Paint Expressive Autumn Leaves - A 10 Day Journey of Unleashing the Artist Within | Umashree Taparia | Skillshare

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Paint Expressive Autumn Leaves - A 10 Day Journey of Unleashing the Artist Within

teacher avatar Umashree Taparia, ART EDUCATOR

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

12 Lessons (4h 26m)
    • 1. Hello and Welcome Back

      2:21
    • 2. Materials Required

      1:35
    • 3. Class Project 1 - Misty Background

      25:37
    • 4. Class Project 2 - Sunset Autumn Leaf

      27:23
    • 5. Class Project 3 - Blurry Sky

      23:11
    • 6. Class Project 4 - Leaf on A Wooden Log

      32:51
    • 7. Class Project 5 - Leaf on a Window Pane

      29:14
    • 8. Class Project 6 - Autumn Leaves Under a Lamp

      33:50
    • 9. Class Project 7 - Falling Leaves

      39:28
    • 10. Class Project 8 - Misty Leaves

      24:24
    • 11. Class Project 9 - Into the Woods

      26:07
    • 12. Class Project 10 & Thank You- On the Water

      23:50
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About This Class

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Autumn is the Second Spring where every Leaf is a Flower. it's always hard to let go of summer, but what makes that goodbye a little easier is the fact that autumn is on the other side‚Äďready to embrace us with open flannel-clad arms. After the fun-filled craze of summer, autumn is a time to slow down, get cozy, and take a deep breath.

"I hope I can be the autumn leaf, who looked at the sky and lived. And when it was time to leave, gracefully it knew life was a gift."

This class is designed in a daily challenge format which will run for 10 days. We will Learn to Paint 10 Different Autumn Leave Painting With Different Background and explore the Beauty of Nature with Watercolors. We will learn a lot of New Techniques for painting different Background through the 10 Days. 

If you like this class, please leave a review that will help this class reach more students.

I'm so excited to begin this Journey with Exploring Autumn Leaves and would love to see you Join me in this Journey. Thanks a lot for joining :)

Materials you'll need :

  • Watercolor Paper¬†‚Äď ¬†I recommend a minimum 300 GSM/140LBS , 100% Cotton Paper¬†
  • Brushes¬†-¬†Flat Wash brush, ¬† Round Brushes Size 8, Size 4 and Size 2,Detailer Brush
  • Watercolor¬†- Any Artist Grade Watercolor. We will be Discussing every color¬†and alternate that you can use.
  • A Mixing palette¬†
  • Masking tape
  • Two jars of water
  • Pencil and an eraser
  • Paper towel or a cotton towel¬†

Meet Your Teacher

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Umashree Taparia

ART EDUCATOR

Teacher

Hey Lovely People,

 

I am Umashree Taparia, a Self Thought Artist, Art Educator and a Creator from India. I am a Chartered Accountant by Profession and an Artist By Heart. I have always been creative since Childhood but it was majorly crafts, card making. With all the Study and busy work Schedule I never had time to practice or think Art. But in 2020, when the Lockdown hit, I started with pencil sketching and gradually began to learn about Watercolors. It was then, that art became my daily Practice. 

In this one year I explored different Mediums and my favorite happens to be Gouache and Watercolor. Through all the trial and error I have learnt so much in detail about all the art supplies that are available. I believe that if I can do it then anyone can lea... See full profile

