6 Easy Fall Watercolor Paintings – Autumn Theme for Beginners

1. Welcome to The Class: As the air turns crisp and the color of nature begins to glow, it's time to slow down, breathe, and paint the beauty of fall. Welcome to six easy fall watercolor paintings, Autumn theme for beginners. Hi, everyone. I am Manohari, an artist, an art educator, and I'm so happy to welcome you to my cozy watercolor class. I have been painting for several years, and I truly believe that art has a beautiful way of calming mind and connecting us with simple moment. Through my class, I love helping others with the same peaceful shot, creating art that feels warm, personal, and full of art. In this class, we will be celebrating the season of fall with six easy watercolor projects, perfect for beginners or anyone who wants to unwind and paint along. In this class, together, we will paint a tiny forage mushroom, a glowing pumpkin, a delicious pumpkin pie, a cozy pumpkin jam jar, a radiant maple leaf, finally, a charming autumn houser under by golden trees. Each painting is designed to help you relax, explore colour and enjoy the soft flowing beauty of it on wet watercolor. You learn how to create smooth blends, layer glowing autumn tones, and add simple details that bring warmth and life to your art. Each lesson is slow paced, relaxing and filmed in real time, so you can paint comfortably with me step by step. By the end of this class, you will have six beautiful fall paintings ready to frame, gift or decorative space, and most importantly, you will gain the confidence to continue exploring watercolor with joy and ease. So light a candle, make yourself a cup of tea, and let's paint together as we welcome the golden season of creativity. 2. Materials & Colour Palette: Before we begin painting, let's go through all the materials you will need for this cozy autumn watercolor class. I'll be painting on Arch's cold pressed watercolor paper, 100% cotton and 300 GSM. This paper holds water beautifully and allows the colors to flow gently, giving the soft glowing texture we love when wet-on-wet watercolor. I'll be using ten by 14 in sheet and painting all six projects together on the same paper. It's a lovely way to create a little autumn collection on one page. For paints, I am using a Korean branded Shinhan PWC, professional watercolors. They are rich in pigment, transparent and blend smoothly, which makes them perfect for capturing the gentle tones of fall. My color palette includes yellow hooker, burnt sienna, burnt umber, Brown der, brilliant orange, vermilion hue, Indian yellow, paints gray, and sap green for those earthy muted accent. For brushes, I'll be using the silver brush black velvet 3,000 is serious. A size eight round brush for washes and large areas, a size four or six for layering and midsized details. These breasts holds a lot of water and have a beautiful spring, making them easy to control for soft washes and fine lines. But don't worry if you don't have the same supplies, please feel free to use whatever watercolor paints, papers, or brushes you already have. It's your creativity and joy that matters most. The techniques I'll be sharing you will work with any good watercolor materials. You will need a mixing palette. Two jars of clean water. One for rinsing your breast, and one for clean washes, and a tissue or paper towel to blot or lift off excess paint. Keep a pencil and eraser ready for light sketching. Use masking fluid for any highlights. Use masking tape to secure your paper edges neatly on the board. I've also attached a downloadable outline file for all six projects. You can print them or trace them lightly onto your watercolor paper before we start. That's all you need. Simple materials, warm colors, and your creative sprint. Ready to bring the magic of autumn to life on paper. So gather your supplies, prepare your outlines, and let's begin our first fall painting together. 3. Mushroom: Hey, everyone today, we'll paint a dreamy mushroom using the wet-on-wet technique. Get your mushroom outline ready from the downloadable file. We are going to use brown mida, scarlet lake, brilliant orange. Paints gray and burnt umber. Before we start, let's test our colors. These five will form the foundation of our entire painting. See how each look on paper. Vibrant, warm, brilliant orange for a light warm basin. Warm scarlet red tone creates dark maroon for cap shadows, deep muted reddish brown madder for rich rest for the top section of the mushroom. Deep warm brown umber for a warm rich mid tone on mushroom stem. Deep blue gray for cool shadows. If you want crisp white spots, apply masking fluid to those shapes now and let it dry fully. If you prefer to paint the spots later, skip masking and plan to add them with white gouach at the end. Always keep the pencil lines soft. Don't press hard. Refer to the downloadable picture for the outline in the project and resources section. Once it's completely dried, for the first to wash, wet the mushroom cap area with clean water evenly to paint using the wet-on-wet technique. Make sure the water doesn't go outside the line. Wet-on-wet technique helps you move from light to dark smoothly, and you can watch how colors interact naturally, something you can't get with opaque mediums. Not dripping wet, it should be shiny. Load your brush with brilliant orange. Apply the color evenly across the cap. While still wet, you can drop in a slightly thicker, brilliant orange