Watercolor An Enchanted Forest: Techniques For Creating Magical Elements | Stephanie Terrell | Skillshare

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Watercolor An Enchanted Forest: Techniques For Creating Magical Elements

teacher avatar Stephanie Terrell, Watercolor Artist

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

8 Lessons (1h 3m)
    • 1. Enchanted Forest Intro

      2:14
    • 2. Supplies

      4:23
    • 3. Butterfly Study

      7:06
    • 4. Sketching

      8:11
    • 5. Masking

      5:04
    • 6. Painting the background

      16:27
    • 7. Details

      18:23
    • 8. Final Thoughts and Thanks

      0:46
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About This Class

In this class you will learn to paint a watercolor enchanted forest.  I will teach you to sketch out the beautiful scene and encourage you to be creative with your own scene using the elements I'm teaching you in order to make the painting your own.  You will also learn masking techniques, wet on wet, wet on dry and finally put in detail using micron and gel pens bringing your painting to a magical finish.  This painting is easy enough for a beginner but will encourage the intermediate student as well.  Thank you for taking this class and I hope you enjoy it.

Meet Your Teacher

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Stephanie Terrell

Watercolor Artist

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Hello, I'm Stephanie.

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Transcripts

1. Enchanted Forest Intro: I'm My name is Stephanie, and I'm a watercolor artist. I've been painting in watercolor approximately 15 years. I also painted different mediums. Such a surprise like I do Penny Wash and I do a lot of sketch. So for this class, I want to start with sketching because we're gonna be drawing beautiful butterflies and Lieutenant forest. And in order to do so, we want to study a little about the movement and the wingspan of the butterflies that you will be able to place them on your wherever you want and show you just how beautiful they are in the air even, you know, standing on like the mushroom or on the earth. So I want you to feel really comfortable with that and comfortable with your drawing before we start painting. We're also gonna learn watercolor techniques such as wet on wet, wet on dry. We're going to be using masking fluid. And towards the end, we're gonna be using micron pens and gel pens in order to put in detail on the butterflies . This is a really fun plots. It's also pretty easy. So I feel comfortable with, you know, as you go along, be able to make your own. I want you to be able to put into elements that you feel comfortable with your not necessarily sticking to exactly what I do and also bringing in different colors that you feel comfortable with someone that doesn't have a lot of experience in water. Her will be able to paint this enchanted forests and feel good about it. So I heard you to dive into it and ask me any questions you might have on the way. And, of course, you know, share your paintings with at the end so that I can enjoy them in common. Thank you, and I hope you enjoy this. 2. Supplies: So these were the supplies I'm going to use for this class, starting with watercolor paper. There's a lot of Brown's out there. I tend to stick to cancel and arches, and for this class, I will be using arches. It's 100 £40 cold pressed, and this is actually my favorite paper. Both of them are, but I use this on the most. We'll also need a pencil for sketching and an eraser. I tend to use this racer more than, um, a regularly research cause I like how lifts the lead off the paper without disturbing the paper too much, and we'll need some micron pens. Um, whatever sizes you have. Try to get at least two sizes for this project I'm going to use to five and eight and also used a micron. I'm sorry, some jelly rolls in white, and I'm going to use a five and eight. We'll also need watercolor brushes. Um, one of my favorite brushes is the smart brush, and it's by Princeton. It's a number four. I use it a lot, and it holds a lot of water. It keeps its shape. It has a nice tip, So try toe use a wash brush for this, um, painting and also to round brushes. A 10 and a three is what I'm using. You also need some masking fluid if you noticed. I have to hear, and I've always used Windsor Newton's art masking fluid. But last year I discovered this fine line Resist pen, and I absolutely love it. I really just use it for detail work, and I really like it cause it's got a really fine point and I'm able Teoh do a lot of detail work with it, and it's got this little pin that you put back in to keep it from clogging A little difficult to put it sometimes, but this is a really great masking fluid. I don't use this to cover big areas. I just use it for detail, and I tend to use this one for, you know, filling. But if you only have this, I'm gonna show you a little bit of the few techniques that I have. Teoh be able