The Chad Frye - Illustration GuyMost monsters really aren’t scary – just misunderstood. Granted, you don’t see a furry web-footed critter like this every day (unless you hang out in the places where I hang out), but it doesn’t mean he is a ferocious killing machine. Maybe he’s just looking for a friend to hang out with. Then again, I don’t think he has those claws just to spear vegetables.
On second thought, maybe you should just remain misunderstanding with this one.
Two weeks ago I had the privilege to attend the Walt Disney Company’s Legends award ceremony held in Anaheim, CA. First awarded in the late 1980s, the award is given to those folks, whether creative or otherwise, who have meant much to the success of the company over the years. The award was bestowed annually for many years on the Disney studio lot in Burbank, CA which I attended many times while working there. Now they seem to be awarded every other year at the D23 Expo, Disney’s own fan convention, where thousands of fans may also attend.
I had such a great time this year seeing folks like animator Glen Keane, actors Billy Crystal & John Goodman, and Imagineer Tony Baxter accept their special trophy. Others were awarded posthumously to TV personality Dick Clark, Apple & Pixar’s Steve Jobs, actor Ed Wynn, and Imagineer Collin Campbell whose awards were accepted by family members and friends.
I’m sure if you searched the web, you will find official photos and videos of the event and more wordy descriptions of the ceremony. What those accounts may not say is that a respectable showing of past Legends were in attendance as well. I was surrounded by folks like Paige O’Hara (voice of Belle), Floyd Norman (animation), Burny Mattinson (animation), Marty Sklar (Imagineering), Mary Costa (voice of Sleeping Beauty), Anika Noni Rose (voice of Princess Tiana), David Stollery (Marty of “Spin & Marty”), Kathryn Beaumont (voice of Alice and Wendy), Alice Davis (designer of costumes for Small World and Pirates of the Caribbean rides), Bob Gurr (Imagineer who famously designed the monorail), Bill Farmer (voice of Goofy), and many others.
(If you wish to see a photo, my friend Rick Law posted one that I’m in on Facebook. I reposted it to my FB page and you can CLICK HERE to go there now.)
It was such a special time that I felt inspired the next day to do a little watercolor sketch of Mickey holding a Disney Legend award.
These awards truly are special. Many people work for many years at a desk isolated from the world doing what they love to do. The fact that their efforts can go on to bring joy and inspiration to millions of people they will never meet is a reward in its own way, but a pat on the back from the CEO in front of an audience is also swell. In a day where there is much cynicism and insincerity in corporate America, it is nice to see that the Walt Disney Company continues this tradition of honoring people who are a big part of the in-front-of and behind-the-scenes of the memories many of you have today.
Yeah, yeah, I know – the title is a bit cute and sappy. Well, I LIKE drawing cute and sappy sometimes!
In this case, the cute and sappy was just what the doctor ordered. A friend of mine has been in the hospital for many weeks, and I thought it was high time to send her a little encouragement. Nothing can be more bleak than having four hospital walls to stare at in between bouts of sleep. Short of having a pharmaceutical degree, a giggling bunny seemed like the best medicine I could mix together.
Hopefully the bunny’s presence has made your day a bit brighter, too!
Even though it has been a few years since I worked on a Mickey Mouse project for Disney, I still get a kick out of drawing the gang now and then for friends. This little watercolor sketch was something I did a little bit ago for the first born son of a friend whose friendship began sixteen years ago when we worked side-by-side at Disney Feature Animation.
Thought you all might enjoy seeing it, too.
So, today we come to the conclusion of the steps it took to create The Pic-a-nic on the Grass, a parody of Èdouard Manet’s The Luncheon on the Grass from 1863. While the background is virtually finished, the characters and some of the foreground elements need to be painted.
Color choices were once again fairly easy. Yogi, Boo Boo, the Ranger and Cindy Bear all have predetermined color palettes from their days in the cartoons. The clothing items on the picnic blanket are right out of Manet’s original painting. The basket, food, and checkered picnic blanket were my little doing while keeping in mind the cartoony nature of Yogi Bear’s Jellystone National Park world.
Like with many of the background elements, wet the blank areas with water first, let them sit a minute to allow the water to saturate the paper, then the paint should be applied on those wet areas. The result is a pretty smooth application of color with seldom random edging in the middle of the figures. You can really see in the image below how the transparent nature of watercolor paint allowed for the purple underpainting to show through creating the shading on the figures.
