Beginners ink and watercolour lesson, drawing and painting a colourful Autumn leaf. | Cally Lawson | Skillshare

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Beginners ink and watercolour lesson, drawing and painting a colourful Autumn leaf.

teacher avatar Cally Lawson, “Paint like no one is watching"

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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

10 Lessons (54m)
    • 1. Introduction

      3:40
    • 2. Materials

      4:28
    • 3. Preparation

      3:02
    • 4. Drawing process

      9:11
    • 5. Painting the shadows

      8:25
    • 6. Painting the leaf part 1

      9:44
    • 7. Painting the leaf part 2

      4:54
    • 8. Painting the leaf part 3

      6:44
    • 9. Extra projects

      2:04
    • 10. Conclusion

      1:41
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About This Class

Drawing and painting a simple still life study of a colourful Autumn leaf. In this class you will learn tips on improving your observational drawing, how to paint shadows and how to mix colours on the paper.

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Meet Your Teacher

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Cally Lawson

“Paint like no one is watching"

Teacher


Hello, I'm Cally. I am an Artist situated in Cumbria, North West England on my family's dairy farm. I particularly enjoy teaching beginners drawing and painting, focusing on building confidence and emphasising the importance of relaxing and having fun whilst you paint. I have been teaching and demonstrating on YouTube for the last few years, where I cover a wide variety of media and subject matters. Here on Skillshare I will be aiming my classes solely on beginners, watercolour and pen & wash. Please feel free to contact me if you have any special requests for future classes.

 

 

You can see examples of my own work on my website and by following me on Instagram. I work mostly in mixed media, especially liking using ink dip pens and al... See full profile

