Mini Sunset Wild Plants Series with Watercolors | Geethu Chandramohan | Skillshare

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Mini Sunset Wild Plants Series with Watercolors

teacher avatar Geethu Chandramohan, Colourfulmystique - Watercolor Artist

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

17 Lessons (1h 41m)
    • 1. Welcome to the Class

    • 2. Art Supplies - Things You Will Need

    • 3. Watercolor Techniques - Let us learn the Basics

    • 4. Class Exercise - Wild Plants Part I

    • 5. Class Exercise - Wild Plants Part II

    • 6. Let Us Have a Look at All the Wild Plants

    • 7. Class Project - Prepping the paper and Paints

    • 8. Class Project - Painting the Background Part I

    • 9. Class Project - Painting the Background Part II

    • 10. Class Project - Painting the Sun

    • 11. Class Project - Wild Plants Silhouette 1

    • 12. Class Project - Wild Plants Silhouette 2

    • 13. Class Project - Wild Plants Silhouette 3

    • 14. Class Project - Wild Plants Silhouette 4

    • 15. Class Project - Wild Plants Silhouette 5

    • 16. Class Project Wild Plants Silhouette 6

    • 17. Final Thoughts and Thank You

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About This Class

Sunsets are one of the most beautiful phenomena in this world and they form the most spectacular backgrounds when it comes to watercolor paintings. This class will teach you the basic techniques of watercolors such as wet on wet and blending method to create gorgeous sunset background and then a series of wild plants and flowers silhouette which would enhance the mini paintings.

Most importantly, each wild plant technique focusses on a different brushstroke, thus giving you in-depth knowledge about the endless possibilities of your brushes and how to take control over them. 

The class also teaches you various ways to paint the different backgrounds, adding different wild plants silhouette to them along with a special one that captures the DSLR camera effect in the painting. 

Meet Your Teacher

Teacher Profile Image

Geethu Chandramohan

Colourfulmystique - Watercolor Artist


I am Geethu, an aerospace engineer by profession, passionate about aircrafts and flying. I am originally from the beautiful state Kerala in India but currently live and work in the UK with my husband and son. Art and painting relaxes me and keeps me going everyday. It is like therapy to my mind, soul and heart.

I started painting with watercolours when I was a child. I learnt by experimenting and by trying out on my own.

My passion for teaching comes from my mother who is a teacher and is an artist herself. I have invested a lot into learning more and more about painting because I believe that art is something which can create endless possibilities for you and give you a different attitude towards everything you see forever. 