Originally I had thought to use a dark gray/black for the eyeballs and noses of the characters, but upon reaching this point in the work, it seemed best to just darken those areas with purple. My #2 brush was useful for those areas along with the mouth colors.
Do you see the highlights on the noses? During the first pass at painting the noses (which you can see in yesterday’s post), I had left the top areas paper white. In this later step, I painted some purple in lightly, then let it dry a bit. Once it was mostly dry, I went in with a wet brush and applied water, then tamped up the color lightly with paper towel. In essence, I removed some of the purple which helped give the nose highlights a gentle edge and still remain light purple. Sometimes painting is knowing when to remove paint.
So now that everything is painted, it is time to finish this up. This is where I leave painting behind for a bit and rely on drawing skills. For this image, the edges of the characters are going to be defined with colored pencils. Creating a dark line for the characters will help to define them as foreground elements, and it is a common cartooning convention. Once again, I do not use a black pencil, but I do resort to using a dark purple color called Black Grape (#PC996 in the fine line of Prismacolor pencils).
You may notice in these close-ups that there are also some highlights. Those were painted in with some watered down white gouache paint after the dark outline was drawn first. An exception to that is the white on Yogi himself. In his case, I used a white colored pencil for some of his highlights in combination with white paint. The white pencil captured the texture of the paper better.
So, there you have it. That’s how you can create a fun watercolor painting in five easy steps! It is fun to see what looked like a little bit of a mess in Step 3 has now come together all ready for a gallery show. Now you pick a subject and give some of these techniques a try!
Welcome to Step 4 of Build-A-Bear – watercolorly speaking, of course. Yesterday I shared with you the beginning step of applying the color to the background of The Pic-a-nic on the Grass. Since the background is not quite done, shall we continue along that line of thought?
Just as was done yesterday, the rest of the background needs to be fleshed out in shades of green and yellow. The various colors continue to be laid in wet on wet (shorthand for wet paint onto pre-soaked areas of the paper). I have a darker green for much of the foreground section of grass, and an even darker shade that will be dabbed in around the base of the characters to ground them to the — well, to the ground.
You may have noticed that the trees have also received a bit of paint. Maybe two shades of brown were used on the bark, and a little bit of light green. You really don’t need too many shades of a color because you can control the color’s intensity by how much water is in your brush before you paint. An excess of water makes the color more transparent. The trees further back were painted in lighter to help create that sense of distance. Regarding the cluster of trees on the left side, that one horizontal tree was painted in darker to make it seem like it is more in the shadows.
The large tree on the right I left without brown for now so you can see the green tones put on the bark. The addition of green on the bark helps blend the trees into the scene. There could be multiple lessons on how light affects color, but the shorthand explanation is that colors bounce around in light in real life. It is reflected color. If you stand next to a red car while wearing a light colored shirt, your shirt will look slightly red from the color bouncing off the car in daylight.
Remember how I said in a previous Step that it is wise to paint from the back to the front? You would want to paint in those tree trunks before painting the leaves on the tree because the leaves need to be on top of the wood. It is far easier to paint individual leaves over the wood than it would have been to paint the wood in between all the leaves. No longer working wet on wet, using my trusty #12 Round brush, I began to dab in a few shades of green to build some volume to the leaves.
Obviously no longer dominant in the art, hints of that purple underpainting still peek through the greens keeping things a little light and airy. The darker greens are used in the foreground all to maintain a sense of depth. What helps is being able to see that light green peeking through the dark leaves creating a sense that the area behind those trees is getting some sunlight that is not present in the foreground. Once all the tree leaves are painted in, you can really see the composition coming together.
I am really a character guy. I work as a character designer in the world of animation after all. So, when you look at the image above, mostly what is left are the characters. I like to think of it as saving the best for last – kind of like eating the icing after you’ve enjoyed the cake.
Welcome to step 3 of building my traditional watercolor painting of Yogi Bear & Co., The Pic-A-Nic on the Grass. Previous stages in the process that we covered were the drawing/research stage, then the underpainting stage. Today we begin to add color.
If the under painting is the foundation, then today’s application of color is the framework of our construction. The goal is to lay in thin layers of color for atmosphere and to fill in the divots of the paper with color that more detailed painting would not do later on. When you paint, you should always start from the back of the scene to the front. There are several reasons why, most of which have to do with helping you create depth in your work. It helps to build on top of what was done before to create a more lush look by the time the whole painting is completed.