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Transcripts

1. Introduction: Hello and welcome to my skill share costs. I'm Kelly and I work here in my home studio in Cambria, which is in the northwest of England. And I enjoy teaching beginners, drawing and painting. And for this course I thought it would be nice just to do a study of an ultimately however experience you are drawing painting, whether you've been painting for years or whether you're completely new when it's the first time you picked up a pencil. It's always a good idea to do some observational drawing and to do some still-life. It's great practice. I don't do enough of it myself, ANOVA don't. But we really should. It's a really good habit to get into because it makes you look. It makes you usually I. And if you're a beginner to draw, and that's one thing I can't stress enough. Quite often people will say to me as a beginner account draw and they refer to the hand that they sort of talk as if it's something that your hand can do automatically. Drawing and painting isn't about what your hand can do. It's about your, I, so really, really look and don't let your mind filling the blanks because this is something that happens. We assume that that line goes in a specific direction because we've had two years of knowing what to leave looks like or what something else looks like. Don't let your mind filling the blanks. Look at the lines that you can see. Look at the shapes you can see and break the object down, the lines and shapes and draw those each individually and you'll find you joined comes together a lot better that way. Use your I don't rely on your mind filling in those blanks if that makes sense to you. Okay, so practice, practice, practice is always the best way to learn an observational drawing with something that you've got to hand. And that's the other thing as well. Even if you just draw the MOOC that you're drinking from, or if you draw your own paint brush, drawing from life and just putting something down in front of you and sitting down for a couple of hours and really observe in it is a great way to practice your drawing skills. So I picked the soap off the kappa capture this morning, this leaf and at the time had some nice G1 actinic was shining and I saw those lovely red and orange colors. So I decided that I would use this one for today's practice. You could use any leaf you wanted to from around where you live, hop out and find a nice colorful ultimately. And as I explained further on in the course, if you want to go on and do further projects, you might want some more leaves as well. For your project today, you're going to be drawing in ink and then painting a watercolor and producing hopefully a nice colorful leaf at the end debate, particularly looking at the shadows underneath it and looking at all those shapes that are made over the season, by the way, that it's being tone and targeted. Because it's, to me, I would call it perfectly imperfect. It's beautiful, as it says, even though it's all torn and we've got these crinkly edges. It's still a beautiful object. And so that's what we're going to do. So I really look forward later on to seeing you finished projects. In the meantime, if there's anything that's all that you want to ask me, anything that I've forgotten to say which I can do when I'm just busy rambling on explaining things to you. It's easy for me to miss something out. Please do reach out on something like Instagram or message me, email me even whichever way you feel best getting in touch with me. And I will answer your questions as soon as I possibly can and do use Instagram a lot. That's probably an easy way to get in touch with me if you do use that yourself. All of course here on skill share as well, you can ask in the discussions and things. I hope you learn from this. I hope you enjoyed hearing aids and I'll come back and talk to you again at the end when we conclude what we've been doing. 2. Materials: Before you begin any drawing and painting, it's a good idea to get all your materials to hand. It's better than rushing off in the middle when you've forgotten something and you need it and you partway through doing something. So try and have everything that hand. So obviously the first thing you need is a subject that you're actually going to be drawn. So I've got this rather damaged leaf that I found this morning, and you'll see it's a little bit shiny and that's because I've added some water to it to stop it drying out. It's also a good idea to take a photograph so that you've got a reference for later when he told dries out on curls up. So the next thing you're going to need, obviously is your paper. This is a mixed media part. It's a nice smooth one. It's actually a day-long Dale around you and I'll just have a look at that for you. So it's an A4 and it's a 169 pounds in weight. And it's a nice, smooth paper to draw them. You could of course, use a watercolor paper rather than the mixed media, but this is rather, a rather nice one that I liked using. So a pencil and eraser, This is just your standard to be. And you might want to put some guidelines in. You may like to go be a little bit more confident, go straight to use in your ink pen and not bother with a pencil. But if you want to put some guidelines and you're going to need a pencil, and you're going to need an eraser to get rid of those guidelines afterwards. Just make sure it's a good quality eraser that isn't going to live smudges on your paper. That ones one by d o and you're going to need some brochures. I've got three sizes. The roll round brushes got a size 1063, but you worked with whatever you've got. The reason I like to have a larger one is to lift the paint from the pans into the palette, rather than using a small one, which will take you a lot longer to get any sort of amount of pigment out into your palate. So it's a good idea to use a bigger brush for that. This one's a synthetic one and these two stable ones, but you can use all synthetics, that's absolutely fine. Just whatever you've got to hand. Today. I've got my spray. I probably won't spray on to the paper, but this was a sort of to keep the leaf itself dryers, sorry, wet as well. And it's an handy thing to have. But if you haven't got one, don't worry, you won't necessarily need it today. Got two pots of water, one for Washington brush and one for applying to the paper and into the paint. And this keeps you paint in nice and fresh, that clean feeling of the paper shining through the white of the paper shining through your paints. You end up with muddy pots of water that's gonna show in your painting. So regularly changes news, nice clean water