Watercolor 101

Lesson 19 of 28

Drawing for Painting

 

Watercolor 101

Lesson 19 of 28

Drawing for Painting

 

Lesson Info

Drawing for Painting

Good morning, everybody good morning class I was you know I meant to say last week go home and paint apples and then bring apples to the teacher next week you know michiko said that so uh this is our fourth week in this course which is amazing to me has gone by so fast I can hardly believe it uh uh we are this week talking about drawing in composition and, uh I've made the statement several times before I'm not going to teach you how to draw, but I am going to teach you ways to get your drawing onto your paper and I'm also going to talk to you about ways to make sure that you have a composition that really it's it's the sky it's the skeleton of your whole painting is your composition and I have a quote that even that talks about that later so here we go first of all many thanks to daniel smith say this every week they make my favorite paints in the whole world and they are a wonderful store and they have wonderful employees you go to any daniel smith store and the employees their artis...

ts themselves and they can help you figure out whatever you want to and they are our are supporting this class and they provided the supplies for the in class participants and they've just been wonderful they've just been really terrific in supporting this class okay, so in our our five week course week one was just our overview of watercolors and what's so exciting about them and why I consider this medium just a magical medium no, we too we talked about paints and color and we talked about pigments and paint properties and how to create a color wheel and create all of the colors in the rainbow from your color wheel mixing, layering glazing week three we talked about paper and brushes and we that that involved paper surfaces all the different kinds of brush is that there are out there the types of affects the brushes can create techniques with your brushes and how to get certain edges with your brushes that that you used certain bridges brushes for an edge that you don't use another one for this week is drawing in composition and we're going to talk about various different styles of drawing to see if there's one in there that resonates with you the most how to use a grid to do your drawing and to help you do a good drawing even if you don't consider yourself a good drawer, you don't have to be a wonderful drawer to get a good drawing on a piece of watercolor paper to turn into a wonderful painting ah we're going to talk about rules of composition various there's something called the rule of thirds and how to create the visual flow in your paintings and then in the last week, which is not next friday, but the friday after september the third is when we're going to do all the really fun stuff that's when we're going to talk to talk about special techniques and creating special effects and how to use masking fluid and when and when not to use salt to put salt on your paper and text your ing and things like that so that that is going to have less of a presentation field to it next week, we're just going to be playing next the last class is playing look at that color wheel on the left tae oh my I think that's how you pronounce it? I'm not sure did a wonderful job on this color wheel, I think it's just spectacular and I couldn't have done it better myself in many respects, it looks to me like it wasn't painted on cold press watercolor paper so you can see the strokes and if if this person was really interested in getting really good flat washes in there, they might do it slightly differently, maybe even put what water down first, do it on a different kind of paper, but the color mixing is fabulous and then look at thes grated wash is on the right I mean, these are better than the ones I did last week, so this person just did a great job and I was really, really happy to see these things posted on flicker and then, uh I forgot to change the names. I'm really sorry this is not tam on the left or tom on the right I forgot to change the names. I think this is seattle, susie on the right and I just love that drawing. I mean, I I I think that painting is just terrific. I saw that night look at all the colors and the way it's all blended and she put a little tree and on the side and everything, I think she just did a wonderful job on that and I'm sorry. I can't remember who did the one on the left that maybe seattle susie as well, but that really looks great to me. Look at the cone. Look at that cone it's like perfect and the the green ball is wonderful. I mean, you know, I just love to see this stuff I think everybody's doing just a fabulous job. Okay, so now we're going on to drawing for painting and as usual, I found my little quotes that I like every child is an artist. The problem is how to remain an artist once he grows up that's pablo picasso, who needs no explanation, but then the one I really liked with this one a line is a dot that went for a walk that's, paul klee, and I don't think he needs much explanation, either, and that line is a dot that went for a walk. Try to keep that in mind when you do your drawings, especially in one of the techniques that I'm going to talk to you about. Uh, drawing is like it's it's, the bones of your painting, composition, maybe the skeleton, but drawing is like the individual bones and it's, too big a subject to teach in this class, really? But you confined so much research about drawing how to draw, how to draw perspective, you can go to youtube and see videos there that air posted by a people who draw for a living. You know, there's so much information out there, so I just suggest that you look it up yourself and gain as much as you can from the wealth of information that's available, so developing your drawing skills, there's certain things I would say, I would suggest you do on a regular basis, one of them is draw often and learned to see by drawing often you, you, you put more focus and more attention on what it is that you're trying to draw, and in the process of that you learn to see look at all the things that you have to look at. Look att angles. Look att the lang landmarks on whatever it is that you're drawing. Look at the negative spaces around it. Look at the planes thie upright, the flats, the the curved, the tilted all of these things go into making a good drawing and those things you will learn to see if you just force yourself to draw often, try it and just keep doing it. Keep your drawing simple, you know, eyes, eyes. When I first started drawing, I put in every blade of grass, every leaf on I just I put in everything that I saw, and then I realized I don't have to do that. You know, it actually created a much too complicated painting to try to go in a paint later because I then I would sit there and try to figure out where I was in my drawing, and