Since this is a parody of a Manet painting, the color palette is somewhat predetermined. Manet figured out the color scheme, so this is just an interpretation of it. I’m not making a direct copy. If I was doing that, then I would be painting in oils and there wouldn’t be a bunch of cartoon bears in the composition. So, when mixing colors, I’m trying to get to the essence of the antique work that has come before.
This is primarily a woodsy scene, requiring lots of green. I mixed about three different shades of green for the trees. Also in the mix are two shades of yellow, and one shade of blue which, oddly enough, is for the sky.
By the way, the painting needs to lie completely flat on a horizontal surface. If you paint with watercolors on a tilted surface, the paint will follow the laws of gravity and streak down your paper. Since we are not creating a rainy day scene, use a flat surface.
I know that I want these colors to blend and mix right on the paper, so to do that, I start applying plain ol’ water with a large brush. I try to apply it mostly to just the white areas because if I get the purple underpainting too wet, that will start to smear. The empty dry patches will be filled in as I apply paint to the wet paper and all will smooth out without smudging the under painting too much.
So, with my large #12 brush, I started dabbing in paint onto the wet paper, and spreading it around to my satisfaction. You do need to keep an eye on it while it dries just so that you can control any pooling of paint where it was too wet. If a pool dries, you will get sharp edges of color in that spot that may be undesirable.
You can see in the image above how the purple underpainting shows through. It still has a purple-ish hue, but also takes on the colors of whatever is applied on top. Lots of young artists starting out immediately think that shadows should be painted in with black, but that is not true to life. Shadows are usually darker shades of the color they are shadowing. In art, it can be fun to make shadows a color like I did with purple. There are no blacks in this painting at all.
You can see in the close-up below how the colors blend in spots, and have edges in others. It will all come together later. You can also see some of my original pencil drawing under the paint. If you leave your pencil lines too dark, this will happen. In this case I knew that would happen, and even in the finished art you can still see some of my pencil lines. This was intentional. In this age of so much art being created digitally, I wanted this to completely have that handmade look.
Welcome to the second step in our discussion of creating my Yogi Bear parody of Èdouard Manet’s The Luncheon on the Grass painting. Yesterday we covered drawing the composition and prepping the art for painting. Grab your smock because today it’s about to get a little bit messy.
I like Winsor & Newton watercolor paints. They have tasty colors that go down smooth. They also make waaaay too many colors. I only buy maybe 15 – 20 colors, then mix them to get what I want. Some artists like using paint right out of the tube, so they buy everything. Good for them. Better for the pockets of Mr. Winsor and Mr. Newton.
Many students want to know what kind of brushes you use. I like soft brushes that hold their liquids well. The brushes I often use MUST come to a sharp point when wet. A good art store will let you test this with some water. You dip the brush into the water, then tap it on the lip of the cup. If the bristles snap to a point, you have found a good brush. If the bristles are forked in any way, avoid that brush. Yours will fork in time with use. You don’t want them to start out that way.
Name brand brushes don’t really matter, though, so long as you like what a particular brush can do for you. I do have this one larger Grumbacher flat brush I have had for at least 20 years that I like for quickly swathing on water and color in large areas like skies. I used it on this painting for some general ambient colors in the green of the trees, and for the large tree bark on the right. Otherwise I used a nice Round #12 brush made by Princeton Art & Brush Co. for 90% of the painting. For some of the smaller detail I used a #2 Round by the same company.
Ok, so when I started this painting, I wanted to do what is called an “underpainting” first. Underpaintings are when you paint down some color in areas where you want it to show through your final layers of paint at the end of the project. Since watercolor is a transparent medium, most of my underpainting will show through in some way.
The underpainting on this Yogi Bear piece needed to help the overall intended feeling of “fun”, so I chose a bright purple color for all of my shading. Then I began to paint a monochromatic image of various shades of purple that was going to help create a little depth for this very flat piece of artwork.
When I first tried this technique a few years ago, my tendency was to paint the purples too lightly, and most of them ended up getting completely covered which was a huge waste of time to have painted them to begin with. So now I paint them in a little more aggressively so that they can serve their purpose when the other colors are applied over them.
One tip about applying watercolor paint onto the very absorbent watercolor paper is to paint down a layer of water first, let it soak in a little, and while it is still wet, apply your paint. That way you can get colors on there with less chance of an edge starting to dry and causing weird lines to show up in the middle of your work.
Watercolor is kind of a living creature until it dries. It looks one way when you first lay down the paint, but as it dries, it starts to change. You can push it, pull it, wet it some more and it continues to change. It is your sculpture to play with until it dries the way you want it to, but know that it does still have a mind of its own.
