Autumn Watercolor - Painting Fall Leaves | Kellie Chasse | Skillshare

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Autumn Watercolor - Painting Fall Leaves

teacher avatar Kellie Chasse, Artist/Instructor ✅ 16+ Years

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

14 Lessons (1h 8m)
    • 1. Fall Leaves Introduction

      1:35
    • 2. Exploring Colors

      3:17
    • 3. Creating a color swatch

      5:59
    • 4. Adding A Glaze Wash Over Transparent Colors

      2:35
    • 5. Wet in Wet Practice Leaf

      5:05
    • 6. Adding More layers for depth

      8:49
    • 7. Pen and Ink

      4:05
    • 8. Leaf Project Step 1 Wash

      8:00
    • 9. Side 2 of the leaf

      5:32
    • 10. Let's Begin adding some minor details

      5:43
    • 11. Creating the Shadow

      3:56
    • 12. Another Glaze

      6:35
    • 13. Final and finishing touches

      5:36
    • 14. Outro

      1:12
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About This Class

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Hello and welcome to Autumn painting - fall leaves with watercolor!

I know that realistic paintings can be intimidating for many watercolorists. This course will bring the whole process together with layers, and taking your basic paintings (where many of us tending to stop) to the next level of a more realistic look.

This class starts out for beginners but in the end, we will complete a very realistic Maple leaf. I walk you through my steps so even if you are a beginner, I know you can do this one. 

Alright, superstars..... we are going deep into details in this course! 

WHAT YOU WILL DISCOVER IN THIS COURSE:

  • Create a simple Color chart with fall colors.
  • Learn to expand on those colors by adding a Glaze to create more shades and depth.
  • Paint a simple wet in wet leaf by dropping in colors.
  • Dive a little deeper with glazes and create some more realistic details.
  • Practice with pen and ink for quick results, perfect for cards or adding some little touches to your paintings.
  • For our final project, we will create this realistic Maple Leaf using all these techniques plus a touch of little watercolor pencil for extra fine details!

Make sure to click that Blue Follow button for Up and coming classes.

If you have been working with watercolors and are ready for the next step of realism then let's jump in!

I am so thankful to have you here!
Kellie Chasse

Simple living| Debt Free| Content Creator

"Don't take life to seriously and always stay Creative!"

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Kellie Chasse

Artist/Instructor ✅ 16+ Years

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🦋 kelliechassefineart.com 

 

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ALMOST 50 CLASSES ARE AVAILABLE HERE ON SKILLSHARE! 