I had a very difficult time with it. So keep your drawing simple, eliminate the unnecessary and that you can put something in a simple drawing, but it may still be unnecessary to the meaning and the purpose of the painting, so keep that in mind as well do gesture drawings or paintings now. Gesture drawings are very simple I have a slide of those coming up they're very simple quick sketches that you do in, like a minute time, two minutes and you can do him either and drawings or in paintings and they're there they help you loosen up, they help you draw from the shoulder rather than from the wrist. You don't want to do this kind of thing you want to paint with your whole body and like, normally I stand up to paint in my studio I never even sit down here it's a lit will be different because of the way I have to set up the room and I'm working on smaller pieces of paper, but when you get to the place where you're painting a full sheet watercolor, you can't do it sitting down because you can't even get enough of the painting in to see what you're doing at the time. Dukhan tour drawing for painting now contour drawing is where you basically do the outline of something you don't fill in your shadows with your pencil, you don't do anything like that now I do know artists who will do a contour drawing and then they will go in and put in very faint numbers up for their values they'll go in and they'll indicate okay, this is a five so that's where I want my deepest, darkest shadow and then when they get ready to go paint it, if you know they'll erase that little five and they know what they're doing, so give yourself all the guidelines that you need on your drawing to tell you where you are in your drawing and what you're going to be painting next, and the values and everything that you're going to be painting and take your own photos when possible. I mean, that is just that's, something that I would absolutely suggest that you do. Okay, now, this is a contoured drawing from a man I took a workshop couple of workshops with his name is william hewson. He, uh he does drawing allah of charles read, which he does contra drawing, and he hardly ever even lift his paper, his pencil off the paper, he just flows around, and he looks he hardly even looks at his paper. To tell you the truth, he just uses he has developed his coordination between how fast his eye moves and how fast he draws, and he does these very, very loose drawings. I, if you can see, this is just a detail of a painting that I bought of hiss, but he draws in his shadows as a contour. He draws any shadow outlines, and everything is just done with a very, very flowing line of pencil and ah, what it does is it it really encourages you to paint loose because your drawings aren't perfect he'd never uses a ruler there there's no perfectly straight line in his drawings anywhere it encourages you to be a looser painter and I love I love the way he paints I think he's just a fabulous artist and one thing that you can do also is after you've got your drawing done if you want to have areas that overlap in other words if you want your shadow underneath your pair to blend into the pair he would more than likely go in and erase the line between the pair in the shadow if you want something called a lost and found edge where the shadow underneath the brim of the hat comes down onto the side of the face you erase the line between the brim of the hat and the face and that and reminds you and encourages you to just let your wash run down in the very first class that that where I did the overview I think I showed uh uh charles read painting where he had the man with spanish hat on and it just came I mean it's just a wonderful effect so erase your lines take every line out that isn't absolutely necessary this is a painting I did and this is was my attempt at a concert drawing and it was it's very loosely drawn you can see it's very loosely drawn, and it absolutely encouraged me to paint loose. I mean, there was just I did this in about an hour and and I just let all the paint's flow and blend together, and it just I'm happy with this painting it came out for for me to attempt that style, that sort of william houston charles reed style. I think this came out pretty well, and it just encourages spontaneity, so I encourage you. I found this quote by a guy named lawrence goldsmith who's over watercolor painter and has a wonderful book out. And and he said, think of the experiment, not the product and that's what I do get have tried to say from the beginning of this class, don't concentrate on the end result, concentrate on your process, learn your process and when you get to the place where you've got your process mastered, your end result will always be wonderful, even if it doesn't match what you've expected it to look like in your mind's eye, you're still going to end up with a wonderful painting, so this is sort of like my traditional contour drawing style. This actually is a little bit too complicated for me now I would. Well, first of all, I don't know that I would ever choose a subject that had that kind of necklace on but you know it's it's I did this drawing and then I sat there and I went do I want to paint this and I didn't so it I never did paint it this was uh I will get to it eventually one day when I've got nothing else to paint and I just feel like painting and I've got nothing drawing I'll probably get to it um but it's a little bit too detailed for me but this is a contour drawing this it of a different kind this is creating the outline around your shapes and around where you expect to change color now this is my friend ted not all again and this is just a very small detail of a painting that was in process he I was not even remotely finished with this painting yet but what he does and I think I explained this to you before he prints his photographs out exactly the size he wants to paint them and then he grids the photos so he'll go to kinko's and get you know I have sheet water color size photograph turns it into a black and white grids it half across half down he had he travels with a big big easel with a big piece of plywood on it he tapes the photograph gritted to the left and puts his watercolor paper to the super to the right and he is literally measures every critical pivot every point where your line changes direction especially those of the points that air critical when you grid a drawing he'll literally measure them from top to bottom left to right and put those points on his watercolor paper and then connect the dots and if you take a look at this you can see how his drawing style literally has dots in it and he draws that slow he'll draw and stop and draw and stop and drawing stuff he told me that it sometimes khun take him twelve hours just to do a drawing and his drawings are not complicated but it'll take twelve hours to do it but how long painting party ow he hit a long