Watercolours with Confidence: Be-Leave in Yourself: Autumn Leaves Painting Project. Class 4 | Wendy Framst | Skillshare

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Watercolours with Confidence: Be-Leave in Yourself: Autumn Leaves Painting Project. Class 4

teacher avatar Wendy Framst, Passionate about Watercolours!

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

13 Lessons (1h 51m)
    • 1. Autumn Leaves: Introduction

    • 2. Autumn Leaves: Getting started. Designing and Drawing

    • 3. Autumn Leaves: 3 Underpainting

    • 4. Autumn Leaves: 4 Veining with watercolour pencil crayons

    • 5. Autumn Leaves: 5 Adding detail, three largest leaves

    • 6. Autumn Leaves: 6 Adding volume to leaves

    • 7. Autumn Leaves: 7 Re-evaluating and touch ups

    • 8. Autumn Leaves: 8 Further development

    • 9. Autumn Leaves: 9 Adding detail and polish

    • 10. Autumn Leaves: 10 Spray Bottles for Over Painting

    • 11. Autumn Leaves: Summary

    • 12. Autumn Leaves: Variations

    • 13. Autumn Leaves. Final words

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About This Class

Hello! I am Wendy Framst. Welcome to Watercolours with Confidence Class 4.

In this class, we will combine ALL the techniques from the Watercolours with Confidence Classes 1-3 to create a beautiful Autumn Leaves Project.  

If you have always thought watercolours were unpredictable and difficult to control then this is the course for you. I take out the mystery and show you very simply how watercolours behave with water on the paper.

This course is divided in to multiple classes.

This is class 4. 

If you have not already done so, I encourage you to check out class 1 which provides load of foundational information about materials and how to use them as well as where we paint a really helpful project called Majestic Mountains. 

Then proceed on to classes 2, 3  and 4 (this one). 

If you like you can watch the all videos in sequence or skip to other sections and go straight to ACTIVITIES and PROJECTS to start painting right away.

Over the following videos and classes, I will demonstrate through simple exercises how watercolours can be a fun, wholesome and satisfying way of painting.

At your own pace, and in your own time- day or night, you will gain confidence by developing an understanding of the medium through very simple to gradually more complex projects and activities.

In this watercolour course packed with 10 hours of insights, tips and tricks, and valuable content you will be introduced in a step by step methodical way to materials, colour theory, techniques and methods used in painting with watercolours.

You will gain confidence through learning how common mistakes are made and how to fix them in our  troubleshooting section, gaining confidence in using your tools effectively by doing easy activities and fun projects.

You will create projects that will inspire you to start experimenting yourself in no time at all.

You will learn which materials to get as well as some of the optional tools you can collect to make some fun effects. You will also learn how to keep costs low and quality high.

After being introduced to materials, you will be guided through how to paint a smooth wash and a variety of other mark making techniques. After the comprehensive introduction you will be guided through progressively more complex projects.

Each project builds on skills you were introduced to earlier and no steps are cut out.

Some of the later projects are a little larger and more complex, but include guidance about how to build up your skills until you are more comfortable with tackling a larger subject.

Although drawing is a great skill for any art practice you do not need to know how to draw to gain confidence in this course

You will get to:

  • solidify fundamentals of watercolour painting
  • understand how to master the interaction between water, pigment on paper
  • learn how to fix issues including blooms (blossoms) and drips
  • learn how to use brushes and other tools to create various washes, edges and marks
  • practice and learn various techniques that will give you the necessary tools to help you become a confident watercolour artist
  • to learn how to make a bookmark and lovely little greeting cards
  • how to use photo references to create paintings
  • learn about colour theory and properties of various watercolour pigments
  • create varied projects and paintings that can be tailored to your own unique style
  • learn about fun materials to create lovely effects
  • and much much more …

More Features of this Course

  • Painting with watercolours is easier than commonly believed
  • How to achieve brilliant rich colours through layering techniques
  • How to make the most of the transparent quality of watercolour paint
  • How to take an idea for a painting from inspiration through to completion
  • In the “Trouble-Shooting” section, you will learn how to fix common watercolour mistakes including blooms & drips
  • You will gain confidence with watercolours through step by step instruction
  • How to plan your compositions
  • You will learn different techniques such as “wet on wet” and dry-brushing
  • You will learn techniques to help preserve the white of the paper
  • How to paint crisp edges and how to soften edges
  • You will learn about primary, secondary and tertiary colours and how the colour wheel works
  • How to clean and care for your equipment
  • You will learn which supplies are the “must haves” and how to choose yours from a variety of options
  • You will have fun exploring how to apply paint to the paper in many creative ways, with many different brush types and other materials as well
  • You will begin making small projects such as a bookmark and a greeting card and gradually work on larger and more complex projects as they gain confidence.
  • Learn to do ink and wash paintings
  • You will increase your art vocabulary through the use of art terms
  • Those who do not enjoy drawing can still have fun with painting
  • Students learn the meaning of “archival” and how to help their projects to last
  • Learn about “plein air” painting and will be shown supplies ideal for this painting method
  • How to stretch paper and rip paper to size
  • You will be given health and safety cautions
  • The most important thing is to have FUN!  You will get to relax, splash some paint around, experiment to learn which colour combinations you like and see how many different ways you can make marks
  • Complete 4 projects and numerous hands on activities

Who is this course for?

  • This course is ideal for people of ages 12 and up who always wanted to learn how to paint with watercolours but did not know where to start.

