Watercolor Autumn Leaves | Cara Rosalie Olsen | Skillshare

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

Watch this class and thousands more

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

Lessons in This Class

17 Lessons (3h 41m)
    • 1. Introduction

      5:24
    • 2. Supplies

      4:22
    • 3. Hazel Leaf

      15:09
    • 4. Adding Details to the Hazel Leaf

      13:42
    • 5. Sugar Maple Leaf

      20:17
    • 6. Adding Detail to the Sugar Maple Leaf

      21:28
    • 7. Eucalyptus Leaf

      22:54
    • 8. Tulip Poplar Leaf

      19:26
    • 9. Adding Detail to the Tulip Poplar Leaf

      6:16
    • 10. Rowan Part 1

      11:57
    • 11. Rowan Part 2

      11:14
    • 12. Gingko Leaf

      13:19
    • 13. Adding Details to the Gingko Leaf

      10:41
    • 14. Sweet Gum Leaf

      13:38
    • 15. Adding Details to the Sweet Gum Leaf

      4:01
    • 16. Class Project Part 1

      15:12
    • 17. Class Project Part 2

      12:15
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About This Class

A shift in season is upon us, Autumn - ushering in a world turned copper, scarlet and gold; and so what better way to celebrate the beauty descending on our trees than with a class devoted entirely to autumn leaves!

Together we will observe real examples of leaves foraged from my community, studying them closely for all their rich colors and intricate details, before we rely on intuition to guide us through creating them. The thing to keep in mind will be resisting the urge to include every little detail, which, as we've learned in previous classes, can quickly overwhelm our subject matter. Instead we will approach our leaf structure loosely, inviting play and movement into the mix and allowing US to enjoy the process. I promise to walk you through each step, helping you gain confidence and familiarity with each leaf so that you will feel at ease when we move into our class project.

This is going to be a FUN class. Break out of those watercolors and get ready to rummage around for the colors that give you all the autumn feels.

SUPPLIES:

Legion 140 lb cold-pressed paper or any cold-press paper I'll be using 9 x 12 sheets)

Princeton Aqua Elite or Heritage Round Brushes: Four Size 6 brushes and Two Size 10 brushes

Watercolors: below is a suggested range of colors to use. Please note these are not absolutely mandatory; you do not need to buy more paint prior to the class for best results. So long as you have a range of yellows, greens, reds and browns, you will have wonderful results!

MaimeriBlu:

Green Gold, Yellow Ochre

Daniel Smith:

Naples Yellow, Undersea Green, Quinacridone Scarlet, Quinacridone Fuchsia, Bordeaux

Winsor and Newton Cotman:

Sap Green

Vandyke Brown

Sepia

B Pencil to sketch leaves

Kneadable Eraser

Sketched Leaves: you can use the scans provided to freehand or trace. You can find the sketch PDF files in the class project.

Palette

Cup of Water

Paper towel to blot

Optional: autumn leaves for inspiration

Introduction & Observing Autumn Leaves

We will take a few minutes to study the leaves gathered from my community and notice their colors and details.

Supplies

Going through everything we will need to create our beautiful autumn leaves.

Painting a Hazel Leaf

Here I will show you how to prepare your palette with several colors and pre-load your brushes for easier maneuvering as we lay the groundwork for the leaf.

Adding Details to the Hazel Leaf

Once the leaf is dry, we will continue working by adding pertinent details to allow the leaf to stand apart as unique while remaining mindful not to overwhelm it.

Panting a Sugar Maple Leaf

Tackling our largest leaf, and continuing to use the wet-into-wet technique, I will show you how to prepare your palette with several colors and pre-load your brushes for easier maneuvering as we lay the groundwork for the leaf.

Adding Details to the Sugar Maple Leaf

Once the leaf is dry, we will continue working by adding pertinent details to allow the leaf to stand apart as unique while remaining mindful not to overwhelm it.

Painting Eucalyptus Leaves

These long, slender, snake-like leaves come in many colors and shapes. We will use this variety to our advantage. I will show you how to prepare your palette with several colors and pre-load your brushes for easier maneuvering as we lay the groundwork for the leaf.

Painting a Tulip Poplar Leaf

Leaning into orange and gold tones, I will show you how to prepare your palette with several colors and pre-load your brushes for easier maneuvering as we lay the groundwork for the leaf.

Adding Details to the Poplar Leaf

With an emphasis on veins and freckles, once the leaf is dry, we will continue working by adding pertinent details to allow the leaf to stand apart as unique while remaining mindful not to overwhelm it.

Painting Rowan Leaves

Variety is key here as we create these tiny leaves that pack a powerful punch. I will show you how to prepare your palette with several colors, pre-load your brushes for easier maneuvering as we lay the groundwork for the leaf.

Adding Details to the Rowan Leaves:

With an emphasis on veins, once the leaf is dry, we will continue working by adding pertinent details to allow the leaves to stand apart as unique while remaining mindful not to overwhelm them.

Painting a Gingko Leaf

One of my favorite leaves for its playful shape, again I will show you how to prepare your palette with several colors and pre-load your brushes for easier maneuvering as we lay the groundwork for the leaf.

Adding Details to the Gingko Leaf

Once the leaf is dry, we will continue working by adding pertinent details to allow the leaf to stand apart as unique while remaining mindful not to overwhelm it.

Painting a Sweet Gum Leaf

Finishing off our exercise by painting another large leaf using one of my favorite color combinations from "The Sunset Series" Color Guide. Here I will show you how to prepare your palette with several colors, pre-load your brushes for easier maneuvering as we lay the groundwork for the leaf.

Adding Details to the Sweet Gum Leaf

Once the leaf is dry, we will continue working by adding pertinent details to allow the leaf to stand apart as unique while remaining mindful not to overwhelm it.

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Meet Your Teacher

Teacher Profile Image

Cara Rosalie Olsen

Floral Designer + Watercolor Instructor

Teacher

 

Hello, hello!

Goodness, I am SO glad you are HERE :-)

A quick intro before you dive into the lessons!

My name is Cara, and I am the owner of Rosalie Gwen Paperie, an online floral boutique. I’m also a watercolor instructor and can be found teaching budding artists in the Orange County, CA area. So if you’re local, please consider joining us for an in-person workshop!

Teaching is my passion. There is something incredibly beautiful about witnessing a person come into their creativity for the first or tenth time. I firmly believe words such as "talented" do not exist when approaching the creative realm. Every single one of us has been given the ability to share our story through the vein of creation, and it's simply a ... See full profile

