Learn Negative Layering with Step by step Instructions | Femvisionary | Skillshare

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Learn Negative Layering with Step by step Instructions

teacher avatar Femvisionary, Watercolor Artist and Instructor

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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

13 Lessons (1h 28m)
    • 1. Introduction to the Class

    • 2. Materials

    • 3. What is Negative Painting

    • 4. Watercolor control

    • 5. Practice Exercises

    • 6. Prepping the Paper

    • 7. Project 1 - Planning the First Layer

    • 8. Project 1 - Adding the Second Layer

    • 9. Project 1 - Depth through the final Layer

    • 10. Project 2 - Creating a Base layer

    • 11. Project 2 - Adding a second layer

    • 12. Project 2 - Final touches

    • 13. Final Tips and Tricks

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About This Class

Eye-catching and vibrant, Negative painting is such a new and beautiful watercolor technique. There are infinite possibilities while using this technique and you can put your own spin to it. In this class, you will be learning how to create my favorite technique with step by step instructions.

At the end of the class, post your final project to the project gallery so I can see your amazing work! If you post on Instagram, make sure to tag me @femvisionary and I'll mention you in my stories!:D:D
Let's get to painting and unveil the mystery behind the negative painting.

*Pls note, if you find the class to fast, you can easily reduce the speed in the speed options

Meet Your Teacher

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Watercolor Artist and Instructor


Hi there! I am Madhumika Sankar and I go by the name Femvisionary on Instagram. I am originally from India and have lived my entire life in the Middle East. I am an avid traveler and really enjoy dreaming up new places.