near the edges. Make sure the middle is lighter. If not, take out the excess color using a clean dry brush. The warm orange glow will shine through later layers and make the mushroom look natural, not flat. Using scarlet lake, start adding colors from the top and edges of the cap. Let it softly blend into the orange base. Don't cover the orange completely. This is the mid tone layer. It adds body and volume. Leave the lower curve of the cap slightly lighter so it look rounded. For the last layer, use brown madder to create realistic shadows and depth. Apply the colors to the underside of the cap, which is the shadow area. Also around the edges where the cap curves away from the light. This final layer sculpts the mushroom. It shows where the light heats and hides. Keep layering until it gets darker. Finally, add brown umber to give the deepest shadow and soften the edges slightly with a clean damp brush so the shadow blends smoothly. Mix of brown madder plus burnt umber gives a rich chocolate tone for the top of the mushroom capper. Lightly with the stem area with clean water, just enough for a shiny surface. Mix a very diluted burnt umber, which is a light tea washer. Drop it gently into the wet paper and apply it around the stem. Leave the center apart for light fall. Let it partially dry so that the shine fades, but the paper is still slightly damp. Mix a medium burnt umber with less water this time. Drop it along one side of the stem and lightly drag the tip of a brush vertically with burnt umber to mimic stem lines. Use a mid tone of the same hue to paint underneath the first half of the stem. Following that, mimic the stem lines using the same mid tone from bottom to top. Add a touch of paints gray to give extra depth. Add a darker hue. If the top of the cap feels lighter after it dries, it's up to your painting. Same way, paint the stem, which is below the cap, drop the color gently into the wet area, remove excess color from the right below, and let the pigment flow down naturally. It will create a soft vertical gradient. Use medium burnt umber, drop it along one side of the stem, shape the folded area. With a thicker bunt umbertuch the darkest areas near the base and under the cap. To paint a small mushroom using a wet-on-wet technique, float diluted brilliant orange, drop it onto the cap area gently, let it spread naturally. Second layer with scarlet leg while the surface is still wet. Following that add brown madder and burnt umber to the deep tone are on the cap. Also, to give the deepest shadow. For the stem, use a light burnt umber wash and drop in more pigment to all the sides to give a dark and perfect cylindrical look. While the cap is still wet, add a touch of burnt umber near the underside of the cap. It will spread slightly and create a soft shadow, if needed, add a tiny touch of pain screen to form a darker base and darken the underside shadow. Use a light burnt umber wash on both sides where the gills have to be placed. While the base dries with the entire leaf with clean water, load diluted brilliant orange. Drop it into the edges of the leaf. Make sure to give the edges proper shape and let it spread towards the center. While the surface is still shiny and wet, touch brown madder along the center of the leaf. Watch it softly merge with the orange. It will create glowing red rush tones. Lift a bit of brilliant orange with a damp brush where you want highlights. While it dries, we'll paint another leaf with the same technique. Mark the edges with an orange hue and fill the rest with deep brown madder. Drop a bit of brown madder in the lower part of the lobes for shadow. Use a rigor or small round brush and a diluted mix of burnt umber and paint gray to paint the gills as thin radiating strokes from the stem outwards. Very line thickness and lever few paler gaps, so they look natural. For the deepest shadow under the cap, use a stronger mix, which is more pain scrape plus burnt umber applied on wet on dry. Make a line under the cap to give depth and a deep shadow. Using the same hue with a rigor or pointed round brush, paint the inlines. By the time of drying, remove the masking fluid if you used it. Using a light burnt umber paint, paint the surface underneath the stem. While the base is still wet, load a mix of paints gray and touch it into the areas where you want cool shadows. Darken slightly near the base of each mushroom to anchor them. Use the tip of a small round or rigor brush and drop in a few upward flicks of paints gray into the still damp area. Grass blends gently without a half separate strokes. Hope you had fun exploring colors and techniques in watercolor. See you in the next class. Happy painting. 