Creating Depth Through Color Value + Contrast: Paint A Watercolor Succulent | Aima Kessy | Skillshare

Creating Depth Through Color Value + Contrast: Paint A Watercolor Succulent staff pick badge

Aima Kessy, Watercolors & Illustration

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10 Lessons (47m)
    • 1. Introduction

    • 2. Class Materials

    • 3. Using Reference + Transferring Drawing

    • 4. Value + Colors

    • 5. Watercolor Techniques

    • 6. First Wash

    • 7. Second Wash

    • 8. More Color Deepening + Adding Details

    • 9. Class Project

    • 10. Final Thoughts

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About This Class


In this class, you will learn how to create more depth and dimension in your paintings through understanding how color values work and the layering process in watercolors. Join me as I paint a watercolour succulent and demonstrate how I combine and apply the techniques that can help bring your paintings to life!

What you can expect from this class:

  • Understanding color value and how to apply it in our paintings
  • Learn how to use reference
  • Explore and learn how to combine the wet-on-wet and wet-on-dry techniques
  • Understanding the layering process in watercolours
  • Succulent painting demonstration—break down of process
  • Painting inspiration!

At the end of the class, you will be more confident in executing certain techniques and understanding how you can create more depth and dimension in your paintings.

Have fun learning and happy painting!