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Transcripts

1. Hello and Welcome Back: Button is a second spring that every leaf is a flower. I hope I can be the autumn leaf who looked at the sky and lived. And when it was time to leave gracefully, it new life was a gift. Hello everyone. I am an artist and an art instructor. You can find me on Instagram, YouTube, and Pinterest under the handle. Welcome to this new class on painting ten different autumn leaf illustrations with a beautiful nature of teen background. For the attendees, VDB painting ten different autumn leaves painting. Initially. At the beginning of the class, I will guide you through all the materials that you would be needing through the coming 10 days. I would discuss everything about the pains and peoples and to every class project brass bell, I will keep guiding you with the colors that we will be using and the alternate sheets that you can use if you do not have the exact same sheets. Do not worry if you are a complete beginner to watercolors or if you are a big no, beginning to paint such complex paintings, do not worry. I will be guiding you through every step in detail. Beginning from the pencil sketch to the basically all about going through the entire composition step-by-step. All the tutorials will be in real time. And I will be guiding you through each step and how to overcome each of the failures or each of the mistakes that can happen. If you are a complete beginner. So do not worry. Just join me in to the stand the class and explore the beauty of autumn and experience, the change of this season through the paintings in the coming 10 days. So come join me into this class and let's begin exploring the beauty of autumn. I hope to see you or GI me into the next section and beat all these beautiful paintings with me. 2. Materials Required : Before picnic that D1 class project, Let's have a look at the materials that I will be using through this class. I will be using this behind academy level watercolor paper pad, a 100 percent cotton and 300 GSM. So this is a little thicker than the E5 size. I will be cutting this sheet and do the smallest size. So almost a little bookmark sites that I will be cutting off and I will be using the rest of the sheet for painting all the attendees. Next, you would be needing a masking tape to tape down your paper for each of the class project to get those clean edges, you would be needing a set of watercolors. I will guide you through each of the colors that I haven't been using for each class project. I will be using this color palette for mixing the colors. And I will tell you all the alternate colors that you can use if you do not have a specific color. Next, you would be needing some flat and some round brushes and some detail brushes. So your Eigen be using majorly this flat brush three by four inch for all of our background water washes. And then I will be using some round brushes. You would be needing a Benton for the pencil sketch. You need two jars of clean water for each of the class projects. Apart from this, you would be needing some tissues for dabbing off excess water or cleaning your brushes. So these are all the materials that you would be needed for all the attendees. So get ready and let's begin painting a fourth class project today. 3. Class Project 1 - Misty Background: So let's begin with a first-class project for today. The fellows that you will need for this class project is Payne's gray, Naples, yellow, orange been sienna, black and white. We are going to begin. This standard is showing me with this simple misty background and through often leaves in the further these we will be been taking more detailed illustrations as well. So let's begin painting this beautiful illustration for the day. So now let's begin The depends on sketch for the first class project, we will be having two autumn leaves into a blurry background. So it's kind of a misty background that we will be adding for this one. So I'm going to be adding to Autumn Leaves, Vanuatu at the top and one at the bottom side. These two leaves are going to be the main focus of the painting. And rest of the background is going to be uploaded one, somebody randomly adding the face but didn't autumn leaf here. And then I will be just marking out a few of the branches, rest of the branches. I will directly add it with the color at the end because I do not want any charcoal marks to be left out. Now, just going to add a few branches which are going to be in the main focus and you're at the bottom, I will mark the second branch out here from which the second leaf will be popping out. So I will quickly drop the second leaf as well from your. So these two leaves are the stage that we will be having for this one. Even did a BB adenine with the branches that may be deaf. So after painting the leaves, we will even be giving some beans details onto the leaves. So I'm roughly marking them out as spin. After this, let's begin applying graphene CTO photo onto the entire surface in these if you want, you can leave the nice area without the water. What I'm going to do is I even apply water onto the entire sheet. And when I begin to apply the paint, I will try to avoid applying the paint into the leaf area because the backbone on the right side is going to be quite a blurry one and the light blue and on the left will be having a Docker bone backbone. So there are two ways. One, you can leave the leaf space and do not add water at this stage onto the leaves. Secondly, as I'm doing, you can apply a coat of water onto the leaves. But while painting the background, I tried to avoid adding the bones onto the leaf space. Make sure to apply even Goto for the two will also disappear using a 20 percent cotton paper. I would recommend radio. People wait for a little while for it to dry and then rewrite it and go ahead. Oh, painting after that. So they're doing this, your people will stay wet for a longer time if you aren't using a 100 percent cotton paper. Even though I'm using a 100 percent cotton paper, you can see I'm running my brush multiple times. So make sure that you run your brush multiple times and apply an even coat of water throughout. Some data blank and even go to photo. Now I'm shifting to my size two round brush and I will quickly pick up some Payne's gray color. I did pick up a very diluted value of the Payne's gray for the fourth layer. So it's going to be just 5% pigment and 95 percent water that I will be using it. Then I will darken it as I begin to apply it onto the left side. So on the right side is going to be a very lighter tone. Now you can see as I'm reaching near the leaf ADR, I'm trying to get a lighter tone and trying to avoid this color out there. It may spread because of the water into it and that's perfectly okay. And I'm moving from left to right. On the left I'm a blank, the darker dawns and moving towards the right, I'm using a very diluted. So I will just keep running my brush accordingly so that on the left side I have a light Docker tool and on the right side I have a lighter tone. Now again, as I'm moving downwards onto the leaf, I played a very nice. If you want, you can completely skip it. And why did now under remaining left side at the bottom space, I will be adding the darker patches with the Payne's gray color. So now I will pick up the beans Greek Hello, in Arctic consistency. Before that I will just pick up a little of the veins from the right side to give a lighter value onto the light, right. So now you can see I'm just applying it the darker dawns on the left side and trying to blend it well into the right side using a damp brush. And trying to get the perfect blend between and the transition from the. Right? That is from the darker value to the lighter value. You can go ahead with any other method that you are comfortable with to get a perfect radiation and a transition and softer blend between the colors from the left to right. So the left is going to be Dakota and the right is going to be lighter. So the top leaf, as you can see, is completely light as I tried to avoid death, the bottom leaf is a little all covered up with the Payne's gray. So now I'm just using a damp brush and lifting up the color from dad so that the leaf space remains night and it will be easy. Oh, you know, color it later on. So I just lifted up the beans using my damp brush and now we wait for this to dry and just give a little more darker strokes in the center with the Payne's gray color. Now when I'm adding the darker strokes, I'm picking up less of water and mode of pain. So now with this background to dry before moving the head and then add the final details to this painting. So now my background is completely dried and you can see I've got a perfect transition MS. Mood and a soft blend between the nitrogen and the docket bones and the leaves. You can see I've tried to achieve the 1920. Now I have picked up things green and darker consistency. And using my round brush with a pointed tip and begin adding the branches first. And then we'll begin painting the autumn leaves. So Foster and add a few branches. Now if I'm adding these branches, you can go ahead and use a black color on this. If you did not have the Payne's gray color, you can just mix in a little bit of indigo and black color to get an item or to know grayish color. And use that for printing the backbone and get a darker and lighter tone with that by diluting it with water. Now this is the first minute of branches that I'm adding in. Some using the pain streak are low in a light dough consistency force. After this I will be adding some darker branches has been. So in these, if you're using the black color for adding the branches, then for this false narrative, the branches, make sure the user diluted dawn of the Palazzo Vecchio get a lighter grayish tone and add a few branches. Now you can see and learning the branches very randomly. So this is going to be the fourth year of branches after this Viva instantly adding approximately two or layer of branches. So basically at the edge is going to be tonal variations of the color I didn't like, go and back four and then the dark as branches. So basically these lighter branches are all little blurry kind of an effect and just behind you or not five for mass. Hence, we are adding them in such a night baboons list. So if the branch is going to be moving from the left to the right, we're not adding any branches popping out from the right side. It's going to be pain, right? Don't just out what we have added in. Now again, I'm picking up the paint straight color, and this time it's a little darker than the first one that I picked up. Make sure that your fourth year of branches is completely dry before you begin to add the second node of branches. Now you can simply see just for adjusting the content of water into the pains, I'm even to get the different Boolean radiations. And now this thing then branches that I'm adding our DACA as compared to the first meal and the background, Leo begins to act as the blurry background or the blurry branches which are far from the view and give a blurry effect to your painting. Now, more of the branches with the darker color. And you can see I'm adding verifying branches. That is, they are very thin and I'm not adding them in the same heap as the light dough branches that I've added it. I'm trying to read them and trying to make them lighter branches also be visible. Now for the third layer, I'm going to pick up some black color and begin adding the branches but the hello. So basically we will be having three colors in a branch area that is the lightest Payne's gray color. Then we had a good or that consistency of the Payne's gray. And now I'm using the black color. If you want, you can use the Payne's gray in its thickest consistency, it almost works like black. But I think that the black color directly destined to give it a proper definite loop and just going to add a few branches overlapping urine there and crossing through each other. So make sure that UDL before two layers of the branches still be visible after you add this layer of branches. And also be a little careful that you do not draw your branches into the nice spot. So you can notice I'm adding the branches, but Evander, me and I'm trying to move demonstrated today. So from the bottom they were moving towards the top and from the doctor trying to be bended down. So basically just trying to get a meeting point in-between. Now just adding political branches with the black color as you can see. Now this is all for the branches that we are going to be adding. Now let's begin the first meal for the autumn leaves and then even add the adults, you know, snowy kind of an effect to the branches, just some small droplets. So phosphor painting though often nice, I have picked up the yellow light color and using the scholar, I will begin adding in the force field to the leaves so far. So I'm getting the Carlino medium consistency, not too dark and not too light. So coping. I'm going to head with the wet-on-dry technique because we do not want the knees wait for much longer time. We will be painting with Leo's on neither status but the shades of yellow, orange, permanent red or ruby color, and hint of brown or green as well. So when we begin to walk with us, since we've been already be having the first year of the Palo bit. So we can directly begin with the second color onto it. So your I first gave the outline to the leaf and now going to fill the complete leaf with this yellow color. So you can see now as I'm sitting the leaf, I'm trying to define the edges of the means as bad and giving it to the debt blinded notes at basis so that it looks like a real often. Now next I have picked up the orange color. In case if you do not have an orange color, you can just pick up a little bit of the 4 million dawn and mixing a little of yellow. So I didn't actually have to orange color. And I'm using this orange color and now using just the tip of my brush, I'm adding this orange color onto the edges of the leaf. And since the yellow color is still wet, you can see the orange color is automatically blending into the yellow color. In case if it does not blend, you can just pick up a little of the water on your brush and try to blend it like this. Now the next color that we will be picking up a sheet of bone sienna. Now, all of this, that is the orange and the bond CN or D because we are adding wet on wet. So the Vecchio was of the yellow color and using the orange and the bond CNO callow, we are adding the baton that details onto the leaf. So I'm going to add the bone sienna boundaries where undo the edges and very small batches into the center of the knee. And at the bottom, Vedic the next to the branch. Now just trying to define the shape as bent. And you can see many handed me, I'm adding in the batches in between onto the leaves. And using the backward pins onto the edges defines the shape of the needs much better. I know. Picking up the bone sienna color, you can see it's not in our very diluted consistency. It's an immediate consistency, so it does not automatically spread much and tries to just blend into the color and stay there. Now under this nice just going to add a little of Payne's gray droplets as bed. So that does it for the course. Now let's begin painting the second nice here at the Wharton space. Now for me, my pencil sketches visible. It will not be visible to you completely, but to me it is visible to you. You have lost your pencil sketch. You can roughly have a Benton scheduled to meet again, are directly painting with the color. Again. Now, I even begin with the same name as I began before. The force. Now this force with a sheet of light yellow, the light yellow color that I'm using, I have picked it up in a good thick consistency. So it's like a hard knee just a little quarter to just get the paint in the right consistency and more of pigment. Hence, I'm able to achieve this taco value despite having a little of the veins gradient in the bottom space. So you can see because of the themes, pretend it hasn't literally download and blends perfectly into the background that we have in Now see the just as I painted the first leaf, I will just fill the entire space with this yellow sheet. And you can see I have already defined the edges for this leaf as well. Now next I have picked up the shade of orange color again, and I'll begin to add it on the edges just as the first leaf and then shade of burnt sienna and all lead. This time we will not be adding those openings effect onto this bottom leaf as this already has a little dialogue because of the background, Payne's gray, darker tone underneath. So it blends already perfectly and stays well into the composition. Make sure that if your grass does not have a pointed tip, you shift to a smallest size detailer brush for adding in this detail. I'm just trying to blend in the orange color very gently into the yellow background. So in the center I have a little yellow. And on the edges this time I have just added the orange tint. Now, I will begin with the bond sienna color next. And also this was again wet on wet, that is the orange column was wet on wet on the yellow one. Now picking up the buoyancy and Apollo again in a thick consistency and I'll begin to add it onto the edges and begin defining its shape as well. So onto the second leaf, as you can see, I haven't developed a yellow space in the middle. So I added the orange and brown highlights only under the edges now till the first layer of the leaf trace, Let's begin adding some smooth walls onto the branches that we have added in. So I have picked up a little bit of the white wash. And now using a smallest size brush or use appointed the brush and begin adding some white circles onto the parameters that we have added in. And then do this, we will be adding little black effects as well. So first I will begin adding almost kind of food, all you know, ticker U-shape time. So basically those piece in between you is going to be lesser. And some there I will be adding a complete round shape as bent. So very randomly onto the branches, begin adding these major. These will be more onto their left side because as you can see, the right side is often lighter tone and the feasibly adding this more onto the right side, it will not be visible much because the right background is almost of a white tone already. So that is a visa. We will be adding this medially onto the left side bag though. Now, we will be picking up a little of the black color and adding it in between your like this. So basically now you can see we have formed the entire SOPA. So the edges be marked out with the white color. And then the center, we added the black color. So now let's begin adding a few more of this. So as I told you previously, it's majorly going to be onto the left side of the branches. So keep adding them very dynamic. Move on to the branches in-between, leave a little space. Or for the black color that we will be adding it. So you can see at places and even adding another semicircle sheet and the rest of it I haven't filled in with the black color. So very randomly, add a few more of them. Also. I'm adding a few of the white marks onto the octave band, just trying to show some snow collected onto these branches as suggested by these model by dots that I'm randomly adding onto a few of the branches. Now next thing, I'm going to use this white color and add a little of this onto the branches. So very small, fine line onto the top of the branches trying to show a very thin layer of smooth getting collected onto the branches. So very randomly add a little thick onto the Tico branches. Not much. Otherwise we will have a lot of whitespace which we do not want in the painting. Now I think we did pick up the black color and add the details under the rest of the white balls there. We haven't added the black details. So kind of snowballs that we're trying to show him your so quickly and all of this onto the remaining whitespaces. Now onto the right side branches here, I'm going to add smaller black dots just as we added the white dot on the left side. So we will just be adding these smaller buds. Are you trying to depict? Because birds with the black color video-on-demand onto few of the branches. You can even add a fuel stem onto the left side so that all of these into harmony with each other. The last thing left to add is the beans into the autumn leaves. So my autumn leaves are completely dry. I'm picking up the bone sienna color and I'll pick up this color in a good thick consistency. And if you want, you can add in a little tent of a darker brown tone, maybe a sepia color, or just a touch of the black color. If you feel that your ground is not dark enough. And I even begin adding the vein from the center. So I'll begin with a very thin vein. And then from this I will try to pop out the smaller veins and add little details. We will not be adding much as the means detail. Very simple. I will try to keep it simple so that it's easier for everyone to follow along. So now I have shifted to my size 0 brush. And now using this brush, I'm adding very fine details from these branches that we added into the leaf. So you can see now very fine branches that I'm adding. So even if your brush does not have this fine tip shift to a size 00, 00, 00, 00, 00 00 brush so that I can grab this almost invisible kind of fall. Vince Dee, Dee, adding more detail to your leaves. I will begin onto the top, leave your eyes back and add the ticker and that ANOVA. So you can see just by using one dash also, I'm even the lab that did not end that the Covey's the ends together. Because all by pressing the bending of the brush, you can always adjust the thickness of the branches that you want to add it. So that does it for our phosphine. Did denise in a misty background. I hope you guys enjoyed this. Let's remove the masking tape. Make sure to remove the masking tape once your edges are completely dry. And always remove your masking tape at an angle from your people so that if there is any water droplets That's onto your masking tape, the Nazi back into your painting. So we're ready with our fourth class project. I hope you guys enjoyed painting this do different view with me today. I will see you guys tomorrow into the second class project. 4. Class Project 2 - Sunset Autumn Leaf: Hello everyone. Welcome back to the day to class project. The colors that you need for this class project, our 501c3, Naples, yellow, orange, burnt sienna, burnt umber, black, bright blue. And by being able to discuss, although alternate colors that you can use. Sooner, Let's begin with the second class, fishy. So I have my people, they don't all feel I'm too old for rages. Make sure that you must. Npv is formally Dave, down. Now, I'll begin with a pencil sketch. So this time you're going to have one big autumn leaves popping out, some mistake branch out. So I have marked Dr. take branch and now I will just mark out the autumn leaves. So again, this is going to be a phrase or leaf, autumn nice kind of a structure that we're going to add. And as you can see, I'm adding a very random shape of the open least ranking is the sharp edges onto the shape of the leaf. Also, it's going to be a huge autumn leaf almost in the center of the painting. Rest of the backdrop, we tried to paint in a sunset kind of a view. And we will be adding a few of the blurry leaves with the black color wet on wet when leaving the backdrop. See if you can notice the shape of the leaf. It's great stand-in and you can see and giving very last ages and varied of shapes in between to make the leaf look natural as much as possible. Now you are at the bottom. I'm just going to have a very small bushy area. And that is it for the pencil sketch b will just be having a few new branches. I'm just marking ocher thing for you to print. And I didn't even mock-up to shake off the leaves that we will be adding into debate vacuum. So B2B adding these three pageant kind of a leaf shape. So I'm just adding a few of these to show you the sheet that we will be adding into the blurry background with the black color digitally. Now that is it for the fences gates. Let's begin applying a queen photo photo. So I didn't begin applying the clean water for using my flat brush. So I'm a plank and even coat of water onto the IOC, even under the leaf space, I'm not leaving the leaf space blank. What we will be doing is needed for us to add a little yellow color onto the leaves. And then even out the blue into the sky species. So automatically around the knee into the sky spaces when either be having a little yellow effect triangle showing the sunlight effects from behind. In piece if you're using the 25 percent cotton paper than your brush multiple times so that the union of people will stay wet for a little longer time. And it will give you a little longer time to walk wet on wet and adding all the values into the backdoor without having any sharp edges. So fossa picked up a sheet of cadmium yellow light and you can see, I'm just adding the Palo in a little liquid consistency into the leaf space. And you can see onto the edges of Examining out into the sky space. And that's exactly what we want. So make sure that your color is not in external validity consistency, or else it will spread a lot. And then when you will begin adding the blue color, it will begin spreading and give you again. Now, I have picked up the sheet of pride blue from the set. You can go ahead and use any sky blue, cobalt blue, or a setting in new color. And I'm just going to add this into the top sky space. Now when you are adding this, you got to be a little careful that you do not run into the leaf space at all. Because if you run into the leaf speeds, it will begin giving you the ones. And near the leaves base you can already see having the yellow light. Whenever you feel the need, just use the tip of your brush and drop in a little of the blue color. If you'll be the better, that is whitespace near to the leaf. Now I'm using the law in on almost liquidy consistency. So it's like 50 percent pigment and 50 percent water. And you can see it's spreading easily at present, rigorous might be placed in bed. And I'm easily able to achieve the palette that I want into this space near the leaf, you can still see I have the little yellow highlighted outside the leaf space, exactly trying to show in the sunlight effects from behind. Now from the edges you can see I'm trying to pull out the Groupon's again. So as from a moving from the edges to the center of the sky. I have the darker blue tone, then the lighter blue tone, and then the yellow circle in the middle. Now at the bottom, I'm just going to give it a little of the yellow and the orange dots into the sky. So I'm using the field of cadmium yellow light and the orange color from this palette. If you do not have an orange color, you can just pick up the woman in color. Now again and again on the roommate says, you know, you get a v initial. So make sure you get a perfect transition from the blue to the yellow color forming in the green color, the leaves. It invites space for the talents to flowing automatically and blended easily. Now I will shift to a smaller size brush and pick up the orange color and audience smokes into the wind speeds Django given some cloudy effect. So now when I'm adding the audience stroke, you can see I'm picking up the Palo in a medium consistency so it's not spreading much and giving me the streets into the skies piece. So this piece, I added the orange and the blue sky. You can see I've got a little greenish tone there. So I didn't need to run corrected using a bigger size brush, but make sure that while correcting your paper still has to be wet. So I have now pick up the bigger size brush and I can just lift up the stroke which I have applied it and try to get all, again, a bluish tone blend out deaths you can see just by lifting up the Gallaudet, I could again get in the blue ball. Okay. Now this side all-time just lightening the bone or little automatically you can see the orange color has disappeared. I was even to do so because my paper is still wet. Now when my boys 50 percent dry, I will add the tops of blurry effect that we need into the background space. So let's wait for our people to try approximately 50 percent. Now make sure your paper is drying quickly. It will be very quickly onto a 50 percent giant war. So if you have any excess water that gets collected onto the edges, pick it up with the help of a tissue so that it does not see back into your p.sit. Now to my painting dries 50 percent. Ivan, just pick up a little bit of the Payne's gray color. If you do not have a binge drink alone, you can just mixing indigo and a pinch of black to get a darkish near looking things krypton. Now using this tone and a 50 percent consistency, I'm going to be adding the blurry effect at the tops piece. Make sure that you do not run in blue dot pattern space. That is the big pattern space that we have added. You need to wait for your paper to be dry at 50 percent capacity before beginning to add this. So now my background is 50 percent dry it and I have picked up the color and I can begin adding the shape of the petal shape needs, which I showed you during the pencil sketch. Now you can see my paint is not in a liquidy consistency, hence it's not spreading too much, but it's getting blurry effect what I needed. So that is the stage what you need to understand that when you're adding wet on wet and you do not want the alot of the pins to spreading, but you need a blurry effect. You need to issue out about two things. Your paper has to be a little dry. That is, as I told you, 50% dry stage