    CAUTION: Younger children should have supervision when using certain optional cleaning materials including Rubbing Alcohol and Mr Clean Magic Eraser. These items form a very small part of this course. You can choose to skip these materials and their usage and still benefit greatly from the course.
  • If you always thought watercolours is difficult to control, then this is the course for you as I take you through steps to give you skills that will enable you to build your confidence gradually.
  • If you are curious about watercolours and want to try to see if they are for you.
  • This can also be a great revision and a brush up on skills for more experienced watercolour artists

Are there any course requirements or prerequisites?

  • Great for beginners. No prerequisites are required.
  • You don't need to know how to draw for this course. There are downloadable templates available in the online resources section that can be used for tracing if you wish.
  • You may simply want to paint along with me creating a new set of subjects and paintings, converting them into gifts such as bookmarks and greeting cards
  • Bring along a willingness to learn and try the fun projects in the course.

And I am with you every step of the way. You can message me any time you hit a wall, and don’t know how to proceed. And I would love to see your paintings and projects that you make as you paint along with me.

So let's get started, have some fun and get those brushes wet!


Meet Your Teacher

Teacher Profile Image

Wendy Framst

Passionate about Watercolours!


Hello! I am Wendy.

Before I could walk, I held a crayon and made marks, often in places that my Mother did not appreciate (on the walls). I could not stop then as I cannot stop now. My high school Art instructor tried to push me beyond my interest in realism and mockingly called me a “human photocopier”. He meant it as an insult, but I could not think of higher praise.

I have drawn and painted all my life, but it was only after I began to create Art about and for my 2 beautiful children that I became serious about being an artist. My first published paintings are illustrations for the children’s book “Feathers” and my children modeled for many of the playful scenes.

In addition to painting, I have worked as a social worker for over... See full profile