1. Introduction: Hi, guys. My name is in my kissy and I am a localized. What comes to my second steal share class in the last class focused on letting some basic one common techniques and applying those two simple factory forms. In this class, we will be taking it up a notch, where you learn how to create law objects and paintings to the use of color, values and contrast, essentially bringing our paintings to life. I chose a succulent for this class to demonstrate how I combine and apply these techniques to build those layers of Collins. I love their beautiful form, and I think they're a great subject as their simple yet challenging enough offers to practise the skills that will set in the improve on your watercolors. As we explore the layering processing palace, you'll become more confident in your own painting process by knowing what techniques to use and went to. I really there's no one waits great off. Some techniques and approaches may work for some and less so for others, but in combining the things that do work for you, you extend on your own creative process to create something that feels more you so hardly by exploring these processes to give up the gain some insights that can help you in your own painting process and creative journey. 2. Class Materials: all right, So before we get started, we're going to need some materials. First off some watercolor paper, I will be using my fabulous artistic, a cold pressed paper in 300 GSM. Wait for the basic techniques demonstration. I will be using the Kempson Heritage Cold Press paper. Also, entry 100 GSM thesis paper is slightly cheaper than the fabric on a block, but still pretty good. So I like to use it more for practice washes and lightweight painting. We will also be needing some water color paint. I will be using my Windsor and Newton chief watercolors, which have squeezed into these aluminium Travel Palace. If you've joined me in the last class, you'll know that I like to squeeze my pigments at the top part of this sloping well. This means I get a more watery mix of pigment at the bottom of the well where the water collects, and I can just grab straight from the pigment with my dem brush. If I wanted a more concentrated mix for this class, I'll be using this porcelain tray for mixing my colors. It's actually a serving platter, which I found at a kitchenware store. I love mixing watercolors on porcelain because they tend not to beat on the surface, and they looked just as vibrant as they would on paper. Also, this one fits nicely on my table, so that's a bonus. I usually have little bowls or plates lying around in case I mean the extra mixing space. But for this class, we won't be mixing too many colors, so use whatever you're comfortable using. Next. Will also need some brushes I'll be using some round Russia's in a size 532 and zero. As long as you have a good medium sized brush and a small brush for details, you're good to go. These are just some of the brushes I've been enjoying using a lot, just as in the the Rafael Brushes here are a little bigger than the average size, so the size five here is equivalent to a size six of other runs of brushes. These are optional, but I also use a flat brush as my mixing brush. Just cause it's a lot firmer than my round brushes. I can grab a lot more pigment with it and not worry about being too rough with the brush. I sometimes use this chisel burst too soft edges and retrieve highlights. I'll also show you how I fix a small painting. Mistake with it later in class will also need some water. I usually have to mixing jars, one for cool colors and one for warm colors. This is to avoid muddy dark water when complementary colors mix. Other materials you need is a HB pencil and eraser and some paper towel or tissues. These two items are optional, but I like to use a cotton rags, sometimes to death my brush on and use a squeeze bottle to activate and dilute pigment. You can just use paper towel as well instead of a cotton right. Lest of all, if you're going to trace your succulent drawing, using the reference image for line during I've provided, you will need a tracing paper a clip just to keep the paper for moving when tracing. Or you can also just use some good old masking tape and lastly, a Sharpie pen. Remember, you don't have to have the exact brand. I'm using Justus long as you're using good quality supplies, then you're good to guard 3. Using Reference + Transferring Drawing: for this class, I'll be using a photo reference of a succulent I have in my garden. I've provided this reference image and in line, drawing off the succulent in the your project section off the class. You can follow along and paint with me to my demonstration, but I do encourage you to also try and take some of your own photos for reference. If you have some succulents around the house, so why use reference? Firstly, it helps us understand our subject better, especially when we were working on something that we're not familiar with. It gives us information about the characteristics of a subject such as details, textures, colors, lines and so on. It's also helpful in the study of anatomy and poses, and especially for cases where realistic accuracy is needed. Then a reference might not only be handy, but essential. I think that as we get more familiar with our subjects and build upon that knowledge to observation and practice, we are essentially developing our mental visual library and muscle memory. Who will be able to better recall or draw upon a collection of raw data to help us in our drawings and creative process ulcer reference photos can be handy for times when our subjects are not readily available to us, So how can we use reference? The first method is together elements from several different sources and then combining those things to create something new and more of your own. It does take a lot of skill and practice, but it's certainly one of the better and more effective ways of using reference, especially in the practice of developing our own style. Other