to apply to you paint and you pay per dependence I'm using today is a unique pin, fine liner, waterproof and Fe proof. You don't want to make a nice artwork and then it fade over time. So that's something to look out for. And I have discussed before in previous Skill Share causes, but just make sure it says waterproof and vague proof. It's a size not 0.8 and it's a black one. You could use CPR if you like. Today, I decided to use a block or so many lines in the leaf. I really wanted those to show up. Sco. So why use the size not 0.8? So the paints that I'm using today are mice, Janelia trouble sets. So it's only a small set of paints. You use, whichever water colors you've got available to you. And the reason for choosing these ones today is because they're lovely, bright colors. And I want to get some sunshine and brightness into this leaf and use some nice bright colors there. The palette that I'm using is the same one that I always use is a really nice heavy ceramic one. And the thing about this is it doesn't move around too much on the table because it's nice and heavy and it's also got a place to rest your brochure as well. And it's got a good sort of mix of sizes there to put your paints in, put in washes in. If you don't have one, don't worry, you can just use a white plate, which is don't use a coolant plate. It will also the colors of the paints. You put it in there. You want to be working on something y axis. You can judge the colors that you're using. So anything else that I've forgotten? Oh, yes. The tissue. So I've always got this to hand. You may not need it. You might need it if you have a spillage and you might need if you want to live some paint off the paper, but always have that to hand. And I think that's everything you're going to need. So if you go ahead and get everything together before you start the course. 3. Preparation: Before we do any drawing at all or a couple of things that we need to think about preparing. Firstly, you'll see here I've put a little bit of masking tape down the side of my iPad. And this is to stop the paper warp in when we put more water on it. If you're using li lu sheets of paper, you'll want to take them to a board. The main thing with masking tape is when you come to take it off, make sure you always take it away from your painting. So pull it off in this direction so that you're not going to tear the paper and spoil your painting. But just a little, a couple of bits there is enough for what we're doing today. One thing that you need to think about with any drawing or painting that you're doing is your position where you sit in and if you're sitting comfortably. But this is even more important when you're doing an observational still alive like this. You need to be sitting comfortably before you start. And you want to have the object that you're drawing it a comfortable distance from your eyes so that you're not strain nu Ri. If it's too far away or too close to you. It can be worse if it's too close to you actually. So if you can sit at a table and have the object quite a distance in front of you. So you're sort of relax in your eye. And then the thing is not to keep moving your position. If you keep moving your chair and your body position, the distance between your eye and the object that you're drawing is going to be constantly tread changing. These will affect your drawing and you are measuring. So try and keep that position on a dopamine. Sit like a statue all day whilst you do in it, that wouldn't be comfortable. But to just be aware that you're not constantly shifting your chair and shifted your position. When I've been doing something a little bit more important when I was doing a self-portrait recently. And I had to break halfway through the day. I put some little bits of tape on the floor where my chair legs were soon as a new job where I was sitting in relation to the mirror that I was drawing from. So that's one thing that you really need to prepare and think about. Another thing before you start is to have a sheet of white paper. Now this can be an inexpensive, cheap roof piece of white paper, but as long as it's a nice clean piece of white paper, just some computer paper will do to sit the object on whatever your drawing. If you put it on that, it will be much, much easier to do a detailed study of this without energy structure underneath it. So without a table covering an awesome wood of the table, you've got the grain of the table or a checkered table covered. Covering is going to be very distracting when you put it on a plane sheet of white paper, the shadow showpiece LIN, It makes it much easier to paint and you've got the nice colors there. Shadows to paint, rather than it being absorbed by the word of the table. So just pop your objects in front of us a nice distance. Comfortable to your eye. Honest, clean, bright piece of white paper. 4. Drawing process: Before you start your pencil guidelines, sit and have a little think about whether you want to do the object that you draw it larger than it actually is, or smaller than it actually is. You might want to fill your whole page with the leaf, or you might want to just do a detailed part of the middle and fill the whole page. I think I'm going to do it similar size to what it is. And as a beginner drawing, this is a good way to practice if you're doing it the same size as Details, you can measure it much more accurately and it's much easier to measure. So I think we'll do that and then spend a few minutes just looking at it, seeing how its curl in, seeing where it's not touching the surface and it's on, it's not going to be flat because it's all curling up. It's an old leaf. It's been around all summer getting bashed and battered. Now it's fallen on the ground and it's been bashed even more and it's got tears and holes and things in it. So it's not going to sit flat on the paper on the surface that you've put it on. And that's nice because that's going to give us some interesting shadows underneath it as well. So look at the stem the way that a stems maybe arching over a little bit. And look at all the curls and the curves in that and spend a little bit of time studying and looking at where those lines are going. And then with the pencil, we're gonna start by putting the most important lines in and the measurements and then all the detail can go in with the pen. Quite often. I'll put quite a lot of detail in with a pencil. And those of you that have done previous Skill Share causes will have seen me do that. But with this, I think we just want to do the outline, the points, the measurements rather than the actual detail. So the, some very interesting things going