is what we're using right now. And venue P, doping should not be in an extra liquidity or flow inconsistency because of your paint will contain a lot of water or it will be in a too liquidy consistency. It will begin to spread a lot because of the red background and you will not be able to achieve this blurry kind of a look. You will rather have a whole lot of patch of the payload at your triangle, rather to maintain a bloody ship effect that we're getting right now. So at present, we are getting the leaf shape, but it's a non-literary or, you know, hazy kind of a manual triangle given the blurring effect after the theme, the main. And right now it's only spreading to a limited confined space and not spreading a lot. If you know, you would have applied this just after applying the sky space directly, the pins would spread so much and you will not get these blurry kind of animated shadow. You would have gotten a little of the Payne's gray spots kind of look into the sky space. Now just adding a little of this as I discussed with you while adding the pencil sketch. And it's all going to be in the top speed. Now you're at the bottom has been just adding the black color details. So at the top, I'm diving the tip of my brush and the open space, I'm just going to fill it with the black color. And this is also when the paper is approximately 50 percent dry. The main branch from which the leaf is popping out, we will add that one's a painting is completely dry and not at this stage. So this is for all the broad effects that we need into our painting. Now let's be it for all of this to dry completely, then we will begin adding that mean maple leaf in the center species. So now my painting is completely dry it, and it'll begin adding the details into the final painting. Now, now, I didn't floss pick up the paints piccolo in Arctic consistency and add few branches popping off from the top species and a few leaves popping out from these branches. When we're adding these branches and the leaves, they are basically the foreground effect. So the details that we added has done Z and gaudy exactly triangle showing the background effect to these major or front details that we are adding it. So now that it is that we're adding in our, in the foreground and the main focus of our painting. The rest of it was just the background and the blurry effect that we needed in our painting. And you can see those fields have not spreaded much. They've just done easy and have got a definite sheet looked at. We wanted to add it. Now these branches, when you're adding in and see, I have added them moving in all different directions and the smaller branches popping out from the bigger branches overlapping onto each other. Now from these branches, I'm going to add a little of the theme Screens. Just as we added in the five long wet on wet. I'm just going to add and it's locked them in a detailed look at the top spaces on the branches that we added right now. Now let's begin painting. The main focus of our painting, that is the center of big leaf. First, I will begin the data sheet of Naples, yellow mixed in with a little bit of orange. I will pick up this color in a little diluted consistency. We are going to go wet-on-dry for the first year of the leaf. And then automatically from the second layer, it is going to be wet on wet because we will be having the first wet layer of the P which we are applying right now. So I'm using my smallest size four brush, which has appointed. This is a silver black velvet round brush series and it has a pointed tip and this is size four. So using the tip I'm forced mapping out the edge of the leaf, as you can see. Now using the same color mix, I'm just filling in the entire leaf with this color. So I haven't finished all the veterans of this nice with this mix of the yellow and the orange here. If you do not have the Naples yellow, you can pick up any lighter shade of yellow mixed with a little bit of vermilion. If you do not have an orange color and get to a yellowish orange tone. And in case if you have a yellowish orange tone JD in your palette, you can directly use the yellowish orange tone and fill the entire leaf. Now make sure when you are adding this need. When you finish adding all of the leafs be your leaf shouldn't be dry it because we still have to add in Leo's onto this by underneath is still wet. So you need to be a little weak as well. And in case if you feel that any variable, you know, your leaf is beginning to dry quickly than the color there so that it stays wet for a longer time until you're finished painting the entire leaf speech. So I'm almost done adding in the force New York with this need. And you can see already, just by adding into forced labor, we have such a beautiful effect to the leaf because of the bag Damiano Kahlo popping off from this guy, which we added as the beast Neil. Now I'm picking up. Of the bone sienna, and by my petal is still wet, I will begin adding the buoyancy and Apollo onto the edges and blended into the yellow and the orange color mix that we apply. Variable of beans at blending the buoyancy and Apollo is becoming a little difficult. You can just pick up a little bit of the yellow, orange mix again and blended. Now in between as well, I'm adding a little of this tree. Then we will be having the beans detail onto these leaves and meet me on to the edges of the leaf is very modeling in the darker tones of the bone sienna color. So all of these sienna color, I'm adding that on there. That is, my layer of leaves is still wet with the yellow, orange tone that I added in. And I'm adding the bond sienna color onto the wet color tool. The yellow and the orange color that we apply, it was wet on dry. That is, a leaf was dry and reject me began to apply the color onto a dry leaves. Now, this is wet on wet because we already have the bottom layer of the color tones and we are adding in the second color tone that on there. So just add a little of the bond sienna onto the edges very carefully. Make sure that you do not run out of the shape of the leaf. And you can see, when I seen that the blending is difficult, I just pick up a little damp brush and try to blend it into the background of the yellow and orange. Now I have picked up a little bit of the bond. I'm going to add little of it as well on Buddha edges to give some darker and some shadow details to the leaves. So it's going to be very little as compared to the bond sienna details that we added in. And again, this is also wet on wet. So you need to run a little victory while adding these details but on. But in case of any value field, you're painting is drying. Then we run the palace again so that you get your leaf species remains wet for a longer time. Now you can see wherever I seen that the blending becomes difficult. Again, I use a damp brush and quickly blend that space. My leaf is still wet for me to add for the leaders for another two to three minutes because I'm using a 100 percent cotton people. Hence, I always recommend to go ahead with a 100 percent cotton paper because it will give you a lot different result as compared to 25 percent cotton paper when you're walking wet on wet. Because your people automatically stays wet for a longer time because of the cotton fibers. Now you can see that the bond amber color, I get very fine edge to the entire leaf or using just the tip of my brush. And that's often places give darker edges onto the edge of the leaves. Now I'm picking up a little bit of the sap green color. I'm going to add little droplets of the team follow on to that old top edges of the leaf. Very little, not much. And my background is still valid, that is an easy area, is still wet hands. I'm able to add these in case if you are lethal strain, you'll have to take a little extra effort to blend this talent to the backbone and not have patches of the V01 color onto your leaves piece. So it's going to be very little of the effects that I'm going to add. So basically it's trying to depict that Gandhi was actually gene, which is turning into a yellow autumn leaf now. So it's in the transition phase. Now, I'm picking up the Payne's gray color. I'm going to add this branch detail. As I told you previously, we will be adding this detail in the main focus. So just fill this piece completely with the Payne's gray color now. So let's be 0 after these to dry completely before adding the final details to one leaf and this painting. So now my entire painting is completely dry. It even the leaves. I just picked up a little of the Payne's gray color. And I'm going to add a little of the detail bush effects to this blurry bush that we added at the bottom species. Just as we added some D1 nice previously into the top speed v, just adding a little D1 which affect your into this Lori Bush effect that we added wet on wet previously. So you can see just at the top I gave the detail bush loop and at the bottom space, I fill the space completely with the Payne's gray color. If you want, you can add these details with the black color directly. If you do not have a Payne's gray color. Now if you see my leaf space, it's looking so beautiful even without adding the final details into the leaf area. And I automatically have a glowy background to the leaf because of the yellow color. And all the colors of my leaf have blended in so well. Now I'm picking up a mix of the bond umbo and burnt sienna color and getting or darker brown tone. And now using this color, I did just add in the branch details or the vein details of the leaf. So I'm using my size 0 brush, which has a pointed tip and it is a very fine brush. Now using this brush, I will begin adding in the V&V deals. This time, we will make up all the main veins of the leaf popping up from the bottom most step, that is, where the branch is a noun and verb, the neatest popping up from there we will add all the five to six main branches. So now you can see from the bottom space of the stem, I'm popping out all the major veins. And then this we will add the smaller branches detail. So you can see all my branches of the NIF are dropping awesome 1, that is bear the branch from which the leaf is coming out is hanging. Now to begin adding the smaller branch DPS. And you can connect a few of the smaller branches still the edges of the leaf, as you can see, I'm connecting them. I even gave a little more, oh, you know, thicker detail to the main five branches that we have added in so that they stand out separately. Again, I'm using my smallest size brush. This is a size 0 brush, which is a, which has a pointed tip. And using this brush, I'm just adding in the details to the leaf area very nightly. And you can see the palate is not too dark. It looks a little setup with the leaf detail. So I'm done adding in the second set of branches. Now from these branches, I haven't followed up about smaller branches giving in more detail to the leaf. So this time, as you can see, we are adding a lot of detail of beans into the leaf area. In the first class project, we did not add much of it ahead into the coming days class projects in a few of them we will be adding little in a few of them, even not be adding any needed. We will just be having flock of the means together. So just filling smaller. And you can see, I'm trying to get our balance between the veins that I'm adding it. So try to have a balance of the size and the shape and the movement of these wheels. So I'm going to add in the weeds. Now, I will pick up the sepia color. So in case if you do not have a CPR follow, you can just pick up any darker brown pool or just mixing a tint of the black color to your brown color and get a darker brown thing. And now using this and using my fine liner brush itself and just going for me the main veins that go so that the standout and they act as the main beans into this nice. You can see I'm adding these veins tend only budget docker bone and they're automatically popping out and the rest of the veins look a little more settled into the painting and exactly how we need them to be. So that is it for our painting. Let's remove the masking tape. Make sure that before you begin removing the masking tape, the edges of your painting is completely dry. And always remove your masking tape at an angle against your paper so that if there is any water droplets or pinch droplets onto your masking tape, It will not see back onto the edges and it will maintain your clean edge loop. So your final painting for the D02 Class Project of the attendees class. I hope you guys enjoyed painting this leaf and focus to D and getting that blurry background. I will just add a little of the white details to this stamp your using my white gel pen. If you want, you can skip this part or you can add it using whitewash. Just a little outfit to highlight the stem space as bed. So that is it. We are ready with our class project. I hope you guys enjoyed painting this T2 class project and having this knitted or you know, sunlight from behind the leaf space. I will see you guys tomorrow into the D3 class project. Thank you so much to each one of you for joining me. 5. Class Project 3 - Blurry Sky: Hello everyone and welcome back to the third class project, the calculus that you need for today's class project. This Naples, yellow, orange, burnt sienna, burnt umber, black, bright blue, and ruby color. We will keep discussing the abouts need colors as we begin painting. So today we will be painting this blurry background and then either beams the mean leaf in focus in the hardship this time. So even for Sloane to create this slowly back down and getting all the details there, wet on wet. And then we will paint the leaf veterans die. So let's begin with the pencil sketch. We are going to be having a blurry background with some blurry leaves in the background. And in the main focus we will be having the heart-shaped leaves in the center of this piece. So I'm just going to mark out of branch, and from that I'm going to pop out this mean leaf, which is going to be in-focus. So this is going, my main leaf in focus and rest of the EVA is going to be blurry. So I'm just adding a few branches so as to give you a little outline of what we will be adding. So these branches will be in-focus. I will also just drop me, Marco, some leaf petals naught, which we are going to add in the bloody vanco. So these details, we will be adding wet on wet and all the colors will be most and with soft edges amongst each other, the only main focus will be the hardship need rest. All of the needs are going to be in the blurry background, which we will be painting wet on wet. So let's begin by applying a clean CTO photo onto the entire tobacco. I even need the mean leaf and focus without applying the Leonato photo. We will be that leave after we're done painting the entire background. So now I'm not adding any water into the leaf. I'm running my brush very carefully around the leaf space. Make sure that you apply even photo for the 210. Make sure that your people stays wet for a longer time. Because we are going to add a lot of data on wet technique this time to get the blurry background. So in case if you are using a 25 percent cotton paper, make sure put down your brush multiple times so that our people remains wet for a longer time. So I'm done applying a clean photo for the 200. And you can see despite using the a 100 percent cotton people, I have run my brush multiple times. And also, you can see the rest of the pencil sketch of the leaves that I'm going to add in the blurry background is very light because I do not want them to stand out and the charcoal mass will not go over V1 to apply the beat, make sure that you add the pencil sketch with a very nighttime. Now first I'm picking up the shade of Ruby and I'm going to mix in a little bit of orange to this. So in case if you do not have the ruby color, you can use this pilot sheet or permanent red for. Now, I'm just going to mix this and pick up this color. I'm going to add it in blue, these leaf shapes that we added. So I'm going to add three of a rough looking leaf shapes with this scholar force. And you can see, and we're adding them wet on wet the paints are automatically spreading and having a soft edge into the banknote. But when an item beans, you can see I'm not adding a lot of water. I have picked up the beans in a medium consistency so they're not losing their sheep, but they have a soft edge because of the wet-on-wet technique that you're using. So I'm done adding these three leaves with the red dot. Now at the top space, I'm just going to add a little off the red patches and some of the orange patch it has been. So now you can see I have picked up more of the orange color. I'm just going to add little patches and leave some space in between. So all of this is going to be the blurry leaves in the background that we are trying to depict in your, now underneath your essay, then I will just add a little leaf shape. I did not add the pencil sketch for all of this because it was not needed as we are adding a very blurry banknote. Now at the bottom space as well, just going to add a little leaf sheath. And this is again all in the blurry view. So you can see the beans are spreading automatically on the road. Now next time picking up the bone sienna color and I'm going to add little of the buoyancy and Apache in between the red space where I have left in the white space. So I'm just trying to add little octo autumn leaf effects to this back down leaves that we are trying to add it. So just adding little punchy and a thick that piece to add some darker shadow details to these leaves that we are adding it. Now also just using the tip of my brush, you can see I'm adding a few of the branches using the brown door into the backbone. So they are going to be again in the blurry V, because we're adding them wet-on-wet. Make sure that your people didn't pay because we still have to add all of the whitespaces with the color so your paper has to stay wet for a Enough long time. So my background is still wet and now I'm going to pick up the bright blue color and I have picked up the calendar liquidy consistency. And I'm going to add it into the rest of the whitespace that we have on to the entire backbone. Make sure that you just don't add any color into the center. Now you can see when I'm adding in the blue color, it's mixing with the red and the browns. So when it makes us with the red, you can see it gives a little open shade onto the edges and when it mixes with the brown, it will form a little bluish tone sheet up there. Now you're at the top space has venue, the center. I'm adding some blue droplets and new to the edges of the leaf as bad. So quickly into the rest of this piece, I'm going to add the blue effects. So in case if your paper has dried and even in between, make sure that you read for your entire sheet to dry, then revert the entire speech, and then go ahead and add the rest of the colors. So this little area, your hydride. So I just picked up a damp brush and I'm trying to revert the entire area surrounding to this. So you can see because of that, this violet Lisa, sorry, the red leaf out you are has turned into a violet tone of voice. But it's adding to the blurry background. And you can see how easily I'm even to achieve more blurry effect into my bag down because of the kalos blending into each other. Now this bottom space, you're seems to have Dido. So what I will do is I will just add the blue color on the edges and then use a damp brush and the entire area and try to blend the blue and the red. So you can see automatically I get lean blend between the kalos and I get a perfect transition has been, I would just pick up a little of David cheat again and attitude because it's stone to light. Now, whenever you feel that the palace and not blending into each other, make sure that you use a damp brush and blend the colors into each other using a damp brush that will give you the perfect effect that you need it. Now I'm just going to pick up and login after dark brown color so you can go ahead with either a sepia color appear to dark brown bone diving a little of Payne's gray to your brown color. Now just going to add some darker patches with the brown color at the top space and your alittle at the bottom as well. So again, all of this is also wet on wet. Now next time picking up a little bit of the Payne's gray color and I'm going to add a few of the beans, three branches, they don't pay. So you remember we had mapped out a few of the branches with the pencil Moffitt's. So around with that species only am just giving in a rough or, you know, using the tip of my brush beams, three branches effect. So all of this, as you can see that on there. So when this fungi, it will all have a blurry background and then add the mean focus on branches with Arctic and 0, 0 p color low. So I'm just trying to achieve that mean blends wherever I feel the follower is not spreading. Now next, I have picked up a little bit of the black color and I'm just going to add little black effects to the brown branches that I added. Again, this is also wet on wet. So you can see I had to make my people stay in bed for such a long time so that I could add in all the details but on at any case, if your paper dries in between, make sure to stop dead in their leave at their entire people once your entire pieces dried and then go ahead with the painting. If you want to know more about the alleviating technique, I would recommend you to visit my class on deviating technique and understand the re-weighting technique in detail. So you can see since I was using a 100 percent cotton people, my people was wet enough for the entire time for me to add in all of these details. Now I didn't wait for all of this to dry completely and then begin adding the main focus details into this painting. So now my entire bag. Dried and you can see we've got such a blurry dive though that is trying to show in some blurry background leaves us just as we are going to paint the main focus leave in the front one. So the leaf that we're going to add is going to be of the yellow and the orange and the brown sheets. So I'm forced picking up the shade of Naples yellow and I'm going to add it onto the entire leaf here. So I'm going to go wet on dry. So that is, I'm not adding any layer of water. I am directly picking up the Naples yellow color and I'm going to have it onto the entire day. And then onto this red color background, we will begin adding in the red colors with the different tonal value of orange and brown supposed to cover the entire knee. Shade of yellow in case if you do not have the Naples yellow, you can go ahead with any night shade of yellow. You it may not be the same sheet as mine. Also, case if you want, you can go ahead with a different color combination for this leaf in focus, but make sure that it's connected to the autumn colored leaves so that it goes into the team of autism. So I'm just going to fill in the entire space with this and I'll make sure that this knee remains wet until I add in the different colonials onto this leaf. Now next I'm going to pick up the shade of orange color and I'm going to add some orange patches onto this yellow background leaf that I painted. So now this orange color that I'm adding is going to be wet on wet because my leaf is red because of the yellow color knew that I added in. Now I'm just going to use the tip of my brush and begin dropping the orange color in small, small patches like this onto the entire body. And because the leaf is bed with a yellow color, this will automatically spread and give me a patchy look to the leaves, just as I wanted. Also, in case of your one, you can go a very different background as well in your, so you can please, the red patches in the Python vary randomly wherever you want and paint the rest of this guy with the blue color just as me being there and then add the branches so the placement of your leaves into the blurry background can be anywhere. We're just trying to create a blurry background and a main focus needs. That is when you click a picture, you know, your main focus is on to a subject and rest of the background is blurry. That is what the effect we are trying to get into it. Now I've just used a dash, dash and I'm just trying to blend in the orange sheets with the yellow color because the color I'm using is not enough, extra liquidy consistency. And do a little blend with the yellow color. I'm using the damp brush in-between and blending both of the kalos Vin. Now next time picking up the shade of burnt sienna and I'm going to add Nitin of the bone sienna color onto the edge of the leaf. So my mean is against in bed and all of these details I'm adding wet on wet. So you need to be a little quick so that you'll get a very blending look to the entire leaf. So I'm going to add a little of the buoyancy and Apaches and medially add the bone sienna onto the tile edge. So I'm adding patches with the bond sienna color. Now I'm shifting from my smallest size brush, size two brush which has appointed and now losing the bond sienna color. I'm going to add it onto the entire edge of the leaf. This height, my entire pencil marking of this leaf. And it will get us need for a proper focus sheep that we wanted with the blurry background. So if you see my leaf is still wet. Hence, when I'm adding in this brown detail onto the edges, it's automatically spreading onto the edge of the leaf and blending with the leaf and giving me a perfect looking edge and a blending into the leaf. Now, make sure that you do not use the brown NO2 liquidy consistency. It will spread or not. And we'll cover major part of the leaf which we do not want. Hence, when you're adding layers on layers onto the leaf, you need to control the water accordingly according to the look as you want artist. If you want the paint to spread a lot, you need to use them in not too liquidy consistency. Or as you need to use them in a light consistency. Now let's be it for this needs to dry. And then we will begin adding the final details onto the leaf. Then I'm just picking up some Payne's gray color and I can begin adding the branches that we marked out with pencil earlier. So now I can begin adding these branches using the Payne's gray color. I'm going to use may seem size 2, pointed tip brush. If your brush does not have a pointed tip shift or detailer brush for adding in these fine branches. So far, I haven't covered up all the branches that are visible with the pencil sketch. And then randomly I even added a few more branches. So you can see I forced covered the branches of the pencil markings and now I can go ahead and add a few more branches. Also. If you noticed, my branches are very crooked and I'm trying to add them in the most natural sheep possible. So I'm not adding them in a simple straight line. You can see Coby edges and the rough looked at I'm trying to add to these branches now see the, I'm just going to pop out a few branch from behind the leaf as bed. And now I'll quickly add few more branches. Now what I'm going to do is first diagonal these takeover branches, and then I will begin adding some smaller branches popping out from these Tico branches. So you can see just size two brush, I'm even able to add the ticket branches and the branches. So whenever I want to add the Tico branch, I just press my brush so that I get that thickness. And then I want the thinner branches. I just use the tip of my brush to get that to no branch low. So in case if your grass does not have a pointed tip, shifts to a detailer brush for adding in the thinner branches after diving into take-off with a bigger brush. Now I'm just going to quickly add in a few more smaller branches, and then I will add few branches at the bottom space as well. So now at the bottom, I'm adding a few of the branches as well. So these branches are going to be just overlapping onto the goatee back down branches that we have added in your seats, not exactly overlapping, but you can see the bloating branches are also visible. And onto this, just adding a few of the mean focus branches, just the same way as we added at the top speed, we are going to strike a balance between the thicker and thinner branches, as well as make sure to add a few of the smaller branches popping out from these bigger branches like this. So just to add in a topic at the bottom space has been further branches. Now, my leaf has completely dried and I didn't pick up a shade of brown. So I have picked up the book alone. And with any darker shade of brown that is available in your palette. And using this color, I will add the veins into this nice. So I can begin from this enters and from the bottom tip of the leaf I'm going to pop out all of the branches first. And then I've been given some details into these beans as Ben. So you can see how from 1 of the center, I have popped up all of these beans. Now from these veins I'm going to pop out this yellow beads. So I'm just going to use the tip of my brush and add the smaller beans. Make sure that you use a detailer brush if your brush does not have a pointed tip, because these details have to be very fine. So I'm just going to add very little smaller when DVDs quickly. So you can see a smaller wins that I'm adding. They are quite light because I'm using a brown colored liquid consistency so that they look a little settled into the bag. And I'm just using the tip of my brush so I'm getting these fine. Now. I then just mix in a little bit of the Payne's gray into my brown color. And I did denote the mean means that we added previously. So just going to add a little highlight to the main week so that they pop out into the leaves. And the smaller bees will be there with the lighter brown tone. So you can see just adding the highlights only done half of the weeds and automatically it's giving them IV a little more detail. So that is it we are done with the painting for d3 has been such a beautiful autumn leaves with such a blurry background, with some red autumn leaves in the background. And the main focus now. So I hope you guys understood how to create a blurry background and enjoyed painting this with me. Let's remove the masking tape and see our final painting. Make sure that your edges are completely dry and there is no water or wet beans or do your masking tape or is it miss it back into your people and spoiled the edges? So your final painting for the tree. I hope you guys enjoyed painting this beautiful autumn leaf illustration today. I will see you guys tomorrow into the next class project. 