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Transcripts

1. Introduction: So let's take a few moments now to have a look at some leaves that I foraged from my community a little earlier today. As much as I had long to actually go on a hike in some of our mountains because they're just, the leaves are so stunning up there. I was able to get quite a few little treasures. So I'm going to encourage that you do this as well. If you are living in an area where you have some beautiful fall colors and leaves falling to the ground. And are able to just pick them up and have them in your, in your space as you create. I just feel so inspired to have actual, real leaves versus just the pictures that I used for reference. So I think that will be really valuable to you. We're going to use the leaves that I've gathered as an inspiration, but not necessarily for the exact likeness when we go to paint. So, you know, like for example, I love the colors in this leaf. There are so many. You have it starts with a beautiful burgundy and then it turns dark brown, orange, and then finally to a green. So and we'll use this and will rely on the colors. I love this one, this little freckled flower, and just use it as a guide. The thing to keep in mind, I am not a botanist. So although I do have names for all of our leaves, forgive me if I make little minor errors along the way. I paint flowers mostly. And while I tend to know what those names are, leaves sometimes escaped me. So I will do my best to make sure I reference everything. But if you see something, feel free to send me a message and let me know like, Hey, that's not a sugar maple, that's a field maple, if you happen to you no. Recognize and know the difference. I did spend quite a bit of time on the computer holding up my leaves, matching them for, you know, the exact amount of digits and whatnot. But a lot of them overlapped and look very similar to each other. So there may just be some discrepancies. We won't be all of these, but we're going to paint several and also several that you don't see here. Just to get a variety. I didn't really have like a branch that I wanted to do. So we're going to do some really pretty row and leaves and eucalyptus leaves. But this will give you an idea for colors. I would love for you to have something that's kind of on the BG and browns, Greene's golds. Anything in that family will be able to make orange when we mix our red and yellow so you don't need an orange. But we will obviously covered that when we're talking about supplies. So these are our treasures. I'm so excited to have these to just serve as inspiration and hope that you will take some time to do that as well, just to have them in your studio. And this is one of those classes where I really am hoping that you'll feel free to take liberties along the way. Obviously, I'm going to walk you step-by-step as we move through the structure of each leaf. But there's a lot of room for play in leaves because we're going to approach them loosely. We are not going to attempt to pull out every single detail we see. We're going to observe and note the veining and the leaves, how they are shaped like a star, the angles of the stem to get a really nice organic feel, you know, when we're drawing the stem. So that's really what I want these to serve you, or how I want them to serve you. I don't want you feeling like you're married to every little detail, because that is how we quickly overwhelm our subject matter. So keep that in mind. We will be approaching this entire class loosely. That is my forte. That's where I feel like the most magic and serenity happens and that is what I want for these classes. That's what I want for you. Painting should be enjoyable, not overwhelming. A lot of you message me on Instagram when I talked about this class saying that these kind of leaves overwhelm you. And I want them to do the opposite. I want you to feel free to play and explore. And we'll have the basic structure down. I'm going to be providing scans for you so you can either print those out and trace them or you can look at them in free hand if you're a little more confident, I am not an illustrator, I should also say that my leaves will not be perfect. They're free hand, and they are just a basic structure of the leaf that will be studying. So you are more than welcome to include more details or just keep them super loose. So that's up to you, but I just want you to I want it to say up front, please don't feel like you have to do everything by the book, by the way that I'm teaching it, I would more, I'm going to give you the technique and the education and then give you room to play and express yourself. Okay, so that is just observing our beautiful gathered leaves and no, we will move on to supplies. 2. Supplies: All right, let's quickly cover our supply list, much like our previous classes. We're going to use a lot of the same thing. So the basics, obviously we have a cup of water, a pallet of some sort does not have to be exactly like this. If you have one of these guys at home, that's fine. If all you have is a solid plate that works famously. So just something to have a wide range of colors. So a couple of solid plates or a big, big palette like this. We're going to be using a combination of Princeton brushes. They are my favorite Princeton round brushes. And we're going to use the Aqua Elite and the Heritage Series if you just have one, that's completely fine. I just wanted to give the option. And if you don't have these at all or none other round brush will suffice. So it's not absolutely crucial that you're using the exact brush, but they are my preferred brand and I think work famously. We will also need a paper towel to blot and then we have our colors. And this is where I just wanted to take a moment to allay any nervousness because this is a lot of colors. And if you are a new watercolor artist, you may not have and build up your toolbox to this degree yet. And I just want to say up front, you do not need all of these colors. I have rummaged through what I have amassed over the last eight years and pulled out all of the colors that just feel very autumn to me. And I would love for you to do the same. And if you do not have the exact color, something in that pigment family will do fine. So all I'm going to ask is that you have a variety of yellows, ready Brown's, true browns and greens. So we have the full supply list in the class description. So you can head over there to see exactly which colors I will be using. Some of them we may not. I just like I said, wanted to have a variety. I'll show you as we're mixing what I'm using for the different consistencies because these leaves are going to be about layers. We're really going to lean into the wet and wet technique and make some just really beautiful layers happens. So yeah. And also I know that Daniel Smith is a splurge. It's one of those brands that not everybody. I'm just has the space to to use. So if you do not have that brand, but have that color and a different brand, that's fine too. Results will vary slightly. Daniel Smith is the top of the line, watercolor, and I do like them for color, vibrancy and richness. Sometimes a similar color will not do exactly the same when I'm using it in like the Winsor and Newton. But for the most part, Winsor and Newton holds up beautifully in this brand is very affordable. So like I said, don't let this part feel overwhelming to you. If you do not have all the colors, you will be great so long as you have a few yellows, reds, greens, and browns. You will also need to have your sketches ready. We are not going to be drawing these together because as I mentioned, I am not an illustrator. My skills lie in floral design and I truly do not sketch out very often because I love loose and I think that that's just a fun way to approach nature. So you'll need to, like I said, get those scans out and either trace them or you can just freehand them like I did, you know, by, by looking at them. So either is fine. We'll go through one leaf at a time. And I just have to say, well, I'll save that for the first lesson. Littles, little something that I had to throw it in there. So we have this one. And then we also have our other, our other sketch. So we're going to be doing a rowan leaf, gingko leaf, a sweet gum, and then we'll be doing these leaves as well. And like I said, we'll cover them as we're moving through them. Okay, So that pretty much covers our supply list. Let's jump into our first lesson. 3. Hazel Leaf: Okay, Before we start with our first leaf, I wanted you to know that I put up a shade. I know those lovely little light patches were found while we were looking at our leaves and supplies, but they might be distracting for us as we're painting. So I have a shade up and I have lights on, It's not perfect. We're starting to move into daylight savings, which I call daylight losing. Because we're going to lose the light. And even though it's just a little after one PM, it's already starting to fade, so we will do our best and I'll be mindful of where those little light patches are poking up, but hopefully they won't distract you too much. So as I mentioned, as I was looking through leaves, I came across a hazel leaf, which if you are familiar with my Instagram account and had been falling for any length of time. You may know that I have a daughter named Hazel. She's my first born, and I share a lot about her. And I thought what better way to honor her than to include her in one of my classes. So hopefully you won't mind to beautiful leaf, a great way for us to begin, because it's not overly complicated with structure or colors. We're going to kind of change it up a little bit. This is the example leaf that I found. I really liked the deep grooves, the greens, that there are several greens within this one leaf and we'll be adding a little bit of yellow in there. If you were to search hazel leaf, you would find all sorts of them. Most of which are green, but a lot of them have some yellow in it and some even brown. So we're gonna take some liberties here and just have fun with color and pigment. And we'll use this as a guide, but nothing to limit us in our play. So let's go ahead and get started. I'm gonna move this off to the side. And here we go. So I will walk you through our color mixing process just in case you are new to this, you can find a whole lot on mixing color and how to do that and all about consistencies in my previous classes. But again, at least for a couple of these leaves, I want to be able to tell you exactly what we're doing. So I have my Winsor and Newton, sap green. I am going to pull out my Daniel Smith under seed green. I am going to use my Daniel Smith Naples yellow. And don't worry about getting a bunch of paint on the plate. We're going to be using these colors, mixing them around using what's on the palette. And just, these are, these are some colors that are just so compatible that it's not going to matter really if they run into each other. And then this is my merry blue, yellow ocher. Okay? So the first thing we're going to do is actually erase, race the leaf a little bit. Just because although watercolor is pretty good about allowing the pencil lines to be erased after the project is completed. The lighter the pencil marks are initially, the easier it will be. Two really clear them up. So take your kneadable eraser and just erase it enough so that you can or leave it enough so that you can see the shape of the leaf. And we're going to do this with all the leaves. So apply to all chi. So once we have it right about there, careful that your fingers do not have any residue on them. Watercolor paper, paper is very sensitive to oils and it will affect the process of applying the pigment to paper if there's any sort of residue on your hands, I've just washed mine. They're very dry and that should allow us to allow me to not have any issues when running into pates. So there we go. Right about there. I'm just checking the overhead camera to make sure yeah, we can still see it. I am going to use my Aqua Elite number 10 brush and I'm going to dip into my water now. Have my paper towel wall right here. Variety of brushes to my right. A couple of different paper towels to make sure that the brushes don't get messy off to the side and now we're ready. Okay, So let's dip into the water and we're going to mix up that sap green, right to about a broth consistency and you can learn all about different consistencies. In my previous classes, I cover exactly what they are to me, broth is like a 5050 or excuse me, a 9010 ratio of 90 percent water, 10 percent paint. Once we haven't read about there, I am going to set that brush down. And I'm going to pick up a number 6 brush. And I'm gonna do the same thing with the Daniel Smith undersea green. I'm going to mix it off to the side here. And I want this at about a cough syrup consistency that's going to be 50 percent paint, 50 percent water. Really, really important to take the time to mix the consistencies, the way that you intend to use them. It's worth the prep time, I assure you every time, make sure your bristles are thoroughly rolled back and forth through the paint so that there are no dry spots on your brushes. And just going to refresh the ten brush and the sap green. And then I'm going to use a new clean 10 brush to wet the entire leaf. You want your leaf damp but not sodden. So the best way to gauge wetness is to get level with the paper and to make sure that it's thoroughly covered, that there are no pools of water and there are also no dry pockets. I'm using just a bit of water to really just move it around, make sure there's an even coating. If I notice any heavy pockets of water, I will. All I have to do is take my brush, blot it on the towel, and then lift the color out. Excuse me, lift the wetness out so I can see there's a little dry pocket right there. This paper that we're using is a medium green, meaning it will absorb the water quicker than the Canson paper that we use for a lot of our project. So you gotta keep an eye on it. I'm moving around making sure there's an even coating is not quite as to the as Arches cold pressed paper, but it does have a bit of tooth grain to it and we have to be mindful of that K dipping into our sap green. Let's go ahead and start laying in the color. We're going to see that this halal leaf has some really cute little notches. And all we're gonna do is we're just gonna kinda move the brush up and down along the leaf. We had the basic structure already, but now we're just going to take the tip of the brush and just kinda draw out those little pointy facets of the leaf. We don't have to use quite as many as we see in the picture because it can get just overwhelming with those little serrated edges, but just enough so that it feels like it has some shape and some movement. Dipping into my water every once in a while. Want to be able to see the veins as well. And I'm going to pull the color now down into the middle so that there is some lightness. So I'm going to leave that as is. I like it light there. It's really going to create a dramatic effect when we break out the undersea green. So I like the way that That's looking. Give it a minute to breathe out. The thing with leaves is that when working with this style, you have to give them a minute. It's not something you can just keep painting. It would make a really boring video because it would take a long time to get it to its desired effect. So it kinda have to let them rest a little bit. If your paint is dry, if your leaf is dry, you're going to need to glaze it, meaning back into the water, into the paint and overlay with a fresh coating of paint. If it is super, super wet, you're going to need to give it more time, okay, So you have to be able to gauge what that looks like by getting down eye level and knowing what you're seeing. My leaf is perfect. It's just ready and it's not going to be every time I assure you. But it's ready to go and it's ready to accept a darker color which we're going to put on top of our veins. So let's go ahead and do that. We're going to use a 6 brush, the point of the brush, and we're just going to start sketching out some veins. They're very light. And I'm just going to run them over where the veins that I sketched are. Just going over them multiple times. I'm going to take a third brush. And if this overwhelms you to hold multiple brushes, just put them down. And I'm going to dip in to the yellow ocher now. And I'm going to add just a little bit of yellow right along the edges, not everywhere, but just enough to kind of add some fun. I'm going to blot off a little bit. And just spread that around. So basically all I'm doing is touching the very edges of the leaf with the yellow ocher into the sap green and it's creating these beautiful color mixes. Do a little bit more, appear towards the top. Bring it down. Now again, Hazel leaves don't look exactly like this. This is kind of something of my own creation and I would love for you to be able to do the same. You can go really light so that the color just sort of gradually fades into the existing color. The first wash that we put down. Or you can go real dark as I did here. And then what you can do is kinda just poke it around and mix it all together as well. It's a really nice technique to use, just kinda using the tip of your brush to add little details. I'm going to go ahead and use the 10 brush with the sap green to darken up a little bit around the veins. Just kinda dotting them along. Also, if you happen to hear some snoring in the background, if you're not, if you're familiar with my videos, this will be no surprise there. It's either lawnmowers or Chihuahuas that snore like tractors. So my dog is in here with me, my little studio partner. She is really loud so you may hear me just kinda shout her shout her name. She is 14 years old. Will hard of hearing, but couldn't figure out today. Okay. So again, I'm just sort of mixing the paint around and back into my sap green, darkening up the edges here. Everything is wet into wet right now. I'm going to darken up right around in here. Right around in here. Leaving some light spots towards the right side, darkening things up over here. On the left side, running some streaks through. As you can see, they're not turning up as lines because the paint is still nice and wet. If we were to wait till it was dry and I did that, you would get some really streaky Lord's going to go back into my Daniel Smith. And again, let's darken up those, leave there's veins. Again, let's just kind of blend those colors together. Well, we're essentially trying to do here is create a definitive vein in the center of this leaf so that we can later on add some darker layers and pull out those veins. But first we need to lay the groundwork. Emily, this area whites, I really like how that's looking over here. I don't love the yellow ocher over here, but it's a pretty effect. We're gonna do is I'm going to put in one more color. I'm gonna use this Naples yellow. It's a really light yellow. It's almost like a flesh. And it's one of my favorites to use. We'll use it on the tulip poplar. And I'm gonna just kinda add a little bit of light color over here just to kinda give it a little bit more depth and dimension. And because I just don't love the yellow ocher. Okay, so now we have a really, really pretty leaf that has a variety of colors. And I'm just going to let that settle for some of our leaves. We're going to have to come back to them. So We'll, we'll create the majority of the leaf. And then what I'm gonna do is dry it and then we'll come back and pull out some of those details. So go ahead and continue working in the same fashion that I've showed you. If you feel like your leaf needs more, if you feel like you like where it's at, feel free to leave it. I'm going to try this. Leave off to the side here and then we'll be right back to continue. 