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Transcripts

1. Fall Leaves Introduction : Hi, everyone. It's Kelly chassis here. Welcome to autumn painting Fall leaves with watercolor. I know that realistic opinions can be intimidating for many water colorists. And in this course we will bring that whole process together with layers and layers, taking your basic painting where many of us tend to stop ahead to the next level for a more realistic look. So this classes for beginners. But in the end, we will complete a very realistic maple leaf. I'll walk you through the process every step. So even if you are brand new watercolorist, I know you can do this. So we're going to dive into the details on this course. So what you're gonna learn in this course, basically is to create a simple color chart, we're gonna be using fall colors. Then we're going to expand on that and learn how to add a glaze to create some more shades and some more depth in your watercolor painting will paint a simple wet in wet leaf and will be dropping in some colors watching those move around. Then we'll dive a little deeper with some glazes and creates a more realistic details. We're gonna practice with pen and ink for some quick results. This is perfect for cards or adding some little touches to your painting. And for our final project, we will create this beautiful, realistic maple leaf using all of these techniques, plus a little touch of watercolor pencil for extra fine details. So I'm really excited for you to sign up for the class, and we hope to see you inside. 2. Exploring Colors: Hi there. And welcome to our relief class. This is the finished product that this is the re Alief. So this was my inspiration piece. And I did a small many course last year where I used these leaves and I thought, Why not try them again? So we're gonna create this leaf in his class, So I want to start out with just a really quick tip. Now, normally, I would have my gray viewfinder that has a little hole in it. I lost it in the water this year, so I'm just cutting out a little hole puncher and a regular card. And this is going to help me see these colors. I'm using my iPad. I've got my photo here, and I can lighten this or adjust it, which is great if you're just starting out working with pains, you want Teoh, you get a real, more vibrant color. This is a wonderful way to adjust those colors in your leaves if you want him a little bit brighter. So I maxed this out in the brightness, and now I'm taking that card. And I'm just looking through this little hole here so I can see what colors air in this leaf, and we're gonna create a little color swatch. Uh, the colors will be using in our final project again. Usually I have This is gray, but it works with white as well. Just gives your eye a little a little bit of a breaks. You're not looking at everything at once, and this is great when you're first starting out with painting so you can see I can blow this up, Squeeze it down if I really want to. Look, it's more of the details in here, So having an iPad and this is the 10 inch one works really great. If you are using your reference photos with this, I don't have a print anymore. Everything I do is in black and why even my coupons, like, print out or in black and white? So, um, I use my ipad often. Now, if you have not started with a color will before, I highly recommend you grab yourself a color wheel. This is produced the colors we're gonna be working with the yellows, yellows, oranges and some of the reds and the red red orange is that's what I'm seeing four colors in here to do Attend you would add white gray for the tone and black for the shade. So color wheel is a wonderful medium again for fueler just starting out. And even for us, artists have been doing this free years. Ah, it's just a great reminder. It can give you that refresher real quick. So we're gonna be using my watercolor Cotman kit for this. You're just starting out. This kid is a perfect little kit to pretty much make anything on this color will with this palette that I'm using in this common kit So you can see again if I just put put this up to the the iPad. A lot of these colors of the colors that are going to be in this leaf going to start out with creating our own little color palette, using some of these colors that I'm seeing in here So you can see in my color palette here in the 12 kit. A lot of water color kits don't come with black. Would you could easily make black by using that ultra marine, blue and burn number. So I have a little watercolor pad and I divide you to grab just a small sheet of paper, and let's create a facile color will with some of these couplers that will be using in this leaf. 3. Creating a color swatch: So the 1st 1 is going to be this or in shade. This is actually called cadmium red, even though it looks orange. Now you can see here. I've got my little watercolor pad and I am using my Min Ki Kolinsky brushes before this for this course. Absolutely love. These thieves are, um, Red Sable. And they're just a wonderful brush. Each brushes split proof and it's ah, fine point. And it really has a nice spring back and hold a lot of color in here. They fit nice and neat and compact when they're folded in half. These are great, for if you are doing some plain air or out there in the field or traveling there, there really super nice brushes. So what I'm doing now is called a graduated wash, starting with a really dark pigment of that cad red on top and adding water to it as I come down and sending those paints out. Moving on now to the realism crimson Now going with basically dipping my brush into the water and going directly into my paints, I want a real rich color. And again, if you're new to watercolor, this is how do you create those dark shades you're using less water, more pigment. Now, as I add water to this and move this pigment down, you can see how it will lighten, seeing a lot of variations of color just by adding water or adding pigment. So now I'm just rinsing off that brush, taking off all the pain, just having some clear water and just bringing that down a little bit more, and you can see how light that we can get this. So there's a lot of variation that you can create within a pigment from really dark to medium to very light. And while this is still what you could say, I can move that along and continue to moving. Move that pigment around until I get the color that I want. Once this is dry, this will no longer works. It's very important to make sure that you are have the area wet and continue to have a wet . Once it starts to dry, you'll get a blooming effect, which is what we don't want. We want this nice, very soft, wet and wet. So we're gonna add a little bit of the cad yellow now and you can see. I have the lemon yellow on the left wing of the cat on the right, and, uh, we talked about the color wheel, and we have We didn't get into too in depth with a color wheel, but you have warm color. You have cool colors, and it's really something that always is. An artist confused me because depending on how you see color can change whether or not you see something as a warm or a cool tone. If you're basically looking at a color wheel, the warm colors are going to be your reds, your oranges and your yellows. And then the receding colors of the cool colors going to be your greens, your blues and your violets. So if I'm looking at these leaves and the colors of fall, I am thinking more of the warmer tones so more the reds, the oranges and that warmer looking yellow. And this is how I see this yellow as a more of a warm yellow. And then another great color that I love to use with these fall shades is