Celebrations & Festivities - A 5 Day's Class with Watercolors | Nilam Roy | Skillshare

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Celebrations & Festivities - A 5 Day's Class with Watercolors

teacher avatar Nilam Roy, Art Instructor

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

17 Lessons (2h 23m)
    • 1. Light up : Intro

      3:02
    • 2. List of Supplies

      4:02
    • 3. Techniques

      12:15
    • 4. Day 1: Color Palette

      1:45
    • 5. Day 1: Lamp of Happiness

      12:31
    • 6. Day 2: Color Palette

      2:28
    • 7. Day 2: Floating Lanterns in the Lake

      16:01
    • 8. Day 3: Color Palette

      1:51
    • 9. Day 3: Sparklers

      15:57
    • 10. Day 4: Color Palette

      1:50
    • 11. Day 4: Festive Sweets Part 1

      12:40
    • 12. Day 4: Festive Sweets Part 2

      13:57
    • 13. Day 5: Color Palette

      1:06
    • 14. Day 5: Firework in the city

      19:09
    • 15. Trick or Treat Part 1 : Bonus Lesson

      15:42
    • 16. Trick or Treat Part 2: Bonus Lesson

      5:50
    • 17. Thank You for Joining

      2:39
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About This Class

               " When darkness comes, let us not condemn the dark, but light a lamp to illuminate"

Hey Guys,

I am back again with another class filled with hope and positivity!! 

In this class of Celebrations and festivities we will be celebrating the festival of lights by painting 5 different illustrations each day. This is a postcard series, you could repurpose your paintings by sending it your loved ones in the form of postcards this festive season.

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Meet Your Teacher

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Nilam Roy

Art Instructor

Teacher

Hello Beautiful People, 

I am Nilam Roy, a watercolor and gouache artist based out of Bangalore India. I love travelling and find solace in painting beautiful nature landscapes. I am a thalosophile and a nephophile. Crazy right? 

I can't seem to get over my obssession to paint these beautiful skies and seas!! I explore these landscapes with different mediums such as watercolor, gouache and acrylics. Watercolors and gouache has been my go to or favourite mediums to explore.

I started my art journey on social media around the end of 2019, but was too scared to post due to lack of confidence. Believe me, when I say this confidence comes only through practice and practice makes a man perfect. And today here I am much more confident in my approach. This confide... See full profile