4. Adding Details to the Hazel Leaf: Okay, So I've taken a little hairdryer and this is not my favorite way to do things to be honest, because the hairdryer tends to move the paint a little bit and it just deprives the paper and the paint of doing what they do. So you're more than welcome to use a low key, low setting hairdryer if you want to move a little bit quicker, or he may just have to let things sit for a little bit. For this class. Obviously we want to keep moving, so I'm going to leave that as is. It is not fully dry. They're still little area on the left here that is joined with that. Okay, so what we're gonna do, we're gonna pick up our six brush. Nice and point D. I want you to pop that back into the Daniel Green Daniel Smith undersea green, excuse me. And just refresh that pile of it for here so that it's really, really a nice cough syrup, thick cough syrup. I'm going to take a little peek at the hazel leaf that I had saved earlier. And just kinda take one more look at how those veins work. Obviously not going to add all of this detail, but just kinda wanted to have an inspiration behind the leaf. Okay, so now we're gonna take the tip of the brush and we're going to follow the veins that we have already created. I'm going to bring you over here so it's just a little bit at a side angle. Okay, I took a moment to reposition the camera so that it does at the optimal angle C, you can see what I'm doing in my hands, not completely monopolizing the top of the leaf. So we're going to run the tip of the brush through the veins and just create some deeper veining here. Really just grazing the surface. Not pushing down too hard. I would say this is very light pressure. And it can finish through here, through the middle. Come through here to the top. The paper just a bit. Come down through here. I'm going to do is a movie to take another brush, my toothbrush, with just a little bit of water on it. And I'm just going to kind of blend this big vein together and just start moving the color up. So let's do that one more time and put the green in there. And then I'm going to take the two brush and just move that paint upwards to create some more detail within the leaf. Laying a little bit more green, taking my brush into some water and moving that paint up. If you are only succeeding and lifting the color. Go ahead and run this brush through the sap green in the broth. Sometimes if there's not enough paint on the brush, you're going to get that issue. Let's do it down here. And this is what happens when we put wet on dry. We get these beautiful, beautiful layers. I would still consider this a loose approach, even though we are getting pretty detailed. If you were to look at the actual leaf which I just showed you. I mean, it's just riddled with details and as lovely as they are in real life, it just doesn't always work in painting. So unless your botanical style, which is just not where I mapped these days, I'm going to leave that side just a little bit lighter, but I use this two with the two brush with the sap green and just wet it a little bit. And then I'll put it a little bit more of the Daniel Smith and there just to kind of blend it together. But I'm not going to create a super dark area over here. I want it to be darker over here. Again, just moving that paint up to create a clearly indented vein. Let's do the same thing over here. And you can see the details are just starting to shine through. I'm going to take mostly water now and the two brush and I'm just going to create some really, really light. And you dip into the sap green really, really light veins through here. You want to make sure that azure doing the veins, they are lining up. With the areas on your leaf, although it's not absolutely crucial that they're perfect, you do want to make sure that they are pointing in the same direction as the leaf is pointing. Which will take a little practice. If it's not happening exactly as you would like it to. Just take a moment to practice. Can always do a practice leaf off to the side. But you just want to keep in mind that you are going in the same direction as your leaf is eight gold. Okay? And again, I'm just playing here with the paint, moving it in an upward direction. We just want to make sure that that center is darker. So I have two brushes in my hand. I have a six with the undersea green and the two with a bit of the sap green in the broth consistency. Go ahead on the edges here, just darken them up a little bit, just creating some really pretty little patterns. Do the same thing over here. You see where it's light, which is going to add a little bit of detail right there. Just carve out a little area. So we're doing that by moving the brush kind of up and down, tiny little movements. And it's carving out this area where it's darker and then right here it's lighter. Okay. And then now if we were to put the patient into here, it's going to move around a little bit. And so what we will see this, I wanted to start with the leaf that wasn't too complicated, which hopefully, hopefully you're not feeling overwhelmed. What we're gonna do a lot more of this where we carve out a detail and then wallets wet, we add in some really pretty color because what's going to happen is that you'll notice that some of the most beautiful leaves are the ones that are fading, withering, ruined, whatever you wanna call them. They have holes in them. The edges are afraid. Kinda like how this is serrated, frayed, but even more so as you'll see as we move into our sugar maple, there's a giant hole here which we're really going to have some fun with. So I'm just going to do that a little bit here just to give you a sense of what we're capable of. Taking my two brush and just sort of blotting it off, lessening the severity of it. So that it just kinda looks like there's a depth here. This is a little bit more raised up. And then here we have just a little bit more of a dented leaf. Now, I feel like we're pretty good to go with this leaf. And I'm going to just take the undersea green and I'm just going to go lightly through the little grooves and make a few dark areas to show that it's the edge of the leaf. So let's do that. I'm really just kinda playing with it here. Not really concerning myself with making it look perfect. But just adding a little bit of character. Turn the paper a bit. And we'll take our two brash if we want to sort of lessen the severity of it. Just showing that it's a little bit darker around the edges. And we can even kinda pull out some of the shadowing. Take the two brush just to soften it down. This time you're bringing it down. And you could do this for days. Honestly, when I was practicing a botanical style, I would spend an hour to an hour and a half on a leaf just because I peered, I just enjoyed it. I enjoyed this part so much. Adding more and more layers, more and more details. But again, I, like I said, I want to kinda keep things loose. Okay, so let's make a nice big shadow there. That was done just taking the side of the six brush and creating a shadow. And then we'll just kind of soften it off a little bit. Here we go. So now we have a nice little shadow, kinda like we did up here, just kind of balancing out the leaf. And I am pretty tremendously happy with this leaf bringing the vein down just a little bit further, just to kinda show words splitting here. And maybe just a little bit more shadow there. Softening it off. If you didn't know, I am in the process of publishing my first book. And we'll, we'll cover some of these techniques in that as well. So if you are a new, new watercolor artist, someone who has kinda starting from ground 0 would consider themselves a beginner. The book will be very valuable and instrumental to you as we learn how to do all of this in breaking it down even more so step-by-step. So the book is due to release in spring of 2022. So just sign up for my newsletter if you want to stay posted on the launch date. Yeah, we're gonna do a lot of really beautiful product projects. All right, So now what I'm gonna do is I'm going to pull out my mandate brown. Give our little leaf stem here. Right? I'm going to take the six brush. I'm going to rinse it off a little bit so that's not so saturated and the Daniel Smith grain, and then I'm going to mix up this, the Van Dyke brown to kinda of a, Let's say this is a broth consistency. We're going to start light. I think it's always best to start light. And then let's go ahead and write down here, create a little stem. And then we're just gonna kinda pull it down. Kind of a quick flick, a little movement there. And we're going to bring that brown into the leaf here. Create a little bit of a bleed while it's still nice and wet. Just adding a few little dots and details there. Can take your number two brush if it's too severe and soften that off a little bit. We want the vein or excuse me, this time to be a little bit, then up here and then gradually thicken. And that's that we could obviously wait until that's damaged dry and then go in again with the sepia or excuse me, the Van Dyke brown in coughs or consistency. So a little bit thicker and then go along the edges which we made do. We're going to see how we do with time because there are so many details on these leaves and this is a rather tiny leaves in comparison to this one. I don't want to take up your entire life, so I'm I am diluting the material just a bit so that it's not entirely overwhelming at once to learn so many different things. But this gives you a really good idea of what we're headed for. And thank you for letting me share the hazel leaf with you. And you're going to have to say it's probably going to be my favorite just because it's my daughter's day. All right, let's move into the next leaf. 5. Sugar Maple Leaf: So this next leaf that we will be exploring is what I believe to be a sugar maple. After doing some extensive research on the computer this morning, this was what I came up with. If it's different and you happen to know the species and it's not correct, please send me a message so that I can fix it. But to the best of my knowledge, that is what this next leaf is. I have an inspiration right here. So you can see it's a little bit different. I moved this hole over here so that it was a little bit closer to this edge, but pretty much the same in shape. Nice little stem coming down that will add a little bit of detail too. And I really want you to notice that at first glance, this leaf just looks kind of like bla brown. But as you look closer, there are tons of sand and yellow and really pretty green right through here and dark brown through here. So what we're really going to pull out all of those colors and give this leaf some to some interest and love. The back to the back is so beautiful, which would be a fun project to, but obviously we're going to paint this side for, for now. It has got this really beautiful velvety texture. So let's go ahead and get started. I'm going to put the leaf just kinda off to the side here. You can use it as an inspiration for you as well. But no pressure there. All right, let me bring you in just a bit closer. We're going to use our same palette that we had been using. And this time I'm going to add a little bit of sepia to the palette. So you can see I've done that here. And that's going to be a beautiful addition to our brown tones. Going to take our number ten brush, just double-checking and we're going to mix through that Van Dyke brown and we're going to get it a little bit of green in there, which is totally okay, which actually works out better. And mix that to broth consistency. So we want to have that, we want to have enough to cover the leaf. This is a much bigger leaf than the one we just painted. So I want to have enough, don't want to run out and have to mix more. So do the work upfront, get enough paint. And you can just set that brush off to the side. And then what we'll do as we will use our other brush to dip into the undersea greens so that we can immediately add some green into the leaf where we see it right through and here. Oh, I almost forgot first things first, take your eraser and let's go ahead and erase the lines just to the point where we can see the shape. I'll probably be just doing this to save time for the next leaves. But I just wanted you to see how it's done. It's just kind of done by dabbing the eraser, not scrubbing super hard, just dabbing it, moving in a sideways direction. Until all of the the pencil mark is just very faint. Alright? Once it's right about there, we'll be careful not to mess up our hazel leaf. I'm going to take a clean paper towel and I'm just going to brush it off to the side here. That way there's no chance of getting that oily residue if there's any on my hands onto the paper. Just make sure there's no racer mark because that will show up. And your problem. Okay, So that's nice and light. First things first we're going to take our ten brush and we're going to code it in a nice even coating of water working wet into wet again. I would like you to have your other 10 brush loaded with the Van Dyke brown and your six brush loaded with Daniel Smith, undersea green. Take your time here. This is a process. Start at the middle. And the top, work your way down. Here's my dog snoring valOf. You're very loud. The people did not come here to here you snore, bring that water down, and then let's go over to the left here. Do the same and move into the furthest left. Again, I've just kinda covering the ground of the leaf. And we're going to work real carefully around that hole because it is see-through. And it's going to be a really pretty little feature that we include. One of my favorite parts about a fall leaves is there, there are ruined parts. So much beauty and a very appropriate metaphor in things that are on their way out. Okay, so it takes some time. But again, doing this upfront and really helps to make the process of laying the paint onto the paper go as smoothly as possible. All right, I have a big, big pocket right here, so I need to come in and add that in, spread around the water so it's not pooling. Right? Here we go. Taking live Van Dyke brown and number 10 brush. And I'm just going to start with a nice base starting here at the top. Now there's not quite as many little notches in groups as there were, but there are still some sharp points on this leaf. So again, can draw those out by moving the brush, can have an up and down movement. You can kinda do some outlining of that easiest. Or you can move it around as you work. Can. I'm just moving the paint down. I'm going to dip back in and move over here. Now you can kinda see it's already starting to dry up. It's not moving anywhere. So I'm gonna quickly take the brush and make sure that I move quickly. And just add a little bit more water for extra measure so that it stays wet for me. That's the thing about working with bigger leaves is that you gotta move a little faster. Again, we're just working our way around the leaf and come over here before this area dries too much. Work around my whole here. I just finished coloring in. This part. Really therapeutic laying that first ground. Yes, you have to move quickly, but it's just a matter of coloring things in which kinda feels therapeutic. So I'm kinda looking at my leaf off to the side just to get a little inspiration, but mostly just using intuition. That's a nice little base. Their breathing still pretty wet down here, but never a bad idea to just add a little bit more. And there we go. Nice little hole. Now what we're gonna do is, well everything's wet. We're going to go into undersea green and run a little green along the middle of this vein here. And we're pull it up here at the side. Here we go just bringing it over. Kinda relishing in these details. Moving it along the vein that I have penciled here to very faint. I don't want it to be super noticeable. And I'm just going to add little touches of green to certain areas. Just as an undercoat. The brown really is that, that first noticeable color. But if you look closely, you can definitely see the green to dark green here. See, let's pop in just a little bit of Naples yellow. So put that off to the side. Just a little bit more Naples to it. Just finding a few areas looking for those veins. I think the more variety and leaves, the more potential for interests. But we also want to make sure that because this is the first coat, that we don't go too crazy because we know we're going