4. Pumpkin: Hello, everyone in today's schon will paint a beautiful cozy autumn pumpkin using only the wet on wet technique. Make ready the outline using the downloadable resources from the project section. Here are the four colors we'll be using today. Brilliant orange, brown madder, pains green, and sap green, our main pumpkin color, right, and cheerful, brilliant orange. Brown madder, a warm reddish brown that deepens the orange. Pains gray a cool neutral for soft shadows. And finally, sap green for the stem. Now we'll begin painting the bottom pumpkin, but only alternate segments first. This helps keep each section's edges soft but distinct. Wet the alternate three segments with clean water. Make sure it's evenly shining. While the paper is still shining, load your brush with brilliant orange, a light, watery mix. Drop the color into the middle of each pumpkin segment. Let it spread on its own. Don't brush too much. You'll see the color blooming beautifully. That's the magic of wet on wet. Take a slightly deeper tone of brilliant orange and apply it to the sides of each segment and take off the excess color from the middle using a dry brush to give a more shiny look. While still wet, add a bit of brown madder along the edges for shadow. Also the side of each segment and near the bottom edge, let it gently spread into the lighter center. Let's mix brown madder with a touch of paints gray for a darker tone. Use the tip of dress to drop this color along the grooves between segments and the shadow under the pumpkin. Repeat the process for every other segment, leaving gaps in between to dry. Drop the color, brilliant orange right into the center. Remove the excess color at the center for a shiny look if needed. Following that, add brown madder to mix of paints gray and add to the bottom and sides of the segments. Keep increasing the tone for a darker shadow. Using a pointed tip, take a deep tone and make a line in between the segments and at the bottom to create depth. Paint the remaining segment in the same way. Whit first, then drop brilliant orange, blend it with brown madder, remove the excess color for a shiny look and deepen with paints gray mix. Finally, add a line in between the segments and blend them evenly. Drop a deep mix of paints gray and brown madder to create a soft shadow and let it fade inward smoothly or just blend them evenly as per the pumpkin shape. Let the pumpkin dry fully before painting the one above it. This time, we'll paint the entire pumpkin wet on wet together to get a softer transition wet the whole top pumpkin shape evenly with clean water, drop brilliant orange across the middle areas. This first layer creates our warm glowing base. The wet paper will help it spread and soften automatically. Leave the very top pot slightly lighter for a gentle highlight. The paper and water are doing most of the blending. Next, we'll deepen the color on the sides and near the lower edge, add brown meter to the lower edge and let it bleed inwards. Touch this hue gently into the outer curve of each segment. Add a mix of brown madder with paints gray to make a rich, warm orange brown. That's this mix gently into the outer curves of each segment, and also the bottom edge where the stop pumpkin rests on the lower one. If you want the pumpkin to look more rounded, add a touch of this darker mix on one side only, either left or right. Drop a deep mix of paints gray and brown matter to create a soft shadow and let it fade inward smoothly. Repeat the process on the top of the pumpkin, blend them evenly as per the pumpkin ship to give a soft edge. Using a pointed tip, take a deep tone and make a line in between the segments and at the bottom to create depth. If you want a stronger contrast, add another drop of brown madder near the bottom while it's still glossy. Now, for the final touch, we'll use the sap green. Drop sap green in the base and middle. Add little paint gray to the shadow side. Let it blend softly to create natural gradient. Use a pointed tip brush to add a tiny swirl for the vein. So that's a final product. Thank you for watching. See you at our next Casi autumn painting session. 5. Pumpkin Pie: Welcome, everyone. Today, we'll paint a warm and cozy pumpkin pie slicer. Before we begin painting, make sure your sketch is ready. Find the reference in the project session. This project is perfect for learning. Soft blens warm tone with just three beautiful colors, which is yellow ochre, bun sienna, and pinscrey. I'm going to use a black velvet silver brush around six with a pointed taper. Yellow Ochre for the base color for the pie filling and crust, gives the golden baked warm. B sienna for the rich caramel tone and brown crust areiasm Pink gray for the soft shadow at the crust around the plate and the whipped cream. We'll begin with the filling area. Using a clean brush, apply an even chain of water to the pie filling area. The surface should appear glossy, but without pizza. Drop a dilute wash of yellow ocher into the damp which let the wash shuttle. Take a little darker yellow ochre with less water this time and apply it to the corners of the filling and give the shape where caramelization has to be placed. While still wet, load the brush with more concentrated burn sienna and drop it near the lower and upper edges where the filling is caramelized. Let it bloom into the ochre to create a soft gradation. Repeat the process with darker burn sienna this time. Mix a dark shadow, which is burn sienna plus a tiny bit of paints gray and drop it into the deepest folds and the underside of the filling and where the filling meets the crust. Now, apply clean water to the top filling and leave a small line in between for highlights. Apply masking fluid if you are not confident enough. Apply yellow ocher lightly into the wet area, starting from the top edge and spread it evenly. Let the paint move freely. Don't brush back and forth too much. Take a little darker yellow ochre with less water this time and apply it to the corners of the filling. While the surface is still wet, load a more concentrated mix of burn sienna, drop this gently towards the lower edge of the filling and near the whipped cream and the corners of the filling. Now to