidy. I'm going to pick
up my Lunar Violet. I'm going to continue
staying with number two. I'm just going to drop
that color on top, just dibbling it in, and hopefully that should
just blend nicely. Now you could blend
this together on a palette if you're feeling
[inaudible] to do so. Then you could just
paint that in, blend doing it that way. That's Amber. Number two eye's
done pretty much. We can always tidy any
bits and pieces up on the very end but that's
pretty much been done. Okay, go back to number
one and do the same. You just keep really careful, there's no time pressure here. Just make sure that's
really lovely and tidy. I would do one eye at a time. Just so they will blend. If you let that dry, it just wont blend as well. It's just dropping
the color on top. Keep it lovely and neat. Fantastic, put that down
again, clean your brush, pick up the orange again, and to do the last eye. Exactly the same. This
is a very tiny eye, there's not a lot of blending
having to go on there, but it's worth doing the
same process really. Job done. [BACKGROUND]
5. First Layer Wings: This beak's a bit more painty. This has been a little
bit fiddly, isn't it? Not so exciting to do, but a bit more exciting this time to say pick up
your nice big brush. Just disappearing
off the camera. We're going to wet
down Number 2's wigs. We're going to deal with
these individually. It's okay if you
wet it all down, staying neatly in your lines. We're going to pick up
the ultramarine violet and that lovely orange, they are a nice
combination together. We're just going to
dibble some color in really, just fancy. Have a look at the
reference photo. They've got some orangey bits going on over here,
haven't they? Really doesn't matter.
You just want something that's just going to
give you a nice mixture, nice blend, something
a bit unusual maybe. If you fancy another
color on there, if you think maybe a bit more blue down here would
be so genuine, go for it. You could try to be your
own judge of you own piece. I quite like that. I think that's enough [NOISE]. Then we're going to go on to the next wing and
just wet it down and do exactly the same. This orange is lovely. I've only just recently been
given this one but it's nice. A bit more
violet up there. That should give me something
nice once that dries. Again, it might be a
little bit too strong. If it's too strong, just clean your brush [NOISE],
take the moisture off, and then you could just generally
suck some of that color up if you think that may
be a fraction too strong. Lovely. We're going to go and work on Number
1's left hand. My left and right
are [inaudible]. Actually, it doesn't
seem right at any point during this class, is me going off slightly
away with my left and right. We're going to do is just
exactly the same experiment, maybe put the two colors on
your brush at the same time, drop that in and see
what that looks like. As soon as you've
got some you think, that looks quite nice, leave it. Again, stay within
your nice lines. Actually, what I said with
the sketching out is try to keep your sketch
lines nice and faint. Mine are quite
strong just so you can see really where I'm going, but if you've gone quite strong, it's worth just stopping
for a moment and gently rubbing out some
of the hard lines. The face doesn't matter too
much because it's dark, but some of these areas
here around the body, you don't really want to see those pencil marks once
we finish the painting. Like me, these are heavy. Just stop for a minute
give them a little rub out and you start again. I'm going to leave
mine strong so you can see where I'm going to. Number 1's right-hand
wing. Think for a minute. Obviously, Number 2, we need coined damped steel. What you want to do is wet it and leave the tiniest fiddle. Draw a line, there is
a dry line just there, just to stop the paint
from really running into the Number 2 wing. Just the same. I'm going to just
pop a little bit solder like the
bottom of this one. Don't ask me why, I just
fancy it. Have a play. See how close I can get
to that wig we're running it. I think that
looks all right. Bear in mind it's
going to be a big old stripe down the top there so don't worry too much about the talk that's going to be hidden anyways. I'm going to leave this
white to the very end. We will just fill that in because it's
going to be adopted. It doesn't need
this color and that is that first layer
on the wing done. That just needs to
completely dry. Again, you can read that over. If you've got a
hairdryer and you want to progress quickly, then just switch it over
the head dryer quickly but just bear in mind
if it's very wet, you want to just hang on and
wait until it is a little bit tacky and then give it
a blast with the hairdryer. Because if you do it too soon, you'll blow that
pigment around and it'll all just model on the paper and look
a little bit messy. It's worth hanging until
it's a little bit tacky.
6. First Penguin Head and Wing: We're going to work on number 1. Let's be methodical
about this [LAUGHTER]. Pick up your larger brush and we're going to
just wet the head. We're going to
reserve the white, so don't go into the
white area at all. We're not going to
paint that in at all. We're going to leave
that for the white paper to shine through. Really take your time. If you take a painting
as small as me, it could be a little fiddly. I'd love somebody to do a really large one
because I think that would work beautifully. It'd give you a little bit
more room to play with the paint and allow the
paint to move around. Now, that just goes up there. Dropped a color [inaudible]. We're going to fill in
the top of that beak. We're just going to pretend, I suppose, that's the
part of the head. It seems to work the best. Really be careful about keeping within these lines and the bill. [NOISE] I'm going to pick up my little brush and make
sure I've gone firm. I'm a little bit away
from this edge per normal because of the angle
of the camera. You do need to see my head
poking underneath the camera. It's a bit hard for
me to see, actually, where I'm putting this water
but I think I'm there. That looks covered. Now I'm going to pick up
my violet to start with. Actually, what I might do, let's have the Lunar Violet
and so light genuine. I'm going to grab a
hold of those so I can really paint straight
out of the tubes. It's just nice, it's
really instant, that's why I like painting
out of the tubes, and I tend not to waste
as much paint either. Back to the painting. Ultra real violet,
we're going to pop that right on top of the head. It just gets in cutters.