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1. Autumn Leaves: Introduction: Hello, it's fall here in Northern British Columbia. And what do you think anyone would rather paint? Then the beautiful and exciting colors of the fall leaves, especially with our symbol, the Canadian maple leaf, right in the center. Any of the concepts, tips, tricks, and techniques that we've learned throughout the entire course and pulling it all together into one beautiful collage. More specifically, we're going to combine a lot of the techniques that we use throughout the course. We're going to use some traditional painting methods. We're going to use spray bottles and toothbrushes and watercolor pencil grounds as well. Through the autumn leaves project, we're going to review different art terms, such as value and temperature. Next, color theory is going to play a part where we review color theory, color mixing, and especially warm and cool colors. We're gonna do all of this incorporating some when a wet techniques, some dry brushing techniques and lots and lots of layering to get those beautiful, bright vibrant colors. When thing for you to remember when you're doing the autumn leaves project is that I like to demonstrate for you as many different kinds of materials as I can, as many different colors as I can, and is many a different tips and tricks. But you may not have all the same supplies that I do. So just adapt the supplies and the resources that you have into this project. This is a fairly complex composition. I've used a lot of leaves have overlap then I have many different types of leaves and I have them all going in different directions. If you are just beginning, which may want to do is start with the composition of just one or two leaves and then build up from there as you gain skill and competence. This is also agree project for people who really don't enjoy drawing because you can use leaves as your templates. And so you can just trace around the outside of the leaves to get you going. Now, be sure to watch for the other classes in the series. Each class progressively built on more and more complex skills. Based off of the last ones, each class has its own hands-on assignments and projects for you as well. I've attached the instructions for these to each class. For each class, you're going to find the relevant references and templates to make it easier for you to follow the law and materials list for the whole series as well as for each of the activities and projects. Please do ask me if you have any questions at all. And hosting chair your artwork. I would love to see it. So let's get started. 2. Autumn Leaves: Getting started. Designing and Drawing: Well, it's autumn in Canada and what is more Canadian than the maple leaf? So here is a project inspired by thes beautiful fall leaves that have picked up from outside lots of varieties of leaves in lots of colors of leaves. Just can't wait to get the richness of this. So one of the reasons that I really like this project is they have a lot of friends she want to paint, but they don't necessarily enjoy drawing. So this is a project where you can just pick up the leaves and trace them onto your paper. If you don't have a supply of leaves available, you can also find lots of clip art stencils online of leaves, and you can cut those out and then use those as the stencils for your project. So this is one of those great projects where you don't need to know how to draw in order to produce a really awesome effect. So what I'm gonna do now is I'm just going to move things around ever so slightly because I want to draw my biggest shapes first and so just slightly moving them over This project looks really nice when you have things that are overlapping one another, so I'll bring them back on. But for the purposes of drawing them, I want to be able to focus on one leaf at a time. Now it's no unimportant that you get every vein and every single little line. But do use leaf as your template, and it will make for some pretty instant results. - All right, so as you can see, I've drawn all the leaves out. Would I want you to think about as you're drawing them leaves is. Put some of your larger leaves in the front, draw those first and then arrange the other leaves around them. And what you'll probably notice is where I've got my larger leaves. Nothing is overlapping them. They are overlapping other pieces. So you do that by if you're drawing a leaf and you get to a section that's already got a leaf on it, you just draw around that space. You don't continue the line onto the leaf that's already there. You stop it as though that's being cut off, and that gives you an overlapping effect, which really adds to the composition, and it's gonna give dimension to our project So what we're going to do now is we're going to use spray bottles to paint the first layer, spray bottles in a hack, a brush. 3. Autumn Leaves: 3 Underpainting: Okay, so this is going to be so much fun because we can just scatter paint everywhere. We want to keep the bottom layer light, though, because it's easier to go dark over light than it is to remove some of the paint. Eso What I've got here is my largest hockey brush. This one is a three inch and I'm going toe wet the whole surface. Then I'm going to use spray bottles to put some paint on and scattered around. I'm looking for sort of droplets, but I just wanting a texture, and I'm warning a very light background color and then will reinforce the leaves over top of that. So here we owe the hockey brush first, because that will allow the paint to travel farther lots of water on the paper. This is another abstract painting inspired by leaves, so we don't have to worry too too much about all the finicky little details. Okay, so, God, nice. Stay clear of water everywhere, and what I do now is just take some colors. So I usable buying paint inside that hole, buying spray bottles. Um, whole buying paint doesn't have ox goal in it. So that allows it to dissolve more quickly, and it stays dissolved within the water bottles. So we'll just spray some of that here when I'm putting in the paint. If I have an inch worth of water than I squeeze from my to my paint tube about, ah, little snake that that is about the same. So if I have an inch of border than a use about an inch of paint, getting some really wild colors going on here already, Green one is not wanting to work, so it will be benched. This is Terminate Magenta. I'm trying to push it ever so lightly because I don't want a really dark version of the magenta. All right, uh, and then read. So already we've got a lot of things going on in this painting. What I wanted was a little bit of green, so I'm going to just use the toothbrush, get a similar effect. If I'm doing a small area, I'll use the toothbrush. Or if there's a specific color that I want somewhere, then they use the toothbrush. If I'm doing a large surface, then they find that the spray bottle covers it much better like that just a hint of green. Maybe just a little more green in there. Really happy with this is my first layer. Um, one more thing that I wanted Dio, I've got another spray bottle here with just water in it. I'm finding that this colors are too intense, and so we just want to spray a little bit of water in them to soften them up. In fact, I'm gonna use a paper towel as well and just blot out a little bit of the color. I do want I love that intense orange, but I don't want it on this particular layer. I want to build up to that color. Great. Now I'm thinking maybe just a little bit more red will finish us off with the spree. The toothbrush. Three. There. Now that is fun and colorful. What do you think 4. Autumn Leaves: 4 Veining with watercolour pencil crayons: Welcome back. As you can see, our first layer is now dry. We've cut so much color on here is great fun. But it's no too bright. So we're going to be ableto layer on top of that, Um, and by doing that quick under painting, it's given us a lot of information on which we can build further. So what I want to do now is