Watercolor Postcards : Color Splash Series - Paint 20 beautiful projects | Vinita | Skillshare

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Watercolor Postcards : Color Splash Series - Paint 20 beautiful projects

teacher avatar Vinita, That Crazy Doodler

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

28 Lessons (5h 54m)
    • 1. About this Class

      1:51
    • 2. Materials Needed

      1:48
    • 3. Basics Revisited

      3:56
    • 4. Week 1 : Paint it RED!!

      1:16
    • 5. Week 1 : Project 1 - Red Leaf

      19:27
    • 6. Week 1 : Project 2 - Train

      20:43
    • 7. Week 1 : Project 3 - Boat

      13:43
    • 8. Week 1 : Project 4 - Post Box

      17:25
    • 9. Week 1 : Project 5 - Lighhouse

      19:06
    • 10. Week 2 : Yellow Yellow!

      1:05
    • 11. Week 2 : Project 1 - Moon

      13:28
    • 12. Week 2 : Project 2 - Lamp

      17:18
    • 13. Week 2 : Project 3 - Umbrella

      12:47
    • 14. Week 2 : Project 4 - Tulips

      18:15
    • 15. Week 2 : Project 5 - Frangipani

      26:08
    • 16. Week 3 : Go Green!

      0:57
    • 17. Week 3 : Project 1 - Spring

      12:58
    • 18. Week 3 : Project 2 - New Life

      17:19
    • 19. Week 3 : Project 3 - Lily Pond

      17:47
    • 20. Week 3 : Project 4 - Truck

      16:02
    • 21. Week 3 : Project 5 - Door

      18:16
    • 22. Week 4 : Feeling Blue!

      1:03
    • 23. Week 4 : Project 1 - Boat

      14:21
    • 24. Week 4 : Project 2 - Sky

      13:05
    • 25. Week 4 : Project 3 - Car

      17:11
    • 26. Week 4 : Project 4 - Bloom

      16:01
    • 27. Week 4 : Project 5 - Butterfly

      19:58
    • 28. Thank You and Beyond

      1:03
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About This Class

Hello Hello!! 

Welcome to another class in the watercolor postcard series with a fun twist!! This time we have a Color Splash challenge with it where we will be painting 20 different projects over the course of next 4 weeks- painting one project daily. 

Color Splash or selective color technique is where we have the picture in monochrome with one object brought into spotlight by adding a dash of color to it. It's a very interesting topic to paint and I have tried to include different subjects for each color.

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What you will need- 

  • Watercolor paper (preferably 300 gsm,100 pc cotton) - I am using an A5 size paper
  • Watercolors - any artist grade brand works- we will need 5 colors - Black, Red, Green, Blue and Yellow.
  • Brushes - Round brushes - small and medium sizes for washes and detailing and a rigger brush for finer branches etc

And that's it!! I hope you will join me on this creative adventure! Can't wait to see all your beautiful color splash masterpieces.