Only one layer. Bear in mind, this is it. Be nice and strong and bold. Just gently tap that in. You're not even
painting, you're tapping almost because if that's nice
and wet, it should spread. A little bit of a Lunar Violet so we know it's nice and strong. Keep your reference photo open. I'm just going to try
and lean in there, put my hand there so I can
stabilize my hand a bit. You can see, can't
you? Yes. Be careful around because if you go
into the orange by mistake, it's really hard to get out, so take your time
to go around that. A bit of so light genuine. Let's pop that nice
strong bit underneath. [inaudible] You can see our
number on this little chap. He's got a really heavy band
around here, you see that? We can just tap that in. Just going to go quiet now. Deadly concentrating, try not to get myself into that white area. Having practiced
these many times, that was my big failing, was to get a little bit messy and end up trying to reserve
the white around the eye, which you can do if you end
up going down that road, but it's nice if
you can avoid it. Work your way around that. Keep up, just keep
tapping that so the light should move down on
it. I'm going to cord. It's looking nice. What I might do now is just
to do that little line. It goes up and over. Start to see him slowly
coming to life, can't you? Let's have a little
bit of tiger's eye. Let's put those one's down for a minute. They're all
out of order here. Let's tap some of that in. It's a nice mixture, so just literally tap it on top. Don't be afraid. Just
pop it right on top. That'd give you a really nice
granulating, loose look. Just be mindful of
staying in your lines. I'm going to pick up my violet. Just get a little bit of
violet down the side here. As soon as you get something that looks pleasing and
is covered, then do stop. If you're ahead of me and
you've got this covered, then stop, don't over fiddle. A little bit of violet there
and encourage them there. I want that little
bit of light here. I don't want that
to be too heavy, so I'm trying not to
go into this area. I'm trying to
encourage the strength by putting strength right
underneath the chin. That should keep working its way out and then giving us a
slight covering there. That will give you a nice
sense of light then. Bear in mind, this is only one layer,
so be nice and bold. A bit of tiger's eye here. Just some granulating.
Make sure that's nice, neat lines as well. Pick up a soda light
genuine again. It's going to be more
color underneath there. [NOISE] What we're going to do now, I'm just working with my
little brush actually. It just feels like I've got a little bit more control or say, especially as I am
hovering a little way behind the back of the camera. I'm working small. I've wet
this line down here and we're going to run that down the tip. I'm going to put
soda light genuine. It's going to look a
little bit weird to start with but bear with it. You've probably got
your little white line. Now this is nice and dry. You can pact straight up
to the number 2's wing. Nice bold line. By wetting this little bit, I've dragged some of
this color that's in the head down
to here as well. [NOISE] Make sure you've got a nice big bold line.
Nice lots of paint. That's why working out of the
tubes is nice [NOISE] and get a nice amount of
paint on you brush. [NOISE] What we're going to do, actually I'll use
my big brush now, we're going to wet this wing. I'm just squiggling around here, aren't I? Wet this wing. Then I'm just going
to touch right underneath that line we've just put in and I'm just
going to allow it to blend. Then you can tidy
up that little, where we had that,
draw a white line. You can just tidy that right
up there. That's job done. I might actually put a little
bit of violet underneath. If you weren't so bold with your very first
layer on the wing, then you can put a little
bit of color if you want to in at this stage. That's done. Well, not per se. We're
going to do the tip right at the very end, so
don't worry about that. [NOISE] Again, we're going to do exactly
the same with this one. Let's put some of these down. [NOISE] It's actually
releasing my hand. I don't need the tiger's
eye. Although in the reference photo you
can't see any black line, I am going to just put a line down there because it
just encourage you. It pulls this paint down this
little line and out here. Let's pick up that
soda light genuine again. I'm going to run down. Make sure it's nice and thick. You want it really
quite almost gloopy. Very technical word, gloopy. Then for this, we're then
going to literally paint, a rarity for me.
Paint that tip in. I'm going to actually
[NOISE] pop a little bit of the Lunar Violet on top
of that as well so it's a real strong mix there on top. [NOISE] Clean that brush and we're going to
pick up the big brush. Again, do exactly the same as we did with the first wing. Gently touch that. That should all
blend beautifully. If it's got running a bit
too much for your liking, then you can very gently just soak some of that out if you think it's going
too far on that wing. I think that's looking
pretty good actually. What you can do, you can put a nice big
water droplet in there, and that will push some of this paint back into
the tip and up to the top of that wing
as well and give you quite an unusual
patterning as well. I'm just checking that it's actually dried up the top there. You can see the way
that's reacting. I'm just going to
[NOISE] little brush, just going to just re-wet
that a little bit. I don't want a line. I want it just like
this, just to blend. That's better. I'm just going to make sure that nice
line is still nice and wet. That's just going to
draw some of that color. Just tidying the ends up here. If you've gone a
little bit messy, I've gone it, I think that
was on the first layer. That can be tidied
up at the very end, so don't worry too much. Now, this should still be damp. Mine's still damp.