6. Class Project 4 - Leaf on A Wooden Log: Hello everyone and welcome back. Let's begin with the class project for the calories that you will be needing for today's class project is being Naples, yellow, orange, bond, sienna, burnt umber, black, and bright blue. We will be painting this maple leaf onto a wooden block. And we then learned to add the shadows to the leaves and also learn to create the details onto a wooden law. We will learn to add the details with different color, tone and mediations to get the light details into the wooden logs, then the darker details. So without any further ado, let's begin to pinch to these class project and create this beautiful maple leaf onto a wooden log. So let's begin with defenses sketch. The only pencil sketch that we will be having is the maple leaf in the center, all the wooden log D, DNS we will be adding by being done. We won't be having any benzene sketch for the modern law. So let's quickly mark out a maple leaf. You can see I'm mapping out the edges of the maple leaf vary randomly and trying to get a very natural shape to the leaf. So make sure you have a very rough edge and also make sure that you will not add the pencil sketch to make a big move into the sender ISPs like this. So I'll just call this our plane. And then given the sharp edges to this nice now unfolding the Maple Leafs quickly. Now at the left side, I'm just going to add small VDS. So these are going to be the holes into the leaves from which underneath the wooden log will be visible. So that is called the pencil sketch of the leaf. Now, I'll begin that mean photo, photo. I believe the leaf speeds without applying the water and I will apply water. The rest of this piece, make sure that you run your brush ready get linear to the leaf because the background is off adapt color underneath is of a light yellow. So we need to avoid the themes going into the leaf space. Engage. If you do not want to, leave it blank, you can use a masking fluid automatic to mock out the NIF space and then apply the water. Now I can use a smaller brush near to the leaf and apply the water. They're very carefully outside the shape of the leaf. So you can see how carefully using a smaller size brush, I'm going to add the details around the leaf space quickly and make sure when you're adding that your rest of the space shouldn't dry. In-between, you can see I pick up my flat brush again and I did on this piece also that the Vermont dry and then I add the edges of the leaf. So I am then are blank the edges of the leaf and now I'll just quickly once again dry my brush onto the rest of the people. And then they're done applying the even coat of water. In case if you're using the bending phase percent cotton paper, I would recommend you to first apply a clean the Euro photo. Wait for it to dry a bit. Again, apply a layer of water so that more people will stay the vague for a little longer time. Because we are going to add a lot of detail radon bet and trying to get different variations into the wooden space. So now let's begin to prepare the fallow for the wooden space. So I'm going to use a mix of the turquoise blue, and bright blue color in this. If you do not have a dope boys blue color, you can just add in a little thing of the VDD and V-naught immorality to your bright blue color and begin using it. You can even newer sitting in NACADA if you do not have a bright blue color. So I'll quickly prepared both the color mix enough so that I can have with practical enough for the entire space. Now I will begin applying this color. You can see my color isn't a medium consistency and it has a lot of water into it. So I am applying a light layer of this fellow first because then we'll do this. We will be adding little darker areas as well. Make sure that you do not run into the leaf space. Again, near to the leaf if you want, you can use the smallest size brush to apply the paint color. So you can keep both the brushes handy. Or if you want, you can just use the tip of this brush and applied almost near to the edges of the leaf as I'm applying it. And then o on Buddha, immediate edge off the knees, we're going to be adding the shadow underneath. So you can leave that space MD. So you can see just how using the tip of my brush, I added it onto the edges so that I do not have to shift to a smaller size brush again and again. And that is a little wide gap onto the edges, but that's perfectly okay because we will be adding the darker shadows to the leaf out there later on. Now while this is still wet, let's prepare the same color mix, but this time it's going to be in a little thicker consistency. That is, will be adding less or photo because we need the darker tone. And now using this darker tone, we will add some details onto the wooden door. So I'm mixing the same fellow that is the sit-in in blue and the turquoise blue. And using a mix of these two color. But this time you can see my paint is a little darker because I've added less of water and have shifted to a size 8 brush now. And I'm just going to add some diagonal line with this darker color combination. And very randomly just add some tick cause some thinner lines with this darker dawn. So we are adding these details wet on wet as you can see, my paper is still wet so the beans will spread and have a soft edge automatically and give you somebody didn't look into the wooden log space. Make sure again that you do not run into the leaf space and then diagnose, just keep adding a few of the lens. You can see I've added them vary randomly and onto the edges I'm giving more of it. Now again, I'm picking up the scene follow mix, but this time much more darker than the previous year as well. So this time I have added a little more of the dope boys knew and less of the city didn't move. And I'm going to give a little more darker details moving out from the edges. So now in this industry is I'm going to keep it light. I'm just going to add major streets onto the edges. So I have been adding all of these details. And you can see my paper is still wet. So that is why I always recommend to use a 100 percent cotton people. Now, by the way, still wet, I will quickly pick up a little of Payne's piccolo and add the shadow to the leaf speeds. So for adding the shadow to the NIF space, I'm going to shift to a smaller size brush. So I'm going to be using my size two round brush, which has a pointed tip. Now in these, you do not have the themes recolor. You can use indigo color mixed in with a little tinge of black. And very gently onto the edge you can see I'm just dropping little of the beams giving you some darker details. So basically this will act as the shadow who the leaf that is lying on to the wooden law. And make sure that you do not add a lot. The indigo Payne's gray color and will not give you a good luck. So make sure that you have not had a lava flow so that the shadow has a soft edge. So I didn't quit. So you can see I'm just using the tip of my brush and adding the shadow very lightly and only onto the edge, very thin lines. So make sure you use a pointed tip brush or a smaller-sized brush. And remember, do not add a lot of water to Europeans de Coulomb. Otherwise the beans may spread a lot into the blues. So that is it for the basic wet on wet for the bedroom of the wooden space? Now let's wait for this to dry completely. Then even adding the final details onto the wooden log and then paint the maple leaf. So now my entire background is tried and you can see the lighter shadows into the wooden log space and the darker strokes that we add it. Now, I will begin with the Payne's gray color for adding in the wooden log VDS. So first I'm going to use two colors. One is the mix of the same blue color that we use in the background. And I haven't used that intelligent diluted consistency for adding some lighter details in the wooden law. I haven't been using the Payne's gray color in our DACA consistency forced to add the darker strokes, false. I will begin with the Payne's gray column. You're at the top left edge and begin adding or wooden, not so-called detail. So I'm adding these details very roughly and very randomly ended a freehand so as to get the natural look to the wooden law. So first you can see I'm just adding very crooked lines and just trying to give in detail. Then we're going to begin adding little details with the lighter blue and then add the darker strokes and the thicker strokes with the Payne's gray color. So that is it for the edge. Now I'm just going to move my brush, keeping it perpendicular. And I'm just going to move it into a spider and sheep like this, into the entire insight. Now, I'm using the mix of the blue collar job offers for adding in some lighter VDS. And you can see I'm moving this by them in a very rough shape and triangle make it crooked as possible. The more delicate details you will add, the more natural look it will have to the wooden logs piece. Now just going to add little of the blue lines. You're adding these details, make sure up on oxygen into the leaf space. Otherwise it will be very difficult to achieve the nice look because of the darker tones underneath. So now again, you can see then I'm adding in these lines into the wooden log. I'm adding them very crooked and trying to move my brush with a very shaky hands so that I get all these crooked lines easily. Now just going to add a few on the top you are as well. So first I'm just adding very limited nines with that blue color mix. And now I have shifted to the Payne's gray color. And I'm going to quickly add the thicker lines with the Payne's gray color. Make sure to use the Payne's gray color in a good thick consistency. I'm even I didn't let him DACA effects to the blue lines that we added in. So even have an underlying blue donors well, and even have a little of the darker effects has been. So the key thing is to use Payne's gray color in a thick consistency so that you get this thick look under bright look of the colors and then even be adding the rest of the details. That is those smaller lines in between these thicker lines with the lighter boards. Now, again, I'm going to add these lines very crooked me. I'm not adding them up, add them into each other. You can see I'm trying to vary the sheep and the distance between each of them so that I get the natural look. So just quickly add a few of them onto the top and the bottom side completely and then even begin adding the father. Now you'll notice as I'm adding them, I'm giving them very thin stopping point and then pressing the belly of my brush and giving it that t goes to x. You can try to maintain the look of the wooden law. You can see some of them. I begin from the center of each ADL. Some of them I just need a tough space through. So all of this will add to the natural beauty of the wooden block. So it's very important to keep leading them. Now I've shifted to my size 8 brush and I'm going to pick up the paints gray color in Arctic consistency and add a very thick log onto the right side. So not exact. Log button, take d1 onto the wooden box. It's kind of a very big crack that we are trying to depict into this blue golden law. Now again, I'm just going to add the thinner lines as the by adding the darker blue. And we'll be done adding vertical lines like this. Now I'm going to use the same pins, three colors you can see. And this time I'm using the fallow very lightly and I'm just using the tip of my brush and adding random lines into the space you are given also be adding little of the lines with the blue color as well in a diluted tool. So the key here is again, that you have to keep reading between watercolors. So first using the blue color, I'm going to add little more of this fight and look, you are in debt into the wooden logs and then wait for this to dry and then add the other line details with the Payne's gray color. So very randomly first using the blue color, I'm going to add little of these Biden looks very randomly. You can see I'm moving my brush. I'm moving it in a perpendicular mano and moving it very randomly to get a very natural spider shape and not trying to maintain also a pillow shaped to that. Okay, So I'm done adding the spider shapes. Now I didn't these Biden ships try. I will quickly add the fourth video for the nice You're so that all those by Andres, we will have the photosphere of the leaf. And then when we add the details into the wooden, not the first year of the leaf will also dry and so forth of the NIF, I'm using Naples yellow and cadmium yellow light mix. So in case if you do not have the Naples yellow, you can directly use any lighter tone of yellow. So for the leaf, I'm going with the technique, wet on dry. So that is I'm using the wet paint onto a dry surface. And I'm just going to add a very bright layer of this yellow color. Be careful near to the edges of the NIF. Otherwise the palace on the edges may get reactivated and may ruin your leaf. In case if your brush does not have appointed onto the edges, you can add the details with a pointed brush so you can spin the entire Sandec week, leave it at the COP brush, and then shift to a detailer brush to add the edges. The first quickly adding the same bill, and then using the same brush, I'll begin adding the edges very carefully. We still ask the Latin Newton didn't wet on, wet onto the leaf as well. So make sure that your leaves these but at least for a minute or two. Now using my smallest size brush, I will quickly added onto the edges as well. So that is it. You can see I'm done painting the first year of underneath my layer is still wet. Now I can quickly pick up the yellow orange tone. So in case if you do not have the yellow orange, you can just mix it a little bit of your Scarlett or of a medium color to the yellow tone and get this yellow orange tone. So in case if you mix in Scala, you just need to use like 1% Scarlett and 99 percent yellow, yellow ocher. Just going to use this yellowish orange tone and going to add it your very randomly onto the nice wet on wet. So the paint that I'm using right now is in a liquid consistency so it's spreading and giving me the perfect blending into the background. So make sure that your leave as vet for adding in this detail. Otherwise you will simply get patches of color instead of getting a blending between the doors. Also keys if you want your knees to stay wet for a longer time. What you can do is you can first add in a layer of water, then add the yellow piece, and then begin to having this color. So in this way, the leaf and stay wet for a longer time. But since I'm using a 100 percent cotton paper, I know New York of mean is enough. Time will be enough for me to keep the paperback for enough time. So as to add all the leaves, I'm using a smaller size brush for adding the details. And you can see very carefully I'm adding in these details onto the edges. And I'm trying to get a blend between both the kalos. Wherever I feel that maybe first joined, I quickly use damp brush and I'm trying to revert that area will get a perfect blending. And you can see, now I'm getting to color tones into my needs space, giving me more natural look to the lease. Now next I'm just going to pick up a little bit of the bone sienna color and I'm going to add little details with the burnt sienna as well. So you can see that buoyancy and RDDs are going to be very less. And I'm using a diluted all of the bones sienna color so that I do not have a lot of Taco DBS. Now again, using a smallest size brush, you can see I'm adding the darker details with the bone sienna color onto the edges. And wherever I feel that the paint is drying, I quickly use a damp brush and I'm trying to blend the colors so that I do not have any sharp edges with any of the colors. So very carefully, you need to add this on MSN, the edges so that you have Docker look onto the edges and it will give you a perfect blending. And also remember, any variable you feel that you need a little blending. You can either pick up the base color that is the yellow color for blending or use a damp brush and quickly blended. That is why, again, I recommend you to go in for a 100 percent cotton paper. It will stay wet for a longer time. So just that little brown details as well. And we are done with the brown dy dx. Now I will quickly just shipped to a pointed tip brush and give the sharp edges so that I have a perfect look to the edge. Now again, let's begin adding the details into the wooden log space. So again, using my point that the brush most assign 0 points did that this brush has, and I'm just going to add the details in Buddha wooden log space. So I'm going to add very thin random lines into these spaces, which we have left in between the thicker lines. So you can see how to, you know, these lines are. And wherever I feel the need to dock in the thicken lines again, I will just run allele or of the Payne's gray color again to give some darker details again, to these thicker lines. So you can see how random I'm adding these crooked lines, giving it more details to the wooden logs piece and randomly I'm adding them and moving my brush Very good. Do not worry if you only on to any of the nines as well. It will only add to the natural beauty of the wooden law. So the best thing painting your is you have to be careful though, that you have to take is that you do not run into the leaf speeds, rest any Vanguard strokes can be overlapping or can be in any shape, any direction. You need not worry about anything. You can just play in KDE three. So I can quickly add the details onto the rest of this piece and you're on to the left side. I'm adding some darker details wherever I feel the need and I feel that there is a lot of lighting there. So just adding little darker details here quickly. So you would have noticed wherever I feel the need, I quickly run my brush again to given the docket ticks took wherever I feel that the thick stroke is no longer visible. So for adding that takes stroke and I'm using the same brush. So what I do is I just press the belly of my brush and get those tickets to giving in the darker details like this. And it adds to the beauty and adding and near to these because talks gives in more depth to the painting. So that is via done that adding all of the details onto the wooden law. Now let's meet for this needs to dry and then add the details. So now my leaf spaces completely dry and let's add the final details onto the leaf as well. For adding the details onto the leaf, I'm using a mix of the bond umbo and a little of the yellow color. And I'm using a very self tone color of the leaf only. And I'm just going to add the veins detail into the leaf. So in case if you feel that the palate is too light, you can just add in a little more of brown to the yellow mix. And either you can directly use raw umber color if you want. But mixing yellow and brown together will give you a more muted tone, which we'll set. And when we then tie on trying to give it the transparent when details. So first I'm going to add these pKa and the longer weeds and then I can add the Chaka wins from these ones. You remember that to hold onto the leaf that we still have needed to add the blue color then later on at the end. Now, the same color I'm adding this model wins from these big obese. Then I have an add a little more depth to the Big O wins with our darker tone. So very randomly and very small wins that I'm adding it now. And you can see I'm moving my brush again, Very good c and very gently. Now I have picked up the blue color. I'm just going to add these two holes here. So underneath from this hole, the wooden box pieces visible, so just add the blue color into this piece. Now lastly, I'm going to use my white gel pen for adding in some details. So I'm going to add little white highlights onto the leaf and the wooden species. So in case if they do not have a white gel pen, you can use invite quash with a very pointed tip brush and add in these details, right? Watercolors will not give you this opaque look. So I would recommend you to either use whitewash or white acrylic. But if you have a white gel pen, then that's the best thing to use because it's easier to add in these details. So just adding little eyelets into the veins of the leaf and the little highlight onto the wooden logs. Before that, I will just use my pointed tip brush and some Payne's gray color and just give or detail to the entire leaf. So I'm just using the tip of my brush and adding a very fine line and defining the shape of the leaf and do not cover the entire shadows piece that we added with the Payne's gray wet on wet just died a very fine edge to this. If you want, you can use your fine liner pen of a black color and adding a very fine edge to the entire nice. So you can see just by beginning to add the edge to this need, we are automatically getting such a detailed look to the leaf. And the leaf stands out more beautifully onto this wooden law. So make sure to add this line verifying and do not add a thick line. Otherwise it will not give you the natural law. Now after this, I will just quickly shift to my white gel pen again and add little detail onto the wooden block. And then we'll be done with this painting for today. So you can see I'm adding these guidelines vary randomly and very limited. Now one last thing, I will just pick up a little of the Payne's gray color in a thick consistency and add little darker details Your to this five and look because I'm finding it to light and just very little, not much. So that is I justifying the little of those edges new to this fight. And now let's remove the masking tape and see our final painting with those clean edges. Make sure that your edges are completely dry before you begin to remove the masking tape? I haven't covered that knee with white quash later on. So your is our final painting for class projects for I hope you guys enjoyed painting the wooden details and sneak onto a wooden law. I will see you guys into the next class project soon. Thank you so much for joining me. 7. Class Project 5 - Leaf on a Window Pane: Hello everyone and welcome back to class project phrase. The colors that you need for this class project is right goulash or the burnt sienna, burnt umber, black, bright blue, yellow, green, emerald green, Ruby, and Toko is blue. As far as the background for this building is concerned, you can see I have used a blend of all the colors. So don't worry if you do not have the exact same sheets, you can go ahead with any alternative sheets that is available to create that slowly back though. And for the nice, you can use orange and one sienna color. Let's begin with our painting for today. We'll first begin with the pencil sketch for this one. So the only pencil sketch that I will be having is the leaf in the center. This time, I'm going to add the leaf interface better to just please a leaf very random shape. You can see I haven't just quickly identifies petals to this. So I'm done with defensive sketch. And you can see it's a very simple pencil sketch, just adding a five sheep or five petal shape leaf in the center space. Now the leaf is going to be a mean focus and rest of the background is going to be blurry and we are going to given some gene drop dues effect. So first I'll begin with a clean coat of water. I will not apply water into the leaf species. So you will have to run your Russian little carefully. So just as the last exercise, I will first use my flat brush and apply the water and put a larger species, and then shift to a smaller size brush to apply the water in between the petals. So be a little careful and make sure that you're in diabetes has to stay there before you begin to be. So I will make sure that my paper stays wet. So in-between I will keep running my flat brush if needed. And also if you're using the 25 percent cotton paper, then as I always see video, people wait for it to dry a legitimate, then liberated and use in that week, your paper will stay there for a longer time because the cotton fibers in your paper will be read. And then when you revisit it again, it will have a lot of water content. So that will make it save it for a longer time. So now I'm just adding the species with the flat brush force. And then I will just pick up a smaller-sized brush and add up near to the leaf. So you can see how using a smaller size brush. And I have added the water is fit. Now I will just make sure that my desktop the pages bit so I will quickly just run my because it's flat brush. So that might be both stays bit. We're just going to be randomly adding colors. And then we're going to use our technique and create some effect into the background. So first we'll begin adding the colors into the background. Make sure that the colors do not run into the leaf space. That's the only case that you need to do. And as I told you, you can use all the alternative colors. If you do not have the exact same sheets, you can just go ahead with any bone that is available in your palate. So first I'm picking up the envelope gene color and I'm mixing in a little bit of olive green tone. So in case if you do not have this, just go ahead with your light green tone simply and begin adding the fallows very randomly. We are going to create a very colorful background. And then we will use water droplets and create some bloom effects into the painting. Wet on wet. Next, I picked up the emerald green color without mixing any other green to it. So you can go ahead and pick up the Donabedian green color over a darker green. Don't if you do not have the exact same sheets. Next time picking up the ruby color, I'm just going to add a little of this as well. You can even change the placement of these colors. You can add them very randomly vary where you wish to. It's just about playing with the colors and creating a good multicolored background. And also if you do not have the ruby color, you can use the solid color or any Victorian permanent red tone or crimson don't if you want. So you can see, I am very randomly placing the kalos and I'm placing the kalos. Little liquidy consistency so that they have a flow. And in between you can see the gaps that I'm leaving that for the other colors to flow in. Now next I have the turquoise blue color and vary randomly and just adding the turquoise blue color in between the turquoise blue also, if you can notice, I'm still leaving gaps for the other colors to come in. Now, neon to the leaf and you apply any color, you just need to be a little careful. So use a smaller size brush or use appointed the brush so that it's easier to add the BPS. So my size 8 brush also has appointed it. So it's easier for me to even I believe, neoplasia leaf with this one brush itself. Now vaping and the museum, I applied some turquoise blue color. In case if you do not have the turquoise blue color, you can just pick up your bright blue or any other blue color. Next, I am going ahead with the shade of violet. In case if you do not have divided column, you should know that mixed by now, it's mixing either pink or red with blue. And you can get a violet orange open. You can even go ahead with a pink tone or quinacridone rose stone or red violet tone your, if you wish to. So now you can see I'm very randomly adding the violet color in between the gaps as well. And if you notice, I did not have any specific pageant of laying down the colors, just named on them very randomly anywhere, just trying to fill in the background and create a colorful blurry background. So in case if you want to change the placement of any Kahlo's audio kalos. Move a bit you are and they do not worry, legit, fluffy the adrenal gland, a very good effect into the vector. So this exercise is all about just playing with the colors. The only care that you need to do is that your pins should not run into the NIF space because we need to create the myth and main focus here. So you can see I keep tilting my board in between so that the beans flow feeding into each other. Now, I'm just going to begin adding some darker depths with the colors. So Foster has picked up the darker tone of violet. So for the photosphere you had seen, I had big W's innovating liquidy consistency. Now at places I'm going to add some darker depths. So now I'm going to use the veins in our little thicker consistency. That is, it's going to be less of water mode of pins to get the darker tones. And very randomly around the leaf, I'm going to give him the Docker deaths. This will create a shadow to the leaf when nipping the leaf and focused. So you can just using the tip of my brush, I'm dropping the darker pins near to the edges of the leaf. Next I'm going to pick up the emerald green color in nautical consistency and accuracy and effects on the tin with a darker skin tone. So you can see, when I pick the darker green tones, I hyphae add any water and I'm just adding little of the darker tones such that the lighter tones are still now adding the