Fun sketch using Daniel Smith watercolour paints directly into a handmade mini sketchbook with Saunders and Waterford cold press 90lb paper.
This is a fun painting sketch of a friend’s Japanese Spitz. I’m using heavy weight rough A3 Khadi watercolour paper, Daniel Smith Watercolours, and lots and lots of water.
This tutorial is specifically for the hardcover Stillman and Birn Sketchbooks. Please don’t do this with other sketchbooks, unless the manufacturer has specifically advised to do so as it may damage the binding of other brands.
These dried orchids were too beautiful to throw away without capturing their beautiful forms. This is a quick watercolour sketch that took about 13 minutes. To really study the intricacies I’d really need to spend a few hours.
I’m using Khadi handmade watercolour paper A4 size, that is heavy weight with an uneven rough texture. Daniel Smith watercolours and lots of water, make this super fun. My favourite part is the end where I just add water and let all the pigment disperse however it wants.
Watercolour can paint itself with the right tools.
For this painting I used heavy weight, rough Khadi watercolour paper, Daniel Smith watercolours and lots of water.
As long as your paper is sized, the water will pool where you want it to and allow the paint to disperse.
Learn more about water control here.
This is a free 51 minute video tutorial that will get you face-painting in minutes. To be correct, this is actually cheek art, as we will be avoiding painting eyes, noses and mouths.
This is a very basic tutorial using minimal equipment – just one or two brushes and a one stroke paint pan. I am using TAG brand paint and Global FX glitter glue in this demonstration.
Another short video will follow that walks you through on-location logistics and how to adhere to Australian Government health standards.
This is a time-lapse of a sketch that took about 25 minutes in real life.
It was much easier to start with the Zebra Fude Brush pigment ink than other direct sketches I’ve done without the guiding lines.
I started with too much water, so it took a longer time to build the darks. I normally like to start with heavy pigment and wash it out to create form. This resulted in a sketch that took a lot longer than normal, but was still such fun.
A time-lapse video of a stamp sketch with colour pencil. This was very challenging working on a small scale. It was very difficult to get fine detail. This could definitely benefit from some very fine black ink. I lost my whites, so added white gel pen to regain them. Thirty minutes in real time.
This is a direct painting of a pomegranate I cracked open, hoping to capture some of it’s intense red colour. I also had to fight off the kids who kept wanting to eat my still-life set up.
I started quite deliberate and tight on the front seeds to make sure I captured the intricate light. As I progress to the back of the painting, it gets looser with less definition.
It’s a challenge to leave whites, and if you lose them, you can always go over with some titanium white or gouache to regain your highlights. Fine brushes help to keep paint away from the whites too.
This is still a work in progress and I continue to add darks to make it really pop.
Daniel Smith watercolours on Saunders and Waterford High White paper.
Charcoal is such fun because it’s like sculpting. You can add and subtract, build up and erase. It’s also tempting to keep fiddling with it and never call it finished. Indeed the breaks in the video are because I did exactly that. I kept on refining. And I refined again after filming stopped.
Once you get the basic shapes down, the fun is in pushing and pulling the darks and lights until you get something resembling a 3D representation. The dramatic darks are what I loved about this picture, but the difficulty was in laying the charcoal down and trying to lighten it a touch, so there were still some graduatios of value.
I used willow charcoal and a 4B Generals charcoal pencil, natural chamois, a pan pastel shaper, and a kneaded eraser. The paper is Mi-Teintes pastel paper.