to add some details to. So it's this give-and-take of Relishing in the details, but also knowing, not, knowing not to overwhelm the leaf as well. More up here, not quite as noticeable just because it's a little darker. Alright, so we have a really beautiful working start. We're going to go ahead now and just add a couple more details, little daddies. And we're going to take the Van Dyke brown, mix it again over here to more of a cough syrup. And this time we're also going to pop in a little bit of our quinacridone fuchsia. There's a little pink tint to this leaf and I was just going to ignore it, but I cannot. So I'm just sort of cutting, working off the cuff here. Let's just go with it. Alright, so we have our braille. Let's just pull out a little bit of that fuchsia and mix it in here with our Van Dyke brown. That is almost the exact color of the leaf. Can kinda see they're a little bit darker, but again, watercolors dry two to three times lighter than what you paint them. So you always have to keep that in mind. Now we're going to go along the edges here and just darken things up. Moving through. Everything still nice and wet. Just kinda move in through. Going to add some notches there where it's a little bit more pointy. I like to wait until we're using a darker color to do this just because you get that more dramatic fade. Also going to take a six brush with the Daniel Smith green and darken up the vein a little bit where I see some more green coming out. Again, everything's wet. I'm going to pull out some of that green. I'm using the Daniel Smith undersea green at cough or excuse me, broth consistencies or 90 percent water, 10 percent paint. Just pulling out a little bit more of that green. Back in to my fuchsia and Van Dyke brown. Let's go ahead and keep darkening things up. We will have lost a little bit of the wetness over here, but that's okay. All we have to do is give it a little outline. And then what we can do is take our ten brush that just should have water on it. Maybe dip it through your water one more time and just bring that paint down. Re-wet that leaf is called glazing. It's not always going to work out that everything stays the way you want it to. So we just adjust using the tip of the brush to create some really pretty notches. And again, taking that pressure, the water and just kinda softening things off here. So you can see that we're, as we're moving through, we're adding more details. Things are wet and dry and we're adjusting as necessary. Thing I don't want to do is, is make this leaf so dark that I can't add the details on top because there are some really, really pretty freckles. And there's nothing I love more honestly than a freckled leaf. So I'm going to leave things light enough will darken them around the edges. But I'm going to leave things light enough so that we can add those freckles. So all I'm doing here is just going back over that layer and darkening it up a little bit. And then let's move down through here. Just to kind of change things a bit. Let's go ahead and add a little sap green in the broth. Just to kind of give it a little bit more color here. Not so brown. And we're just kind of moving the brush around. Everything still pretty wet, so nothing. I think too detailed yet. The details really happened when things get dry. I'm going to move down through here. Note where that stem is kinda coming up. Oops. And out of the frame. There we go, noting where that stem comes up. And just kinda outlining things like, as you can see, the paint spreading but it is starting to get a little dry. Other thing I'm gonna do is I'm going to leave some of the area of the leaf without the darkened edges just because I think that looks really beautiful too. So finish it up here and move through here. Just kinda swishing the paint around that I'm going to use the ten brush with the water, kind of mixing it around, bringing it through to the vein. Now I'm seeing that my pile over years drying up a little bit. So let's go ahead and refresh that. So Van Dyke brown, touch of the fuchsia till it's nice. Pinky brown. Mixing not to cough syrup consistency. While things are still wet, I'm going to darken it up over here. Pull out a little vein as well. And I'm just using the tip of the brush, moving very gesturally. I don't want anything to, to defined. So just kind of using the tip to bring it down just to start pulling out a little bit of that vein. See, still nice and damps. We don't have anything to definitive. Just pulling out a little bit of that pain there. Follow that through here. Up through here. If anything's too dark, simply take that brush and brush. Take that 10 brush, soften it off a little bit. Just has water on it. Okay. So I'm darkening up those edges again. This give-and-take of letting things take shape. As you can see, I'm kinda moving a little bit over the original sketch, which is fine. Pulling out a little bit more of the veins with the, with the 10 brush that has the broth mixture on it. That's going to create some pretty layers for us. And I'm going to stop there because we're at a really good spot. And we'll continue this video with the details. 6. Adding Detail to the Sugar Maple Leaf: Okay, so we're pretty much just jumping right back in where we left off. But it's nice to have, you know, 20 minutes segments where we're painting and then we can just kinda take a little break. If you want to keep moving while things are a bit damp, you can or you can wait until things were fully dry. I'm gonna do a little bit of both. So it's, it's little bit dry over here and over here and then it's more wet down right through the vein and over here. So again, I'm just kind of seeing what I'm working with. I really liked that little shadow that just kind of is its own loose gestural thing. It's not overly shaped, is just very loose. I love those veins that are watery. And so I'm going to try and do a little bit more of that, just using a tiny little bit of the Van Dyke and the fuchsia mix and my ten brush. And just kind of try and work through. While things are wet. You might need to add a little bit more paint. If it's not showing up. I don't want anything that's too too dark. Just some faint veins here. So you can see we're coming into the shadow a little bit, which is fine. A lot of this, this whole process is just about making what's happening in front of you and not trying to say, Oh, but that looks like that. And I'm not doing that and it's ruined. But just working with what you have, things that are going to dry and the colors aren't gonna do exactly what you want them to do. That's totally understandable and it's so much more enjoyable to just move a work as you move and adjust as you move. So I want to take you through that process, alleviate any nerves you might have about it not looking exactly like you want it to. So again, just kind of going over those watery veins just a tiny bit. And again, that's going to dry. And I'm going to rinse off that 10 brush because it was actually my clean brush and just soften it a little bit. And there's a lot more main work. As you can see, the veins are a lot more prominent and they're kind of take on the guide little yellow tint to them. I did it more in that beige color just so they stand out a bit. But again, it comes down to like what you see and what you want to add. If you wanted to do more yellow or green, obviously you're welcome to. Okay. Now I'm going to take my six brush again and I'm going to go into my stuff. Yeah. That's my darkest brown. And I'm going to mix it to a really nice, rich texture. This is more on the lines of 20% water, 80% paint. And things are still a bit wet. So that'll work. And then for the other areas, I'll have to glaze it. So let's start over here. And it just kind of touch it a little bit. It's kinda damp. Let's just see what happens. Let's just do that. Yes, not really moving. So let's just glaze it a bit. I'm going to dip my 10 brush into the Van Dyke brown mixture. I'm just going to go over the area one more time. Just kind of makes sure what's going to end up happening is if you do this, it's going to flood the paint into the edges of the paper, which will then come off as hard edges. That's why it's important to have the wet surface first. However, there's a way to beat this. And so if you have to glaze, what you could do is just slightly go beyond the barrier of the water. And now it's going to pull back into the middle because you are now reaching beyond the barrier. So there we go. Now it's flooding the other direction. When we do that, when we add color and then we go into the middle, it makes the color flood in the opposite direction. Let's do the same thing here. We'll glaze first. And now we'll pull out a little bit of color. Don't need to do it too dark. Just a little bit of hint of edge here and you don't even have to go to the entire edge. For example, we can kinda go like right around here and create a really nice depth. And you see what happened there. Now it looks like this is kind of coming up over. We don't want to go so far over that part. And so now we have a soft edge over here and then it rises up into a harder edge. Really pretty effect. Let's do the same thing over here. Let's glaze this right through here and add some dark color years. Those are our sepia. And just pull that color into here, guiding it with that ten brush. Now let's take the ten brush and just kinda pull little bit of color. Dip into your water a little bit and just pull it down just to kind of help it come together. This is looking a little rough to me, so I'm going to glaze that. And then go beyond the barrier to pull that color back down. Adding a few key details here. Now we're getting some really beautiful layers. So you can see all we've done is the, the top portion of this leaf. So if we were to do the same exact thing, we're talking maybe 15 to 20 minutes on each portion. So again, this is one of those classes where I want to give you the education and the technique. And then I want to invite you to move through these videos at your leisure. If you want to add more details, just pause me, Do what you wanna do and then we can move forward. Because this is something where I would just luxuriate in what's happening and not want to rush it. So please feel free to do the same height. Let's come back over here and dip into our sepia after we've glazed. And again, just pulling out, carving out a little bit of detail here. Okay, so we see where the barrier is. This is the dry media, this is the wet media. We just carved that out. And so it now that paint will not go beyond that. Let's do that again. Right over here. Just glazing this where it's dry. Now the paint will not go beyond that barrier. Wherever you move the page, that's where it will go. So we're just kinda guiding it along. How fun is this? I just can't help, but just point that out like this is just one of those things that it doesn't matter really what you do or where you add certain details is going to end up looking so beautiful, please trust the process. Know that it's all going to come together. It doesn't look exactly like mine. That's fine. I'm just kinda poking at it. Noting where I'm seeing things. I want to leave this light here because I'm going to add some really pretty speckling, but also wanting to darken things up a bit. So I'm going to dip into the sap green, the broth, and just add a little bit more color on the right portion of this leaf into that really pretty Van Dyke. Don't want it to be perfect. So I'm going to create another just little shadow over here. And then I'm going to actually pull it through year two. Don't want too many lines because you're going to see your leaf start to get really overwhelmed. So start with light shadows and then move into darker ones. As you can see, this looks really pretty overlapped with this other lighter shadow that we carved out earlier. And same thing up here, just adding a little bit more green into the leaf. Coming around our hole here. And now we get to play with this whole, which is kind of my favorite. I wish there was a nicer word than a whole. It just doesn't sound very pretty, but let's go ahead and start with the Van Dyke and the fuchsia and just kinda go around the outside of it. Making a nice little rough edge and guiding the paint around. And now let's go into our setup yeah, At cough syrup consistency. And come in at the very, very edge of the leaf to create the darkest portion of it. You don't want it to be perfect. You just kinda using the tip to work around the whole creates some jacket areas. When to use my other 10 brush to kinda just soften that area. Just poking at it, guiding it to the edge. If I were to look here, it's got some green, It's got some brown and it's got some really dark areas right around the right side of the hole. So that's kinda what I'm trying to mimic here. I don't want it to be around the entire whole because that's just not natural to what's happening. I'm going to lighten that a little bit and just gradually pull it into here. And let's just carve out a pretty little detail here with the leftover paint that's on the brush. We're just going to make a nice little shadow here. Dipping into my clean water and just Mixing it together. I'm going to go down here while things are still wet. And I'm going to add in a little bit of sepia, just right here where the stem is, excuse me, where the leaf is meeting the stem. And then while I'm at it, I'm going to go back into that Van Dyke brown fuchsia. I'm just going to work. That's stem row gestural here. Create a nice stem. Very gestural. Just pulling it down, changing the direction, flicking the brush around. Nothing too serious. And then while that's wet, I'm going to add a little bit of a dark point to the stem. Darkening things up along the way. Also going to pull out a little bit of the yellow ocher to put some yellow in that leaf and that stem, excuse me. Not a lot of room to do that. But just a little bit of yellow in there. So that's good for now. I don't want anything that's too botanical, So that works for me. I'm going to dip into the sepia one more time and just darken up that spot. Pulling out a little bit more of the carved areas where I see it's still damp. Taking my ten brush and softening off here. I love this leaf I think is turning out beautifully. The only thing I really want to do now is add those detail for apples. So to do that, we're going to take our very pointy six brush and I want you to start light and then we will gradually increase the color. We're going to be careful not to overwhelm the leaf with too many because as beautiful as it looks here, the freckles or so Gorgias. If we cover our leaf and smother them with the freckles, we're going to lose so much of what we created in the, in just these layers. So let's start light. Let's dip into our fuchsia and Van Dyke brown and just go with a broth consistency. Let's start here at the top, using the tip of the brush and start adding a few freckles. There'll be areas where the paint is still wet. That's okay. It's going to look really pretty. When things are dry. It says even a little too dark for me, so I'm going to brush off a little bit and then go back in. There we go. These were just a little bit too dark. And I'm just gonna kinda move around the leaf, adding those spots and freckles. If some of them end up blending in more with the leaf, that's okay. Just kinda try to let them feel organic, clustered together in some areas. And then leaving wide pockets where there's no freckles as well. This is just so completely therapeutic to me. Just taking the brush and dotting and standing back and observing and I hope you're finding it equally therapeutic. All right. We're just moving through. It's a little bit dark again for me, it's kinda that I dip back into the paint because it's going to run out. And then you have to decide, okay, is that too dark? And then you have to also remember that paint is going to dry two to three times lighter. So, so many things to keep in mind as you work. Really pretty so I'm just going to take a pause, see how it's coming along. I love where the dots are a little bit wet and they're bigger and they don't look quite so sharp. So I'm going to try and implement that. Creating a few more areas where the freckles or light and clustered together and then areas where there's not a whole lot. And it takes time. This is one of those classes where you don't really want to rush what's happening because it's just such a fun process. You can use light to medium pressure for for bigger dots. And again, I'm just kinda every once and awhile heading back into my palette. There's no real like when do I go back and load up the brush again? It's, it's more you can just tell, you can see what's happening. If the pain is fading, you know, you need to get a little bit more paint That's too dark. Then you blot off a little bit. I'm going to leave this whole area on freckled just to have a little bit of rest within the leaf. Too dark, blotting off a little bit and coming back, blotting off again. And still pretty wet over here. So just a couple little dots. Something I could go back and do once this area was dry. And I kinda like where that's at. I'm debating whether or not to head in one more time with some sepia and make them even darker. Let's just see how it goes. This is all in an adventure. It's all a process. Let's just see what happens. Okay, So appears very dark, so I'm going to add some darker ones up there. And then I'm just gonna kinda come around the lighter ones and add just a little bit. Add as many, just enough to kind of pull out that there is, there are freckles happening. My daughter has the sweetest freckles and this makes me think of her. Alright. The edge here and like I said, where it's, the paint is darker. You can really lean into the darker and then where it's lighter, you may want to ease up and just keep working. Here, they're pretty faint, so I'm not going to do too many. You, if you really wanted these details to pop, then you would wait until the leaf is fully dry. And they would, they would appear very sharp, I like while they're still wet and they blend into the rest of the