work with you and some watercolor pencil crowns. So I have here a yellow and I want to come in with my leaf, and I'm just going to use the leaf to remind myself where the pains go. Now the yellow is a very light value, so it may not show, but we're gonna give it a try here seems to be working a little bit, So just what I'm going to do is draw in the veins as I see them keeping everything loose and light. So there was a main vein here that goes almost over the way to the tip. There's another bain that came up from the bottom, and it goes almost to the tip, and there's some smaller winds that come along from the bottom, so they all seem to radiate out from the base and come through to the tip. And then what's happening is we have some little branching off occurring from there. So watercolor pencil crowns air a great way to add a little bit of detail. You don't have to wet it. Um, so they're great for plan air. You could take them out into the field with you. There we go. I have, um all of my stems. And now this continues on down into the bottom. And while I have this, I'm going to work on the other large ones as well with the same principles in mind. So I'm going to come from the base to the tip and from the beast out through the tip. And this one is well, and here and then come back in and add in some more bain ing. Now it's really hard to seats because yellow is such a light color, but would not do is a paint around it. When I get to that area a little bit into the the stem here. And there was one more large. Here we go. One more large meat belief, Few boredom. Beans. Okay. No. What we can do is switch to another color and work on a different leave. Let's look at this little guy here. So he has a brown stem e have a brown watercolor pencil crown, and he comes pretty much street right up through, and the branches come evenly through the leaves. So all we're doing that the pencil kran is just adding a little bit of detail. There's another version of it here. It's nice to give it a little curve. No need to keep all the lines perfectly straight. One of the things that I look for is do the Bains line up perfectly, or are they offset from each other in this one? They seem to line up so will line them up one more little guy here and then lining them up . Pretty simple, but it's a nice detail. It looks all of a sudden, a lot more realistic. Take one of the little red Maple Leafs. I think this one could use some dark red, but I don't have a dark red pencil Korean, so I'm going to use brown for that as well. And then the same is with my large maple leaf would have noticing is the vein ing. All seems to radiate out from the center down here, and it goes out through the tips. And then there are some smaller branches. After that, you can add as much detail as you want, or is little details you want. Keep in mind that the objects that are closer to the surface probably will benefit from additional detail on the objects that are buried down. Lower will do better with less detail and how you knew if they're near the surface or below . The ones knew the surface. Um, don't have any other leaves overlapping onto, um, the ones that are buried have parts of other leaves covering a portion of some found. Another may believe that we're gonna add some detail, too. See how easy that is with the pencil crown. Okay, now these large leaves. Let's say that there, this purple color can hardly see any vain ing in them at all. So what will do instead is paint around. Those will come back to those later 5. Autumn Leaves: 5 Adding detail, three largest leaves: Welcome back. We're gonna pop in some color between the branch areas that we just painted. So I'll watch the areas. I'm not worrying about wedding the entire thing, and I'm not wedding it evenly because this is an abstract e tight painting, but also in nature. Things are more natural when they're a little bit uneven. So I'm using my natural hair brush, just laying down a little bit of water. So when I put the pain tone, it will receive it well, going to use a little bit of permanent green. I'm painting around the paining areas, but I am painting up to the edge of the leaf shapes. I'm just having some fun with this. You can always reverse the order. You could put the border color pencil crowns on last. You can use darker colors with those. I'm just adding color and adding texture in reference to, um, leads that I'm painting. What you may notice is that we're in putting green. There's already some color showing through from our under painting, and, um, I think that that's really adding a richness to it. It's dulling down the brightness of the green and, um, making it more consistent with the leaf that we found. Just softening this screen I'm noticing. It's a lot darker than the other greens. I'm gonna add some to the opposite side. Balance it off. Yeah, I quite like that. Um, Just gonna add a little water, though, because I want to break up the colors of them, not equate. So even even even in fact, I'm gonna lift of little. I'm reacting as I go alone. I didn't know I was gonna painted exactly like this. But what I'm doing is evaluating my painting at each stage and deciding if I want darker areas or lighter areas. If I want things to run together more or what I think about the colors on top of each other and how they're going. So this is quite a spontaneous painting style. And this leave project really adds itself well for that. In fact, why don't we just because we can put in a little bit of yellow to add even more interest on this particular leaf. Here we go Now. This was a wet on wet technique. My under layer was wet and I've used a very thin paint and added it in Now, I think I'm quite happy with that leaf. I am just gonna add one more little bit up Tom and then move on to another section on. Okay, we're going to move to this leaf, and this leave was the same color as the other leaves, but they're both very large. And so what I want to do is actually switch it up and make it read my belief. And so we will, Um same thing is, before I'm gonna wet area with my natural hair brush. I'm using the natural hair brush because it holds a lot of water. And it also, um, gives me a loose effect. It it doesn't paint a stiffly as a synthetic brush, which is nice when we have an organic shape, like a leaf. I do want anything too stiff or will look unnatural. Men made. Okay, we've got some color there now. I'm gonna use first of all, um, cadmium red, beautiful, rich, rich red. I am painting in between on my branches of comeback Leader and straighten those shape. So my main concern is just getting some random paint on the paper. I'm avoiding the little branches of yellow and I'm trying not to go outside the lines then we don't do is I'll come back with a smaller brash, um, and I'm going to use a darker color, some switching to a lizard in crimson next, because it seems to me that the edges on this leaf are a little darker in the center, and now I'll come and reinforce my edges. So, Cain, I'm trying to work very quickly because I wanted to bleed into what I've already got there . But if I take too long, everything will be dry by the time I come back. I'm liking how the darker pain is mingling with the lighter cadmium. The Liz Aerin is providing a nice edge. Don't worry if you have little holes or spots that aren't completely covered. That will just add to the looseness in the painting and give it some additional variety. I think what I want to do is just switch back to my cadmium red for a moment. If we outline the whole thing in the Eliza Rin again, it will still be too much the same. Wanna break things up over a variety of different sized lines? Um, lengths, wits, different colors different values. Nice little hit of red right in here. I'm liking the way that's looking so far moved back across to do the detail ing on the other side. You may choose to do one section at a time, trying to do the whole leaf as quickly as I can, and just with random bursts of color, because I want it all to look more unified and have the same colors