time he's a very careful painter he's a very carefully so loose that's why yeah I know but he's just he's incredibly careful every dot is every dot of paint is considered he's amazing so this is how he would great an image and this is a ah little baby this is the son of my financial advisor and my financial advice has been so good to me I decided I wanted to give him a present so I painted a portrait of his little baby one day and blew him away he just couldn't believe it but I gritted my image I printed it out on my printer exactly the size I wanted it and I and I actually did measure it and this is the drawing I ended up with based on that photograph this is just a detail of that drawing after I went in and erased the vertical and horizontal lines and things like that and there's a painting he was blown away. Now I want to show you something take a look at the colors in that painting there's purple in the skin tones I'm talking specifically about the skin tones there's red there's orange there's yellow ochre galore there's green there's blue there's ultra marine there's, saru lian all of those colors are in that baby skin tone faint but it's what creates the death? I mean he looks truly three dimensional because I put all of those colors in there and you didn't difficult question molly you didn't start with uh your use didn't stop with color image you start with a black and white and so did you decide on the black and white does your finish painting? Does that the only thing in my finish painting that matches what was on the color photograph for the actual photograph that I that I started from was the blue tram around his little hoody thing because that was a good color after I got all of his skin tones in and everything that was a good complimentary color to put in there so that they would set each other off the blue pops and the skin pops because they were compliments to each other but that the background is totally different and one other thing is you know what? Why don't I go back see the photograph taken with a flash you don't want you really don't want to do that because it it but you know he was just hit this my little guy he had no idea it was going to paint a portrait nice and send me a picture of your baby I want to see him and so he did he did in the course they too he took the picture with a flash it's it's best not to paint from photographs with flashes but you know what those those shadows warrant that disturbing to me and they actually added interest to the painting so I I literally painted the men and they worked they worked in the painting to create his skin color did you do a um siri's of washes? Yes I did and then you wait for those washes to dry before you start adding onto them sometimes I waited for them to drive if I wanted everything to blend all together I didn't wait for the wash dry um you know but other times I let it dry now I painted this entire painting in one day twelve hours it took me twelve hours I used a hairdryer I just got obsessed with it. I just started painting and I said I gotta finish this today and I started about ten o'clock in the morning have finished a little bit after ten that night I'm saturday of the colors that you wove into the blanket there's such depth and come on that that little white blanket put color everywhere even if you even if you're looking up piece of white paper put color in it, you can't you just can't go wrong with color make it up if you have no idea what color to put in there, just make one up. You cannot go wrong. Yes, michelle, I don't know is this sack religious to say, why don't you use photo shop to do the drawing part so easy? Well, I could, but I like to draw and I personally think that that if you get really good character in your drawing, it adds a lot to a painting. Now I know a lot of people who project their drawings on when you project your drawing and I did it myself. I've done it, I've done a couple of paintings from projected drawings. When you project your drawing, you draw real fast, you go in and you just sketch your outlines and your doll with fast and then you come out and to me there's just there's just something missing in the character of drawing and uh and that character shows in your painting I think uh, you know, there are other people who could care less about drawing I mean, they really could care less they and and some of the true contra drawing some people paint after doing a blind contour, which means that they never look at there drawing while they're doing it they only look at their subject and they're drawing over here they it develops the coordination between how fast the I and how you know develops that sense and then they get some amazing drawings that have such character to them, but they're not realistic it'll do you use photo shop to help you figure out your values sometimes like sometimes I do, like on these poured paintings that I've been doing, I think in my first presentation I showed the slide of the the the different stages of that poured painting of the portrait that I was doing. I go in and I posterized it and I got my five values and then those five values or what I transferred to the paper, but but for something like this no, I wouldn't go, I will, turning it into a gray scale it kind of helps that helps you do that just turning it into a gray scale will show you where your values are but I didn't do any special post arising or anything like post arising changes the image quite a bit I mean, you could do if I value value post your ization and look at something and go what am I looking at? You don't even know what you're looking at you on the poured paintings that's fun but on something like this I wouldn't do it so gestures that's what I mentioned before one in two minute sketches where you just try to capture line and movement this was about a two minute gesture of a woman who was sitting on the floor it and a life drawing class that I took you khun do them in drawing and you can do them in painting and these were just, you know, two minutes gestures we had a live model and she was just changing her position every two minutes I mean, when I first started doing these like I I only got the head done I mean, I got the head maybe half a shoulder and then and then she changed and you're going wait, wait, you know, but eventually you get to the place where you just realize what you need to do you learn how to use your brush, you know, you know, you learn howto use sticks and thins and just do him really, really fast and they're not great but there are a lot of fun and they really do loosen you up they have a lot of interest in looking at him too I mean they really catch your interest you're loose little figured yeah they do so you can dio country drawing on one or two simple too of subject so we're going to do this exercise in class right now hard now this is gonna be one of those where where we don't look at the