Meet Your Teacher

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Vinita

That Crazy Doodler

Teacher

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Transcripts

1. About this Class: Hey everyone, thank you for joining me for yet another class in the watercolor postcards series. I'm going to either, I'm an artist and educator from India. And this time we are covering the color splash technique in watercolors. You seen the other classes in this series, we have practically covered all sorts of topics, right, from food to flow rules to beaches. So this time we're focusing on selective color technique where you have kind of a monochrome background and an object is brought into focus by adding a dash of color to it. As an artist, I've always loved painting monochrome. So adding that pop of color to bring an object into focus was quite interesting. So I started collecting pictures and painting them out. And I thought of coming up with this challenge wherein for the next four weeks, we'll be taking one color into focus and painting things around it. So it could be anything like I'm not stuck to a specific topic over here. We have florals, butterflies, we have lighthouses. There are so many things to be explored. So I'll be uploading one class every day from Monday to Friday for the next four weeks with one color in focus. You don't need a lot of colors for joining in for this class, we will be painting in black and white. So black and the color in-focus. So that's red, yellow, blue, or green. So these are the four colors that I am considering for this challenge. And as always, this is a beginner friendly class. So we have a separate section to cover all the basics that are needed to get started with watercolors. And then we'll be covering all the specific techniques related to each project in the project itself. So I hope you'll join me on this creative journey and crowd the projects. So let's get started. 2. Materials Needed: All right, For the materials of this class, we need watercolor people. So I'm using the bomb 300 GSM, 100 percent cotton paper. I've cut it down to the smallest size. It's like a proximity and FIC sheet. And then for the sketching part, you'll need a pencil. Any pencil works fine. You don't have a lot of sketching in most projects, but just for a little bit, then what colors you can use any brand you'll need to be needing the black color most. So amazingly, my crack, black from demonstrate. But Grant spine as long as you have just those couple of colors which we will be discussing in detail at each week. And then the Russians, you'll need a couple of brushes like this. These two are the main brush that I've been using are all the projects. Backroom this for the washes. You need some flat brush like this so that you can cover a larger area for the wash, or maybe even a more color like this. So any precious fine, just something that can help you cover a larger area. And then I'm also using the smallest size brush and this rigger brush, which has this great drip for increase, et cetera. So I'll be sharing about this more in the projects itself. And that's it. So just be a little careful about the people that you're using. Any brand. A 100 percent cotton paper works well. So just go for something that is at least 300 GSM and a 100 percent cotton. And apart from this, you need masking tape and a boat so that we can fix the people and get those nice white edges. But that's it. That's all the modalities at elite or this class. Now, let's get started with the techniques. 3. Basics Revisited: Now in this section we will do a quick refresher of all the basic techniques of watercolors, starting with wet on wet. In wet on wet, you have a paper that is worth with either paint or plain water, and you drop it another layer of wet paint on it. So in this case, the blending happens on its own because both alleles have width, so it is easier for the team to just blend with each other as watercolors do in general. Now, this is the technique that we use for all backgrounds, whereas wet on dry is when you have dry paper and you could do wet paint on it. So wet on dry is mainly used for all sorts of detailing and adding textures, et cetera. Next, I'll talk about pleasing. So glazing is a very interesting technique. Again, it is kinda wet on dry. So here we will add a layer of paint next to any object where we want to add shadows or death. And then use a clean brush to just blend it in like this so we wouldn't need painting the entire area, but just a small portion and then using a clean brush to blend it in. And when we talk about texture, another very important technique is the dry brush technique. Now in this technique, we will be using a brush that is kind of semi dry or not having a lot of pigment or quarter. You can just dab it on a tissue paper and then just dab it on the paper like this. You can see that it creates these three key strokes, which is kind of giving their pride brush effect. Now the cry brush effect will differ with different textures of paper on a red-green people to brush. The paper does most of the work. In case of CP, you'll have to just make sure that the brush is relatively cry. And, you know, there's not a lot of pigment in there. Another interesting technique that I'd like to cover is lifting. So lifting is basically lifting the paint of the people. Now this latest still wet so you can see that when I lift the paint off, it gives a very soft and glow effect. This happens because the previous layer is still not dry completely, so it is easier to lift the paint off. Whereas in case of paint that is already pray, you'll have to put in a little bit more effort so you can just dab a little bit of water like this and then lift the paint off. So every time you lift the paint, you'll have to clean your brush with a tissue so that you don't put the pigment back-in. Also, how the lifting looks will differ based on the pigment you're using and the people as well. So some peoples are more absorbent. Some pigments are most staining. So accordingly, effect of lifting may differ. But this is just an interesting technique to try out for a raise water waves, et cetera. And one last thing I'd like to cover is platter. So splatter again helps in building up the texture or adding a little bit of variety to the 2D surface. So here I'm adding the splatter of red onto this already very clear. And just to show you another technique wherein you can add splatter with plain water. I'm just painting the small pass and dropping the water hill. So you can see that it gives a very nice blue kind of effect. And it helps in creating little bit of variation on a very flat or monotonous surface. So in this case you can see that I've used to splatter lifting and bit of dry brush father rocks as well. So we'll be using mainly a mix of all these techniques in all the projects. Just to create texture, to create depth, et cetera. And that's it. So that was a super quick refresher for the basics of watercolors. See you in the next section wherein we start with our first week. 4. Week 1 : Paint it RED!!: So kick-starting our color splash journey with the color red. So this week is called PD. We're going to explore different subjects and different compositions, all having seen in common. So a week into total of five projects this week. And all of them have a kind of a similar mode. So we're going to cover them all the same two colors. One is red and the other one is a black. So the red that I'm using is the pilot. It is not a very vibrant kind of freight, not like 1 million. It's more of a subtle grade like this, so it goes well with that black and white background. The idea here is to capture the beauty of the main object or the main object that Steph and capture the light around it, the whole mood around it. So just get any red that you have in your palate. And the values of these two colors, maybe the color values of the black color and red color. And paints these beautiful projects. We have Lighthouse, a sailboat, a maple leaf, a postbox. And so that's what we're going to do for week 1. So let's get started. 5. Week 1 : Project 1 - Red Leaf: So starting with our first project, it's going to be as simple and fun project. We'll be done with this in about 20 minutes. So just trying to sketch the outline of the leaf here. So we're going to have a nice vibrant red leaf in the foreground with a little bit of holes in it so that there's sunlight peeping through it. And then we have the trees in the background. So we'll just place a few trees with the pencil, but most of the work is going to be done with being directly. So here I'm just painting the, rather drawing the overall structure of the leaf. So while searching for color splash pictures on Pinterest and unstretched, et cetera. A lot of the pictures that came up specifically for red, we're related to these leaves through the maple leaves are in general the autumn leaves that are there. So it was quite an interesting subject to try out mainly because there's clear flight in this one, the light coming through the leaf, which is quite interesting to try out. But that's it. So that's the reason I went for this particular project. And one to the last leaf now, going to add those holes over here because I'm likely to forget that they exist by the time I've been to. So just making sure that I didn't forget about it. Next, we'll just add some placeholders for the tree. So again, so that we know where the main trees are. We're not going to add in a lot of detail over here. Most of the work will be done while painting. These are just kind of a big pumps. The smaller trees will be added directly also all the branches, et cetera, will be done directly with the beat. So we're almost done with this getting over here. Next, we'll start with the background. So for this will be mainly working wet on wet. So I'll just wet my paper completely first to start with so that we have well, so clean paper to start with. So when you're wetting the paper with the Beasley, uh, try to keep it at an angle like this. So in case there's any extra water that is there, it will just flow to the base and you can just wipe it off. And now have my palette ready. I have red and the black, and that's all the colors that will lead for the host week. And we'll start with the background. So I'm using a lighter color, rather light of value of this black and just dropping it randomly like this. So we're trying to create an illusion of clouds. And for that, we took him to leave a lot of white in there so that we can still see those clouds. Also towards the center, that is where the leaf is. If you'd like to avoid painting any blacks over there because that's where our source of light or the sun is. So I'm just not going to add any black near that leaf or near the center. Mainly just painting around it. So just to add in the darker part of the sky, you can add in a little bit of topic mentor here and there just to play with the values. But that's about it. That's going to be our base layer. And then we will let this dry completely before starting with the next step. So once the paper is dry, I'll start with the leaf. Again. We start with a lighter value and then build up on the texture using some darker values. So here I'm starting with this kind of a light red. You can see that it's not really pigment. It. It is almost watered down. But we'll be adding a lot more to this as we go. So just to start with, we'll have this light kind of layer also because we have to pay in light peeping through the sleeve. So for that, the easiest way to depict light is by playing with values. So we go from a lighter value wherever this light coming through, slightly darker value at the edges, which kind of shows that this is where the light's getting obstructed. So all these little holes that we left, we are going to just make sure that the light is captured around these. And here I'm just working wet on wet, adding slightly darker red and just letting it blend in. Again, making it closer towards the center. While these leaves are still wet, just slightly darker red here. Just creating this picture Onto the last one here, we use a similar technique may leave towards the edge we added the darker pigment. So because although we did with the values, gives the illusion that there's things like, Oh, we'd work on more details on it. So this is just a base with not going to add in a lot of detail because all of this is wet on wet, so most of it will get blended as well by the time we start with dealing. Now, we switch to black. We're going to be in the branch that this leaf is on and also the background trees. So for all the crease, we're going to simply make sure that they are broader at the edges and as they go towards the center, the kind of deeper a bit. So let's start with this branch first on which the leaf is hanging. So I'm using a smaller brush. In this case, it's a size 0 brush. So go for something which is having a good, even if you're using a bigger brush, it's fine if it has very good tip. But we want the trees in the background to be kind of a mix of thin and thick trees and not really bought brought trees. So this to just give a little bit of depth to the view. So like I said, we start with a slightly broader base. And then as we go towards the center, the tree, the trunk will start kind of tapering towards the center. And you don't need to be the perfect tree. So don't try to make it like a straight line. I am keeping it a little bit of wobbly, this intact in these trees. So they're not like the perfect straight lines. Also try and not paint on the leaf. Try to paint around it because we won't be able to see anything through the leaf as such. So all the part that is there behind this leaf is kind of covered. So we just going to add the remaining leaves now. So this one's a kind of slightly thicker tree that is there for just adding in more pigment