darker tones with the ruby color also. So I just added in to denote the doctor bones with the ruby color quickly. And you can see I have the lighter effects as well. Under Dhaka effects has been. So all of this will create a balanced, so you need to strike a balance between the darker and the lighter tones off the sheets that you are using in the background. So I have added the darker tones which each of the column which I used in the bottom layer. So now I'm done adding all the colors. Now I haven't begin creating the water blooms. I haven't just pick up my round brush. I'm using my round brush tip. I'm just going to drop some drops of water very randomly and try to create some blooms with water. So I'm using the smallest size brush. This is a size four round brush that I'm using and I'm just picking up water and dropping it like this very gently. Make sure that you do not add too much water. Because if it would have too much water, it will create the obligor blue. We want smaller blue. So the droplet of water also has to be small. Now you can see very well you are dropping the drops of water. It's creating a bloom out there and creating lighters piece. And this will create a very good bookie kind of an effect into the background. So you can see how carefully I'm dropping small droplets of water and I'm going by very slowly, so available and I feel that I need little drops of water again. I'm dropping some water droplets again at the same place where I dropped the smaller droplets previously. So you can see we are getting such a beautiful effect into the background. So this is how you can use water blue. Now this water droplets to create blooms and create that exchange to your painting. So when this dries, it will give you. Book effect automatically into the painting. And you can see the beam's spreading beautifully with this droplets of water and creating a bloom into the painting. So if this is enough. Now next I'm just going to pick up a little bit of the white color in a liquidy consistency, I'm going to drop the same looms with the right color, creating more like us peace and creating more beautiful bouquet effect on the scene. Places where I had dropped the water droplets. You can see I'm just dropping in this white color, blue. So you can see it's creating a brighter bloom at that same place. Degree you will be having two effects. So the key here is that you have to use the white beans in a very liquidy consistency. As you can see, it's equal amount of water and feed and it's also liquidy that it's automatically moving just like water and giving such a beautiful and grind Huike effect inbetween into the backgrounds fees. So I've just deleted my people a little bit in all directions to get some beautiful bouquet effect. Now let's wait for this to dry completely. So my background is completely dried and you can see we've got such great norms because of the white and the water droplets that we used in. Now I have some white gouache on my palette already. I'm using the smallest size brush and I'm going to add some bright color maps to create a raindrop details or some voltage of little details that we're going to give in to this view. Basically we are trying to show a view from a window wearing that are water droplets on to the window. And we are going to have to leave stuck onto the windows. So that is a kind of a view that we are trying to depict in your, so very randomly, I'm going to depict the watermarks moving diagonally. So that is a reason you can see I'm adding the work amongst many. Now very quickly I will just add very random shapes with the white quash. And once this will dry, I will given details with the black color as well. So you can see the different shapes that I'm trying to use in somewhere. I'm just adding some small circles, some very big O white lines on very small droplets kind of shapes. So you can see I'm adding the right shapes vary randomly and in different shapes very randomly close to each other, trying to depict in and giving in the force Leo for the water droplets that we are going to try to debit. So try to get a balance between all of the shapes that you are. That is the street though big droplets, some smaller droplet shapes and some round shapes as we are trying to add it. Now also in between you can just add a little of the right dogs as well. And so may you can see I'm just leaving it as a tick U-shape, The adding the black colors later on. Now, the key thing your is that you have to use the white gouache in a thick consistency. You will not get the same effect with white watercolors because the white watercolors will not see this OB, as the white bushes staying in. So you can either go ahead with either whitewash, white it relates, or you can even knows white permanent marker or a white gel pen for adding these details. But write what the colors will not give you that great effect. And it's always recommended to either have a bush or a clinic in white color to add these opaque details into your paintings. So I'm almost done adding the right droplets. We will have to wait for this by droplets to dry before adding in the blank details to these droplets. So in between you can see I'm adding very bigger droplet D does. And in the sender I have the little droplets covering the space as well. Now I'm just going to pick up some whitewash and quickly splatter religion often whitewash, trying to depict in a little more details to the rain droplets, all the water droplets that we're trying to debate and adding to this building. So the white droplets are going to be quite less, not a lot of them. So make sure that you do not add a lot of them. And I'm just picking up the feet in a little thicker consistency. Dabbing it so that I get the opaque look. If you really add too much water, it will not give you an opaque MOOC and it would just make this a little lighter and not give you the white opaque effect. So that is it. I'm done splattering the droplets view as well. And you can see, I have got to sit there and look, and not too much. Now next, I'm picking up a mix of the red and the ruby color, and I'll begin painting the leaves. I'm done, the white marks of the droplets dry, then neither like the black details to the droplet as well. So first I'm just using this color and I'm going to add it wet-on-dry. That is the leaf spaces back. We haven't given an underlayer of water. We are directly using wet paint to add in the leaves. So this is the wet-on-dry technique. And now we will just add this color first and then add a little bit of the ruby color and the brown color details to the leaf. So first I will quickly add this color to all of the files. Make sure that your leaves to not have to die until you begin to add the brown color. So in case if you want, you can keep painting one petal at a time. So you could open the fourth layer for the first one shifts to the brown color and the brown color details to one, then shifts to the next petal, begin with the same orange and red color again. Hi. So I'm done painting all the leaves with the mix of the red and the orange color. Now I have picked up or neither ruby color and I'm just adding little darker depths at the bottom space to all of the phi. So you can see ruby colored is a little darker tone. So you can either use o any permanent red dawn bright red tone, whichever is available in your palette. And for the fourth year, if you want, you can directly use a vermilion color instead of mixing the colors. Now next time picking up the shade of bond Dumbo and I'll begin adding the darker details again at the bottom space. Now these details when I'm adding it, Being does not enter external equity consistency. It's in a medium consistency, so it will not even spread too much, but it will not even state. And all my petals are still wet. So this is all wet on wet that we are adding. So the bees will not be having a sharp edge, as you can see. Now again, just picked up a little bit of the red color and blending it with the browns very simply to get a perfect blend. Also, the t is 0. You can see then I was adding the brown details. I was just adding the VDS, keeping my brush perpendicular, just using the tip of my brush so that I only add little details and not too much. So just making the blending effect that places wherever I see the nice. Now let's meet for all of this to dry and then add the final details into this painting. So my entire painting is completely dry. Now I'm just picking up the brown and the red shade and mixing them together. And I'll begin adding the windy days into the leaf and then didn't add the final details to the droplets. So I'm adding very simple wins this time. Nothing much in detail. Very simple runs. Or big O in the center of the bed. Nice. And then just smaller weeds popping out from that space. In these if you want, you can make them bigger in with a darker tone and decide the beans with a lighter. Don't you give it a little more settled look. So that's falsity your choice. Also, if you want, you could change the color of the lease to a yellow autumn leaf, but since we have already been, did oh, you know, the first two paintings with yellow Autumn Leaves, I got up going with. And at least this time, but changing the fellows is completely your choice. Just make sure that, you know the similar tone is already in the background around the leaf space. So automatically it will create a balanced and also in case if you shift to a yellow color instead of the red color leaf, then I would recommend you just as we use the Adobe color in the background a bit as you can see, I would recommend you to use the yellow color instead of the ruby color in the background as well. Because the background you will be Carlo is basically depicting more of the autumn leaves in the background, which is completely blurry because of the main effect of window that we are trying to show in your. So just giving a sharp edge. But the brown that we use in the weeds of this well-defined the NIF much better. Now next, using the Payne's gray color, I'm just going to add the little d then you're at the bottom of the triangle, so the stem of the leaf with the black color. Now I've shifted to my smallest size brush and I'm using the same Payne's gray color, innovating fico consistency. So it's almost like a black color and around the white colors that I've added in. So this is, I'm going to add a black and blue, the center of the white and activates it. I'm going to add the black around the right time to create a balance into the water droplets that we are trying to show in. So now, I guess when you are beginning to add in the black color details, you can begin to see the vaulted effect that we were trying to show it. So now this is exactly what it is, that it is a window pane of glass window pane bedding. There is a lot of the water droplets because of the means or a good Showell. And onto that glass pane you have this one maple leaf stack which is in focus. So very quickly, just keep adding in the black details. You can either use a beans three color or a black color directly. But make sure that you use the climatic consistency so that it gives you this opaque details just as it's giving in right now. And I will be done with this, and then we'll be done with this painting but today. So let's quickly add in the video into the rest of the water droplets as well. In case if you want, you can even use either a black pen or a black marker for adding these details. But in case if you're using the black color, you need to be sure about two things that you use. A smaller size brush for adding the details so that you get the finer details. And secondly, that you use the black color consistency to get an opaque look like this. So i 1 was done adding the blank details as Ben and getting the phosphate droplets view on through all of the leaves. Now Wedding under me I'm just going to add a little of the black droplets only just as we had splattered the white color. So I'm just going to add little droplets only off the black color, trying to strike a balance between the color tones for the droplet area. And the last thing, just using my white gel pen, going to add a little highlight on to the leaves as well. You can use your white gouache and the smallest size brush for the C. So you can see highlights are just each octet. So finding, let's remove the masking tape and see our final painting with those clean edges. So I hope you guys enjoyed painting this beautiful painting with me today of windowpane view of a maple leaf. I would see you guys into the D6 class project tomorrow. Thank you so much to each router for you for joining me into this class. 8. Class Project 6 - Autumn Leaves Under a Lamp: Hello everyone and welcome back to these six, we will be painting this beautiful autumn leaves view with the roadside lamp today. The colors that you will be needing for today's class project. This beans green, Naples, yellow, orange, burnt sienna, burnt umber, black, emerald green, and white quash. In the last class project, we created some bookie effect using the blooming technique of water. This time, we will be creating the bouquet effect using different colors with whitewash, I'm using a damp brush for creating some blood bulky. So let's begin painting the class project. So I have my paper taped down onto all the four edges. We will begin with the pencil sketch first. So we're going to have the pencil sketch for the branch for the lamp, and father leaves the rest of the needles into all of these we would directly be adding with colors. So I will quickly beginning with the pencil sketch. So the branch is going to be out from the left side. And very randomly you can see I'm giving a direct to the branch. That is, I'm trying to give it a very rough shape and not going with a very simple shape for the branch. Okay. And the branches not going to be extracted gas bell, it's going to be a very small branch and above to it. And just trying to add in little details in between as I'm moving ahead. Now, as I move to the center, I end a branch and then I'm going to pick up another branch and begin adding the details into it. Now you're onto the top right side. I'm going to add in the lamp. So for the lamp, I'm just going to add a, add in a very basic shape of the land. And the outline is going to be very simple. The details into the lamp even today could be adding in with the Carlos, make sure that you do not add too much dark pencil marks. Otherwise, it will be very difficult to hide them because we're going to be having a very light background and just some bulky effect into the background. So it's going to be a pleasant evening kind of view that we'll be adding it. Okay, so make sure to have independent sketch very lightly. Now after this, I will just drag in four to five autumn leaves into the entire details your, and they would be popping up from different angles of these branches. So I'm trying to show that this lamp is hanging out from the branch are basically the hook of the lamp is attached to the branch. That is what I'm trying to show. And you can see I have added connection to watch them now and do the lamp. You can see I'm just adding some Anti-DDoS so that it looks more oh, and DQ and gives him a beautiful view. These details we will directly be defining a lot more with the colors and not be adding much with doll or a pencil, or right now. Now at the bottom you are as bad, just adding little details. And now I will just begin adding the leaves. So I'm done adding key knees. I'm just going to add one more leaf here at the left side, your just underneath the tech space of Baghdad be added in. And you can see the shapes of my NIF are all different and of different sizes. And I've added them very roughly and nothing specific. So this is it for our pencil sketch rest of the details even directly be adding it with the pains as we begin to be. So this time we're going to go with a photo, photo onto the entire painting. Because the background is very light and the videos and the leaf and the Lambda of Taco colors. So we can go ahead with a quart of water onto the entire surface without wiring. And oh, you know, Ovid out walking on to leaving the leaves and the lamps piece without the beans. But all one thing that you can take care of is when we begin to add the beans into the background. As much as you can try avoiding adding any Nios of the basic beans and do the lamp and the leaf space. So automatically tax base will remain extra white and it will be easier to get a better look there. As we will begin adding the fallows. Ivan, keep repeating and show you what I mean by leaving that space white despite having the water near there. The reason we applied the water near there was too easy. Do you know add though basically are of water. So first I have picked up the beans, be Kahlo. And you can see it's in a very liquidy consistency. And I'm just adding it very randomly onto the top side. Now when I was applying it near to the lamp, you can see I tried running into the lamp space to keep that space right. Our little of the Palo may still go and do that, but that's perfectly okay because it's a very light tone that we're adding in. Also near to the leaves, you can see as I'm moving, I'm trying to avoid it. Now. I'll keep them think my Borden detections. If I'm adding the colors, I'm going to add all of the fellows, which I'm going to use in a very liquidy consistency. So the next sheet is the shade of brown sienna. And beginning from the bottom you can see I'm adding this color as well in such a liquidy consistency. And since my background is vector beans are spreading automatically and they will also merge into each other. Now again around the leaf, you can know this. I'm trying to not run into the leaf space despite having a layer of water that it makes the task easier later on to get much more detailed leaf and add them to the leaf later on very easily. Now next time picking up the green color. So you can see my green color is also in a very liquidy consistency. And I'm just going to add very little gene effects. I'm using my size 12 brush and I'm adding the beans very gently, BGP just using the tip and then trying to blend in with the colors that I've already made. Now you can see the fail-stop. Have I heard either of the Payne's green color? The bottom half, I added it with the bond Don Buchla. Now using the green color, I'm just adding in patches to create a beautiful vendor evening kind of feeds into the albedo, okay? The key here again is that you've got to use the pins in a liquidy consistency, but you even got to maintain the flowing of these pins. So now at present you can see my people is having all the three colors visible perfectly. That's the beans, green, brown, and the green sheets. Now this time let's begin painting the bouquet effect. So this time for creating the bouquet effect, I'm using my round brush and I'm just using a damp brush and moving my brush in circular motions. So I'm first creating some big ones using this technique with a bigger brush. Then I will shift to my smaller size brush and create some smaller bouquet effect. So you can see, basically what I'm doing is just using a damp brush. I'm running my brush in a circular motion and creating small circles. I'm doing all of this wet on wet. So basically my beans Neo that I applied in is still wet. And this is the point when I'm doing this. So now I have picked up a smaller size, don't brush. I'm just going to make it damp and I'm just going to create smaller circles out there. So you can either turn your brush and down motion or you can create smaller circles like this and begin to create some bouquet effect. You need to be careful that you need to create a very scattered effect with this. So this is just a force TO, for the bouquet effect. We will be adding the major woke effect with the Payne's mixing them with whitewash to create an opaque look to the bouquet effect that we will be adding in. So you can see all of this is beginning to take its shape and we're getting such beautiful bouquet effects. The key here is that you have to do it by the paper is still wet with the first year of pins, otherwise you will not get this effect. Now let's wait for all of this to dry and then we'll move ahead into the spin. Now at this stage, my painting is completely dry. And you can see, Suppose that we created using a damp brush is having such a beautiful falsely or bouquet effect. Now for the second viewer, I'm going to just pick up whitewash, NO medium consistency and add some smaller circles using my smallest size brush. So I'm going to add these by Tolkien's scattered as Ben, just as the force near blooms that we were creating same V. I'm just going to add these silicons in a scattered manner. Later on, we will be using the shades of yellow and greens to add in a little more bokeh effect, mixing it with white. So first I had a little scattered effect with the white color so they can have overlapping the first Neil's opens that we created using. Damn brush. So you can even add some so good is half overlapping on to them in half onto the other species. So we're just going to add for us to be the white color. Then I even begin with that makes gallows as Ben. At this point, while adding in these white details, you may feel that the book effect is not visible. But if you see it on your screen as band right now in my painting itself, the whites are concerned. I added right now, are visible and we can clearly see the bookie getting formed in. So now tell the phosphate off the book EGI is either begin painting the lamp space because for adding in the next nail, we need to read for the first layer to dry. So far the lamp, I'm first going to use the new Palo, use any shade of bright yellow added into the center space. And then even using a little sheet of the orange you can go ahead with or you can simply add in bond C and on the edges. First, I will quickly spread this yellow color into the entire lamp space. Uses smallest size brush for adding in this so that you do not run out of the Lamb shift. Now next with the orange color, I've just added little more warm effect into the light that we are trying to depict them. But you can see the yellow and the orange both are visible well enough. Next time picking up the shade of burnt umber, and I'm just going to add it onto the edges. You begin to add the onetime book. Allo, make sure that your brush does not have a lot of water because we do not want the bond Don Buchla to spread much. We just want a little effect onto the edges. That is the darker shadow effect that we want to add it because of the lamp edges that we will be painting later on. So you can see my burnt amber color. The dots spread much because I tried to control the water in there. Now just using a damp brush, I will quickly blend the edges so that it has the soft edges on the inside as well. So now till the first layer of the Lambda i's, Let's begin adding the leaves. So for the first layer of the leaves I'm using in the shade of yellow, I'm going to add it. And then with the orange, Ruby and the brown color, just as we have been doing in the previous exercises, I will begin adding more debt. So just as previous exercises, the first layer for the leaf was wet-on-dry. That is, the leaf has dried and we added the red color. The second layer is going to be wet on wet because we already have one layer of wet paint, that is the yellow color. Onto this, we will be using the other beans which will also be wet. So that technique will again be wet on wet technique because of the first layer of the red pins that we already have it. So you need to make sure that before you begin to add in the second layer off underneath your false news to has to stay wet so that you can add the second layer and give it the Buffett glory effect that we needed. So you are, I'm done adding in the second leaf as well. Now, I will begin adding in the details to these two leaves first so that they do not dry. And then I will paint the rest of the leaf. Now I have picked up the orange color and you can see the orange colors in a medium consistency. And I'm just adding it onto the edges and a little bit into the center to create a good effect. Next, picking up the shade of Ruby am going to add a little detail with the ruby color as spin. Now seeing The into this leaf here as well, I will begin with the shades of orange and ruby color and given details and make the edges look much better. And in the center as well, just going to add a little of the blending effects quickly. Now for this leaf, I'm even going to pick up a little of the background color. I'm using the bond CNOT don't, and I'm going to add it your at the edge, top edge of the leaf and just little, not much. And just make sure this is also wet on wet. So I at least n has to be wet before you begin to add the bone sienna details. Now in the same way, I'm just going to paint the rest of the two leaves, so forth, adding in the layer of the yellow color. Then using the three sheets, That's the orange brown under Ruby shade to add in details. So onto this one I'm directly using the MSN Apollo, just using the tip of my brush, adding onto the edges, blending it with the color and trying to get a beautiful autumn leaves detail onto the leaf. So Vietnam to the last node. So first I did the neon yellow, now going to audience follow, then we will add the two modes. Then we invade further. Neil's often defaulted to dry before adding in domains D1. Then even begin painting the rest of the details into the painting as bed. Now using the brown shades, I will begin adding in the base layer for this tip branch here as well. So first, I have picked up the shade of burnt sienna color. I added a dark layer at the top and I'm trying to get a little lighter tone at the bottom space. So I just used in water and diluted and tried to spread that color in a lighter tone at the bottom space, trying to create some lighter and darker effects into this branch. Same V, I'm just going to add little more darker details onto the edge. So you can notice the center is bright and at the edges you have the darker tones. Now, using the same tool, I'm just going to add at the top as well. So I have picked up the shade of sepia color and using the tip of my brush, just dropping the darker dawns on to the edges of the box. So that in the center you have a light effect and at the edges you have to Dhaka effect. And using the same Docker Dawn, I'm going to add the rest of the branches as well in today's painting your quickly. So you can see even onto the top branch, I'm trying to create the same effect that is having lighter and the darker tones. So first I added the lighter tone onto the entire branch, and then using the darker tone on the edges, tried to create tonal variations into the branches as well. And this thin branch from which this lamp is hanging, I'm directly adding it with the dark color and giving it a detailed look directly in one go. Now quickly adding in all of the branches from the leaves are hanging out and just adding some smaller branches popping out as well from these branches. And you can see we hadn't added the pencil sketch for these smaller branches. So that is why I like going in with the minimum pencil sketch. Now next time pick competition of Amdahl gene for painting the edges of the lamp that we have added in. In case if you do not have them dark green color, you can simply use in either VDD and greed or any darker green tone for that matter. I'm just simply paint in the top space and the edges to the lamp quickly. So now when I'm painting the edges, you can see I'm using the tip of my brush and adding the final details. So again, in case if your brush does not have a pointed tip, use a smaller-sized brush. These finer details into your painting as spin. Now you can see the rest of the pencil sketch that we added at the bottom space. I'm going to add these details as well with them Valjean color. You can see I'm using them ruthba01 color in a good thick consistency so that I get an opaque look. And so that it's easier for me to add in these details for the smaller details, if you want, again, shift to a smaller size detailer brush size 0 or size double 0, so that it's easier for you to add in the details and get much prettier. And he didn't look into your paintings. So you can see even I shifted to afford the smaller size brush which has a pointed tip. And I'm adding these details very carefully and very slowly with this smallest size brush so that I get much prettier looking details and the minute details, the more frontier that things will look. Now ten, all of the needs and above price. Let's begin adding in the next details into the leaf space. So I've just mixed in a little touch of the green and the yellow color into white quash and got a very light yellowish green tone. So it's like 5% of the yellow and green and 95 percent, right? And using this very night face till vin tone, as you can see, I'm going to add a little bouquet effect. So make sure that your first layer of the book effect is completely dried before you begin to add these in. So again, just as the first layer of whitewash bokeh effect that we added in. We are very randomly going to add in this book effect with the green color first, and then add a button with a yellow color as well. So make sure to add them scatter. You can add them have overlapping onto the white. Who are white? A so-called SAT we added previously. So quickly, just add a few of them majorly at the top and the bottom space. So a few of them you can see I'm adding it very close to the leaf as well. Half of them hidden behind the leaf. And that is it with the green book. Now let's wait for all of it to dry