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1. Introduction to the Class: Hi everyone, Welcome to negative painting with watercolors. This is my favorite course. It's my favorite topic as well. I truly got into watercolors and the first thing I started with is negative painting. I loved every single piece that I created, and that's why I'm so excited to teach that technique to you as well as the class goes in such way that we start off with what is negative watercolors. We go into the middle, you will speak or into the practice exercises. So usually get a, a feel of what the technique is. And then we go into two lovely projects. As you guys can see, the projects are absolutely stunning and they are really intriguing. If you've never heard of negative watercolors, this is the class to dive into because we just go so in depth, this is a basic class and it is perfect for anyone who's even just starting with watercolors, who's just getting into the medium. Because I usually break down the content into fairly easy and very simple bits of information. Let's dive right in. The other thing that I wanted to also mention is that this is an updated version of the previous class. The first time that I launched, the audio was a problem. There was a lot of issues with a video because it was my first time creating a class. So Pfam Then I have updated it. So if you do see some of the projects looking different, it's probably because of that and also it's updated content. So over the years, obviously I've added more techniques into my toolkit. I've added more information into my toolkit, and that is what I'm sharing with you guys in this class. Happy painting. Let's get started. 2. Materials: Now let's talk about the materials you would need for this class. Let's start with the people. We are using, watercolor, 300 GSM people. And this is a cold press paper. We will be using to square sizes of ten by ten centimeters for our projects and for the practice, you can go ahead and take an A5 or an A4 sheet just to kind of have more space to practice. The next item we would need is a watercolor brush. Here I'm using a round brush. This is a size six. You can also use a size four. And this is a brand called Phoenix. It's not a very popular brand or is it not a very artists grid brush either. It is just something that I had at home. If you're looking for brands that are really high-quality, I would suggest going for Princeton. You can go for, I liked Kraft are more brushes a lot so you can go for that. Winsor Newton brushes are really great as well. They do really hold their shape. But the basic thing is we want a brush that has a very pointed tip so we can really get into those details. The next thing we would need is our pins cure. I have a half band set that it's ready with me. The two colors that we're gonna be using, our indigo, blue and forest green. Forest green is also known as haunt us green and different brands. The brand that I'm using is Winsor Newton. If you are looking for other brands, you can look at Mission, my Jell-O, which is really great as well. We have Daniel Smith. I loved the indigo, It's a beautiful color. The next thing we would need is a pencil and an eraser. I like to use a small eraser because we usually need to get into those small details. Finally, we will need masking tape. This is to tape down the edges as well as a metallic pen. Here I have couple of options. One is Karin brush markers, as well as brushstroke, which is an acrostic markers. So you can use either for our finishing touches. Another tool that anyone using watercolors will really appreciate our hairdryers. You can also use a blow dryer. There are also just craft drivers as well. Mine is a Phillip. It's just something that I had at home that I use for my hair. I didn't bite specifically for this. But it improves the process of drying, so it makes the process a lot more faster. So I can go ahead and start painting and kind of skip through the drying time. You can use a craft dry or the only thing is craft eyes are generally much more hot like they're much more focused in a specific spot. So just keep that in mind when you're using a craft dryer. So try to keep your dry out a little bit further away from the paper when you're using it with watercolors. These are the main materials that we would need for our class. Keep them had, had before we get started. 3. What is Negative Painting: Let's start with what is negative painting. Negative painting is the process of painting around your actual object. In this case, we have leaves. Instead of painting inside the leaves, which is what you would normally do. Standard method, you're painting around it. This gives a very interesting effect because you're seeing the negative space. And so the whitespace of your paper becomes the object. And over it you can see around that so much that you can do with negative painting. You both in the layers. You can see that depth in the painting, which is not totally obvious when you go into when you're trying to do the actual object. One thing I love with negative painting is that you can kind of create something new, something dramatic, something interesting that no one has ever seen before. Generally with negative painting. What at least what I'm gonna do is through watercolors. You can try the same technique with other mediums. You can try it with gouache, you can try that with oils, acrylics. It's the same exact effect. I ever go into more of what this process looks like. As you can see. It's just so interesting. I want you to understand because it's a little bit of a tone to what you would normally do. It's a shift from what you're used to. These two that I have right here. The green and the blue are our final projects, which I absolutely love. You can experiment as much as possible and you can see some of my samples that I've shared through really pretty, you can do negative painting with so much and I think it opens a whole new technique available. The process, as you can see, is incase, I was doing a leaf, in this case. Really draw these both subject matter instead of painting inside, I paint around it. So at the end of it I just see the whitespace of where the leaf was supposed to be. As we move on, you can give maybe even seen images before from other artists or online. And you can try it with different subjects. So if you see even in the projects gallery, there are some students who have tried fishes. They've tried other things instead of leaves. There's just so much that you can do. You can do how? You can actually pick any subject matter and try to paint around it and create something new. In all cases, we're just doing leaves because it's a lot more easier to explain. And once you know the technique, it's limitless. And I've seen beautiful, beautiful artist coming up with amazing paintings that always shocked me. And then I figured out that the whole technique was negative painting is just done. So interesting. Is just on, in such an interesting read. Sorry. Just makes it look really fun. In this class, in this workshop, as I explained in the introduction, we're just going into the basics. This is the beginner level, so it's very simple. It's the easiest base level one. So when all going into anything complicated, there's no jewel Kaunas, there's no different subjects, just something as simple as what you guys have already seen are painted before. Even if you've never touched