to do detail work with it, so just use whichever. When you have, we're gonna need masking tape. Ah, dish to mix our colors in, you know, unless you want to use the pans. If you have a pan set, watercolor pen said, then that's fine as well. I like to use this dish a lot. You'll need a paper towel. Um, a container with water. I have two jars of water, and I like to keep a lot of water close by so that, um, I have clean water all the time and you'll need a blow dryer or heat tool. I have this heat tool that I've had for a really long time, and it works fine. And, um, also aboard if you have a board that you can tape your work on two. This is, for example, my pad of arches and paper. And once I've done what did I keep it? Cause it's got a nice board on the end, and I usually take my work to that, so I'm able to move it around, you know, um, use it a little easier than if I were to tape it on my desk. And, of course, the last thing is water colors, and I have this set. It's by Windsor Newton. I just got it for Christmas, and it's more on the expensive side. And then I have, you know, cheaper sets like this Yorker that I paid $7 for. I have tube sets. I have travel. Uh, Pan said so. Again, use whatever you feel comfortable. Whatever you have, it's fine. We're not gonna be using too many colors. So, um, whatever, you have a word, we can mix it and make it work. And again for this This painting I really want you to make it your own. So if you want to use different colors and what I'm using, that will be fine as well. So I believe those are all the supplies that I'm gonna be using. And I hope you follow along with me and enjoy this class, and I will see you in the next lesson. 3. Butterfly Study: So for this next lesson, we're gonna study a little the anatomy of a butterfly, and then we're going to start sketching them and trying to understand their movement and so on. So first of all, um, just so you know, the bigger part of the wing, the top part of the wing is called the four wing, and the bottom wing is called the Hind wing. And in the wing, if you notice there's always these beautiful black marks, not always. Some of them are. I have got some of them have just color. But if you see these lines, they're called the veins. And then the body of the butterfly has the head, the thorax, the eyes here and the abdomen. It normally has about four legs and the two antennas now. But for this painting, we're not really gonna focus too much on the, um, body part of it. The abdomen, the forex in the ad, because we're going to focus more on the wings and you'll see that because this enchanted forest is kind of misty and a little foggy, you're not going to see too much detail of the body because it's normally pretty dark So we're gonna put a lot of focus on the wings and the detail on the wings. Um, what I did is I went to Pinterest. So while you're on Pinterest, go ahead and type in butterflies and flight. I'm You can just type in butterflies. I typed in butterflies in flight, and I found lots of reference. And as I was scrolling through, I I noticed that the bust pictures to look at where where the butterflies are all group together. And it allowed me to see their different movement wingspans, you know, based on the angles in the direction they were taking. I noticed that the pictures where they're all grouped together where the best reference I could get. So I started just sketching them out. And, um, in all the different angles I found, And before you knew it, I just felt like I could, um, sketch them out and not have toe even reference the pictures anymore. I'm gonna practice a few with you here. So you can, um I kind of understand what we're doing. So, uh, let's see. I'm kind of referencing Pinterest right now, and I see this butterfly here that's actually standing honest on a the tip of ah flower. So I'm just gonna look sketch a farmer, quick. And, um, the head is something like this, but the butterfly itself is the wings air, um, racing crazy me while the left is do this bottom one here a little flatter. And then the bottom one would be just a big but a little rounder. And then you still see the back wing, even though you can't see both of them. So you put in them back wing, and that completes the butterfly. And there's the lawn tennis just to give you an idea, and legs would be here, so on. So that's one angle that you can practice, uh, drawing. Um, see, Let's find another one. Here's one that's flying away. It's flying away from Lex. I would stand in front of it and be flying away from me to the left, so, um, it's really pretty, and that would be the left wing on the side. This would be the hind wing, and you could put little curves in, and however you want, you don't have to copy exactly the way you see it. You know, when you kind of make it your own. It's a lot of fun. I think I'm gonna move this little farther, closed her to hear, and then I'm gonna go ahead and put that little dip that it did there. And then that one would be body would be more