leaf. I think that just looks very pretty. I love our light vein. And that happened because we didn't go over it like we did with our hazel leaf over here. We just did that initial vein law. Things were wet and it ended up being exactly the way that it looks in nature here. So if your veins a little bit darker, not a big deal to keep in mind for the next time you try things are just going to pull out a little bit more detail here. And now that this is dry, I'm going to go ahead and add a little bit of texture to this stem, taking the tip of the brush, kinda moving it around the edge to give it a little bit of a bushy niche. It's got some texture to it. I'm going to add a little bit of Naples yellow. I'm going to use that at a really thick consistency, kinda like horseradish, 10 percent water, 90% paint, and I'm just going to add some yellow in there. Just for fun. Shift in color. Really lose really gestural. Nothing too crazy. Go darkening up that edge. We go so that we have a pretty detailed leaf, but also not so much that it doesn't feel like it matches the looseness of the leaf. So I'm pretty happy with this one. I hope you guys enjoyed this one was so this was our biggest leaf and didn't want to tell that to you in the beginning. Not to overwhelm you, but you just conquered the beast of all the leaves that we're going to pay it so well done to you. Congratulations, and let's move on to our next leaf. 7. Eucalyptus Leaf: Okay, For our next series of leaves, we are going to be painting eucalyptus leaves. And if you are familiar with these kinda leaves, you'll know that they actually come in many different styles. They have like the big coin circle, eucalyptus leaves and then they have the tinier, more of like a branch like eucalyptus. And then there's also these long, slender kind of snakelike eucalyptus, which I think are more traditional to false. So we are going to paint a few of those. I've sketched out five of them. And these two are a branch. And then these two are a branch and then this one's just kind of on its own. So this just gives you kind of a, a feel for eucalyptus leaves. And then we're actually going to be putting together a wreath at the very end full of these eucalyptus leaves. There are so many different colors from like a dark brown, burgundy all the way up to like a really light Naples yellow. And so we are just gonna kinda have fun with our palette and mix colors and pull out some of the speckles that you will find in eucalyptus leaves and some of those hard edges that they're known for and just really enjoy the formation of the leaf. So what we're gonna do first is why I've already erased the, the pencil so that it's just very faint. Go ahead and do that if you haven't. And then two new colors we are adding to our palette. We have quinacridone, burnt Scarlett, which is just so perfect. And we have rich green gold. So go ahead and add those. And then if you need to rinse your brushes off before moving on, go ahead and do that. But again, these colors are so harmonious that if you have greens or yellows and browns already on it, it's not a big deal. Again, will still work wet into wet here. If you need to refresh your palette, like if you need more sap green, go ahead and put a little bit that on there. I'm going to do that off to the side. I'm also going to put a little bit more of the undersea green just so I don't have to do that while we're painting. If we're in the moment and we want to work with what we have. So just taking a look at our palette, we have the fuchsia, Scarlett green, gold, yellow Ochre, Naples yellow sap green, undersea green, Van Dyke brown and fuchsia and sepia. So that's everything that we have on our palate. We may or may not use all of those. But let's just kinda see what happens. That's like my catchphrase, be play a drinking game with that race. I'm going to pick up my number 10 brush and make sure that it has water on it. And then let's do our first leaf like a really pretty burgundy. Okay, so I'm going to wet it and just follow it up through the pattern or through the sheep. Don't want too much water. And I'll lift out a little bit of it. So I bought in my brush and I'm lifting out a little bit of color or excuse me, the water, putting it on the paper. There we go. So now it's nice and damp. And now I'm going to pick up my six brush. I'm going to dip into that bird Scarlett, mix it to broth consistency, 90 percent water, 10 percent paint. And going beyond the boundary, adding a little bit more movement. And there we have it. Nice, pretty pretty burgundy. Okay, while that's still wet, Let's go ahead. Make it a little bit darker. Now let's go ahead and add a bit of the sepia to the Scarlet. So take your six brush, makes it into the Scarlett. So that's a little bit more on the browner side. Should look something like that. And let's go ahead and put it on top. Right there at the tip. I want that. Scarlett just a little bit darker down here. So I'm going to darken that up. And this is such a pretty leaf. Mixing off to the side here. Kinda put a little vein through the middle here. While things are wet. Just very gestural. Just zip right through the middle there. Nothing to definitive. Use my 10 brush. Don't really like that thing. They're just want the one vein. There we go. Now, let's take another brush. Let's dip into the rich green, gold, one of my favorite colors and all of the land. And let's mix that green gold with a little bit of the Scarlet for like an orange color. And let's pop that in. And around here. That's not looking quite orange enough that you can see as it's moving, it's getting better. Okay. Whew, that's pretty actually changed my mind. Sometimes you just have to give it a minute. Command. Kara is give it a minute. Okay, I love that. Now let's just do rich green gold on its own. So just rich green gold. So it means you need to rinse off your brush, head back into the gold so that it's just that color. And let's add a little bit more. Let's kind of use that dotting method. Along the edges here. Beautiful. That looks so pretty. Such a pretty variety of colors here. And I'm going to scoop through the paint here into that Scarlett just to create that vein again, because we kinda lost it. There we go. Right through the middle there. Perfect. Okay. Let's go ahead and do the next one. Let's start with, let's start with Van Dyke brown and the fuchsia. So putting the water down, heading into that very BIG brown. And this leaf is, is upside down just for aesthetics. And just didn't want all the leaves pointing the same direction. I feel like it looks pretty or that way. And then let's rinse our brush off that had the scarlet on it. Well, that's just soaking into the paper for a minute. And then let's just go into sepia on its own and make it a little bit darker. And we have our stem. And it's sometimes hard to tell where the stem and where the point of the leaves are. They actually look similar. They're kind of like worms in that way. Whereas the head. So I'm dipping into the set B again, mixing it up a little bit darker. And now we'll, let's come up here on the edge. And then we can use our 10 brush if we want to kind of soften things off a bit. This one has the illusion of kind of being on its side. So let's do a vein kinda through here. And then we can pop a little bit of the sepia through there, give it more of a rounder point so that it clearly looks like the end. And then again, I'm just dipping back into that sepia, darkening up those initial spots. Do a couple of dots. That's my favorite part about eucalyptus is the dots. They almost have this ruined look to them. Mixing off to the side here again. We have it. I'm going to put a little bit more. I'm going to put a little bit of the green golden. They're just like we did the last time. Just a tiny little bit right through the middle. And then maybe right here at the tip just to kinda change the color a little bit. Cave. And we see we've used the same color here, but it looks completely different because we had a different base color. So really there's so much potential within a given leaf because you're using different colors. Try and pull out that vein a little bit more. Just kinda flicking the brush around. Okay, so there we have our second leaf. Very pretty. Let's go ahead and do our third leaf. So we'll start the same way doing the base here. And then while that's soaking up, let's go ahead and dip into our Naples yellow. So that's that really soft yellow. Right there. I still have a little green gold on it. So that's gonna kinda come into the picture too, which is fine with me. And blot off a little bit and just use the remainder of what was at the bottom. A little too yellow E for me. So we're going to calm that down by dipping into the fuchsia and the Van Dyke brown. And make it kinda more of an inquiry feel. Let's go ahead and do our stem while we're here. That was just using a little bit of the Van Dyke brown and the fuchsia mixture. They head into the sepia and just kinda darken this up a little bit. Now we're going to use that Satya for the edges here and for the middle. You can see we kinda have leaves working with all sorts of colors, but they're all within the same family. So it feels very natural. Just going to shape the shape this up a little bit. Blending the stem with the leaf. I'm going to use the ten brush with just water to kinda pull that color back through. And it's a very simple leaf but very beautiful. So I'm gonna just going to kind of leave that one as is again, this is where you, the artist have so much capacity and potential to just add as many details as you want. Let's just do actually, before I move on, I had a little step EA for a couple of little markings. Here we go. Darken that up a little bit. Little freckles. Here. We go. Using the tip of that brush just for a few more freckles. So, so pretty just having so much fun. Let's add a few more in here too. Just a couple. No, I don't like that as much k using the 10 brush, softening that black is all an adventure. See, I love it there. I didn't love it there. That's what I want you to be able to decide. Beautiful. Okay, let's move on to the next one. We're going to start off with a sap green and Van Dyke brown mixture. We're gonna do that in the graph. So sap green and a little bit of the Van Dyke. So it's right about there. Doesn't have to be perfect. We're just using what's on our palate. We want just a nice, earthy brown. There we go. Nice initial wash lane, not paint down. This one has the illusion of coming out wide. We'll make sure we get that vein in there. Go ahead and take your six brush your points, your one, mix that sap green and now sepia together for a darker version of what we just did. You can put more emphasis on the green if you wanted to have more of a green color or more emphasis on the brown. So you can see mine over here. That's what it'll look like. Things are running together on my palette and I don't even I'm not even upset about it. So let's go ahead and just pull out that leaf to begin with. And you know it, let's go ahead and paint two leaves at the same time. Let's just up the challenge a little bit. This one still has a little bit of the brown on it. That's okay because that's kinda where we're headed. But mostly water wetting that surface. Kinda wanted to do a leaf and every color for you. A little bit of brown back into there. This is just the Van Dyke brown and the sap green. And then let's go ahead while this one is still wet and put it in a little Naples yellow. Just let that kind of swirl around a bit. And then at the very tip, Let's go ahead and put some green gold. I wanted one that was on the Golder side, so I think that's going to be this one. Make sure you're careful along those edges not going beyond the barrier unless you want to. And then we will continue moving forward with the stem. Let's go ahead and do that in the sap green. There we go. And bring a little bit more of the green into there through our veins. And then let's go ahead and mix that sap green and sepia again, if it needs to be darkened. And add that vein back in there. A little bit more down here, through there as well, just because these leaves are kinda, they're sharing a branch. So I like the idea of them sharing some similar colors as well. I'm going to add some freckles and t here. Sap green. That's our sap green and our sepia, but more on the SAP grains. All that means is that when you're mixing together those two colors, you're using more of the green versus the brown. If you want to do the opposite, then you would just do more of the brown. Following that vein through, come in through to the point. Adding a couple more little dots right through the middle here. That a little bit of green into here to take my 10 brush. And just kind of soften a little bit on the side. But I kinda like how that's working there. Darkening up the edge here. Using the very tip, tip toe of the brush. I'm going to dip into the sepia now just Satya and create a little bit of interest around those spots. Using my 10 brush to kind of blend a little bit. And following that through the vein, using my 10 brush to soften off. And everything's looking really beautiful. Softening off. Just want a little bit of an edge here. Mostly want it to be dark along the bottom here. Softening off. Using that tip of the brush to just bring the color back towards the middle. Come through for the vein, just the tip, tip, tip of the brush and you go. And here we have another really beautiful leaf. So that's a variety of eucalyptus leaves. You can see there's so many different ways to play with color. If you have a bunch of yellows, greens, reds, and browns mixed on your palette, you can not go wrong. I know I moved kinda quickly through that and there's a reason for that, not because I don't want to be thorough, but because I really want you to understand that it's not going to matter so much what colors you're using exactly so long as you're using the right technique, the wet into wet, noting when things are starting to dry, glazing things if necessary, That's really the most important aspect to gain from this lesson. So I don't want you to feel like you're being left behind, but I want to just make space for you to take liberties and practice freedom. So that's eucalyptus leaves. We're going to move on to our tulip poplar, which is such a pretty little leaf I cannot wait to share with you. 8. Tulip Poplar Leaf: So I've gone ahead and done some erasing. So you'll notice that it's a little bit fainter and it also added a few little deteriorations here. These little holes kind of like how we did up here, but they're much smaller. I didn't do that in the scan. So if you don't see those needs, like to add them just for leg, a little bit of an embellishment. Go ahead and do that in pencil. Now, we are going to be mixing up a really pretty gold orange color. My palette was getting a little crazy, so I smeared off some room for it. That way we have some mixing room if yours is getting a little mixed up too, you may want to start in a separate well or just clear some space off of your solid plate palette, whatever it is that you're using. So let's go ahead and mix up that color together. We're going to do some pre loading of the brushes as we've done before. So let's start with our number 10 brush. And let's dip that into the quinacridone burnt Scarlett just a bit, and I'm going to smear that right in the middle. A little bit more. If yours is dry or more wet, it might take a little bit more or less water. So just kinda keep in mind. And then let's go ahead and add some of the yellow ocher as well. Now remember, this is a really, really strong color in this particular brand. This is the, my merry blew. Your yellow ocher might be a little bit different, but when I used it before, it was just very dense and kinda overwhelmed the leaf. So I want to just be mindful that I'm keeping this broth consistency. I'm going to dilute it even further down by adding some water, picking up about a brush full of water and mixing it. And it's still a little bit more orange. So I'm going to add some green golden two there. Now, this leaf kinda comes in like a like most dirty color and then come all the way up to like a yellow sun flower color as well. So I mean, it really doesn't matter, but I'm trying to match what I see and just what I like. So now we have something that's more gold, orange, which I'm feeling pretty good about. I do want to have a cough syrup consistency of this. So I'm just gonna do a little bit more off to the side here. If it runs into it, that's okay. As long as it's not completely overwhelming it little bit of green, gold, little bit of yellow ocher. And now I have myself a more higher color value of this color. Okay, so let's go ahead and load our brush with this version of the color. So we have our broth over year, which I'm going to load with the ten brush. And I'm going to set that off to the side. And I'm going to pick up the six brush and I'm going to load it with the cough syrup consistency. Still getting a little bit watery here. So I'm gonna add a little more of the quinacridone, burnt Scarlett, yellow ocher, and green and gold. There you go. A little bit more green, gold, one, it back to Goldie orange. Here we go. So that's very, very thorough. Look at the mixing process, what I would be doing if I weren't sharing that step. But I thought it might be good to just see all the little bits and pieces that go into mixing color. Okay, So now that brushes loaded, I'm going to set it off to the side of my palette off and let's take our clean number 10 brush, makes sure your water is clear. Mine was getting a little bit funky, so I went to the sink and reef fresh did. And let's go ahead and lay down that coat of water. Still a little bit, little bit of a golden orange tint, but that kinda works perfect for this leaf, so not a problem. Be careful mindful if you have included those little deteriorations in your leaf to not get them wet because then you will put the paint in them and you'll kinda lose that whole see-through effect. Being careful begins the edges. You don't need to go right up to the edges because that's where you'll