deepen the shadow, mix a tiny bit of pains great to create a soft warm shadow tone. Just a hint of pains great to add depth. Don't overuse it. We want the slice to stay warm and glowing. Prepare a very diluted paints gray for the plate and basin. With your pointed tip brush, apply the diluted pains gray directly on the dry paper to outline the plate's curved edge. Work confidently wet on dry gives you crisp edges, but blend it where you want softness. Add a little darker tone of pains gray just below the slice. To cast a shadow, apply a darker tone of paint screen right beneath the plate. The shadow should be darkest, right under the plate and fade gently away. Now, to paint the crust drop yellow occur gentry for the pas. Use a pointed tip brush to paint the crushed ridges using the lightest to darkest shade of Bnciena. Drop a bun sienna where the crust is browned. Now, for the whipped cream, apply a very light shade of burn sienna on the lower and the middle part of the cream swells or where the cream touches a warm pie filling, keep the upper peaks of the cream untouched. This warm tone helps the cream sit naturally on the pie, catching that soft reflected light from the filling. Once the burnsiena layer is fully dry, prepare a light pins grave wash for soft shadow. Apply it only to the underside of each cream fools or where one swells overlaps another. Notice how the cool gray against a warm base makes the cream looks real and three dimensional. If needed, add a tiny touch of paints gray mix right under the base of the cream for the natural shadow where it meets the pie. Our funk in pie become more natural and more realistic. Thank you for watching and meet me again in our next creative session. 6. Pumpkin jam Jar: Hi, everyone. In this lesson, we will be painting a yummy pumpkin jam jar using the wet on wet technique. We will focus on creating those soft color lenses, gentle fabric folds, and a warm autumn fell of homemade jam. We will be using yellow cur, burnt sienna, burnt umber, paints cream, brown matter, and sap cream. We will use masking fluid to preserve the highlights like the shiny reflection on the glass, the light spots on the tag, or any bright label details. This helps us get crisp white highlights without needing white paint later. Now let's take a quick look at our colour palette before we begin. This is yellow ochre. It gives a soft golden globe that works beautifully for our jam basin. Burn sienna adds that cooked caramel tone that makes the jam look real and thick. Here's burnt umber, which gives a lovely natural shadow tone and helps define the fabric texture. This is paints gray. It is perfect for painting the glass part of the char. This is brown matter. We will be using it for the tack and for the lettering on the label to add a soft contrast against the cloth background. And finally, sap green. We'll add this to the label design for the small design. First, let's wet the jam area evenly, make sure it looks shiny but not puddled. This prepares the surface for our soft color blensa. Load your brush with a diluted yellow ocher and gently touch it into the wet area, letting it spread naturally. This will be our glowing gay stone. Let the color move freely in the wet paper or just apply everywhere evenly. Now, wipe out the excess color using the dry brush only in the middle part. While the surface or still glossy, makes burn sienna a bit more concentrated and drop it along the bottom and sides of the jam areas. It will blend softly into the yellow and create a natural warm gradient. To add dip, add more dark burn sienna this time and place it in the top corners and the bottom corner for a deeper jam like look. This give jam the rich thick feel. Oh for the label background, lightly wet inside the label shape, take a light mix of burnt umber and apply it gently across the label area. This will form the warm paper tone underneath the text. Keep the color soft so that our lettering stands out clearly later. Coming to the cloth folding, begin by evenly wetting the cloth area with clean water. The surface should look shiny but not dripping. Now load your brush with a very diluted burnt umber, mostly water with just a touch of pigment. Gently drop it across the wet surface. This first wash forms the lightest tone and keeps the fabric feeling airy and soft. Let the pigment travel on its own. Avoid brushing too much. While the paper is still listening, pick up a thicker mix of burnt umber, a medium strength, touch this color along the bottom of each folds or near the rim of the jar. Watch how it spreads upwards into the lighter base, creating a smooth transition. Before the paper loses its shine, use a more concentrated burnt umber. Very little water this time. Drop this darker mix right into the deepest part of the folds or where the cloth tucks under itself. Let the pigment settle and bloom naturally. This gives you that rich dimensional look without any harsh lines. With a clean damp brush, slightly touch the edges of the darker areas to soften them. This keeps folds smooth and rounded. If any spot feels too heavy, gently lift a little color with your brush tip or tissue that instantly bring back the light. Now, leave the surface to dry naturally. Don't use a dryer at this stage. The slow drying keeps those beautiful soft transition and watercolor blooms. Now, for painting the bottle, gently rub off masking fluid with clean drive fingers or a soft eraser. Now, with the entire