less. Yeah. So that's another angle. Okay, This one here is one of my favorite, and, um, I just I love I love this. This movement here where the wings air super long, they look long because it's it would be a lot closer to me, and, um and that would be the left side. It would be equivalent to these two, and then the back one would be really elongated as well and pointy, and would be something like that body would more or less be there. They're pretty. Um I'm going to do one with a total open. Uh, we spend and, uh, see if I could find a good one. I'm on Pinterest. Um, the only thing about capturing one with its wings completely open is that you have to try to make sure balance it out. Keep it, you know, even on both sides. So when I suggest is just to make it simple, and so I would leave a space for the body, would go on a not gonna be perfect, but it's fine. And then the body would more or less go here. Okay, And be creative. You don't have the They don't have to look exactly the way you see them. You know, you just once you kind of get an idea of what? How they look in the air. You start, um, understanding them a little better. And you just keep practicing and, um, you'll get the hang of it, okay, So go ahead and practice on that. And, um, once you feel pretty comfortable with the different butterflies in their angles and you have enough reference, then let's move on to the next lesson where we could get it drawn on paper along with the mushrooms and, um, mushrooms Air easy to draw so well, we'll do those pretty quick, and then we'll get started on their painting. 4. Sketching: Okay, So what we're gonna do now is we're gonna go ahead and draw well, sketch statue, anything. We're gonna go ahead. Sketch are butterflies. Well, our whole scene and what I did is I got one of my nine by 12 sheets, and, um, he went on ahead and folded. It poured in half. And I'm gonna pay only on one of these halves, okay? And so we're gonna do no, is get our masking tape, and we're gonna mess to the team. I mean, to the board. I'm sorry. Okay, So now that we have that down, make sure you press down and that there's no little pockets, because once you start putting watercolors on who you don't want water getting in there, you want to try to preserve that clean white line when you remove the tape of the end. So what I'm gonna do is I'm gonna get my sketches, my butterfly sketches, and I'm gonna go ahead and decide where I'm going to place them. But first, here's an example of some of the meanings that I did of this enchanted forest is probably my favorite. And, um, what we're gonna do is the first thing we're gonna do is draw the horizon line, so I usually do it about 1/3 of the way up, and I don't do it straight. It's pretty jagged. And then I'm going to go ahead and put the mushrooms in. You can put them wherever wherever you want, so I like the way I placed them here. If you want to place them differently, that's okay. Just keep in mind that, you know, the ones that are a little closer going to be bigger than the ones that are a little farther. So I'm going to start with this little one over here in the corner and he's all alone draw the cap, and then I'm going to draw these two here and, um, double there and kind of Kurt Little cap a little like it's leaning to the love. And this one I did hire, um you can also make this a little bigger. Actually, not too, because it's farther away than this one. The one I'm gonna drop down here. And you can also pay them skin here. This other one that I did. I painted them really, really thin and they looked really cute. So you can either do him a little thicker, like I did here. Or or not you can do, you know, skinny and, uh, let's see. So they're not going to do this one too pretty, big cap, because it's closer than these two. And I'm doing a little baby one coming out the side. Okay, I think I'm good with those again. You know, Feel free to put them wherever you want, Just keeping in mind the distance, and then we're going to do the butterflies. So, um, I'm or less gonna stick Teoh to this painting that I did. And I'm gonna put a butterfly here kind of rusting, taking a little break. And, um, I love the wing span on this one. Keep that one there and then I'm going to go ahead and just kind of spread them around. I like this one. That's just it's It's almost like it's getting ready to land. Not sure what it's doing, but I'm going to keep that one there as well like that. It's it's bigger and it's Ah, yeah, that sometimes put the body just to make sure it makes sense where it is. Um, do you want to go a little further out with that. Check it. Okay, then. I like this one here and both of these, the way they're kind of just floating. I'm going to make this one a little smaller, though, because I wanted to look further away. So there we go. They don't have to be perfect. So don't feel like, you know, when you draw them, they have to look, you know, exactly symmetrical because they may not. Um, this is really pretty. It's kind of going