paper very often we just start drawing now I you can take one of your graded off although I would just use one of those you remember those simple uh scratch pad papers that I gave you a long time ago when she used one of those those are probably the best I'm gonna use a piece of water called paper because you don't get cook to careful when you do these halfway blind contour drawings you're you're just trying tio not that one no just a blank piece of paper you can use your sketchbook like susan's using or just one of your eight sheets or that those scratch pad papers that I gave you that have the lines in him all right you can use that so what you do let me get my drawing so that I know what I'm drawing hear my heart beating you know what? So is my lease ron is yeah yeah some and sometimes I I have some interesting nerve damage that comes down from my shoulders and sometimes I can't control my hands very well and I have a feeling this may be one of those days so bear with me if I shake a little bit sometimes I it's just a issue for me so get your your your image so that you can see it and what I would do is I printed this image out about the size I would suggest that you draw it so so tried to develop your coordination between where you start your pencil oh here and where you're going to end it between your two pieces of paper side by side between your image maybe on top and then your drawing what you're going to be drawing so I'm going to start over at this part of the paint tube the upper left corner on the bottom ege and I would go up now this is the hard part trying to gauge the distance you again with this part here there's that there's a certain distance then you have to kind of figure out based on that because that's your first distance that's that's your your marker that you put down on the paper how far you go up until you get to a juncture where your line changes and goes into a different direction so these are that this is the coordination that you start to build when you just practice doing something like this so I did that line and I wouldn't hold my pencil way down here because when you do that you you have a tendency to cramp your hand try to give yourself a little more breathing room it allows you to draw in a more fluid style so there's my corner tried it duplicate your angle's that's where I'm going to change direction run down little ways there's my cap my cap starts cap comes down now you're not throw away the notion that you're going to get a perfect drawing I'm telling you you won't getting a perfect drawing that's not really the point of this exercise is it? No it's not at all go up and you connect down at that end okay there's my basic outline of my paint tube then I would just go in and put in a couple of more interior lines you try not to but you don't really pick your pencil up this is a cz much as you can to leave it down on the paper also I'm drawing very dark because I want to make sure that this can be seen on the on the monitor so you probably would not draw quite this dark come around on that band now up at the top I'm going to draw in these shadows now if you take a look at the photograph you can literally see there are three let's see one two three, one two three layers of shadows around this too and you're going to want to capture all of those so start with your outer shadow go down and go out and then that gets gradually goes down and gets closer and closer to the tube as you get to the bottom of the tube then from that same point you're going to go to the inside shadow that goes just inside that not easy and then we're going to go in and we're gonna pick up the inside shadow it's in from there the darkest shadow next to the tube okay, now I'm gonna go back up here now lot they're lit literally are a lot of artists who say never ever ever pick your pencil letter up off your paper so when they get down to the left hand corner, they really literally have to travel back up the object to get to where they're missing lines um I'm not I don't do it that way, but I do try to keep my pencil on the paper in this style of drawing when I'm talking about continuous lines that do touch each other so now let's go in and let's do that part under the cap now the cap you khun see how there's a, uh a little lip and a shadow underneath there so we go in and do that then there's another little shadow underneath that and you do you do do your shadows, you do outlines around your shadows and then another little section there and another little section there then I'm going to go in and I'm going to do this red band around the top I'm not going to try to go in and put any words and or anything like that now if you wanted to see the, uh highlight that runs down the middle I'm going to go ahead and draw that in because if I were going to go in and paint this later, I want to remind myself that there is a highlight there that highlight we'll talk a lot about the depth and the dimensions of the two okay, there you go that's kind of ah a paint by numbers kind of look it does contra drawing yeah, it does, but all you need is just your your your shapes defined what we're trying to do is convey three dimension onto dimension you're three dimension comes in with your light and shading but your shapes define your object so that's what this is all about it's about getting your shapes on the paper so that you can distinguish him and go back in and give them the appropriate color later but that's just a very, very simple object and a very simple way to transfer your drawing to a paper okay so now we're going to go back to the presentation. Okay, now, this is the one where we're going to take where we're going to do this one, too. This is the one where we're going to take one of the piece of paper that has the tick marks on it that I asked you to grid and this image is literally the same size as the grid on your paper that I gave you in the class, and we're going tio draw this little boy now, this little boy last time I'll show you what we did last time in the first class, this was the painting that we did, I gave this image and said, let's, draw it, and so we drew this image first, and then I actually went in and started painting it online, and I just loved this image. I thought it was a great image, but everybody really got hung up on the colors they because we have a limited talent and people were very frustrated that they couldn't get her veil the color that it really is in the painting. Now, some people didn't even try to try to paint that remember one person, uh, did an entire sea peotone painting. Did the whole thing and see peotone which I thought was fabulous and it really looked good so rather than get hanged hung up on the colors are a little boy that we're going to draw this time is I put him in black and white um but we started in class and this was the drawing I did in class and I started painting it but this was such