the yellow Oakar . So we're gonna do yellow ogre and the last one that will be doing for and I were almost run out of room here, so I'm just going to squeeze the last one in. But I was going to be the birth number, so this common watercolor kit is a great starter kit. It's a student grade, but works really well. It's good, high quality paints, but it's economical. So it's a great starter kits than the artist quality pigments. So it's a nice alternative to those. And if you love watercolor, you find yourself getting into them more. I would advise you to get the highest quality paints that you can afford and work with those. So this one has, um, just 12 watercolors and half pans, and it comes in a little a little brush in there as well. It's a wonderful little detail brush that folds up, Um, and the watercolor kit comes with the colors lemon yellow cadmium, yellow cadmium, red pill Hugh um, crimson Eliza, rim of Liz Aerin Ultra Marine, which is the blue intense blue emerald green sap, green and yellow okra, burnt sienna, burnt number and China white. So sometimes they change those up. But in most cases I bought these kids a number of times and I teach a lot of watercolor classes, and these are always the kids that I use. They also have a little part in the front here where you can mix your paints, and it just gives you a little space for mixing. Trey, you may want to grab yourself a separate mall palette to paint palette if you want to make some of your colors up. So here we have five really good colors in our leaf that will be working with, and these colors could be mixed and matched with a lot of different areas. We can take that card again and match him up, and that way gives you a better idea if you're knew how to create those colors and the value of those colors so you can really get a better Ah, perspective. Next step, we're gonna create some wash over the top of these colors to see what other different shades and values that we can get. 4. Adding A Glaze Wash Over Transparent Colors: so glazing is basically layering transparent watercolor over some dry areas. And what that's going to do is add some depth. It's gonna change the colors a little bit and adjust. The intensity will darken the colors or neutralize the area is being glazed, so we have our main colors on here. Now, these are completely dry. And in order to delay something, you're going to take that color we're gonna actually create more color is using this process. So we're gonna glaze the orange on top of where the red I should say the academy and red over the top of all of these colors. So by doing this, you can see how you can get a whole other array of new colors by using these five colors with each other. So we'll let this dry were to go to the next one. We're gonna use the Elysee room crimson and get adding that on top. Now do keep in mind, because we did a graduated wash with the first set when we changed the values from the darkest pigment to the latest pigment. You may get some different variations of colors from that as well in the next color is going to be the cad, yellow and allies, cause you're quite similar. When you look at them, you can see that you can make that same color a lot of different ways, especially when you're using all shades of yellows and orange and reds and browns. A lot of these are very versatile with each other. Now, this will look totally different if you were to use a glaze with, um, some of the cool colors. So if you want to practice, this is a great way again to create lots of different shades of colors and for your project , whatever project that you're working on. So we're gonna let this dry and again. The key thing is that first, the first wash of colors needs to be completely dry before you do your second glaze. And in the next lecture, we're gonna talk a little bit about using it wet and wet so you can see the difference is that you will get from this. So if we look back at that original leaf pin, you can see how many more colors you now have to work with. Just by adding a glaze over what we already began within those initial 1st 5 colors, 5. Wet in Wet Practice Leaf: Okay, so now we've gone over glazes or washes, and we've seen how many gorgeous colors that we could create with just those five colors. This time, I want to show you how to use the wet and wet process. So you could say I have my watercolor paper and I'm just putting some clean Clearwater on here, and I know it's hard to see in the video, but as soon as I add a little bit of this pigment to its were added some of the cad yellow and just drop it in here where we have this water. So what's gonna happen with watercolors? These paints are only gonna actually go where the water is as long as I don't go outside those lines. Of course. So I'm just gonna tap that color in here now. I'm not doing a solid color with this. I'm just tapping on the color, letting the water take the pigments where it wants to go. And now I'm going to go into the cad red, and we're gonna tap that. And you can see this beautiful bloom that this wet and white technique does for you again. Just tapping it in here and there. We don't want this color to go everywhere. We want to be able to keep, um, a little bit of that mixing away from each other. So we want to have a little bit of the orange. We want to have a little bit of the red. We won't have a little bit of the yellow. Want everything to be more separate. We don't want this to wet, so this is a great practice for you to do. Do a couple of these leaves on a piece of paper and try your colors outright with a little bit of water, a little bit more water and maybe even more water so you can see and understand how much water that you'll need in order for the paints to move at the rate that you want it, Teoh. Because obviously, if we have too much water, what happens is that's going to really blend too much. So if you're new toe watercolor, this is one of those things that you need to practice. Don't get frustrated with it. Do a few of thes and you learn how much water it takes because that's always a um, a question that I got from a lot of my students and, um is a great practicing to dio with just creating a bunch of different leaves, and you could even try different colors rate for a mood board. If you're just starting and you're not sure what color you want to use in your painting or what type of color leaves that you want, you can really have fun with us. So I'm now taking just a little bit of that color that's on the outside here. And I'm creating a little bit of texture for those leaves because the leaves that I looked at or not completely smooth, you've got a little bit of jagged, um, rougher outer shape. And then I'm just dragging that stem right down from those colors that we have in here. Let's add a little bit of green to This is well, can. You could do the same thing with the Stamets you do with the leaf. If you want those colors to blend and work with each other while it's wet, it's just a beautiful way to let the watercolor do the work for you. A very simple, elegant leaf. Let's try another little small one over here this time What I'm gonna do set of the Clearwater. I'm just going into the pigment and we're gonna make this solid and getting that shape of belief in there. Got a rinse that color up and then grab some more of the red and we'll see you're gonna get on orange cause the yellow and the red are going to make orange is gonna be very similar to that 1st 1 that we did and just tapping and you can see that I have a little bit less water . Now there's more. Pigment is not as much of white spaces in the 1st 1 If I continue to add a little bit more of