to the side there, So I'm gonna keep it. Keep that one the way it ISS, and there we go. And, um let's see, I like this little one in the corner, but I'm gonna make it a little smaller, Like, kind of like the ones I did here. The ones I did here they look further away and kind of like they're coming towards you. So I really like that. Uh, Let's see. What am I missing? I really like this one, but I kind of put the mushroom closer to this edge, so I don't know how well it'll look there. So, um, I'm gonna try Mina, try this one and just kind of put it close to the middle here, and I like it because of the angle too big. And I think it's a little too big self. I mean, a little smaller. Then this swings a little bigger. See a little cricket on that. Okay, that's cute. Um, I got two good sized ones here. These your little further, That one's tiny. The governor put this open open one here just to kind of even it out. And pencils. Not Here we go. We do it again. Uh oh. And I was running at a lot there. Okay? Really, The bottom is a little smaller. Okay. Um, I think that's good. I'm happy with that. So once you have your butterfly sketched out again, if you wanna be, look at it and decided. You know I don't like this butterfly here. I'm gonna move it and make it a little different. Please, by all means do that. And once you're done and you feel good about where you placed all your butterflies, then we went to the next lesson where we're going to start with their Maskey. Okay. See you then. 5. Masking: Now that we have everything drawn out, we're gonna go ahead. Mask are painting. And I have two different masking fluids that I use. If you just have just a regular masking fluid, that's fine. Okay, so what I'm gonna do is go ahead and show you how I would mask without the fine line. You can use an old brush. This is just a cheap Russia have. And, um, I don't normally use the brush because I end up throwing them away. So I used the tip and it just works for me. So what I do is I just kind of go in there and dip it, and then I just kind of carefully follow the outline. Whatever it is I'm asking, in this case, it's the mushroom, and I mean, it works. It's it's keeps the masking fluid in the line. You're able to spread it out. That's how I do it. And it works for me. So I just got a little spoiled now, and it's easy to clean up. So you just do this and it's clean again. So you can either do that. Um, I know that some people, what they do is they get, like a little jar of water and soap in the They dipped the brush in there and then they dip it in the masking fluid, and it's supposed to make the masking fluid come right off. I haven't tried it, but I heard that that works well. If you have a fine line or if you want to get one, you don't have to. You can just use the method I showed earlier, and this is like it's it's almost like drawing with a pen. You just go in there and you follow the outline. I love it. It's just kind of spoiled with That's what I use. So I'm gonna go ahead and, um, I'm gonna fast forward this and I'm going to mask, um, all the butterflies film in, and, um, go ahead and take your time doing the same thing. And when I'm done, the video slow back down and then I'll just kind of go over what we have left and then move on to the next lesson. - I'm asking everything that needs to be masked. The butterflies and I would just go through and make sure that you didn't miss any spots, because once it dries and, you know, we start doing the background, which is then I have some pretty heavy pain. Um, if there's any spots you missed, of course, it's gonna pick that color up. So just kind of go through and make sure you've got everything. If if you know, and it gets on it, it's OK. Especially on the butterflies. It just gives it a little more, Um, cholera character doesn't have to be perfect. You're gonna You're going to realize it's not that big of a deal, and we're gonna be putting details in that me covered up anyway. But just do the best you can. And, um, now we're gonna go ahead, let it dry. And in the next lesson Ah, we're going to go ahead and start painting the forest background. Okay? I see in the next lesson 6. Painting the background: Now that the masking fluid is all dry, we're gonna go over colors first of all. And, um, the colors that I'm gonna be using for this painting more into go. I'm gonna use some ivory black I'm going to use, um, sack green, all of green burn number, probably a little bit of raw sienna and and some lemon yellow. Now, use honestly what you have if you don't have in to go use the darkest blue. You have an add a little bit of maybe Payne's gray er ivory, black to it just to tow. Make it a little darker because if you wanted to look like my penny, of course that that's what you can do. But if you if you want to make this painting your own like say, you want the background to be, um, oranges and reds by all means try it. That's beautiful. Um, of course, you can probably, uh, do the mushrooms and maybe a bluish. Just so