I'm happy with that. I've got enough color
and enough depth of strength just underneath
the bill or beak. I'm actually going
to leave that, but if you find now, because you've dragged some of this color down
into the wing, that's gone a little bit pale, long as it's still wet, you can just re-wet this
area, just keep it damp. I'll show you. As long as it is damp still, you can re-wet it just so you got it to a nice,
re-workable glean. You can then continue adding that bit more
strength then you just tap a bit more in there
if you need it. [NOISE] If you don't, then, obviously,
you just leave it. What I might do, almost
a little bit too. This just hasn't as
dried probably at one. This has dried a little bit quicker than this
area just here, so it hasn't bled as much. I'm just going to
[inaudible] wake that up a little bit and let that blend. You can neaten up
any markings here. I'm trying not to get my hand in the way so
you can see what I'm doing. [inaudible] I'm
pleased with that. That looks pretty good. I'm going to leave it there. I'm just [LAUGHTER]
trying to find a way to , here as you can see. Just add a tiny, that little line there.
Just a little bit. I need to follow my advice. I need to put my
paint brush down, and we will continue with
number 2 in a minute. But it's worth letting that dry because it's so easy when you're working on two subjects, is to forget this
number 1 is still drying and come put your hand in it or you drag
something across. If you ever do two subjects, it's worth letting one subject lovely and dry before you start on
the other one because it's so easy to smudge. He needs to dry first.
7. Second Penguin Head and Wing: Number 1 is lovely and dry so
I can get on with number 2. We can do almost exactly the same as we did
with number 1 as we did with number 2, big brush. We're going to carefully wet. Really either case you're
being really careful if you're working smooth
like this one. Stay within those nice lines. Especially up here so
really take it out. If it helps, you can always pop a tiny little
bit of paint on your brush, till you can see where
you've actually put water. Sometimes in the cases, I mean, as little as this,
it can be helpful. Just a tiny little bit of color. Actually, what I'm going
to do, I'm going to swap brushes because it's getting a little bit small. A little tight just not small. Run that down the top. I'm actually going to
go a tiny little bit, and if you see on the
reference photo that your tip is black or dark. I'm just going to run that
round, and just again, go really carefully around the orange, because
you don't want to. If you get the darker color in amongst or on
top of this orange, it's really hard to adjust and retrieve the orange you see. Take your time,
there's no hurry. When you're doing this, and
you've been really careful, and it's been a while since you started on say this area, and it's just starting
to go a little bit dry, just pick up, wet your brush nicely on water and then
just tap that in, so it's just as
lovely and wet again. You don't want it bubbly.
You don't want water just sitting on top of the paper, but you want it really
lovely and saturated, and then next that will
allow the colors to run. Don't forget if it's tacky, you'll find your paint
will just a little sit, but in a minute
it's lovely and wet your page should
run beautifully. Let me think. We're in
ultramarine violet. While I've got this in my hand, we're going to do a violet top. Again just tap, I'm
not actually painting, I'm just picking the paint up on the end of my
brush and tapping. While on the top area, I actually going to
get some Lunar violet. Also, I would lie genuine,
it wouldn't really mess it. Just maybe do the sideline. Let's get that dark
area of the beak in. I'm going to do beak and below. I'm going to switch
between the two on sides, he must have doing the
beak. I'm not sure. Get this lovely and
strong again, again, it's the only one layer so you need to make sure you got all the
strength in this layer. She can be quite bold. Bear in mind there's a
tiny little bit alight, so if you can be
clever and not put. If I tap color in
here, and here, that should blend gently and leave us with a
slightly in theory, a slightly lighter
area on the top. But again, that
can be taken out. Let's try and go very carefully round this little area here,
and it might be worth it. Let's have a little mixture, and you could add two colors to your brush at the same time. Then if they're
blending together, unless the paintbrush
hits the paper, then they go off together,
blending together. Let's try, and get that
area nice and neat. Just going to go a little bit over the top there just
to get that line in. I'm just aware of not going into this
orange because on my cup my job is I did and
the painting is pretty much all over. As we're doing this quite
jelly I can see my dye. Val is beginning watch me
while it big up there, it's beginning to dry, I've just re-wet that paper just so I can
keep working on it. If you didn't want
big bow layer, and it's going to
take you a little bit of time to do it, as long as you keep applying water you can keep
working on it. Working on it on
an area would keep going on with one particular
area you've painted. Because then that's where it