glass area with clean water, the surface should look evenly glossy, not too wet or puddle. Next load your brush with a very diluted paint screen, gently touch the brush into the wet paper, starting from the outer side of the bottle. Let the pigment flow inwards. When the surface is still glistening, prepare a medium strength paints gray, slightly thicker with less water. Drop this color along the darker side of the bottle under the rim and near the base. Notice how it softly spread into the first layer. This gives the bottle its round shape and gentle depth. Before the paper starts drying, makes a rich thick paints gray. This will be our darkest tone. Using the tip of your brush, trace a soft outline around the rim and edges of the bottle. The outline will blur slightly and merge into the lighter wash. Now to add depth inside the jam, prepare a thicker mix of burnt sienna using the tip of your round breast. Start adding soft curved lines inside the jam area. Follow the round shape of the jar that helps creates a sense of thickness in the jam. Let the darker burned sienna flow gently into the base color underneath. This gives a natural look of blending fruit inside the glass. Coming to the tag path, start by evenly wetting the entire tag area with clean water. Now, load your brush with a very diluted brown madder, mostly water with just a soft touch of pigment. Gently spread it across the wet surface. This first layer will give the tag a warm light tone. It is a base color. Prepare a medium strength brown madder. Drop this mix along the edges of the tag and near the string area to create depth. Keep everything blending softly. The wet on wet flow will do most of the work for you. Now, take a darker mix of brown madder with just a touch of pain screen. This deeper tone adds shadow and definition applied gently along the lower edge of the tag under the knots and near the cornice, where you want more contrast. Start with a medium mix of brown madder, just smooth enough to flow from the brush tip. Using a fine round brush, draw soft outline lines inside the label area. Keep your hands light so the lines stay natural and slightly varied. Now, using the same brown madder, write the word pumpkin across the center of the label. Use confident strokes, not too heavy and let the brush show slight variation in tone. Next, clean your brush and take a warm mix of yellow ochre. Using a round brush, write the word jam just below the title. Keep it lighter and smaller than the main word pumpkin. This adds a nice color contrast using the same colour, paint a tiny heart. Finally, mix sap green to a medium consistency. Use the tip of your brush to draw a thin borderline around the edges of the label. And that completes our label detailing. These warm natural tones tie the whole painting together beautifully. Thank you for watching and see you in the next autumn watercolor session. Happy painting. 7. Maple Leaf: Hi all today, we'll paint a single maple leaf. Begin with a soft pencil outline of the leaf. Refer to the downloadable file in the project and resources section. We are going to paint with just four colors Indian yellow, brilliant orange, brown medal, and finally, paints gray. Here's a Indian yellow, bright, warm, and great for center glow. Brilliant orange is our mid tone, which gives that autumn intensity. Round madder will be used to enrich edges and warm shadows. Paint gray is for cool, subtle shadowing, used sparingly to avoid muddiness. With the whole leaf evenly, you want a glossy surface that will accept blooms but not puddles that run. If a puddle forms, blood gently with a paper towel. With a round brush, pick up Indian yellow and drop it into the leaf center and around where you want the warm glow, let the pigment bloom outwards. Watch how it floats and spreads. This is the heart of the leafs glow. Do not brush hard. Gently touch pigment to the paper and lift off. Now that the paper is evenly wet and we have dropped Indian yellow in the center, we'll move to our main color, brilliant orange. Make sure your brace is medium sized and fully loaded with creamy consistency of paint, not watery, but not thick either. Touch the orange gently to the edges of the yellow area. Watch how the pigment spreads and softly blends into the yellow, creating a seamless transition. Don't drag your breast too much. Drop and gate the paint. The water will carry the color beautifully across the damp surface. Move outwards towards the edges of the leaf. The color will naturally fade lighter as the water disperses it. If you notice any harsh line between yellow and orange, rinse your breast, blot the excess water, and gently touch the boundary. This clean damp brush will act like a blender and soften the lines instantly. As you reach the outer edge and tip of the leaf, increase the pigment strength slightly. This gives a glowing gradient from warm yellow inside to rich orange on the outside. Work on one section at a time so the paper stays evenly wet. Let the paint travel and flow. Resist the urge to overctrol the spontaneous blending, which is what makes wet on wet painting so magical. Now we'll add depth and contrast using only brown madder. This pigment has a warm, earthy red tone that naturally deepens the oranges without losing their glow. Now, while the paper is still evenly wet, gently touch the brown madder to the outer edges and the tip of the leaf. Notice how it softly spread into the brilliant orange creating