watercolors. This is a class that you can experiment with and still have fun with. 4. Watercolor control: Our first practice, I wouldn't really call it practice to be honest, it's more of just really understanding. Is understanding water control. First, take your damp brush. Make sure that your paint as well as activated, which means it has water on it. So that means the paint is moving. Take your brush and then start painting mini squares. This step really helps you understand how your colors work. And if you're really new to watercolors, it's going to really help you understand negative painting as well as we layer in the colors. What I've done here is I've taken a little bit of the blue. I've taken an indigo blue, and then I've added water. Once I add water, I'm creating a very dilute, very light mix of blue. This is what I'm going to paint. It is a very, very translucent layer. You can see it's almost transparent. It is really watery. Now, if you take a little bit more blue and add it to the mix, you can see the color becomes slightly tipo. Adding more blue. You will see it becoming more deeper, more saturated. Now let's add even more indigo. And you will see it becoming even more saturated. You notice the colors becoming very thick. It's almost opaque at this point compared to what it was before. This. I would say this property of watercolors is what we are going to use in our negative painting. For the final shade, I've taken indigo directly from the pan. And you can see it's a very, very thick layer. You can, you can't even see the paper anymore because it's such a saturated layer. This is such a beautiful color. Now let's try this with another color. I have taken hunger, hunters green. I'm basically, I added a lot of water. You can see a very light shade of green, very translucent. Adding more green for a deeper shade. Then adding even more green for an even deeper shade. These are two colors we're using for our project. Whatever color you're planning to use for your painting. Just go through this process so you know how it's gonna look in your final. You will notice in this case with the green, There's not much of a difference between the third fourth sheets. It really looks very similar. And that's why I'm just going to go in and try to add in a little bit more green so I can see the variation. But what you can see is also that this is the darkest shade of green. Now when I take my brush and dip it directly into the green pan, you can see that there's not much difference between the fourth, fifth shade. Unlike the indigo, there will much more variation of shades, whereas with the green there's really not that much, so it's just slightly lesser. In case you pick a yellow, for example, you might just have two variations, or light yellow and then an opaque. So this really contributes to your final painting, which is why it's important to do this step before we continue. 5. Practice Exercises: Let's start with our practice now this is the actual practice. And we're going to start off with leaves. As you can see, I am going into drawing one stem off leaves. The reason I felt like this is super important and I think it's very important to not skip. The step is, I've noticed that your entire final painting is really affected by the type of leaves you choose. So having the right shaped leaves can conform a really nice final project. You're sure it's gonna work out when you have a good drawing or good base to start off with. Don't worry about the pencil marks. What happens with watercolors as you can erase it out later on. Just try to keep your marks very light. Here you can see I created a V-shape for each off the leaves on the right and left side. Now, for our negative painting effect, negative painting is basically the technique as a hit explained before of painting around our drawing. Here you can see what I'm doing is I'm gently painting around our leaf. Now a couple of things to note is that I first start with outlining the edge of the leaf. I do that with the tip of my brush. I'm using the pointed tip so that I can truly get a very nice thin line. Then I press down my brush to fill in the spaces. As you can see. Now again, to keep in mind to make the process better, I always try to make sure that I start off with the edge. What this also does is ensure that the edge of the leaf is a deeper color. Because when I blend, the colors tend to become like a tad bit lighter. If you can just do this really nice, crisp edge, it's going to look really nice. It's just going to come out very interesting and it's going to be very clear. The other thing, if you can see, as I go into painting out the stem, I leave a thin line for, or a thin space for the stem. This is so important because otherwise it looks like your leaves are just kind of in the air. We do want to make sure that there is a stem. Now in this case, it's still the white of the paper, so it's okay if you don't have a stem and you can kind of go in with a white pen to fix it. But in some cases it may not be the case because you have a base layer or a base paint. Try to make sure that you have this small space for the stem. It is so important because it truly makes the final painting look very, very nice. This is a process like it is a slow process. Negative painting is not something that you would do in 15 minutes or ten minutes. It is something that takes time. And I kind of seed as a very meditative process because you keep adding and keep adding and you can kind of go back and come back to it another day. And you just you kind of build in the layers. And then finally, when you look at it, you're just so amazed by how beautiful and logs. So don't try to rush the process. Take your time with it, just go slowly and try to bring all those details, making sure that the stem is present, making sure that you have a really nice, crisp leaf edge. This is our first practice. It is a very simple leaf that we've chosen here. The next one we're gonna do a slightly different leaf shape because I want you to think about different types of Thieves. And it's also a we're going to use for our final project. For our second practice, let's start with a branch leaf. What I'm doing is with a pencil. I am doing a nice curved stem. Now let's draw out our leaf. You can try any shape of a leaf. It can be rounded, it can be rectangle. Have fun with it. Now doing another stem. But you can see here how I've done curved folks with them. You notice you have this curved reshapes that are coming along creating a branched. Look. Now in each of this, I can add another leaf. This creates a very interesting effect. It does get a little bit complex as we go into painting them because there's so much happening. But it just has a beautiful look. So it is truly helpful to kind of practice these type of leaves as well. Let's start with painting our leaf. I'm choosing a bright red color for this. And exactly how you've done, which is taking our round brush. I'm starting off with the pointed tip and just painting out in between the leafs. Notice how I'm doing this. It is a little bit different from Wahhabi practice before. You can see how I leave a little space between the stem. Because if I can do that on the other side as I can make sure that I have a really nice thin stem between the leaves. So odd leaves, an artist dangling in the air. And this does take a little bit of practice of even being comfortable with your brush. You can really