ends up getting a bit muddy. But if like for instance here, we're working quite
a lot on this area, and this area here has been untouched but
will start to dry, you can just add more water. I hope that makes it. Let's get a bit stream so we'll go light. I've got lunar
violet in my hand, I might pick up at tiger's
eyes so I've to get to use it. Let's get a nice bit of
stream going underneath here. Lots of paint to my brush. I'm almost scooping up is a lot of paint, and
I'm just tapping. Go up the top here, and I see some paint little bit in
there almost a paint. I'm using a brush stroke to, sometimes you just do a
little bit, so you're like, oh yes, I can see him coming
now that makes sense. Sometimes it's worth doing a little bit so I
had to make you feel like you're getting some
where with the painting. It's moving a little bit. That she talked over the top
a little bit, doesn't it? It wasn't didn't probably
wet this little area enough. I'll put more water just
to keep that awake. I've finished that a little
bit off, a little bit more. Neatly suitable blend in. Fabulous. Little bit more
violet and satellite genuine. I know this is going to be
quite so dark, these areas. The reference photo is
pretty much black, isn't it? The whole way through
so you have to make up your colors in your mind, and just bear in mind here, this is probably a
dark area down here. Let's get a little bit of
tiger's eye by curving on let's put some of that on the right-hand side. Put that on top as well. Remember you want
this really nice and heavy because we drag that
color down to the wings. This color from the head, you've got to some
of it is going to run down to the wings as well. Just keep tapping noise, nice bit of strength. You're going to put
up a little bit on the hand under the chin. This is nothing coming on. It hasn't quite spread
over like it should. A little bit more lunar. Nice one. Little bit satellite. I think I've got a nice. I'm always going
to use this as a little almost like a little
palates actually now, because as we drag this down, hopefully you can see some
of that being dragged out. This is running down into here. As you're running these, I'm going to get me
satellite genuine, and I'm just going
to really big, thick, heavy line over
the top of that wing. Little of Lunar violet squeegee. It looks pretty thick. Very old cutlery at the moment. All these paint and
the paint from here, and this paint here, is going
to travel into that wing. I'm going to pick
up my big brush. Wet it down just to wake it up. I want this a little damp,
but I don't want to actually incorporate too much more
water this state could do. This is all quite wet. If I add more water, we'll having a bit of
a puddle going on to. This is just damp. But, it's making the
wing wet, isn't it? I'm wetting the wing, I'm not adding lots of water. We're just going to
touch the top of that. We're going to touch tip, we've just touching it, literally just on the edge of that heavy paint, and
allowing it to blend. If you go into too much, it will spread a lot. Again, you can just, just push it back if
it's going a little bit too much or a
little bit too far, just gently pull it
back and then you can shade this wing if it's going a little
bit bear shape. I'm just going to tidy that up. Job done. We don't
need to do much more on that really.
Hopefully that's worth. We're going to get
exactly the same on Number 2 2nd wing to think
about that for a minute. Little wet line there, so that will encourage
some of that paint to run. I'm going to run that wet a bit, and that's why you
want to make sure Number 1's wing
was nice and dry. Satellite genuine and on top, nice, big thick line. This is really got
ugly at this stage, and a nice bit of Lunar
violet on the tip. Same again, clean your brush because I don't want it sopping
wet just so you can wet the wing but not add too much or too much color. It's getting nice and clean. Again, just touch the very tip. You can just say,
I'm only touching the very tip of that
really heavy line. Again the tip of that. Tip of the tip.
Then just watch it. Sometimes it just worked, just like that I don't
need probably need to do an oval lot more, or if it's gone a little
bit heavy and it will be heavy and it's hiking its way
across the wing too much, you can just push it back. Or we can do like we did this, with this one of these wings, you can just pop a nice
droplet of water in. That again, putting water
in that stage would just push this pigment
back up again, because you got obviously
a lot of water in here, so it's going to push the
color back and leave you with some quite an
interesting marks, then if you couldn't,
then leave it, and that's the trick. Just looking back on this, I'm pleased with this.
I think I'm done. I don't want to fiddle anymore. Put those back there. Just, these are just mine. But I can see a bit of
a bubble of water could be added little bit
too much at one point, where I was trying to
keep it nice and wet. I'm just going to suck it up, and going to leave
that to dry naturally. If I had drier, I'm
just aware some of these marks are looking really nice for hairdryer
over lose those. I'm just going to got to make myself a cup
of tea actually, and let that dry and
come back to it in the making, we can
do the bodies.