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Transcripts

1. Light up : Intro: When darkness comes, Let's not condemn the doc, but lighter lamp to illuminate, rightly said by ARB x again, that time of the year. Read we light, the US are lambs and celebrate the victory of light over darkness, be good over evil, and knowledge over ignorance. Now the valleys celebrated as festival of lights across many different fade and countries as just that each feed it mugs different historical events and stories. But nonetheless, the Festival of light represents the same symbolic meaning, which is victory of light over darkness. Hello, Hello guys, welcome back to my class. This is Milam Ryan, artist and an art educator based out of Bangalore, India. And welcome to my Skillshare class where we are celebrating the festival of lights. In this class, I will be taking you through each and every step of the process. And as usual, I'll be showing you all the techniques required to get started with the projects of this class. Now, each day we will be creating some different elements. So in the technique section, I have explained each and every technique that we will be using each day. I have not included a separate technique section at the beginning of each day because the technique section itself, I have included the overall techniques I have not complicated, subject to much the same. I have kept it very simple. These are the techniques that you have mostly used in watercolors, but I am showing you, are demonstrating some little tips and tricks that may be beneficial for you and helpful for you to achieve the correct texture or the effect that you're looking for. Because understanding is the key importance and years. So this little tips and tricks, we're surely help you achieve the desired results. Now, in this class we will be painting five different beautiful paintings. They're celebrating the festival of lights. So without any further ado, let's get started with dark class. And I hope to see you in the next lesson. 2. List of Supplies: Hey guys, welcome back to the class. And before we begin with the class projects, Let's quickly take a look at the supplies are the materials that we are going to be needing. So the first is people. So I'll be using this artist grade watercolor people. Now this is a 100 percent cotton and 300 GSM in thickness. The size of the paper is of that perfect postcard, say so this is seven into 4.9 image glued part of Hong. So which is almost equal to 18 into 2.5 centimeters and lengthen bread. So you could do that. So here is how the glue pads are often backed. So yo you should be removing the first sheet of people, which is usually a protective covering to protect their people from any external damage when it is being shaped or it has been transits. So yeah, is that people now here you can start painting. So this is how you should be using your glute bad. Okay, so the next material that we are going to be looking at, our brushes. So you can see your, we will be using mostly round brushes. And your I have one wash brush which is three by four inch from Princeton Neptune series. So this is a limitation. Wash brush and the other brushes are going to be our round burs is a sizable aid from silver black velvet series, size number 4 and number 6, again from Princeton Neptune series. So this is again not round brush and is of squid elimination. And this is the exam before again from silver black velvet brush and science Number 2, again from silver black velvet brush. So I'll be using this brush instead of a liner brush to meet my requirements of any finding dealing. So the next one is the colors. So you couldn't see I have some assorted colors from Daniel Smith, as well as from Magellan Mission Gold colors as well as the white names colored tubes. Now I prefer to select my shades from both of his brands, from Magellan mission as well as Rome bike named so far our class projects, we are going to use both of these colors, some selected shapes from Bordeaux brands. Okay, so the next is washi tapes or the masking tapes that we will be using to tape down on people. And then next will be some tissue papers to soak up your water. And the next will be our Ballard. So you could use any played or any lids of any containers to use them as your ballots. Feel free to use or you want to go far. And then we would be using some two jars of water. Apart from this, we are also going to be using scale or a ruler and a pencil and theories to help us with the basic outlines. So that's it for the list of supplies. So the materials that we are going to be needing for our class project. So grab any of the art supplies that you are having. And let's choose dive into our class projects. 