and more weight to the street. Going to crisscross a few trees like this so that we don't end up looking very monotonous with the whole background. And we continue with the rest of the trees at the top as well. All of them having the same kind of structure, broader at the edge of the paper and towards the center, kind of tapers down in this lesson. So we are done with most of the outlines of the trees or the main trees. We'll add in the branches later on once this is dry. So now in the meantime we can start working on the leaf itself. So I'm using a darker red here to give some texture. Just dropping it in randomly like this. Make sure it's not towards the center so that we still have a lot of light left towards the center. Next we start with the thinner branches. So I'm using the rigger brush and you'll see how easy it is to be these thin branches with the recur, the brush distances like this, you just have to use a very light hand and let the brush to the rest of the work for you. So wherever you have to be in these 10 lines, be it these branches meet those electrical wires going around. You can ease the process a lot by using rigor. And throughout this class, there are different projects wherein we have similar kinds of trees and some background elements for which I've used the same brush, the brush. So any brush, any brand is fine. Just use something which has a very good and extended tip like this. All of those will have an extended tip. 6. Week 1 : Project 2 - Train: Welcome back to the two of the first week of splashed series. And again, this is part of the painted red, so we're going to paint a beautiful green with a little bit of red in it, the engine itself, and a lot of smoke and fog around it. So I just found again, this picture just caught my eye when I was searching for the red colors clash pigs. And it was just so beautiful, all the foregrounded and the memories that we have associated with trains as well. So that was kinda the reason I went for this. So we'll start with a very simple sketch. I am not trying to add in a lot of detail over here again. We'll keep it simple throughout disagrees with the main focus being on the object that is red. In this case, this little part of the train is going to be red and the rest of it is mainly smoke and a little bit of tracks and the background. So I'm not crying most of the area because it's mainly going to be coming from the train itself. We don't want a lot of pencil mark, but we're just going to be have some tracks and just gets bad. All right, we're done with the sketching now we'll start with the background wash. Again. I'm reading the paper completely fixed the overall background of this picture. So I'm using again the light black color for this, a lighter value to start with. The background as well as this MOOC, we're going to be painting it mainly in this light gray color. So he also lived in a little bit of color to get that white underneath. So I'm just using a tissue over here. And I'm going to lift a little bit of pigment off from here. This not a lot. We still want the gray to remain in most parts. Just blending it in here and there. It still looks pretty dark to me. So I'm going to do another round of lifting from the darker areas, the dark areas. And that's it. I'm going to let this dry completely and then paint the rest of it. All right, now that my paper has dried, I start working on the train itself. So we'll start with a slightly lighter value and then add in the darkest shadows or the edges using a dark black. So for now, I'm starting with this value. I have so many beautiful memories associated with trains and going to my grandparents for summer vacation. So it was soon nostalgic to just, you know, try this out. Also cause we cannot really go anywhere at the moment, thanks to the pandemic. So we're kind of stuck. So at least people get out, kinda felt nice. So I'm just making sure that the edge towards the left is blended in. So just use a clean version blending the color. You don't want any hard edges over here because we want to show that smoke, which is kind of soft and flowy. So every time you something on the screen, we're just going to blend in the left edge with a clean brush. Now we continue with the rest of the tree, again starting with darker black now. So these are the areas that are kind of in the shadows. So I'm going to use a slightly darker value for this. So you see that the same black with a lighter value at the top, it's almost looking kind of gray. And with these details, added it as kind of highlighting that part. Here's where we don't want any hard edges. I'm just blending brush to create that smoke. Hi. Whatever is left in the middle of these two is going to be, remember that this blending add the left has to happen wet on wet, so it has to happen while the layer is still wet. So make sure that you smudge that while the black is still wet and hasn't dried off completely. Now while the bass part dries, I'll start with adding details to the top. So here where we had the green and just add in a few details with a darker black. So this is somewhat reminds me of the whole course expresses span, still waiting for another reason. Adding in the details to the front side of the engine here with again, the same black. You can vary the values over here, you can go from a lighter to darker black as well for the different parts between. But overall, the focus here is going to be on the small data surrounding it and that little pop of red that is going to be there. All these small details of right. Stuff that is there in front of the engine gets lost because of the smoke. So I'm just trying to make sure that we have the overall shape and please not too worried about all the details are there. Now we start with the cracks now for this, again, using a light agree. And we paint all of it together first and then we'll start adding in the kind of negative painting rate. Again, blending in the edges so that we have the small defect in fact on the left. But, so just using a clean brush and blending it in like this. Now, we'll start with the red bars. So starting with a smaller brush and we fill in all the data. But first we just fill in all the parts, the red box. This area, you still need to blend in the smoke. So I'm just using a clean brush and just dragging it a little bit so that it seems like, you know, you read through this MOOC. So now that the tracks have tried, we can start with, we'll start with the left part where we have a lot of blending it in with a clean brush later on. But this is kind of the darkest spot. So just using a clean brush and blend it in. The smoke remains just as it is and then start working on the cracks. So we drew the main cracks. We just filling up the area between the cracks like this. Welcome back. Again, using the darkest, which means that a lot of pigment and less water, we add in the shadows. To use a smaller brush. Once again using the darkest black. And then reuse the same kind of a dry brush technique. The final round up, the smaller brush. I missed a small patch over here, so I'll just fix that. And we're done. I really feel like this is going all the way to how goods. And I wish I could sue both the screen. So that's our D2 done. Yet another simple, or rather not so complicated composition. I hope you enjoyed it and we'll give this a try. See you tomorrow with yet another project in the reintegrate week. 7. Week 1 : Project 3 - Boat: Onto D3, and this time we're using a different mode of transport. So we're going by the sea route. So I'll be marking my horizons and over here following the rule of thirds. So the major portion of this painting would be the sky and the base part would be the C. So my horizon is right here. And I'll have a mountain like thing in the background because it kind of adds to the background having that dark contrast over here. So I have this goal right in the middle. And we're going to be having the seal of this boat in a nice red color. So that's going to be the focus for this painting. Now, while growing the board itself, again, I'm not going by some specific measures. I'm just trying it freehand. Just staying true to the overall shape will be been cleaved, painting the rest of the sky, the see. Everything here will be introducing different values of the same black color. But for the sketching part itself is just this both. So I'm just trying to fix the sale properly over here. So this is kind of focus over here. Great. Rest of it is about complementing the mode with black. So just adding some finishing touches to the boat and we'd be done. So later on while painting the V using the rigger brush to add these finer details or any small brush, you can just use a nice tip brush and add the details we've done here with the sketching. So I'll just erase this a bit and we'll get started with the painting part. All right, my palette is set now since we only have two colors. So I'm just wetting the sky part first with clean water. Use any brush you have just to make sure that we have sufficient amount of water on the paper. And we'll try and avoid the sale part. And even if you do end up putting some water, they're just wipe it with a tissue because we don't want any black on the sale itself. So most of these Skype are that you're going to do. We're just adding clouds by not painting them. So you're just going to cover the area between the clouds and you don't want any of this black going on. So we're starting out with a lighter value of black. So it's almost very pale gray over here, and leaving a lot of white in between for the clouds. And we'll work on this later on with a little bit darker gray as well. But right now I'm just putting in random strokes and create those cloud-like effect and make sure that the sale is try again. So in case you have a bit of paint over it, just use a clean tissue and just dab it and wipe it off so that that area gets cleared up. And now I add in a slightly darker value of the same black. So wherever we painted those areas between the clouds, I'll just add in some darker values like this, so it's wet on wet, so your previous layer is still wet. We're just adding in a little darker value on top of it. So kind of gives the effect of clouds blending in. Alright, so now we'll start with the C part. So in my case the paper is still wet, but in case your paper has dried up, just use a clean brush and wet spot first. And we'll be using a slightly darker value for the C part. So in general, in this painting, the c is much darker than the sky part. So I'm starting again with a slightly darker value than what we used for the sky. But we'll be building up on this. We'll be adding more darker values of plaque on to this to create shadows and reflections and ripples, et cetera. So I left a little bit of white patch here because we're going to add the reflection of the scene. So I'm using the same red, slightly watered-down value and splitting it in a little bit. In case your people is super wet, it may just blend completely. Agree as well and that's fine as well. We're going to add some ripples on top of this. So it has, it has get covered. But we just need to show a bit of a reflection of the sale on to the water. So that's it. So next time just adding in a little bit of black towards the edges will be working further on this or creating ripples. But just to create a flow of the water, I'm just adding a slightly darker color at the edges. Then we start with the mountain. And for this, I'm using the darkest value of my black. So because this is going to be in the background and this is kind of the main thing that is creating the contrast with the C and with that red sale. So we want this to be the darkest part of the painting. So I'm using a very pigmented value of the black that I'm using and just painting it out. Now we have it over here as well, slight patch of that mountain. So just fixing that. We've done with this part. Now I'm starting with the ripples on the sea. So for this, just use simple strokes like this, not going to add in a lot of details and be working wet on dry. So by this time my paper has already dried and we're trying to kind of create a motion in this water. So we'll have strokes that start kind of product towards the edge. And then as you go towards the boat, they are kind of becoming narrow. So it's just about creating motion. So for this, we are using a slightly darker value of same plaque. So you can see that by the time the base layer has dried, color has also become a lot lighter. So on top of this, even kind of midtone would work really well. So this is again, not the darkest black that I'll be using. So if you compare this with the mountains at the back, quite watered down, but just looking at that depth of the water. Now I'm adding the darker black, still not as dark as the mountain black towards the edges. So again, we're just trying to build depth over here. So using this simple technique of adding darker color towards the edges, you can see that it makes a lot of difference. As soon as you start adding the black, it kind of brings the central part, the part where the boat is into focus. So that's what we're trying to do over here. We are just building up these layers, building up the depth in the water by using different values of the same color. Now, feel free to add them the smallest rooks in between the also help in creating that depth or the ripple effect in the water. And while that dries, I'll start working on the sale. So for the sale again, I'm just using the grid that I have on my palette. Now this can be nice, vibrant red as well if you want. So you can go for a million or you can go for tone down red like this one. And we work here with the different values of the same red. So I'm adding a slightly darker color at the edges over here towards the right and just letting it blend in towards the left. So it's mainly just trying to capture