Statue & Gargoyle Watercolor Painting

Statue & Gargoyle Watercolor Painting

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Language: English

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00:01
[Music] okay there were some comments uh about how to do a line drawing just from a photograph and that would be actually not using the tracing layer what we could do is actually import a photo that would just be up here import image and then go over to wherever your photo is locate your photo then open it up and then uh it's best to keep your paper the exact same size uh to scale in
00:36
proportion of your photo and then it'll just open up like this and it'll be the exact same size as the paper and then what i did was i just named the picture whatever file name it was that's how it'll come up i just named it photo and then i just put a drawing layer above it and then what i will do is actually go down here to photo and make it about 40 percent and then that is just so i can barely see it and then i'll go back up to my drawing layer and then start uh drawing
01:08
out everything that i want to include in the painting now the uh pigeon kabobs i'll probably leave those out uh but that's so uh the pigeons don't land on top of the statue uh and here what i will also do is then just click on a uh one of my grays that i use for pencil drawing and then i will actually use uh this 2h here that i i just made these pencils at different uh diameters and also different
01:39
types of uh brushes as to what i want more of a more of a charcoal type pencil or more of a just a nice clean straight line uh pencil uh but for this one we'll just use the 2h nice clean line just to give us out lines of the shapes we're going to paint in later and right now i could just go into a speed drawing of the outline of this image so let's get started i will go ahead and outline as
02:09
much as i possibly can uh and whether i paint it in uh later uh will be a question at the time whether i want to include something or not or just fade it in the paper or fade faded into shadows that could be decided later once we start painting okay we got our pencil drawing done and we traced over it and again that was just to answer a few questions how to do it it would not be the tracing layer system at all we would just make a layer for the photo and put it about 30 40 50
02:40
whatever works best for your photo and then just make a layer above it and that would be the layer that you're going to draw on and then you could just turn off the photo delete the layer whatever you want to do but more importantly i could verify that just by turning off the photo and then here's our line drawing we'll be working with but what i want to talk about next is actually uh what we're going to do is we are going to turn up the photograph and we're going to look at it
03:11
and i mentioned before that most traditional artists only worry about warm and cool colors as groups and that's it now you could see that what we will do is exaggerate some of these colors uh the intensity uh here's some like burnt siennas and and oranges and glows right in here of of warmer colors uh and a lot of the reflected light and what we'll do is is enhance those and exaggerate those but
03:41
again it will all be just either warm or cool colors where there's a glow there's a very nice glow down in here of reflected light and then down in here the underneath of everything is reflected light because something is probably bright down in here that might be off the picture reflecting light up into the bottom of that gargoyle then you could obviously tell what's in direct sunlight and that is the borderline pure white and as a watercolor we could leave it pure white unless you want a little bit of texture
04:12
or color in it that's your artistic option but now all the shadowed areas especially this one back here behind the statue that's getting very little light we will make that a real intense grays blues we'll mix some of our uh browns uh with blues and then that way the majority of the blue will give it a cooler gray and and if we want a warmer gray then we could just mix a little bit more browns with it but again when i
04:42
start this all i'll be doing is using cools and worms and then depending on what i want now here's another thing to look for and that is as we work is it a straight edge or is it a soft edge in some cases it may be a straight edge blending into a soft edge or even a soft edge blending into another soft edge or just a real hard edge like right here along the edge of the stone there
05:13
we could choose what we want to do that with we could use the actual selection tool and and make a selection along this edge and then paint around it we could erase it later we could use the water tool and paint in what we want and then and then transparent lock it and then paint over that there's numerous ways of doing the same thing but just remember all you need is either a soft edge or a hard edge and that's that's all you have to remember how you do it is going to be up
05:44
to you and most folks especially when they're learning pick the easiest way to do something and then the more efficient way will come as you practice but now for this uh what i will actually probably do is i will actually use sometimes the water tool only because then if i take the water tool along here and then take the water way out i could take my color halfway out and then i'll have a hard edge on one side and then leave a bleed into wet water on the
06:15