on in there where they enter the stem is, and the veins go out into the leaf and all this kind of thing. But we'll start by making some very simple shapes are so just the length of the stem. So if we think about where we want to position the leaf, the part that's the, where the veins come off, where the stem meets the leaf will put sort of over to the side a little bit, and that gives us space to finish putting the rest of the leaf on the page over here. And then we're gonna go down with the length of the stem there. And again, we don't need to put much detail in it. Just look at the waves curl and it curls over and round. So that's something we can come back and do with the pen. But it's not touching the table. And of course, your leaf will be very different. You need to observe yours. Not just look at what I'm doing. Lines very straight. We've got almost a right angle here. And on this side it comes much further down. And because it's bento over, that's a flatline there as well. So just gonna put in where these measurements come to. Now if we look at where the leaf ends up here, it's more or less in a line with a stem here. So we're not drawing this line in here, but we've got an imaginary line that goes all the way along there. And this is what we call negative space and negative shapes. So we get this shape right here. We know that the shape of the leaf and the stem is right. So that's the shape that you can look at. And slightly downs. That's where your last measurement is. And from there we go off. And where it goes up to, again is in line with the vane here. Which is why we have this first Tati bit of leaf going up too. So I'm not put in all the touches and the shapes and I'm just looking at the measurements. And then that goes out to a point. And that's almost in line with the SCO slightly in an around. And then it's about there somewhere. This measurement is slightly, this top of the leaf here, slightly curved and it comes in line with where this one goes off. So if we go from there, it's around here somewhere. And so there is a lot of Latinos going on that it's gonna be a lot of detailed drawing with the pen there. And then this line, more or less goes like this. So we've got the basic shape, but we've not pushing all those crinkles and turns and where it's turned over. So we'll just do a couple though. We'll start with the pen now. If you want, if you're a little less confident and you want to put more detail in with a pencil before you start with the pen, just feel free to do that. Don't feel you have to do it exactly like I'm doing. I'm going to start with the detail down here on the stem. And it's kind of split at the bottom there. That's where it's left. They left the tray and it's got a little bit of a split going up there. Like I said, it's not the same size all the way along. It goes thinner as it gets closer to the leaf. And then a slightly faster at the end. You'll see how I'm doing sort of small strokes. Rather than trying to draw one long line. It's much easier to get the shape. By that way of doing it. It's quite dark at the center. I'm gonna put a little bit of shadow in there already with the pen. Because you gotta make it darker with at your colors later on as well. Okay, Now here it comes across removal of the stem, that first part of the leaf, and it goes right up to this corner here, and then it's curly Nova and it's obviously broken and it's very, very brittle. And they got that very spiky shape. And then down, like say if you've put all this into Became with, with pencil, you find is much easier once you come to do your ink drawing. You won't have to concentrate quite as much as I am concentrating now to make sure that we're not getting any of that wrong. Ok, so, so, so first segment of that leaf and if we look now at the vein, veins going off in this direction. And we'll do this one and then I'll come back to you when we come to do the painting. I'm not gonna talk through the whole drawing. Just look at the veins, look at the direction that the going. But the NAACP just going in a straight line because the leaf isn't salt flats. They're going around the leaf. And then you've got one's going off it, but you're going to spend some time getting all those in afterwards. And look at the way things curl. So this because it's going down its curl in a little bit of that, so it's not an exactly straight line. And then here we've got this lovely rippling shape where we're seeing the underside of the leaf. And this is going to be made much more obvious afterwards when we come to put the color on, because that's got completely different colour to the top side of the leaf. And the vanes are coming round. We see in the backside of the veins and curling around that shape. And we've got another little bit that we're seeing the back of there. And it's quite an easy shape. It's usually a bit like a triangle, something where it's curled up and you see in the back shape. And again here, it's very, very broken into tiny little bits high enough. And that's gonna give you the feeling of it being quite delicate and papery. And then we're going up to another piece that's coming down. Okay, so I'll carry on doing this drawing, putting in that detail and how many veins you put in and how much detail you put in is entirely up to you. I think just the main ones actually on these two ones are really standing out to you. And the trouble is we've got some light shining through it from the holes and we don't want to draw them and made them like your veins. So that's another thing we're going to have to contend with and think about. And so that's going to come when we put the color on as well. So have a think about it. Take your time, sit comfortably. Really look at what you're doing. Really think about it. A measure things all the time, but as well as measuring lineup. Because if you know that this Tati power of the leaf here lines up with here, you know, you've done something right? And so things like that. And the tip here lines up with this etcetera. Keep looking, keep looking at where they line up, looking at the measurements, and keep thinking if something looks wrong to you and take your time with it and get all that detail in. 5. Painting the shadows: Once you're happy with your leaf join and you've arranged, depends on lines. I think a good place for us to start is by doing the shadows, because once we've done those, we can completely forget about them, leave them to dry, and then just work on the leaf. I'm gonna try and keep the shadows quite simple. And I've mixed up here, and I'll show you which to close. I've used. I've used this Sienna Brown and which is a burnt sienna