the light there onto the sale as well. Trying to make sure that the edges are neat. That's it. But we're going to just not overwork this. Just leave it like that, let it blend it on its own. Just another round of a slightly darker red towards the end and we're done with the sale part. Okay. I should stop with this. Now. Let's start with the boats I'm using agree to start with. We'll build upon this as well. But for the base layer, I'm just using a gray and just making sure that we cover the area that is left for the boat. So we didn't be in this part, so just make sure that it's all covered. That's it. For the sale as well. We'll add in the details slowly with a dark color. For now. I'm just having another round of gray to the bolt. So we're building up the texture on this one. We're adding a lot of black later on as well. But for now, just making sure that we have some layers over here. Now, I'm using my brush to fill in these lines that we had here. So again, you can use any brush with a good, fine tip, a smaller brush preferably because these are pretty thin lines. So on the sale as well, we're going to add in all these details with a thin brush like this. C could see that it's really helpful to have a rigor in such cases. But even a smaller tip crash with somewhat like a size 0 brush. What helps us well. So I just tried to capture that little bit of shadow onto the sale. Capturing the overall details of the board, and adding a slightly darker value of the black and DC as well for the shadows. All right, onto the final round of details, I'm just adding some random strokes here and there, and adding some finishing touches to the other parts of the painting. So I'm just adding in. Now I do realize that we ended up being similar to what we did with the mountains. It's closer shades of black, but it's fine, It's looking good. And the white sky in the background. So overall the effect that it has, it's nice. And I think that's it. That's another project then. I hope you enjoyed it and learned something new out of this. We meet again tomorrow with a new project in the integrate. So CEA. 8. Week 1 : Project 4 - Post Box: Onto a day four of the painted red beak. And this time we are painting a pretty red postbox. Now, when I was thinking of objects that could be brought into focus with the color red. Post boxes work. One of the first things that came to my mind, so it just had to be painted and also the nostalgic value. So here I'm going to have a wall and still small pole right here. And we'll have a little grid postbox attached to it. Now, I know that a lot of us do not indulge in snail meals anymore. So all these pose boxes or letter boxes are kind of becoming obsolete. We do still have all those parcels from Amazon and fed expert letters Percy have kind of vanished because most of us are relying on emails and social media and all the instant communication that we use to. So just before the pandemic struck, I took my daughter to post something and she was really happy to just put this letter into the box because it was something new for her and I'm pretty sure by the time she grows up, this might just become history. So I'm glad that we got to try something out like that. So I am just sketching the outline for this postbox. So it's at an angle. So you can see that there's an extra edge over here. And we painted accordingly. We play a bit with the values and add in a little bit of light and shadow effect with glazing later on. But first let's just wrap up the sketch. So not much. Again, very simple sketch. The postbox and the pole, and a little bit of texture on the wall. Also for the pole over here, we'll play with the values of black to create a nice wooden texture. So now I'll quickly raise it and then we'll start with the painting. So we start with the sky part and I'm just wetting the paper, clean water. We'll try to avoid the wall and the postbox for now. So just to make sure that there's no park that is wet on the wall. I'm just using a tissue and dabbing it slightly over the edge. Now starting with the sky over here, I'm using a light value of the same black and just dabbing it with random strokes and leaving a lot of white in between for the clouds. And at the BSW here, just next to the wall will be having some trees. So I'm just letting the pigment spread here. I'm using a darker value and just putting it at the base. So since we know that this area with a tissue, it's pretty dry towards the wall part. So all the pigment is trying to flow up because the paper there is wet. So you could just help it blend by tilting the paper a little bit if you want. And the pigment will then further flow towards the top sectors. And if there's any excess water, you can just dab it with a tissue and it should clear it up. So it just helps in getting the pigment upwards. And we have some nice trees added later on, wet on dry. This is just the background layer. So we're trying to create this kind of an effect wherein we have a lot of trees in the background. So just creating this flow effect with wet on wet technique, adding some finishing to the edges. And now we start working on the wall. So here we are working wet on dry because we did not get this part in the first school. Just going to have this gray as the base layer. And then we'll add on top of it textures and brick patterns, etc. So for now, just painting the base clear over here. Just using a little bit of dry brush on this top part. Next to add some texture to the wall, we'll add in a slightly darker value of the same color. So just dabbing it in wet on wet. So the previous grayish layer is still wet. So I'm just adding this slightly darker black at the base over here. Fixing a little bit of sky here. And we let this dry. Now once the paper is dry, we'll start working on the wall. Now, I'm using a small flat brush to create these breaks. You could go with a round brush as well. Use any brush that you have an, a slightly darker value of the black. So once again, we're going to have additional layers on top of this. So this won't be the darkest black yet, but we're just trying to lay the base layer for the breaks. So you can see that the previous gray layer has dried out much lighter. So even a slightly darker valued look darker on this background. So after this, we're going to add shadows and lot of texture using glazing, et cetera. But for now, just pleasing the bricks. Now we'll start with this wooden pole. So to add the wooden kind of texture, we'll work in layers again. So for the first layer, we'll start with a light value of gray like this. So this will be the base layer and we'll be adding in slightly darker values here in their fur texture. But more or less nice work with the same color tool that we used for the wall at first. And then we start adding these strokes, these vertical strokes at first, just to create wooden texture. So again, we have to build this up layer by layer. So just adding in a few strokes like this first. And since the wall has dried, I'm just adding in a slightly darker value here in there, just, just for the texture part. Now when the poll is still crying, if this part is dry and ready, you can start working on the postbox. So for this, I'm using the red, very big minted value at that. So I'll start with the edges first, and then once we've painted the whole box, we will lift some pain to create those light and shadow areas. I'm just being a little careful around the edges and get done with the beast clear. Now to add those light and shadow effect will be lifting some color from here. So from this edge towards the left, I've just used a clean, fresh and like a shared in the technique section, we keep cleaning the brush often. Every time you lift the color, you clean the brush so that you don't end up putting the pigment back there. And I'm creating these sections that we've drawn at first, but he painted over them. So now I'm just lifting the color to show that these parts exist. And again, if it is not getting lifted completely, It's fine. It will totally depend on the pigment that you're using. So if you're using a staining pigment, there are chances that it won't lift up completely fine as well. We trying to create an old postbox so it could still look a little drip. That's fine. So now I'm adding the darker shadow areas. So with the same red color, I just added a little bit at the base and the rest of it we can work on it once it dries. And in the meantime, I'm just adding these sections on the poll that hold the postbox together. Now that the wooden part has dried, we can start working on adding the texture to this poll. Now for that, we'll be using a smaller brush and darker black as well and create these patterns. So it's more like what you see on any wouldn't look. There are a bit of swirls and straight lines, so I'm just trying to replicate the same with this one. So for the bowl is well, we have a few swirls. And some straight lines that will help us create another layer in this texture. And then you can use the same brush and a little bit of dry brush technique to just add in a few edges like this that we can have a bit of texture. Towards the right. We'll add in a little bit more pigment to create some shadows. I'm using the same brush and not really loading it with water or pigment. Just kind of a dry brush but not so dry. So just towards the right so that we have some shadows over here. And then once we're done with this, we'll start working on the trees in the background. So with this again, you'll need a smaller brush. So I'm using the size 0 brush. And we're not having any leaves on these trees, so it's just those branches and box. So using this small brush to create that effect, this swirl of the brush. And then we'll start again. Just adding a slightly darker value of black and a little bit of texture on those bricks. So this is all dry brush. We not using a lot of pigment or water. Just adding these effects on the wall and just below the postbox, we will create some shadows like this. So next to the poll, I'm just using a slightly darker value of black and just dragging it towards the left. Now going back to the postbox, we will start with adding a few more details. So for this, I'm using a darker red and especially for the shadows, will just add in these colors first and then use the glazing technique to create the shadows. So adding more pigment variable v1 DO shadows. And it really helps them think. So you can see that the lifted area is kinda shining over here. And adding this darker color right next to it creates that light shadow kind of effect. We back to black on the brush and adding in the final details over here on the postbox. Adding another round of shadows over here. So I'm using the same red, maybe with a hint of black and just adding it here like this. Going back to the wall, again, we work on the shadows now. So I'm using a darker black and just adding these details right next to this top part of the wall and also next to this poll. So with the glazing technique will be adding the shadows over here. So I'm using a wet brush now just to spread this. Same with the area just below the postbox as well. Now we add in a little bit more detail in the background. So using the same flickering motion of the brush, we add in few more trees just at a distance. So because of the first wash that we did when we had this big men flow upwards. You can see that it creates a very different kind of background. Adding some to the right as well. And then we're just left with a few finishing touches. So for the area just next to this poll here, again, we'll be doing the glazing technique and adding in a few shadows. And we've done with yet another project in the painted red week. So I hope you enjoyed this and this brought back some memories for you. See you in the next one. 9. Week 1 : Project 5 - Lighhouse: Add your own to our last project, or the painted red. And this time we're painting a beautiful red light AS. So I recently did a class on lighthouses. So there's a lot of different types of mitosis and landscapes that we pride in that class in case you want to have a look. But for this one we're going for as simple read lighthouse and with a lot of rocks and some sea and bolts in the background. So for this, I'm just making sure that the overall shape of the lighthouse structure itself is followed properly. So I drew a central line and I'm just making measurements on both sides and just drawing it out. So very simple sketch again, not something. We will just have overall measurements correctly. So this is the top part or from where the actual light is controlled. So I'm just adding all the bars and everything over here. And then we'll have the mean towel from around this part. So just trying to make sure that we follow an overall structure of the lighthouse and trying to keep it a little symmetrical. Again, not mandatory. You could go with a different structure as well. The highlight here is that the lighthouse is going to be read all the black and white background. So that's about it. So just try to stick to the overall structure and that's it. And just adding the door at the top as well. Now we have the horizon in the background along with the boards, etc. So we'll just mark it. And again, I think most of the stuff like the sea and sky, we will be adding all the details through paints directly. So not much of a sketching, just placing the boats over here and be done with sketching. So I'll just quickly erase this and get started. So we'll start with the sky again and try and avoid the area near the boats. So just be a little careful around it. For the lighthouse itself, it doesn't matter if it a little bit of black goes in as well because we're going to have a section where the sky is visible. But here we're just adding a light again. And sky will have slight light patches. Well, so not going to cover it completely. Agree. And again, in