other side then i could create a hard and soft edge at the same time but that will depend on the application of how i want to do it if it's a soft edge i may just take my soft brush like this one right here a wet round soft and then just paint a line straight down the middle and that will be already soft on both sides but again all we want to watch for is either warm or cool and then also uh either a sharp edge or soft edges and with that in mind uh
06:45
we'll simplify the watercolor painting in itself so go ahead and let's get started on a uh actual speed painting and then we'll stop here and there and talk about what we've done so far okay i'm just laying down a quick wash over everything very light but what that will do is tie everything together and then now i did move the edge of the shadow but then i'm also taking uh the uh smudge tool and actually smudging the edge of the water just to distort it so
07:16
it's not a perfect line i'm putting in these dark shadows behind this statue but that is something i want to change later and i will show you how we could do that and then outlining the statue in the gargoyle will give us a place to start there also okay just a quick catch up here uh just to update everything that's going on let me go up here and grab my pointer and right now uh this little guy right here is pretty hard to miss but i'm not going to worry about that at all i tried to make uh the inside of the cuff darker
07:47
and it bled out a little bit too much but that has to go quite a bit darker yet and then i'm going to erase out this splotch right up in here above the cuff so i'm not have worry about that at all because what i did in the statue is laid down just a nice mix of colors of blues and the burnt sienna and the uh the blues the french ultramarine and the cobalt uh just to mix them together to get me started and that's kind of the medium values and what i'll do is then go back in with the eraser and pull out the
08:17
highlights uh either with a straight edge or a soft edge then i'll go back in the shadows with more blues and browns and make those areas even darker because i'd like to have this edge right in here dark up against this light background so it kind of jumps out at you and then as far as this right here goes just as i mentioned quickly in the speed drawing i'm going to take that out now it kind of doesn't match the colors and i wanted to do that just to show you how we could do it over because what i also want to do is include this right in here
08:49
in with this piece so i could blend these colors in with this and not have a separate unit but then this way these over here are all much lighter than this and then oddly enough this pillar is away from that wall so this color back in here could be the same as this area in here now what we're going to do is we're going to actually go back up to the main shadow and i'm going to actually grab my eraser and then we're going to put it on uh the hard edge and i want to keep it on 100
09:20
and now that this is the main shadow just to verify that's what we're going to take out and what i want to make sure is keep layer wet right here i want to definitely keep that layer wet so i could redo it again but i want to erase everything there so i'll just take this out like this and that's it now if i show my wet area it's still wet but now what i will do is i will go back in and dry this area right in here and then actually
09:49
take this water right in here over to the edge take this water right in here over to the edge right in here but i i don't want that up against this water so i'm gonna have to erase out dry out some of this water and i'm not worried about this at all over here it's just this area right in here we're going to be working on so i don't have to worry about anything else so in other words what i want to do is re-change this edge to over here and then dry this out so my my paint cannot go out into this area
10:21
i want it separate because this area right in here is a good bit darker than this over here so let's do that now too also but we'll just do that speed painting but just give you an idea what i'm doing and how i'm doing it and then i also just start going back right into some of the highlights of the statue and some of the shading and then since the gargoyle is in direct sunlight along with this edge right in here this will be very bright and so uh he's gonna be pretty much all white anyway or borderline paper white uh so i will just
10:53
leave him the way he is because he's gonna go lighter than what he is now anyway so let's get started okay i just got done erasing the water uh it's to create the new edge uh like a work on the area i don't know if you caught that much but that that paint really moved around quite a bit and it got some interesting patterns there so if if you're working with the watercolors and you're using a lot of water in with it make sure you give it a chance to to really mix and see what happens and then don't cut yourself short as to what might happen as you leave it mix
11:24
and then that way you could always uh save those patterns as you wish because a lot of times depending on your water and everything it's going to be just like traditional watercolors that it may be hard to duplicate a specific effect exactly the way you did the first time so if you do keep variations of it and save your layers then sometimes you go back and and pick out one you really like better than others again it'll give you a choice but this is only if you want to experiment with certain sections if you're experimenting with the entire
11:55
painting and and you're you're trying to work on a new technique or something along those lines then you may want to save the whole entire painting as a rebel file uh that way you'll have a point to start back to but if you're just working with loose areas or a specific type of technique or or render a texture then you may want to duplicate over your layers to save them okay time for a quick update uh just still working in the statue got the face to do a little bit more of the entire figure uh started the pillar all i did