get that really thin line going. You can see how I just glide my brush down when I'm trying to fill up the space so it's faster, but always keeping it at the tip. When I'm doing the outline, I am right-handed or left-handed. Feel free to move the paper based on what you prefer. I think with watercolors or with any medium, to be honest, when people are starting, my students have had this weird. I see them holding their paper and they just don't want to move it because they're very scared of moving it. So they're trying to paint all directions from the same angle. And that is tricky. Like sometimes you can't really paint a certain type of angle holding your brush with a paper in the same direction. So it's okay to move around your paper. Obviously, I'm trying to teach you guys, so I'm gonna keep my paper stiff and I've become very comfortable with that over the years of teaching. But if you're just starting out, don't worry, move around your she'd get comfortable. You can draw detail and it upside down to get through each of the leaves. And that's okay. That's completely fine. But just don't hold onto your paper going water that you shouldn't move it at all. Let go of that. And luckily, in this case, we haven't taped down up papers. You can actually move it around. And slowly, step-by-step. I'm going through each leaf and branch. While doing this, you can notice I'm not using too much of water in the process. I'm keeping the water pretty standard. But as we go into our painting, you will understand how to change that around. But for now we'll just keep it very simple and just try to get your basic color in and understand how the negative painting works. I like cow with negative painting, what tends to happen is you see the final whitespace off the objects that just gets, it's so interesting. Complete your practice. Then we can move on to our third practice exercise. This is our final project. Here what we're gonna do is try to live in the leaves. So I want to explain how that works to you. Let's start with a really nice big leaf. You can see how I'm doing this. It's just a very simple one wave, really long leaf stem. And now let's paint it. I'm starting off with a light sheet of color, which means that I'm mixing more water with the paint to get a very translucent color. And that's what I'm going to use to paint the first layer of leaf. In case you feel like there's too much water on your brush, just dab out the excess on a tissue. You don't kind of like add splotches of paint. But the process of what we're doing right now is exactly the same. You're just gently adding in the color in a very, very light shade around the leaf that you just drew. Make sure that you continue using a light shade of the color throughout and you can see how I'm on the sheet, which means what I did is actually mixed out a small spool or small amount of it on my palette and I'm using it directly that way. I'm not having a mixed match of colors happening. You know how we did in our water control. I just took aside the paint and the water and made a mixture offered. This really helps you control the color that you're using. You don't want to suddenly start it was and then suddenly you have like a dark shade coming in or it's going to mess up your painting. So just try to create a small patch or small amount of the mixture on your palate. Now let's allow this to dry. And generally at this point, you can start with your second layer of leaves. Here. You can see I'm doing the same V-shaped leaves, but they're much more smaller. And you can see how I'm doing them right next to each other. This variation is also very interesting when we get into painting. For this layer, I'm using a deeper color, which means that I have mixed more of the purpose with the water to give a deeper shade for us to use. The trick here is to paint around both the leaves in this step. It's not just the first one you are trying to do both of them. And it can be a little bit tricky because you're trying to keep it in mind. Which is why I said that the pencil is really, really important. If you are just going to, if you're just going to try to wing it on your own, you're gonna end up making mistakes. Even when I don't use pencil, sometimes I make a mistake because sometimes there's so much happening on the painting, I lose track. So if you can take the easy way of using a benzyl, go ahead. Also. You can see how it gets a little bit tricky to kind of plan it out. So I have had questions where students were like, Oh, why can't I just label up the numbers and then just do it that way. The thing is you're still going to make mistakes. It's the best way to do it is to kind of do one layer at a time and build up the color. One of the really cool things is in the process has you to the second column. You're adding the second layer on top of the first allele, which makes it look more natural than having just adding purple acid is. You will understand that as we go into our projects more. But don't worry, as you can see, just continue painting around both the leaves. I take my time to not miss any areas, so I go about it. You can see I did an anticlockwise direction. I don't know why I do anticlockwise clockwise. I could do clockwise, I think because I use the right hand, I prefer doing anticlockwise. So always do the right side and then I move all the way to the top and then the left side. Now that we've completed our practice exercises, you're ready for our projects. 6. Prepping the Paper: Let's start with prepping our paper. Here. I've taken a square piece of ten by ten centimeters. It's a fairly small piece and it's great for us to practice because as you get more comfortable, you can go into larger sizes. Because the idea is to get the thick meek first. The next thing is to tape down your paper. This is going to ensure that you don't have water or paint seeping through the through to the edges of the paper. Also with the amount of water that we're gonna use. The paper might a typical basically bend a little bit. So if it is held in place, you're gonna have a much more flatter sheet as it dries. And that way you don't have a bent paper at the end of it. When I'm taping it down, I just like to leave maybe half-inch taped. If you want to do a bigger size, you can definitely make it a one-inch or even larger. I like to have a very nice thin, crisp edge That's just half-inch. So just you can just see the edge of the paper. When I tape it down, I make sure to really press it gently and formally throughout so that there's no gaps between. This is also important to keep in mind, which is to test your masking tape or your tape. The one that I'm using here is called the masking tape. If it's available where your farm and create, if not, whatever tape you're planning to use. Take a small piece of it, taper down to a sample test and check if it's dripping your paper when you pull it out or if it's making sure that it's all controlling the water flows. So just check it before you start your project. Because I do know some of my past students who have created beautiful, beautiful paintings and unfortunately did not check that taped tapes. And so when they ended up completing the painting, ready to remove the tape, the tape actually toward their paper, which is really unfortunate. So just test your tape before you go ahead and use it. If this is the first time you're trying masking tape. The other thing that I like to do when I'm doing this process is to keep in mind, which was the first side I taped down, the second side, the third, and the fourth because once the painting is completed and I'm planning to remote my tape, I would start from the fourth edge, that means the last edge that was taped and then work my way backwards. This needs to be done because you're overlapping your tip. In case you start again with the first tape, you're not going to be able to actually remove it and you might end up like ripping your people. So just have that in mind. Also. As you can see, I make sure that the tape is larger than the edge, just so I can really tape it down and so that there's no water that's seeping through. 