4. Day 1: Color Palette: Hello guys, welcome back and welcome to the d, one of our five days exploration with watercolors celebrating the festival of lights. So let's quickly take a look at the colors that we are going to be using to create this beautiful illustration. Or for lamp with the background bouquet lights. Okay, for this class project, I have selected those shades, neutral shades as well as the war machines of our color wheel. So we are going from the extremes that is using the Payne's gray or instead of Payne's gray, you can use black. Now when you mix Payne's gray and burnt sienna, you would get a color tone which is similar to that of CPR. So I have use CPR, you're directly and now for the lamp area or the portion we are going to be using, the warmer tones of reds, yellows. So your I have used cadmium red light, yellow deep and cadmium yellow light. Okay, so for this yellow deep color, you can mix your primary reds and your primary, or the cadmium yellow light and get similar looking yellow deep. Now for the bouquet effect, we are going to mix little bit of whitewash. And if you do not have white gouache, you can go ahead and mix it with white watercolor. Basically, we need to turn these colors or pay for the book effects. So that's all for the color palette. So I hope you have got your colors ready by now. So let's quickly grab our supplies and startup project. 6. Day 2: Color Palette: Hey guys, hi, Welcome back to day 2. And let's quickly take a look at the colors that we are going to be using for our class project 2. So your, we will be painting this beautiful sunset landscape with some floating lanterns that would give you some festive waves. So come, let's quickly dive in to the colors that we are going to reusing. So the first would be the upper wrapping. So if you do not have opened up in, you could substitute it for any other car mine are being shared or neon pink colors that you have. And the next is the yellow deep. Now, when you combine these two colors, you would get something like peach pink color, which we would be using for our Skype. Now next is violet or purple, next is Quinn rose violet instead of windrows valid, you could use your car mine. And last but not least, is beans clear. And I think I missed out one more color. That is the cadmium yellow light colors. So we would be mixing this cadmium yellow light colors for your Langton's, the glowing lanterns. So to fill the center portion or the sente area, we would be absolutely meeting the yellow-colored to make it look blowing. So we would be using that color. And last but not the least, I would like to say if you want to switch the color palette, you could use pinks and purples because you are already creating some glowing lights rate. So if you use the shapes of reds and yellows for the sunset, it wouldn't look that appealing. So you have some darker or contrasting colors in the background so that your yellow lights look much prominent and that becomes the means subject or the focus of your painting. Okay, I hope this tip would be helpful for you to determine your colors when you are choosing your color palette. So 1, so now I hope you are clear. So let's get started with that painting. 8. Day 3: Color Palette: Hey guys, hi, welcome back to the class and we are already on d3. And this is what we are going to paint for this class. This is the sparklers, the perfect way to set in that mood. So let's quickly take a look at the colors that we are going to be needing for this pretty artwork. Okay, Let's get started with that. So the first color that we would be using is the sunset colors. Okay, this answer will be the backdrop for us and that will be in soft focus because the main element is going to be that of the sparkler. So the first color is of that sky, which is bright blue. You could use early and blue then cadmium red light. Instead of cadmium red light, you could go for orange, yellow, deep little bit of Payne's gray and purple for creating some publish gray clouds. And last but not the least, you could also use some gamboge as well. So apart from this, we are also going to be using our whitewash to depict the blowing center of the burning center of that, of the sparkler. So I'll be mixing this white gouache with little bit of cadmium yellow light to get that glowing yellow effect. And I'll be adding a little bit of cadmium red light also just at the periphery around the corners. Yeah. So that's it for the colors that we are going to be using for our class? So let's get started with the painting. 9. Day 3: Sparklers: Hello, hello. Welcome back to the main part of the three, that is, this process of painting, this beautiful artwork. So let's get done with the painting, okay? So the first thing that we're going to do is lay and even uniform coat of wash on papers. So I'll be going with just the sky area. Now, for the sky area, I'll be using almost three-fourths of the people as the sky and the remaining would be the reflection in the water. Okay. So your I have not gone ahead with pencil sketch. I'm directly doing it with a wet brush. So if you want to have light outlays, so feel free to do light outline on like around 340 of your paper, the horizon line. And then you can start with your wet. Don't read. Okay, So now as you can see, I'm going at with this guy. So without seeing, I'm using my bright blue shaved to do the sky. So instead of bright blue, you could offer civilian blue also. Now since my background is wet already, so the colors will start blending into one another. Okay? So if you use two water wind, this is what you are going to get the result, but make sure you do not use too watery paint. So I'm now going ahead with the bottom area of the sky, which is the sun glowing or the sun's setting of this guy. So here I'll be using the warmer tones of yellow deep and the cadmium red light. So observe my brush strokes that I'm doing out here. I'm going here completely wet on wet now as you can see, when the blue and the yellow mixes, it forms on the