8. First Penguin Body and Feet: Right then, on with the
number 1's body, big brush. Nice, I've actually
cleaned my water. Got a new paper towel. Actually, while I think of
it as number 2 is drawing, I realize I'd lost a little
bit of strength on the beak. I just added a little
bit as I would like, genuine either side and let that blend just as
that was still damp, I just realized that
it was all violet. As we aren't doing
any more layers, I just wanted to make sure
that was nice and dark. Just in case you think that was a bit violet when she left
that on the last chapter. Back to the body, big brush, nice lots of water, we're going to wet the
whole body down and we're going to very carefully
touch underneath, your wet brush is actually
touching that paint. You should find some of that
should just gently blend. Don't go too far in
because you don't want to start then in effect doing another
layer over the heads. Work your way all the down. You're going to miss out
the feet at the moment. Simply if you did the Hedgehog, you're going to have
a similar thing, where we joined at the
hedgehog to the leaves, we're going to do the
similar thing to the feet. I make sure it's lovely and wet. Inside your lines,
you can again, what I was doing that
bobbly head up and down and make sure you've got
it all nice and wet. Again, as this one actually didn't have
in the reference photo a black line here, here where we ran that
down into the wing. You can get rid of that if
you don't want to see it. Personally not worried with I
do or don't normally so not to worry too much, lovely. Obviously reference photo, there's not a lot of contrast. I've popped up a couple of my paintings of
the penguins on the reference and
projects pages. Have a look at those
I've added to the color there because the reference
photo doesn't show a lot, you have to make a
little bit of that up. I've picked up my ultramarine
violet, the orange. I'm going to have a little
bit tied desire as well. I'm going to start
working at the bottom. Just going to couple of bits of paint on
my brush really, I've dipped the
ultramarine violet and the burnt
cracker dime orange. I'm just going to put
it on the bottom. Violet we'll see it just working it's way up
there beautifully. Pick tigers eye, I would
definitely tigers, I will definitely
push color around. Nice bit of stream
from the bottom there. Have a little bit of
lunar violet as well. Really, I can get rid of
some of this in a minute, it's getting a little bit
too bold over some of it, but I want to make sure I've got a nice amount of color in the bottom here just to give this a bit of contrast really. Clean brush, I'm going to have to pop a
little bit of violet here. Just up above here, there maybe a bit of shadowing. Sometimes you can think with reference photos and
turn up the contrast, you can sometimes make some shadows and
contrast of Z up here. That'll give you a
little bit of help. I'm just going to push. It's run it a little
bit too much, I can either then tilt
it that run back. Or I can just gently add a little bit more water that will encourage
it back down again. Give it some unusual fluffiness, because they're quite
fluffy, aren't they? By adding that
water that's going a little bit of same effect
with the wing really. Adding a lot of water here will push some of that pigment in, just give you something a
little bit into some interest. You know what, I'm actually
quite liking that, I don't want to really add to much more color because I
can get also they are white. Sometimes with white subjects, you can get a little
almost too carried away, we're trying to add color in. What I will do, I'm just going to pop a little bit tiny impression
of a slight line up there. Blend that out. I'm liking
the way that's looking. I'm going to pop all
these paints back, put those out of
the way on my hand. I'm going to pick
up my little brush, and we're going to
flick out some of these fluff of
space very gently. Just catch some of that paint
in the bottom and pull out. You can add a little
bit if you don't feel, mine is not actually
moving very well, I've just picked up a little
bit of the tiger's eye. Let me see if I can
get that moving. It's almost too
wet at the moment. Yes, it's very wet. When
I bobbled my head down, I can see that's actually
sitting in puddles. It might be worth just hanging
on a minute because all I'm doing is actually pulling
droplets of water out. Something I can do a
bit of kitchen roll, paper towel and just suck
some of that water up. Working its way up
the kitchen towel. Let's have a little
bit of lunar violet. Put little tiny bit of
lunar violet on my brush, and see we can
pull this out now. I'm going to add the
feet in a minute. It'll just be a fraction
drier because otherwise, there is going to be too much water going
down into the feet. I'm just going to
have to twiddle with someone for a minute and let
that dry just a fraction. I've literally given
this about a minute, maybe two minutes and it's
just dried a little bit. I'm going to pick up my orange to make sure my
brush is nice and clean and take the
excess moisture off. I'm getting a nice amount on my brush and we're going to
be really nice and bold. Nice line underneath here, that should just
blend very gently. Clean my brush
again so we've got a nice amount of orange on there and we're just
going to pull that out. You've got resembles
of foot, then stop, don't go too much,
and then you can strengthen the way you
think you may need it. A little bit few
lines down there, as soon as you got something you're pleased
with or like do stop. I like that, I like what's
happened there, again, nice big strong line. Clean my brush, take the
excess moisture off, and instead of sweeping
movements, just like that, you don't want anymore
to say don't overfill, don't try and get to try to
do those little details, there's so much going on there, but it's just a really loose
impression of feet moving. Hopefully some of
that might blend in, some might blend down, you never quite know what
you're going to get. Do not let it move around. Ideally, it's nice if some of the body color then move down to the feet and vice versa, and then we just need
to let that dry. That's pretty much done. If there's any aspect, if this is still
damp and there`s anything you think you
need to add a little bit of strength anywhere then do so. You have to be a little bit of a guide of your
own piece of work. I'm happy with that. I'm happy with the strength that has gone. Be reminded if white, don't get too carried away
of adding color in this if you what I tend to
do in over egg it. We're just going to do
this one, but again, I like to let one dry completely before
I start another one, because I just don't
want to do something stupid and raise
my hand over it, which is very easily
done with me. I'm going to let that
one dry and then we're going to do the
same with number 2.
9. Second Penguin Body and Feet: You can see number
1 is nearly done. Let's get number 2's
body completed as well. Exactly the same process,
nothing different. You're going to wet right up to that neckline and touching the neckline but don't
go too far into it. Again, you can go eradicate that little dark line
there if you didn't like it or don't like it just
say pretty lovely and wet. Nice lots of water. If you
find your paint doesn't move, it's normally a case
you haven't either, generally you haven't got
the paper wet enough so put lots of that
water on your paper. If it's just a little bit tacky, the paint won't move. It needs to be nice
and wet and equally, your brush needs to be
nice and wet as well. Normally, those two
combinations will get your paint
money if it's not. I'm going to do the
same sweet colors. I'm going to pick up
the ultramarine violet, quinacridone burnt orange,
and the tigers oil. Now, again, I can put the
paint on my brush too. Let's do that for
all the paints on my brush at same time.