7. Project 1 - Planning the First Layer: Now that you've prepped your paper, Let's start with our first layer. I am starting off with a branched leaf. Now you can notice how I'm doing it diagonally. And I'm starting off with, It's not even three-fourths, It's 1 third of the entire people. Also, I'm taking a very small space of the entire paper for this step. The branched effect is going to be a little bit tricky to paint, which is also going to create a beautiful finished painting. So that's okay. One suggestion I would say is to not have leaves that are overlapping because when you paint around them, you're not gonna be able to see the individual leaves. The next thing is to not create too many branches. Just because, again, in the practice exercises as you've gone through, you can utilize, you need to kind of keep us small space for the stem. If you have too many branches, it can be a little bit tricky to paint all of those areas. The third thing is to spread out the leaves throughout. So you can see diagonally right across I have been to the longer leaf and then I've got two small sets on either side which are much more shorter to create a V effect. Just keep that in mind in terms of the proportions. Now, let's take our blue. I'm starting off with a very light shade, which means that it's very water down. And I'm just giving a gentle bees painting around what we have already drawn. Remember what we did on practice exercises. Starting off with the tip of the brush for the outline and then gliding it to fill in this space. Slowly work your way to the next leaf. You can see how I'm working on this quickly because I don't want any dried edges of the watercolors. I'm trying to do each area quicker. And as we add, as I've shared with you guys before, I'm starting off with the dried side going up and then for left. For some reason that just works for me again, maybe because I'm right-handed. If you're left-handed, maybe you want to start the other side. That's okay. But kind of working in that circular pattern, Julie helps you make sure that you cover all the areas that is needed. In terms of the painting. You can also see that I'm not painting the blue all the way to the end of the paper. Just because it really doesn't matter. We're going to paint more. You can just kind of get it to even midway through the painting. And that's okay. In order to avoid any Chris crazes or anything like, you know, outlines for the edge of the border. You can see I'm using clear water and just blending it very roughly. That I don't have those annoying edges that just look weird because we are going to be drawing out more leaves and we're gonna add more layers. So this mistake can affect your final painting. Now let's paint the other side. Again, starting off with thin line and then just blending it, painting around the leaf. Now as we go upwards, just make sure to add more water and just blend it out. You can see that the edge of my previously or has already dried. I just make sure that I add a little bit more water in that space. Continuity process, making sure that you have this thin stem. In case you make a mistake. I am going to show you how you can fix it. As we move to the next steps. Always add water towards the edge so you have a really nice blend instead of just sharp edges. Now, I find it very comfortable to paint with a round brush that has a size four or a size six. In case you're kind of you want to do it a little bit more easily. You can pick in a smaller brush. So maybe a round brush that is a size, one. That will help you get those really. Since the brushes smaller in size, you will be able to get to fairly small areas as well in the painting. The negative part is that it doesn't hold that much water. Which means that as you're painting in case you want to do the base and just kind of blended odd. It's going to take a lot more time as well as if you're using a size one brush, they're generally they generally hold lesser water. That also makes the process a little bit tedious, but it also helps the final painting. Now once you're happy with this, Leo, let's allow it to dry or you can use a hairdryer to dry out this layer before moving on to the next step. 8. Project 1 - Adding the Second Layer: Now let's dive into layer to my painting is completely dry and so with a pencil, I'm gonna go ahead and add another set of branched leaves. Now in this case, I'm making sure that the level of the, or the height of the leaf stem is higher. It is poking out more than the previous layer that we just painted. The other thing is, I'm making sure that I do have the stem coming all the way to the bottom. So it is coming all the way to the end of the people, to the end of the edge of the people. Okay, so I wanted to actually come all the way through. I can draw the, create, the negative effect all the way from bottom. This is a very important step, so make sure you don't skip it. Another thing to keep in mind, and another tip is for this layer. We're also trying to bring in some of the branched leaves to the other edge of the paper. So the whole level of the painting is becoming higher. And as we paint, you'll understand that more. And I know sometimes with the pencil marks you may not be able to see what I've done, but don't worry, as we paint, you're going to understand this better. For this layer, I'm going in with a deeper indigo, which means that I have more indigo mixed in with the water. It's more saturated. But remember that it's not completely saturated, so it's not an opaque layer. And if you can go back to the water control exercises, this would be at level three or level four. So it's not five yet, it's just a three. Start off, slowly painting around both the leaf sets. Now, I make sure to take my time with this step because it can be a little bit confusing, especially if it's the first time we are doing it. Don't worry, Take your time in terms of getting all those spaces filled. As always, I'm starting off with the right side of the painting moving up and then the left side. So I'm really working in that direction so I don't miss any ideas. Keep the layer of blue that you're using consistent. So having that puddle of paint, like we discussed, is really going to help you that mixture of paint. So I have that on my palette and I'm just using that data CLI. Instead of taking more indigo and just kind of mixing out on the sheets, I'm just using an existing mixture that I created. That way there's less error that can possibly happen. In this step. Mistake, scan happen, you know, you may forget the fact that you have painted out as a drawn-out a stem hour, you mix up different branches off stem so it can happen at this point, which is why I like to kind of walk step-by-step. And it's