that natural burnt effect of an autumn leaf. Work section by section, drop small touches of color instead of brushing. Each area will form a slightly different pattern of blending, giving the leaf a very organic, realistic look, avoid overworking the areas. The charm of brown madder lies in its gentle transition. It gives warm depth and richness without needing multiple layers. Now, using a mix of brown madder and paint gray, using a small round brush, gently touch this mix to the outermost edges and tips of the leaf. Watch how it softly seeps into the wet surface, creating beautiful gradient of red brown fading into the orange beneath. You will instantly notice more definition and contrast as the leaf starts to pop up from the paper. Let it dry completely, and you will see those soft gradients settle beautifully into the paper fibers. We'll continue using the same color using a fine round brush, begin at the center vein and lightly draw it outwards towards each tip. Let your brush glide gently. Don't press too hard. Next, paint the smaller side veins branching from the center line. Make them lighter and thinner as they move outward. Remember, nature isn't perfect. Some leaves can curve slightly or fade halfway. That irregularity makes your leaf more organic. With the same color mix, apply a slightly stronger tone to paint the stem. You can deepen the very base of the stem with a touch of more paints gray for the gentle shadow transition. Thank you for watching. I hope you love creating this warm autumn maple leaf. See you again at our next watercolor session. Happy painting. 8. Autumn House: Hey, everyone. In our last session, we will be painting this cozy little autumn house from our six Easy fall painting. So get your sketch ready, and let's begin with the color Swetch before we start painting. The Outline model is available in your project and resources section. So we are going to use yellow c burn sienna, burnt umber, vermilion hue, sap green, and paints gray. Yellow ochre, which will be our base shade for the trees and light autumn tones. Now, burn sienna, a warm, earthy tone that adds richness to the autumn leaves and tree areas. We'll use vermilion hue, a bright, warm red and a mix of little burn sienna into it for depth and a cousi brick tone. Next, sap green. This will mix beautifully with yellow ochre to create soft natural green areas in foliage. Next, burnt umber. We'll use this for the house walls and the wooden window frames. It gives a soft natural contrast to the roof. Finally, paints gray. This will be for the window glass to create a calm, bluish gray reflection. Now our colors are ready and balanced for this autumn palette. Start by taking a medium round brush evenly with the entire area where your bushes and trees are sketched. Make sure the surface has a nice even shine, not too much water, just enough for the pigment to move freely. We have multiple bushes near each other. Divide them into two separate sections. We will paint them alternatively. First one, then skip on. Then the next. This way, the colors don't merge into each other too much and each bush keep its shape. For the base layer, pick up a yellow ochre and gently drop it into the wet paper. You will see the color spreading softly. This will form the warm golden undertone of the foliage. Cover most of the light areas with this shade, but leave some small gaps for the next color to blend in naturally. Next, take sap green while the paper is still wet. Drop it randomly, mostly on the upper and middle part of the bush and tree areas. Allow it to flow into the yellow ocher. Don't try to control it too much. Now we will bring in burn sienna, load your brush with a medium consistency mix, and start dropping it into the lower part of the bushes and on one side of each tree. This warm reddish brown shade gives the painting the rich autumn depth. Notice how it blends with the sap green to create a soft, earthy transition. Let's move on to the second alternate section of the bushes and trees. This time, we'll repeat the same step, but we'll be a bit more mindful of how the color blends between these two divisions. Let's begin with the Byston of yellow occur. Drop the color softly across this section, leaving little gaps here and there to keep it lively and airy. This will again form the glowing foundation of the autumn foiliage. Next, move on to sap green. Apply it while the yellow ochre is still wet, focus more of this green on the upper part of the bushes and some middle spots where light and shadow mates Let the two color mates gently. The natural blending will create those subtle olive and mossy tones typical of fall greenery. Now, pick up bunsiena. We will use it to bring back that autumn richness, drop the pigment into the lower and shaded side of each bushes. Letting it flow upwards slightly. Don't be tempted to mow your brush around too much. Let the paint work on its own. Finally, we'll deepen the tones at the base. Load your brush with more concentrated burnsiena slightly thicker in mix, gently tap this color along the bottom edges of the bushes and the darker side of the tree trunk. Now, for painting the roof, begin by wetting the entire roof area evenly with clean water. Take your time and make sure every corner is covered, especially along the edges where the roof meets the wall. Now, let's prepare a first color vermilion hue. It's a beautiful warm red orange shade that gives a perfect autumn warmth