12:27
was actually uh shade all one side with just a burnt sienna and then while it was still wet and just took a soft brush and then just made a couple streaks of blue right down the middle and then it softened it up so i got my hard shadow but i still wanted my reflected light on the uh inside on the left hand side uh just from all the the white over here uh it has a nice glow to it uh i'll probably just uh rough this in and and not put too much detail over in
12:57
here because i want the the focus to be over here and in here and then i might make the background the very background darker and then also i may just kind of like uh just rough this in and not go real uh too detailed down here either because then i might actually pull the attention away uh from the statue itself and then uh i'll erase some of these things out but what i did was also make backup copies of all the uh the wet
13:27
layers when i was working with the water tool uh i just wet certain areas so i could work with them at a time and then i use the transparent lock but again as i've said in the past if you're experimenting with the whole entire painting and you're trying a new technique or something like that then you may want to save it as a rebel file and then also just uh have a starting point that if you want to start the entire painting over again you will be able to do that uh but if you're just experimenting or if you're uh maybe having some problems with a specific
13:58
area you're not too sure of yourself or whatever then you could just even uh save sections or even duplicate them over uh just duplicate a layer over and then you'll have a backup copy just in case your experiment gets out of hand then you'll always have just a backup layer to fall back on when most of the painting might be okay for you but with all that said we'll go back in and just start getting some more of this done and i'll probably make the shadow a little bit darker and a few other things here and there but we'll
14:29
see how it how it turns out here shortly okay i'm just starting to pull out some of my highlights again going back into the medium values and producing the the highlights with the eraser and then taking my browns and blues uh in the darker areas now some of these areas i'm going to take even darker and then some i'll even pull out very subtle highlights because it is in a shaded area uh and then what i'll do is just keep on refining the statue the face uh go back down in and start giving
15:01
washes to the side and the base uh the gargoyle right now i'm just working in on the face uh just roughing it in uh then going back in now to the ornamentation of the pillar and what i'll do is go back in and pull some of these highlights out once i uh rough in the medium values uh now down here at the base i'm i'm just gonna rough in some of the darker colors i'm not going to spend too much time down there because i don't want to create too much texture and a focal point
15:33
to create a interest that low to the corner now i'm just redoing my uh background making a little bit darker so you can see the gargoyle okay just a quick update of what all we have done so far i have to turn this one layer on right here to include this down in here and what i wanted to do is just give a little bit of a hint of what's going on down here i'll darken up a little bit since it's underneath an overhang but i don't want to pull too much
16:03
texture or detail down in here i'd like to keep the focal point up in here and right in here kind of like a back and forth triangle which is a very good shape for a portrait uh but all this other uh little bit of work here these just subtle values probably just leave them the way they are because that will give the impression again of where the lights coming from and i darken up the background again and i put in the hint of individual blocks and then i'll go
16:34
back in and put uh some of the joints uh just a hint here and there and then i may make the very wall itself even in the sun uh just a shade darker but what i'll do now is just keep on refining uh some of these edges of the face and make some of these areas darker and then start to pull out my highlights of uh this ledge and some of the ornamentation you could see how for lack of better words how busy it is down in here with how much ornamentation and detail they actually have in the stone
17:06
which is downright gorgeous and then the fluted pillars i'm not going to put that in because even some of the sandstone is fluted but that's too fine of a detail uh for me for this kind of particular painting so again i'm going to go back in and work on the face work on the robe and refine the gargoyle a little bit and just pull on some highlights of in here intense white but then what i might also do is since i'm pretty well happy with it up until this
17:37
point uh i can actually uh sandwich all of these together and just merge them all and then go from there and then i could go back in and erase some of the highlights down to the pure white paper uh and uh and then milk maybe build a few layers on top of it uh just to change some uh values and shades uh that if i want to make some things darker but then again i won't be committing uh to my final painting uh so let's see if we can finish this one up okay i'm just pulling out some of the highlights in the upper right hand corner along the
18:10