okay if you make a mistake because we can always, after the painting is dry, fix that mistake. Please don't try to fix it right now because you are still at the stage of filling in the spaces. It's still going to be complicated that you're not going to be able to figure out that you've been made the mistake. So don't make any changes right now. Continue painting, continued completing the deeper layer. And then as it dries, you can go ahead and try to fix it. There are a couple of ways to fix it. I'll talk to you about that as well. Remember the last layer we made sure that we didn't have very stiff edge. Following the same thing. Making sure you use clear water and just blending it through so you don't have a very pointed edge. You can see how this layer that I just painted is much more taller in height compared to the previous one, you know. So you can really see that difference in the leaves. If they were all at the same level, I wouldn't really be able to see the difference in leaves because these are much more taller. You can see them. That's the trick. And also what I've done is making sure that I have some of the leaves that started from the bottom. You can really see that contrast of the white people, white leaf. This blue shade. That again brings in contrast in the painting. Now we are slowly moving into the last of our leaves. Really happy with the way it's looking right now. Don't worry, we are going to deepen it even more. And that's when you'll see the contrast coming through. All the layers. Don't worry, it's going to build up as we continue. Now that we've completed painting, what I like to do at this point is to allow just kind of check through and see if any alien needs to be darkened. If I'm happy with the way things are going to allow it to dry or use a dryer to dry it up. At this point, you can also use an eraser and erase any previous pencil marks before proceeding to the next step. I'm so excited that big way into the next step. I'm super proud of you for staying on and continuing the process. 9. Project 1 - Depth through the final Layer: Ready for our final layer. Again, we're following the same steps as before, but a couple of changes. First, we are going to start the stem of the set of leaves from the previous. I'm kind of like behind a leaf from the previous layer. So this way we're kind of avoiding painting all the way from down because that gets a little bit tedious. And also it's not gonna be seen because as anyways, no much space at the bottom. So to avoid that we start just from the previous layer. Maybe you can start a stem that comes behind a leaf from the previous layer. So that's the first change. The next is in this layer, you can again increase the height even more. That's another point to remember. And we are just following the same thing of a branch leaf. You're not changing leaves, but you can't really change around leaves if you want to add this point. But I'm going to follow the same thing because I think it looks really nice. Once you're happy with it. Let's take a very, very dark indigo. This is the last shade that we had done in our water control. So it's very saturated, it's very thick. It's statically from the pan. And then we can start painting with it. Now. Just painting around our drawing and following exactly what we had done before. Slowly move from one section to another. Starting off with the outline at the tip and then try to blend it through. And you can see how I'm again starting off from the right side and then moving onto the left. Just starting off with one section. I'm not painting this all the way through to the bottom. And you will understand as we keep painting, but we're just going through each stem one at a time. This step, you can see the colors from the previous blue peeking through, which is really, really interesting to see. I zoomed in the video so you can kind of see where I started the drawing form. So you understand where you need to start the drawing form. Now, as we're painting this, how do we bring in that change in color? Because if you're just going to do this dark layer flat on top without painting it all the way through, it may look really weird. What I'm going to do is create jagged lines at that point of change. I'll explain this further. Here you can see how I kind of bring in the deeper indigo without meeting to paint it all the way through the bottom. What I'm doing is these jagged lines. And so that differentiates it, kind of showing that the color blended to a darker shade when we paint. The final thing you'll understand, this really helps us not make the things easier, you know, kind of makeup painting easier. And also create a beautiful blended effect. Starting from a light shade going to a deeper sheet. It has a lot of benefits. Suggest you do jagged lines at that junction or at that point between the second layer and the first layer. Now when we're painting generally for the edge in the previous ones, we use clear water and we blended it lighter. In this case, we are going. To keep the same shade. So we're gonna continue width the deep indigo blue all the way to the end of the paper. We're not blending it, not making it lighter, keeping that intensity. Slowly painting in the layers. This is almost final stem. The color is really deep. You can see home jars going on the top and fixing the indigo to make it dark. Really, really dark compared to what we had done before. You can see how that blend comes through because right now we're just painting from the second and thirdly, we're not going to any of the areas where there was only the first layer of leaves. There you go. This is our completed painting. What I like to do is just look at it again and see if there are any areas I need to make darker, like the indigo, I feel like in some areas have got this light blue mix. So I'm gonna try to fix that as well. Which means that I can just take indigo in my brush and try to do that. The other thing I'm trying to do is just check if the blend that I told you between looks natural, it looks nice. Which has, you can see I'm doing with these kind of jagged lines, making sure if all my stems look okay if there's anything that needs to be fixed. I generally do this step once the painting is trying so it's almost dry, so it's not still wet, so it's not going to affect the painting, but it's more like layering up the colors in that edge. I felt like it wasn't that obvious, the deep indigo. So I'm just going in and fixing it. Once you're painting has dried. So at this point you can allow it to dry or use a dryer and dry it up completely. Once it's completely dry it up, you can use an eraser. It is at any of your pencil marks. For this step, I prefer not to remove the tape because if the tape is still stuck, my sheet is not moving around too much. So then I can really erase out any of those pencil marks that are kind of peeking through. Once you're happy with that, Let's move out our TPP. Remember what we had discussed. So starting off at the last tip that you added and then working our way to the deep side that you tape down. Sorry, I hope I'm making sense because I'm trying to say like tape and then edge and then I'm like, these two are the same thing, but you can see what I'm doing here, so it's going to clarify it. But this was the last taped edge that I had done. I'm just removing that side. I always try to remote at a 45-degree angle. This ensures that it's not gonna rip the paper and you kind of remove your tape in a really nice way as well. All of this is done off to your painting has dried. This is our lovely final painting. Look at how beautiful those colors are. That blend of leaves just coming through. It's absolutely stunning. I can't wait to get started with our next project. Take a similar sheet of ten by ten, and let's start. 