two kind of greenish kind of mix. So I am trying to lift out though that area using my damn brush. You have to do this step when your paper is still wet or else it will be hard for you to get down that paint. Ok. So now I'll be starting out with the reflection part. So your, I have already layered the people with the coat of water. So that's why the colors will blend into each other properly. So you'll have to emphasize on this, your paper being wet because you want a softer looking background rate because this we wanted out of focus and amine element will be the sparkler. So that is the reason we are going with some diluted paint. You could say I have not diluted too much, but just the optimum level of water in your so that the beam to flow smoothly on my wet background. Okay? So this is how you, we are going to mimic this guy in the water and wherever it forms, it mixes and forms that greenish kind of shade on the paper. We will try to lift out the colors from those areas. Okay? So as you can see, it will start to form a greenish dark black Mukesh kind of mix. So I'm going ahead and lifting the colors using the damp brush, as you can see here. So this is how we are going to complete it again, I'll be leaving it with some of that color over here. And don't worry about this part if it is getting murky because this will anyways, have clouds in it, right? So we will be painting clouds on the topmost part as well. So I'll have to be quick in here so the heart, my paper doesn't start getting dried. So thankfully the paper is still wet. So I'm able to get some cloud shapes in place over there and the colors are blending in smoothly. So I'm mimicking the exact same thing at the lake reflection also. So I'll be painting some more clouds at the top. So they're my people was getting dry it. So I went ahead with again a coat of water and my camera had stopped recording. Extremely sorry for that. But yes, I went with a fresh coat of water over there. And then I have started with painting the clouds again. So that's the only thing. But it's not that too complicated process, but I will suggest you to do this clouds part when your paper is still wet before you start on with your lake reflection. Okay. Just paint of the clouds over there and then start off with the air leaks. So I was little leaf doing that because by the time and funders the lake and came up to the sky, my paper had already drapes, so I have to go back again, re wet the paper. So in order to avoid that, you go directly financial oppose guy portion and then go ahead with the lake portion. Okay. Now I am your marketing this area of the horizon. So at the same time I'm creating that reflection also. So it would look land, the land area getting reflected in the water. Okay. So this entire background is on wet-on-wet because we want this to look very soft so that our main element, which is a sparkler, will stand out on this. So this is what we get after it up. Paper is dry. You can see the background is very light and soft. It is looking blurred out. Now, positioning my sparkler right at the center, I'm drawing this light pencil sketch just at the middle of the paper. So this is where I'm going to outlaid my sparkler with data of Payne's gray. Okay. So this is the white girls at we will be using at the center portion where the bonding part of the sparkler would be. So starting so for this, I'm using my size two round brush from silver black velvet because this has a very sharp pointy tip. So use any brush with the sharp pointed tip and you need to have some steady hands out here because we are going to do the straight line of this butler. So if you're not confident with the brush, go ahead and use an owl claim using micro pen, micron pen or any fine liner pen, which you have guard and outline this area. And then later on, you can fill in some of the parts with your, you know, liner brush or a brush size number two. So just observe my steps, follow my brush movements. Your I'm doing the topmost part. A little bit of goes over there. So to give more of a realistic feel. And Tier 2 words though, and also am trying to create more thicker lens out here so that it looks uniform and the entire thing falls in a straight line. Okay, So this is how you will have to proceed on with this sparkler. It's very, very simple and easy. It's nothing much complicated out here. So once you have done this and you're this layer has dried out, you can start out with the center area. Okay. So I'll be just going ahead and fixing a little bit of the topmost part also, I want to make that look pointy. So I'm just going ahead with the tip of my brush and making those ADS. Okay, now it's time to start on with the center part of this sparkler. So for that I'm dabbing my brush nicely because I had used Payne's gray rate and Payne's gray is a very stubborn colored. It doesn't want to leave your brush once you have done. So, I'm going ahead and mixing some of that gamboge yellow too, because I'll be needing that. I'll be mixing that with gouache. So I'm just mixing the color on my palette itself. And then I'll be picking up that of white gouache brush. And I'll start on with the center. Now start on with this enter by just applying, you know, loading your damn brush with that of the white quash and start creating this kind of so-called kind of shape round you're in the middle. So not exactly