This listen we're not going to be taking a look at more of a rough watercolor styled kind of coloring.
And in this instance we haven't done any flats because we're actually going to directly apply the color
as we go.
Using a single paint layer to get all the coloring in not the thing to always remember is that as long
as you know the full painting workflow you can pick and choose whatever you want out of it that you
think is going to work to achieve the particular style you want to achieve.
And so I'm using the watercolor brush from the brushback it's not really a true watercolor brush it's
going to work like Truett watercolors but it does give a nice rough effect and allows you to get more
of a rough top of look to your work.
You want more of a traditional feel.
And so here we have this curriculum drawn called Charlotte and we're going to just start painting her
as she is now your color choices again I'm going to probably more towards the lot more towards the pastel
when you're doing more simplistic type of coloring and you're dealing with actual watercolors actual
watercolors you work from.
Lots to talk building up layers of the watercolor to build your shadows.
And so starting later is usually better of course it does deter.
It does change based on whatever initial color you are choosing.
So let's go ahead and start painting her with this brush and let's just take a look at the texture of
this brush again for a minute and you can see it's got very soft ages and it builds on top of itself
in a very natural Andalus way.
It's actually one to address to be a little bit darker.
So this will be a little bit longer than the previous lessons but hopefully it will be worth it for
you and what you want to do here is be very loose with strikes don't worry about going outside the lines.
Go ahead paint in the areas you want painted in.
We're going for the more loose natural look.
And as you work try to work from back to front.
And what I mean by that is ask yourself what would be in the most background layer.
Right in some instances it's the skin you have it in for the most part here.
This dress is more of a background and so we all work on one layer.
We're not going to worry about layer management.
We're just going to work on the single there and try and paint from back to front so from the background
plane of elements to the foreground planes of elements.
It's going to paint her own here.
And we can clean up these kind of messages a little bit later.
Right.
We won't worry about them too much.
For now we can come in later and clean and you get this color bleeding happening.
Like for example the skin here running into the dress even the drapes running into the skin areas.
And that's kind of a part of the style in a way this rough water really top up look.
You will have some bleed that occurs to try to keep things loose keep things natural.
Recommend the style.
Primarily for most simplified works so that you don't have to spend forever painting in every different
region.
You can see she doesn't have a ton of zones she's got skin shoes dress her hair her eyes her microphone
and her musical notes.
And that's pretty much it on those zones effectively.
I'm doing a loose kind of platforms.
You could say
getting her shoes in.
Be sure to when you are cleaning up the outside of the shape.
Be sure to erase this and don't color pick gray or your background.
Otherwise you will have random pieces of what all great paints when you work
rights.
And like I said you'll see areas where there is no not perfect coverage.
That is the way it's supposed to be.
Right you want that natural look.
So don't get too focused about worrying about coverage all filling in all the details exactly as they
should be you know getting a little gray areas out.
It's no big deal.
Right.
Give her pink hair
if you've ever used watercolors before.
You may know that they're pretty hard to control and they tend to bleed randomly in random directions
and too applying too much causes the paper to crinkle and do weird things and a lot of artists traditional
artists who do painting watercolor teams to use those sort of reined in occurrences to their benefit.
And so in the same way when you make so-called happy accidents on the piece we are having some bleed
in a weird direction or something to try to see how could you integrate that mistake or so-called mistake
into the work right versus trying to fight against it.
And so I'm sticking to very high kinds of values here.
And the highlights in our eyes.
So we'd continue to flat out every single element there.
And but loosely being very very loose about it and when it comes to shading we're simply going to drop
the value down and adjust the hue if he feels necessary.
I like to sometimes have a more varied saturation in the shadows and then come in here and just loosely
paint in using a color pick it to blend where you feel the shadow should be saw all color pick the skin
up till pick my shadowed color.
And you you really don't want to work too hard with this.
You want to keep the loose natural look.
So I really must emphasize that as well.
You don't want to work too hard.
You want to strive to avoid any edges that are too harsh.
Keep things nice and loose in natural
know the one area where you can start getting hard with your ages is when you're applying highlights
to things and you'll see that in comic book coloring as well when we do the comic book stylization that
is something that applies there as well.
That generally speaking highlights help to have something read very quickly and so the highlights are
where we were once to start using harda ages in our strikes.
So here I'm just kind of applying a little bit of implying a little bit of occlusion and blending the
colors as
it's pretty dark at the bottom.
We'll bring it to a little bit later as we get to the top.
To keep things loose keep those ageless soft
and just softening those edges up.
Who's going to cleanup in Syria over the.
I hear little bits
he's going to do a nice big shadow on her here.
A light in her eyes is coming up live.
So keep this a little bit lighter.
And keep the top notes in class and you can do general lighting here as well I'm going to do some on
the hair here and just increase that value a little bit for some general lighting the very top of her
hair
keeping the edges nice and soft.
Do someone has skin as well worn out.
And if you wanted to not look blotchy just blend those ages.
Did everything have a nice soft edge to it.
No really just manipulates how I'm using the pressure of the brush to get those soft edges in there.
Tie that up just a little bit.
Leave somebody there because it looks like it's bounds.
Laughs Right now what we can do is we can actually add and you learn to do this if we want to.
Keeping the same brush when we go in and add some really bright highlights to particular things we want
to remember with highlights that they tend to appear only at the highest point of light of day glo surface.
We can go a little bit harder with the edges but I try not to go too crazy with the highlights.
And obviously if we do that then we cease to lose that idea of form.
And sense of form.
Once you put a hand on the cheek there it's going to soften it a bit.
Put one on the arm that we can use those hard edges.
It's no big deal.
Alone in any one there.
I'm just going to grab this land value you put the hand out on her left and let's bring her body to
a little bit more.
It's very it's a little bit more saturated and you can add in some shutters at the top to get that contrast
in from the distance.
Right.
And you may have already noticed that we have the line colors and a brown sort of color.
So we've made a kind of a dark brown lines to keep the lines nice and soft and in terms of the larynx
but everything as usual with the lines and the lines softening layers.
And then we have our gray background and our value check lair to make sure we've got differentiating
values of each of the flat zones we call them that.
So when we've done that we can go in and you can use the anchor flat a brush if you want very accurate
phrasing here and we can go in and actually clean up all of the scruffy edges.
You might want to leave them but you really don't want to just leave them for the look.
The rough sort of water colorist style look where you can clean them up and you'll still have a look
because of the way you've done the internal painting of the piece.
So here you can see me just going ahead and I'm just clearing up all of the outside outside of the lines.
Painting this just like the previous two lessons.
This is a very quick way to get some color down on a piece primarily once again if you want your work
to be more illustration orientated.
So where the drawing is doing a lot of the talking in terms of the forms in terms of having the forms
read and so that means a lot of time investment in the line weights and the overlaps.
And of course the form read of the actual illustration itself.
And so this is almost like a halfway stop between very straightforward flat fold coloring and starting
to get into more character painting
just going to clean up between her fingers here.
And I think let me just emphasize this point again looseness.
You really really really want to be loose looseness in your hand just being free with the Strokes not
worrying too much and with a lot or shadow was necessarily like super perfect or super accurately presented.
You want a general idea when you're doing this sort of style and you can see it's quite appealing and
it's whip up a white background to see what the presented view might look like.
And I'd probably do some adjustments and just to make the skin a little lighter I do tend to make the
skin a bit darker but that is that particular workflow water stole more of a rough look.
And I will see you in the next lesson.