and some blue into that. So the first mix of those two is quite watery, you'll see. And then the same two colors, much thicker with less water. Now this is a golden rule for paints in wet in wet is to paint your second your subsequent additions need to be thicker than the first ones. If you do it the other way round, you end up with a mess. So look very carefully at the way the shadows go. And don't forget that you've not just got one light source. You're going to have light sources from lamps, televisions, overhead lighting, light from the window, light that's reflected around the room for mirror, mirrors, et cetera, you're not going to have one source of light. So you're not just going to have one shadow and you can have shadows on top of shadows. So if you look very carefully, We've got a shadow here from the leaf. But then the shadow from the stem goes over the crop of crops that, so that's, the area is going to be darker. So do the very basic shapes of the shadow to begin with. And this is gonna make it look 3D. This is going to lift the thing off the table. So you've got this shadow coming out and yours are going to be entirely different because your light sources are going to be different to mine. The reason for using the Brown was I wanted to keep it quite warm. I don't want this to be a cold painting. So again, the shadow color choices are entirely up to you. Nice choices for shadows can be violet in a very pale violet or some light blues. Or maybe the colors that you find in the leaf with the opposites outage. So if you've got read a good shadow color for ready some red with a little bit of green added into it and plenty of water. And don't forget your shadow is took junior objects as well. You don't want to have a gap between your object and you shadow there. So your shapes, again are going to be very, very different to mine. So you need to observe. You can't just copy what I'm doing. You really need to observe what's in front view as you do this. And this is the good thing about painting from life. It really is good practice because it makes you look because painting and drawing is all about your eye. It's not about what you can do with your hands. It's about what you're doing with your eye. So still using the same Shadow Color, The first one. That's the thinner mix. And as you can see, I've got a nice point to this brush truck and get these shapes of the stem in here. And see how far away that shadow is from the stem. And that's gonna lift the whole thing off the table. And you can put some subsequent layers on. Like say, whether overlapping. And that's gonna make it more interesting. But don't overdo it. Try and keep it quite simple. Here it's a bit more complicated. We've got a shadow of this little bit here. Take your time. You'll have more time hopefully than I have. Don't forget when I'm doing the sun Russia in a demonstration ready to give you ideas and to give you tips. I'm not doing a finished painting in the same way that you are. You need to take your time. This could be a good couple of hours. Really study in this one object and it's a really good way to learn, particularly with the drawing skills. So this here is where its tone, a little bit of shadow inside and I'm going to leave that white of the paper there. So when we come to paint the leaf and we'll see it's very obvious that that's where the leaf is torn and not just where we've forgotten to paint in the leaf. The same OP, you'll see these a lot of little tears where the light's shining through from the back of the leaf there. Not as much shadow up here, the window is behind the leaf. You obviously can't say, and I'm looking at the leaf at slightly different angles. So you're looking at it on the photograph, I'm actually stand into paint. And again, if you prefer stand into paint, you might like to do that. It's I find it more comfortable. You can move around more. And you're painting tends to be a little bit freer and looser When you seeing are loosely, I'm holding the brush now. And you end up with quite a tight painting when you hold your brush tightly, just try and keep it quiet. Okay, so we're getting all the way around nowadays shadows. And these two are sort of joining up. If you've not got as good a point on your brushes I Have. You might want to use a smaller brush to get into some of those nooks and crannies. So now while still damp harmonic get this thicker makes that were talked about earlier and look at where the shadows are slightly darker and just pop a little bit extra in because the non uniform started to dry a little bit. I'm not going to worry too much about that. And if I look now there's actually a second shadow from that stem from another light. But I'm not gonna put that in because I think it's going to complicate things. So again, you can make choices about what you put in. You not much darker across the, at, at the moment is shuttles looking very sort of in your face. It won't do once you've got all those lovely cause in the leaf, it'll send, it'll go back. It won't be the main thing. So he got shadows on top of shadows. And I think and perhaps get into the stage with this where I don't want to overdo it and don't put much more shadow in that. I think I'm going to leave that. I think that's nice enough as it says. So look at this. No overly happy withdrawal and then do that. But that's how it actually looks. Funny little shape, but I'm not. It just looks a bit strange. So there we go. So I would leave all that to completely dry before we go on to the next power. And whilst believe in it, your dry, that's when we can make up our colors. So that's what we'll do now. Now, I'm not gonna do them exactly as they are on the leaf because it's a little bit more subdued in here who have not got the sunshine on it. I want to bring out those colors. So if we look at it close up, I've taken some photographs of it and I'll show you. And the colors are very different on the bat, so they are on the front, but on the front of this leaf, they're very rich mahogany color. And then you've got these lovely reds and oranges coming from underneath. And I wanted to exaggerate those colors and make it really seeing and make it really odd to me. So, you know, we're creating an artwork were not necessarily copying what's in front of us. We've been very careful and observational and measuring without drawing. So now the time is to enjoy ourselves and put some of those callers in and give us that really automate feel of those rich reds and oranges. So make those, whilst waiting for this to dry. 6. Painting the leaf part 1: When we come to paint the leaf itself, we mustn't forget that we've got all these bits