be laying the paint. And you remember that? Excuse me. You remember that I sneezed that the water and the paint or the paint will only go so far as the boundary. So as long as you are, excuse me, goodness, something dusty in here just flew in, then you will not have an issue with those little deteriorations and with the outside edge getting those hard hard lines. Okay. Looking good and just going to double-check that there's an even coat, no dry pockets before I had in with the 10 brush loaded with our mixture in broth, consistent. Hey, there I have my other brush loaded with cough syrup consistency ready to go as well. All right. Let's start here at the top and drop it in. I love that. I love that first initial drop in. And just going to allow the paint to do what it wants to do. Being careful around my little pencil marks. They're very light, very tiny. And just bringing the color down, you can see the color is run a little bit beyond the pencil line, which is totally okay. I always paint just a little bit beyond what my sketches and I know that about myself, so I leave my home. Those little things really help. As you start to know your tendencies as an artist. And getting there. Some of this takes time. Not to be rushed. Got a little bit in my pencil mark there. But not too bad. You may want to make the pencil marks larger and then you can always close em on them. So we have that first, initial wash down just kind of soaking into the paper. Everything's don't really nice and wet. Just going to give it a moment to breathe, letting it rest for just a moment. And then I'm going to head in with the six brush loaded with the mixture and cough syrup consistency. And I'm going to add just a touch more of green goal to bring out the more yellow side of this leaf. Just the bed. You can do the same or you can use the same mixture either way. I'm just going to drop it in. Make a vane using the tip of the brush. Later we'll darken that with our third color. But for now, just adding another layer while things are still wet. Going over those veins. I really, really love the look of wet veins. I just feel like there's something so natural and ethereal about them. If you've ever looked at my earlier work, my veins were very prominent. And although I think that adds like a nice, nice touch, the way that we did with our hazel leaf. There are times when I think omitting those details really goes along way. Do it heavier down here because that's where it was in my reference picture. It's much darker here. Just going to add a little bit more color. Doing some darting around the sides. Going a little bit beyond. Just too crisp, clean up that edge. Picking up a little bit more color. And just kinda moving around, round and around the leaf, we go picking up a little bit more paint, cough syrup consistency to darken things up while it's still wet. That's why I take so much time initially to lay that coat down. That saves me so much work. I don't have to replace things because things are staying nice and wet for me. If you find that you're running into that issue, just slow it down a little bit, take a bit more time. Okay. And now I'm going to pop in a little bit of the Naples yellow. So you should still have that on your palette. Go ahead and just mix that in. Two, I'd say somewhere in between cough syrup and broth consistency. So kinda right in the middle, it's such a faint color if you are using Naples yellow that it doesn't overwhelm that all. Some maybe more towards cough syrup consistency. Can see it's really faint. Really just sort of arbitrarily adding it in for just one more little bit of detail. This is not an earth-shattering color, are not making a huge, huge difference, but I still think it's just such a pretty color to add. And then let's go ahead and mix together a little of the quinacridone, burnt Scarlett. Put that right here. And a bit of sepia. Do you want to tone it down a little bit? Let's make that two broth consistency. I would like it to be a little bit more on the brown side versus the red. But you can always add in more brown if you prefer. We're gonna go ahead and add that around some of the edges. We're going to make sure not to darken things up so much that we can't add some layers, a little layer, a little later on. But I want to use it while it's still wet. I can already see things are starting to dry a bit. If you didn't want to, you can pick up another six brush with clean water and just kinda help things move down a little bit. And we're taking the edge of it and you just sort of moving it down. I'm going to head around my little indentation there because that's where I see the deterioration most is when we add that color, just kinda let it spread the veins here as well. Adding it down here below. So important that these veins are included while wet because they're very faint. And they'll end up kind of overwhelming the leaf. If we don't take care of to keep them light, and then let that rest for just a moment. All right. The pick up my brush again to pack into there. Now that it's rested a moment and just add one more little layer. Careful not to complete the cover up. That little white marking there. Now I'm going to pick up another six brush, dip into the sepia at about broth consistency and add a few more of these little dots that I see throughout the leaf. Now I'm going to spread quite a bit because everything's still pretty damp. Really going to darken up this down here. Picking up a little of the scarlet and the brown and just intensifying that a bit, make those bands are still slightly bit, slightly more prominent. Coming along the border the water and adding just a bit more of that brown. I'm gonna do the same thing over here. Adding it to the edge, coming along that border and recreating it, got a little bit lost. And then I'm going to use my 10 brush to pull that color down. Just with clean water. And coming back in a little bit more just to pull that color down. Get that a moment to rest. Then we will add a little bit of the sepia back-end as well. Just feel a little more marks. Let's head in with sepia at coughs or consistency right around our deteriorations. Using the tip of the brush. Careful not to head in there, and let's add a few little dots. These are still going to be fairly light even though we're using coughs or consistency. And this is a good place to just pause for a moment and see where else. There needs to be some details like I see this area needs to be crisp and up just a little bit. And few more dots. Again, just kind of arbitrarily adding in these freckles. Adding a little bit of the quinacridone, burnt Scarlet mixture. Following that vein through a little bit more while things are still wet. Go. And that's looking really good. One more time around the deteriorations just to make sure. And guiding the color around. With my six brush. We're going to pause here and then we'll come back and we'll add a few more details once the media is a little more dry. 9. Adding Detail to the Tulip Poplar Leaf: Okay, so things are a bit more dry, not super still a little damp here, but I'm going to while it's still wet. Just correct this a little bit. Looking at my picture, it's not quite so wavy, so I'm just going to kind of swoop in here along the edge and extend the border. And then I'm going to take my brush loaded with the Quinacridone, Burnt scarlet, and the sepia. And I'm going to just reshape the edge of the leaf just a tiny bit, just so it's not quite so wavy. Then while it's still bad when you use the sepia and the quinacridone brick Scarlett. And come along the edges here and add a couple more dots. Can see our freckles are still really light. And add in a few more the vernacular down. Print. Scarlett. Remember, the watercolor will dry one to two times lighter so they look sobered, are coming on and then all of a sudden they disappear. So keep that in mind. Cough syrup consistency is best when things are damp. Broth is best when they're dry. I'm going to go ahead and create the stem now all things are resting using my size six brush loaded with the sepia and burnt Scarlet. Come down here, finish off that leaf. They use just straight sepia now to really darken up that edge here. Really want it to be the most dark part of the entire leaf. We get down to the stem, create a little bit of drama there, just kinda gesturally going over the edge. More time around the deteriorations. And again, we're at that point where we can just keep adding detail upon detail on detail. And really just keep going for it. Or we can pause, look at what we have C if we decide we like it and we've been alone. So it's up to you really, the artist, to decide at which point you're ready to just put the brush down and step away. Because eventually you do get to a point where it's just overworked and you can't go back. So pausing throughout the process and just seeing if you like things where they're at is such a great exercise and discipline. I also think it's a great exercise to keep going and figure out how far can I take something before it reaches that point where it feels overworked to me. So I have to make those mistakes to really understand yourself as an artist and when it is you're trying to do in say, with your art. So don't be afraid to do that. With several of our leaves. You can always repaint them to your preferences. Later. Leaves are one of the most forgiving subjects, and I really don't think an ugly leaf has ever been painted. So keep that in mind. I'm just gonna take one last look here and pretty happy with it. Colors pretty accurate to the picture that I had originally saved. Maybe just a little bit more of the quinacridone burnt Scarlett right here around the edge. Just darkening things up a bit. Take my six brush and rinsing off some of the sepia and pulling that color down. And just put in some shadows here. Now that things are starting to dry using the broth consistency, mostly just water and CPI air to create a few shadows. This is done by using the side of the brush to scrubbing and along the leaf. Excuse me. There must be something blooming outside. And are gardeners come today. So I'm sure that kicked up all sorts of goodies. Here. This leaf has a lot of details and so I'm going to just pause here and just give it a rest. Don't think I'm going to touch it anymore off-screen. I feel like this is a great place to stop and help you find not point to with much peace. All right, before we move on, just make sure that you have some room on your palette to mix up fresh batch of colors for our next set of leaves. 10. Rowan Part 1: Next up we have such a pretty leaf. This is, are, these are row and leaves, and they come in a variety of colors. From yellow all the way to deep brown, burgundy. And they are so pretty. The one thing that I would like you to keep in mind as we work on these leaves, especially my detail lovers out there, is that smaller leaves like this you can kinda see in reference to my finger, It's about the size of my fingernail. Can quickly become overwhelmed with too many details. And so when I do smaller leaves, I try to move slowly not to say that details are not permitted, but just move slowly and be slow to add more details until you have given the pain a chance to settle. And sometimes one of the most beautiful nuances of a painting is where you just allow the paper to shine through and provide that transparency that only watercolor can do. So anyway, that's just my little disclaimer as we move forward. But you're obviously welcome to take liberties as you, as you work. And I just things to your preferences. Okay, so we're gonna go ahead and we'll do a couple of leaves at a time rather than the whole branch. So let's go ahead and start with a clean 10 brush or clean ish. Mine's just a little bit pg, which is okay. And just carefully work the brush around until you have a nice even coating on the leaves. Let's do one more little set here. And then I'd like you to just kinda look what's on your palette and just see what you have going. It really isn't going to be crucial here to find the perfect color is just not one of those lessons are exercises. So I'm going to be using a little bit of yellow ocher and green gold. And I'm going to start with that at the very bottom in a broth consistency. Do is guiding that color around. I'm going to do the same thing for the next leaf. And this is my six brush. And I'm just gonna do it at the tip here. Down here. I'm going to do Naples yellow. So many use that same 6 brush has a little bit of that that goal left on it, but that's okay. Can whence it a bit and then get into that Naples yellow pile, mix it up to about broth consistency and go ahead and dip it in there. Again, I'm going to go into the Naples yellow and just start down here. The bottom. So the opposite of what we did for the leaf before, it just kinda give all of that a chance to settle. Everything is very wet right now. So keep that in mind with smaller media areas. When you put the wet into wet, it takes a little bit longer for the paper to absorb unless you are using just a tiny bit of water on your brush. So get down level and see where you're at. If things look to RDB drawing, you can drying, you can move forward and add a little bit of a green mixture. So I'd say a sap green and a little bit of the green gold to blend those two colors together. Or you can just wait and read glaze. Obviously we're all moving at different speeds, so just want you to feel like you can keep moving if you want to. We're going to continue our little color, rainbow all the way up here. I'm going to use a different six brush now to mix together that color like I was saying, a little sap green and a little green gold. And mix that. So it looks about that. And I'm going to pop that in right down here. You can see why I wanted that initial coding of color to be real light because that's going to provide a really pretty bleed. Let's go ahead and do that up here as well. Just moving that pressure around. But in those two colors collide. Let's go ahead and keep moving. I'm going to use my number 10 brush with clean water to paint the next couple of leaves. So I'm going to still give that leaf a chance to dry before I do anything to it will do a set of three here. I'm going to use that same Sap green. I'm going to pop it in here. And I'm just kinda look at that sort of settled together for a moment. I'm going to use a third six brush to mix up some sepia and yellow ocher. So that it looks like this. I'm going to pop that right into here in a little bit right through here. I'm going to use another six brush. This is why I like you having duplicates of things to just bring the color down a bit. But this leaf, I'm going to lift out the color a bit by using the side of my six brush with just a little bit of water on it. I'm just going to pull the color out of bed, lifting the dampness out of it, blotting off on my paper towel in between. Okay, so now that leave is pretty dry and I'm going to add just a touch of green gold to the tip. And then I'm going to use that clean six brush to help guide it down. I'm going to use that same green gold to pop in over here. And a little bit over here. I want these two leaves to look different, but I want them to also look like they're sharing a color family. Go ahead and pop in a little down here just to darken things up a bit. But again, just being careful not to overwhelm the leaves. Okay, next, two leaves have already dried on me, so I'm going to replace those. Not a problem. I just had so much fun with those last two leaves. Carefully read glazing, never be replaced. Just make sure that the water isn't pooling. If it is, use the side of your brush to gently lift out a little bit of the water blotting off on the paper towel. This time I'm going to use sepia. At breath consistency. I'm going to let those two leaves touched there and share a little bit of a bleed. Move this around around. And then I'm going to mix up a little bit of the burnt Scarlett and the green gold, so that it's a bit of an orange. I'm going to pop in just a little bit of this up yet as well to kind of calm it down so that it looks like this. And I'm going to put that at the very top. Let it run down a little bit of sap green in there. Just going to let that sit for a moment. Now remember, watercolors are going to try two to three times lighter. So as pretty as that might look like, it might end up looking extremely light. So you have to keep that in mind once it's dry. Adding a little bit of sap green back into the tip here. 11. Rowan Part 2: That's looking good to me for now. Use my 10 brush to do the next couple of leaves. Share a little bleed. They're letting that leaf pick up the color from the last leaf. Picking up a little bit of orange as well. And just kinda let that happen for a moment. Now I'm going to mix up a little bit of undersea green and sepia. Using my size six brush, I'm gonna mix it to broth consistency. Taking me a little while because the paint is dry. Popping that color into the bottom here. I also want to have it on here. So I'm going to add a little bit more, darken things up. And I'm going to use it for the entire leaf over here. Using a bit of water. Some really pretty bleeds happening. Just kinda keeping an eye on all the leaves and seeing where I might want to add some extra touches. Then to add another layer of the undersea green to the bottom here in cough syrup consistency. Just letting that settle for a minute. And then I'm going to finish off the remainder of the branch. Normally, I would rinse my cup. But these colors work so beautifully together that I really don't mind if the colors run and even welcome at another leaf with the undersea green. And allow those to touch right there. And then I'm going to do a bit of the burnt Scarlett with the sepia mixture. And just going to give that a minute to settle. And I'm going to pop in a little bit of the sap green. Just by itself. Sap green in broth consistency to the top here. And a little bit over here. Just going to let things rest for a moment. Put a touch of green into this leaf. Just getting a little sun pocket on my paper. Here we go. And pop in a little bit of sepia right here at the