My hardworking and pa... See full profile

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Fine Art Creative

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1. Welcome to the Class: Okay, Sunset and some prices are one off the most beautiful phenomenon in this world, and they also create the most spectacular backgrounds when it comes to watercolor paintings . Also, I get to use my yellow pains, which is my favorite color in this world. Hello, everyone. I'm g toe, I'm an artist and illustrative. Instead of United Kingdom, you can find all my art paintings and process videos in Instagram as comfrel mistake, we will be starting our class by learning the basic medical techniques to create gorgeous, vibrant sunset backgrounds such as a metal metal earing blending extra. After that, we will move on to learn different wild plans silhouettes that beginner to our backgrounds . To make the best sunset scenes we can imagine, we will be creating six mini sunset paintings on a single sheet by adding these wild plants to our sons and backgrounds. This class will day two different methods to create skies and clouds and even add the DSLR effect your paintings. At the end of this class, you will emerge with the CDs of beautiful paintings that you can cherish forever. So, without any further ado, let's jump straight into the class 2. Art Supplies - Things You Will Need: let us discuss all the art supplies that evening for this class In this class, I will be using this cheap drop of paper. This is 440 gs in rough, 100% cotton paper. As you can see, it's really big. I would really recommend 100% cotton people for this class and then also you will need a board by nuking 60 paper on Do this is again this panel that I'm using So the backside off it will be fixing my people onto it. We would need a board rather than these are first or a table because there was a technique that we would talk to lift the paper. You can also use a different type of 100% cotton people that you have with you. For example, this is Archie's 100% cotton paper. On it is 300 GSM gold breasts, paper over time with experience, I have found that watercolor techniques are best achieved own 100% gotten people. So I would suggest that you try this exercise on the glass projects on 100% cotton paper, such as from Archie's orgy trumpet. But don't be worried if you don't have it. You can also attempt it with different watercolor paper. After all, it's all about painting on learning the techniques that matters. We will also need masking tape to tape our paper own. Do the board that we're using. I will be using two different types of masking deep pier one, which is very thin for separating the paintings on the larger one for the borders next water bill. A ballot to mix your rained on watercolor Baines off course. Each of the colors that are amusing. I will be discussing them in a different lesson. Don't worry. If you don't have the exact same watercolors from the same brand, you can use whatever ran that. You have only used the same colors to achieve the best results. Watercolor brushes. These are the two main Russians that we will be using for this class. The 1st 1 is a size four brush from silver Black Velvet Series on the 2nd 1 is a three slash zero brush from brust role. Apart from that, we will also need a large fresh. I will be using this size 12 brush a pencil, Do Marty son any razor in case we need to drop it off two jars of water, one for taking fresh clear water and fresh paint onto a brushes on the other for washing our Russia's clean, which will eventually make this jar tone in tow. Modica Lor like here. This is why we need another fresh, clear water. Otherwise we will be mixing the muddy water with our new pains. 3. Watercolor Techniques - Let us learn the Basics: I will now show you the watercolor techniques that we will be learning in this class. The first technique that we're going to learn is wet own Rhett. So the first word refers to the brush that ace the brush that we're using and because we didn't water, it will be bet on the surface that we pinned on is thesis word, which here is the paper I have dipped. The brush into the water on die will apply the water onto the people so that the people becomes wet when he apply water to the people on put wet paint on top Off it, it will become a vet on vet technique. Now we will add pained do the red paper. So I'm taking Indian yellow paint on my brush now has bet paint and as soon as I apply the paint onto the people, it spreads on. This is the best thing about this technique. Now we will apply the paint evenly on the surface that we have applied the water. We have to apply the pained all over the area where we applied the water. Andi, After this is done, we will learn how we can apply more layers on top of this, with the same bet on red technique. So next I'm taking Indian gold paint on and applying these in small strokes from the side towards the inside. And then as we go towards the bottom, we will apply smaller strokes so you can see that my pains are vet on. Also, the paper is still wet from the pains that I did just before with the Indian yellow. So we're just adding more layers on top off it, and this is still wet on wet technique. Then, on top of this, I will add the second lier using Venetian dread you can use in color that you have for this for this exercise and just going to show you how weaken build some basic clouds. This is just for the exercise, so you can see as I go towards the bottom, I'm making smaller strokes on the pain spreading. So this is a vet only technique on basic layering method. Next we will learn how we can do wet on wet blending. So again I will apply water onto the whole. Off the rectangle that I have made here, it is easier to blend the colors when there is water on the paper because it will blend smoothly a device we would have to work on a whole different level and faster if we have to blend. Once we have applied the water, I'm taking Indian gold and I'm going to start from the top. Onda, we have to meet these swift left and right movements so we can see and going left, right, left right within the rectangle that I have made. Usually we would take the paper down with tape on all the four sides. But since this is a class exercise, I'm just showing you how it's done. So you can see as I go towards the boredom I have less pigment on my brush and I have blended it smoothly at the bottom. After that, we take finish in red and we start from the bottom and go upwards in the same left and rights with movement that we learned. And you can see there that in the middle it has blend smoothly both the colors the nation read on Indian gold. If we wanted to be darker, we can apply more being on top off it and lend it again. So the key important point here is that we shouldn't stop midway. When we're doing the blending thing, we should go either upwards or downwards, but go all the way up to where? The point. We want thes office to be blended. That is the key important thing. Because if we stop midway, we might form blooms. Andi, it is that simple. 