this one is where the C is going to be the darker of the two. So as compared to the sky, you'll have a much darker. So for that reason, just give it some time to dry. In the meantime, I'm just lifting off some batches with a clean tissue so that we have some cloud-like shapes in the background. While that dries, I'm starting off with the rocks. So again, really have to build up the rocks in layers. So we start with a lighter gray like this. And then we'll slowly build up the details using dry brush and glazing later on. But for the base layer, I'm just using this query. While it's still wet, I'll just drop in a slightly darker pigment here in their fur texture. And after that, we're going to let this dry completely before starting with the next step. Alright, now that might be pressed dry. I'll start with the C parts. I'm using a much darker color over here. And as compared to the sky, you can clearly see that the c is what is bringing in the contrast over here because of the dark color. Now here, since the Calvi used as much darker as compared to what we did for the sky. I don't want to mess up the edge of the lighthouse. I'm just being a little extra careful over here because we don't want any black on this side. So it's going to be nice, bright red. So just towards the edges, a little extra careful. The rest of it, it's kind of a free-flow. So just paint it out with a dark grayish black. Right? Now. I'm just using a slightly darker value and filling it up. Adding a little bit of splatter and try out the lifting technique while it's still wet. Just trying to create some depth on the sea. So using a clean brush to lift it up like this. So trying to create some leaves so you can see that the green at the bees are showing up once you start lifting. And every time you lift, you have to clean your brush so that you don't end up putting the pigment. Now, adding a little bit of splatter after this. And why that price, I'll start looking on the rocks. So via kind of filling in the gaps between the rocks first. So using the darkest black, so this is going to be the darkest spot. So using augmented reality of black and filling in the area between these rocks. Now, I'm not trying to create the perfect separation. So these are quite random. And once you're done with the separation, we start adding a slightly darker gray like this. So not a lot of water or pigment, mainly a dry brush stroke, but trying to create some mediation over here, so few of the rocks will be darker by them would be a little light. So you can see that I'm using just the dry brush with very little pigment and almost 0 order to just create this texture on the rocks. Adding another darker layer separations. So we just trying to enhance the depth between these rocks. So making the darkest black that I have an adding it. And you can see that as soon as we start adding the shadows or the docket rocks, the rocks get highlighted and it kind of gives the sense of depth. So that's what we're trying to achieve of issue. Now we start with the lighthouse, so I'm taking this red and just painting it over. So we'll be creating a few patches of dark and light areas on the lighthouse. Well, but for now I'm just putting in the base layer with nice and pigmented read. Okay? So just have these three links. We have little bit of shadow over here. So we do that later, just placing everything right now, you're just being good altogether. And then later on, I'm just a little careful around the edges. Now while this is still wet, I will add a slightly darker value. So less water, more pigment, and just drop it in here. We will be adding a lot more detail later on. For now we're just trying to create some texture, some variation. Otherwise this would have just looked like a plain red blob. So just trying to mix it up with slightly darker values. I'll just add in the dose. So for this, I'm using a lighter gray since leaving a little bit of rounded. So I'm just leaving the white edges. And we are done with this part. So next we will start with the boats. So for the volts again, we are not going to add in a lot of detail. They are very much in the background, so just creating a little bit of rough texture on the seals just to make sure that they're visible since we have a very light sky. So just marking them like this so that they show up. Now adding in the remaining details on the lighthouse. So I've mixed a hint of black onto this red so that it has slightly darker. If you've already used up the darkest value of your rep. This might help just adding a small into black just to give it a slightly darker edge. Now I'll add the shadow at the base of the readings just as we talked about. And for this, I'll use the glazing techniques. I've added the darker color and then just using a clean brush to blend it in like this. We'll do the same in few more factors. Adding the darker color like this and just using a clean brush and blending it in. Next, we'll just add him in the background, not a lot, just a few strokes scattered dead. Adding the shadows over here. Now you can see that it is kind of giving it very nice effect so that it's not looking like a blob of red. This gives it a little bit depth, little bit texture onto our final round of the tailings. So you just fixing the area between this lighthouse and the rocks. Adding in any shadows that have left and filling in these gaps. Adding some shadows on the door now, so using a smaller brush and just using the tip of it to add these edges. And again, glazing it tends to not being to color it all just a little bit. And then just for some highlights, I'm adding a few dots here and there with a white gel pen. This is optional. You need not do this. I just thought of adding in a few highlights because the C is quite dark, so this might just help in bringing in a few highlights, but that's it. That's another project done. So this was kind of one of the longest projects in this week. But I hope you had fun trying this out. And I hope you enjoyed this week and all things. So I hope you'll join me next week as we start with the color yellow. Until then, have a good weekend. Stay safe. 10. Week 2 : Yellow Yellow!: Hello, hello. So we are starting with next week, and the color in focus for this week is yellow. So we're going to paint a bunch of different projects. We're going to be increased. We're going to paint a lamp, some flowers in Pebbles. So I have tried to incorporate different subjects in this week as well, and also different techniques by creating extra and on rocks and pebbles and painting light. How to create that flow using just simple colors. So we're going to be using the same McCracken black and my keys. And you can go with any black that you have along with yellow. So I'm using clue yellows this week, which is the lemon yellow, and another one which is hansa yellow medium, which is slightly darker. So that's going to be my palette for this week. You can also stick to just one yellow and that is also perfectly fine. We'll work with it. So let's get started with week two. 11. Week 2 : Project 1 - Moon: So we start with our second week and this time we are going for selective yellow. So for the first project, I've chosen a very simple landscape with a pre and a moon. So we'll go simple with this one and then slowly ramp up the techniques. So in this one, mainly we'll have this tree in the foreground with simple moon, a yellow moon and the background. And we'll paint a little bit of snow in the foreground again. Next we draw the moon. So for this, I'm using a simple paper over here. You can go with any circular object and you can also go with a bigger circle for the moon, or even the smallest circle totally up to you. And next we start with the painting part. So we first wet the sky for Lee and try and avoid the moon because we do not want the gray or the black going into the moon. So I'm just painting around it, or rather just wetting the paper around it. And that sets, I've set my palette over here and this is going to be palette for the week. So we're going to be mainly using black and yellow. So for the yellow itself, you can go with a warm yellow and a cool yellow, or you could just stick to one nice yellow that you like. I'm using Hansa yellow medium and lemon yellow in this palette. So I'll be taking a mix of these two, usually for all our projects. So for the sky itself, since we had already wet the sky, I'm just using a bigger brush to cover the area for Lee and in case any pain goes into the moon part, you can just use a clean brush and wipe it off. So I see some gray seeping in to the moon. So I'll just use a clean brush and dab it like this. Just pick up the pigment wherever needed and dab it on a tissue. And I'll continue working on this guy, but in this inverted manner. So I have just kept my people like this, just inverted it. And I'm going to work on this guy again. So in this case, the pigment will flow towards the base or rather since we've inverted the page, it will flow towards the top. So just trying to create some variation in the sky like this. Once again, we have to try and avoid the moon in case any pigment goes in there. Just use a clean brush or a tissue, just dab it off so that the moon still remains so completely white. Alternately, you could have gone and used masking fluid as well, or masking tape if the moon is bigger, is just that. I've used a smaller area and I didn't want to include any material that may not be readily available with everybody. So I just stuck to the very basics. So I just cried and avoided painting over the moon. And next, once this is dry, we start with the yellow. So for the moon, mainly I'll start with a nice vibrant yellow like this and then add in a few patches of the slightly darker yellow. So just trying to get the glow kind of effect. We're going to explore painting light in detail later on in one of our projects. But for now, I'm just trying to get the moon right. So adding a little bit of black as well. Just to get the texture of the moon right. And I'll just add a few more patches of gray. And then we'll let this dry completely. So in the meantime, while the moon dries, we will start working on the foreground. Now, I'll start with the foreground. And here I'm using the tribe rich technique and just creating some texture on the ground. So we use the same black, maybe slightly darker value and dab the brush on the paper, on a tissue paper and just use simple strokes to get this kind of an effect on the ground. Now we'll start with the tree. So we start with the simple structure that we have drawn with pencil. And then we can go on and add in slightly detail branches. Or you could just keep it simple and not add too many branches as well. The focus here is on the tree as well as the moon. So that kind of forms the main object of your painting. So you can just keep it simple with a tree or you could go ahead and add a lot of branches with a rigorous well. So at base here we'll try and show it merging to the ground. So I'm just keeping it not too uniform, not like a straight line, keeping it a little zigzag. And for the bigger branches we'll have a slightly thicker stroke with the brush. And later on we can add in those smaller branches with a thinner stroke or just the tip of the brush. Now, I'll take a break from the tree and start working on the foreground. So here we'll have some bushes. So I'm using a darker black and a smaller brush with simple dabbing motion to create this. So we can add in a slightly darker value later on to create shadows or read depth over here. But to start with, I'm using this value of black. It's already darker than the sky, for example. So we do have darker foreground. Adding a few bricks over here just for some variety in the foreground. And we have another bush towards the right. So we'll use the same technique that we did for the left one. Just start with a slightly darker value of black and then maybe add in a few shadows, the darkest black. Next I'll add in the shadows to the foreground bushes. So for this I'm using the darkest black. Just adding again, dabbing motion. The strokes for these. And then adding a few dots, are these leaves at the edges. So that definitely gives it a very nice look. So I always make it a point to add few smaller leaves, a smaller dots are speckles at the end. Now I'll start with my recur and add in a little bit of detail to the tree. So here we can add in the thinner branches. So if you don't have to use any small brush that you have about any good point that brush. You can just use the tip to create these branches as well. Just that makes it easy. So we don't really want to overshadow the moon completely. So that's the reason that I did not create any thicker branches. That would mainly be these ones for smaller branches that they're in front of the moon. So you can still see through these branches and see you. And that's it. So we're done with our first project in the yellow week. I hope you enjoyed it. I know it's quite simple as compared to what we have done previously in this challenge. But I wanted to start this week on a fun and light note. So here we are with the first project. And tomorrow we're going to explore some more techniques related to painting light. So see you in the next one. 12. Week 2 : Project 2 - Lamp: Hey everyone, welcome back. So on to the second project in the yellow week. And today we'll be painting the lamp. So I'll be sharing techniques on how to paint light in watercolors. I do have class dedicated for this, but in this one, I'm going to just share some super-simple tips and tricks on getting the glow within the lamps. So to start with, I'm just sketching the lamp. Again, going for a simple sketch. Not too many measurements are too many proportions, just a simple sketch of a lamp. So while going through for the selective yellow color, lamps were caught my eye the most because a darker background or