there's a contrast between the two, but I'm I mean, I've tested it with different colors, and it's really pretty, so I want you to make it your own. Now if you want to follow along with me, just so you get an idea of how to paint. And then by all means, you know, try different colors. That would be great as well. But for this class, just so you know, I'm using the colors I just gave you. And, um, what I'm gonna do, first of all, is I'm going to paint the top portion of, um, the painting. So it would be like the Foresti background with the trees. And I put it on this board only because of the camera. I want to be able to move it around because I'm gonna need Teoh. So what I'm going to start with is I'm going to paint the top portion first, and I'm going to get, um, my indigo, and I'm gonna put it in pretty thick because I want it to, um, look pretty dark back here and not have to do so many layers. If we have to do another layer, that's fine. But I'm gonna try to do it with just maybe one or two layers of the most. So where I know there's techniques and watercolor where you congratulate and, um, get the colors to flow down you know, beautifully. I have this tilted so that the color runs down. But, um, it's not important for this painting because of two reasons. One is we're going to be painting some trees in the background. That effect isn't gonna matter is it's gonna cover it up. And, um, it's like a misty background. So a little texture will make it look really pretty Anyway, so don't worry too much about the technique. I am gonna teach it in another class, but in this class, it's not issue about puddles here. That's OK, That's OK. So as you get to the middle, remember, the light is coming in from this side of the forest down in this direction. So this is gonna be the darker side, and this is gonna be the lighter side. So right now I'm going to start adding a little more water to my brush. You can add water to either your pigment or you can add a little bit to your brush and then start bringing that color down. Um, this is gonna be a lighter value, so we may have to put another coat. Um, if we don't get it as dark as we want it, Which, because in water color, um, the colors dry. Leitao the paint down here needs to stay fairly light and make sure you get in all those little crevices were the masking fluid is so seeing here, These effects were getting that's okay cause we can correct him on our next layer. So I'm gonna dry this. Okay? I think I am gonna put one more layer, not not too dark. And the trees that were going to put in the background are going to be darker than this. You don't again. We're not using a great dating technique right now, so if it's not even, that's okay. And when we put the trees in because we want them darker than then this into go, that's down already. We are going to have to add some black, um, to our indigo, and that's gonna allow, um, allow it to look darter than the actual blue that's there. So it'll look really pretty, but we don't want it to look to too much darker. We just wanted toe stand out and give the illusion of the trees there, so we're not gonna put a lot of, uh, detail into those trees at all. No, it's OK if you see these lines because we're going to be putting the trees, so I think that looks good. If you notice how much darker is here than here, let's go ahead and dry it. So I did tell you that the trees need to be darker than this color. So right now I'm adding some ivory black into my indigo, and, um, we may have to adjust it a little more, but I've put what I thought. I put what I think is good enough. I still want to choose to look into go, but a darker value of of what's already there. So what I do is I usually just put a little dab along the horizon line here, and then I just go up, okay? And I keep doing that. But keep in mind that you're in the forest, so trees are not always, um, straight mother, usually not street at all. And, um, you want them not to be, you know, exactly like, say, quarter injured need driven in from each other. So the more scattered you have them, you can go over him if you need to do it a little darker and do some thinner than others in the way you can do that is by if you get let me give you an example. Here has a little strip of paper. So if I just very lightly with the tip of my brush do this, it will come out lighter. So if I press down, my tree will be a little thicker. And, you know, if you want to continue their just go back and do that, but you wanna keep them all a little different, it's okay. So what you want to do here, before you move forward, is maybe put in a little Brent a few branches real thin, Woz thick wants, you know, however you want to put him Okay, So once you start moving in and it's getting lighter, start adding a little bit more water to your Payne's gray and in to go. And, um, you want the trees to be a lighter value than the ones on this side. And if you need to go over a tree, realize it's too light, go over, try to go over the Triggs itself