the red in here renting off each time for a different color, go ahead and a little bit of green again to the base of this readable stem and maybe a little bit of the green on the bottom. So you see the 1st 1 that you have a little bit more movement. I had a little bit more water with that. The 2nd 1 was more pigment with a little bit more concentrated with less water. And I have a little bit less movement with some of the colors. So go ahead and give those a practice. Try a few different shapes. If you have a puddle of water like I do here, you can just take a brush, wipe it off and then suck up some of that excess water. And again just wipe it off afterward. No, you don't have any type of blooming or big puddles once this tries so hot. Elegant. Is that just really very quick? A very simple way toe to do a wet and wet leaf. 6. Adding More layers for depth: So we're going to try another one using the cad yellow, and I think we're gonna do a few little options. We're going to a little glazing with this one, and then we're also gonna do a few more details so you can see as you get a little bit more confidence with paint painting the leaves and learning a few other techniques toe layer them to make them look a little bit more realistic and not quite as simple as our 1st 1st to that we did. So this is going to be very random. Couple of little leaves here and they're going in different directions. We're fill those in, then we can connect some of these here soon with a little branch. Great thing about this is you can just go with the flow. There is no right or wrong. This is my made up leaf pattern here, So got a little a connector here for the stem of those leaves. Some of these can come right up to this. Damn a few of the other ones maybe have a little bit of ah, a stem that they're growing out from, so they don't have to be all connected directly to that main stem. And again, I like to do it in a few little different directions. It makes it just a little bit more whimsical. Then another one down here in going all in a little bit different directions on a little bit different shape. Extend that stem down here a little bit more. So I'm going to go into the yellow Joker, mixing that in a little bit with that cad yellow that we have already in our palate. We're running a little wet and wet and just a little bit of that yellow Oakar for a darker value in here again, not covering the whole leaf. We want some variation in this. They would have rinse that off, and I'm going to dry this before we do our glaze. So now I'm back. This is all completely dry now. This is pretty, just as is of this few different little shades of yellow in here. Let's go ahead and add a little bit of that lemon yellow to this weaken. Brighton that up, so you can see when you add that light yellow glaze on top of the darker Glee's, you still can get that vibrancy as long as it's quite transparent. Usually when you're doing blazes, you want to glaze light, dark over light, so start with your lighter shades first. But if it's a light enough shade, you still can create that glow by using, um, the lighter shade over a darker shade. As long as he was like I said, Not too much of a variation with that. Okay, let's go ahead and add a little bit of the green. This is the Verdean green, so the virgin green has is a little bit more brighter. Is a little bit more blue tint to it than the sap green has a little bit more vibrant. Yeah, I'm just adding just a hint of it. Not a whole lot. That yellow worker is still damp to see. I'm not getting a lot of movement here. It's damp, but it's not as wet as we did with the first layers. With the weather and wet you see as I come down here, it's a little bit more wet on this one, but you can shape that up. You can pull paint out if you need to. You find it's too dark and how you pull pain hours, go over it, then wipe your brush and then go back in again. He is to wipe your brush off after you've pulled that paint through, so you don't continue to add it back on top. So that's a really pretty color. But now we've used four different shades in this one I've derided again. I'm coming back, and now we're gonna add some details to this. Adding details is the best part. I think about watercolor, and what happens if a lot of new students is They try to add these details too soon. So by putting in these layers of color you've already built up on this. You've already added some shadows. You've added some different values in here, and it just looks a little bit more realistic when you do this. So now I am taking my dried paint, and we're putting in some of details now because the background is completely dry. Now you can see where this will only go where I put it. There's no wet paper for this to move on, and you can still do this very lightly if you add a little bit more water to your pigment. it could be very transparent, still or translucent. And if I go in a little heavier supposed to with the yellow Oakar, it's a little bit darker, and you can make it look a little bit less transparent by adding a little bit more pigment in here. I added a little bit of green to this. Now, Yeah, I'm working a little wet and wag from picking up a little bit of that yellow color and dragging that through is well, and we're just putting some little vein ing in our leaves. You could probably use this toilet brush if you wanted to be wanted. A very fine line. This one is still fairly large. This is the size four brush that I'm using of the Kalinsky in trying to create those vain ing in different, different shapes and following that leaf pattern that leave shapes. And they're not all rates straight across. Can adding a little bit more of the green in through the stem, and it's very soft and very pretty, so we can continue to add color to this, adding some darker values to make it really pop so you can see that we have taken that next step by adding a little bit more details, and you can continue to build on from this. So this is pretty as is. But if we want to add a little bit more color to it, let's go ahead and add a little bit of the birth number too dark in this. So I want to show you here we have done the basics. We can do another glaze on top of this, so I'm re wedding that with just water, and then I'm tapping in a little bit of that browned. So you know how like the leaves, sometimes we'll have those little spots on them. Things like that, a little bit more texture. And that's how you can curry a little bit more of that. Or you can just darken it. So again, just adding just a little touch of deeper values to these. If I want to do this just dry, you can see how if I add this to that leaf where it's not wet, because here I can get more dramatic look with those little dots or that darkness rather than wedding the entire thing, and it blends more so two different ways to do it. It's good to discourage. Try different ways and see how it's going to work for you and again. It gives a little bit more variants in your painting. So I'm going to go even darker, eyeing a little bit of blue to this. And then I'm gonna add to some little pieces on the stem, usually where the leaves grow. You get these little bump outs on what you call them. Have a little bit more texture in there, and you could see as I add these darker colors, these things seem toe pop, and again it makes it more realistic. Not that that's any better be. Some people really love that simplicity. It just depends on your preference. I am a more realistic painter, so I love the details. But you can paint these very loose as well, so neither way is wrong. Nethaway's right. It's just your preference. So we've seen a bunch of different