bottom. And then I'm going to use the API to finish the stem. Let's start here at the bottom with a thicker stroke. So using the side of the brush medium pressure to make the bottom. And then I will use just the toe of the brush to finish it through. Just kinda using those quick flicking motion. Don't want anything too structured. It's okay if the stem sort of blends in there. It's going to let it touch, move into the stem a little bit. And I like where we're at with our leaves. Obviously, I'll go around and all raise some of that pencil mark later. But as of right now, everything looks good now when it dries, it may be more faint than I would like it to be. So that's something to keep in mind. There could always be more details added when things dry up as well. Like for this leaf, It's getting pretty dry. And I can take a bit of color. Perhaps the sperm, Scarlett and the green gold, and just replace things here if I wanted a little bit more color scheme here, could use that at the tip. Just create a bit more color. And that is not going to move through the leaf because the leaf is dry. And so it's just going to create a shape wherever I move the brush. So we have some really beautiful colors sort of playing off of each other. Some wet into wet happening. And pick up a little bit of the yellow ocher and pop it through here and through here. And then I'm going to go back into the yellow ocher and do the same thing here. Just kind of picking a little bit more of a detail. Like I said, good be careful of those details because it will get very overwhelmed quickly. So that's why I suggest just moving slow. And then just connecting those leaves doesn't have to be connected. You can leave them free standing, but I kinda like the way it looks running up against the stem. And then I'm going to take, the last thing I'm gonna do is take the sepia, cough syrup consistency and just darken up that stem a little bit. So I'm gonna come down here at the bottom and move along the edge of the stem. Just kinda connecting these leaves, keeping things lose, just sort of dragging the brush through the stem rather than making like really definitive lines. Just kinda scrubbing it back and forth, adding some little touches here and there. This requires a light hand and trying not to overthink everything which I know can be extremely hard to do Iran out. So I'm going to get a little bit more sepia on there. And now we have some really pretty bleeding into the leaves here. Just adding some imperfections along the way. And there you have it. These are our row and leaves. I think they turned out so beautifully. What we could do if we wanted to add even more detail, would be to run through the leaves to create veins. Can do that on a couple of the wet one just to kinda see how it would look. But it's actually probably not needed. Leaves this small because it just kinda starts to overwhelm them, overwhelm them. But like I said, we'll try if you can always leave some of your leaves vein free and then add stems to Earth's, you'd me veins to some of them. So it's not looking bad. And you could use different colors as well. Like if you wanted to take the CPI and mix that into the green gold to kind of lighten it up a bit, not so harsh through these light colors that could work as well. There we go. That one still kinda wet. So that's probably as dark as I would go. This one's still pretty wet, so you'd have to wait a bit. But you can obviously play with that. You can wait until things are dry and then go back in one more time with sepia and darken things up a little bit. There's just so much potential for continuing to take these as far as you want. But that gives you an idea of how these colors work together and just how beautiful it all is when you let it run and merged together. Okay, Let's move on to the next subject. 12. Gingko Leaf: Moving on to a gingko leaf, these are so pretty, they have such a fun little unique shape. I love using them in pattern work. They are so pretty when they're sort of Nestle, Nestle together in a pattern. And so obviously I encourage you as you learn the tips and techniques to put together any sort of creative project using all of these elements, you don't have to just do a wreath are so many different ways to play with them and to make it your own. So you can see here the Rowan leaves have dried. I'm just going to show you since we have a minute, how easily the pencil marks come off. Not everything is thoroughly dry. Let's go ahead and just clean it up. Sorry, my camera's shaking because there we go because it's mounted on my table. Making you dizzy. All right. So just make sure your hands are away from the area x. You just don't want any fingerprints or anything getting on there. And then take a paper towel and clear the dust away. And you can see that pencil mark comes out almost completely. Rbc. Do a little bit more cleaning up. You want to push down harder. You may end up lifting a little bit of the color, but really not enough to notice. And as I said before, you'll notice that the watercolors have dried much lighter than we painted them, but we adjusted for that. And so I feel like it's exactly the color and saturation that I was looking for and hopefully you feel the same. Alright, let's head into our gingko leaf. We're going to go ahead and turn this one, even though I painted it the other direction, we're going to turn it this way because it is easier if you are right-handed to work from a right angle. So we'll start over here and we'll move our way down. I have cleared some room on our palate, so let's go ahead and mix up a couple of different consistencies. You are welcome to mix these consistencies ahead of time. Like most of my students like to watch the video through a onetime to get a feel for just the flow and progression and what's to be expected. And then what you can do is mix up all the consistencies that we're using in like a giant a giant palette that has several wells. And that way they're all there and ready for you. Or if you just like kinda in the flow mixing, you can just do it as we move along. But if you're a beginner and that's a little overwhelming to you. You may want to premix some of these colors just so that you're not feeling stressed out because we are moving wet into wet technique. All right, so let's start with quinacridone, burnt Scarlett, and a bit of suburbia. We're going to get a nice earthy red brown. If you love this color and you want to see more like it, I highly recommend you looking at my color guides and checking out the sunset series. With sunset series is beautiful, reds, golds, and just all of these amazing fall colors. Okay? So there we go. We have that one. Then we're gonna go ahead and mix up kind of an orangey yellow. So I'm going to use another brush to do that. We'll use a six. And I'm gonna do the same thing, Bert Scarlett put it over here this time and pop that into my green gold. Get more of an orange color. All of these are broth consistency. Put a little bit of yellow ocher in there as well. Be careful when you're mixing not to jab the brush into the dried paint, use the side of your brush, adding water as you move forward. But more. Remember this color is going to dominate, so we want to use it lightly. And then we're gonna go ahead and mix up on a third brush, sap green and undersea green. Just gonna kinda mix these two colors together right in here. And those are the three colors that make up the leaf that I'm using for inspiration. A pop-up tiny bit of sepia in there as well. Just to earthy it up a bit. Okay, So we have our working colors here. I have each color loaded on a different brush. That makes it easier for some people having a loaded if it's not easier and you'd like to use the same brush, you can always just rinse off in between. And like I said, because we're working with this color family, it does not matter if the colors are mixing together a little bit. Obviously, you could create a whole new color by mixing these two together, which you are welcome to do, or you can leave them separate as I have k. So we're gonna take a clean 10 brush. And I rinsed out my water so no more orange. Just cleaning my brush while more time before I pick up the water. And let's go ahead and lay down that first coat of water, making sure it's even pulling it down to the bottom. And then I'm going to look eye level to make sure there's no giant pools of water. Looks good. Just double-checking that first initial lang of the water is very important. And it go ahead and pick up my ten brush loaded with the Quinacridone, Burnt scarlet, and the sepia. And I'm going to lay that in right over here. I'm gonna kinda weed my brush along the barrier here to get that crinkly. Can go eat. Sort of feel I'm going to stop it right about there. I don't want to perfect lines. I'm leaving a little bit of extra space here. Then I'm going to pick up my brush with our second mixture and go ahead and do the same thing. Laying the color in little bit more of the initial mixture. And then for our last color, we use our final brush with the green mixture. And I'm going beyond the barrier just a little bit to create the edge. Mix those two colors together a little bit so that they're blending. I'm going to pop in a little bit more yellow ocher right around here, making some lines to indicate some veins. And then I'm also going to use the sap green and undersea green at coughs or consistency while things are still wet. To do the same thing, just pulling those veins up through the center. Don't be afraid to let those colors mix. I'm just going to let that breath for just a minute. I'm going to hold off on doing the stem for a bit just because I tend to put my hand here and I don't want to end up smearing it. I'm gonna put a little green gold. That was my shade that was blocking out the little sun dots and just decided it was going to tip over. All right, so let's go ahead and put the green gold right here. Just to add one more layer of color. And then I'm going to mix up that Quinacridone Burnt Scarlett and sepia to cough syrup consistency. And pop it in right around here. Just sort of playing with it now. Running some veins through all everything's nice and wet. Again, just one more coding of the cough syrup consistency. And putting it a little bit of green gold right over here. Just to kinda help break things up a little bit. So it's not so perfectly and broken up into pizza slices. We kinda want everything merging together. Putting a little bit of sap green. And let's pop in a little bit more of that green gold right next to it. And there we go. We have a very vibrant gingko leaf that is probably going to require a little bit of drying before we do too much more to it. Let's go ahead and just add in a few little veins just to keep ourself understanding the direction and flow. Okay, so we're going to pause there and let it dry a bit and then we'll come back and we'll add the details. 13. Adding Details to the Gingko Leaf: Okay, So I've used a little hairdryer on a cool setting to kinda speed things along. And now the leaf is pretty much completely dry except for a little bit around these edges. And we're gonna go ahead and add some dry or somewhat layers on the dry media. So the first thing I'd like you to do is to take your 10 brush loaded with the bert Scarlett and the sepia in broth consistency. And we're going to start right up here and pull down to create some layers. Because I have another brush on hand just for softening things off. And we're just kind of creating some little areas where the leaf is appearing to not be flat. So it kinda has this raised surface and so we're going to pull out some of that little dark. So I'm going to soften not off a bit with my clean brush. And then I'm going to head back over there to the left. And a little bit more. This time, darker, slightly more, not quite at broth consistency. We're gonna do the same thing with the green. So your six brush loaded with sap green and undersea green. There is never a dull moment in a Rosaline when papery class. So if you've heard any of that before, we were abruptly cut off, that was an emergency alert that came through on my phone as screamed at me as we were so peacefully Beijing her leave. So I had to obviously stop the video and get rid of the notification. And here we are. Back again. Has only been about a minute or so. So we really haven't lost any sort of traction. But I did want to let you know that his what had happened. If it's not gardeners, it's snoring chihuahuas or it's a worldwide or not, I guess. I should say. Countywide alerts. Yeah. Never a dull moment. Okay. Let's continue by taking the sap green and undersea green mixed together at cough syrup consistency. And let's go ahead and we're going to plug that in right here on the right-hand side. And we're gonna kinda take our brush, moving to full belly and flat belly, our syringe, full belly and toe. So meaning we're going to push down until the bristles are flat and then we're going to come up on the toe. Do the same thing over here. Coming down on the side of the brush for the belly and then coming up on the toe. Go ahead and do that down here as well. Just kinda heading in the direction that the leaf is pointing in. Take my clean brush and just sort of soften things off a bit. I'm going to plug in a little bit. The yellow ocher right up against the edge. Just to kinda give it a little bit of texture. I'm going to run that yellow ocher through the top of here, not gonna show up too much, which is fine. I just want a little touch of the yellow ocher coming through and just to show a difference in color. So I'll pull that down right through the middle here. Remember you can extend beyond the barrier just a little bit. And then we can darken that up later. And pulling it through down here as well. So we haven't really pretty leaf. Only thing that we're gonna do next is pick up a little bit of the burnt scarlet and the sepia. And we're gonna go ahead and mix that to cough syrup consistency. And we're going to play with the very last and darkest color right here at the tip. And we're going to go ahead and pull that down. So I'm going to pull it up. You might be easier for you to pull, pull down, or if it's easier to move in this direction, you can pull up two. And we're just gonna do some really fine veins. You wanna make sure you're working in the direction of the leaf, always aiming and angling your brush and the same direction. Making sure That's your pile doesn't completely dry up on you. If you need to quickly mix a little bit more off to the side, go ahead and do that. And add a nice big shadow here. And just a touch of water up against it. Just kind of blending that together so it's not too harsh. But just a nice dark shadow. Go ahead and continue it down through here. There we go. Adding some little darker spots. Always working in the same direction. Same thing with the green. Let's go ahead and mix sap green and undersea green. Little heavier on the undersea green. Using a six brush, cough syrup consistency. I'll add some darker elements here. Kind of carving out some areas for shadows in a few veins there as well, using the toe of the brush. Softer that awful little bit. And go beyond the barrier here, darken things up, pull it down. And here we have a very, very detailed gingko leaf. You can continue making things darker if you wanted to make it darker around this edge over here, you could add a little bit more sepia and burnt Scarlett together and do kind of what we did here at a at a deeper level. I kinda like that it's darker down here and then it's faded and then it's reverse over here. It's just my own personal preference. So you feel free to make adjustments as you wish. And then we kind of get to choose what color we want our stem to be. In my picture. It's kind of on the yellow side, so I'm going to pick up a little yellow ocher and debited to the Van Dyke brown. And I'll finish off the stem here. Okay, there we have a very loose stem, nothing too serious. And then if we wanted to add just a little bit of shadow to that, take our sepia and run it through while things are still wet and you can do that again once things are dry if you would like to, or you can just leave it like that. More of a subtle stem. Just using the toe of the brush to kind of give it a little bit more of a shadow there. So there you have it. There's our gingko leaf will turn back around here so you can kinda see how that's all working together. And we have some really beautiful elements happening. K, We have one more to go. I will see you in just a few moments. 