completely, then begin adding the further details into the painting. So now the second year of the book is also try it. Now I'm going to pick up just some bright yellow color, mixing it with white quash. I'm going to add some piston yellow circles into the book effects piece. So now again, these are going to be some very overlapping the greens, one somewhere half headed behind the greens and some very half hadn't onto the white ones as well. And some very it will be in between the white and the greens. So all of it, you've got to strike a balance in between seeing at your painting where you need to add which colors and which is going to give you a much brighter look accordingly, place them all. Now with the yellow color. I'm even going to add some smaller bookie effects. So very quickly, you can see how bright yellow and white mixes and such rights opens that I'm getting. It makes sure that you'll use white quash instead of fight water column to get this opaque look because white watercolors will not get you such an opaque look over the so called stat we're adding into create the bouquet effect. And you can see I'm creating the a vary randomly and I'm placing these circles very randomly one-by-one and not adding a lot of them at one place altogether. Otherwise, it will be very difficult to create a balance into the entire painting. So that is it for the bokeh effect. Now, I have picked up the Payne's gray color and I will begin adding little detail into the branches and then even paint the veins into the leaves as Ben, so far as to these take branches, I'm just going to add little more detail. So I'm using my size two round brush, which has a pointed tip, and using the Payne's gray color, you can see I'm adding little edges and very rough lines in between to create wouldn't details. The wooden log B deals on do these branches from which these leaves and the lamp is popping out. So you can see my lines are very fine medially trying to give an edge to the box and in the center very little dry brush effect that I'm trying to add in to give the wooden details. Now using a mix of the Payne's gray and the brown color, I will begin adding the windy days into each of the leaf. You can go ahead and use a ruby color if you want the settled when VDS, you can simply use a darker brown tone directly for adding in the vein details. You can even use directly the paint streak allow for adding in the winds detail. There are various color options that you can use for adding in the wind. D does need not be the same means as mind, all the same color combination as mine. Feel free to add your own creativity. So you can see for the first one I'm adding in the wings moving from all 1 altogether and trying to give a perfect edge to the leaf as well. Also, you're, in case if you want, you could even change the color of these leaves as well and add them in different color combinations as you want. Just that you need to strike a balance with the background color to, given the other leaf details. Now to this leaf you all you can see I'm forced giving in a very dark brown edge to the entire leaf and some where I have added very thick edge. Reason being I'm trying to depict some falls into this leaf here. That is the reason I'm adding that ticket brown edge onto one side so as to show some folding defects into the leaf, this will only add another dimension to your painting. And now CMV, as I added in for the first one, I will quickly add in the vein details to this one as well. Suggests giving Middle Ages to the leaf and adding the wings. And then we will only be left one more leaf to add in some vein details. And you can see all of my leaves are looking very different and the veins are also added very differently. Now I will quickly add the windy days to the last piece here as well. So if you notice all of my vein details are different. In one, in the first leaf, I added it with a very subtle tone. In the second one that is onto the left one, I added that tika or brown edge trying to show some folding leaf effect. Onto the top one, I added the edges and windy deals with a very dark tone because the leaf had a little darker deposits. Now for this one I'm using a darker brown tone and just adding simple windy days. So now two, this last one as well. You can see I just added a little tickle effects onto the left side and the center of a very material, not much. Okay, So that is how we created that indeed this now I'm just going to pick up little whitewash. I'm going to add little bright white or, you know, a bouquet effect and create the final painting. So this time I'm using the white color in a very thick consistency. Then deaggregate the force near the white wasn't. And it created a perfect blend with the first layer. Now I'm using the white in a very thick consistency. I did not even add even a debuff Waldo. I just picked up a wet brush and picked up the paint directly so you can see how opaque the white color is. You cannot achieve this look with white watercolor. You will have to use in whitewash or white acrylic. Further, take bookie effect if you need a beautiful book effect into European day. So you can see I'm adding this white bouquet effect also varied randomly someway overlapping the first two layers, some vague covering half of the previous book is that you added trying to strike a balance between all of it. So I will just add in a few more with the white color. And then we are done with this beautiful painting for today. We had already halfway through the 10 days painting that is VR on D6, all GD. And I hope you guys are enjoying painting all the different autumn leaf illustrations and learning a lot about the autumn leaves. Now you can see at the bottom I have added a lot of the white or closer to each other, adding in a little more depth to the bookie effect. So you got to strike a balance between the three colors and the first layer that we created using a damp brush. Okay, now let's remove the masking tape and see our final painting. Such a beautiful light background, creating a perfect window mode with this D1 autumn leaf and the lamp in the foreground. So I hope you guys enjoyed painting this D6 painting with me today. I will see you guys into the next class project tomorrow. And we would create something more different than what we did today. Thank you so much to each one of you for joining me into this class. And oh, painting all of these automated leaf illustrations with me each day. I will see you guys into the D7 tomorrow. 9. Class Project 7 - Falling Leaves: Hello everyone and welcome back to these seven. Today we are going to be painting this beautiful scenery. Kind of a view will show the autumn leaves falling into a lake or a river side. So the colors that you would be needing for today's class project, this subtree, Naples, yellow, orange, burnt sienna, burnt umber, black, Ruby, turquoise, blue and white goulash, do not worry. We will keep discussing the alternate colors that you can use it. We will go step-by-step by first creating a blurry background and then adding the details and the Leo's to the leaves. This class project will be a little longer because there is a lot of details to add in the ozone layer us. So let's begin painting. So let's begin with the pencil sketch. I will first begin by marking out the distinction between the sky and the CSP is that we will be painting in. So this species is going to be quite small and the skies piece is going to be big enough on to the CAD adjusted the horizon line will be having a very small mountain range surmounted with a very light sketch. Now let's begin adding the leaves. So we are going to depict a lot of leaves and triangle showing they're falling from a branch. So we are going adding a few leaves into the CSPs as well and a few leaves into the sky or in the falling motion. So, uh, two of them, I'm just going to add in your as if they're just about to like they're just falling out from the CI. And two to three, we will be adding in the CSPs wearing devil, he fallen into the sea. So one of them, we will just try to show it your, that this needs its own Buddha water right now. And too often, easily even try to show them underwater. That is basically marched into the sea and settled underneath. So the leaf you are on the left that I'm adding right now is going to be the overview over top leaf. So these two small leaves are going to be mostly into the water underneath. Now at the top speed slower, I will quickly add in the autumn leaves, so the entire top space is going to be filled with yeast. So you can add these in different angles, different sheets, and you can look at some of the half needs in A1 under these bigger leaves. So basically it's perfectly your choice how you want to add the leaves. They can be of different sheets and in different languages oh, compared to mine. But just fill in the entire box fees with these. So basically we are trying to push away or very close branch filled with autumn leaves and all that isn't the main focus. Rest of the background is going to be blurry. So you can see how random you have added the leaves and now I'm filling up places wherever I feel. I'm just adding a few leaves in the background space. So what I did was I added the main focus leaf and then I began adding in that smaller needs to cover up the space. So that is it. And we are done with our pencil sketch, very easy and basic pencil sketch. Now let's begin painting. So even begin by painting the force blurry sky species. So this prize piece is going to be kind of a green risk ISPs that we are going to be adding it. So before going ahead, we will quickly just, oh, you don't I didn't have this pencil sketch because I do not want the charcoal marks should be visible underneath. And this guy is going to be of very light colors the same. So in order to avoid goes darker marks, I've just lighten the pencil sketch by just running the areas of very gently on the pencil marks that we have added. So you can see the light pencil sketch is still visible, but the darker charcoal maps are taken away. Now let's take into the clean photo folder into the entire sky species. So we will not be adding water in buddha sees space at present. The water can be applied on the mountain range for now. That's perfectly okay. So make sure that you have an even coat of water. And also if you're using a 25 percent cotton paper, you know, to run your brush multiple times. And you can go ahead by applying the layer of water to rice so that it stays wet for a longer time. So I'm just done applying a clean coat of water onto my entire sky species. I have an even coat of water. Make sure that that are more water bubbles or extra bubbles or water left anywhere on the edges. Otherwise it may begin to ruin your speech. So the first color that I will be using in is the green color. So I'm using the dark green sheets on this palette. You can go ahead with any green that is available in your palette, going for a sap green and hookers green. And you can see I'm using the green and a very liquidy consistency. Now when I'm applying the green color, you can see I'm trying to just use the tip of my brush around the bread factors because I do not want to add the colors into the leaves that we have added in. Do not worry, a little of the calorific goes into the leaf species has been that when we Okey, But as far as possible, try avoiding and adding into the leaf species pools because the leaves are going to be of the shades of yellow, orange, and another one or two with the green tones as well. So the reason why I applied for the even onto the leaves was to make the task easier. But we're adding the colors. Just try to be a little cautious that we will not add the pins into the leaf space. And you can see I'm using the paints in a very light liquidy consistency so that we have a soft backbone and a soft flow because we need a very soft sky space. So first I'm applying in the green color. So I'm done with the layer of green. Now I'm just going to mix it up then Jeff, that brown color to my green color. I'm just going to add it to the 0 sheets into the sky species. So basically I'm just going to add some Dong sheets, enzyme fist coastlines to debit more softness and Buddhist sky species. Now you can see I'm adding water wet on wet. That is my green layer of being distilled back and undo this. I'm adding in these DDS. I'm using a smallest size brush. And you can see this being this alternate fluid consistency. And it's not boutique. Also been imagining these beads. I'm trying to avoid adding it into the leaf space so that I do not have to worry about the details. The drawer. Now using the same color mix, I'm just adding in little more of Brown and I'm adding more darker deaths on the edges and also around the Neves somewhere. I'm just going to add darker deaths to create shadow with this darker tone of green and brown mix. So basically just under the leaf space you can see I'm adding this darker Boone. And since my EDI still wet, you can see it's automatically having a soft blend into the rest of the sky space and then dipping the leaves, this will begin to act as the shadow to the US. So you can see how naturally we are adding in the colors. Now the next color that I'm going to add in is the shade of yellow. I'm using the Naples yellow color. And you can go ahead with any shade of yellow that you want. And then randomly just begin to drop the little yellow color in which we know very well, or the yellow and the green will blend, it will create a light yellowish green kind of a tint. And that will give a beautiful view again to the entire painting. So I'm using the yellow Colorado in a liquidy consistency. Mark the important thing your that again, my EDR that is, the entire green species is still wet. That is the reason that you can see the yellow color is spreading on its own and creating a soft blend with the green color. And I'm not worried much about the blending because of the softness that I'm already getting it. In case of your green layer has dried, then I would recommend you to wait for your entire space to dry. Go ahead with the re-weighting technique and then add in the photo detail. Now the next color that I'm picking up is the shader from V. I'm going to use this color also in a very liquidy consistency. I'm just going to add little details because the mean knees are going to be of this color. So I'm just trying to add up your bloody leave effects as well into the battle with this color. So it's going to be very little, not much you can see again, might be placed in bed and this scholar also spreading automatically on its own and it's giving proper soft blend into the skies piece. Now basically, what I'm trying to show in this, as I already discussed with you, some of the blurry leaves into the background. Again, if you notice I'm not adding this color and do the leaves piece, I'm trying to avoid as much as possible. Or latae beans if flowing through the leaves It's perfectly okay because the nerves are going to be much detail and you'll all get covered up. But as I said, as much as possible, a way that in there so that it will be easier for you while adding in the details into the leafs piece. Now I will begin with the water onto this yz piece. So I will first apply a clean CTO photo onto their entire. Make sure that the OU do not apply water, just New York to the green color. So you can see I'm leaving a very small gap between the CMB, the skies piece so that we do not have to wait for this guy too dry because in between we will be having the mountain range so that right, Catherine get covered up. So you can see a very fine white line that I have left without applying water. So the colors will not flow into each other. Now for the green space and false, when do you use a little bit of emerald green and turquoise blue color? So if you want, you can mixing blue and green together though fois blue shade. So first I'm using a very liquidy consistency. You can see a very light tone on Buddha entire CSPs. Then I haven't used a darker tone of this same callow and begin adding the details into the CDI as Vin. So when you begin to add the darker details or UV will try to create the ripple effect, right? Adding the details. Now next time of the emerald green color and I'm just beginning to add it from the edges. So in case if you do not have them ranking column, you can use a darker tone of the scene, blue pallor, and go ahead with it. Also, if you want to learn the Toko is blue mix. In my beaches class, I have shown you different combinations possible perform the turquoise green follow. So I would recommend you to visit that part to off color mixing for the beach beach class. And you would learn all the topo sheets that you can create, mixing your greens and the blues. Now you can see on the edges I have given DACA and in the sample space I'm trying to maintain a light piece because I want to show some different effects there. Now to create the repeats, I have picked up the turquoise blue color in a little medium consistency. And very randomly, I'm beginning to add some refills into the center space force. So I'm just adding a spider cheap basically to create some ripple effect because of the leaves falling into the CSPs. Okay, and now as I'm moving on to the edges, I'm going to fill it with this darker tone of the takeaways, blue-collar even still be adding another layer with the darker tone. So this is just other Vizio that we're adding it. And all of this is wet on wet. That is the BCR that I started applying it for. The CSPs is still there. And until that I'm adding in this darker medium bowl of turquoise blue. Hence I'm getting the soft blend as you can see. So basically in the center space, I have gotten the darker to lighter tone and on the edges I'm trying to create in the docket bones. So you can see we are already getting in details into the CSPs now again, picking up the turquoise blue color this time and much darker consistency then the second layer, sbin, and just beginning to add it onto the edges to create more depth into the CSPs. Make sure to maintain the lightness into the center space to create the ripple effect and keep adding it onto the edges to give it more depth. And in the center, just adding some darker sheets with the darker tone as well. So for the first layer, I had added a lot of photo. For the second layer, I added very little water to create a medium bowl for the toddler. No, I hardly added any water. Now I have picked up the Payne's gray color. I'm just adding little more darker data at the bottom space you are as you can use. Black with your blue in case if we remarked, have the Payne's gray color, do not directly using the black color, it will create a lot darker effect. Now let's wait for all of this to dry completely. So now my entire painting is completely dry it, and you can see we've got such a soft look into the sky speech. And also though see IGA ripple effects look so beautiful at movement. Now let's begin painting the leaves one by one. So first I'm beginning with the hello Apollo 12. This need fewer, which is in a dropping motion from the sky. It's about to fall into the CSPs. So what I'm going to do is I'm going ahead with wet on dry technique. I'm not adding any layer of water into the leaf space. I'm detect me using webpage. And then we'll do this vector. I've been using the shades of orange and Ruby and ground balls. And just given v. And then we will add the winds and do these leaves. Now to the second reviewer as well, I'm going to add in the yellow color. Now, your placement of needs may be very different as compared to mine. So you can go ahead with whichever color you want at whichever please. So yellow leaves can be at the top and at the bottom you can have the red leaves or the bean leaves. So it can perfectly vary from my nice placement. So the caliper placement also can be read from my niece policemen. So do not have to go as per my color combinations, your leaves can all be of red and orange color if you do not want to add them with the yellow patch. But I want to give him a little transition effect. That is the reason I'm going to add leaves of all three colors. That's yellow, orange, red, and green leaves. And I will also be giving little ground highlights to them. Also, since I'm using a 100 percent cotton paper, I know my beans are going to save it for a little time. But in case if you are using a people on which the beans drying quickly, then I would recommend you to paint one leaf at a time and add in the details onto that leaves wet on wet before moving to the next leaf. So now you're out to one of the leaf. I'm adding a little of the orange and the red highlights. Now whenever you feel that the bending is not happening smoothly, you can just use a damp brush and try to blend the colors and create a soft blend. Now onto the other needs as well, I'm just figuring into adding this tool on the edges. And it was a damn brush and create a blend and add the lighter orange islands onto the rest of the leaf as well. Now on to this bigger leaf, as you can see, I'm just adding the darker tone on the edges and I'm quickly blending it with the center yellow color and just trying to add a little orange highlights onto the center spaces has been. But on the edges I'm trying to get some darker details. Now. I'm just using a mix of the orange and the ruby color. If you want, you can directly use of hominin pallor or directly use or red or an orange color for adding in the details. Now what do these leaves, I'm even going to add magenta highlights with the brown color as well. So all of the pieces are still wet. And again, medially onto the edges I will be adding the darker tones and in the center just knit and highlights to create a perfect balance into the leaf space seemed onto the other leaves us. We're just going to add little brown highlights as well. I'm using initiator of burnt sienna. Now. I'm just going to pick up the sheet off ruby color and I'm going to add this leaf kneel to the CSPs with the red color completely. So as I told you, I'm going to strike a balance between different colored leaves. So we added a few leaves with the yellow and the orange tones. Now, I will just add one or two completely with the red color. Then we would even add a little green tones and a little of brown not owns as well. Now this needs that I'm being things is basically on the water level right now, a presencing then into the water. So that is the reason I'm painting it completely with the rest of the Guzman leaves that we will be adding in Louisville triangles. So then seeing then into the water. So to this leaf, I first started in the layer of yellow. Now using a damp brush, I will type of Blender edges into the background. You'll type of soil that it is sinking into the water leaving. So automatically Quinton, little lighter you can see just as I'm blending with a damp brush and do the background, It's donning and do the background color. So basically a layer of the background is coming onto the top species and just adding the two red highlights now you can see the leaf as feeling as if it is saved into the weapons, be seeing them. I'm going to add the next Monday that will be ended here. Now on to the right side, I'm adding in this big need completely with the vector. And this NAEP is actually half he didn't about the overhead leaf that we have added in. So I'm just going to add it into this safe space underneath the top leaf space when we being the top nice. Now in this space I'm just going to add in the yellow color and blend it with the red door and try to get an orangeish under different tone and to this leaf as well. So now you can see, you can begin with any color that is, I began with the red one for this leaf and then shift it to the yellow color and added the yellow highlights in the previously, we have been adding the lighter tones first and then adding in the darker details. But if you want, you can first start them tones onto the edges and then pick up the lighter tones and add it into the center space and random. Now you can see even I'm building one leaf at a time so that the process becomes little faster. Now in this leaf I'm adding another mediation. I'd been done half the fifth yellow and half detective and the orange. And now I can just blend both of these on the edges. I'm trying to get them listed little different palette from the leaf that is next to it. Because I want each of the leaves to pop out separately and not look all leaves together. Now, good, this leaf that I'm painting on the left side, I'm going provide little VGB attached to it. So basically this neat is it in its first stage of transmitting transformation into an autumn leaf. So now I can just pick up the green color and added at the bottoms these and blending the day and try to get a greenish yellow bone leave so you can see it. That's what I told you in the beginning. We will be painting all the leaves in different color tones. So some of the leaves are more towards the orange, somewhere, more towards a brown side and submit towards the green and the yellow store. Now you're at the top space. I'm adding in completely the leaf overlapping the orange one a little. And even in the ascender space, I'm going to add little more of the green leaves as well. So you can see how beautifully all the followers are creating such a beautiful field and do the autumn leaf trying to join all the transitions. And now the bigger leaves, I'm going to begin painting that. For that you need to be sure that both of your base your needs are completely dry. So for till that layer dries, I will just add the mountain range quickly. So the Cmd 0 coins blue color that I had used in pharmacy and the emerald green color, I'm just using a mix of that color, but the non-linear medium consistency. And I'm just going to add the mountain range with this scholar itself that is the mix of green and blue. You can go ahead and use even a brown bone if you want to use it. So we've added a very small mountain range, as you can see now just at the top space, I'm giving you a very rough edge. And at the bottom, just as cheap land, oh, blending the sea and the sky. Perfect. Now again, using a medium bowl of turquoise blue, I'm going to add little spiral effect again. This time you can see these strokes are visible properly and they do not have a soft edge. We'll try to create a little more ripple effect. This time you can see I'm adding these repeats overlapping onto the needs as well because these leaves are actually seeing them into the sea species. So to give them the realistic effect, we are going to add the ripples that we are trying to add him even on who these, these. Now as I move towards the edges, what I will do is I will blending these and do the business using a damp brush quickly because of, as we move towards the edges, I want to demo, we'll have a soft look and not want them to have or more of the sharp edge loop so quickly with a damp brush you can see I'm just blending it into the rest of the CSP, just in the center, sharp edges. Now next time using invite quash and using the white quash, I'm going to add seemed ripple effects with the white quash has been white watercolors will not stand out that distinctively. So I would recommend you to either use whitewash or right-click or either a white permanent marker. Now in-between just going to add little droplets as well with the white color. So as to depict some a form effect into the sea space being formed. So just a little afraid, not much. Or if you want, you can skip this step as well. Now using the same turquoise blue color in a medium consistency, just going to create Lipton color patches you're depicting, trying to show that the Neith has just fallen into and created this ripple effect. So that is the reason just adding the patch force. Then I wait for this to dry and then I didn't little detail with the white color. Now this triangle, so awesome splashing effect, effect with this color itself, trying to show that the water splashes as soon as the nice drops into the CSPs. Same. We're just adding little white highlights as I told you. Now, when this dries, I will add little more white highlights as well. Now all my leaves New York to this big myth has completely dried. So I will begin painting this bigger leaf. So I'll begin with the shade of yellow and I will add the shades of red and orange to this leaf as Ben. So you can see because we left in these species white by painting the background, It's so much easier to add in the details. And Buddha, nice now. And we do not have to worry much because we do not have much of the base colors. And since we're using the kalos right now in a good opaque consistency. Now, the Beasley Apollo's which moved into the leaves automatically get hidden. Now using the red color, trying to get variation to this leaf as well. Now just as the other leaves just going to add little brown highlights as well to these leaves. Later on, we will even be adding some shadows to each of the leaves so that all of them stand out separately from each of the leaf. Tell them next week for all of this to dry forest. Now I've picked up space I'm going to use in the green color. And I will add a few leaves at the top space with the bean color. So my all the leaves have dried completely. That is a reason now I'm beginning with the green. If you're at the top species, in case if you are orange ring around this green leaf is still rather than wait for them to dry completely. Otherwise they may all you know, the polymer begins to spread into those leaves and will not give you an opaque or you know, a distinct effect of the leaf. So now I just have the top space whenever I feel I need to add little