blowing throughout. If I did, when portion of the leaf at a time, I may end up with different colors, and it may not look as unified. Switching back to my lizard in crimson worthies. Edges can also see that I'm trying to leave the lines that I made with the watercolor pencil crayon and paint around, um, on a switch back to my Liz Aerin. - I'm gonna put some permanent magenta on to some of the veins to give it even more change in value and some extra interest for it. This leaf is almost done. I just have the tips up here, and I want to break up this being section. It was too thick. One more thing I want to do is add an extra little element of detail to the stem. No, that's too solid for my liking. So I'm winning my brush, taking off some of the excess. I'm just gonna blend that. I like that better. Okay, um it's great to work on your largest leaves first, because there's nothing worse than having hum Donald the small bits. And then you have to hold your breath. And why? I think the large ones not in this case will work on all the big ones first. And they'll be nation well established for you. Um, because I've got a green leaf and a red leave. Let's go with a different color. So I'm going to switch to the Aussie Red Gold. Beautiful, beautiful color. But first, same as before. I'm gonna wet the center of my leaf painting around Baynes, sometimes over them and up to the edges of the leaves and trying really hard not to go outside the edges. And then now that I've got some color on there now that I've got some water on there, we can put some color in. That's a fall color, isn't it? I'm losing sight of the yellow veins will re establish them in a minute. Okay, I've got that coloring there. Now. I'm gonna come back, Seamus before, and just add some detail. Um, this time I'm going to switch to Quinn. Ah, Crotone, Sienna. But that for some of the edges not worrying too. Too much about what's going on in the middle of the painting. I am working really hard to keep crisp, crisp edges and to keep the details in this shape. But I drew one from before the switch to my cadmium red. I don't want too much red or it will overpower the painting, but a little bit will be nice. Dueled of color. I like that, I think, will come back to the CNN for the tip, though, and to the Aussie Red Gold. For the next tip. I'm can use a little bit of a Liz Aerin just to break up the color and the shape now gain. This is a fairly loose painting, so as you're reacting to it, you can decide how much detail you want, how little detail you want whenever you feel like it's done and time to move on. It's done and time to move on. I have included a lot of leaves. In this picture, you can choose to use to start with just a couple of leaves and have a smaller project or feel free. If you were after you've painted one leave to take a break and come back to it, you could even come back to it. The next day doesn't only to be done in one sitting. Each leaf is gonna look fresher because of this wet on wet technique. If you do leaf at a time, but you can work throughout your project any other way, you want you. 6. Autumn Leaves: 6 Adding volume to leaves: Now we've got our three largest leaves established When I want to do is look for the next largest leaves. I think it's this one, this one and that one. They're looking fairly large to me. And what I want to do this time is to paint the section, let it dry, and then we can put the vein on over top. But we're going, Teoh, we're going to look at where the being goes, and we'll negative paint around it a little bit. So thes leaves here are quit a dark color. So I'm gonna use, uh, purple with a little bit of green in it for those and, um, the same as before. I'm gonna put my water on, and I'm leaving an area for where the veins air going to go? No, because I want to use a purple and green color. I'm not gonna mix it right into my palate. I'm going to mix the colors separately and then apply them and let them mingle on the page . So I'll show you what I mean. First of all, I'm gonna use the purple. Now that may seem like a very odd color for relief to you. and it kind of is. But these air very dark leaves. So I'm thinking as much about the value of the leaf. The darkness of the leaf as am about the color and purple is one of my darkest valued colors. So that's why I usually reach for purple when I'm trying to paint something darkly and while that's still wet, come in with a little bit of green. I got a little bit of muddiness happening in my colors, but really with leaves, they are more neutral color soy. Normally, my paintings are very bright and high key, but for this one I am using a little bit more neutral colors on purpose. That's kind of fun. You can see where the veins are still left. It's the later color, but because we've got that beautiful under painting, they look really interesting. I'm just establishing the edges of my leaf, and then I'm going to move on to the next leaf. This time I am going over and I'm not leaving the veins just so you can see the difference on how that will look. No, we didn't courage. You don't paint this leaf. If the one below it is still wet because if I put my color down and this is still wet, it's gonna bleed out into that leaf because this is an abstract painting that in a very loose painting that will be just fine. But if you want to avoid it, make sure that your layer underneath is dry. Trying to think about leaving myself spaces, where I'm going to paint some green in there, coming back with green. Now this is where we find out if the yellow was truly dry or not. My, here we go. It's bleeding a little bit. That's just fine. Adds to the cohesion of the colors because I like to use so many colors in my paintings. Sometimes it's really important to make sure that they make an appearance more than once. Otherwise it will. It can appear that the painting is not unified. Okay, we'll come back in leader and put some detail on to add the viens back into that leaf. Andi, I'm going to move to this one next, which I think is the next large one. I will wet the leaf first. Samos we did with this one. I'm gonna use the cadmium red stuff. I'm just totally painting over the whole leaf and I'll come back in later and add the beans end so you can see how that would work. But I'm going to use the same colors. I'm gonna switch to Lizard Crimson, and I'm still being very careful about having a nay shape on the tips when you switch up the color a little bit and so I'm going to switch to my Aussie red cold . - Finally , a little bit of the permanent magenta. And don't forget stem. Okay, we move onto this little guy next. Now this stem is over talk of this one. So we just need to be careful not to bump into it. One more painting, because it might be wet. And because we don't want to cover it over, I realized it's a little dry, so I'm just gonna add bit of water to loosen that all up. This is a fairly small leaf, and so it's not as important that I went at first because I don't have his big area to cover having when you have a big area to cover and you want it to be somewhat smooth, then it's a good idea toe wet the area first or work really quickly. Just put in a little bit more. That was you. Red gold. And it's so beautiful with the cadmium red mingled in there really nicely, just reinforcing some of the edges and come in with some Eliza in crimson. No, I'm noticing that that is a bit too great. So I went up. Do you dab it with a paper towel? I could have sprayed it to soften it. I could have added more water, but I just wanted to get a little bit of it out of there. Mixing it with the Aussie red cooled is softening it up, too. I'm looking not better, the said, still a little strong. So I'm pushing a color into my other area and that softening this edge. But it's darkening the center. I'm liking the fact that that's having I've got a little bit of red on this side because I intended it to be this leaf coming across. But as it did so, it got onto the purposely so I can just lift the red in the center. There we go. Okay. I think