4. Class Exercise - Wild Plants Part I: 40 wild plans. These are the two brushes that I will be using. This is a size force of a black velvet brush. You can use a smaller size if you have. But within my simple Blackwell recollection, this is thes small is that I have on. You can see that it has a really nice pointed tip. I use it a lot for the Daily works because of its point of death. On the other. One I will be using is desperate Stroll round size three slash zero. This is also very useful. As you can see because of the pointed tips, I will be showing you all the wild plans techniques with these do brushes. This lesson is about practicing the wild plants before we move into the class projects. So this is sepia on. This is vanish in red. On These are the two colors that we'll be using today for this class exercise along with burnt umber. This class exercise is very important because we will learn different types of brushstrokes on used a potential off a brushes to the maximum. All these different strokes will help you improve your hand movements and rush control when painting, you learned how to make thin lines and the girl lines as well. So once we master that, we can move on to the glass project. I have picked up sepia paint on, and the tip off the brush is the key to make thin lines, so we load concentrated color onto the tip off the brush. Then using the tip off the brush, we will make the lines. So this is how you can hold the brush to get control off the tip area. Then, using only the tip on without pressing too much onto the paper, people start to draw the lines from the bottom upwards, using the dip again. We will make smaller branches from the main stem that we made, so we will add smaller branches at random places on. Make sure that we started brunch from the main stem. I'm not the other way around. Oh, note how I'm beginning a pained onto the tip off the brush because that is what we're mostly using. One. Steve branches are done. We can make thes small strokes to get the leaves. It's again using the tip on making these small brush strokes. I will show you how it is done on the sheet of paper. So using the tip off the brush, touch the tip and then press a bit on lift off. So if this is the line, touch the tip press on, lift off on. We have to make sure that it is smaller towards the top, that this tapering towards the top. So I'll show you again with this line touching the tip and then pressing a bit down and then lift off. So that is the brush movement that we have to do. So repeat this. Andi, make it thicker at the bottom on dinner as it is going towards the top. So this is what we will be doing for all these small branches that we have made. Oh, soon a. We will add the corn sheet vast leaves onto all the branches that we made. Once we master the brush stroke, it was fairly simple. Okay, we could leave some off the branches as it is and not make any gone shape. Please onto it because it would make the wild plans. Look, Morial next of evil adds, um, leaves on to the wild plant, so I will show you how it is done on this thin line, so it is basically using the tip again. So load up your brush nicely with the paint, then from the main stem. Start using the dip and then press the brush down as you move and then lift again so you can see in the middle. It's got thickness on and towards the outside esten. Then you can make it bend toe a different angle on, do the same stroke again to get to leave. So it's pressing down and then lifting slowly so that to get the shape and then doing the same in a different direction or different angle, we can add one more towards the left side. You can see now we will move on to the second wild plant that I assure you, I'm going to be using vanish in red for this Andi using the tip off the brush again, we will make the dinner lines starting from the bottom on upwards. Then for this, we're going to use the same brush stroke, but rather old worth e tried side. This is just to imply that there is wind blowing from the left side. Do the right, So all the corn leaves are towards the right. So I've ensure you. If this is the branch, then we will make thes smaller straws towards the right side, Ticker at the bottom, but tapering towards the top. But obviously we can't leave the left side blank because there will be some towards the left side. But most of it will be towards the right side. Oh, that is what we will do. All of the's smaller gone grass to it to see you right side and then some towards the left side so that it doesn't seem like a straight line on the left. I would also show you a way where if we do make a mistake, we can correct it. So for example, on this line, let's say we start making the corn grass. But then accidentally, we forgot that we had to tapering towards the dark. But it is all right. We just have to extend the line a bit more upwards on start to taper it at the top again. It is just that this grass will be a bit longer. That's it. But that is how we can correct our own mistakes when we're doing this. So for this one, keep adding all the con grass towards the top. Andi tapering as you move towards the top on. That's it. Let's add some grass at the bottom as well. So for the grass, we will be using upward motion. That is, from the bottom side of the paper, towards the top. Like this with the tip off the brush. When we do these kinds of movements, you can see that it is a bit thicker at the bottom on dinner at the top. But rather if we were to do the same stroke starting from up towards the bottom, we even see that we are unable to achieve dinner