Then just dibble. Not much violet. Let's put a little bit more
violet in there. We're just working
on the bottom. They say, if you've got
your paper nice and wet and your brush nice and wet, that all should just move
on its own and wiz around. Give you a nice,
lovely, loose look. Just concentrate on the bottom. Now the tag is on if
you can see that, that's just one of those
things tiger's eyes does. That really pushed
the other two paints and made that [inaudible]
the page better. One of those nice things
with tiger's eyes. Now I quite often use it
because it does that. It just pushes the paint. Sometimes I use paint, not
for the colors always, but what they actually do. That makes it.
That's looking nice. I like the way that's
reached up there. I'll just use some
of that paint. Again, I just move some of that up a little bit
further up to pop up. Just a little bit of violet up here. She says,
and that's orange. Let's get rid of that. The thing with dibbling
your brush in the tubes. It can get a little
bit contaminated. A little bit of a
line going up there. And again, just a little
line down the front as well. It's still on the
reference photos a little bit more obvious
on number 2, isn't it? I think sometimes
they just work and that one's just worked well. That is looking good. I'm just quite a big old
bubble of water there. I'm just getting rid of
that and that's by dipping my brush in that
puddle of water. Make sure you've got it
right up to those edges and got those nice
shaped white as well. You can always add a little
bit about the wings there. We're going to add a
droplet of water in there. That should give you something a little bit different
and give you a little bit of light in there. That's looking nice. Let's see if we can get this a little bit dry on
the bottom so I can do those flicks
straight away rather than having to wait. That's probably a bit dry. I'm just going to
pop those colors down because in theory, I should be able to use the
color that I've got here. It's a little brush and
just little flicks. I go into the body a
little bit more as is working a little
better than my first one. That's how it should work. Just a little bit too wet area. Hopefully, don't go too crazy. I'm starting to go a little
bit into [inaudible] Too much fluff. I think that's just about ready to put that orange as well, so thick brush, clean it off. You don't want too
much water again. Pick up the burnt orange. I'm going to put that big
old hefty line of orange there. Clean the brush. I'm going to do
just a nice sweep. There's not much showing up on that one
because I guess he's got a foot in the snow so just
a just a little drug out. That will probably do. I need
to do much more and again, I might even push some of it up. I don't want that to
be too obvious because as most of that is
covered in the snow. Then we're going to do the
same with number 2's leg. Think about that one. Again, thick big orange line. Clean your brush. Take
the excess water off. Again, it's a nice sweep and is also I'm going to
sweep it backwards. Just any pressure and I say I really don't want to
get too carried away. We do nails and things is
just keeps that looseness in. I like that, I'm safe. You just have to
charge your own piece. See if it's something
like, catch a light. Just by doing that, that's called a [inaudible]
light there, hasn't it? I'm pleased with that. I think I'm going to leave that foot
and what I'm going to do, I'm going to put Tiger's eyes. It's just personally
my own piece. Don't feel you have
to do this on yours. Just want a little bit
more strength than that. Some tiger's eyes is so soft
and this is still damp. Make sure it is still damp. I just want to put a little
bit more stripped down there. I think I need to stop because I will [inaudible] otherwise. Alright, clean your
brush popping down. If I need to draw and then we can do this through
snow on the bottom.
10. Snow: Let's put some snow on. Nice big brush and pick
up the kyanite genuine, if you've got the
kyanite genuine. We're going to look
a little bit again, there were similarity
to the hedgehog with this class so we're going
to do a similar thing. I just want to wake this up, it's been sitting on my
desk for a little bit now. We're going to pop a
little bit down and we're going to almost
close your eyes. You just want to really
lose bibbly bobbly effect. Just try your very best
not to think too much, you can pop a little bit
of violet in if you want. Just to add a little different
bit of color in there. I'm not sure if that's an
improvement but you can. [LAUGHTER] [NOISE] I'm torn whether to actually
bring the snow up to the foot or not actually, I know it shows in the photo but it's quite fun that
it doesn't as well. Again, soon as you've
got something you like, you can stop if you've got something
you like as well for jumping ahead of myself. I'm just going to
put a little bit of strength underneath
couple of those feet. I know an idea of a little
bit of shadow and strength. But it's very very easy
to overfit these things. I might just stop
there and you could. I'm not going to do
that in this class, but you could sprinkle some salt or you could do some of
that cling film wrap, we've used in several
couple of classes. That might be quite fun. It would be better
because it would just give a better texture
probably for snow. But cling film would
work quite well as well, I contemplated doing it but I went for the easy
option and just did this, it's quite nice and
simple. That's it. That's it for the snow, so
to say, don't overdo it. Again, let that completely dry and then we can do
the finishing touches.