that Leaf is looking pretty good now this leave has beside it. Um, it's this Leaf is surrounded by, uh ah, Eliza in crimson on this side of lizard crimson on this side and green in the center. So I'm wanting to come up with a different color. Um, so what I'll do is I'll use more magenta on that one. It's below, and so we can push that back. But I'll add a little bit of blue as well, even though that's not really a color that you're seeing in the leaves. What the blue will do is it will, um, look like it's in the shadows and push it back. I want to take care that I'm not touching wet area, so I can just leave myself a little buffer of space until right at the end. Between the leaf that I'm painting now and leaves that were previously painted All right, I'm going to in the blue first. Now, this is a very rich blue. So when I am doing as I'm spreading, I'm thinking out the blue with by adding quit a bit of water and stretching it over a large area, the color from underneath that showing through. I'm really liking the way that's toning down the blue. Well, it's still wet. I want ad in, um, some magenta. My brushes really loaded from getting a lot of rich color on their, uh, assess. Soon as I get it all on, whether it's too dark or not too intense, I'm going to leave that transition area there and just come back in with a little bit more water and tapping some of the water out of my brush and just lift a little bit of the color blended together. Bring in a paper towel, clean off my brush between the strokes. What that's doing is it's just making it not quite so intense. Okay, now, because we've got this color here doing one thought to be the only blue patch and the whole paintings, So we'll come across and put give it a friend on this side. Wet the whole leaf. You remember we started off with a little blue. I have some students who feel that trees and leaves should be painted green and only green . So if that is how you feel, um, feel free to use green in your leaves and you don't need to use all these wild colors. I, however, really am inspired by these leaves on the table to use a variety of colors, and I think anything goes painting this one in a more muted tones than the other one, and I'm I'm liking that better for that area. 7. Autumn Leaves: 7 Re-evaluating and touch ups: It's a really good idea to stop and look at your painting from a distance every new and then and make sure everything is still lining up. What he noticed when I held this one up for myself is there's a little area in here that I think needs to be added. I can see my original pencil line name. I missed that section. Let's just add in the little extra to extend that shape. You just blending the color in by scrubbing. This is a synthetic brush, and so it's, um, lifting the pigment and moving it around a little bit. There we go. That edge blends in a little better and that she business or now it's disappearing up underneath the leaf. That's above it. No, I want to do this leaf here and I'm going to do it. Nice yellow color, the Aussie Red Gold. And I'll just put in a few touches of cadmium red, going to make it a little brighter than that and just establishing some of the edges. The edge shapes nice and crisp. Okay, we can move on to a belief. I want to come back here and add another leaf that the blue and magenta colors blue first, and I'm ordering it down. And now the magenta. This is where watercolors at its best. When you put the colors side by side and you just allow them to mingle on their own, some beautiful things can happen. Make don't be afraid to leave some weight areas to allow that transition to occur, and it just will add some value in some additional interest. Okay, working my way outward. I'm onto this leaf. Now. I think this leaf begs to be golden as well. When you're making the strokes on this one, I'm noticing that I'm trying to travel in the direction that I that they believe that the branching would travel switching to a little bit of red. Yeah, those colors aren't transitioning very well here. So just added to mortar to my brush and running it through the center of the two colors to break that up. I'm liking that much better. But you're noticing minutes. Um, there's a lot of similarities happening there, so I'm gonna add Cem Quinn. Ah, Crotone Sienna to give myself a little bit more change. All right. I've got a little cluster of three leaves in here. They were all from the same branch, Same tree. I'm going to use an Eliza and crimson on them. I didn't wet the pedal first, but that's all right. When I can do is add some water now to soften it, gain adding variety and breaking up with shape. I am quite liking that, but I won't add some permanent magenta just to increase the follow you here. We'll come back in and add some meaning later. I just wanted to get it started and have a soft banning coming through. No, the next one. Same idea coming back in, that the deeper value of the same color and no switching to the magenta and finally the leaf at the back. And I'm gonna add a little bit of purple to all three of those leaves just to increase. No, doesn't look purple. It just looks dark. And that's my intention, really, Doctor. And it's dark. Ks three. Okay, moving. I've got another pair of leaves here, and it's thes leaves again. Very, very dark and, um, thes of the leaves that we did with the combination of green and purple. So we'll do that again on this one. Uhm I'm gonna go even darker this time if you're trying for a really dark colored don't use a lot of water because the water will tone it down. So I have a little bit of water on my brush, but not a lot. In fact, I'm gonna rinse it out, pick up some purple. When I'm doing is employing out and back on the same line. If I just went out and lifted, it will fuzz out and create those blossoms on the end. So I am going out and back out and back like that shape come in with some green. It was quite a late green, so I don't want a lot of it in here. We don't do instead is add some blue as well. That will cool this leaf and push it into the background a bit, but it also darkens and up from the green. And I have a few colors on mixing in here and they're becoming quite a bit more neutral. I have to be cognizant not to add too many more colors or lose the brightness of my color. I want a slightly different color in the leaf underneath even though these two are from the same plant, the same variety. In fact, I may have even used the same leaf to draw them both. So what I'm gonna do this time is come in with the purple Samos we did with the 1st 1 But instead of switching to green this time, I'm going to switch to Eliza in crimson. 8. Autumn Leaves: 8 Further development: here we are back. I have taken a little time to take a look at what we've got going on so far. And what I'm noticing is I have a fair bit of yellow happening over here. Lots of reds in here. So I'm just wanting to bring some of the yellow across to the other side. And this little leaf here will be done in the Aussie Red Gold. Seems before we're going to just wet it up and we can start dropping in the color. Okay? I just want to break that up with a little bit of red going to go to the Eliza Rin. Nice, Dark red. I need to switch to a smaller brush. I'm working in these really delicate little areas and the large brush is going outside the lines and night helping me to put in the little details that we want. Don't forget to evaluate everything as you're going along and decide where you want a little darker little later. It's good to stand back from it to vote even while you're working on it. You can make be making some of those decisions on the fly, especially for a nice loose painting like this one coming back into the darker red. Just want to give it some nice change in the tips. No, I am winning a little bit more cold in there. So as I'm working with the color, I'm thinking about which way the pains go, and I'm trying to make the strokes in that direction. So even the blending is leading to that effect back to gold. So what it was doing on the