leaves. I'm adding it with a medium tone of green color in our leaf shape. So half leaf shapes are visible, half of them are hidden, which are not into our view right now. So just filling in the top space. And you can see you've got all the color transitions. That is from green to yellow to the orange, red and the brown dots trying to create the perfect ultimate effect and a perfect transition of the leaves off from the green leaves to the autumn leaves. Now, did my leaves dry? I will just quickly adding little details. You are into VC space using my white gel pen. So just adding little ripple effect into the blue patch that we added it. And it's going to add little details into the CSP giving more or much, you know, opaque details with the white gel pen if you want, you can use invite quash and a fine liner brush by four that will need to use the whitewashing, a very thick consistency so that it stands out perfectly. And just you can see I'm adding in white patches very randomly answer invites via an effect as well to create more of, more of the ribbon effect into the CSPs because of the leaves falling in. Now, once your leaves dry and completely, we can begin painting in the details into the leaves as well. So we are left to live in the veins detail into the leaf and give little Danko edges to the leaf so that each of the leaves stand out separately from each other and are visible, distinctive, since most of the needs are of similar collar bones. You can see at pleases, we do not have a clear distinction between the leaves. So to get that clear distinction, even using the tones of brown and Payne's gray to get a distinction between the leaves. So fostered mixing in brown and Payne's gray color. I'm using this color, I'm going to begin adding the veins into the list. You can go either directly or darker tone of brown. So you could use either a CPR Kahlo, or you could use a very dark brown tone that is Van Dyke brown, oregon town where if you have it in a darker consistency and begin adding the veins so on. Yellow leaves. You can see I'm adding the edge of edifying ends with this brown and Payne's gray color mix. And then I will begin adding the veins. I'm using a size two round brush which has appointed. Hence I'm able to add in these final details now onto rest of the leaves as well, I will continuously keep adding in the rain state in one by one. In between if you want, you can even vary the color of the leaves by adjusting the color of the grout. So I just cited in a pinch off the yellow, which is already on my palette to get them the most often looked to the veins effect. Now quickly just going to add in the veins into the leaves that we have added in your. So fast when I'm painting, I'm just giving a fine edge to the leaves so that the standard separately later on to some of the news I will even giving very typical edge triangle show some shadows to the leaves that we have added in. Now next to the brown color, I'm even adding in a little pinch off to get a little reddish tone to adding beans into some of the leaves. So now using this red and round gametes, I'm adding veins into some of the leaves. So that is how you can strike a balance between all the color combinations. That is just as you've been the needs with different colors. You can go ahead for the veins also with different color tones depending on the color of the leaf. And do some of the leaves, you can even give it a much more settled leaf tones as well. Now quickly to the rest of the leaves also, I can keep adding the weeds. So again, as I told you, if you have very different color tones of the leaf and if you have leaves of different colors, you can go ahead before they're different colors for the veins as well. So now when I do this jagged leaf, you can see I'm using in a little darker tone of red only to give it the vein details so that it has a setting and you know, much more settle when detail. And it will look as if it's, you know, the beans are all into the leaves, a settled well. So let's quickly add the veins into the rest of the leaves and then we will be almost done with this painting. We will only be left to add some darker edges to the leaf triangle reflect some shadow to the leaves. So using the brown color, now I'm adding the wings to the yellow color leaves that we haven't. So it's a mix of ground Payne's gray and yellow color. You can directly use a shade of brown if you want to. So now this nice, I am giving a very thick brown edge, trying to give it more depth and trying to reflect more shadow of the leaf underneath. As I told you, we will be adding some key Courageous. So to this, I already added the thicker edge while painting itself. So you can see it's creating a shadow to the leaf automatically. So basically onto all of the needs that that's on the bottom side, we will be adding this darker edge to the leaves are trying to reflect the shadow of the leaves underneath. So now we're just using the brown color as compared to the lines on the other side and joined the reflects some shadow. So do a few of the leaves. You can even use the mix of red and brown color who are distinct. So you can see I'm using a mix of the brown and the red color. I'm trying to deflect been some shadows and some darker and adding the veins and the shadows as well. So to this bottom leaf as well, you can see I added the shadow detail very gently with the brown bone itself. Now one do this light green, nice color. I'm using a mix of darker green to add in the wings detail and onto the darker greens. I haven't either used it acne brown or pins gray color in our darker consistency to add little veins effect. And you're also, I'm adding the ticker or edge with the green color itself with a little mix of brown, you want to contradict me, use a green color in a darker consistency if you do not want to add a blog, but adding a DOM just gives it a little more or the tone to it. So that is the reason I'm just adding the pinch off, brown as well. Now I've just picked up Payne's gray mixed in with brown and I'm going to add the veins into these leaves, your, the darker green leaves at the top speeds that you can see. And then we are almost done with this painting for today. So today's class project was a little longer because we had so much details to add it. But I hope you guys enjoyed painting this and got to learn much more about details about adding the ripple effect, about adding all the leaves which are underneath into the water species linkedin. And I hope you've got to learn the different ways, how you can add the leaves and you know, even without leaving the whitespace, how you can add in the water in the orbit, avoid adding in the kalos. So that is it we are ready with up ending. Let's remove the masking tape and see our final painting with those clean edges. I hope you guys enjoyed painting this beautiful falling leaf effect with me today. And we are done with our painting for D7. We are only three days away from closing this ten days class. And your is our final painting. Thank you so much to each one of you for joining me into this ten-day class. And I hope you guys learned to being these Autumn Leaves. I would love to see your class projects into the project section. Thank you. 10. Class Project 8 - Misty Leaves: Hello and welcome back. Let's begin with the class project E, the colors that you will need for the class project. This Payne's gray or burnt sienna, burnt umber, black and white quash. Today we will be painting this beautiful leaves popping out from the branches as you can see, the phosphate, the misty background, then begin adding all the branches and then paying the lease and try to create that sunlight popping out some space. So without further ado, and begin painting, I have my people the down onto all the four edges and we even begin the dependence edge. So the pencil sketch for this class project is only going to be the tree leaves the rest of the branches we will directly be adding in with the Payne's after within the misty background. So in that Sanders piece, I'm just going to add three leaves. And you can see that these are having a very rough edge and I'm adding the leaf very randomly, do not run it. You can apply what they enter the leaf space as well. So you do not have to worry how you would be applying the first layer of water. So very quickly just died very rough looking. Make sure to add these leaves innovating enough and random sheet with those rough and random edges so that it looks like the autumn leaves and gives him more detail, Andrea, look to the leaves that we are trying to add in law. Because the main focus of this painting is going to be these leaves with the rest of the background is going to be optimistic color. Now in between the leaves, just adding little holes for the sunlight to pop out. Now I can begin with a clean photo photo onto the entire surface, just as the previous exercise, we will be applying water onto the leaf species. But when applying the colors, we will try not to let the fallows enter the leaf space as much as possible so that all we can have a light-speed for the leaf and even paint the leaves later on. So just applying the import of water, running my brush multiple times so that the people that means wait for enough time. For the first layer. I'm just picking up the beans green color and I'm going to a very diluted consistency. You can see it's more of water and very less of pigment that I'm using in. And I'm just going to give the post BSW Neo onto the entire species trying to leave the whitespace onto the leaf species. Now next I have picked up the same Payne's gray color, but this time you can see it's a little darker consistency than the previous one. And I'm just using the tip of my flat brush and dabbing some Docker level pins. Now you can see I'm basically adding the darker paints onto the edges. Now the key here is that again, you have to avoid adding the beans into the leaf space. And just use the tip of your brush and keep dabbing the darker pins on the edges. We are adding this we're done with, that is the first layer of paint was still there. Hence you can see this paint is also spreading on its own and is creating a misty effect on its own. Now for the third layer, I have picked up the same pastry color, but in a little more darker consistency then the forced to leave. And now I'm majorly adding this on to the edges. So you can see we have got three layer of colors into this misty background that is a very diluted tone of beans, then a medium bowl of things, and now the darker tones of pins. So as we kept moving, we started to add the darker tones only on to the edges. So in the center you have got a very bright sunlight effect and undo the edges. You've got the Docker misty effect, that is what we want to achieve. So as you'll begin to apply the DACA quotes, make sure that you only begin to add them on the edges and try avoiding to add them into the same space so as to maintain the lighter look in the center space and just keep using the tip of your brush. If at any level your paper has dried, then we put it to dry completely and then leave at your paper and add the next video. So that is now I will wait for this entire thing to GI in and then begin adding the branches from all the site and then paint the leaves in focus. So now my background has dried completely and you can see I've got such a beautiful misty effect that is a little darker edges and in the center, I have caught that beautiful light effect, which I need it. So then even paint the leaves, even be able to see the light effect. And we will also be having the sunlight effect coming across the leaf. Now next time picking up the sheet of CPR color, you can go ahead with the initiative of gum, and I will first add one very thick branches onto the center side, moving towards the right side and the rest of the keys or branches we will be adding with the Payne's gray color, with the brown dots if you want. So just this one bigger branch or that is the one because g stem, I am adding in with the brown color to create some focus on this also, I will be adding details with the beam Street color. We will be adding details with the Payne's gray color, all too wet on wet onto this branch. So you can see how carefully I took it from across the leaf space. Now I have picked up the Payne's gray color. My branch EDA is still valid and using the Payne's gray color, I'm just gently adding the Payne's gray color onto the edges. And you can see It's automatically blending into the browns in the centers piece and creating a perfect blend with the browns in between, you can just dab a little of the beams three color to give the P branch a more natural effect. And that is it for this thicker branch. Now rest of the branches we're just going to be adding directly with the Payne's gray color force. We are going to be adding shorter branches moving across from all the four edges so you can add them very randomly. The only thing that you have to take care is you need to strike a balance between the takeover branches and the branches. And also, you need to strike a balance between adding some smaller branches popping out from these thicker and longer branches. Only you will be able to achieve of any national looking effect. So you can see I'm adding the branches very randomly. First, I will quickly adding of your branches using a little diluted tone of the Payne's gray color and then even be adding ticker branches. And at the end, if needed arises, we will even be adding a few branches with the brown color. Now when I'm adding the branches, if you notice, I'm adding the branches very randomly. I am making them go overlap onto each other. Also, as I'm reaching near to the leaf space, you can see I'm avoiding to add it into the leaf area. And if you see I'm moving my brush in a very exact and appropriate manner to get the natural effect to these branches. Also, if you see, I'm trying to add the tonotopy deals as well. Now in your branch does not have a pointed tip. What you can do is you can first add in all the take-up branches, then shipped to a smaller size brush, and add the thinner branches needed or so since I am using a brush that has a pointed tip, I haven't keep alternating between the tenor undertaker branches altogether. And also if you notice, I am adding or you know, some thinner look to these Tico branches as well at the top species that adds a little more detail to these branches. So I will quickly just add more of the branches and then all the evil being the leaves in focus piece. Hi. So you can see I'm making these branches go very randomly. I am adding them at the top speeds now, falling or downwards. So at the bottom, visual them moving upwards and from the top space we are showing them dropping downwards. So keep adding them Very nice to meet. You can do them overlapping onto each other. Also, you can see I'm going very crisscross. I'm not moving in one scene detection at that, please. I'm trying to move these branches in all different directions. So at the top space also, if you notice the center one I added moving towards the left side, then I even added a few moving towards the right side. So all of this makes sense. More nitrogen and adds in more detail. So you've been also notice as been adding these branches living little space in between so that I do not always do these branches at any one particular species. So that's another important thing to know. This always RDDs little by little and do this piece. You can always add more of the VDS, but you can never reduce the details once you add them. So that is why I would always recommend to add the VDS in a little space force. When you need to add more of these details and then go ahead and add more of the details. So that and I have been leading spaces in between because I first want to add the thicker branches, then added inner branches to all these article and the larger branches that we are adding it and then see the need. Which kind of more branches do I need to add it to strike a perfect balance into my painting? So that is a reason goes step-by-step and with letter for lesser proportions, rather than adding all of them together. Now in between these larger branches that we have added in, you can see I'm just swapping out the smaller branches and I'm very randomly adding them please close to each other and you can see just 10 or branches that I'm adding it nothing must be just adding sedan them in all kinds of glass effects that I'm adding. But these are actually branches that I'm trying to show it and it's so much easier to add them. Just move your brush interest plus Meno and keep adding them overlapping onto each other. Now, I will add the fourth layer to the leaves and then see how much more branches do we need to add it. So for adding the leaves and post, using in the mix of the Ruby and the orange color and using the tip of my brush, Alphas define the shape of the leaf and then paint the entire leaf. So for painting the NAEP, I'm going on with the wet-on-dry technique. This is the leaf as Bet, Sorry, the leaf is dry at present and we are using a vector and adding in Dhaka close. So you can see, I'm just creating the details that we need to leave in white-space, giving an edge to them also. And now rest of the leaf, I will quickly add in with this color. And then we even use the darker dawns of Ruby. Or you can use a red tone and brown tones who adding more detail and depth to these leaves do not worry if you miss to leave this piece that is the whole into these needs, we will be using whitewash to define that space. Ones are, leaves are completely dry. Now same V I even picked leaping the rest of the two leaves as well. You can see I'm just using the tip of my brush to define the shape of the leaf. If your grass does not have a pointed tip, I would recommend you to add the edges post with a smaller size brush so that you have a very rough looking edge to the leaf and that will make it look more natural. I would recommend you to always pick up a brush that has a rounded. So in case you're not, even if you're bigger size brush has a pointed tip. It will always themes for the Rhine adding in the dataset. And that will make it much easier because you will not have to keep shifting between brushes. If you use a brush that has a pointed tip and it makes you work faster and easier. Now with the same color combination, I've been quickly paint in the third leaf as well. So I'm done adding in the third leaf. Now we're picking up the shade of CPR color again. I'm mixing in a little bit of burnt sienna to make it a little lighter. Don't you can go ahead with any medium tone of brown that you have in your palate. Now, very NAEP is still wet. I'm just going to quickly use a small brush and add some brown details to the leaves. Imagine the underwater top and bottom edges of the leaf. I'm going to add in the darker tones. I will make sure that the center of the leaf space remains like debaters of the sunlight effect that we are trying to show. It also makes sure that you have to add in these details by non-native species still wet. So in case if your paper is the one which dries quickly, I would recommend you to paint one leaf at a time that is adding the orange color blended over the browns and then move on to the next slide. Now my first leaf that I added in your begins to become a little dry. So I quickly picked up a damn brush and I just applied what on the entire space and now adding in the black or brown color. So you can see I just added the brown color tones onto the edges. Now using the Payne's gray color in a very thick consistency, I'm just connecting all these leads to one of the branches and adding connections to all of them. So it's basically the leaf as Jaime got from one of the big branches that we have added it. Now using a darker tone of Payne's gray, I will quickly begin to add in some smaller or branches to these bigger branches that we have added in. And also later on I will be using the darker brown tone for adding in a few branches as well. First, I will quickly add in these smaller branches. At present I'm using my size two round brush which has a pointed tip. And in this, if I want to add the thicker branches with this same brush, I can just press the belly of my brush for getting those thicker branches. Now via a leaf strike, let's quickly add in the branches detail. And then once our leaves are dry, it even just started the wing details to the leaves and then get, gives us unlike effects from those rules that we have left in between the leaves using whitewash. And that will be done with this painting. So let's quickly add in the branches. Your branches can go very randomly and different from mine. Feel free to add the branches and enjoy the process of just moving your brush without worrying as to where your stroke is getting Lee. So you can see even I am going ahead very freely and very randomly. I'm just adding some smaller branches on riskless lines. And it's really a therapeutic process to just keep adding in these branches very randomly without even worrying the movement or the placement or whether it's overlapping or not. So just enjoy by adding these branches quickly. Now I'm using the black color and adding in these darker branches as you can see. So all your I was using the Payne's gray color and now I just picked up the black color and adding these thicker branches. So automatically it gives another level of detail to your branches and adds more natural look to it. Creating more of the investee bank guarantees as better than even, even be adding a few branches, bit of a darker brown tone as well. Now, I'm just going to add a few branches with the sepia color overlay onto these black Payne's gray branches. Step-by-step for adding in the branches. I first added very little branches. Then when the head added the smaller branches popping out from them, then went ahead adding some darker branches, and now adding some branches with the brown color to create another level of depth into the painting. So that is why I told you in the beginning itself that you need to go or, you know, little by little, do not add any one kind of branches a lot altogether. Otherwise you will not be able to add these level of details into your painting. So in order to achieve this level, you need to keep adding them step-by-step, little by little. You can always add more of it later on, but you can never reduce once you add anything of it. Now you can see these brown branches are creating such a level of depth into the painting because we are adding them. In this species where there is whitespace and the brown branches are visible despite the black and the brown rice and beans great branches that we have already added in. Now let's wait for the leaves to dry. Then we will add the final details into the painting. So now all of my leaf space has dried completely. Now, either begin adding the windy days into the leaf super, adding the Wien's, I'm going to use a dark brown tone that is a CPR, Kayla and I are very simple veins into the leaf. In case if you do not have a sepia color, you can just add in a pinch of black to your bond or more or burnt sienna and get a darker brown tone. Or you can simply go ahead and use any darker brown tone that is available in your palate. It may not be the exact same sheet as mine. Feel free to change the colors as you wish to. In this, if you want, in these leaves, you could go ahead with the yellow leaf color as well. If you do not want to go ahead with this orange and brown tones, well, thinking about choice to underline the sheets as you wish. Now, I'll quickly onto all of the tree and then even define the Samnite defect, swapping out some of these needs. So I'm almost done adding the veins into all of the leaves. You can see I first started the big O wins and then just added some simple and smaller veins popping out from these big O means giving in a little more detail. Now, I will quickly pick up some fresh whitewash in this. If you do not have a white quash, you can either use white acrylic or oil. You can use your white gel pen or white mockup via watercolors would not create a grid effect of this effect that we're going to add in right now. But in these, if you do not have a bush or any credit, you can use white watercolor without adding any war does when it's tickets for consistency. And I just picked up the white quash. I just added a very small hole. And now from that I'm just popping out these smaller v is trying to show the sunlight popping out from this whole. Okay, so that is our, again, I will just add a small batch of five and add some spiky edges to this string to create the sunlight effect. So very quickly, I will add it to all of the world's into the leaves. So that is it to be at a div with a class project, a beautiful misty autumn leaf view. Let's remove the masking tape and see the final painting. Make sure that your edges are completely dry. Palette from the branches, spreads into your edges and spoils them. And also always remove your masking tape at an angle from your paper so that you do not have any of the beans from the masking tape popping back into the edges. So your final painting for d. I hope you guys enjoyed painting this with me. I will see you guys soon in the next two class project. Thank you so much for joining me. 11. Class Project 9 - Into the Woods: Hello everyone and welcome back to class project. Now, today we will be painting this very easy autumn leaf. The last video, we won't be adding a lot of details into the autumn leaves. We will be painting these simple leaves hanging out from the branches of a tree. The colors that you would be needing for today's class project. This Payne's gray and burnt sienna, burnt umber, Ruby, sap green, dark green, yellow, green, and white goulash. So I have my paper. Hold on to all the four edges and I will begin with the pencil sketch. So at the top space we would mark off the tee box fees. So approximately you can see two inches that I'm taking as the widest and then moving diagonally, I have reduced this piece. We will be adding all of the details into this GBA with the painting directly now ready randomly just going to place some heart-shaped, nice. This time we are being done very simple leaves and you can see I'm adding them very randomly in very random shapes. We would be adding the branches to these leaves later on. Once we begin to paint, we won't be adding the branches right now with the pencil sketch. Just keep adding of you often leaves vary randomly closer to each other. And then we would add the connections to all of this later on with the painting. I'm just adding in the basic connections at the moment. And you can see this triangle depicted, the leaves popping out from a siem branch and then from the connected granted itself. So basically we are going to be showing two to three branches from which all of these needs are popping out. And then we will just be adding a lot of branches hanging out from this tree. Okay, so let's quickly add a few more leaves onto the right side. And then we'll be done with the pencil sketch. Make sure that you are dependent sketch with a very light hand because we do not want the sharp charcoal edges to be visible after we are done. So basically, we have just started a branch filled up with leaves hanging out from each other. So just quickly, you can see in between I've tried to strike a balance by adding some bigger leaves us. Now at the top speed, I'm just going to add a few more leaves and then we'll be done with a pencil sketch. So that is it for my pencil sketch. Now I will begin with a clean border photo. We will not be leaving this piece of the leaves blank this time as well. Even add the water Leo. But just as the previous two exercises, by adding in the colors, we will try to leave the leaf space without adding the followers. Those since we have a layer of water underneath a little of the beans may automatically move into the leaf space. But that is perfectly okay. As you could see, our leaves are going to be mostly of the red tones and the background is amazingly of the green tone. I am not applying the water layer at the wooden space right now that is the main tree, but we will add that later on. But now when we begin to add colors, make sure that you tried to avoid adding the colors into the leaf space. Do we have applied in the layer of Bordeaux? Otherwise, it would have been very difficult to achieve the clean speech for the leaves, and it would be very difficult to begin adding the rest of the blurry space. Now first I have picked up the yellowish-green color. You can go ahead and mix in a little yellow and green to get this light tone. And you can see when I'm beginning to apply the tone, I'm trying to avoid the leaves. And you know, a little of the leaf species getting the palate. But since this is a lighter tone, I'm not worrying much about it. Then we begin to add the darker tones of green. I will try avoid adding it into the leaves space. So the photosphere of green color, I have given it onto the leaves as well, you can see so that all of those pieces are covered. Now from the bigger leaves, I will quickly pick up this green color as well and just dab it on to the tissue. So you can see quickly when it is wet, you can even pick up the color. That is exactly what I did right now. First applied the color and then quickly picked up the color from the bigger leaves. Now picking up the same green, I'm just going to add it onto the edges and just going to begin darkening that. Edges, we are going to be adding more colors of green and then another shade of brown to all of this. Now next time picking up the sap green color, adding some darker details, we