to the roof. Start by gently dropping the vermilion hue from the top ridges of the roof and let it spread naturally downwards. Avoid brushing too much. Just let the pigment flow on the damp paper. While the surface is still wet, we'll add some depth and shadow. Take a darker tone of vermilion hue. This gives us a deeper terracotta tone. Drop this darker color near the shadowed side of the roof, especially under the edges and around the bottom corners. Don't add any fine line details. We'll paint the terracotta roof tile texture later once this layer is completely dry. Now, while the roof is drying, we can move on to the wall area. This time, keep the paper slightly less wet than before. We want a gentle flow not to running for the wall color will use burnt umber as the main shade. Load your brush with a diluted mix of burnt umber and drop it across the wall, leaving a few lighter areas to such as sunlight. The soft tone of burnt umber will give a cozy earthy warmth to the house and balance beautiful with the red roof. Let the paint spread and settle naturally, forming those soft watercolor textures that makes the surface look organic and real. If you'd like a little variation, add a touch more pigment towards the base or corners while it's still damp. This will create subtle shading without any hard edges. We'll let both of these layers dry completely before we add the terracotta details on the roof and the wooden texture on the wall in our next step. Once this dries, we'll move on to the detailing stage and bring the textures to life. Load your brush with vermilion hue. Apply the color directly onto the paper, beginning at the top of the door and moving downwards with gentle even strokes. Cover the entire door evenly, keeping the brush strokes in the same direction. Now, move to the window porch, the small shade below the door. Now we'll add shadow and dark tones to the roof. For this, take burnt umber slightly thicken the mix. Apply this color along all four sides of the roof. The top ridge, both sloping sides and the bottom edge where the roof meets the wall. Using a fine tipped round brush, begin outlining the outer frame of the window. Work slowly and follow the edges carefully. The dry surface will help you get a clean, precise line without any spreading. Apply an even coat of burnt umber all around the frame to define its boundary. Make sure your strokes follow the structure, horizontal on the top and bottom, vertical on the sides to mimic the natural grains directions of foot. Once all the frames and divisions are done, take a moment to check for balance. The burnt umber should look rich and warm, matching the tones of the door and roof while still standing out against the wall color. If any edges looks too strong, you can slightly soften it with a clean damp brush to blend it slightly into the surrounding area. While this layer is drying, we'll paint the Terracotta roof details. Take a small amount of vermilion hue as your base, and then slowly add burn sienna to deepen the shade. Since we are working on details, make sure your brush has a fine point. Size two or four round brush works perfectly. The paper should be completely dry because we'll be using the wet on dry technique again here to get crisp tile like strokes. Now, begin painting small curved strokes across the roof area to represent the terracotta tile pattern. Stand from the top of the roof and move downwards following the natural slope. Each stroke should be slightly curved and parallel to the roof line, which helps create the illusion of rounded tiles. Leave tiny gaps of lighter vermilion between each rope to show where light hits the top edge of the tiles. The dry surface ensures every stroke stay distinct and visible, enhancing the tiles structure beautifully. Continue this pattern across the entire roof, adjusting your tone slightly between vermilion rich and burn SNR rich mixtures to create variation. This helps the roof feel lively and organic instead of flat and uniform. Once the entire terracotta detail is complete, take a step back and look at the transition, the soft vermilion base underneath with these deeper curved tile details on the top. Add a lot of charm and a warmth to the house. It's one of those small touches that makes the painting feels complete and full of life. Makes a diluted wash of paints gray, keep it transparent and cool in tone. After painting a light wash as a background, start by applying the wash diagonally across each window pane, one soft stroke in the top left corner, fading gently towards the opposite corner. A few small highlights unpainted to represent light reflection on the glass. This subtle variation gives the illusion of transparency. Now we'll refine the door frame and windows for extra realism. Using a darker shade of the base color, darken the areas where the two frame meets, especially at the corners underside of the frames. These spots naturally catch less light, so darkening them gives an instant three D feel. Keep the strokes fine and deliberate less is more here. You can also leave a few highlights along the top edge of the frame to show where light hits directly. These subtle details make your atom house feel inviting and realistic, even with just a few controlled layers. Now, we'll move on to one of the most charming parts of this painting, adding brick details to the wall. Make sure the wall area is completely dry. Using a burnt umber with a fine tipped brush, start