so Colbert along those same outline of the art of these popular create this shape so that it feels that it is burning and it is burning heart for that to create that illusion of burning heart around the edges of the white gouache red we had just mart, we will be links are yellow and then on top of yellow, we are going ahead with the red light AD and red light to mark the outer fringes of those areas with red so that it looks that, you know, it is still burning and it does read hard, so hard to depict that kind of field. We will be creating this with different warmer colors, you know, so that is how you should bring a painting, the realistic sins and to your painting your nerves. So it is very important. Once you have a reference picture handy with you or you have something in your mind. First to go through your reference picture. Are you not jot down on a piece of paper or just the planned it out in your head. That this is how you are going to progress. This is how these are the colors that you are going to be using. So the entire process falls very smooth and it is easier for you to execute the painting in a much Hazel freeway, you know, so that is why planning is very important. Now it's time. Add these little details of the sparklers that the sparks coming out from that burning area. So for that is the same drill. I have mixed my white gouache with that of those yellow deep, and I'll be going ahead with varying tones of yellows, lighter and lighter shade of the guage and little bit of LDL shapes also because basically opaque rate. So in order for this thing to work, go ahead with the whitish tones of gosh, so that in-between these darker areas, those things stand out and wherever there are some light areas, white will not stand out as much as the other golden yellow or the yellow deep color. So in that case, mix those colors with that of your white quash and try adding the sharp, sharp strokes with your brush. So these are all vertical strokes, slanted stroke. So according to the direction you know, those popular if you would have observed, that is buckles in all the directions, right? So just along the same area or the diameter, just go on adding this block-like things with the tip of your brush. So for this, it is very essential that you use a brush which has a sharp pointed tip. If you do not want to do this with the brush, you could also use a Jelly Roll pen or different color. You know, you have Jelly Roll pens or various colors. So you could use this white as well as yellow color, yellow and orange colors with Jelly Roll pen and do similar kinds of strokes because when you use a pen and it is a sharp pointed if it is, some people find it more comfortable with that of append rather than a brush. I am comfortable both ways, but I feel with the brush strokes may stroke so much more thinner. So who I am going ahead with my brush. Okay, so this is one way of doing it. So you could also go ahead with Jelly Roll pen. That's totally up to you. And this is how we are going to complete the sparkling add little bit of star like shapes, random and random places. And that's all we will be creating, keeping on creating this sparks until we're satisfied. So I have shot this at an angle so that you have a petal visibility on what I'm doing and how I am exactly creating the strokes. So I hope you find this angle helpful and understanding how to go about it. So you're basically the Volcker's just with diol of playing around with your gouache. And those warmer colors of cadmium yellow light and little bit of yellow deep as well as little bit of red. Okay. So but mostly tried to stick on with the yellow light mixed with white gouache brush and use different concentrations of wars like AG, sometimes more of gosh and less of the paint pigment so that your colors stands out. So this is how you are going to mix and match the color tones. And you are going to create this areas. Now some of the areas we, I'm creating, those sparky edges are there just how we used to make stars, remember in childhood. So just make like that just with the tip of your brush. And that's it. That's pretty much it about this painting. So this is how we are going to add on more and more sparks so that it looks really realistic and pleasing to our eyes as well. So giving the entire painting different altogether look. So once you are done with adding sparkles, let it dry. And once the painting is completely dry, it's time to take off those masking dibs around the edges and so hold the head, the clean borders are exposed and I love doing this. It's so satisfying to peel off the masking tape and to see that you haven't got those perfect clean edges. Raid, oh my god, am twos loving it. Okay. I hope you have also loved painting this along with me. So see you again next class. 