part at the top. Which is why, when we have been doing grass, we have to start from the bottom on go upwards, which will give us the dinner dog part of the grass exactly as we want it. I'm just going to add a little bit of base here just for fun, and that's it. 5. Class Exercise - Wild Plants Part II: Okay. Now we will move on to the third technique. For the third technique, I will be using sepia again. Andi, I have switched to the breast row three slash zero round brush for this again using the tip off the brush, we will start to make lines from the bottom towards the top. Oh, you might have understood by now that when we using the tip off the brush, we get dinner lines. Then we will add branches at random places. Next is the most important part. That is adding the leaves. So this is basically simple. It is using the tip off the brush. I'll show you so use the dip, fresh stone and lift off. So you see, So we fly pressure on the brush, touch the tip, then press the whole off the brush downwards and then lift off so that we get the shape Onda. We can do this in different directions just like these. So that is how the shape off the leaves will be formed. So keep practicing this in different directions on onto the branches that we made. We will add the leaves in different directions. Some of these can overlap the branches as well, because it will not always be towards the left or towards the right. It can be right in front off it as well. This is really a fun exercise because we get to make different shapes using just our brush . I really love making these leaves because it's so much fun to watch the different brush strokes status in different directions, how they make different kinds of leaves. Andi, I'm very sure that after this glass exercise, you will have a good control over how you lift off your brush. Now we will move on to the fourth wild plant that I will show you. I have such back to the size force of a black velvet brush. Andi, I have made a thin line using the depth. Now we will start to make the leaf, so using the dip, then press the brush downwards on make the same stroke just like we learned in the first wildlands. One that is the same kind of leave. But for this one will be doing it at a different angle than the one on the top. That's it. It's just similar. We're making the leaves in the shape. Justo depict how the leaf might be twisted. Just like in the picture about this is just an example picture. So you knew how it looks. Now we've had the corn at the top using banned number. I'm going to make the corn. So it is again thicker at the bottom. Andi dinner as we go towards the top. So this is the first layer using burned number and then on top off it, we will add sepia, but only in the middle. This one is to depict the sun rays from behind. So all the issues that are on the outside part will be lighter, which is why we are d burned number. But on the inside, it will be darker. Toe Tepic Dick nous No, for the 5th 1 again using the tip off the brush, we will make smaller lines. Always remember, it should be from the bottom towards the dark. This one is fairly simple. At the dope, we will add small spikes protruding outside off the stem in the shape off a cigar. So it is only at the top having the cigar shaped stem spikes towards the outside. These type off Bush is known as bull rush. It does seem a letter the one that you see above keep adding Thesiger shaped heads onto the top off the cleaner lines between mate A. Zay said This one is quite easy to do. Andi, that is old. For the next one, we will have a single stem on. This is the closer view off wild firm. So from the main stem, we will have Brancheau's towards the F side note. I'm using the tip off the brush on making these drugs. Then using Indian gold, I'm going to add smaller leaves again ticker at the bottom on day Barington, As I go towards the top, make the strokes outwards from the branch that is from the inside towards the outside. As you can see, Andi, as I said, it will be thicker at the bottom. On dinner at the top, I will show you how this is done. So it is basically using the tip off the brush and then pressing and lifting off. But doing it in ah, faster manner so we don't have to be carefully doing this is to get the shape exactly right . It's just doing it randomly using the tip on lifting off so little ad Indian gold toe all the branches that we made. Now we will repeat the process with disappear so adding superior own to the top off the Indian gold so that some parts off Indian goals will be seen through. Underneath. This will act like sunlight is falling on some off the parts off the fern, so that which is why it appears lighter. So the Indian goal is what will make thes on light appear through our fun. On the darker sepia is where the sunlight is not falling in vehicle. Releasing the silhouette off the fun Oh, it is the same truth just like we applied for the Indian Gould, but slightly make the sepia ones smaller so that the Indian gold is visible underneath it. After that, we will make some smaller branches on the main stem so that it doesn't look so thin. And now the last well planned that I will show you is similar to the 3rd 1 that we did. But instead of using the brush crow sized three slash zero brush, I will be using my silver black velvet brush Size four. Andi, I'm also using the nation right here. So using the tip again first, we will draw the lines from the bottom. After that, it is the leaves. So remember we didn't leaves with the brush tro brush. But this time we will do it with the civil black velvet brush. And you can see that the late leaves shapes are exactly the same, but slightly bigger. Because this is a size four brush, you can see and compare both the lease See the size of the leaves. The top one is smaller and the bottom one is slightly larger. Oh, so the process is fairly the same. Using the tip of the brush, we pressed down the whole of the brush and then lift off on we get these leaves. So we will do this in different directions. Andi, that is all. I hope that this class exercise really helps you with your brush strokes and how you can control the use off your brushes on different hand movements. So once you must do this, we can move on to the class projects on Do you can make gorgeous sunsets with the's wild plans as cigarettes inside