by painting a small rectangular shape in neat rows across wall area. Each brick doesn't have to be perfect. In fact, a bit of irregularity makes them look more natural. If you prefer, you can first lightly mark the brick positions with your pencil sketch before painting over them. This simple offset pattern adds realism and structure. Keep the brush pressure light and reload your color frequently to maintain an even tone. When you are covered, the desired wall area start adding variation using a darker mix of burnt umber. Drop this darker tone into the lower edge or one corner of a few random bricks or all of them while the paint is still lightly damp. This subtle shading creates depth and makes the brick look uneven edged, full of texture and character. Now, paint the path stone and bushes on the porch using the same method that we learned earlier. To add a tree branch, take a darker mix of burnt umber, start painting using a nice pointed tip brush. Use confidence strokes to keep the branches looking organic and natural. Let them extend outward and upward, following the direction of tree shape we have already painted. Also give minute outlines for the branches. The soft touch ties everything together beautifully. And with that, our final autumn house painting and the last project in this fall series is complete. Thank you so much for joining me through each cozy, colourful painting. I hope these projects inspired you to keep creating and exploring watercolor with joy. See you soon in my next class and as always, happy painting. 9. Final Touch!: Now let's move on to our final touch, painting these four lovely berries that will complete our autumn collection. A with the wet-on-wet technique to keep the color soft and glowing. We'll be using brown madder for the berries, sap green for the leaves, and burnt umber for the stems. Let's start with the first berry lightly with the circle area with clean water, then drop in brown madder and just watch how beautifully the pigment flows. Add a little more colour to one edge to create the rounded juicy look and remember to leave a tiny highlight spot for a natural shine. Use the tip of your brush with burnt tamber to paint a thin, delicate stem and drop in sap green, letting it flow from the center outward. While it's still damp, add a slightly darker tone near the veins to create a soft texture. Now, using the same wet-on-wet method, let's paint the rest of the berries. Each project in this class holds its own little story, a blend of warm, calm, and the gentle magic we feel when autumn arrives. Through every breaststrokes, we have explored the richness of color, the softness of the wet-on-wet technique, and the quiet joy that watercolor brings. It's been such a lovely journey from painting glowing pumpkins and soft mushrooms to the falling leaves and these tiny berries that complete our composition so beautifully. We explored wet-on-wet and wet on dry techniques, learn to balance warm and cool tones, and discovered how simple details like a tiny highlights or a thin stem can bring so much depth and realism to our artwork. And more than anything, we have learned patients how to enjoy the slow calming rhythm of watercolor painting. As you finish your piece, take a moment to look at your collection, each artwork carrying its own little story of autumn. Whether it's a bright maple leaf, the rustic pumpkin pie or these delicate berries, they all remind us how beauty often lives in the smallest, quietest details. I hope as you painted along, you found moments of peace and inspiration and maybe discovered new ways to express your love for this season. Don't forget to share your finished project in this class gallery. I truly enjoyed seeing how each artist as their own touch to this art and themes. As the colours settle, you will notice how beautifully they blend together, warm red, gentle greens and earthy brown capturing the cozy feel of autumn perfectly. Now, step back and enjoy how these four berries bring the perfect finishing glow to your watercolor piece. Keep painting. Stay curious with your colors and remember every season brings a new story to tell through your art. 10. Thank You for Joining: And with that, we have reached the end of our cozy watercolor journey. I hope you truly enjoyed painting along with me, taking a little time to slow down, breathe, and capture the warmth of fall through your breaststroke. Each piece tells a small story of the season, and I hope they bring as much as joy they did to me while painting them. If you have completed your artwork, I'd love to see them. Please upload your crass projects right here in the project section. It's always so inspiring to see how each of you interprets the same theme in your own unique way. Your paintings might even inspire other students too. If you enjoy this class, it would mean so much if you could leave a review. It really helps others discover my classes, and it encourages me to keep creating more peaceful painting session for you. Don't forget to follow me here on Skillshare, so you'll be the first to know when my next class is released. I have many more cozy watercolor projects and seasonal themes planned, and I'd love for you to join me again. Thank you so much for painting with me today. I hope this class brought you calm confidence and a touch of autumn warmth. Until next time, keep painting, keep creating and always let your heart guide your heart. See you soon in my next class.