ways to do this. Um, the next one we're going to show you is how you can use a little bit of penning just to make a really simple one. 7. Pen and Ink : So for another fun and loose style, you can use a micro pen. Now you can use other pens as long as they're waterproof. That's the key. Some of this sketch out another little belief. Corley fall fully designed this one out of my head. I saw something similar, were taking a walk today, but they weren't in this color. They were actually yellow. But we've done enough yellow. So I'm gonna do this one in red ones for finished. So this is a great little thing to dio Morville of a doodles. You know, you can make any little shapes you want. And again, this is a cule thing for maybe a card or to use in your journals. Just a very simple and fun way to to paint in something so you can do your drawing prior like I'm doing here. Or you can actually do your drawing afterward, um, and then just fill in around. You might have seen a couple of my videos on YouTube where I've taken just the colors and work the colors first and then created a little drawing around the colors that I laid down pull a few little details in hair again with the vein ing in the leaves For our next project, we're gonna actually dio Ah, the finished piece, which is more of a detailed piece. And we're gonna create the maple leaf with using basically all of these tools that we've gone through so far, not have that drawn in. You just want to make sure that it's dry before you do the next steps. A little small ish is drawing. Let's go ahead and just pop another one in here can the shapes of these could be anything you want? I don't want to have your design in there. You just go ahead and add paint directly to it. Can stay inside the lines, you outside the lines. It's just a very fun and easy way. Teoh, do a light wash and I'm using the Eliza in Crimson red once again. For this. You could see as I move along a little bit more water and gets a little bit lighter as we go up to the top. And I like to have a little bit of differences in the colors in the value so you'll see that a lot of times I won't even use my paint palette. I'll just mix directly in the tray. Go with a little bit of the orange. Here, you could see how these brushes really hold a lot of the a lot of the water. Some brushes they use that are a little bit less expensive or ah, of the synthetic nylon tips don't tend to hold a ZMA each of the water of their pigments as thes do. So again, just changing it out because you have a little bit lighter shade here gone back into the Reds. I'm just kind of mixing and matching these. A little bit of the yellow car, maybe a little touch of orange. We just want to change up just a few of those colors. I guess it's just nice to have a few different shades. And there's there's just not a solid wash, simple and easy to dio, right? So we're gonna be moving on to our next project, which is going to be the very detailed belief. So we're gonna put all of these together and remove create a more realistic looking leaf 8. Leaf Project Step 1 Wash: Sorry, guys. Are you ready for the final project? We're gonna paint this leaf, and we're gonna make it look very a realistic lots of steps with this one. So just follow through. You need to take a break. Feel free to take a break. Make sure that you're drawing in between the sessions when we talk about it so you can use a regular graphite pencil to sketch this out. I will also put a pdf here for you. If you'd rather just trace the image. The other option that you have I'm going to show you here is using a watercolor pencil. Now, the reason why I'm using a lot of color pencil and it's in yellow is because I don't want to see those. I don't want to see the graphite pencil. Once I'm finished with my paintings. We have a lot of lighter edges with this one with the yellow. So if you use the latest color that you can see to trace this out or to draw it out, the watercolor pencils will blend and you will not have that line underneath there, which is a really nice feature to dio. So especially when you're using lighter shades so you can see here I have my watercolor pencil. Now, this is an ink tents pencil, and I'll put the link for for the kit on this one as well. So when these dry, they do dry permanent. So did you need to keep that mind? If you're working in sections at a time Once this is dry after you've added the water to you, it will stay permanent. So one thing to keep in mind, I usually only use this for the very lightest colors when I'm working with a water color and that we don't have to worry about, I couldn't do my translucent washes over the top of it. So I know it's a little bit tough to seek that such a light color. Um, but hopefully you can see it enough. You build a seat. Actually, when I add a little bit of water to this a little bit better. So we have this all sketched out, ready to go, and I'm going Teoh, put just a light wash of ah of a yellow or water in here first. Now, up until this point, I have been using a little bit smaller brushes. This is the number 12 so one a little bit bigger cause I'm doing a larger area. It takes a very light yellow and fill this and most just this most looks like water. You can see where the pencil is blending just a little bit. I want to make sure you stay with inside those lines. You don't want to go outside those lines over a lot with water, especially because we're gonna be doing a wet and wet technique. And remember, from the 1st 1 wherever there is water is where your paints will travel. So I'm gonna work in a small section. We're just gonna do half the leaf because we have a nice division between the leaf with a little bit of a highlight here because this is a little bit larger painting and have a little bit more of a larger surface. You want to be able to work quickly with adding the colors on top of one another. So we don't want this to dry while we're working on the other side. So we're gonna go in a small section here. You can notice that I don't have the paint everywhere we've left a little bit of white space. It's a little bit lighter in a few areas. I don't have a little bit of the orange or the cadmium red. Yeah, I'm just robbing that color in there, making some beautiful blooms. Now, looking at the reference photo, I can see that my left side of my leaf is a little bit darker than the right side. And there's some areas a little bit darker than the others. Has a little bit more orange in it. So those air, this is the medium tone that we're working with now, and we will gradually get a little bit darker with some reds and some browns. So we're trying to take a look at this whole over picture and see where the orange is. So I'm just tapping in. That color is a little bit of real bright yellow on the tip of that leaf, and then this little section right here so we don't want to have that too dark in the middle. And then we're gonna go a little bit darker up here at the top. And again, if you look at that reference for you can see this is probably the deepest colors at the top here. And then on that left bottom side again, I'd free handed this leave, so it's not it exactly. But it's pretty close to the original. And when I did the tracing image, I did the one that we're painting here. And we're looking at that reference photo just to the shape of the leaves and how the colors are working. So we're gonna add. And now that the darkest value again, using that, when what technique? That we learned having a little bit of that burn Number two that didn't want to deepen that read just a little bit. And going back to our original colors that we created on our chart, Um, writing