on a black and white background, the yellow lamps just stood out. The word looking quite by evidence. I just wanted to try one of them out. There were also cramps and flowers, flowers in this week. But I wanted to keep the topics mixed up and fun. So we're going to explore different things and different objects over the coming weeks. So I'm almost done with the sketch. It's mostly free-hand, as you can see, I'm not going with any specific measurements, just the main part of the Lamb. I'm just trying to get it right. And the rest of it is just in the background. For this again, we'll just please a few trees here and there, but we'll be mainly working on them directly with paint. So I have my outline and just adding some more details to this goal. So almost done with the lamp. Like I said, we just added in the background. So again, just a few key ones with most of the rest of the trees will be done. I'll write it down with this. I'll just quickly erase this and get started with the painting. So I have my palette here, again, just black and yellow. So we will start with the background first. We just add in all the details on the background and try and avoid the lamp. So since this is just the first layer of the background, we're just trying to create the sky. Use a light gray and just try and avoid central part where the lamp. So we just working wet on wet, letting the colors blend in. And as always, we leave a lot of white. So the background technique here is similar to what we did in the first project of the red. So we'll have the trees in a similar way, just that in case of the red week, you will be viewing it from below. The trees were at the top. In this case, it is more like a quasar in the background of this particular lamp. So once a background describe, we'll start working on the lab. So we'll just wet the area completely like this. And then to create the glue that I was talking about, we start with a lighter yellow, and then at the edges add the darker yellow. So the center will leave it as it is. We're not adding any color. We just leave a little bit of whitespace to show that there's the bulk there and that's the source of the light. So anything towards the source of the light will be lighter. And as you move away from the source towards the edges of the slam, it will become darker. So I'm using this darker yellow at the edges, so just letting it blend in again. So since we went to people first and even the previous layer is still wet, it'll be easier to just blend this in. So just making sure that it is darker at the edges and towards the center where the source of light is. It is much lighter. And I'll just use a clean brush and blend this in a little bit more towards the center. And then we add in the darker yellow again PHS. So you can see that with this kind of technique wherein you are going from a lighter color to a darker color like this. It kind of gives the effect that the light is at the center, the source of light is at the center, and you're getting that glow around it. So that was just a quick tip on painting light. Now, going to the trees. Now here we're painting the trees, or rather viewing them from the front. So we'll be painting them accordingly. So these are branches that are right in front of you. So some of them may be slightly thicker. A few of them will be the thinner branches that we'll be painting with the rigor brush. But here I'm just trying to make sure that they're not like a straight line. I'm keeping them as exact like this and also crisscrossing them so that we have a nice background over here. Okay. And like what we did in the first project as well, the tips of these branches would be thinner or more pointy, whereas the base will be much thicker. So that's the same technique that we're following here as well. Even though we're watching it from the primed, the edges of the people will be having the thicker part of the branch. And as we move towards the center, the branches will become thinner or rather more pointy. So I'm just adding this smaller brush. I'm using science to add these details towards the center so you can see that it is getting thinner as you go towards the center. Also, since in the first round we just place the main branches. You can always add in few more branches as we go to fill up the space. Or you can also key space as it is to show the sky. So if you've got some beautiful clouds in the background, you can leave the branches as it is, not keep them too dense and let the sky show through. Now. Once we're done with just filling up the space, adding in a few branches. Next we'll paint the leaves on the trees. So I'm using a smaller brush for doing this. You can directly paint it with a lot of pigment or you could just keep it in the dry brush, stay some mic emptying a mix of both. I'm adding a few darker patches of the leaves as well as keeping a few dry brush ones as well. So from the sky. All right, done with the leaves. Now we'll start with so we already have the outline. I'm just using a smaller brush to fill in the details over here using this thing. Now we start with the Lambda. So again, just using a smaller brush. So I'm just going over them. Right. I feel that the area just behind this lab, there's a lot of white patches piece over here. So I'll just try and bring those branches towards the lamp. So it sort of lends continue T to this. So just making sure that the tips of all the branches are like this point D and thin. And that's it. We're done with our second project, the yellow week. I hope you enjoyed this and learn something new about being lightened watercolors. See you. The next one. 13. Week 2 : Project 3 - Umbrella: Onto our third project in the yellow beak. And today we're painting simple and fun umbrella. So we're going to explore some fun background techniques in this one and also some techniques for painting the lab area in the foreground. So I'm just starting with, again, a very simple sketch of an umbrella. And we're not going to get into a lot of details, but this is your primary focus in this project. So we're going to just be in the umbrella yellow. So we stick with the overall shape of an umbrella that is falling down like this. Now we're almost done with this umbrella. So next we add in the trees in the background. So again, we're just placing the pre-survey Shogun, not going to add in a lot of details. We will do most of the dealing directly with the paint just to make sure that we have the placement of the trees, right. I'm just putting them there. Now after this, I'm just going to erase this and start with the painting. So for this one, we'll start with the background and then I'll share some tips about the program leader. For the background, we're using a similar technique to what we did in the postbox project in the B integrate v. So we will wet the paper completely and then just add a pigment did value of black at the base like this. And we let it flow upwards. So this is kind of giving an impression of a lot of bushes or foliage in the background. Not very detailed, but just that they're in the background so they are all blurred. So let's see. We can add in some darker pigment here and there. But mainly we're going to just let this clue. So we'll just tilt the paper like this and let the paint flow towards the top. So you can see that it gives this beautiful shadowy effect when you do this. And I'm just going to wipe off the excess water from the edges so you can use a clean tissue and just dab it at the edge. I like how it looks now as I let it dry. Now once you people describe me, start with the foreground. Now for the foreground, using a slightly darker value of black, it may not be the darkest one. For the background, we did use a lot darker value. But because it was wet on wet, it is kind of blended in. So you can see that it is not as dark now. And also we're going to have some trees over here in the background, which will kinda pad the contrast that is needed. But for this foreground part itself, we're going to just paint it all in one color to start with this kind of midtone gray. So for the fulcrum will be covering the entire area in one go like this. We're trying to avoid the umbrella So you don't want to add in any black on there because we're going to have it as a nice vibrant yellow. So just painting around it and making sure that the edges are distinct. Now done with a full round part completely. We'll just cover this area with the same color. And then while this is still wet, we'll add a slightly darker values of gray here and there. So this is again building up the texture in the foreground. So I'm using a slightly darker value of black now and still wet Leo, We'll walk wet on wet and just drop in the darker value like this. So like I said, it's an exercise in building layers or textures. So we're working mainly wet on wet for this part. And again, we use the splatter technique to add in a little bit more texture. So just use clean water and we'll just this fun splatter. So this has to be done while the paper is still wet, but still it shouldn't be like soaking with. So in our case, we already had the first layer and we added in the darker values to blend in. So by this time my paper is kind of in the drying process. So you can see that when I do the splatter, it is giving those blooms, which was the intended effect meet. So I let this dry and once the paper is dry, we start with the umbrella. Now for the umbrella itself, we'll start with a lighter value of yellow like this. And then we build upon it with a slightly darker value. So I'm keeping it a mix over here. We're looking kind of put on wet, so we're working with the lighter and darker values together like this. And on the outer part of the umbrella we'll add in the darker yellow. So again, I haven't waited for this to dry. I'm just still working wet on wet on the previous layer. And while that Christ will start working on the background trees, now in this case, I'm not going to add in a lot of detail, so no trigger pressure here. Just the branches does the crank of the crease and we use the darkest black to go with this. So I'm using the smaller brush, the size 0 brush for this. So since we had already month placement for these trees, it's quite easy now to just walk on them directly with the brush. And like I said, these are broader tree, so we're not adding in any smaller branches with the record just working directly with the small brush and painting be broader trunks, maybe adding a little bit of vegetation below. But for now, just the main trees would do. Okay, So now that you're done with this part and just add in a few shrubs at the base. So simple strokes like this, like a flickering motion and we use the same dark black, add the pieces well, so this is getting a nice contrast to what we painted in the background. So you can see that the flow effect that we tried to create with a wet on wet, it's showing up quite nicely in contrast to this, these trees that are the darkest part of this beam thing. Now we'll also add some grass in the foreground, so the same flickering motion. And we've just added a few batches here and there. So now I'll add the outline of the umbrella. So using this small pressure GAN and the dock is black. Just walking on the outlines that we have with pencil. Not too broad or dark, just the small thin strokes. Adding the handler. So this one would be slightly broader. Sense the few strokes of the darker black on same patches where we had the grass, we're just adding a few more strokes on top of it. So I hope you enjoyed this one. We are done with the third project. Try this out. See you in the next one where we'll be painting and vibrant yellow tulips. 14. Week 2 : Project 4 - Tulips: Hey everyone, welcome back to the project. And this time we're going with my favorite subjects, flowers. So for this project we're going to pay a bunch of nice and vibrant yellow tulips. So for the sketching part, I'm just going to mark all the flowers may lead to just know where they are placed. So not a lot of sketching again, most of the work with directly for now just pleasing all the flowers and the fence, et cetera. And now starting with the leaves, again, we're just going with the outlines. We are going to add all the details. We'll be using negative painting technique for the leaves and the stem. So just adding all the outlines over here and there. So towards the left of this painting, we'll have a few branches of a tree. And what's the right having a fence like this. So I'll just erase the flowers from here. We're going to be in yellow, so I don't want those pencil marks to show. And now we'll start with the sky. The sky compete and try and avoid putting water into the tulips. But in case it does end up going, you can just use a clean brush or a tissue. Just pick up the water or just wipe it off. Then we start with a light grayish black. So not a lot of pigment want the sky to still show up in the background. And you're also leaving a lot of white. And once again, being a little careful around the edges of the flower. Now since the sky, we cannot start with the flowers. So for this I'm using a slightly darker value. So we can start with the one for the negative painting technique and a darker value to the background. So you'll see that once we do this, it kind of gives depth to the whole painting. So before that, just finished painting, all that we have already outlined. As always, you can read the values within the leaf as well. So while the bleakest still wet, I'm adding in a slightly darker value of black and just letting it blend on its own. So alright, I just noticed that composition a little bit so that we have a patch of yellow over here because it was looking quite boring towards the right. So just added another flower here and we will continue painting the rest. So again, in this case, I'll just paint around it for the sleep. Now, starting with