a quick drawing and I really didn't do as, uh, as carefully drawing as I as I usually like to do. So then I went home and I did it again and this is the one that I did again put them side by side. Okay, this is the one I did first and the one on the right is the one I went home and I did later. Well, for those catch lex and eyes, I mean, how was that paint or no I that was reserved areas I used masking fluid and reserved amount and then I may have gone in with a little bit of white paint. It looks like I went in with a little bit of bitch will pay quite afterwards because it was those reflections in her eyes that were the most catching to me about the photograph and that was what I wanted to make sure I got in there, so this was the exercise we did in the first course this time we're going to do this little guy because I don't want people to get hung up on the color and I am going to ask people to go paint this later and hopefully post on flicker but uh so you're going to have to make the colors up and that's what's going to be fun for me to see what people do so you know what I'm gonna do her ass this way sound something like those smalley would you start the outline um to include the hat or would you just start with him you can see that's what's so nice about gritting you khun start anywhere on here that you want to I mean if you want to start on the tip of his nose you go right below the center point you go down and a little bit over and there's the tip of his nose you can start anywhere you want to now for this kind of gritted approach now what ted not all would do is he would literally get a ruler out I got one here he would literally get a ruler out and he would go okay this juncture over here is exactly three and one sixteenth of an inch away from that center line and he would go in and there would be that point and I super great that's what I do and I wish I could just draw but that's what I do yeah, well that's what I did on the portrait of the baby and I you know, I think when you're trying to do something and you wanted to look exactly fish via you want it to look exactly like the person that you're doing if you're doing a commission portrait or something like that I absolutely would do it that way because all of that stuff especially in the face I mean there's certain things in the face that are so important the distance between the corners of the eyes incredibly important, the distance between the bottom of the nose and the top of the lip the width of this indentation above the lip really important where these are in relationship to the corners of the eyes you know, the corners of your mouth and all of that stuff is what defines you one person from another now there are general guidelines and we're going to go through that in the presentation later their general guidelines to know about but those differences or what characterized so but we're not gonna we're not gonna measure here we're just going to try to do it by eye okay, so I mean, if you just look at your grid and the photograph is the same size is the grid that's purposeful uh in order for you to be start working with your proportions if you look at the bottom of this little boy's chin it's about this distance away from the bottom of the paper if you look at the top where his lip crosses over the line it's a hair below halfway up so I'm going to go halfway up and then go down just a little bit and that's where I'm going to put his mouth, I put the tip of his nose in already uh this curve, this edge of this nostril right here where it starts to turn direction it's that far over that far down, so I'm going to go across from the the bottom of the nose here, going to go over about that far and put in a little dot there, I'm going to put in this dot this part, the corner of the face that looks to me like it's about there you can get close enough when you do it this way let's go in and put in the corners of his eye. Now that looks to me I'm looking at this sort of at an angle little more than a third of the way up here and then go over about that distance and it would be from there and then a further due distance over to the corner of his eye over here now I'm going to go and figure out where the edge of his hat his an edge of his hat cuts off right about here then I come in this way and there's the corner of his ear, his ear goes down and right where the face where I put that dot in right above there is where the ear stops so let's, start drawing, I'm going to just start drawing here, I'm going to start right over in the edge, right on the edge of edge of his hat. Now I'm going to give myself a marker on this curve and his chin right here, that's pretty crucial, so that looks to me like it's a little bit higher there goes over about that far, so I'm going to come down and he hit that mark come down, give the little curve of his chin that mark go up, I want to get this part again, which is pretty much parallel to the bottom of the line and about us far up it's that one that would probably be right about there, so I'm going to come up and start because I find it hard to draw this way. I find it much easier to draw toward me than away from me. So I'm gonna come up to this line up here here and start putting in his cheek it's important to look at your drawing or your photograph, your reference material often that's, how you duplicate your angles now you see I didn't get as much of a curve here as I need I did that on purpose so I need to bring that out a little bit more okay so there's the bottom of his chin so then I'm going to find this point right here and that looks like it's about this far up and about thiss far over and that's where I'm going to start drawing down from the side of his face next to his eyes and hook up with that line then I'm going to go over here is his hair here's the brim of his hat now let's do something let's start getting to something pretty crucial here I'm going to find the other corner of this I and I think I'm going to line this up this way see how you could do that you can just line that you can line these things up and visually figure out where you're going to go with it and that line is a little bit further up it's right about there so let's put in and I and he's got some definite definition and some eyelashes he also has an eye lid that we want to get in there and convey and that actually curves a little bit of a curve there his corner of his eye you know there's that little pink section in the eye where the eyeball sits inside of now one thing I need to remind you of eyeballs are never perfectly round inside. They're always cut off top and bottom unless somebody is wide eyed, you know, like they're staring at a train bearing down on them or something like that. If you're doing a deer and you're right, a deer in headlights look okay, there's this I now he's got a shadow here, and I probably would not draw that. I would just go back in