a little bit of that brown to the red meat. Take a look at that chart and see if we have a dark enough color for what you're looking for. And I really love this color. This is probably my favorite color when the leaves change here in Maine, other than that really bright, vibrant orange. So if you are in, especially in the Northeast, you probably know exactly the color I'm speaking up, and if not, I hope you enjoy painting the leave and seeing the photographs that I'm sharing with you guys is Thea Leaf. Peeping. Season here is absolutely beautiful. It's very short, not quite long enough, similar to my summers now, just not long enough anymore. It's gonna add a little bit of blue to this, and that's gonna get that really deep color almost is black like a Payne's gray, and it doesn't take a lot of that blue toe to change the color. But I don't want to make it 22 dark because we're just gonna be adding and syllable of the brown in here, where you see some of those little dots and marks as the leaves are changing different colors, There's a little shadow here. It's really dark, and the reason putting the dark in now is I want that to bloom. I don't want that to be a stark line friend again, because this is wet. We're doing this wet and wet, and you can see that that Brown is still spreading out and still moving. Now where the edges are, it's only going to that line where the water line is. So those air a little bit more sharp around the edges here. Maybe a little touch of it here as well. So anywhere you see where it's really dark and just put a little bit of edging on here and again, this is on against back a white background. So it really pops. Now we're gonna just fill in the stem with the bright yellow tap, a little bit of orange in there and you can see. And I will close up here for you, where it turns from yellow in the end, a little bit of orange than a darker shade of red as it nears the belief. Just tapping a little bit in here. We don't want to get this too dark at this point. Maybe a little brown here and a touch of brown down in here. You can see where we have that little shadow on the underneath of this. Still we putting that in a little later? Right? So we're gonna go ahead and rents a brush off. We're gonna start on that second side of the leaf now 9. Side 2 of the leaf: beginning on the right side, We're gonna start with that same yellow. We're gonna follow the same steps that we did for the left side. Now, my left side is still what? You still see some movement in the paint's, um because thes air pretty much the same colors. I'm not too worried about it if I blend them. But there is a little bit of a separation in the middle of the leaf with a little highlight . So for this, uh, this point incomers gonna leave a little separation there, Not much more. End up feeling that than your cover most of that anyway. But, you see, it's a little bit of a highlight, and then it gets a little bit darker down through the center. Once again, we're starting off with lighter shade of yellow. This is our cad yellow and I've switched back to a little bit smaller brush. This side has a little bit more details in the tips of believes. So I used a little bit finer tip with that brush for those areas. Legacy when I hit that one that it did blend a little bit, but not so cakes we're gonna be bringing those colors right over to the side. Anyway, can being careful on the edges. And you could see that I go through and load up on my brush Still quite a bit. I've got quite a puddle of water in with my yellow, so I can really mix it right in that colors. I'm not switching out any colors. I'm not doing much mixing here. It's just the solid pigment. So now I am going to makes it a little bit too gonna alibi the yellow poker as well as the cat red. The end is tapping in that darker area. You'll see I get messy with my paints too. I am not. I'm not a clean person. Accounts to my Bates. I just like toe get in their MiGs and play. Um, so I have a lot of fun and, you know, no worries. You can clean these trains out so easy just by adding a little bit of water and I'll run it through. Once his dries off, I will actually run my ain't kit under the water real quick. And just do a quick scrubbing and those other colors will go right back. Teoh the main shade someone just sharpen again those edges on the tips of belief. Here and again, it's a little bit darker if you look at that reference photo right around the edge using the very fine point of the brush. And that's why these brushes air so great they really hold that that nice, sharp edge. Very well. The more pressure that you put on that, the more it will flatten out. So we very light pressure when you're trying to use the tip almost like you would be using a pencil. You'll notice what I'm trying to get more fine detail. They tend to move my hand up the brush, so I'm a little bit closer, like I was using a pencil or a pen. And when I'm using ah, very loose light water color and I don't want a lot of details. I'll tend to bring my hand down a little bit further on the handle of the brush, and that makes it very loose. It's not quite as tight with a painting that way, and just tapping in some color just acquitted the other side, and the site is a little bit lighter, so I'm trying not to add as quite as much of the orange and red on the side as I did on the other again. Just get that little dark edge here down the center. Bring that together a little bit. Now I'm going, and you see I actually used re colors that time used the Oakar, the brown and the ultra marine blue and is trying it a little bit deeper shade in here. Deeper value. And you do have to be careful with the dark because you don't want to overdo. It is just this leaf is quite light. That's just for some of these shadow areas, and this is a little deigning that runs through here. You go back to a few dots and let's just go another darker line on the underneath of this stem, and the guy had mentioned this earlier. But the key to these type of watercolors when you're doing a more realistic watercolor is getting in these main shades first and not trying to put all the details in at the very beginning. Let this and sit, let it dry, and this will soften a little bit, and then we'll go into some more details next 10. Let's Begin adding some minor details: So this is a really pretty just as is so This is a more simplified leaf. Um, for beginners. This is a great beginner one. And now, if we wanna jazz it up a little bit, mawr create a little bit more details to make it make it look a little bit more realistic going to start adding some more layers on here. So I am darkening of that color once again adding a little bit of the blue and the black again to had to make a really dark, dark color. So this leaf is now completely dry. Are undercoat is completely dry before at this layer to it and this dark shade? If you notice I barely add any water to this, and that's going to make that pigment a little bit more controlled and a little bit darker , So the more water I add to this later, that's going to be the more open and more transparent will be choices very rich. This is more opaque because it's just a little bit darker, so more pigment, less water, and I'm going to follow those lines that I had done initially. You can see where they're a little bit softened in there because they were still wet. So this is not moving. This is more of a darkened line, a little bit less are more contrast with the background in less blending through the darkness in here. So I see what's really, really dark. I'm just using the tip of my brush again, just tapping it in very slowly. You don't want