ledges where the sun would be very bright and then slowly refining my lights and darks i like to go back and forth and just work in uh smaller and smaller areas just tighter and tighter uh just to go back and forth with my lights and darks to slowly refine my shapes and then that way i could check and see if anything jumps out of me or if i'm not too happy with something and then i'll go back in and change things around make maybe uh some things a little bit more subtle than others or just giving me a chance
18:41
to actually go back and and redo things that i might not be happy with uh if i uh make uh bold changes too much too quick now i'm just going back in pulling out some of the highlights of the robe and then just still adding the smaller shadows but again working on different layers it'll give me the opportunity to actually save different parts of the painting for further use okay before i go over uh just the
19:13
different things i did uh with the last speed painting i want to make this edge right here uh real bright white also and then even just the edge of the pillar and just to show how we could do that i'm already on that layer that base orange is is the last color that's left uh other than pure white so what i will do is grab my polygon and i am going to start way up here and then go down to here
19:44
all the way down to that ledge and then i could take it over as far as i want because that's not going to matter i'm only using the very left edge of this shape and then i'll enter that because that's the shape i'm happy with and then what i could do is move it over just a shade right there even a little bit more because it won't hurt okay and then that's it now we're set up there
20:20
and now all i have to do is grab my eraser and make it a little bit bigger and i can leave it on 100 because what i'm actually doing is i'm only going to use half the eraser to go right down the middle of it and again i'm on the base orange layer and all i'm going to do is just go straight down that layer and then i can even go on the main layer too and just get rid of that brown
20:54
a little bit and then and then just feather it out like right in here and get rid of my brush mark that would be on the base orange there and then this mark right here feather that out and then that's it and then now what i did was put a nice hard uh i'll deselect that a nice hard white edge on the edge of that wall there and then again to do it on the pillar uh
21:28
alls we have to do is the same thing but much smaller so what i'll do is i'll grab my polygon again and just start from here and then go right down to about here and then i could go again over as far as i want because we're not using this part of the shape and then connect it and i'll enter that and then now i can go to my eraser again back up to 100 but then we can make it a lot smaller just for this shape
21:59
and then now just take it right down the edge and we're again on that base orange we'll take what base orange we can but then we may have to go on the main layer and that would be this one right here and we'll be sure to get everything down to pure white i still have the pencil on that's no big deal and then that would be it and if i deselect that now we have a hard white edge on both sides uh just barely
22:32
but it does make a little bit of a difference of a pure white just to give that intense light look but again this is just ideas and ways you could do there's so many different ways you could do different things uh basically uh it's just however you want to do it and just to figure out what end result you want and then what you have to do to get it but right now uh what i did was just go back in fill in some of the
23:02
uh the darker areas pull out some of the highlights up against the base orange layer again i did combine all the layers i made the gargoyle back in here a little bit darker just to push it back a little bit further and i just pulled out some uh different shapes here and there just to give it a little bit of uh intricacy but i didn't want it too busy down here and what we could do is we even give it a actual uh quick wash uh just just to defuse things a little
23:33
bit more uh to actually uh diffuse what shapes we have and just to give it a little bit of an interest down here but it'll also diffuse that and what we'll do that with is actually uh the uh the water tool and then we will actually put the tilt on full and then we will also use the dry tool to erase a little bit of the water away just so it's in certain areas and what that will do is create puddles of color uh in different shapes that'll add
24:06
intricacy uh to our ornamental pillar tops and the the columns and then we will see how that works out here uh next okay next we're going to add some complexity uh just down here at the bottom and just to have a little bit of fun with the watercolors themselves and what i will do is just move it something just so we can see what we're doing here a little bit better and then i think the best thing to do to experiment like this uh we're going to create a new layer and this way anything
24:39
we do will be on its own layer we won't commit to the painting and then plus what we're going to do we also don't want to destroy anything of the painting itself too so when i grab my water tool then i will probably grab something that has a very little texture we'll try this one right here this splash and then i'm going to turn this on so i could see where i'm putting my water and this looks pretty good here
25:07
and i just want to dab it here and there and that is it and then i'm going to take my dry tool and i'll turn it way down size wise and then i'm going to just mop up a solid brush some of this extra because we're going to use the transparency lock with this along with the uh tilt and then we're gonna see what happens what kind of shapes we could get
25:46