10. Day 4: Color Palette: Hello, Hello guys. Welcome back to the four. And today we are going to paint something different. So here is a food illustration of Indian Sweet known as multi-tool. Do. So let's get started with all the colors that we would be requiring to create this food illustration. So let's dive in to the colors. We would be going with Payne's gray, Prussian blue, carmine red, yellow deep or cadmium yellow. And then yellow deep red light, then burnt sienna, burnt umber. And last but not the least, we would be requiring some of that gold shimmer. So that is a handmade watercolor gold shimmer that I had. Now instead of that, you could also go ahead and use this signal, you know, gold glitter pens that you have. So if you do not have any gold, handmade watercolors, substitute it for any gold acrylic color or like this kind of goal Jelly Roll pen or any pen which has little bit of shimmery Golden it. So you could go ahead and create this just the edges of the red collect lot or the dupatta that we would be making to add some details. That's it. So get your colors ready and I will meet you at the next lesson where we even be diving into and starting to paint. 11. Day 4: Festive Sweets Part 1: Welcome to Day 4, and we are going to be in the food illustration of traditional Indian Sweet known as more teacher-led do. Because in Indian culture, festivities without swedes not considered festivities at all. So let's get started with the painting. Before I start on with my painting, I have taped down my paper on all four sides using masking tape. And now with the help of a pencil and a new round so color object, urine, I'm using the masking tape itself to pin that circular radius. Okay. I've just sketched out an outline of a so-called using the masking tape. And now, following though, COVID, I'm going to draw out loud or a dupatta. This is going to be like an add-on or just like an ornamental add-on to this piece so that the illustrations looks quite decorative. Okay, so that's why I'm adding this piece of data instead of the die. You could also choose to add any other objects. Like you could add a piece of garland, of floral garland or some loose florals scattered around the plate. So it's totally up to you, you know, however you want to create this illustration, Feel free your ideas and you can take forward with that. Okay, So after that, now on the plate, so that is the bleed that I have drawn as a circle. So on the blade I'm going to outline the small circles which are going to reduce. Okay, so I'll fill this entire area with the circles going around the shape of the plate and there will be some overlapping. So it goes so that it looks that it's all staff dove into a pile. Okay, so according to that, I'm going to create this so it goes and fill up the plate. Next we are going to add some clay lamps. So clay lamps and India is also known as the, as you know, many, many of you wouldn't be already aware and those who weren't aware. So these are tiny, tiny or there are quite large ones as well. These are made up of clay or mud. So we like them during this festival of lights known as the Valley in India. So we liked them and decorate homes and surrounding areas with this beautiful tiny clay lamps. Now I'm starting on with the debugger. So for the button, this red piece of cloth, I'll be going with wet-on-wet. Okay. So for the way down, read, you know, the drill already. You have to wet your paper and then lead, lay over the wet paper, your wet paint. Ok, so I'm going to very carefully do this wet on wet technique for the beta1. You can see I'm only preventing the people only around the inside of the structure that we had made, the outline we had made great. So that's why I have chosen my number 6 round brush layer. The water just around the shape offered so that the other areas do not get red and the color bleeds through. Okay. So as you can see how beautifully the colors bleeding through rate I loved this carmine red colors are beautiful color this is so I'm just going around the shape that we had drawn. And I'm just going to fill this up with the same common dread. Now, we will be adding little bit of shadows and creating some of that curves on the falls into this clock. So for that we will be doing a little later. First, we will layer this out completely with Carmen red. Now, you can lighten some areas as well as you're going to go with full concentration, are certain areas just to show that, you know, some parts are folded or creased and the others are just the transparent pieces laying around. So that's the entire idea of it. So I have come up with this idea. Now. I'm going to add some shadows just underneath the plate right blade and read that the parties layered. So I'm adding little bit of beans. Great. So go with a very diluted was paint of queens gray and if you feel that your color is too concentrated, don't worry. Go ahead, dip your brush in water and come back and try to lift up some of the colors from that. Okay? So if you feel that you have gone with the darker shades, so. First you get it. When you are loading the brush with the paint, go test it out on a bit, and then let the paint where do you want to add on those shadows so that you do not deliver to 12 of the colors or your paintings not too, too dark for the area. Okay. So your I'll be adding few creases here and there. So for that I'm adding this diluted version of Payne's gray. Now, remember when I say diluted, I mean, as a diluted version, it will be a little watery, would try to soak up the extra water using by dabbing of Russian or tissue paper are letting your brush that to the distributive law so that it soaks up the extra water in your brush so that you can go ahead and create this leg structures on this glug. Okay, so I'll be adding few more details here and there. So just keep observing the steps that I'm following your so that it is easier for you to get started then you are painting. Now, if