methods in using reference is tracing and copying. Now these two words alone can cause quite a debate in the art community. But personally, I think it's more of how we approach these methods that will help or hinder us in our practice. That's where being reflective of our learning process and practicing deliberately forms a crucial part of improving our skills. I've recently started to trace out the form of flowers and plants for the sole purpose of practising certain watercolor techniques in color studies, which is what we will also be doing in this class. Well, I'm not too focused on the drawing side of things. I'm still carefully observing the form of subject as I trace. I use either my own photos or free stock images online for these practices. It's more of the intention of learning you're getting out of the method and as long as they're not violating any copyright laws, so where can we find references? The best is to use live references or take your own photos when using images online driving those images that are under the Creative Commons license but also take note on the terms of use for each image. Under this license, free stock images are also a good place to find reference and perhaps images in the public domain. Remember, if you intend to sell your work or use it for commercial purposes, then you need to be aware of the copyrights, purchase the appropriate licenses or obtain consent and permission where needed. This includes non commercial works that are used for practice purposes. Okay, now that we've gotten that out of the way, let's get started on our succulent drawing. So the focus of this practice is in learning how to apply the watercolor techniques to create the depth and form over a subject. Hence why I will be tracing out the basic shape off the succulent I will start by using tracing paper to trace over my reference photo using HB pencil. I'm tracing from the middle part of two succulent just so I can observe how the leaves are overlapping each other. Now I'm going to go ahead and add some extra leaves in. Once I'm happy with the drawing. I outlined it with a Sharpie pen so that it will be more visible behind a thick watercolor paper. Since I don't have a light box, I simply take the line drawing and watercolor paper upto a window and start tracing the outline lightly with my pencil. 4. Value + Colors: What is a value describes the different shades of gray between black and white, and it's expressed in the gray scale, such as this one. In color theory, value refers to the lightness or darkness over a color. Since watercolor is a transparent medium, we usually lights in the value of a color by diluting it bit more water instead of adding white. So why is value important? First of all, it helps us define form and create spacial illusion. Since light and dark are on the opposite ends of each other, they create contrast, which helps to visually separate objects and create the illusion of space in a painting. If your values are too close to each other, then there is less contrast and can result in a less than impactful composition. The gradual change in value, on the other hand, also suggests mass and contour off objects surface. In this example, the gradation of blue values suggest the curve off the shape and indicates that it has mass . This is due to the way life is hitting the object. Now there are a few elements to light and shadows, and it can be quite a technical subject, which I won't get into here. But essentially, the combination of light and shadows is what creates that range of values, which then creates the illusion of form and just like the ranges of value within the color , we can use color value in our painting to convey the light source and how it is illuminating are subject. All right, so now that we know more about values, we will be prepping our colors and creating a color value chart that will help us in our painting. For the succulent I will be painting today. I have chosen to use thes colors. Aqua green crew, neck return, violet Terra Verde Clinic redone red and pain scree. Feel free to play around with different colors. All right, well, starts watching the values for a quick cream. We're going to start with the darkest color, so I'll be grabbing lots of pigment on my brush with less water, I slowly created puddle of the pigment, which I will gradually add more water to as I light in the color. If I feel I added too much water, I simply add more pigment and vice versa. If I have too much moisture on my brush. I just dub it a little on my clad in rags or paper towel. You can create us many levels of value, as you wish. As long as you have a nice range of dark to medium and medium to like values. I'm going to label the pigment names just for future reference. All right, I'm gonna continue creating the rest of the value charts. I decided to swatch some peril in green along with the pain scree, just to see how they would fit into my color scheme. Then I played around it, mixing my two main colors just to see what other Hughes I can get from them. Now I'm going to create some darker tones of the ECU a green by mixing it with its complementary color rent. I play around with adding more red or aqua green to the mix. I noticed that the shade with more aqua green created a similar huge the pain screen, so I will use it for the Dhaka pots of the leaves. I will use Payne's gray when I need a more thicker concentration of the color, especially when using a smaller brush. So that's it for our value chart. We can then use this as a guide to ensure we have a good range of values by placing it side by side with our painting. Now remember, we don't have to paint every level of value to show a seamless transition of light to dark . You can break it down to 3 to 4 levels to represent a light, medium and dark range that can certainly give a good amount of contrasts for visual depth. Creating a color value chart would also be a good practice in helping you to better gauge your water to color ratio when painting. You can certainly play around with this more, so have fun experimenting your colors. 