the stems now stems us like. So I'm using color slightly lighter than the leaves. And also note that once we, once we add in that negative painting technique, the stems are going to show up even lighter. So you just add all the flowers. So now that the top part has dried and start working on the flowers. So I'm starting with a lighter yellow. So I have two yellows in my palette of one, slightly darker as you can see. So we'll be using the lighter one, the base layer, and then adding a mix of other yellow onto it. So this is just again, a wet on wet. So we're adding a bit of variation in the first layer using wet on wet over here. And towards the end, we will add in that one dry details on the petals of the flowers. But for now, just mainly using these two yellow starting with the lighter one and then adding the darker one as we go. Now I'll just lift a little bit of color from here to show some light. And we'll continue with the same technique or the other flowers. So we'll start with light yellow layer and adding the darker yellow for some variation here and there. And all this will be wet on wet. So for the next round of the tailing towards the end of it and cry. And I just walked in. But if you still go with the blending on its own, now we'll get back to the first layer has dried by now. So just simply create the background leaves drawn a slightly darker color than this. Once I start painting, the stem gets highlighted. You can see that the stem now looks much lighter. So this is because the background itself is much darker, so it's creating that contrast. We'll do the same for the remaining parts. So just be a little careful around these leaves because the previous layer that you painted, it should still be visible. So for that, we can just make sure that the painting here, a riding the edges. Being a little careful. At this point, you can always add in some extra leaves if you want. You can be around these so you'll get to know that it kind of makes the foreground leaf spot as soon as you add the darker background, it creates a very beautiful depth kind of effect. Now I leave that to dry and start working on the background. So for this, again, I'm using and I'm just doing that maybe motion to get those branches out. So not a lot of detailing over here, not a lot of use for that matter. We're just going to have these branches. So you can just use any small brush that you have and paint along those bare branches. I just love these trees as the second week. So beautiful. Now I'm taking my darkest black and starting to work on the fence on the right. So this is going to be kind of darker spot and squinting. And we'll also have some more details on the leaves. But as soon as I add that dark black in the background, flower just in front of it, the yellow just pops up. So it's creating a very beautiful contrast effect. And now I'm just adding dispense with the darkest black. And then we'll start working on the beach. Oh good. Alright, so let's start with the leaves in the background now. So if you're working with negative painting technique, so I just kind of the shape of that leaf out from the overall blob of plant that was there. Similarly for the remaining parts of a client, some more shapes out of what you've already painted. And adding this extra black over here just enhances that. So you just kind of giving depth that is showing that there are more leaves in the background. So that is what we trying to achieve here with this technique. Okay? Now we still have a lot of detailing to go on the flowers. So this is not like the final picture for the flowers, but we're just working on all the detailing on the bees for the leaves. I'm just going to add a few simple strokes just to break the monotony of the three that we've been dead first. So that you can see that there are a few leaves that not having lots going on. So by adding a few strokes like these leaves. All right, done with the leaves. So I'll go back to the flower. So for adding in the details, I'll be using the wet on dry technique. So am going with this slightly darker yellow over here and just create the separation. So you can see that now it kind of gives a little bit of depth to the flower. You could add in a lot more detail at this point, but just by painting them yellow itself, you can see that these flowers are brought into focus. That's kind of the whole team. So yeah, I am not going with lot of detailing on these clothes, just a very basic to give them a little bit of depth and that's it. So we're done with the economic project. You just have one project left, which is kind of special because it is again based on flower. But it has some interesting techniques for pebbles in the background. So see you tomorrow. All new project. Until then, stay safe, stay creative. 15. Week 2 : Project 5 - Frangipani: All right, onto our last project in the yellow beak. And this time we are painting beautiful yellow tropical flower on a bunch of pebbles. So it really caught my eye when I was going through the pictures because the variation in the pebbles and the kind of depth that can be captured by using simple glazing technique was what I wanted to try out in this project. So here we are. We're going to just make the outline for the flower as well as the pebbles. So this not much detail into here, but just simply making sure that you have all the pebbles in place. So I'm going random with the pebbles now I'm not sticking to the original reference picture SS. You just going to place the pebbles close to each other like this. So you'll have a few overlapping one, so you have to make sure that you draw it that way. So you have a few pebbles data on the top of you going below like this. And then we'll paint them accordingly. So we'll paint a few of them with a lighter value of plaque and a few of them with a slightly darker one. And then we'll add the shadow with the darkest value. So I'm starting with the pebbles Over here. Again, my palette for the last time for this week, just black and yellow. So I'll start with somewhat lighter value of black. So for a few of the pebbles, we'll go with this. So since all of these pebbles are connected together in half to make sure that they are the ones that are not really together. So a white the adjacent pebbles when you're painting something like this, I'm just avoiding the pebble that is right next to the one that I painted. And just going with this light gray color. So you can vary the overall value of this color too. Get a nice mix of pebbles. Adding a slightly darker value, wet on wet. So for creating the texture on the pebbles will remain DB using these basic layering techniques. And then in the end, we'll be using a dry brush to give it a little bit more texture. Now while the other two are drying, we'll start with another pebble. So the key here is like I said, to make sure that you don't pin two pebbles that are adjacent to each other so that there is no unnecessary blending or bleeding into each other. And here we are trying to avoid painting the flower. So you can see that I've just painted around the petal because we don't want any of the black or gray to go into the petals. They're going to be a very beautiful white and yellow mix. So just taking a little bit of care around those petals. You can see that I've started. So you can see that you remember that because of the shadows. So that's what crying. Hello. Now going back to the top part, I'm going to start with a slightly lighter gray, lighter black. So in this case, the table is at the top, so we're going to paint it lighter. And the pebbles around it, they may be darker, so these paint them accordingly. Here. I'm just trying to make sure that we're painting pebbles that are not connected or around pebbles that are already dry. Again. You can see that once I'm done. So you can just be extra careful. So now the spark, they could be wrong. So they could be the case because this is kind of see from top. Now I'm going to paint around this that come back and paint this pebble in detail. So next we'll move on to painting the flower. So for the flower, again, we have to make sure that the pebbles around it have dried completely. And then we start by applying water, leaving a slight patch of white. While the erotic said my case, I've left a very slight patch of white towards the left. I'm just adding water to the remaining petal and then dropping a little bit of yellow at the center and let it spread completely. As you can see, the little white patch that the left towards the left is tilted. So it is kind of giving that folded petals. Now we're going to move to the next petri. Again, we can pin the Edison petals in this case because we're going to have that little patch, right? But for this special VB, adding a few shadows as well. So again, I've wet the paper leaving that little white patch. And I'm adding a very faint value of green or the shadow on the white part of the petal. Now I see that the yellow on my previous Butler spreading all the way to the top. So I just lifted a little bit of color from it. Now moving back to this petal, again, I'll just add in the yellow towards the center. And if needed, you can lift the color a bit from the top side of the petal, adding a little more pigment towards the center. And this is kind of the darker yellow that I have. So you can see that the flower is now taking shape. We can see those beautiful pools and a little bit of shadow on one of the petals. So kind of looking nice. We continue to work on this flower the same way. So we leave a little bit of white patch and wet the paper completely around it. Completely. Okay, now while this dries, I'm going to start working on the pebbles once again. So for this we're going to use the glazing technique. So you can see that the flower and the pebbles have already tried. The previous layer has dried. So I'm adding a darker layer of paint right next to the flower. And then I'll just use a clean brush to blend it in. C, you can see that it is giving that shadow kind of effect, Which is because the flower is on top of the pebble. Adding a little bit more pigment onto this. And we repeat the same with the other parts. So in case of some of the pebbles, they are below the other set of pebble. So for the pebble setup below will be having those shadows as well. So we'll be painting them with a slightly darker color and just a little bit of pleasing as well. Okay. Using the glazing technique, using a paint brush. I can see that the shadow on the pebbles that are already darker, it may be a little difficult to do the glazing technique. So for this, you just have to make sure that you use the darkest value of the pigment for the shadows. So I still have a few values left on this slide. You can see that I can, I'm still able to create the Docker texture around the existing black pebbles. But in case you're finding it difficult, you can just maybe lift up some color from the dark pebbles so that the background or the shadows look slightly darker. Fixing tiny, tiny. First I'm using going back to that. The one that we just continue working on. This is just a slightly darker value and just dabbing it in like this. So for this I'm using my smaller brush. Just dab it. If needed, if a lot of water you can just dab it on an issue. Now getting back to the one. So for this one I'm using a slightly darker yellow. We start from the center and just do a simple loop. And I'm using a smaller brush again. So we use a clean brush and just blend it a little bit. We don't want to drag it all the way to the tip of the petal because we still need the white to show. So I'm just dragging it somewhere midway. Now, I'll use my white pen to just fix the edges. This is optional if you feel that your edges are perfect, you can skip this part. You can also use whitewash to do this. I'm not going to pay in the whole flower just the edges like this. And we're done the final project of this week. So we're completed yet another week in the color splash challenge, and I hope you enjoyed this week of yellow. In the next week we are going green, so we're going to be painting some subjects with the selective focus on. So I'll see you in the next one. 16. Week 3 : Go Green!: Welcome back to Week 3 of the color splash challenge, and this time we're going green. So I have five beautiful projects in store for you. The first three are all about painting leaves and then we explored different subjects like a crack antidote. So we're going to be mainly using two different types. One is the ripen bright sap green, which we usually associate with foliage or leaves. So that's what we're going to use in these three projects. And then we're going to use a more muted, rather a turquoise or kind of green for the last two projects. So that's going to be my palette along with the black, of course. So these two breeds, and the black is what I'm going to be using for this week. And we're painting these five projects. So I hope you've been to enjoy this week as well. So let's get started with the first project. 