and don't like, create a new line because then it's just gonna get to Muddy. That's what I did here. Realize some of these aren't dark enough. And so as I get further, I'm gonna again at a little bit more water, and I'm going to make these trees a little lighter because it's getting lighter on this site and I feel like that's already too dark, but it's probably gonna dry a lot lighter. Sometimes they're going a little lighter here they're having in a few branches. And I'm gonna go pretty light on this last one for the last few that I'm gonna put over here, and I think that's that's about it. I'm going Teoh three more branches and then I'm gonna dry it. And if once you dry it, if some of these branches airway to light and you do want them a little darker than go ahead and just add a little more Pete Okay, okay, that's pretty dry. So what we're gonna do is now, we're going to work on the ground, and what I'm gonna focus this part is I'm going to start by putting in a mixture of sap green and, um burn number, and I want to get the ground pretty dark, especially on this side, just like we did on the right side for here. And I'm gonna create, like, this greenish around. It's really pretty. And right now I'm just gonna put in. Um I'm just going to put in a layer of it everywhere pretty, pretty evenly. But even on this side, because I'm still gonna dark in this No, I just want to, and I'm probably gonna add a little more Stop green on this part because it's where the lights coming in so you can see a little more color. Then you would on the right side, where it's a little darker. So I'm going to go ahead, Dr this and then I'm gonna put another year. Okay, so now I'm gonna go darker, and I'm going to put a little more burnt number into my stop green, and I'm going to start just dabbing randomly. Now, The reason I'm doing this is because I want to create the illusion of just a mossy, um, a mossy floor earth where all these beautiful creatures and even mushrooms are growing happily. So go ahead. Add Cem. Um sap, green and, um, burn number together and then just start daven away again, keeping in mind that you wanna you want to keep the right side of your painting darker than the right side. So as I'm going to the right side, I'm going to put a little more water on my brush and, um, still continue to grab, Keep in mind, not Teoh. Make it too dark. And at this point, what I like to do is I want to add maybe a little bit of, um What is it? The all of green and dab that as well. And then on this side, I can even get some burn number alone and dab some areas as well. So I like how that looks. It's very, um, textured. It's it looks like it's earth. There's, like moss. Stir a mixture of some like weeds Or you know any other elements in there. And I think I'm going to leave it like that and go ahead and drink. I feel like it needs a little tiny bit more texture over here on the right. So I'm just gonna, like, quickly add some and I just do that by randomly randomly moving my brush around and maybe dabbing it a little bit and, um, creating just texture. I'm gonna put a little more actually here to, and I'm gonna do a little bit of I do like it. That looks looks nice. I like the way I like. I like the way, um, the green and brown go together, and I also try to keep it a little dark underneath the mushroom and the butterfly to give a illusion of shadow. We could put a little bit of mushroom. Okay, I'm gonna try it one more time. On the next lesson, we're going to remove the masking fluid, and we're going to start putting detailed the final details into our pinky. We'll see in the next lesson. 7. Details: Okay, Now we're gonna go ahead and remove the masking fluid. The first thing I'm going to do is I'm going to get a little bit of yellow okra, and it's a It's a beautiful, like, gold ish color, and I'm going to just fill in all the mushrooms. With that color, you can do some sections darker. Now, keep in mind that the light is coming in this way. So you're probably gonna want the right side of the mushroom a little darker than, um, the side where the lights coming in. So just right now, you can just, uh, just be a little careful that you don't believe that color in and to go from the sky or from the background, So it's just a really light color. Now, if you notice on my picture the left side of most of the mushrooms were the lights coming in. So I kept those pretty light. So as those air drying, we're gonna go ahead and at some color to our butterflies, Cerulean blues air, really mild, mild blue. And I love it for this project. So I'm going to keep in mind that lights coming in this way and I can put blue on this, this whole butterfly, but I want to kind of keep it a little light. I'll show you on this better place. Well, now I'm going to keep in mind that this part of the wing is going to be I'm a little lighter, so I'm gonna put the darker color in the middle of it, and then I'm going to spread it towards the end with just the wet brush, just using the color that's