5. Watercolor Techniques: in this lesson, I will be going through the watercolor techniques that we will be using throughout the class, which are wet on wet and wet on dry understanding. These basics will not only help you in creating your very own water call succulent, but you can most certainly applied empty or other paintings as well. What are color, as the name suggests, uses water for the pigments to flor through and create all sorts of magic on paper. It's certainly has a mind of its own, and that's the beauty of understanding and mastering. The basic techniques can help you work together with the medium to create certain effects and help You better express their creativity. All right, so let's start with wet on wet. When working wet on wet, we first apply a wash of water to the paper before we add in our pigments. This is great for when you want smoothed leads of color soft, diffuse edges and when you want the pigments to make seamlessly on your paper. Throughout my painting demonstration, I will drop in my second color while the wash is still wet and blended a little with the tip of my brush just like what I'm doing here. Now I'm going to blend three colors on this pedal here while the washes still work, I will charge in with more pigment on my brush to increase the color on the lower part of the pedal. Here, I'm going to paint over the dried layer of paint to build the color of the pedal around the sites. Again, I've read the entire shape with water before dropping in my pigments. Notice how the pigment flows through the moisture and create nice soft edges. Depending on how the paper is drying, sometimes you might need to feather out the edges to help the Pinkman blend a little more. Now we're going to do some lifting to reveal the highlights on our pedal. I repeat the same process of color blending through wet on wet. But this time I will leave some paper white in the areas where the highlights will sit. Then I clean and dad my brush on my cotton rag before going in and lifting up more pigment in the highlight area. Since my brushes less moisture than the wash, it acts as a mop and sops up the paint. And since I've lifted paint onto my brush. I need to clean and dab it out again before lifting more pigment. As I'm lifting, I'm essentially sculpting the shape of the highlight and softening the edges around it as I sweep my brush through. Depending on how damp your washes and how much pigment is on the wash, you might have to lift a couple of times. All right, now that this pedal is dry, we're going to deepen the colors and create a more gradual range of values. I rewrite the glaze as I did before, and dropped the colors in where wanted. Then I add a darker shade of color here, while the wash is still damp so that the colors will blend softly with the rest of the wash . Now let's add a bit of texture to this pedal. I went to the area of the shape and let it settle a bit into the paper before dropping in little spots of pigment with the tip of my brush. Note that there is more pigment and less moisture in my brush, and the wash is not as wet. Otherwise, the pigment will just disperse into the moisture. The colors on this pedal have started to settle, but there is still moisture on the paper, so it is at this stage where we can create interesting textures. I have a slightly damp, a brush, and I'm using the tip to dab in some moisture that pushes the pigment out to create tiny water blooms. I repeat this several times until I get a mottled effect on my pedal. Let's go back and build the colors on this pedal. I'm going to work on this corner, so I only went an area larger than where I want the paint to floor. I feather the edges out nicely before working on another part of the pedal. I'm working separately because I want to be able to have more control over the washes, and the gap between the two colors allows me to do, sir. Now I'm wetting the entire side of this pedal and dropping the pigment in the same area as I did in the first wash. I continue lifting and soft, turning out the edges until the pigment has settled a bit more. All right, let's move on to some wet on dry. Working wet on dry is when we apply paint straight onto paper or a already dried layer of paint. Glazing is a technique executed to overlaying colors wet on dry in layers. We can achieve a few results through this technique. The first is building up color layer by layer to gradually bring out the form of our subject. This layer has now dried, so I'm going to use the same strength of color and overlay another wash without adding more pigment. The layer itself is building up the colors, so now I'm starting to get separation in color values. I'll let that dry before applying. Another layer glazing can also bring down the intensity of a wash by overlaying it with its complementary color. So here I'm applying some green to this red square and dis saturating the color a little. You can also change the hue of wash completely by glazing it with another color, for example, to primary colors to get a nice glaze of secondary color. Working wet on dry also gives us more control over our brushstrokes, especially when creating details or when we need to paint clean hard inches. Now we can either leave an edge, heart or so often it out quickly with a clean, damp brush, just like what I'm doing here. Another technique in wet on dry to create textures or deep in the color of an area is true dry brushing. I won't be using this in my demonstration, but it's a fun technique to play around with, and you can certainly apply to your succulent painting if you sort truce. So first I clean and dubbed most of the moisture out of my brush and then flats in it to get the bristle splayed out in tiny sections. I then grab some pigment and test it out on a scrap piece of paper before sweeping it gently across the area. I want to darken or add texture to repeat this a few times until you're happy with it. But let