are going to be painting a blurry background again this time as well. Just the leaf illustrations or defend. I have shifted to my smallest sized round brush. This is a size 0 brush. I'm just going to add simple. So, so in between the circles you can see the light color will be visible. And at the bottom species I haven't even be adding this color a lot just on the top speeds to get some lighter effect. I'm adding in these circles from which the lighter color pops up as the light effect. And at the bottom space you can see I'm moving along with the leaves. That is this time I'm avoiding to add this color into the leaf space. The lighter green color that we added is almost equal to a transparent tone that will not make much of a difference, but this stone is a darker green tone. So make sure when you're adding in this dark side green follow. You avoid adding it into the leaf space. Otherwise, when you will be adding in the red color leaves, they even turn into a brownish tone and it will be very difficult to achieve that it bonds to the leaf and into the rest of this base, leaving some like those bees. I'm just adding a layer of sap green color and avoiding the leaf space. Now next time we'll pick up the dark green color tone. In case you do not have adapalene color, you can just mix in either little bit of your brown or black to your sap green color and get a dark green tone. Now using this darker green tone, I will begin adding more darker debts at the bottom space again, but I'm adding in this color, I will try to run into the leafs piece. Also, make sure that you are doing all of these by Dawn where that is since the force neon, my paper is still wet and I'm adding all of these layers wet on wet. In case of your paper dries anywhere in between, make sure you leave it there and then wait for it completely dry, and then rewrite the entire surface and then begin adding these DBS. Otherwise, you will get very sharp edges and you won't be able to achieve the look like this. Now again, I'm adding the darker green tone. You can see I'm just adding it, avoiding the leaf species and meet me at the Balkans piece. Even at the bottom species, I am leaving gaps in between for the sap green color to be visible. And around the leaf space you can see how carefully I've added it such that it does not run into the leaf area. In this little color runs into the namespace. You can quickly pick it up with a damp brush and dab the color onto a tissue. Now at the top space as well, again, going to add Newton, so cool and little effect with this darker brown, I'm sorry, the darker green color as well. Now to this green, I'm just adding in a little tinge of brown color and add the tops piece. I'm just going to add little ground effect so as to depict the effect of the wooden space sector will be there about that is the space that will be there about today. I'm just adding little touch of the brown there. Now picking up the Payne's gray color, just mixing it to a little bit of the green and adding it at the bottom speeds to create more DACA decks. But you can see the pins gray color that I'm adding is very little and not much just to create some darker depths into the background. Now I can just tie a little darker dawns at the top space as bent, but I will make sure that the Latin of the lightest be still be visible because we need a little of the lighter tones as well popping out. So you can see between the leaves I have the lighter tones and ADA or remaining spaces I've tried to achieve the darker tones. Now while this dries, I will quickly paint the top space that is the backspace. So for the backspace, I'm mixing red and brown color and getting a reddish brown tone. And I will go ahead with the wet-on-dry technique that this I did not apply a layer of photo onto the top space. I did actually began in the earlier of pins. So you can see I'm just using that adage brown tone in case if you have an addition bone bone, you can directly go ahead with that. Or just as I mix the color that is mixed in my red width, a little bit of brown and got this reddish brown tone. I will be adding depth with the brown and the Payne's gray color to this. Now near to the green space, I applied the color very carefully. But you can see since the green space had begun to GI in, I did not get much often, all you know, spreading effect of the color. Now with the brown color, just adding some lines and creating some effects. And at the edge that is the connection between the green and the bone. Giving in the brown D, D. Do not worry if the green and the browns or spread a little undo each other. It will be all covered up and we begin to add the details. Now let's make for this to dry. So now your, you can see my entire species has completely dried up and I have got the perfect white spaces for my leaves left, except for one of the leaves on the leftmost side. So for that leaf, I'm just picking up some whitewash forced and I can just add in a layer of white quash there. And then later on I would be in that leaf or widow or red tones. So to this leaf and foster adding in a layer of white gouache. So automatically this piece will again turn white. So in case if any of your other needs also has a lot of green, you can go ahead with this technique. You could just need down a layer of whitewash, wait for it to dry completely and then add the red leaves. So I'm just adding a little red patch now also. And then once this dries, I will add in the lead touch again. Now the rest of the leaves, I'm going to quickly paint it. This will be kalos. So in case if you do not have a ruby color, you can go ahead with your permanent red tone or a scallop tool. If you want, you can even add the leaves with different tones. That is, you could add some leaves with the local awesome with orange, some victory, and then somebody drown. So in case if you are planning on to painting the leaves with different color tones, what you can do is you can add first few leaves with the yellow color at the top speeds. Then moving downwards you can turn it into orange. And the brown dawns. Brown tones. Leaves would be at the bottom most fees. So it can show like a transition effect of the autumn leaves as well, that the green leaves stones into a yellow, yellow to orange, orange to red, and red to brown tones. And then they're just about to fall onto the ground. So you can go ahead with that color combination as well. But just in that case, you will have to be little extra cautious that your leave spaces completely white because the lighter tones have to be visible where I am going ahead with all of the tones of Ruby only. And I'm just going to add of you often leaves in lighter tone of this shade on and off into the darker tones of this sheet. I won't be adding the leaves with any other color intensifies the, the need. I would just give little brown touch to these leaves if needed. So again, this That was a different combination that you can go ahead with and I just told you the way that you can go ahead when you get a different look to this painting. Now I will quickly paint all of the vest needs with the same color quickly. And then even begin adding the branches and the details to the wooden box. Now this leaf you are as well. I'll just add little more of the ruby color because the white color was dry. And you can see despite having done the length dark green, I could get it to a lepton so easily just by using invite watch. Now just one or two leaves, I'm going to be adding in with the sap green color as well. So what I will do is I will just dive little of the sap green color and then pick up little lighter green and try to get a blend and between the dark and the light green tones. And just going to add one or two leaves with this color. Not much. Just give him a little break in between to the red leaves. Now this one leaf here, I'm going to add in the combination of red and green board. So I added a little green and now on to the edges and at the top space of this leaf, I'm going to add in the red color and blend both of these. So you can see even this transition from the green to the red looks so pretty. So these are all different combinations that you can try. It's all about trying and you know, seeing what works best for you. I think it'll add a little injected this as well because I loved the green under a combination. Now I will quickly add one more leaf with the red and green combination, you're as bad. So this combination of red and green was very random that I just try it by being done. I did not have it in mind while adding this combination. And since I loved it so much, I'm just going to add a lot of these leaves onto the right side in this color combination. Because the transition and the blending is looking so pretty that it's, you know, making a little more difference to the painting completely. So another leaf here with the red and the green combination and the rest of the needs in the center space, then I will just be adding it with the red color directly. And I won't be adding any green stair. So this last neve you are with the ridden PIN combination quickly. All of the leaves we have when painting wet-on-dry, that is, the space was dry and we used wet paint to directly painting. Now quickly just going to add the rest of the leaves. And then we will begin adding the final details, that is the branches and the details onto the wooden, that is the CI backspace at the top area. So quickly going to pin the smaller leaves with the red color quickly. So my most done adding the leaves just last two to three leaves. And you can see I've added all of them with the same vector. I'm not worried much about the details. You're just trying to add them in the almost no hace bleed more. So just in that we added some green dots. Now I'm going to pick up the CPR color. If you do not have a CPR color, you can just use a dark brown. Or you could mix in a little bit of your Payne's gray or black to the brown color. And I'm going to begin adding the details onto this so g branch that we have added at the top species. So very random. I'm just going to add lines enzyme aspiring looks to given details. Now these lines that I'm adding in, you can see I am adding some Tino edges to these lines and some tickle edges as well. I'm just pressing the belly of my brush to get this onto the rest of this piece as well. So I'm done adding the details at the top speed. Now, I will use the same color and begin adding the branches. And then we will add a few branches with the Payne's gray color raspberry. Make sure that before you begin to add these tranches, your leaves are completely dry. Otherwise a little of the Brown Columbia seep into your leaf area. No worries. That would also give it an actual loop, but it's completely your choice how you want it to be, whether you want the color to CPR or you want your leaves to stay off the bright colors that you have added in. Now quickly to all of the leaves, I will add these branches and then we will be adding a lot of branches just hanging out from this tree branch. If you want, you can delete these branches and with the CPR color or directly with the Payne's gray color. I am first adding a few of these with the sepia color. And since I'm using events such a darker consistency, it's almost like a black tone that I'm getting. So I will be adding most of the branches with this color in case if needed, I may add a few with the darker tone of black as well. Now very randomly just popping out mode of the branches from, from between these leaves. And you can see just to randomly I'm adding in these branches popping out to end, just adding smaller branches popping out from them as well. Now makes sure about one thing that you add these branches with a smaller-sized brush or a brush that has a pointed tip so that you get all the branches in both ways, some ticker and something or branches. Now a few of the branches you can see I have been adding them overlapping onto the leaf space as well. The fuel from underneath the leaves. So all of this will create the painting look more nitrogen and give it a more natural look. Now I can quickly add just a few more branches onto the right side as well. And then I'm done adding these branches. After this, I will just add one or two leaves onto the top speeds as bad time to show one or two leaves stuck onto the wooden branch that we have added. Okay. So I'm just picking up the same color and I'm just going to add two tree leaves onto this wooden planks and a few leaves you're hiding from underneath this wooden speeds of the branch area. So now you can see I'm using the same color and adding two to three leaves, which are I'm trying to depict as if the stock onto this wouldn't branch that we added. Now I'm just going to pick up the paints click Allow and add some darker details and Buddha or D branch space that we have your at the top area. Okay, So just going to add some darker details with the Payne's gray color. You can use a black color if you wish to you and adjust a little bit, not much. So that is it for our class project. Now, let's remove the masking tape and see our final painting that those clean edges make sure that your edges are completely dry before you begin to remove the masking tape. And also there is no water onto your masking tape, Otherwise, it Missy back into your painting. So your is that painting for D9? Another simple one with simple leaves. I hope you guys enjoyed painting this. I will see you guys tomorrow into the last class project for this class. 12. Class Project 10 & Thank You- On the Water: Hello everyone and welcome back to the class spaceship. This is the last class project in this ten-day series of painting, autumn leaves. The colors that you need for this class project is Payne's gray, burnt sienna, burnt umber, black, Ruby, yellow, orange, ultramarine blue, indigo, and violet wash. Today we will be being done this maple leaf onto see background. So even be maintained as beautiful maple leaf on the water today. So let's begin painting this beautiful illustration for today. I have made me but the DOM, and let's begin with the pencil. The pencil sketch for this class project is only the maple leaf in the center. So let's begin adding a Benton sketch quickly. So I've added a very rough looking maple leaf. Rest of the background is going to be the CEO and only the maple leaf is going to be the safest piece. By painting the CEO, we are going to add a little reflection to this maple leaf onto the left side of the leaf. And the rest of the area is going to be the CEO. After adding the base layer of even given a little detail to the sea, trying to show some ripple effect because of the leaf need down onto the water space. Now I will just define the edges of the leaf vein and that is a product pencil sketch. Rest of the details we will directly be adding wiping day. So for this class project, I will begin with a green color photo, but this time I will not add the water in dodo leave space because the background is of a darker color. That is, the CVI is going to be awful dark blue and Payne's gray color. And the leaf is going to be off the light tones of yellow, orange, and red. So in order to get the leaf look perfect, I am avoiding the water into the leaf area. Around the leaf. I will use my smallest size brush and add the layer of water to get the clean edges there. So I'm done applying the clean photo photo. Now first I have picked up the shade of Naples yellow. And as I told you towards the left side, we are going to create a little reflection of the leaf into the sea area as well. So I first picked up the yellow sheet. Now around this very gently, I'm just going to add in a little bit of orange As-built to create the perfect effect. Then we will add the blue column to the rest of the space. Then you add the blue color near to the orange. You got to be a little careful so that you do not create any muddy sheets. Make sure that the orange and the yellow sheets both remain visible. This time for the Sea area, I'm going to use the shade of ultramarine deep. You can go ahead with any blue tone that you want for the Sea area. You could either use ultramarine blue or you could use cobalt blue as per your choice, or the one that is available in your palate. I'm going ahead with the shape of ultramarine blue. This time, I am going to use the shade in a little medium consistency. Ivan, not directly apply it near to the orange color. I have just added a little newer to it. So automatically when both the colors will bleed, they will create a soft edge and not create a muddy back down. So be careful around the orange column majorly. Now down to the leaf area also run carefully so that you do not drop the color into the leaf space. And into the rest of these, I'm going to first lay down or immediate layer of this ultramarine MOOC lately. A blue-collar Leo onto the entire species. Now very carefully I will pick up the same blue color, but with a smaller size brush, and I will add it near to the yellow spaces. But when I'm adding in your eye will quickly move my brush and I will address it a very light hand and not add too much pressure. Otherwise, you will begin to get some green and multi-color bonds because of the yellow and the orange color. So when the yellow and the blue, we'll mix them and form V01 loans. And if the yellow and the orange we'll mix David form muddy tones. So in order to avoid that, you need to move your brush quite quickly out there and with a very gentle hand. So you can see, I avoided all the money and the green tones. Now I'm picking up Hello In our darker consistency and beginning to add some darker tones. So I will add the darker tones in such a way that I still have the lighter dawns visible. And near to the edges of the leaf, I will add the darker blue. And then we will even be adding further darker dawns there to create the shadow effect for the leaf. Now you can see I'm adding this in half C strokes to create the ripple effect into the water as well. So when you begin adding the second layer, begin to add them in these half C strokes to create the ripple effect. And it will automatically make it look like the CSPs. We will still be adding in more Laos with different colored tones. Now next time picking up the beans green color and at the top space page, and I'm going to be adding a lot of the Payne's gray darker background. So even my beans GRI is in a medium consistency as you can see, and all of this am adding wet on wet since the force clear. So since that moment we began adding the yellow color. Since then, my people is still wet with that post layer of water itself. So in case if your paper is the one which will dry in-between, then wait for it to dry completely, and then you begin with the next level. So say if your paper has dried after adding in the fourth layer of blue itself, I would recommend you to wait for it to dry completely, event the entire surface. Then go ahead with the second layer of blue. Now using the same Payne's gray palette, I'm just adding it onto the edges of the leaves to create the shadow effect. We will still make the ending Japan's with the black color once the CBD area. Now next Eigen again, pick up the same ultramarine blue color in our darker consistency. That is without adding much our photo and near to the Payne's gray that I added around the leaf, I will add little more darker tones after ultramarine blue color again, so as to create the perfect shadow effect. And also around Ivan keep adding some darker ripple effect. Okay, Now, quickly near to the leaf space, I will just add more dark blue to get more of the shadow effects to the needs that we have a, makes sure that the yellow and the orange bees, bees a little visible because that is the reflection that we're trying to show in, into the sea space of the nice area. Now next I'm just going to mix in a little tinge of the Payne's gray color into my blue color. Or you can directly use an indigo color. And I'm just going to add little after ripple effect with this medium tone of indigo. So I'm extend a little bit of my ultramarine blue and indigo color. You can mix in a little danger of the pins to your ultramarine blue color. And again, you can see I'm just adding it in half C strokes leaving gaps in between. And it's automatically creating the ripple effects into the sea area. Now let's wait for this layer to dry completely. Then we will begin ahead with this PNP. So my entire species has dried completely. I am beginning with a layer of water onto my leaf area. So I didn't major, apply the water into the center of the leaf. I will try to avoid adding it onto the edges so that the blue color does not see. I haven't directly add the colors there. I'm going ahead with the wet on wet technique this time for the leaf because I want to add a lot of layers and the leaf is of a bigger size and I wanted to stay wet for an enough longer-time. So first I'm using in the shade of Naples yellow and I will add it onto the entire leaf space quickly. Make sure that you leave us to stay wet for a longer time. And around the edges, run your brush little carefully so that the Payne's gray color or the blue color doesn't get reactivated again and run integral leaf space again. Now using the orange shade, I'm going to add it into the rest of the leaf area. So half of the leaf we added with the yellow color. And now the rest half of the leaf, I'm going to add it with the orange color. And you can notice around the edges I had on my brush very carefully and at the bottom space as well, I'm just going to give him little orange depth on the borders and neon to the Edge. Be careful just use the tip of your brush. I would recommend you to foster at the edges with the smallest size brush and then paint the rest of the area. And that is the reason I haven't added any water onto the edges so as to avoid the blue and the pain street from seeping into the leaf space. And I'm directly adding in the pain's there very carefully so as to our white, the darker tones to see. So I'm done adding in the yellow and the orange shades into the leaf area, make sure that the little off the yellow is still visible. Now next time picking up the shade of ruby color and I'm going to add some darker details with the movie Color. And I haven't mentioned it. Begin adding the darker tones from the edges and let them flow naturally into this endoscopies. Remember, my leaf is still wet. I'm adding all the Leo's 0, that is the yellow, orange and now the red commonly OS radon bet. So basically your knee has to stay wet for enough time. That is the reason this time I vendor had with a layer of water on the leaf before beginning to paint so that it stays back far enough time. Now quickly adding in the red color onto the top area of the leaf. Now next time does picking up the shade of brown sienna. And I'm going to use this tool. And I'm just going to use the tip of my brush and add this color onto the edges of the leaf so as to darken the edges naturally, make sure, again, all of this is wet on wet. So you can see my brown color is very naturally blending with the red color tone and just creating a darker edge for the leaf. And make sure that you use just the tip of your brush or a smallest size brush for adding in the brown color. We do not have to add a lot of the brown details. It will immediately be on the edges and just one or two patches you're in there. Now, did the first layer dries. I will just quickly begin a little bit of the black color and begin adding in the ripple effect around the leaf. So I will add a little of it right now, then wait for it to dry before getting into an ad. Company details of therapist. Now when you're adding in this phospholipid, makes sure that you do not run near to the leaf space. Otherwise, the nice colors make begin to bleed into the black space and you may lose the shape of the leaf. You can see I'm very carefully just defining the shape of the leaf, that this triangle add a border to the leaf with the black color to create a ripple effect. Then I will make for the needs to dry completely before adding in the folder ripple effect into the sea. Now to this leaf, I will quickly add that small stem that we had done with the pencil sketch so far. The stem also, I'm just going to use a mix of the red underground tones and that is, now let's wait for this to dry completely and then paint the final details into the painting. So now my painting is completely dried and I will begin adding in the detail samples, picking up the shade of Payne's gray. And I'm just going to add a thick layer towards the edge of the leaf. You can either use Payne's gray or black. It's completely your choice. I haven't keep alternating between both the colors to get both Docker and the lighter depth into the painting. Now I'm forced adding the optic layer over to the edge of the leaf so as to define the leaf much better with those sharp edges. And then even add a little more ripple effect around the leaf. And then lead to ripple effect with the right gosh. So let's quickly at first with this around the leaf. Now let's begin to add a little more ripple effect around the leaf. So very randomly, I'm just going to add very curvy and a rough lines around the leaf speeds. So at pieces I haven't tried to move along the shape of the leaf to add the ripple effects. And at places I will just move very naturally in between. You can even add little spiral affected liberals that we will be adding it. So I haven't even be adding little spiral effect rubbers like this or tried to make the ripple effect look as much natural as possible. So basically, when the leaf is lying under the water, the ribbons that created a lot along the line of the leaf is what I'm trying to depict in your, make sure that you do not add the ripples too far from the leaf. It has to be almost, you know, within one centimeter range of the leaf so that they look more natural. Now next I'm going to use white gouache and add little ripple effect with the whitewash around the leaf in-between the black lipids that we have added in. So make sure that the use of eye wash enough the consistency or else you will not get the opaque look. So it's very important to get the opaque look to the white quash, okay, so very randomly you can see I'm moving these ripples around the leaf as well. And I'm not applying a lot of pressure, otherwise the base Leo kalos will get activated. So I'm moving my hand very gently and very freely. You can see now using a mix of the ground and the red color, Let's define the veins of the leaves. Make sure that your leaves face is completely dry before you begin to add these wheels. Now from these larger weeds, I'm just going to pop out some smaller veins very randomly. My brush has appointed their pens I made been to add all of them bigger and smaller details with one brush itself. In case if your brush does not have appointed to make sharper shift to a smaller size brush so that you do not lose onto the medial. Now I will just define the central veins a little more. So I'm just adding the central veins in a little thicker consistency. You can see suggests that the bottom space and thickening the veins and at the top space I'm letting them be thin. So you can see it adds more detail and depth to the leaf automatically. Now using the white gouache, just adding little patches onto the leaf, trying to show some water droplets reflections on to the leaf as well. Okay, Justin Adele onto one side. And now using the same white quash, either be adding little ripple effect at the bottom space. First I'm just blending this little right into the background. Now. Just going to pick up the whitewash again. I'm going to add the represent the bottom space. And then we are almost done with this painting for today. Before moving to the right, Japan's, I will just pick up a little more of the Payne's gray color and add some darker identical patches at the bottom space of the leaf here. Just a little, not too much, and only in the bottom space quickly. So let's remove the masking tape and let's see our final painting for class project. Then. I forgot to add the ripple effect with the white quash idle quickly remove the masking tape and then add the ripple effect. So in case if you have not remove the masking the API, you can force that the ripple effect and then remove it. But since the ripple effect is just with the white quash, it will not make a difference to my sharp edges that I have achieved in already. Now I will quickly add in the ripple effect. So I haven't pick up my round brush and just pick up some fresh whitewash. I will not be adding any water to my white quash and I will quickly just pick up little whitewash and move some spiders at the bottom space. First I will just add some more or pico ripple effect around the leaf here, because you can see that a business look a little lighter. Now you're at the bottom. I'm just adding some ripple effect an app places I'm trying to blended into the background as well to give it a little more subtle look. So just very little spiral effect we had learned creating despite an effect in my beach classes. So in case if you want to learn this, it's kind of an overview view of the maple leaf onto a C. So if you want a loan, the overview details are adding these rebels you can visit my beach painting class, valid. We painted five different beaches and long loopy and different ripple effects in the overview beach. Now just a little more at the bottom left corner here. And that is it. We are done with our painting for today. So your final paintings from this ten-day series. I hope you guys enjoyed the attendees series with me and thank you so much to each one of you for joining me into the 10-day class project.