to overdo it. And you do want to leave some space in here so we don't want this entirely filled in with black. I got a really dark shade under here. So you're looking for all these really dark values now, anywhere you see that riel dark brown was black color. You can also see it right along the stem on the underneath. I want to put a little bit of that in there. When you start to add that shadow really looks more realistic. You know, in a couple of these little leaves, have a little bit darker spots on them. And again, some of those dots that we did earlier You can darken those up a little bit more. You too much on their exodus State my finger and pushed down Tap it. Tap it off in the light that just a little bit. This is heard of detail ing that slow and easy that I take a lot more time with this when I'm doing that background getting those basic washes in there, it's really quick, quick and fast. And now when the details come in here, it's small minute changes as you're working with ease. It's about a little bit more darkness in here. Yeah, I'm just getting a couple of those little small dots or circles of dark and around the edges. Always good to take a step back. Give yourself a break, your self a break. And when you're doing all of these details, come back some fresh eyes, take a look at your reference photo again and look for those colors we're gonna go into again the yellow. And I'm gonna highlight along the stem where that vein ing is again. Because here in the reference foot, it's a little bit more yellow again. I'm not using a lot of water for this. I want a fairly strong pigment because I've got my light wash underneath hard toe. Have that yellow show up on some of these darker areas so you need to have a little bit stronger pigment in order for it to show, and then you can see it in the refrigerator. There's a lot of little vein ings, really small, fine details in here. So we're gonna take that same yellow and just start to create some vain ing in the leaf. Now, this is very soft. It's not really noticeable. Um, and it's if you want to hold your brush at the very tip so you don't get some very straight lines in there cause he's air really squiggly and they're not perfect. So by holding the brush at the top up here, you can see where you can get some very random squiggles. And if you get something that you don't want to again, tap your finger on there and you can usually lift that right out. So I'm trying to come off from those main branches or those main veins that run through the leaf. There's three main ones, and then from that or all of that little bit of texture in there and again, this is just the start. So this is just a little bit here, a little bit there, you don't want to overdo it. You just want to just have that illusion of some vain ing in here. And as this dries is gonna feed a little bit, we're gonna moving on to even more details next. 11. Creating the Shadow: So while we let that dry, let's go ahead and do a little shadow. The Shadow is going to really make it pop. This is when it really starts to look more realistic. Shadows to me are, uh, one of one of my most favorite things to dio, especially in realistic paintings. So we're going Teoh mix up again. We want this very, very light. So I'm just gonna add some water to the underneath of this. I'm using my very small brush for this again if you don't have Ah, if you don't have this kid, just just make sure it's a very tiny brush. We're gonna make this a little bit bigger as we move along. So we want a very light gray or very light brown that same blue and brown color combo. So I added a little bit of darkness to this, and I want to show you the reference photo once again. So, looking at the reference 40 conceal her. It's a very soft shadow. There's really no sharp lines with this. So in order to soften that you're just gonna add some water to it and just blended out using your brush and again we have a very light shadow here. It's funny little. The sun's coming out is actually casting a shadow as I'm painting this here. Oh, so this is again very light and you can see that line right underneath the leaf stem that we have here. When extend this out, you can still see. I have some shadow over here is well, and this pretty much goes all the way around the side of the leaf, right up until the end of the edge here. So can I have that very light color in there? You can darken it. A little biz. It's closer to the leaf. And then once you've added that darkness, spread that out and I have water down below here, so that's just nice. It's making a really soft blend, getting so little bit of a lighter water here and again. Blending that out less is more when you're doing the shadow you could always deep in it and darkened as you go along. So this is still damp, so I can add some more darkness to this sexy. It's a little bit darker here, and I also see it's going to be darker rate directly under here. So as this is what you can continue to add, a little bit darker shade, and that's going to soften and blend. It sounds really dark, so I'm getting a darker and darker each time I do, and you can see by looking at the reference photo where those real dark values are. It's directly underneath this, leafing around the corner here in very small minute changes. Take it slow and, um, just make sure you keep this area nice and wet. You know what? It's so wet that it's dripping, but you do want to damp. Cuz I'm adding again, just clear clean water to this and just softening that line out a little bit. Here's a little closer. We're gonna go really dark around the edge here and see her. It's wet, so that's just softening and blending nicely right along here. Here it is. We're gonna let this dry, and they were going to go even further. Wisam details 12. Another Glaze: All right, you guys, I hope you're still with me. I don't gets ah very detail that this is why this is really the first class that I've done online that has this much detail with it because I want you to know how much work is involved with some of these realistic paintings, and it really just take time. And it's like I said, it's very minute. Little changes. So our shadow is dry. I am now adding a little bit of white along with the yellow. So I want I wasn't getting quite the highlight in here that I wanted. Now, normally, I would do something like a masking fluid toe. Leave that role bright color in there, but you can see it's really it's got a little bit of yellow. It's got a little bit of the darkness, so I figured we could just paint it on here, be Justus easy, so I'm just adding a little again, a little texture. If you see the reference photo again, you can see some of those lines in here. It's almost like a crackling of fact is the best way to describe it. So I am just going this is going to lighten a little bit as well as it dries. You can see it's quite stark right now, but as, um, the this dries, it becomes a little bit more less intense. I should say so again. I'm getting some of those main vein lines in the leaf, and this is just adding to it, adding a little bit more of those little squiggles that we had done before with the yellow and now adding a little lighter shade in here just to make him a little bit more noticeable . And the next up we're gonna be doing is actually adding another, deeper layer of color, a full wash over what we've just done. So anything that's too bright or two starkly don't really not really happy with it. Don't worry about it. Well, we're gonna add another wash on top of this, and so it will, um, lighten any of these areas. If you find that there too bright now, you don't want this to be too thick. So