the paint settle a little in between a few strokes. All right, we're going to finish up our cue with the last two layers to give it more dimension before we wrap up this lesson 6. First Wash: all right. So before we get started on the first wash, I'm just going to look back at my reference and see if there's anything I want to add or Alta looking closely at the image. There are fine little hairs around each leave that gives it that sort of white border. I've decided to add those extra lines to the leaves, but will paint it as a clean edge instead of fine hairs. I draw lightly with my HB pencil and draw just a few lines as a guide to remind me how I intend to paint it later. Next, I'm just going to reactivate my pigments and grab a fresh mix of aqua green. All right, we're going to start with the first leaf, just like in the previous lesson. I'm going to mostly be working wet on wet, so I'll start by wetting the entire leaf with water. I make sure to cover the entire area and get right up to the edge of the shape. Once I've painted over the entire shape, I check my water glaze and make sure I haven't even sheen off water. I did my brush in a paper towel so that it is dumping up to mop up any puddles of water or excess moisture that I can see on the paper. Looking at the reference photo, I keep in mind where it can see light hitting the leaf. I drop in my pigment just short of the edge and let it bleacher the moisture on its own. I continue dropping and sweeping in color where I wanted to go and leave some of that paper white for the highlight. No, at the second color and do the same thing. Then I used to clean don't brush and gently feather the pigment out with the tip of my brush just to help it blend a little. I clean my brush again and dab it dry before lifting out some off that pigment. I tried to sculpt the shape of the highlight that I can see in the reference for ITER. Keep in mind, you might have to lift. A couple of times I clean my brush and dab it on the cotton wreck every time I go back and lift. Since there isn't too much pigment on this wash, I can sometimes get away with just dubbing out the excess moisture and going back to lift one more time without cleaning my brush. What I want to be careful of is that I'm not brushing back pigment that I've just lifted while the washer still damn! I'm going to use the tip of my clean, damp brush to tidy up the edges off the shape. I'm essentially just pulling the pigment that's already on the paper to the edge of the shape and making sure that those edges are neat and tidy. As the wash starts to settle, I noticed some of the pigment start to creep into the highlight, so I lifted out a few more times. Sometimes you just need to keep an eye, especially when there's still quite a bit of moisture on the paper. All right, on to the next leaf, I'll be repeating the same process I did with the first leave, keeping in mind parts of the leaf that I want to leave lighter. Sometimes it helps to tell your paper at an angle to check if you haven't even sheen of water. After grabbing some pigment on my brush, I sometimes dab it gently on a paper towel to get rid of any excess moisture before dropping it into my water glaze. I usually do this when I feel that the water glaze is quite wet and I don't want to be adding more moisture, especially since my pigment is already quite diluted. I'm soft turning out this edge here where I'm leaving a bit of that highlight using a clean , damp brush. Then I'll clean my brush again and start lifting more off that pigment. I decided to add a bit of a highlight to the left side of the leave, so I'm just going to lift it out. I notice a bit of a hard edge forming as I'm lifting, because the top part of the paper has started to dry up it. So I try and feather the pigment gently. With the tip of my brush, I decided to add a little bit of pig moon with a slightly damp brush. Be careful when doing this, though, because if the washes dried too much, then adding an amount of moisture might create a bloom and displaced the pigments on our wash. Unless you're trying to create some sort of texture, it's sometimes best to leave the wash to completely dry before trying to fix it. Otherwise we could end up with a big A mess. All right, I'm going to continue painting the rest of the leaves by repeating the wet on wet and lifting process. I often refer back to the references I'm painting to help me with details like lighting inform as they reassess it. I decide how I'm going to paint the rest of the leaves so I'll continue painting the middle leaves as such. And for the outermost leaves, I want the colors to get gradually lighter towards the base. As for the center, part of the succulent and for the smaller leaves are we use a mix of terror vote and aqua green. It will appear to have a gradual change in color from the centre outwards. I'm dropping the pigment in and leaving a bit of a gap between the edges. While the paper is still damp, I will go in with a clean, damp brush too soft in it and pull it out towards the edge of the shape. I do this sometimes for the sites of the leaves to give me a very slight highlight, suggestive of a curve in the form so here. I'm softening the edges and pulling the pigment out. With my clean, damp brush, I decided to create a more distinct highlight, but lifting out more pigment. All right, we'll continue painting the rest of the leaves as planned. - Before lifting out smaller areas like this one. I pull and rolled a brush into a point while I'm dubbing off the excess moisture. I'm starting to work on the outside leaves. Now. I've read the entire shape here. No, I'm going to use a clean, damp brush which are flattened out a little and pushed the pigment upwards cause I want the base of the leave to be lighter. I'm turning the paper around to get into a comfortable angle so that I can do more lifting upwards. I'm going to paint the rest of the outer leaves the same way. Except here. I'm dropping the pigment short of the base and then feathering