are turned over around the edges here that are a different color to the rest of the leaf. So what I'm gonna do is do the main part of the leaf first and then come back and do the Aj's. So you're like, leaf might be completely different. You might not have any turned over edges. What I'm gonna do here, I've mixed up a very loose mix of yellow. I've got some more of the color that we used in the shadow, but without the blue in it starts like burnt sienna color. We've got a number with some red added to it to give us that lovely rich mahogany color. So we've got brown and red added together, some of the red on its own and moreover, an orangey red. And those are all a lot thicker than this one and have a bit of full. Now just using colors of your palette that you may be not used before you. Some nice bright reds if you've got a few different reds and reds that you haven't tried. Have a bit of a play with those. Because you can always do it another one afterwards. If you're not happy with the clergy can have another go. You can test your clothes on the side before you use them as well. So get some really lovely bright colors going in this. So to begin with, I'm going to use this yellow and I'm gonna put it all over the leaf apart from those bits. And they are taught about whether turned over. Again, I've got a nice point to brochure. We're gonna get into those corners there. Ccf left that little bit there. This bit here was where it was seen through where it was tones. We're gonna go around that as well. And around these Tom bits at the top here. I don't want this to be drying out too much as you'd apply in it because we are going to be put in the other colors into this. So don't go off and have a blue at this point. And this is something that you need to carry on and complete and keep this damp. If you're worried about it drain out too quickly. And this very much depends on your paper as well and on the amount of water that you've got in your mix, if you're worried about it drain out too quickly, then you can always wet the paper first with it. So you could do a first wash with just with water and that will help stop it dried out just as quickly. And that's one thing that you can't really teach. It. It just comes with time. Knowing how much water your paper absorbs, how much water your brush holds, and getting used to knowing how much water to apply. This time of year. It's quite a kill day-to-day. It's a beautiful day. The sun is shining, but it is considerably cooler in here, so things aren't drying out so quickly and it makes a little bit easier to work actually than in summer when we had hot weather. We've had some very, very hot weather this year where things were drying out. The studio itself here, it's a wooden building and it does tend to get very, very hot in summer. And very, very cold in winter actually as well. So, so all these things matter. All these things need to be taken into account how quickly the paint It's going to dry on your paper because like I say, I want it to be done. But at the same time, you don't want it to be sopping wet. You want it to start sinking into paper. You papers, you watercolour papers are designed for the paint to sink into them, to absorb into them, which shouldn't be sat on the top of the paper. So carefully remember and look back at your leaf to see where these ones are turned over and where you'd painting the back of the leaf compared to the forms of the leaf. So all that forms the leaf is now yellow. And if you look at my life, you might be thinking, Well, I can't see any yellow, but this is all going to be covered up and that's going to shine through the other colors. So now I'm going to get these lovely bright colors. I think if I move this along slightly, you'll see them better. That's better. And we're going to start with some of these oranges and just look where the colors are. And there's lots of blemishes on the leaves. So we can put those in later. And you can say that still damp. And we're gonna put in lots of color on top of each other and letting them all mix on the paper. So just really look at where the colors are and don't worry too much about the actual drawing process as long as you don't want to, those bits of paper that you've left white. And again, if you wanted to, you could rework, you pay per or you could spray it because it's a lot dryer here than it is here. And just look in my belief to see where I can see those orange colors and dropping the main. No, I'm not worried so much about having these hard edges because we've got lots of lines in this leaf and it sort of adds to that. But if you did want to just re-weight your paper, do it with a dump Roche, not with a wet brush. So I've got too much of that bright orange. It seems to be centered here. And again, like I said, yours will be very different from leaving the stem for now. We'll do that in a minute. The stems more or less all that nice, rich mahogany color. So come now to this red just on its own, which was a deeper red. And we need to go to the edges of the paper here with some of this. So in the edges of the drawing, careful gain, nice tip to approach to get in there. But just leaving the yellow to page through now and again, he's very nice as well. Just gives us a bit of a lie. Like I said, when I found this leaf this morning, it was hot Jew on it. So if you want not little shim around, it, leaves some of that yellow here and there to just peek through. So this is quite a subtle red. It's not there. It's not too in-your-face. It's more of a natural looking color than maybe a cadmium. This is more like an Alizarin. And if something's accidentally looking nice, something that you didn't intend. And they're just the coolers are flowing really nicely into each other in the given little bits of chinks of light and things. And you really like the effect, just leave it doesn't matter at this stage in that it's not exactly the same as the leaf you've got in front of you were doing an autumn leaf. We've got the draw now, like I said, a nice firm drawing. And now we can just enjoy making it all to me and making some lovely colour mixtures and combinations and see how those two reds, quite different ones are very orangey red, but see how the flow and into each other. In some areas you've got one on its own. And in all those you've got the two mixing. And in other areas you may be leaving the yellow to peek through. And that's just giving us so much variety in the colors. I'm doing these quite quickly. You'll have time to think a little bit more about it obviously without the paint drying out too much. But as we put more and more cause in, it's going to again, not be drying out quite quickly, goes by the stage. We've got quite a lot of water on the paper there. This Janelia set came with a lot of reds in, so it sort of ideal for this kind of all to me thing. I've made a mistake here. This line that I went over here was actually a break in the, in the leaf where it was tone. So I'm just gonna take that out and go around that that's where it was. Tone. Red is a difficult color to lift out, especially once it's dry. It kind of stains and the paper blues are quite easy to lift out. But read tends to be more of a dye. Egos are sinks right down into the paper and dies it. So it can be difficult. So if you do do anything like that, it's good to get it out while it's still relatively wet. So let's look at now where some darker areas are. And so it's quite dark up here. And just drop the coolers in and let them move around, let them do their own thing, tease them a little bit with the brush. 