chips was trying to create some nice, strong, sharp edges. There was using a really little brush and very thick paint for that in the center. I was softening and blending things out with water. Okay, that's it. Presently, for now we'll move on. We have the cluster of leaves here on along the edge. Wanna work from the inside out? I think this week looks a lot like thes two. So let's give it the same treatment Wet lead first, then will come in with a bit of the water down blue. All right. Switching now to the magenta just for a little changing color and some pop and you wanted Dio is bring in a little bit more warmth, so we'll use a little of the red, and I wanted to use a smaller brush. So I put a pop of red along here on the side, and I used a smaller brush so that I could get into the edges of the detail on the other side. I'm just I'm just adding some detail as well to the edge of the other side. I think we'll let all that blend and come back to that beef leader now will view this large leaf here, and because it's a larger leap, we're gonna switch to large brush and keeping the water on the inside of the leaf. I know that I have a smaller brush. I can bring the water out closer to the edge. Um, this one's a purple leaf with some green patches, just establishing where my center is, where the veins would be. Now I can come back in with green and fill ins and the other shapes. Adding all the water on the leaf before began allows all the colors to intermingle on play . So even though green and purple may seem like a very strange combination, they look quite nice together because the water is just allowing edges to bleed in. Okay, Now we're going to move across, do the same thing with the tip of the stage. Went it up first, - putting a really in light version of the purple on the outside. They just want that to turn around the edge and almost disappear. Parkinson more green on this one. Really enjoying that? The under painting is showing through. Gives another layer dimension. Okay, we're just going to leave that for now. And I have four more little leaves here too. Um, this one, we'll use a lizard in crimson going to wet them first. I don't want us much water. This time around is a really dark leaves. If you add a lot of water that thins the paint Oh, and gives you a softer effect Here went some darker crimson, not forgetting the little stem. Such a rich break color. Okay, let's switch to slightly darker version. Um, by adding some magenta and now I'm going to come back in with some red I'm painting of Ran the leaf that's in front of it. And it's all dry now. Well, there's not as much worry about contamination. Just wanting to continue on with the change. So I'm going to put in a little bit of yellow. What? As I'm looking at this project, I'm realizing we put on a lot of different colors and we've got a lot of different leaves. I want to remind you that you don't need to take on something quite this big. You could start with one or two leaves. However, we did just paint them one at a time, one after the other and, um, looking at what was done before and that gave us clues as to what to do next. It's really equate a lot of color and movement throughout the piece, and it's, um, using the wet on wet effect to your advantage by winning the leaves first and then putting the colors in were using the wet, um, wet toe our advantage, and that's allowing everything to blend and bleed nicely. So there's some things happening on the page that you may not have planned, but they're working really well together because of that extra blending. Okay, one last leaf over here. I think this one should be golden. Remember that the meeting point for all the veins is down here on the bottom. I'm just gonna draw out my shapes to keep me going in the right direction. 9. Autumn Leaves: 9 Adding detail and polish: here we are on the last leaf. We're just adding in some vain ing. And remember, it goes back to the center point over here and now what I'm going to do is add a little bit of color and get the details of the tips I switched to rent gain. You have to work quick quickly so that the water doesn't dry before you get to the area. You want to finish just working my way around the rest of the leaf, as in putting the color on you, missy, that it's blossoming out. That's because the water that we put on at the beginning is still active. The water is still active, and it's allowing the paint that and putting in to just blossom out and look more natural, just adding in a little brown. Now I felt like there was too much yellow along there. Too much of the golden color. Okay, great. That's it for that week. No, what we're gonna do is come back in and do a little bit of detail ing, So I'm going to bring back in my pencil crime watercolor pencil grounds wanting to work on this large leaf here gains and if you recall, everything is coming back, shooting out from here out through the rest of the league. So I'm going to remember that, as I'm adding in some shadow, if there is vein here just drawing underneath it to emphasize it a little bit for that nice , veiny Branch e sort of pattern. The reason that we're using watercolor pencils instead of normal um, pencil crowns is that later we can come back, touch them with water, and they will soften so they don't leave hard lines. Now, if you have trouble knowing where to put these lines, then just come back to your original leaf shape and look at how those patterns look to you . So for me, they're quite straight along the centre. But then, from there, everything is branching off, and the there tends to be a vein that's running rate to the tip. So am capturing those, but there other lines as well, and they branch off. I don't have to draw every single vein. We're giving the illusion of veins here, but I think it does make it look more interesting and more realistic by adding them in now . As I mentioned, the reason. We're using watercolor pencil crowns as you can then soften them but adding a little bit of water where making the pigment more pliable it and it's moving around the surface, stretching out further, almost feathering out a lot of these lines. I really like the way they are. So I'm not going to put Warner on all of the watercolor pencil marks, just the winds that I think need to be softened or emphasized. - I started with my largest leaf first because I wanted to make sure that they know how it's gonna look against the rest of the painting. But when you're first starting out, you may feel more comfortable, starting with the smaller ones until you get the hang of how it's working. And then you can approach the larger leaves. And like that effect, I just want to add a little bit on to the stem as well. A little bit of water to make it up. There we go. I like that. Leave queen a bit. Let's go on to the large red one. Add some detail ing on it as well. Um, the leaf is red, so if I use a red pencil Cran. It's not going to show up very well. So I'm going to switch to a magenta because that's a bit darker value and it will add some pot. I have some agenda in here, so it's not gonna be completely foreign to this picture. And all I'm doing is just adding a little bit of shadow to the vein ing. Once again taking that out to the tip, bring this one out to the tip, where have another vein intersecting. It'll skip over that area, come around it out to the tip. There are a lot of nice things already going on with this particular leave, so we don't want to overdo it. I'm just breaking out the large areas that have, when color in them add a little bit of the shadow down here in the crease. Okay, Samos with the green will come along and just soften some of those edges. Switch to a larger brush. Now I want to apply a little more water and work a little more quickly, just softening those. If you like the look of them, you can skip this step entirely and just leave it as ISS. But I wanted to add just a little more detail, especially on my larger leaves that are more near the surface. In terms of perspective, the things that are closer to the