again, use the very tip of your brush. Very narrow, very skinny little lines in here. You see that meaning is not really wide. It's very narrow, very thin, the more pressure that you put on you can see this. This line is a little bit wider again if you need to hold your brush at the very end, and it will give you a lighter touch. And this is not a lot of water with this. See, you may find yourself adding or pigment to your brush a little bit more and just have fun with it. I give him trying to follow the way that those vein lines out. They spread out and up in away from the center, and you could see him skipping even some areas I'm not using like a night using It sounds like a pencil where it's a big, straight full line. It's a very light touch, and some of these areas are being skipped completely. So it's not a solid line that I'm doing. You could see those initial lines I first put in there has already started to dry, and it's a lot lighter than what it waas. So go ahead, let that dry, and now we're gonna add another layer of wash on top. This is all dry again. There wasn't a lot of water to it anyway. so it dries really quickly. Someone a mix up against more of that cad yellow, and we're gonna do a nice light wash right over the top of everything that we've done. Now this will soften some of those colors and riches. It can see how brilliant this yellow is. Now it really brightens things right up can go and read over that center. Lines of that white area that we had before is now bright yellow, and it just does a nice job softening everything. It's being careful along those riel sharp edges of the fine tips of the leaf. You don't want to go outside those lines. So you once you've added that Washington do the same thing we did the first time by adding another layer on top if you want some darker values in here and again. When we looked at the reference photo that the top had a little bit deeper values and the left side does as well going to add just a little bit deeper color down here and the stem you are, and it want a little bit more that cat red in here they want just a little bit brighter on the side to find its to write Rencher brush off and you can do a little blending again. It's still wet with the yellow in there, so it's very easy to blend some of that now, while this is still well, I'm a switch to my smaller brush here again and I'm going Teoh put some cad yellow in here and I'm just gonna die a few of these areas. And just to add a little bit of interest, a little bit more texture give you a closer. This is down near the base and again, if you look at the reference photo, we have just some little sparkle of yellow here and there, just tapping it in while it's wet and gives it a little bit of brightness. So once that's done, we go and let this dry, and then we're going to be doing the final touches. I know lots of layers on this one, huh? But we are almost there, I promise. 13. Final and finishing touches: All right, So we're there were at the final touches. So I decided I'm going to add a little bit more of our watercolor pencil in here to see if we can brightness up even Mawr, creating some more of those lines in here. And this is is it really easy? Because you could just draw and squiggle. You got a lot more control with the pencil than you do with a brush. So I'm going to put just a little bit more in here. You can see because this is watercolor paper. It's got some texture. So when you use the pencil, you see a little bit of that texture until you add the water to it. So don't panic when you see, um, looks like prey on almost can, creating just some scribbles in here. Not a whole lot of thought just trying to keep that pattern coming out from that main veins in the leaf. And this is just a way to add some really easy texture. If you didn't have quite enough in there, you could also go with a little bit darker colors if you wanted to. So this is really just where you get to play and everything comes together for you. You could try a couple different color. So I have a few different shades of the yellows, orange and even a little bit of green that we're gonna add in here because there's a little bit of green on the stem and for the fun of it will for a little bit of the green in here, too. Believe was green before it started changing right and just little touches. Just that little bit of extra added color in here. You've got the color in there. Let's grab our micro pen again. And if you remember our little bit of doing that we did on that one leaf using a micro pen , we're gonna add that really sharp, dark, dark lines in here just a little bit again. A little goes a long way just where you see those really dark values and read along the edges. Usually where your shadow is is where you're gonna have the darkest colors. And then a couple of these little tips on the Leafs were really dark as well, and I'm not gonna go overboard with it. I just want just a little bit of this in here. And then if I want to go along the edged, this will give you that very, very fine line around the shadow area. And again, you don't need a lot. Let's just a couple little really dark dots in here. There are some that are almost black. I'll bring up the reference photo for you one more time so you can see how dark those ah, dark values are. There they are almost black. So now that we've got that in there, let's take our brush. And I'm just going to soften those watercolor pencils that we used. Just gonna blend that color in just a little bit and that reactivate that orishas A activated? Yeah, just gives it a little bit softer. It takes away that texture. That crayon texture that's on your paper and just some clean water is all you need for this . I like to use that circular motion just a soft blend, and if you do want to blend some of that black out, you can do a little scrub action, and you can activate that black a little bit. Has it been on it for very long, so it's not completely dry yet. And then if we want just a fuel highlights in here again using that white, just a couple here and there for a little extra bit of sparkle. Yeah, not a lot. Just a few touches here and there. You could really work on this for a very long time. You have to control yourself a little bit. So I have dark and just a little bit more around the edge of here. And I think I am all set in a sign that with a brush this time I hope you enjoy this. And I am looking forward to your project coming up. So let's talk about your project. 14. Outro : So thanks so much for joining me again for another class that this is your 1st 1 I'm so glad you found me. And I can't wait to show you more. So for your project I want you to do is try out that color chart. See what you think up with some colors. If you want to try some new ones and throws mother shades in there, go for it. I would love to see them. You could tag me on Instagram, and then you start out with some of those smaller projects. If you want to post your small projects, go ahead, do that. Or if you want to print off that maple leaf and give that one to go, I am really excited to see this one. To see how realistic that you could make it. So remember, it's a really important just to start off with those very light washes and build it up and then add the detail slowly And as you go along, you will. It will look more and more realistic. So look forward to seeing you in a new course soon. And if you have a chance, please don't forget to leave a review Give a thumbs up that lets other students know that they might be interested in something like this as well. So thanks once again, happy creating. And I hope you have a great week. Take care. Bye bye.