17. Week 3 : Project 1 - Spring: So we kick-start our next week, which is all about selective with a simple project. So as always, this being a first project, we are going to keep it simple. So we have a tree over with a few leaves and selective green. And the rest of it is going to be the sky and everything else, black and white as we've always had in the other two weeks. So mostly I'm just drawing the outline of the tree over here, just the major branches and everything else. We'd be doing it directly with the paint. We will just mark the leaves so that we don't miss them out while painting. So just making sure that we are placing some leaves here. All right, so we're done with the sketching part and I set up my palette. So for this week, like I said, we have the black, had a green. So for this particular project, I'm using a very simple green. This is sap green. So since we are painting leaves over here, I went with this screen, will be using a few other greens in the projects later on, towards the end of this week. But for this one, we just need a sap green and a black. So we'll first wet the paper completely. So we'll start with the sky with a lighter value of the plaque. So we'll work on the sky in a similar manner like what we did for the leaf painting in the red week and also the lamp painting in the yellow. So we still want this guy to show up in the background. So you still need to leave a lot of white. But this is mainly be marking the area where there are no clouds. So we using this lighter shade of gray to start with it. Now, in case you end up painting over one of those leaves that we are pleased with. Pencil. Just use a clean brush like this and pick up the pigment from there. Since we're already using a lighter value, it should not be much of a problem. And once you're done with that, we'll just add in a slightly darker value, black. In the same areas where you've already painted just towards the center of these patches. And then we let this dry completely before starting with the next step. All right, Now my paper has dried, so I will start with the leaves. For the leaves, we're just going to start clean like this, and then add in a slightly darker value here. So you can go with this one. So all the leaves in similar fashion. Remember that since we have to walk right on red, if you want to add the dictionary it on top of this, you'll have to do it right away. I'm also picking up the pigment from few leaves just to show the flow of light. So if you see for the other four leaves, I just picked up the pigment from the top part and just trying to capture the light that is passing through these leaves. So you can do the same thing. You can either pick up the pigment or go with a lighter value and then just add in the darker value, wet on wet on the area where there are shadows. A kind of works both ways. You can either lift up the paint to show the light apart, all just adding the darker part separately like this. Adding another round of shadows with the same color, but a much darker value. You can see that it makes all the difference. It is. Creating that light and shadow effect simply by playing with the values of the same color. So if you're using a very light green to start with, maybe adding a hint of a darker blue to make it slightly darker, or use a darker green if you have one in the palette. Next, we start with the, so for the bigger branches, I'm going with a slightly bigger brush so that we can cover more area also because these are going to be thicker. So it makes more sense to use a bigger brush. But for the thinner branches later on you can either go with a smaller brush, which is like a size 0. Painting these branches. Make sure that the easiest way to do that is to press on making them straight because in nature you wouldn't find create branches. So what you can do is to keep them and just follow the rhythm of the. So don't try to create the Beaufort grant. Just a natural shape. That's fine. Now for the smaller branches I'm searching for. So I'm going to just add enough to create a little bit of depth to this composition. Right now. Looks pretty boring. Adding these branches even go there, please. That adds a lot of just trying to walk on that. Now, after I added those branches, I'm quite liking this picture, so I know that it's a very simple one to start with. And we just have a tree, we just had this guy with a few leaves. But as soon as you add the smaller branches, it just adds to the overall be big. So I'm just going to finish these branches. I sometimes feel they should just set a reminder as soon as I start. I don't get lost in all the details. But just so therapeutic painting them so much. So definitely stop now. Now I see a few lighter patches on the main branches, so just fixing them with a slightly darker color rather than a darker value of the black. And we are done with this painting. So I hope you enjoyed this super quick and fun start to this week. We have some very interesting projects coming up in this week with a different shade of green as well. So I hope you'll stick around. See you in the next one. 18. Week 3 : Project 2 - New Life: Onto our next project, and this time again, we're painting leaves. But this scenario is a little different. So we have a tree trunk or ratio and a few clean fresh leaves us crowding out of it. So the key here is how we paint the trunk, as well as how the green stands out. And a little bit of fun technique in the background. So that's what we're going to try out in this project. As always, we're mocking the initial sketch. Not a lot of detail, just the main edges, as well as the markings on the trunk. And then we have the leaves over here. So we're just making sure that we mark on the leaves in the sketching phase itself so that we don't miss out on them while painting. But we have a little bit of patch over here that is slightly dark from the leaves will be coming out. And then all these markings on the crank that we're going to paint directly with the paint as well later. So I'm just making the main markings visible. Rest of it we're going to do a directly with the p.ball. So I have my pilot ready here. And then I'm continuing with the same green because we are painting these leaves again. So the fresh leaves would look really great with a nice vibrant green. You could also go with a lighter green for that matter. So we'll start with laying down the first layer for the tree trunk. And I'm starting with a slightly lighter value because we have to add in a lot of details on top of this one with a darker black. Also, the background will be slightly darker in comparison. Now, why does this still wet? I'll just add in those markings over there on the trunk. So this is still wet on wet. So you see those strokes are kind of blending in which is fine because we're going to add in the details later on. This is still the first layer. We have lots of details to go in here. So I'm just painting the basis well here. And we let us try. All right, once the tree trunk is dry, we can paint the background. So like I said, we're going with a darker color for the background. Slightly darker. Again, this is not going to get the darkest part because we have that small hole in the trunk from where the leaves are sprouting out, which is going to be the darkest patch in this painting. But we still have this slightly darker background as compared to the tree trunk in the foreground. And we're going to add in the splatter technique over here to give it a little bit of texture and variation. Now while this is still wet, I'm dropping in a little bit of splatter using clean water so you can see those blooms happening over there. And we let this dry and in the meantime, start working on the leaves. So just add as much flatter as E1. And then we start with the leaves. So the leaves, like I said, they are fresh, clean leaves. So go with a nice clean, start with directly painting all the leaves that we mark with the sketch. Here you can play around a bit with the values again. So you could start with a lighter green, I'm adding a few batches. Or you could go with dark green light green leaves as well. So just that really tried to make them look fresh and new. So I'm adding a few. All right, I let the leaves cry and in the meantime, start working on the tree trunk itself. So we can start working on the outer part and then gradually once leaves dry, we can start adding the details at the center. So here we are trying to build in the texture on the tree with all the markings. So again, we're not trying to keep it straight. It's all it's exact, so no need to pretend those perfectly straight lines. We'll just follow the curve of the crank. So since it's kind of circular, we'll just make sure that the lines are aligned. Also, if you notice, I'm keeping a mix of thin and thick strokes or ratio. So you could either go with two different brushes so that you know, you get the thicker strokes when you pressed down. And then a stroke when you're just using a very light pad. Now while these are drying, we'll continue to keep adding the markings on the crank. This time the circular one. Again, no need to have the perfect so you can keep it a little bit of jagged lines like this. Now me use a dry brush technique to build upon the texture. Picking up pigment and water and just dabbing my brush. Now we'll take up doc is black and add it to the central portion, the hole from there, the leaves emerging. So this is, like I said, this will be the darkest part of this beam. So use the darkest value of the black. Smaller brush to fill in. So adding these in, depth effect, so just adding tiny the base, making it darker. Next week I'm going to add these texture onto the problem, but this time with a smaller. So you can see that the first time round, I'm just going to add another black paint. The darkest part because I'm just adding another layer of paint. There are some key painting. I'll repeat the same for the bottom of the trunk. So used the darkest value so that it becomes slightly darker. One final round of dry brush again, to add in a little bit more texture to the trunk. So you could see that with all the tiny details that we added, those markings be those cracks and this dry brush. It is all adding up to the overall texture of the trunk. So that's why I said that we have to build it up in layers. So adding these details one by one is what actually led to creating the effect of depth and texture on the trunk. And I guess we're done. So I think I like how it looks right now. Just adding some finishing touches over here. So that's it. I hope you enjoyed this project and we'll give this a try. It's quite a different subject. And we had some fun exploring the techniques to build up texture and depth. See you the next one where we explored leaves again, but in a different backdrop. 19. Week 3 : Project 3 - Lily Pond: So we start with our project. And this time again. But this time we're building upon some water leaves. So palate will again be limited, just the sap green and the black backdrop. Some interesting techniques like plateaus and adding some water. Here I'm just outlining, making sure that we have basement. We'll also be adding a few flowers, just add some variety. And in most cases, you can see that we have overlapping technique to add the depth. Adding flowers, not a detailed sketch, just very few petals. And I'll add a bubble. So I'm just adding the leaves on the group. Work around them when we get to the painting part, maybe just another sketch. So we get started with the painting now, starting with the bond. So in this case, the background will be darker as compared to the leaves. So using a slightly darker value of Black. And I'm avoiding painting over the leaves because vibrant green. So I don't want to. So just the same. Adding a slightly darker value and create some texture. I'm just working on this part first. Then once I'm done, I'll just more to the other portion. Again, just be careful around the outline of the leaves. The leaves. All right. Just use a clean brush. Next we added display. I'm just dropping in some clean water onto the paper like this so that you can see that the blooms are happening. So I'm just going to let this dry completely before we move on. All right. So we'll start with so in this case again, just like what we did. Not next to each other. So we have white painting edges together so that we can build up that. And also adding the shadows. Bye for now. So you can start adding the darker value. So we're using the same. I'm just going to continue painting. Yes. Ms. Hi. And this one. So after this, we're going to read for the paper to dry and then add in the shadows using black. I'll write my paper has dried now, so start with the shadows. So here I'm using a very dark black. And we're going to use the glazing techniques. We'll start with adding water. And then once that's done, you can see that instantly it creates the illusion of depth. So we're just going to do the same with overlapping each other. Then just blending it. Now we're going to leave those flowers. So we have to be careful while painting around them. So again, when these flowers, I'm not using a bigger brush and just using a smaller brush and doing the outline and then blending it in slowly so that the black doesn't go into the flowers. Okay? For the overlapping leaves, again, if you're not comfortable using black, you can always go with a slightly darker green or green mixed with glad. That also, we can do the same technique about adding darker value and then using a clean brush. So this can create the illusion of depth. When it comes to these overlapping leaves. I'm using a smaller brush. So I'm using the same. You can see that it shows up. Now going to these flowers. Now, even if they are white, we don't really leave them white because you need to add some sort of a little bit of color, make them look natural. I do have a separate class on the whole white flowers, but in this case, since it is just a small part of the painting, we're just going to use slight color and just add in a few petals, creating the shadows of the petals. Not really working on the petals directly. And for the last part I'm adding. So for this again, I'm using a black bird, a slightly darker value. And we follow the overall shape of the leaves. So there's a slight curve to the Soviet going to follow that for the reference because that is how it will be nature as well. So making sure that the ripples are in sync with the shape of leaves and just creating these round circles around the darker black. And that's it. I hope you enjoy creating this little project. So far, we have explored three different types of this week. So next we're not going to be in the air. And the next project in the next one.