service will have more detail in them, more contrast between light and dark, and the farther you go back, then things blur a little bit more and there's less detail on them. So when I'm doing this watercolor pencil cry on detail ing, I'm going to make sure to do the leaves that are near the surface. So how about this leaf next? And, um, we've got that nice green in there and some purple, so I'll use a green color for the shadowing. Here's my reference. The veins in these leaves the vein in the centres very straight, but the beans, uh, after that, are curved a lot. I would just add that shape in here. If you outline everything, it's going to be, um, a less sophisticated picture is going to be more cartoonish. So the areas of weight and we're definitely going toe want Teoh soften some of these lines , just blending that back into the lead. The reason for adding the lines where it did is to give the illusion of a shadow along the pains. Okay, there we go. Um, this leaf here is very similar to the leaf. We just finished. So we'll use the same color. I want to put a little bit of a curve in this main stem. All right, so gain to remind you the veins in this one are quick curved. I wouldn't. Looking for in my painting is where it got lighter areas, come around those areas and incorporate. That is part of my design. Wet that, to soften the effect, which you may notice is they have a tendency to wet one side more than the other. Trying to keep a really in a sharp edge on one side and the name blending it on the other side. This gives more of an illusion of a shadow home, okay? 10. Autumn Leaves: 10 Spray Bottles for Over Painting: Oh, no, What I want to do, we're almost finished with this. You can do detail as much details. You want across all of the leaves. I don't think that we're going to need that. Um, what do you want to do is clear my space and use the water bottles just to soften some of the backs. And Teoh given an overall tone. So we've got the under painting, which sort of which helped to tie everything together and harmonize it together is peeking through. Now what I want to do is a similar thing with an over painting. No, we're going to do is spray the edges. What you mean notices that some of the colors air bleeding out a little bit? That's just fine, because this is a really nice loose painting, and that's just going to add additional harmony to the picture. This is a fine mist water bottle. So these ones are dot water bottles. They spray and leave little dots all over the paper. This one is a fine mess. So it has even smaller dots. And what I'm gonna do is spray the edges. Teoh, pull the I further in on the paper. The color in this bottle is mostly a dark blue royal blue. But there's also some magenta in it there would have been to do is just pick up the areas that were the largest Droplets hit the page, softened those a little, And I'm also gonna spray it with a little bit more water on top again, My idea is to soften everything that I have here one of the center to stay, equate light and glowing, some just pulling some of the blue out of the center. I sprayed it with water and no, I'm lifting it with paper towel. Here we go. I really liking the way this is looking. However, I would like a little bit of additional orange and they don't have a spray bottle with orange in it. So what I'm going to do is just use my toothbrush, bring back in my palette. So I wet the toothbrush and I'm scrubbing it into or a queen Ah, Crotone Sienna. Now, just give it a few little sprays with the toothbrush to bring some warm color back in around the picture. Never to have you do something like this, it changes the mood of the picture entirely. Just a little bit of spray come in with some red as well. This is a great, bold paining. Now, if you're painting is too wet, what will be happening? As you're adding, these little dots of color is they'll all connect together and make a bit of a soupy mess so you can dry it in between layers before you keep building it up with these little bits of spray. Okay, there you have it. 11. Autumn Leaves: Summary: Wow. Okay, look at that. I burst. Explosion of color. I just want to go over with you All the steps that we took to get here because if you were just looking at this picture for the first time, you may think I'm just a beginner. I'm not going to be able to do that. However, we took it step by step and we broke down on the steps and we painted it lead by leave. Remember, you can do your painting by just having one or two leaves in the beginning and working up to it. But this was a wet on wet technique which allowed for the different colors to mingle well, we started off by going out and having a walk and collecting some leaves, bringing them back into the studio. And then we traced the leaf patterns around onto the page and came up with a fairly nice composition. But even after I had my composition set, as I was doing the leaves, I was still funding. I was filling in holes by using the same leaf in more than one place. You can put the leaves over to give yourself a different shape. Then What we did was a wet on wet technique. We started with the largest leaps first. Well, we used pencil crayon to establish where the veins were, and then we painted around some those. Some of the the pencil lines weren't as visible is the other ones. We came back in and re established them later. So after we did our wet on wet paintings, then we came back in with more watercolor pencil cran and re establish some of the vein ing we used splatter for our base layer. We use spray bottles. We went the whole surface first so again to get this nay soft look. Even though we've got incredibly vibrant colors, we have them all flowing very beautifully together by having a wet surface. So it was the wet surface that was connecting everything to remember these air water colors . And, uh, one of the key ingredients is water. So after we had mostly finished our painting, we just put on a few final touches with spray bottles. We used the yellow spray in the center, which gave it a really beautiful glow. And then we came in on the outside with Cem darker spray bottles and that helped to pull the light back into the center of our picture. And finally, I used the toothbrush when splatter painted around the edges to re establish some of the warmth with the orange color and the red color. So good luck with this project. It does pull together a lot of different techniques that we learned. Feel free to go back and try it as many times as you need to. I really look forward to seeing the results that you're going to get. So please, do you share those with me? Have fun. 12. Autumn Leaves: Variations: Hello again. I hope you enjoyed painting autumn leaves before we go. I wanted to show you one more variation of a different possible color scheme. This version was painted by my beautiful daughter Katrina, but as you can see, she used a lot of the same techniques that we've shown throughout this course. She's used assault technique, and she's used watercolor pencil crayons. She used a different color palette the night chose in my version of autumn leaves, but I think you'll find this one is absolutely beautiful as well. So there you go. I'm really looking forward to seeing your versions and what you do when you try this project. Keep those brushes wet, happy painting. 13. Autumn Leaves. Final words: Congratulations on completing this section. If you haven't already done so, I hope you check out our other classes in this series, watercolors with confidence. I hope you learned a lot with me. Now remember, this is an interactive class. So the best way to learn is to be painting alongside me. And don't feel that you have to do the exercise just once. Do it 3410 times, as many times as you need to in order to gain some confidence. I'm only a mere click away if you have any questions as you work through the courses. And also you can upload any of the artwork that you want to share. I really enjoy seeing it. Thanks for painting along with me. Keep those branches wet.