14. Sweet Gum Leaf: So here we are. We've come to the very last leaf in our autumn leaves painting class. I'm almost doubt about it. I just want the fun to continue. I have so much fun working with these colors. Hopefully you are as well. But we still have a beautiful wreath to put together, so we won't get too sad yet. The last leaf we're gonna be doing is a sweet gum leaf. And I happen to have rescued one of these little darlings from my community from all of the little stomping feet running around crushing them right now. And it's such a pretty leaf that you really wouldn't stopped maybe to notice unless you were looking very closely. It's kind of this like wine Barry base and then it has these deep green veins with some light yellow along the perimeter and the veining as well. So we're going to mix up a palette of colors to honor this and take a few liberties along the way. So the first color I'd like you to mix up is quinacridone, fuchsia. With sepia. You can see I've already done that just because I wanted to see how it was going to come out in its beautiful. And then we're going to mix up that beautiful green. So we'll do some sap green and pop in a little bit of green gold in there as well. That's really going to stand out in this color. Make sure these don't mix. As you're creating the different consistencies. I'm going to have that more in a cough syrup consistency. And then lastly, we're going to have another brush loaded. This is six brush with Naples yellow. So just Naples yellow. That really faint color and we'll pop that in for some really pretty bleed work. And I'm going to set that off to the side all through brushes preloaded, and I'm going to take my number 10 brush, rinse that off so that there's not a whole lot of color left. And then we'll lay down that coding of water. Make sure you're getting all of your paint off. Not all of it, but the majority of it. And you want that transparency to show up. This is a large leaf, so take your time. We do want to paint the whole thing at once. So be generous with the water as you start because you know, that's going to be trying as you finally reach the last little section over here. So I'm going to let it Pool, going to accommodate for the fact that it's going to be drawing. And I'm going to try and work quickly. Not going to worry too much about those edges. Letting it pool over here. And now I'll use the same are the amount of water that I would typically use not over watering it because this is going to be the wettest. And Legion paper of all papers. It stays wet for quite a bit of time. If you were to be using Arches paper, you really have to wet that puppy down. It dries up so quick and can be really frustrating to new watercolor artists. The great paper, it is the paper that I actually used for the photo that inspired this class. So many of you on Instagram will have seen that great results, but definitely more of an advanced class just because of the paper. Canson is another great paper. Obviously we use that a lot and that stays wet even longer. So, okay, now that things are wet, I'm just going to move a little bit closer to the edges here. And things were pretty much where I want them to be. A little bit of pooling over here. And there's a little bit of pooling here. So I'm gonna lift that out using the side of the brush to just pull out a little bit more fiber in there, pull that out and we're good. Okay, so let's pick up that 10 brush and lay down our first coat. Will pop in our inspiration Lee, from trying to find a good spot for it. But in the frame, there we go. Remember you want to go beyond the barrier just a little bit, adding those edges. Just moving the brush slightly up and down. Pulling the color through my need to load up now adding a tiny bit of water to the mixture. And I'm as dark as we went on these leaves, I'm going to go a little bit lighter with this one, just for a different feel. I already love this color so much. Again, if you love these colors, check out that sunset series. Remember we're going to be doing green veins but just popping a little bit of color in there. This is a leaf that I'd probably want to do over and over again because it's just got so much fun sheep. And it's such a fun color. And you can do it in really any color, in any combination. Just popping in a little bit more color here. Working before things get dry. Down. Putting in a little bit more color here at the veins. So that green has something to latch onto. As you can see, I like to just move around without really too much structure. I like to see what's happening on the page and then adjust as needed. Like I see, this is drying up and I want to pop a little bit more color in there before. It does also need to mix up some more colors. I'm going to do that real quickly off to the side. How much do we love this color? Adding in a little bit more the vein. Okay, next we're going to pop in that Naples yellow. This could be my favorite leave yet just all of the pretty pretty bleeds happening. Okay. I see a little bit of yellow here around the vein which we will add soon. Again, you are welcome to add more or less yellow as you see fit. This is just an idea. Add a bit more color into here. Now I'm going to pop in that sap green and the green gold. For our main vein. Chaplains right around here. Just running the toe of the brush through the vein. I'm going to darken things up right here from where the main extends and pop in a little bit more color. Just again using the toe of the brush. Picking up a little bit more undersea green right here. Where that vein begins and kinda see. Can see it's a little more dry over there so that veins a little more prominent. That's okay. It's going to dry lighter. So I'm going to lay in a little bit more. And I'm also going to pick up the Naples yellow again and just kinda come alongside it. This is looking really pretty. Okay, a little bit more. Right through here. Just checking my leaf for inspiration here. Pretty wet. So that paints just gonna kinda keep running. So I'm going to stop. Add a little bit of the Naples. You can see where I not really intentionally but left a little bit of a deterioration there, which kind of is pretty, it just makes the leaf feel. I don't know, more realistic I think. And then the stem is more along the lines of the Naples yellow. So I'm gonna go ahead and run that through. And then it has a little bit of color near the top. And I'm just going to kind of continue that shadow all the way down to the end. Popping in a little bit more color. Right here. Where that leaf begins. That is the fuchsia and the sepia with an emphasis on the sepia. Adding a little bit shadowing and a touch of green in there. Why not? It is a little bit green there at the bottom, so still honoring our leaf. Now in this leaf, if you look closely, there are a lot more veins as they run through the center here. There's a bunch that come up through the middle and we could play with that and add a lot more veins. But again, like I said, it tends to take you a more away from loosen into the botanical realm. So I would do those very lightly. So why don't we come back and we'll do a little bit of that once things are dry. And although it may not be what I would do in my professional career, because I just like the way it looks now. I want to show you so that you can see and then make that decision for yourself. Alright, so we'll come back in just a minute. 15. Adding Details to the Sweet Gum Leaf: Okay, So things are damp, not dry, and I've mixed up a little bit of the rich green gold and the sap green to broth consistency. Always want to start light. And we'll go ahead and we'll add in just a few more veins. Turning out really light, which is what I had hoped to be darker over year because the media is dry. But that's okay. We can have it more detailed in some areas. Just going to reinsert that pain a little bit little bit drier up here. But still very pretty. I went a little too harsh for my liking. So I'm gonna take my 10 brush and just soften that off a little bit. There we go. Into our last section. Definitely my favorite leaf of all of them. I think there's just so many beautiful facets to it. To softening off a little bit. I'm going to put a bit more of an emphasis right here where the vein begins just to kinda help us connect. That's the undersea green and cough syrup consistency. And then I'm going to soften it up just a little bit and run the toe of the brush through the vein just to kind of situate where it's happening. Very habit of beautiful sweet gum leaf. I hope you enjoyed this as much as I did. This is all the practice that we will have a next, we will head into the class project, which will be a beautiful eucalyptus read. So go ahead and grab yourself a fresh sheet of paper and make some room on your palette. And we'll get going. 16. Class Project Part 1: Okay, here we are. Thank you for joining me for the class project and really excited about this. There's so much potential with eucalyptus leaves and really you just can't paint a bad leaf, so we don't have a lot of fun here. First thing, if you remember from any of my earlier wreath classes, is that we want to have a firm structure for our wreath because it can quickly get very wonky and out of shape if we don't stay mindful of the wreath structure, so this will be used. This is just a candle lid. If you have like a saucer or a plate, really depends on what size paper you're using. This is nine by 12. If you're using bigger, you can use obviously a bigger objects, smaller, smaller object. And this will just help ground the structure into the composition. And then you'll be a little bit more free to kinda take some liberties here in there. Obviously, we don't want a completely circle wreath that's going to look way too manufactured. We want it to feel loose and authentic. However, we just don't want certain aspects of it getting crazy off balance. So I'm gonna go ahead and trace that now with my B pencil. And this is going to be the area that I don't want to pass through. So meaning, you can kinda see I've lost a little bit of the shape here, which is not a big deal, as long as there's something setup that I know, okay, this is the general shape and structure of the wreath. So I don't want to go and venture too far in here because then I'm going to lose that negative space in the middle of the wreath, which is going to cause all sorts of problems. So I know that as I create the leaves, I'm kinda want to mix them. Arms give me nestle them alongside the perimeter. Okay, so once you have that, you can go ahead and start warming up your brushes by loading them. I'm going to use probably four or five brushes at a time, just so that I have all sorts of color options. So we still have, if you worked from beginning to end on our practice exercises, I still have some of that beautiful fuchsia and sepia mixed together and I'm going to keep that on my palette. Just freshen it up a little bit. I'm going to load that on one of my six brushes. I'm also going to load another brush with the sap green and the green gold because we saw how beautifully that work together. I'm going to put that off to the side. They use another brush to mix a little bit of sepia and undersea green together. So this is more of an earthy green. Can kinda see. I don't want to put it on my paper because I might have paid underneath it. You never know with me I get a little wild willing mixing. And I'm a set that off to the side. And then I'm going to get another brush out another six and put some Naples yellow on that. And if it gets too confusing, having all of these brushes with different colors, you're welcome to just move as we use the colors and load them up as we go. But if it's not too overwhelming, then this is a great technique to just kinda help you keep moving and the flow of things. Make sure you save one brush with just water on it for some wet into wet. And then for our final color, I'm going to do a little bit of the green, gold and quinacridone, burnt Scarlett. Going to mix that over here. And now we have about, let's see, 1, 2, 3, 4, 5 colors. And we'll get more as we just kinda let these colors run together. But emphasizing again that the most important thing is not having the exact color, but just having the freedom to mix these colors as we move along. Okay, I'm going to erase this just a bit like we did with our exercise, so that it's easy to erase at the end when there's water color on top of it. So just enough for me to see. There's the circle. Okay, So I have one brush that doesn't have anything on it and that will be my wet brush that's a size ten. And then I have all the other brushes ready. And let's go ahead and start with our first leaf right over here. So let's do a little stem and go to belly and tau. I'm going to pop in the first color. The fuchsia in the SAP S, this EPM. We go, There's our first leaf. Not too scary, right? Just a little bit more color there. And I'm going to pop in a little bit of the sap green and green gold. Let's go ahead with our next leaf. And I'm going to plug it right through the leaf we have going. So it's gonna kinda come under and through, pulling up a little bit of that color, that's fine. I'm gonna do a Naples yellow. No, just run it right through little bit more of that. Fuchsia and Sap green. Just using my brush to kind of guide the color along. Now I'm feeling like they're probably needs to be a leaf right around here. Going to add a few stems here as well, just to kind of make sure I don't lose the structure of everything. And then I'm going to use the sap green and the rich green gold. And keep in mind, not all of your leaves have to be mixtures. You can leave some as is for just a really pretty like simple effect. Go in there, add a little vein in that one. Let's go ahead and pick up our brush. And I'm going to curve this leaf, this, so that it's overlapping the stem a little bit. And plug in the Naples yellow. Here we go. And pick up a little bit of that Scarlett and rich green gold. Just continuing to kind of observe the shape that we're making. Gonna kinda come out here now. And I'm gonna do two leaves. And I'm going to let the first one beyond the sap green color. I'm just going to let those kinda sit together. And another Naples yellow plugin that stem back in just so I know where things are kinda coming from. Changing the direction of that leaf just a little bit. Adding a vein here and there. I'm going to run the brush through this top portion. Still got a little bit of color on it. I really want things to overlap here. In real life, there wouldn't be all of this space between the leaves. There'd be areas where things are kind of running together. And it's just a little wild. And I'll put a little bit of the fuchsia and sedia. Pardon my squeaky chair. And putting a little bit more color through here. Just guiding it down, seeing how it all settles. Pop in just a little bit more green here, just to kind of make some distinction between what's happening. And plug in a couple of details. While things are nice and wet. We'll go back through and add some details to, but it's nice to add some while they're wet as you've seen. Just for a little bit of soft details. This is the undersea green. Just right along the edges will do the same thing with the sepia. Just kinda moving as I are playing with it as I see it. Nothing too specific in mind here, just wanting to honor these beautiful details and go over this leaf here with some sap green and rich green goal. Let's go ahead and create another leaf. Come down through here. And we want this to be the highest point of our wreath. So I'm not gonna go any higher than that. But I am going to kinda come down and overlap here. Mixing into that fuchsia and set B a mixture and into the Naples yellow. Letting that all kind of run together. 17. Class Project Part 2: Picking up a little bit of that burnt Scarlett and the green gold. And just kinda, kinda make this a little bit more definitive. Letting those two colors sort of come up against each other. He's my brush to soften that off. Mixing into the fuchsia and sepia. Giving some details here. Using my other brush to kind of move the paint around Philip the leaf. Adding a little bit more detail here so that you can see that it's coming all the way through. Also going to pick up a little bit of the green. And then we have the undersea green again. Just going to add that right here. And at the end. Okay, we're ready for our next batch of leaves. Let's go ahead and Let me go a little stem here and get some little bit of paint and water on my brush. Smaller eucalyptus leaf here. And just dip into the sap green, the rich green, gold. Remember, I don't want to venture too far into this middle space. Never towards the middle, just along the perimeter. Another smaller leaf here. Just to kinda give some flow. Using the burnt scarlet and yellow ocher. Any use fuchsia and sepia coming on top of that circle now to make sure we maintain the shape and the integrity of the structure. We're gonna use some sepia. Darken things up a little bit to the same along here, just to add a bit more color while things are wet. A bit more fuchsia and septicemia. Come down through here as well. Just kind of moving things around a little bit. Make sure we get plenty of variety and shape and movement. No real rhyme and reason to these colors, just keeping them mixed up so that we don't have many of the same colors laying right on top of each other. So feel free to pick different colors if that's what you wanna do. Kms swoop back into here so that we know that this wreath is a circle. Into my fuchsia and my sepia. Create a bit of a stem. They're more of a stem here as well. While I'm here. Into the suburbia. Dotting along the edges in a pickup, a little color, Naples yellow. Pop that into there and two there. And a little bit more of an orangey color, the burnt scarlet and the green gold. We have nice, pretty orange colored. They're definitely going to need to fill in some of the areas just looking a little sparse. So a couple little green in here, bending it around so that there's some nice flow and movement to it. A little bit more green tones. See if this is still wet up here. Yeah. Go let more down there. A couple little green into here, too. Little bit of the fuchsia and sepia into this leaf. Just going to pick up a little bit more here just to kinda help shape things. They said I don't want things to be too thin. I'm going to add one more right here as well. You can see I dropped a little bit of color and even know when I did that. But it happens. I hold my brushes over the paper as I'm working in sometimes if they're overloaded, then they end up dropping on the paper. But unfortunately, I'm an expert in removing boo-boos. I believe I have that saved in my one of my highlights on Instagram if you need a refresher. Okay, now we're filling in nicely. Just kind of checking for balance. Pick up a little bit of the fuchsia. Anymore. Fuchsia this time, so that it has more of a pink tone to it. Pop a little pink back in here too. The plug another leaf into here. Creating some more stems. Just to kinda help shape things around. It's a little bit more dense, bigger leaves over here, these are smaller leaves. So to offset that, I'm adding some more veins and I'm also going to plug in one more nice big leaf here. Just to help with the fullness, factor. Out a little leaf there. And I'm going to add a little leaf on this site to just to kinda give some balanced things. So we have a rate that's pretty symmetrical, it's feeling pretty even. We're going to go in with our sepia and just highlight that area where it's connecting. Doesn't need to be at every spot. But picking a few connections really helps. Adding a little, little veins along the way.