11. Finishing Off: We are on the home
straight as they say. Firstly, I'm going to just
do that little tip of number one's wing before
I forget about that. So we can just paint that in. We don't have to
do anything posh. Nice, wet brush. Light, genuine, and just
painting their shape. Nothing more
complicated than that. What I will do once I've
done that is I'm just going to just finish. I just saw a tiny little
bit of white line. Remember, we left that in there. I'm just filling
that in. I'm just going to give that
a quick hair dry so that we know that's
nice and dry. That should be nice and dry. Let's try and be
methodical about this. Let's start on number one and
we'll work our way round, so get your reference. I'm just trying to find my
reference photo on my iPad. Scroll in. We need to do the
little beak line. It's the little
line across there, we need to try and make
sense a little bit of that top of that beak. Firstly, I'm going to start with the little bird
[inaudible] orange. I'm going to put the
tiniest of hint of line. Just a little bit. Step away from your painting. It that looks enough,
don't go too heavy on it. I think I've done
enough, actually. What I might do, I've lost
a tiniest fraction of, there's just that little point. I'm not sure if I'm going
to be able to get it out. I'm not sure I can see. I'll try and get that
close to it to see it, but if you have you
can just gently, just brush that paint away. If you've used some
of these paints, they come out quite easily
so you can hopefully, just get a little white
line which will give the indication of that
bill going down there. I will properly tinker with that off camera if I'm
honest so I can get a little bit closer so then you're not looking at
the top of my head. But that's all you would need
to do just to reclaim that. I'm going to put that down. Now, with here Lunar Violet, just want to [inaudible] your little brush in the moment, and we just want to try
and get that shape, but just painting it in, we're going to take a little
white line out of it in. Once that's dry,
it's a bit thick. It's just like on the
top, isn't it? Runs down. It's a rather strange shape. You don't have to
make it too obvious. Sometimes it's best
really your mind to make it up that there
is a top of the bill, so don't get too
carried away with it, and if you've made it a little bit stronger
on top than I have, you may not even need
to paint one in. Again, be a little
bit of a judge. If you've got enough color on the top of your orange
triangle as it were, all you need to do is maybe put a tiny little
bit of light in there, which we'll do in a
minute once that's dried. Then we're just going to put
some little eyebrows in. I would pick up a
very light color [inaudible] Burnt Tiger's Eye but I'm going to
use a little bit of the Ultramarine Violet. We're just going to put, I know it's not really
how we've seen on the reference photo at all, but I think it just is a bit Christmassy
thing, isn't it? I want to make it look happy. Just simply paint a little line and you can soften it
if it goes a little bit too line-y, if that makes sense. Then just on one of the edges, you can just wet
that down and soften it and just blend it out, and then you're
hopefully just left with quite a soft line then; rather than a rather stark line. Your fingers are great for this, just squidge the paint
around a little bit. Looking at that, I don't
think I need to do anymore, but on my practice pieces, I did end up losing quite a lot of
this white around here. So you may need to reclaim that, and we can do that
with that Posca pen, but I'm happy with the amount
of white I've got there. Equally you may have
too much white, in which case, put
that one down, with [inaudible] genuine
or the Lunar Violet, you could just very gently just tap in a little bit of
color and just squeeze that. That will white out
a bit so you can. I won't do it, because I've got that just about right
I think in my mind's eye. [inaudible] have a
little bit in here. Just tap a tiny bit
in, but I like it. I like the overall look of it, so I'm not going to
do anything to it. Put water actually,
before I put that down. Could have a tiny little bit
more on top of his head, a tiny little more line. I'm not sure if
that's right or not. Yeah, I think that looks okay. Again, to be a little bit
judgy of your own pieces. I'm always finishing
off pieces are definitely looking
at your own piece and adjusting where
you think you need it. Let's have a look
and we will rub off those pencil
marks in a minute. [inaudible] brush,
which is off-camera, but I'm just going to tidy my very first
layer of the wing. I went a little [inaudible] went outside the lines so I'm just going to
scrub that way now. Little bit of clean
kitchen roll and just dab and it's gone. I'm looking over him or her, and I'm happy with that. There's nothing
else I need to do. If you've got any other
line that need tidy up, especially probably
around the head. I know on my practice pieces, I got it a little bit messy around some of
those so they can just be tidied up exactly the same way
as we did that lower wing. I think we move on to
number two, and again, we need to put that
line along his beak. So I would go with just
the orange if I were you and try and get
that line in right. I mean, you can make it
a little bit more if you want it to look a
little more comical. Not comical, happy. Comical sounds a bit
wrong, doesn't it? But yeah, obviously
put a little curve in. I can just see that. Now if you don't
want it too obvious, that could be a little
bit too obvious there so soften that out. All these little tiny
things are so subtle and keep stepping away
and looking back at it. I like that, I think
that's enough. Again, all these
little hair is here, just like I spoke about there. They can be tidied if
you need to add it in. If you've left too much white, a little bit of
color can be dotted in to close that white up. But we're going to do that
little eyebrow again. I'm going to go with
the same color. That's the ultra marine violet. Paint on your brush helps. A little line like that
and quite an obvious line, and then you can soften
the outside line. You should just hopefully, kindly blend up the head? Again, you can reshape
the eyes if your eyes went a little bit to
[inaudible] where we needed a tiny little bit
more into that corner there. Let me see if I can do
that without ruining it completely, if I can see enough. He's got quite squinty
eye, isn't he? I just need this little one
in the reference photo. I have made them a bit bigger. Just I think it looks
a little bit sweeter. I just want to get a
tiny little bit of edge, so I'm just painting in. You can tidy if your eyes
got a little bit shaggy. When we first painted that in, if they got a little untidy, you can just tidy them up. Just doing this. Go back to number one don't shy. You see I'm going to