and paint that, but right above his eye, he's got a hint of an eyebrow, and I would give some indication of that because you're going to go back in and probably paint that pretty dark. Now I'm going to find where the brim cuts, which I I think it's right about here, and this is the line that goes across for the brim of his hat, this is coming out pretty good, okay, now I'm going to go back and connect this brim over here, he goes up a little bit, dips down a little bit and connects. Now there is a, uh, the line underneath the brim of the hat there sort of like a border there, and I like that, I think that's part, I think that's an interesting part of the painting, do you see what I'm talking about right here, this this sort of thicke thing here that's kind of like underneath the brim of his hat I'm going to put that in because I think that's pretty interesting and I think it would be a good addition to the painting if you disagreed with me and you thought oh that's totally superfluous leave it out don't put it in but I think it's interesting I think it adds character so I'm going to draw that in and one of the reasons I like it it's because it's not even at all it's not a perfect distance away well I have some people in a chat room wondering if you could position your photograph a little bit more down so they can see the the boy's face can't be overlooked better yeah it's great okay thank you. Okay now let's go and get his other eye end so we have this corner dot and you know what? I made this I a little too deep actually I can see that now but again you know I'm not I'm not I don't know this little boy makes no difference at all if it looks just like him or not so here's the corner of that I and I would say this corner of his eyes pretty smack dab in the middle of space and it's a little bit higher so it's probably right about there so we're going to get this almond shaped going on then don't forget that part that doesn't go all the way out to the corner then we're going to now this eye it's squinted a little bit more than the other one this size bigger and rounder than this one so then we go in and we put in the pupil and the iris and all of that stuff do you draw in the eyelashes I usually don't because I'll show you when I did I bring it it's not necessary to put that level of detail in well let's look at it here if you take a look at these I don't know I don't have any I just have sort of blurs of paint you know I make it a little bit darker like this is just a blur of paint that was just that just blended up into the into the skin tone underneath you don't need that to indicate eyelashes and you will see a lot of paintings out there where somebody has gone has has gone in with a two hair brush and they've drawn in every single eyelash and not necessary totally not necessarily spend more time on his lower lashes on this upper lashes given this I just put shading is yeah yeah I mean you could put in just a couple of strands to indicate what's so nice about it about is that you know, people are so used to seeing certain things their mind is going to insert what you don't put in there anyway so the the mark of a really good painter is knowing what not to paint so that the person looking at the painting gets more engrossed in the painting because they're making it up in their own mind, you know, it's a it's, a it's, a fine line between painting every single detail and turning it into a boring painting and painting something painting something that has a little bit of mystery to it. Okay, so let's go with this other crease that goes on top of the eye very, very close and comes in and puts a little crease now now there's a shadow underneath here you can see I'm going to actually draw in it's sort of like the side of a you know, uh, arabian so worried or something? Um, don't draw it unless you're truly trying to do a contoured drawing, but this drawing this style is too careful to be the kind of loose never take your eye off the paper kind of thing and then his his eyebrows here are sort of, you know, very, very sparse and sort of fanned out, so you might want to just give yourself a little indication of them, but I wouldn't bother with him, okay, so now we're going to start over here underneath the bottom of the knows we're gonna make that angle up on the nostril and curve around actually that's not quite right but how do you draw the viruses with brown eyes well what I would do I would probably put a little bit of masking fluid see the highlights in his eyes you want to draw those in because you want those you want to reserve those a pair of eyes almost always has some kind of highlight in them so I would go ahead and I would draw those highlights in and then you would probably masked them out with masking fluid and then what I would do later is I would go in and I would wet the whole dark part of the eye and start dropping in color now remember my portrait of red at the very beginning it's the eye that we use for our symbol for the class where she's got red and blue and green and brown and yellow okker all in one eye that's probably what I would do here because it just makes it's ever so much more interesting isar are multi dimensional they're very mean you know they're they they're really multi dimensional so to get all kinds of color and dark shadows and things like that and then I would probably while it was still wet go in and drop in the pupil right in the center and let it bleed out a little bit it's probably what I would do okay so let's get the rest of the nostril and the nostril ist pretty wide, and then we're gonna go right over here. We're gonna go up on the nostril there and then down you don't have to do much here you you'll be going back in and painting this darker later. Okay, so let's go for the mouth. Very centre of his mouth is just a tiny bit off the vertical line, so you're going to move over to the right. Go up now. We didn't figure out the corners of his mouth, so I'm gonna put a marker there for myself. So it's about it's a little bit wider than the nose and a little bit higher, then the top of the center lip. So I'm going to put a marker there that I'm going to go over and do another one over here. The whole purpose of drawing like this is to show you that if you take your time and you're careful, you don't have to be a great drawer. I mean, by gritting it out like this, I'm coming up with a drawing that looks pretty good and it's just not that hard when you practice enough there's always a little rise in the lip there, and then we'll just now another thing when you paint lips, you don't ever paint ah whole lip, you always leave areas where you don't ever just put bright red lips down you always leave areas where there's no line where the lips sort of blends in and if you take a look at this little boy, you can see where his lip just sort of disappears into the shadow here and disappears into the shadow