it downwards using the tip of my clean, damp brush. You can work either way to create the same results. All right, I'm going to continue painting the rest of the outside leaves. I noticed that I painted the violet a little outside the edge so I tried fixing it by mopping out the area with a tissue and reading back the pigment. This still didn't work too well, however. So after feathering the edges and lifting up the highlighted part of the leaf, I decided to leave it. Be for now and come back to it later. All right, now we're going to work on the tiny leaves in the center, part of the succulent. I'm using my extra short Rafael round brush in size to for this area. I paint the leaves wet on dry in terror vitae for this leaf. I'm going to leave a white border on the sides, so I will paint my water glaze accordingly. I'll be doing the same for the rest of the Leafs. Keeping in mind parts of where I want to keep a white border, I'm blending some eco green here with the terror of er T. I'm using just a wash of aqua green for the slightly bigger leaves. I'm sifting out edges here and blending in a little bit of Terra verde to the top part of the leaf. All right, that's it. Once everything's dry will be ready for the second layer 7. Second Wash: all right. Now that we've got our base wash, we're ready to start adding our second layer of color. Always make sure everything is completely dry before adding another layer of color. This is so we don't disturb or dislodge the pigment that have yet to settle on the paper. Now, looking back at our Color Valley chart, our second layer should be somewhere in the mid range of values. We don't have to paint every level of value, but having a light, medium and dark range will certainly give us a good amount of contrast for visual depth. Also, start using some of these trades. I'm creating a fresh mix of that darker shade of aqua green by mixing it with some red, which is it's complimentary color. All right, let's start with the first leaf. This time, when I apply my water glaze, I leave a bit of a gap on the sides because I want to paint in some hard edges and create a bit of a border around the leaf, just like what we did with the smaller leaves in the center, Just like in the first wash, I'm leaving a bit off that paper white to retain the lighter part of the leaf. Then, with a clean, damp brush, I start to do some lifting. I have a bit more pigment in my brush. This time I used a tip of my brush to carefully go around the edges off the lower part of the leaf. I drop in my second color while the war, she's still wit. While the layer is still wet, I use my clean dampers to gently feather out the edges and help the pigments blend a little . I'm using gentle pulling and sweeping motions with the tip of my brush. Then I sculpt in the highlights to lifting and soft on the edge. On the right side of the leaf, I quickly tidy up on edge. I missed out while the paper is still damp again, I've applied a wash of water to where I want the pigment to floor. I'm dubbing out some moisture and grabbing a bit more pigment on my brush. Then I drop it in where I want it. You'll notice I'm able to paint a hard edge closer to the tip of the leaf because this part of the paper is dry. I have what the area just below where want the hard edge so that the rest of the pig men will still blend smoothly. I'm using a slightly more concentrated mix of aqua green and adding it in while the paper is still wet. I'll continue lifting and feathering out edges as I go. I'm essentially painting and lifting, as I did on the first layer, except with a bit more pigment and a few mid tone details. I decided to add a bit more violet here while the paper is still damp. All right, I'm going to continue painting the next few leaves in the same wet on wet process of color , blending, deepening and lifting also so often and tidy the edges as I go. Remember, I'm also combining wet on dry when I paint a clean, hard edge and pulled a pigment towards the glaze of water I would apply beforehand. This layer was coming along just fine until a part of the wash was starting to dry, and as I was applying a more darker pigment, I was starting to get hard edges on the top middle pot. I tried to feather this out with the damp brush, but there was still quite a bit of moisture in the brush, so it was instead creating a water bloom and pushing out the pigment. I tried dropping in a bit of color and feathering it out slightly before I stopped to make it any worse. Well, let it dry for now and save it in the next layer. I decided to just focus on the aqua green. Part of the leave here will deepen developed you in the next layer. - The layer is still damp here, and I'm sweeping a light line of aqua green with my damp brush. Then I quickly grab a more concentrated mix of the green and create another line detail over the leaf because the layer is at a nice level of dampness and I'm coming in with more pigment and less water in my brush, I get this nice diffused line that's not spreading too much. All right, I'm going to repeat the same process for the rest of the leaves. We're going to start defining the dark areas of the center Now. We'll start by using a slightly watered down makes of the shadow color accidentally painted over this tiny leaf here, so I waited for the layer to dry before using my slightly damp chisel brush to retrieve the corner of that shape. A. Scrub the area gently and then dab it off with a tissue, repeating this a few times until the pigment is removed. Now I'm going to continue painting the rest of the leaves. I start by applying a meter on layer of aqua green before dropping in. More pigment increased the color value. - I start adding a more pigmented mix of terra verde to the center leaves and blending in some aqua green. I also paint another layer of terra verde straight onto paper for the tiny leaves in the center, keeping in mind to leave a bit of highlighted edges. 