them. Oh, 6. Let Us Have a Look at All the Wild Plants: Okay. Here is all the different types of wild plants that we learned in the glass exercise. All of these would look great when painted honors on said Oh son, Rice background. This one over here even has sunlight reflected part on the need Onda also the different shapes Because of two different rushes here in our class project we will be doing something similar. This is a set of many paintings that I made. As you can see, this one is this silver it a tasty 1st 1 Thesiger and one is basically the shape but pointing upwards that is without the wind effect. The 3rd 1 is this one on the larger one is this one. This one in the middle is exactly same method as this one That is this one over here. I just have added more leaves on baker and densely use at the bottom part Over here. Andi Lastly this one is again similar to this one. But just that I have extended this part towards the bottom here. But you can see how these wildflowers are so adorable when we added to us and said background So this is what is going to be our class project for today 7. Class Project - Prepping the paper and Paints: Okay, let us begin our class project. So in this class, I will be using these two different types of tapes. One of them is slightly thinner and it's around. Boy, nine centimeters on dis winners, 1.8 centimeters sticker. So the larger one I will be using for taping down my paper onto the board on all the four sides. It is better to take them down on to a board or any larger God board that you may have, because there is one technique where we'll have to lift the paper so that there is a bit of gravity effect. I have used the backside of a canvas panel here. Now we will have to divide the paper into six different sections. So vivid measure on dMarc, the six different sections on. Once you have done that, we will take using these more tape. But don't worry if you don't have a smaller as I stay. If you can just use the same one. The only thing is that you will have ah, taker space between the different squares. That's all. But I hope that's all right. So once we have finished taping down the paper, let's look at thes colors. So these other colors that we will be using first is Indian yellow Indian gold. These are from white nights, then burned. Um, better said Bill on finally vanish in vet So thes Arthuis Five colors that we will be using for this last project before we start painting, prepping or pains is really important. So which is why we have to get all the colors ready whichever colors we're going to use in our painting. So I'm squeezing out pained onto my ceramic ballot over here. Onda, as you can see my pains on already. 8. Class Project - Painting the Background Part I: Okay, Let us now start with the background for the first mini painting. We will be using bet on that technique. So let us apply water first onto the surface of the paper. Once we have finished applying the water all over the surface, people start applying paint here I'm using in Daniel, apply Indian yellow all over the surface of the people where we have applied the water here . It is easier to apply on. We don't have to be careful about the edges because we have taped it after applying the first layer. Then we will move on to the second layer that is applying Indian gold. So taking a bit off Indian gold, we will apply it on the left side. Onda words the inside we believe a gap in the sender. This is where the sun is going to be. So keep making these drugs with your brushes. Remember that we're still working with the wet on wet technique. So we have to work faster before the water dries on the paper. This is why I always 100% Cotton paper is the most important when it comes to watercolor painting. Once we have finished with the Indian gold. We will go with the next layer again, which is burned number. So I'm going to apply band number on the top in the form of small clouds. This is again bet on the technique. My paper is still red. This is because I'm using 100% cotton people, so make smaller clouds at the bottom. After that, we will move on to the next color with a sepia so applying on top off the already existing clouds that we painted. It is always better to work from the light. Agulla toothy, darker color because we cannot make it lighter after we have made a darker which is by first we start of the Indian yellow, then Indian gold after that burned number, then sepia. In this way we will be adding more and more layers on the top to give it the exact color that we need. Using banned amber, we will add more shapes to the clouds. There is no specific rule or specific way as to how we should make the clouds. They're just random. Andi, I'm making different shapes as and where the brush takes me. So this is all just random exactly as you want it. But take note off the large chunk off Indian yellow that I have kept as it is. This is where the lightest portion off our painting will be. Where the sun goes then at the bottom, V will add more or stock a tone that s sepia. So keep adding more darker and darker tones towards the bottom side. Quark on adding more layers as you please using Indian gold band Amber on sepia. As you can see here, I'm adding more off in gold paint two areas where I feel it is very less. Now we will move on to the 2nd 1 while the 1st 1 dries, even start by applying water all over the surface off the second square area. Once we have done that, I'm going to start with Indian Gould. This one is going to be a combination of Indian gold on definition dread. So first I'm applying Indian gold. It is very important to apply water first because that way our paint will spread on blend together nicely as you can see and making these with left and right movement so that I get very nice texture on the surface of my people. The's second color that we will add on to this one is Venetian red. So while the paper is still red with Bill admonition, read on to the top. Don't worry. If you don't have a nation dread, you can use any other red. But if you want a similar color, you can makes a very lighter tone off brown with red on it will give a darker shade just like vanish in red. So apply addition red on the top off the Indian gold in the form of smaller clouds. Onda department part. I'm applying the whole off the area, but starting with