down there. So after I draw the lip in to make sure it's the right shape, I'll probably go in and lift some areas of the lip out to remind myself that I don't want to just paint a lip because then the lips look like they're just plastered on the face and you don't want that now this comes down here quite a bit, then goes over and the same thing here okay, I think these lips are a little too wide, so your comment about the the lips and also the the eyelashes that's kind of falls in line with what you were saying earlier about loss and found edges. Yeah, exactly it's areas where one area of one shape blends in with another. Okay, so I think that's pretty good doesn't look like like like him exactly, but it's a good enough drawing that I would probably want to go in and paint it, and then of course I would go in and I would do all the rest of these details up here, but if you draw slowly enough and you pay attention to what you're doing while you're doing it obviously you can get a pretty darn good droid using this approach practice press practice practice practice of course and then I would just go in and I was put in the shirt I'm not quite sure how I would paint this sweater I don't know the solid well yeah, but well, I just don't know you know it's got all those ribs and everything I would probably just give a a light indication of them somewhere and let the viewers I put them in everywhere else you it really helps is if you fold the paper put it against you can see where you absolutely and absolutely have the do it here folded along the grid see if one's if the if this matches up with the m absolutely it's a great way to do it any trick anything that gets your drawing on paper is legit you know what anything helps me is, um I turned the drawing upside down oh yeah? Because I start in my mind putting things where they makes sense to put them right and I'm off so I turned it upside down I have to focus on just shapes that's right an expanding actually work this time that's exactly right and another thing that that is really great for a painter if you really want to see whether your painting is successful do two things put a framing matt around it and look at it in a mirror yeah, every single painting I ever paint the last thing I do is I look at it in the mirror and you would be amazed when I think of painting is finished and then I look at it in the mirror and I went oh, wow, I forgot that whole thing there I mean, you just don't see it you get so engrossed and you don't see what you don't see any more until you look at it from a completely different perspective I I often will take I do pencil drawings primarily portrait uh huh and I'll have to walk away for because I think that I'm seeing exactly what I'm you're exactly the way I wanted to come back and go oh my gosh that she kiss away by her then right? You have to get a different perspective and then turn it up, slide down and then turn it upside down in the mirror and I mean and that was what I talked about the ten ten rule every ten minutes step back ten feet all of these things will help you get a fresh perspective and a fresh perspective is really, really important in both painting and drawing, so I'm pretty happy with this little drawing I think it came out fine didn't have to be perfect but I'm okay with him now. What I would do is I would go in and erase here your grid and when you raise your grid, you have to use a needed a racer or something that won't mar the paper. You don't want anything that will leave any residue on the paper, pick up any of the fibers and you'll probably have to go back and fill in a few areas of your drawing where you've erased but that's not hard to do, and then you end up with a nicely finished one without much effort for yourself. Is your heart still beating soon? Oh, you know, just stop altogether. Now I am gonna go in and I'm going to erase the parts of the lip that I think I want to have lost and found. Ej the top lip is a pretty defined thing, but is bought. His bottom lip is just very amorphous and it's just sort of like all over the place and I would probably go back in and I would probably put in some masking fluid on his lips to reserve some of those highlights also. But there you go, it's. A nice little darling I may have to paint that so. After you get your drawing done, those of you on line please do paint it and please do post some of the results on flicker because I would love to see what people have come up with um in their color choices and how they've just how they've seen this and the skin tone obviously he is ah he looks chilean or spanish or from mexico or something like that so his skin tone would probably be darker than if he lived in norway. Um I'd be really interested in seeing what people do and we have two weeks now before the next class so uh there's time so why don't you go for it? Okay, so that's our little drawing using a grid approach now this is something else you're going to want to know how to do and that is transferring your drawing to a different size because some of you only have printers that print eight and a half by eleven images or eight by ten and you're going to want to print on a paint on in half she watercolor or enlarge it up to a quarter sheet so you need to know how to take your painting or your image and transfer it up to a bigger size and this is how you do it you do it using diagonals diagonals are the all important rule for creating duplicate proportions in larger or smaller sizes so you would take your image and you would put it down in the lower lefthand corner or whatever corny and it doesn't matter which corner you work from you could work from the lower right go up to the upper left her work from the lower left and go to the upper right and you draw a diagonal right through the middle of your image and then you line the left edge and the bottom edge of the image up with the left edge and the bottom edge of your paper and you draw your horizontal and vertical lines and you draw that diagonal and as you draw that diagonal you draw it all the way out to the corner or out as far as you want your painting to be and where that diagonal runs across the paper then you go out and you work a vertical up from there and you meet it in that corner and then from where the vertical or the horizontal meet the diagonal you create the other line after that and then you have a perfect proportion so what I showed on the slide there is you can see this is where that corner is if you wanted to go a little bit bigger this is the corner of the painting goes there and goes there a little bit bigger little bit bigger and you just use thes diagonals but your diagonal is your all important uh, line in order to keep your proportion. Okay. And you can work from big down to small again. If you want to. You can have a big image and work in the reverse direction. Either way, it will give you what you're looking for.