on the butterfly already not adding more color to to the butterfly. And if you want to add a little more, you can just dab it in there. You can grab a little color and just dab it in there wherever you, um want. And for example, I think I want to put a little bit more light in here. So I'm going to get my, um, paper tough and just live the little bit of color off a little more to this one now and again. This one's really close to where the lights coming in. So I'm going to be really careful adding the color in and not make it to too dark and then clean my brush and just spreading that color out. And because those air so far away really, really want to keep him, not necessarily light. But, um, just you don't have to worry about trying to put the color in like you did here in certain spots because they're farther away. Oh, I missed one more. This little tiny one here just basically colored it in. So now that I have those done, I'm going to work on the mushrooms again. And what I'm going to do is I'm going to, um, Gabin some a darker brown, and I'm going to use burnt number and raw sienna, and I'm gonna probably put a little bit of burnt Sienna and there to just to give it that little reddish, uh, tone over number. And what I'm going to do is I'm just going to dab. Now I'm going to keep in mind again that this right side is gonna be darker because the lights coming in from the left side, so I'm just gonna put in a little bit of color like this, focusing on the right side and top of the mushrooms. Then I'm gonna clean my brush, and I'm going to go just straight for the yellow okra. And I'm going to to have that in medical or over here, but I'm gonna dab it in closer to the opposite and then mixing together is perfectly fine. It's actually great because it gives it a really nice texture. And now you can see that. Oops, I got a little bit get a little more yellow okra water down a little tiny, bit more input. Very, very small dabs of it so that it slowly transitions from dark to light light to dark. So that's that's the effect you want. So go ahead and start again with a little bit of, um, burn number, a little bit of raw sienna, and you can even add a tiny dab of number number. And there I'm sorry, Bert. Number burnt Sienna. And, um, just to get that like, darkest color and then go ahead and do the same thing to the other ones. So I'm gonna clean my brush, and I'm just going to get a little bit of yellow. Oakar. I want to go a little lighter now, and I'm gonna start dabbing that and water it you down a little tiny bit more. I put some of it. Oh, that's too much water on my brush. And then just there we go. Now that we have the mushrooms painted in, we're going to go ahead and, um, finish drying it, and then we're gonna and then we're going to start putting in detail with our my crumpets. Okay, So what we're gonna do now is we're gonna get our micron pens, and you want to get a 500 to I'm going to start up with the five. And the reason I wanted to is because on the butterflies that air farther in the distance, we don't want this dark detail on them. So we're gonna start with the five. I'm going to start with this one here, and the first thing to keep in mind is you may still see a little bit of your pencil marks . Um, go ahead and, uh, put a line where the pencil mark would be, and you want to do a little bit of a separation of the two of them and fill in those sections with the black marker. You also can go ahead and outline the wing with the black marker and, um we're not doing it because we just want make it darker, but because we kind of want to bring in the detail of those veins that we were talking about. And, um, what I do is I just randomly, like, put little segments in there and, um, like such. And I just put lines. You don't need to do any specific kind of pattern. You just do something that will show the little veins in there. Now, if you want to study them further and go on Pinterest and you know more or less, um, follow exactly the way the veins clothing, these air, the two left wings. And, um, this one back here's the back one. That's why I put this this line here, and I'm just gonna, like, randomly puts, um, lines in there. And then I'm just gonna define this one in the back a little more with that black line. Now, if you notice we don't see the body on here because it's darker. If you want to put it in, go ahead. Now, once I'm done putting the, um, the details in there, if I feel like I want to put a little more color and I'll show you an example. Um, I'm gonna go ahead and maybe grab a little bit of cerulean. And I realized, you know what? I want this his bottom edge a little darker and that looks a little nicer. So that's an option. You have ones, you're done. These ones that are a little farther you really don't need a lot of detail. What I normally do is I just kind of put a little lying around them and then just the illusion of, you know, a little a few lines inside, and that's all you need. And this one, for example. Um, remember