lighter tones first and then gradually, you can increase the color if we want. And now, as you can see, I'm moving towards the darker Don't status that is taking more darker. Don't offer nation red and applying nicked on top that is old for the second background. Now we will move on to the tired one again. This is going to be using the wet on wet technique, but on my technique is always the best for painting backgrounds, so I'm applying water all over the surface off the third square now after that, starting with Indian yellow, I'm applying, starting from the bottom on working towards the top. As you can see, work your way upwards from the bottom using Indian yellow. Then, from the top, we will start adding Indian gold on blended nicely with the Indian yellow. So starting from the top now I'm painting with Indian gold. So this is the vet on vet blending that dreaded in the class exercise. Remember, we have to make this with left and right movements on not to stop midway or anything so that we do not. For many blooms just keep blending together nicely. The intern Yellow and the Indian Gould Oh oh, now at the bottom, piled on top off the Indian yellow area, we will add Indian gold on the top and work on adding more layers on the dock. Remember that this is all wet on wet technique, so we're building the bottom part off our picture. The next we will takes ammunition, read on added on top off the Indian yellow. But as you can see, I'm taking a very lighter tone so that it will mix with the Indian yellow at the bottom on blend together to give a very lighter or in shade. After that, we can work on adding more layers on the top. Okay, next we will at the cloud suite burned number toe. Add the clouds on dope off the Indian gold area. At the top on deform the shapes just like clouds. It can be in any random manner. Remember, we're just trying to create different backgrounds or for arsenal. Read off the wild plants so it can be in any random way that you prefer. Oh, okay. Once this is finished, we will move on to the next video. Maybe we'll paint the other three backgrounds. 9. Class Project - Painting the Background Part II: Okay, Moving on to the fourth background, we will start with applying water again all over the surface, off the paper, Then starting with in Daniel. Oh, we will add it onto the paper. This background starts with Indian yellow again. So on the whole of the paper where we have applied the water, we will apply Indian yellow first. Next, we will add Indian yellow on the top. You might have understood by now that Indian yellow Indian gold, the nation red burned number and sepia thes five colors are the most important. When painting sunsets. You can also use different shades of brown or different sheets off yellow For this. For these many painting series off sense, it's. These are the five colors that I prefer mostly on. The key important thing is that we have to apply it in different methods status. Sometimes the clouds are using munition read. Sometimes the clouds are using Indian yellow band timber and sepia. So all we have to do is mix and match these different colors to make different, vibrant backgrounds. That's all. I'm going to leave this space around here lighter because that's where my son is going to be in this painting. Oh oh, adding burned number to the top. So first I started with Indian yellow than Indian gold and then moved on to adding band number on the top. Here at the base part, I'm going to make it a bit more darker. So this is where my wild plants will go. We will add more color to the bottom that is using sepia, so adding more darker brown to the bottom part. Okay, so keep adding more sepia. Two important part on toe. It's the middle there. I'm blending both sepia on band number together because I want this area to be lighter. Now we will move on to the 5th 1 starting by applying the water again to the whole off. My people remember that we have to apply the water evenly on then here I'm starting with Indian yellow again. So on this one, I'm going to do ah semi circular shape. So first I started Indian yellow and then towards the top off it, I'm mixing Indian gold again in the shape off a semi circle. So this is exactly the same blending that we learned. But instead of going from the left or right in the same swift motion. Rather than that we're gonna do a semi circular blending, That's it. And then to the top, I'm going to be adding vanish in red. Then, using vanish in dread, we will fill the rest off the semi circular part. Remember that we have to blend this in the form of a semi circle. That's all so darker tones at the top. Onda, as you reach the words the Indian gold or we have to be careful, is that you blend in the form of a semi circle. As you can see, my brush stroke is moving from the left to the right and from the right to the left. But in a semi circular motion. Oh, okay. This background is really simple. On all there is is to make the semi circular blending off the three colors that as Indian yellow Indian gold on Venetian dread, and now finally moving on to the sixth and last background off our class project, we start with applying water and then using Indian gold first. Oh, we will apply the whole off the paper with Indian gold. After that, we will start with burned number. So using burnt umber beeville at thes small texture towards the bottom side off the Indian goal that we applied at the top, we will take burned number. Andi applied at the topside, but we will let it flow down. So in order to make it flow down, people slightly tilt the board where we have tape the paper. This is why I said it is easier to tape it onto a board rather than onto our table or surface. If you had taped it onto our guard board or aboard, it's easier to give it this angle and build it so that due to gravity, the war development will flow down on blend together nicely. I would like to remind you again that this is a vet on vet technique on the paper stays wet for a longer duration of time only because the paper is 100% cotton paper. So when you're using what the colors, we have to make sure that our paper is the best. Ad is 100% cotton paper, so always try to invest in watercolor paper rather than brushes are pains. Now that is all the 46 backgrounds done 10. Class Project - Painting the Sun: Okay. In this lesson, we