10. Project 2 - Creating a Base layer: It's a bright new day and we are starting off with a new project. I have prepped my paper, making sure that I've taped it down. Taken a size ten by ten sheet. We're gonna start off with drawing our first set of leaves. In this case, I'm changing it around because I'm now going to start off with the pencil. I'm going to start off with the base light wash of green. You can see how it's a very, very light shade. What's going to happen is my first layer of leaves that I negative paint width is going to have a green color. Insert off white of the paper. Gently blend in the color throughout the paper. Once you're happy with the shade of green, allow it to dry or use a trial to just dry out the people before proceeding with a pencil to draw out your leaves. Now, I've dried out my paper so I can start off with my leaves. I'm gonna be doing the first practice that leaves that we had done, which is just the stem with the leaf. The thing that I'm doing is I'm changing around the direction of the leaves. So this is gonna be more like a pattern than from one direction, like our previous project. I have leaves that are coming in from midway through, as you can see, some that are coming from the left and right side, upside down. And I'm filling in the space, making sure that these leaves are pretty big and very obvious. Just filling up the space, not overcrowding it. So not having leaves that are overlapping, but just getting enough of them so that they would only make a statement. Now, let's start with a medium wash of green. This is the third or the fourth, I think the third shade in our water control exercise. So I'm creating a pool of it. So it's gonna be easier for me to work with as I continue gently painting around my leaf. Here I'm starting off at one end and then I'm going to slowly work my way through each. You can see how it really helps to kind of get those thin lines and because it makes sure that the edge of your leaf is really crisp and meet. Also having a pre-made mixture of the paint makes it so much more easier so you don't have to think about it too much and you know, you've got the right shade through the process. Continue painting around the leaf. What is really interesting as you can see how I'm painting it is that I have leaves that are completely overtone drive. So in this case, the one that I'm painting around is a leaf. That is, you can see the stem at the top and you can't see the bottom leaf or the main leaf is at the bottom. I've turned around the whole leaf completely and made it upside down. As you can see, some of the leaves are midway through. And I'm kind of giving that illusion that it is almost speaking into a table. This is the other reason that I had the base with a light shade of green. The other thing that I think I really should have also talked about is the end of the stem. Instead of just having the end of the stem unfinished. As you can see, what I tried to do is make a rectangle or like a squared off edge so it looks like it finished properly. Not necessary. You can have unfinished. Nothing perfect. But I liked the way the squared of finished stem looks. I feel like that gives a much better it feel to each of these leaves. Again, keep in mind that we are really playing around with this. And we do have another layer of leaves that are gonna come in. We want to have adequate space for those leaves. And always keeping the layer that we just painted in one shade or one tone, not really changing it around too much. As you can see, I've kind of completed the entire layer. As you guys know. Now is when we allow our painting to dry or use a dryer to just speed up the process. We want to have a really nice dried up painting before we proceed to the next step. 11. Project 2 - Adding a second layer: Now, are you ready for their two? I have taken my pencil and I'm ready to start drawing. This case, we are going to draw much more smaller leaves and much more closed spaced leaves as well. This is the similar shape from what we had done in our third practice exercises. Exercise, sorry. That's the one that we're gonna do. And the tip here is to make sure that you draw them in such a way that they are still seen. New York to the previous ones. So we want to make them peek out of the previous layer of leaves. If you're gonna do the leaves at the same point or the same area, what's going to happen as you're can't see them. We just got our first step, making sure that these stems are in a different direction. And the leaves are pleased in such a way that you can see them peeking through the previously all. Keep in mind that with negative painting, your painting around, what's going to happen is if you have things that are in the spaces of the previously or they're all going to be lost. Okay? So just to making sure that you do that, again, following what we had done before, having some of the leaves come through from outside the border, having them in different directions and not overcrowding them. I think that's also another point to remember because I know it can get exciting where you want to add so many leaves. We're trying not to do too many, just limiting them. If you feel like some of the spaces are still empty and you still want to add leaves. Do what I did just now, where you just add one leaf peeking through the border. Something that's simple. Once you're happy with the overall look, we can get started with painting. As always, I'm making a puddle of paint bottle of the green that I want to use. Remember with our practice, water control, we realize that green doesn't really go that much deeper. It doesn't have so many layers. Unlike the blue where you were able to really build up heel, you're not gonna be able to do that much. We're going to just directly use the deep saturated green as it is. This is gonna be our last layer for the painting because there's really not much more than we can go through if this was gonna be done in blue, for example, Example integral. We could have built even more. We could have had a third layer, even more deeper in color. But since this is the leaf that we chose and this is the color that we chose. We are going to stick to just two layers of negative painting. Once you've prepared your mixture, start painting. Start working portion by portion. So one area at a time to not get really confused with what's happening. Because this is a stage where you could make mistakes. And that's why I have surely drawn out my pencil marks in such a way that I can see them very, very clearly. When you're painting, take your time through this process because it is slightly intricate. But it's so what the weight, such as give yourself that time. Don't try to rush the process. Don't try to finish the project in like two minutes. It's okay. This does take time. You can already see the variation of the colors coming through. It's just so nice to see that light green and then a deeper green and then the background of this dark saturated allele. Once I'm happy with the right side, I can slowly go into the middle