Class Description

Learn about color, papers, brushes, drawing and composition in this complete guide to watercolor. Molly Murrah teaches painting techniques that will help you create your own special works of art.

Reviews

user-9ba4d8
 

I would also recommend this class with some hesitation. This course is a broad and sweeping overview of watercolor painting. It is a good reference course and I will probably be treated like a reference book for watercolors. The skills we covered were valuable. It was beneficial to hear about the watercolor artists that Molly enjoyed and to have a list. The exercises were appropriate. I would recommend this course to someone who likes to know all the details of things before getting started. If you are someone that wants to jump right in this may be frustrating. Obviously, I am the latter. A few suggestions from my perspective....limit the product pushing. The references to Daniel Smith were off putting. I will try to avoid purchasing their products at all costs even if they are the best. It was very difficult to get access to the paint colors that she wanted us to have as some of the names are slightly different than what is available to me locally. I have already taken a beginner color watercolor course which I loved!! If I had not taken that course I probably would have been lost here. In that course(also online) we finished a project for every 10 minute lesson. I learned the basic technique's and it was FUN! I wish this class had more projects to practice that can be completed by a beginner and intermediate. Portraits seem like a large undertaking and it would be helpful to build confidence with smaller and simpler projects. I just felt a little discouraged. Molly is very talented and the work she shared was very thoughtful and showed incredible skill! I am very thankful that she took the time to teach the class and share her knowledge.