will focus on adding son to our backgrounds. So this is a circular ruler that I have, as he considers circular in shape and has thes different circles with different measurements. This is ideal when we have to draw the sons in all these squares. So here I'm going to be using this circle here toe add ah, circle owned to the background So you can see I've made a circle on the space that I had left behind for the sun. Similarly, we will add a circle toe all our paintings. This will be where the sun will be so focused on drawing the circle on all the areas where we left it lighter Now to paint view off the sun's I will be using this wash paint. So this is white gorge pain from Windsor and Newton on This is what I use mostly when I have to paint on top of for two colors with white. So I'm just going to squeeze out a bit of the white beamed onto this. Don't worry. If you don't have a right goer Spain. You can also use whitewater colors. But just remember that you have to apply a very concentrated version for the color to become visible on top off the yellow that we have applied This process is fairly simple. All we have to do is pained in these circles that we have drawn with white wash or right watercolors. Now, for this next one, we will add a red sun So we will apply Vanish in red on the circle that re drivel. Oh, so now on to the DOD one, we will apply with whitewash again. As I said, this part off the painting crosses is really easy. And I really forgot to say one thing is adding the sun's own two are painting. This has to be done once the background there s completely dried. Otherwise our white paint with mixed together with the yellows on we will not be able to pain toothy son for the 5th 1 again, we will use vanish in red for the sun. So you might have understood by now, wherever I have used finish in dread as a dominant background, I'm using red color to make the sun and for the others amusing, right? Gosh paint. Now we can move on to the next lesson where we will start painting their silhouettes off the wild plans onto our backgrounds 11. Class Project - Wild Plants Silhouette 1: okay. We have to wait for the sun to dry before we can start painting. Because we do not want it to spread out if we accidentally being turned up off it. So we will start with the first wildflower that we learned during the techniques Lesson. Andi, remember, we have to use the tip off the brush for making the lines, holding it in this direction. So using the tip will make the straight lines. This is exactly as we land in the techniques lesson. And remember that thespian next to the sun on also over the sun. We will not be painting with sepia, but we have to give a lighter. Don't do it for painting the branches, the leaves on the stem. Remember, the class exercise that did it on dit is exactly similar to it. So sit back on. Enjoy the bending process. Okay? As you can see, I have included the full painting crosses over here so you can sit back on pained along with me, adding these wildflowers onto the backgrounds that we just made because the painting process is exactly similar to what we have learned in the class exercise on the techniques lesson, I have increased the speed of the video very slightly. Oh, adding the second wild plant now on day. One thing we have to remember is that the don't part off the stem is what should be dinner . So in case if we make bigger lines at the top, we have to ensure that any line towards the Porton part should be ticker than that. So we should add more thickness toe the bottom part. Oh, keep adding the small cone shaped while plans on day can all overlap each other. Don't try to make it separate. That would not make it look really. In reality, there would be overlapping into mix together. So that is what we will do here and now the leaf. So remember using the dip, then press down the whole of the brush lift off, and then towards a different angle, I'm going to add another vile plan. Toe up, See right side over here. Oh, - keep adding as many branches and as many gone, she believes, as you want. There is no specific rule for this. Just follow according to your wish. Oh oh, and now we will add on top off the sun. So because the sun is white, it would be reflecting some part off the leaves, so we would have to add a lighter dune do it, which is why we will not be using sepia, but rather we will use burned number so that it is a lighter brown shade on top off the sunny areas. Onda, also towards the lighter areas of the picture, use light brown for the lighter leaves on branches on that's it. 12. Class Project - Wild Plants Silhouette 2: now let us move on through the second cigarette. First, I will add a base with sepia, so just make these more tiny hills at the bottom. It's Apia. It can also represent the ground. So rather than making a flat, try to add bits of texture here and there. And that's it. Small, tiny heels. Montri finished with the ground. Then we will move on to adding that in lines with the tip off the brush. So this is the second exercise technique that we learned in the class exercise. Okay, we will make thinner lines starting from the bottom on. Moved towards the top on day. Should be off Vader's heights. Oh, okay. Once the system, we will start toe had the wind blown fern leaves onto our thinner lines that we drew. So remember this is all facing towards the right side because it appears as if wind is flowing from the left side and making it moved words the right side. But remember that we have to add a tiny little bit towards the left side so that it doesn't appear straight on. Also, be careful that these flu only used they have to be ticker at the bottom part on it has to taper down on go dinner towards the top. - Oh , okay. Oh, okay. Okay. Repeat this procedure for all the stem that we have made. Oh. Oh, - Okay . Oh. Oh, Okay. Oh, because we don't want to leave the ground part to be empty. Let us add some cross at the bottom. So remember how I showed you in the class exercise where we have to start from the bottom on, move our brush towards the top. So these are upward strokes where we really paint the grass with. In this way, we will be getting dinner lines at the top and digger at the bottom. And you can add some more off. Different if you want. If you think that it looks kind of empty, - isn't it Simple