the color bled into it. Well, I'm gonna go with it. I'm gonna work with it. And I'm just gonna add that line in because that can be part of the pattern on the butterfly. And I'm not going to get is dark as I would here on this butterfly, because this one's farther a little farther, way into the mist. But I am going to put in a little bit of detail here, and that's it. Now for the mushrooms. I keep it really light, but I do put in a little bit of Ah, I'm Micron. Line a plaque line on them, and that's only to clean them up a little bit because the masking floor doesn't exactly go bury very clean on them. And then I just put one to kind of separate the cap from this stem. You don't really need to do much more than that. And that's it. So you just keep going. - This is so fun. Because you could just be so creative and put in your, um, your detail. Really? How you want? I'm gonna go a little lighter over here, and you see, I still can't see my pencil lines. You should be able to as well. So you just follow those and and that's it. If you want to put, like, stay like this one here is a little more in the light and you want to put the body than the by all means Do that. I am really just as I'm going along. I'm making up these Petters. Oh, this little guy, We can't forget him. Okay, That looks really pretty. The last thing we're gonna do is we're gonna get our gel pin, and I have a number eight here. I'm still going to add. I'm going to add a little bit of color to my butterflies on some of the ones that I want to see. A little more, um, cholera on. And you'll notice when you do that that they kind of stand out a little more. So you're free at this point to add color to them. This swing here is more in the background. So I made a little darker. Just adding a little color, like, just really brings them to life, who had a lot there. But that's OK. I can go ahead with some of the color I really like. Okay, so at this point, we want to bring in two things we want to bring in, um, the light onto the ground, cover the top of the ground cover, and we want to bring in that like, sparkle. So what you're gonna do is you're gonna get your gel pin. You're just going to start getting it, dabbing it everywhere in creating these beautiful little particles all over Now I use the two sizes, for example, that's a five, and I like to also use the 10. The other thing you're going to do is you're going to, um, give that illusion of the light coming down on the floor. So Onley in certain sections, not in the whole thing. Go ahead and add. Um, you're gel pin. Get your jump in and add some white right on the horizon line and maybe more on this side. You're going to see it a little whiter where it's darker. You can even add some to the caps to the top of the caps if you have any wash, and I'm gonna get him right now, I have I have, um, some whitewash. You can also use that too. Create with your very thin brash You can create those, um, highlights in the background. I like to use them at the end to just put in the highlights that I feel would bring in, you know, a little texture and highlight beauty into this enchanted forest. And I just put him wherever I feel they would the light would be reflecting. So, for example, and if you notice you have putting it on the light side of the mushrooms, So then what's going to bring it all together? Is you getting the gel pin and, um, I want to get this 10 toe work. But if not, I'm gonna try to eight c for summary. And they're not dried out. Just sometimes. I'm not sure. Why won't This was working. So go ahead and just Sprinkle those little Michael Fairy test Spartak particles everywhere , particles everywhere and, um, also bring them down into the MMA. Lost the earth ground whenever you want to call it, and this will bring it all together. Pretty. I like to keep them a little darker on this side. Not so many on the light side, because you're going to see it more difficult to go in these little corners as well. And I think that's good. So that's that's it. That's it for a penny. And, um, go ahead and remove your team. There you go. There's your painting. I really hope that you enjoyed this class. And again, I really encourage you to, um, make another one and use different colors and, you know, move things around and make this painting your own. Thank you so much for taking this class. And, um, I hope you enjoyed it as much as I did. Thank you. 8. Final Thoughts and Thanks: Well, we're all done. Thank you again for taking my class. I hope you enjoyed it as much sided. I heard you to continue practicing by using different elements, different butterfly placements and even different colors. And I'm really excited to see your work. So I heard you to post your completed paintings to the project section of this class so that I can enjoy them, and I can't comment on that. And I'm sure others love I heard you also to follow my skill share profiles that you could be notified any future class. Thank you for taking my cause. And please feel free.