7. Painting the leaf part 2: And you can do a bit of drawing if you like as well. Just been looking at you, keep looking up, keep putting your Hadoop and looking at that leaf. And seen where some of those lines are. The directions that the going and the shadow's still forget you've got shuttles within your leaf as well as the shadows that we drew earlier, painted earlier other. So we've got a nice combination here because parts of it are drying out and parts of it are still very wet, would get in some of the colors moving in together and then others being much more defined here. And that's nice because it's a very papery objects. So you painting style very much depends on what you're doing and whether it suits the subject that you're, that you're doing. And that color is perfect for the same. So we're going to use that color all along the stem. Deal a little bit of drawing with it as well. Flip the end of your brush out and it's time to come together. Isn't it starting to look very or to me, I had got some of this Sienna, but I'm not putting too much of it in. Don't think it really needs it. And that would be a nice color for doing the underside of the leaf. So in, in a, in some areas I think we need to go darker still, so into this mix that they Brown and the red, I'm going to add some more pigment, but I'm not going to add any more water. So you've got uneven, stronger mix now, those two colors, I won't be going as dark as the actual leaf itself is because we want to keep us alive. Watercolor color effect. Here it's kind of bent over a little bit is the leaf. It's got a kink in it. And that's casting a shadow down that way. Not going to worry about every last little bit of shadow and drawing the tail. You can if you want much more detail into this. Now it's casting a shadow on itself there Kesey, where these are curled over the casting shadows. You want that dark color to be really sort of touch in them. And then when we put the clothes on those that's going to again bring them forward. Under here it's very dark because this part of the leaf is casting a shadow on what's below. It. Got a little bit peep in through here that I've missed. That's part of this. And again, yours is going to be different. So you want to look in for those shapes. And here in this very, very dark on that corner there. And different strands along stem. A bit more interest. Okay, now what I'm gonna do, I'm gonna just get some yellow straight from the pound on my brush. Very, very thick. And where it's a little bit more defined. A little bit of light coming in, you're going to just out those adapt on top. So this is one of those things where you could really overdo it if you're not careful, we could just go on too far. So I think at this stage might be best just to leave it. Knowing when to stop with the painting is very difficult. Someone's Rahm said If you think you're nearly finished, then you probably are finished. So I'm going to leave that to dry and then come back and do these ones where it's Curlin over and then perhaps put some of these marks on. Can you see we've got lots of marks on darker areas. This almost looks like a ladder, which I think that color is really nice for that dark brown with that red mixed in. So I'm going to let it dry and then we'll just finish it off with these edges. 8. Painting the leaf part 3: Now that strive for the color of the underside of the leaves where the curled over. I'm gonna use that CNO, which is quite a light color. And I'm actually going to add a little touch of the yellow into it because there's much more yellow on the back of the list and there is on the front. And also by making it a completely different color to both the shadow and the leaf, is going to be more obvious that that's where it's cold over. So this is a smaller brush I'm using now this is a size three. Again, it's a stable, warm. And the main difference with the approches is how much paint they carry. And if you don't have to keep reloading your brush, you paint, it's going to be a lot nicer. It's not gonna dry out as quickly. And things are that you're going to have more time to apply the pains if you brush isn't isn't needing reloading all the time. So you say I've done that, I could carry on and do. I tend to be in the habit of pushing more pay or mobile shadow out she needed. But if you look, it's a really small brush and I don't need to keep reloading it. Plenty of paint on there because of where the camera is and where I'm standing, et cetera. I'm reaching across a little bit here. You could kick ten new paper. In fact, I will turn it over to do to do this side. This was where there was a tear in the paper, but I do feel it needs some shadow in there. So it's important not to get rid of any leftover colors before you finish. Because you might think, Actually I just need a forgotten to do that are a need that we need a little bit of shadow in this stage, you need to make the decision about how much detail you're going to be putting in this and whether you want to leave it as simple as it is now, whether you want to put the extra detail in and you also need to have a bit of a sit back and think about whether you want to change anything, whether things need more data, whether you've done something wrong that you may be want to alter. So it's a good idea actually just to leave this now and go and have a brew and come back to it later on. One or two things I might do is get some more detail on the back here. So with that color that we made up earlier, that darker color. And again, using a small brush this time for one or two of these blemishes in. But don't overdo it though. If you put them all in, it's going to look, I don't know. Like it's got chickenpox or something. Just