have order already, I can't help it, I just have to be random. Jumping back and forth. But
I hope you get the idea. I can then tidy up the
eye if I wanted to. I think that's done. I
think that's enough, I think I won't do it anymore. We're going to do as little
white dots there in a minute, but I just wanted
to scan through the rest of him to see if there's anything
that needs taking out. Those pencil lines would
be quite good to take out. Let's do that. Just make sure if you had a little tinkling
like taking this out, or tiding these edges, it's lovely and dry. Really make sure it's dry
because it's so upsetting if you get you up and perhaps start wrapping and realize there's
a wet patch somewhere. But I don't think I've done anything to my
knowledge outside. I'll be careful to
that it'll be there, and I've done my
lines quite bold, so there's a good chance I won't be able to get
some of these out. But I'm going to give it a go and see what
you can get rid of. That's come out quite
well actually, she says. I think that helps see
where you're going, so to finish the painting off, doesn't mean you get this
lost and found edges appear. Look down on this one, and we can see where we need
to take any little bits of paint out just to gain some of these is lost
and found edges. Again, just be careful around the head if you've
worked around that. I'm going to be careful around that low bit of wing while
I took the color out. More little bit down here, where the legs
were, and the wing. Head, something's tapping
as I'm doing that. [inaudible] Yeah. it's good
let's get rid of those bit, push it onto the floor. I love taking the
pencil marks out, I always seems to make
so much difference. What I'm actually
going to do now, I can see a quite like some of that light
after there actually. He looks okay or she looks okay so we haven't
set these again, her arms and reading sexes
creatures at the moment, but yeah, I like it. I'll show you. I'll take a little
bit light out here. That's just with a
damp clean brush, very gently going back and forth and then taping with
the kitchen roll. You've just lost that line. Again, I'm going to do
with number one as well. Just add just a little section. Let's say be a judge, where you think the light
would have fallen, particularly maybe
on your piece or how your paints worked out. Because this is the polythene so loose you may find you've got patterns that would be better suited for light being
taken out than others. Yeah, I think that
looks all right. I'm not convinced about this
little line up on here, but I might have a
tinker and get it off. I can't quite see, I can't get near enough to
it to see what I'm doing. But I can stock for little
bit scenarios like that. There's quite a lot of
light here on number one, but because we've only got one layer and these paints
are very granulating, I know if I try to
take those out, they would just
lift straight out and I will be left
with white paper. That's the joy of
doing multi lays is you can almost lift
one layer out, but leave the second layer
untouched so you can lift it. Get light in a little easier. But if you've only done one
layer like we've done here, it's harder to do so. I don't want to
take too much paint out of any of these darker areas like the
head and the wing. I'll paint it anyways, I don't feel I need
to take anything out. Let me have another look. Scanning over it, I think we are all right. The foot may have gone
a little large here, but I don't mind that. Think it worked to all right.
There's a little edges there I can tidy
up, but I won't. I'll probably bore
you with doing those. I think I'll put those down, and we pick up the Posca pen. We can put these little dots in. That could have been
done with masking fluid if you'd
worked a lot larger, we could expect
this masking fluid and that would've
been quite good, but I couldn't get the
masking fluid small enough to replicate
those little dots. I'm going to use our posca pens. I'm going to give it a good
of shake and get that going. You could have done this with a little
bit of white paint, but this stands out
a little bit more. It's more quiet so the [inaudible]
it's just little dots. Just squint your eyes
and look away from it. Don't get to try and
replicate all those dots. This is actually just
a little impression. I think that's almost enough. Then we can do just a
minute twist of line. See if I can do this
without being too thick. So far I want to do this
now but now I said it. Just give a little
texture light if that a bit too much just so
squeegee anything good. I think that's worked okay. I know we've got to do the only important little catch light, so just one little
dot comes out. Suddenly, you've got your little penguin.
Having these amazing. Then on to number one, we need to try and get that tiny little dot with
a little bit of light, over the top of the bill. Just a little. Hope you
can see that up here, getting a bit
squegee a little bit just from a distance that
hopefully should work. Don't look. I'm going to
say don't look too close, but it's an impression. We're not trying to
paint that exact bill. It's a very complicated shape, but if you love doing detail than you could spend a
quite long time doing that. But from a distance, I think that it gives enough impression. Next we're going to do
a little catch lines. That one and then on
that little eye there. I think moving the dot
hair from number one, will not be [inaudible]. I think we are done. Just checking my notes. I haven't left it very obvious. No, I think we are done. I'm pleased with how
that's come out. I really hope you've
enjoyed painting these loose little penguins, and as ever, please share these. A lot of work goes into this. Both my husband who
does all the editing, and just doing these I
have painted many many of trolls of the these to work out all the steps
for you so you can paint it. I love when you share
your own pieces. One of the best bits about doing these Skillshare classes is,
you're seeing your work. Thank you for joining me.
12. Final Thoughts: I hope you enjoy painting with key pair of penguins and it's got you into
the seasonal spirit. How did you find painting one big bold layer
over their heads? It's a little scary adding that much paint.
But don't panic. You can always gently
remove it by adding a little more water and sucking the paint back
up the paintbrush. You have more control
than you probably think. Did you enjoy painting
two subjects? I find it stops me over fiddling as I have another subject
to concentrate on. To do those tweaks at the end, pour your painting together. It's important to
take your time, especially around the eyes, as it can make all the
difference to this pair. We look forward to seeing
you in the next class.