you are painting this simultaneously, I would suggest you do you know what? The entire area are divided into certain portions like I'm doing this thing. So watch this entire portion and then start out with your painting. In that way, wherever you will be feeling stuck, you can come back and again, see the steps that I am doing here. Okay? So I love this tip would be helpful for you. So that's the way around it, you know, so it also helps you do create or build your muscle memory. Because sometimes looking at the techniques that I'm using, you might have some other ideas that is popping. If you're in intermediate artist and you have had quite an experience dealing with watercolors. So this process would really help you to build your muscle memory and also to experiment and try out new methods and techniques. So that said, I'll add some more fuel, increases urine they're filling out, smoothen out the edges so that it doesn't look too sharp for the crease. Okay, so I wanted to look very dainty and soft. So that's what I'm doing. I'm softening the edges by using my damn brush. And that's wrong. That's all we're going to do about this. Okay, so now I will be adding the shadows around the site also. So for that, I'm trying to learn the people with little bit of damp brush which has little water in it so that we can work on wet-on-wet so that the edges are soft and the shadows look very soft. Okay, So that is the reason we are going to go with wet on wet. Now, if you feel that your color is too strong for this area, what do you do? Grab another brush, damp brush and gently tried to, you know, diffuse color and do those surrounding background because any ways that background we are going to go with the darker color, which is the Prussian blue. So this will get covered up, you know, and the shadows will be much more prominent when we lead the other areas with the Prussian blue. So now it's time to start on with the plate of lactose. So we will be starting out with the law. Do so for that, I'm grabbing my yellow deep color. So I am using my pencil because I'm feeling too lazy to squeeze out the colors from my tubes. The pans are already there, so I'm directly going ahead and using the pens. So I'm just layering though. So cuz filling the circles with this cadmium yellow light and cadmium yellow deep mixture one by one, I'll fill this occurs and when the overlapping circles are you, when you are doing this overlapping, so good. So you would see there would be some white gaps and spaces left. So don't worry about those pieces. Leave them as such because when we are starting with the background of the plate, we are going to go fill those areas, that particular color. So for the background of the blade, we will be going with Payne's gray. Now instead of Payne's gray, if you have any other darker looking blue, indigo, or some lunar blue from, if you own that aluminum blue from Daniel Smith, that is quite granulating, you know, and so you would get perfect results from far displayed. I have not use lunar blue here in this project because I felt that many of you may not have that color. So I just taught to stick with the Payne's gray. Okay, so for now I'm still working on the ludus. So you can see once I've filled out those Ledoux's, now to create some more texture, the globule like texture on the law dues. I'm going ahead with the darker tone, that is the red light and with just the tip of my round brush size number 2, I'm going and just dabbing the tip of my brush onto that wet area of the law adduce. And I am creating this textures which will look the exact same look of the Multi-tool like dues. So I'll keep doing this until we have the plate full of lead CRO. So I'll keep on adding this. Filling the background with a solid color and then adding in the textures by just dabbing darker tone on this areas. Okay, so that's how we are going to have a blip full of ludus. I will meet you at the next lesson where we will be carrying forward this painting. 13. Day 5: Color Palette: Hello my lovely people. Welcome back to the last and the final day of our class. I can't believe that the days have gone by so soon. And VR already on D5. So today we are going to be in this beautiful firewall illustration with the help of watercolors. So let's quickly take a look at the colors that we are going to be needing for painting this. So for this guy is we would be needing some Prussian blue, then some indigo or Payne's gray and little bit of pink, cadmium yellow light pole, pole and some red light color. And last but not the least, we would be using some metallic gold shimmering pain to give that shimmering effect to R5. So that's it for the colors that we are going to require. So let's get started. 