portion, gently painting first and outline of the area that I'm going to paint so that I have a very crisp line for the leaf. Then filling it up by gradual sloping off the brush. In terms of placement of leaves, I think that has so many variations that you can carry out. Like these to the ones that I've shared with you the most. Generally having them all from one direction, kind of step-by-step or creating a pattern effect with it. Think about this as not just leaves. Leaves are just a basic idea, but you can do the same thing with any sort of element as your focal point. Flowers, for example. Maybe you want to do birds, you want to do fishes. Anything that is shows can be created this way. I even have samples where I have done boxes and squares and those look so beautiful. Just let your imagination run wild. At this point. Slowly move step-by-step through each and every stem. Making sure to paint around the previous layer of leaves as well. Especially during the video painting that stem area. Make sure to keep the stem clean. Making sure that you leave that space for this stem. With watercolors. What tends to happen is your layers tend to try and become lighter. As you are painting is drying, you're going to notice some of the colors becoming lighter. These slightly feed through. Because of that, it's really important to get a very saturated layer. And you can test it on a piece of paper before you start beating. Because this is also something that can happen. You might think you're using a very saturated layer and it looks perfect as you're painting. But when it dries, you will see patches. Just test it on another side paper to check if it's saturated, complete saturated layer before you paint to ensure it actually is. And it's not just painting that way. I know this doesn't make sense. But you will notice this happen where you're like, Oh wait, I took a dark saturated green. How is this still looking patchy? And then you realize it's because of the watercolor effect. Sometimes it can look a bit tricky. Because of that. Another trick that you can do, as you can see as I go over some of the areas again, just to make sure that everything is that deep, dark green. 12. Project 2 - Final touches: Now let's add our finishing touch. This, I am using a metallic pen. This is from Karen markers as explained in the material section. The reason I wanted to add metallics is so that there's a little bit of a shine to our painting at it's going to give a beautiful effect. Now, instead of just slapping on those leaves, just like adding them on and just ruining our painting. What I'm doing is if you can see I'm adding these leaves, binaural existing leaves. So it kind of gives you this perception that they're underneath. That's the trick that we're going for, creating illusions in the mind. So when someone is looking at it, they're like, Oh, how did this person do this? What did they do? They're like, they kind of think about it, they're questioning it. And that creates interest. As you can see. First, I am choosing leaves that are much more smaller and much more. I would say shorter as well. I am aiming to please them below layers of leaves that I've done before. At the same time, some of them can be above. As you can see in what I'm doing right now. 1.5 of the leaf was below and then the end is above. So playing around with that kind of up and down effect. Now, these are very, very small, so I don't want to add too many of them, but I want them to give NF of shine to the painting. If you don't have metallic markers, you can use metallic paints. If you want to use a black pen, you can use a white pen. Just kind of play around with whatever you feel like you want to use or whatever you have at home. There is no specific I would say no specific need to use a metallic pen. I just found it lying around. So I'm like, Cool, let's use it. Just use what you have available to you. But the idea is to bring in a little bit of shine to the painting. Adding more of these shiny and metallic leaves starting from the border, poking into the painting. Adding some of them in areas that I feel need fix. So in case you've made a mistake with your stem, this step, you can kind of fix those areas. If you feel like there was one area where you made a mistake, use the metallic pen to cover up your mistakes. So add a leaf there. This is the stage where you fix things. Anything that you've made a mistaken anything you feel needs to be better. Anything that you feel looks too empty like an area where there's not much going on. Use the metallic pen and these smaller leaves to fill up those spaces. Once you're happy with the overall effect. Let's from water TPP. We've got this beautiful, beautiful painting that we've just done. There are so many possibilities with negative painting. I'm going to talk about that more in the next, the next topic. Where I'm going to talk more about what you can do with this information. How you can do your projects. Couple of ideas in terms of them and what you can do next, like what are the next steps from here? Don't forget to erase out any of your pencil marks for this use of thin or a smaller eraser, just so you don't it is out any of the metallics because sometimes they don't dry as well to just try to areas around them. And any ideas that you feel you needed to do any fixing, you can go ahead and do that. And this is our final project. So it up second project from this class. I love the beautiful depth in this painting. And when you compare it to our previous one, you can see how it's made a difference, just the placement of the leaves. It gives two completely different effects. And I love how that looks. 13. Final Tips and Tricks: Congratulations on finishing this class. If you haven't gotten to the projects, I urge you to dive right into it. Paint with me if you find it a little bit more easier, or you can pause it and then paint and then come back to the content, whichever, whichever way makes it easier for you to really get into the information in and really get into those projects. I would love to see your projects as always, it makes me so excited. You can share it on Instagram as well under the hashtag femme visionary class. I generally be posted on my stories and shared with other people as well. Along with that, I would love to hear your reviews because I've really makes me happy and it kind of motivates me to create so much more. Apart from that, I also want to talk about what comes next. Now that you've learned this, if you wanted to really exploring what can you do? We have couple of classes in, In technique. The second class that I would suggest that you go for it is up level your negative painting skills. And that is a little bit interesting because we started playing around with the colors in the same thing. From there. There's also negative painting bookmarks. I love that clause. I think the projects are just absolutely stunning and we also have watercolor officious. I also have a watercolor boards class, and they all kind of had this negative painting, the theme. And you get to see how you can export this theme in different projects. I hope you really enjoy this content. Surely dive into it. It's such a beautiful technique and have a really good day. Do follow me on Skillshare so you can get updated information every time I launch a class, as well as if there's giveaways and things like that. Thank you so much for being an amazing student.