i'm gonna take it up here i'm just gonna put this just on the very bottom and we'll keep our highlights there but we're gonna let this run down in to the darker areas and some of the highlights even that we already have down here and that's it and i want to keep this strong highlight down here so anything you definitely want to keep you just erase out the water just like this and then now that the water is there
26:17
i will go up and hit the transparency lock for that layer now that i have the transparency lock on i could go ahead and turn off my show wet and then now i'm going to turn on my tilt all the way and then i'm going to grab a blue and we will see i'm going to turn the opacity way down compared to what i had and i could turn the water up a little bit but we don't want it running real fast we want a chance to mix colors here
26:48
and then uh once i start being that the transparency locks on it's only going to go where i put water down and then grab a little bit of moth and then burnt sienna and let's see what happens when those run together and then the dark blue the prussian blue and this is what we're gonna get now we'll leave it run just a little bit and then freeze dry it now so you could see it already ran too quick uh
27:26
we'll zoom in and it made some interesting lines but we needed a little wee bit more patterns than that so now that it's still wet where it was you could see some interesting lines here what i'll do is add a good bit more pigment and then less water so it doesn't run as fast and we will start with the prussian blue and then now you can see what this is going to do and then the burnt sienna
28:00
and then we'll let that run just a real quick and then stop it and then see what we got now again if if i like some of the texture here and there then i could definitely erase it lighten it do what i want to manipulate that texture uh just say for example if i still want this corner to fade then i will just grab my eraser and then take it down a little bit so i could
28:34
just take it down a little bit at a time and then just take it over this and then just lighten it up just like that and then this right in here and then again i could go back to my hard edge and take it down to the point where i could get my highlights back again too and just bring some of those back out but in the meantime though then that's what i will get if i do a water blend like that
29:18
and that is rather interesting for that part of the painting it definitely adds a little bit of complexity but it's uh strictly uh what we could call in traditional watercolors a happy accident uh because you never know exactly how your conditions are and how your colors will mix and with that said then i could even leave that down here like that but now because it's on its own layer i already
29:49
feathered this in but then maybe if i change the opacity a little bit and just toned it down so it's not so strong let's put it at 60 and then that would be just a a subtle hint of textures there and we could leave it at that but again that's just how many different ways we can manipulate our colors and values and shades and especially shapes
30:23
but now we will go over uh just a couple things here just some real tiny work we'll finish that up next and i think we'll be able to call this one quits okay we're gonna finish this one up i'm just gonna go in and just give a little bit more detail to the eye i will go back in and grab the watercolor brush and then i will actually uh go with a wet script sharp and then cut the water and opacity down
30:55
just a little bit just so i can actually have the time to do it and then i'm just going to take straight brown and we're going to just give a little bit of color for the eye i have to turn my transparency lock off but i will just stay on that layer a little bit more pasty and then we'll let that blend in just a little bit and then i'm gonna put one
31:38
darker dot right where the eye would be because it's an indentation on a statue and then that's it i won't dry that just in case i have a little bit of water in it and if we get rid of the pencil we'll see what we've got i'll fit that on screen and then alls i'm going to do is make this maybe a little bit more oranger than it is instead of just leaving pure white and that i could do on any layer
32:15
but what i can actually also do is wet the layer and i will actually want that layer and i'll just leave it on this layer now that it's wet i'm going to go ahead and grab this tool here and it's just a splatter and i'll go down and grab my quinacridone gold and just give it a real quick brush and i don't have to worry about going over my blue right in here because it's going to be so light it would be a pattern under the shadow anyway
32:48
and then i'll just grab a little bit of mauve i think and then if we want we could put even a little wee bit of burnt sienna just down in here to tie in this burnt sienna with it and that's it and leave that blend real quick quick dry it there and just give it just a little bit of texture to the wall itself and that would be it and then i will actually uh take a quick look around and i think
33:23
that's about it uh we could always refine some of these shapes and areas but again that would be uh up to the artist how much they want to uh still further this painting uh because keep in mind there's always something you could do to a painting depending on how far you want to go uh but in this case i think i would just call this one quits for the sake of a demo because there's really not too much else i could show you on this one so with that said
33:53
until i see you next time in the field or in the studio thanks again for watching bye for now you

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