8. More Color Deepening + Adding Details: all right, we're going to continue increasing the color values on parts of the leaves and adding in the shutters. Let's start darkening up the shadows within the leaves. In the center, the pigment is thick but has enough moisture for it to flow around smoothly. I paint a shadow in wet on dry for this leaf and then soft in the edges with a clean, damp brush. As some off the pigment pulls into the damp area, I try to fade it out and soft in any hard edges, and then I add more pigment and increased the shape. Here. I'm dampening the area a little before applying the shadow, so I get slightly diffused edges. I don't want it to be runny, so there's more pigment and less water in my brush. I initially wanted to only work on the top part of the leaf, so I only went half the shape. But I decided to also dark in the shadow area that I can see on the leaf in my reference. Further, I'm using a more pigmented makes of the shadow color Here. - I'm working on darkening the violets separately on some leaves because I don't really need it to blend on the same layer with the other colors at this stage. If I do, then I will wet the entire leaf and work on it as a whole. Otherwise, I'll work on the area separately to get a bit of that knife glazing effect, where the different layers of color overlap for this top part of belief that I darkened earlier. It's not dry, so I'm going to apply another glaze of water to the entire shape. This is because I'm going to apply some color close to the violet area, and I want soft, diffuse edges for where the colors meat. So this is that leave that needed a bit of fixing. I'll start by adding a meeting warship to shadow color into my water glaze, leaving a small area where I can see the underwater shine through. Then I quickly Adam or darker pigment to the base area and tease it out into the leaf. I clean and dad my brush and use gentle strokes to help blend the pigment with the rest of the colors while it is still damp. I think it looks a lot better now. Okay, I'm going to keep darkening parts of the leaves and adding in more shadows. And I'm increasing the mid tones here and working wet on wet to get that soft bleed of color. I wet the area where I want the color too soft in out and then start increasing and painting in the shutters, creating a nice, gradual transition of dark to light. I start adding another layer of color to deepen the shutters. Now I'm adding some shadow outlines just to show a bit of separation between the leaves. I dampened the area slightly before I paint in a fine line and softer, not the edges where I need to. I think I overdid this part a little, but that's okay if you're not quite sure about which parts to darken. This is where your reference can come in handy, all right, I think I'm happy with how this succulent it's looking, so I'm going to stop here. But I'll show you an alternative of how I glazed the outer leaves to bring down the level of intensity a little. I've worked the bottom part of the leaf here, using a light wash of the shutter color I paint. That's all part of the leaf and leave a little border around the sites. Then I pull the pigment into the wet glaze so that the edges blend out softly. Feel free to experiment with different elements and combine information from several references to add to your own artistic touch. 9. Class Project: All right. So for your class project, you can choose to use the reference image that I provided in class Resource section. Or you can choose to paint your own succulent base on your over fence images. Now it's entirely up to you. If you want to trace up the shape or you wanna George three, we're looking to practice in your drawing skills as well. Now you don't have to paint a completed succulent painting before you upload your project. You can start by creating a practice street of techniques we learned earlier and maybe practice on your value scales as well. Think of your project as a gradual study progression, so share your progress in the project section, and you can keep adding to it as build yourself up to the final. Remember, you can created in any style you want, and you don't always have to use old techniques in one painting. Play around with different colors and values or paint different species of succulents. Whatever you choose to do, remember that this is a learning process, so experiment and half of discovering what works and what doesn't 10. Final Thoughts: thank you so much for Germany in this class I have that you were able to find something useful that you could incorporate. It's your own practice. You have any questions at all about the techniques materials, or you have any suggestions about future classes? Please feel free to drop me a line in the class discussion biller. Or comes you having me on instagram of my handle dating rubble. Also, don't forget to upload your class projects, and if you want to share your work on Instagram Place, will use the hashtag right here. Oh, and don't forget to check out your classmates works as well and are glaring. Process does take a bit of time, and it can be quite frustrating sometimes, especially when we get to that point, you know, takes where it feels like it's not looking like anything at all, or you feel like you don't know what you're doing. Trust me. I've been there many tons, so in most moments, allow yourself to take a break for breaks. Go for a walk, have a cup of tea, pet your dog for Joel three and then come back to your painting with fresh. It's easy to get caught up in all the technicalities of creating on, and it most certainly is important to understand and master the basics. But I will say this again. There's not one way to create. A long time ago, we started buddies in just our hands to paint before we even use tools like sticks. And before someone even had the brilliant idea of touching hairs to the ends of their state . So I just sort of trying to stay is explorer experiment, play and find what works best for you and, most importantly, gets 1/2. Thank you again. I hope to see you guys next time. Bye.