you're given a bit of an impression of what's going on. These spots and blemishes. You don't need to put every morning and every shaping. But it will just give a bit more character to it. And here you sort of want to put these lines in an IV negatively then got where the veins might be. Try not to make it to uniform, try and vary a bit. And not necessarily everywhere. And also on the leaf itself. You've got some marks here. You've got marks all over the leaf, but if you did them all over, it would be too much. Just give it an indication. We've also got this nice rich red color that we come, Come on top of and put some, put some extra lines and you can put some extra shadows in, but just don't overdo it. And again, as I said before, this is really up to you with the amount of detail you're going to be putting in. And have smallest dark colors right next to where those lighter areas are. Really gonna make that show up. We could go a lot darker in areas if you want to, to the leaf itself is very dark and very leathery looking in areas. But we want to keep that field of the wall to color. So I'm not gonna go much further with this. I think it's nice to just leave it as it says, wholesome not dot right next to where we've got those tears as well. And that's going to make that white show Mall. So there will come a stage where you think, I should stop fiddling now and leave it like this. I think about what's worked. I'm not entirely happy with this hair, so what I'm gonna do here, to me, it looks too dark on the shadow kind of fades out as it goes over there. And I'm not entirely convinced I've used the right color for the shuttle. I think you should have helped slightly more blue in it. So all I'm doing now is I've got a wet brush. And this paper is completely dry. And with this wet brush, I'm just gonna dump in the area little circular motions. And then with my tissue, I'm just gonna lift out a little bit of that color just to soften that shadow off on that corner where I felt it was a bit harsh. So you can also colours, raunchy paintings all dry if you've really didn't like cause you can alter them by putting watches over them, but I think that's something from nonetheless. And I think today we'll try and keep it simple and leave it as it is here. So by getting those shadows in the right place is you're gonna lift that leaf off the table. And by getting some shadows and mixture of colors in there, you're gonna get crinkly failing, all been leathery and old and torn. So just take your time and have some fun with that. 9. Extra projects: Once you completely happy with your leaf painting and you've enjoyed doing what you've done and you've learned something from it. It might be a good idea to go on and do a second project. Take a photograph of your work and upload that for result to see because it's literally seeing each other's work. But you might want to go on and do some more. So either choose a completely different leaf and there are so many leaves you can choose the moment, you might choose one that's got a lot more yellow in a tar or a lot more orange unit. Tried some different colors. Or you might like to try a different formative, a different shape, completely different leaf altogether. And with this one, what I would do is just turn it over and do a project doing the other side of the leaf. So if you hold this is a camera, hope it's going to focus on it. You can see that we've got much more yellow. We've got a lot more going on with the spots and the veins and the light color of the veins. So you might want to do that with some negative drawing by which I mean, leave the light for the veins and paint around with the darker colors. So completely different clothes from the front to the back. So that could be a second project. Just get another sheet of paper and do exactly the same again with the back of the leaf or pop outside and find some more leaves. Perhaps try and loosen up, do while much more quickly to a timed leaf, one that only takes you five minutes. Free up your drawing by popping your pencil away and just going for it with your pen. So lots of projects you can do there. And then of course you could put lots of leaves on one paper if you wanted to and have ever mix on the paper, you could even do the opposite side on the same piece of paper. So if you do get the time to do some more leaves, that would be great if you could upload those as well and tell us about how you found that process, a bill of literacy, your work. So have some fun with the close trial, all different colors. Try out things that you haven't used before, a bet you've all got palettes where you've got odd ones that aren't used as much as others. See how that one is completely fluxes. It's hardly ever used. Try taking some colors and having a go with ones that you don't normally use. 10. Conclusion: I'd like to conclude this scale shackles by saying, thank you very much for taking part. And I really look forward to look into So your work and I will give you some critique back. That's what you'd like. I try always to be objective and I tried to give you some positives, as well as perhaps doing it in the right direction. And again, if there's anything at all that you want to ask, please do. I'm always happy to answer your questions. So I think I'm relatively happy with the finished result with my leaf. And like I said, I do look forward to looking at yours nor justice and really nice bright yellows and goals and reds. And like I said earlier, use some colors that maybe you haven't used before, make that leaf really shine. And again, gone into those second, third projects have doing Somalis and doing the leaves on the reverse, those who have been low literacy also, because when you share you, we're not just sharing it with me, you sharing it with each other. And we learned some auction off each other. And at the moment with the way things are, we can't always get to a class and be physically taught. And it's, that's a shame because that's where we learn. We look at each other's work and give each other ideas and share ideas. So it's nice on here to upload you work. And then we can have that sense of that community, of looking at each of those things and discussing them, not just with me, but between yourselves. Okay. So thank you very much. I'll be back again soon with another skill shackles. For those of you that are new to my skill share calls is I do have quite a few up now so you can find them all off, put them all in one place on my own website. But of course you can find them all here on skill share by juice loci of my name. Okay, so enjoy your drawing and painting. Thank you very much. Above bye for now.