16. Trick or Treat Part 2: Bonus Lesson: So let's continue painting up pumpkin. So you're for the big O1, I am now outlining with yellow. So what you can do as an alternative is that when you pin this yellow, let it dry out and then you can go over that in some of that center areas with white. So in that way, your pumpkin look much more prominent. And the eyes and the facial features that we have drawn for the pumpkin. We'll also look really cute and much more pronounced. So here now I am trying to get those some more details and links, especially the grid lines for the pumpkins. So I'm going ahead with the little bit of burnt sienna mixed with a little bit of red brown in debt. And with the reddish pointed tip of my brush, I went over those lines. Now we are going to layover the Payne's gray along the sides that I had mentioned earlier. Now, you feel your paper has dried out like here. In my case, my paper has really drained out fast. So what I will do is I will go and mix little bit of water in it. Like not too watery. Just dab your brush in that water and then come back and start blending the colors into the background. And in that way, your colors will be smoothened out. Okay, so this is a trick whenever you feel that certain areas that you are working on has dried out, what you can do is you can go of it. Soft brush, go over the particular areas, the surrounding areas because your colors need to bleed through those areas and make it look soft rate and make it look blended. So what you can do is you can layer though watery portions lay over the water along those surrounding areas where you are painting. And you can go back and start dropping in the colors. It will bleed beautifully. Now coming to the UK part, I hope you all have now mustered the technique of books. So here I am again creating various, so cuz of different shapes and sizes, not exactly shapes. We are all painting this so-called leg structures only. So you could tell that various sizes, some small, some medium-size, and some larger ones not too large. So because based on the portion that you are doing, the mapping, the planning of your painting is really very important. That is why before you are starting out with the painting, because you need to analyze and structure it in the form of grid and then start out your painting and that way you will get your proportions right, right. So maybe in my next new class, I will come up with this grading technique, how you can, especially when you are going for architectural stuffs, are painting certain architectural areas or beat for any landscaping thing. You want to have a reference and you want to exactly copy the positioning of those particular objects are elements in that reference picture into your painting. You can do that with the help of greeting layout. So maybe in my next class, I will come up with this breathing technique and for the more details, which will help you to understand how exactly you can create exactly same replicas from your references. Okay, So that is how I'm going to continue with my bookcase. And once I'm satisfied with the background book, I will stop it. And then I will go on and add some more details on to our foreground where the bumpkins are. I'll add, I think a little bit more of grasses. Remember the sap green color that I had mentioned earlier in the color palette? I'll be using those sap green and create shot, shot, shot shot grasses in them. Now, with the help of a black micron pen, I am just going ahead and outlining some dark edges of the stock of the pumpkin. Okay, so for enough of bouquets and other trick is that you can create this smallest ones bouquets with the help of Jelly Roll pen as well. So here is one more trick that you can do if you're not comfortable doing getting your round-trip effect with the brush, you can go ahead and use your Jelly Roll pen and create this Muslim circles and clear bouquet for it. So finally, it's time to peel off our masking tape. So as usual, LP lead out at an angle and only when my paper has dried up totally. So I'll do this and yeah, that's so on. So I hope you have enjoyed this bonus lesson and wishing you guys are very happy Halloween and a very happy Diwali. Also, stay tuned for my next class. For the next class, L come up with something really, really, very interesting and pretty I'm already working on it. Can't wait to share them with you. So until then, bye. 17. Thank You for Joining: Thank you to each and every one of you who have joined with me and being to the long days, five days, and celebrated the festival of lights with me, I hope you have had fun painting this five beautiful illustrations depicting light and positivity. Across this five days, we learned five different illustrations depicting those celebrations of light. So I hope now you are much more confident in your approach about how to go about this illustrations with watercolors. You're, I'm attaching some more reference pictures for you to try. Only if you give an attempt to try. Different subjects are different compositions which are similar to ones that we have been did in this class. You would be able to assess how much you have learned so far from this class. I hope you do give a try and please do post. If you have tried out any of these references, I would love to see them in the projects gallery. You have enjoyed this class. I hope you do leave a review for me because this would help my class to reach more audiences and it would help my class. So please post a review if you have really enjoyed painting along with me. And if you are posting this on social media like Instagram, please do tag me. My Instagram handle can be seen on the screen. So use my Instagram handle or use the hashtag paint with Niels artsy cove. And I would be happy to reshape them back on my stories. I hope you have a lovely time. And those who are celebrating Diwali, wishing you a very happy and save the valley. So until my next class, daycares, stay safe and wishing know gays again. A very happy Diwali, Bye.