guys, once we're done adding, and that's it 13. Class Project - Wild Plants Silhouette 3: Okay, let us now move on. Do the 3rd 1 which has now completely dried on. This is the one baby will be using the prostrate or brush the size three slash zero. So starting with sepia at deporting part, I'm going to add tiny hills at the bottom again or they ground for this. I'm going to make it slightly angled towards the left side that is more at the left side unless they're on the right side. And remember, for all of the e cigarettes were using sepia color concentrated dark, superior so that we get it all no similar to black. Then we will start adding the lines with the tip off the brush. Professional Arturs to note, usually use black in their paintings on. They try to use darker tones off different color such a Spain scree or sepia or brown shades to get a darker version of black. Or they usually mixed black using different colors. It also gives the painting and attractiveness Onda really look rather than using black. This is the main reason why I'm using sepia so you can use our darker shade off brown if you don't have sepia. Oh, okay, - Once we have finished adding all the stems, we will start to add the leaves again. This is exactly as we learned in the class. Exercise or we have to do is using the tip off the brush. Then press the whole of the brush down on lift off. That is what gives the shape off the leaves. This is one of my favorite brushstrokes. I love making these leaves with different kinds off brushes that I own. Andi, remember that we have to make these leaves in different directions. They all should not be facing the same direction. So some off them get me towards the top, some downwards, some towards the left and right. So just make them randomly toe all the different directions on that is what makes them look . Really. Oh, okay. Also, remember all of the leaves will not be from the mean stem. So using their tip off the brush, we have to draw some branches outwards on. Then the leaves at the top. Off the branches you can see I'm drawing a branch No than at the top. I drew a leaf. Then I've added more leaves toe that branch. Oh, do some off the branches. I'm adding multiple leaves. So a mixture of all these techniques that is leaves on the main stem adding more branches and then leaves multiple leaves on the same drunk. All of the's, when mixed together is what makes it look a static on riel. Okay. Oh. Oh, Okay. Okay. Now for the area over the sun, we have to use a lighter shade, which is why I'm taking Indian yellow on. As you can see, I'm painting over the white wash that I applied with Indian yellow. This is because thes sunlight is reflected off that leave, and it appears more lighter than the rest of them. Oh, and also to Tepic some off the leaves. That may appear as if facing the other direction that IHS towards the paper. We can draw it with using this Indian gold. And once we have finished making all these leaves deterred silhouette sunset painting is done 14. Class Project - Wild Plants Silhouette 4: Okay, Moving on toe, the Fords illiterate. Now this is going to be a bit tricky on different. I want to add the DSLR effect own to this painting which will have something in the background that is blurred. So for that first we will apply water over the existing beings that we already have. But careful to avoid thes son so that the white does not blend in. Then, using burnt number, I will add some leaves in the background so you can see that it spreads a bit, but it appears as if it is blurred. So when it dries, we will get the decent or effect. So now my paper has completely right and you can see that dealer that we just added seems blurred in the background on then on top off that using sepia, I'm making the still wet. So I have made the stem first and then adding the leaves in the different direction. Oh, keep adding the different lease smaller and bigger ones now for this'll Eve, you can see I have made a slight lead dinner in the middle because it will appear as if it has bean twisted. Remember the picture I showed during the class exercise. So that is how this leaf waas uh, we will add more celebrate leaves onto the painting now, using burnt umber will start adding the corn at the top for the main stem. Remember, it has to taper towards the stop Andi thicker at the bottom. Oh, we've allowed one more towards the right side. And for this I'm going to make the corn a bit longer and then lastly, owned up off the burnt umber, we will ads appear to give it the effect of sunlight. That s t burned number Bill act as thes Andres being reflected off the side. And what's the center? We will have the denser areas, which is why we're painting with sepia. 15. Class Project - Wild Plants Silhouette 5: Okay, that is now move on to the 5th 1 Using sepia again. I'm going to draw dinner lines on This is the bull rush plan that I showed you where we will have cigar shaped heads at the top. So first of all, we'll start adding these thinner lines of which will be the stem off the plant. So we will have to add them in different heights for this painting. Remember, It is okay to overlap. Arm, drop off this on your pick. ISTEA son here is red in color and not white. So it's not reflecting much off the light. Okay. Oh, I think I will add a base to this painting because somehow it appears as if the grass and funds are growing out of nowhere. So I'm just adding superior at the bottom to give ground to the painting. Okay, - I'm going to add more grass and weeks at the bottom. Oh, now I'm going to add Thesiger shaped heads to the hunches or these names. So these are in the form off. Ah, shape off a secret or a still Inder. But on duty paper, it appears a bit rectangular. So that's what we're doing here? Remember the glass exercise where we learned how to paint this? Oh, okay. We will be adding thes. Cigar shaped had still most off the stems. Adding details own to a painting is one of the most time consuming ones, but yet so it's satisfying. Oh, - also , remember, earthy stem can be in different directions here. There is no effect off the you wind, so they all do not have to be in one direction. So just try to make it crossing each other so that they look really Oh, okay. You can also adds more leaves to some off them. And once you're satisfied, tweet Toby, your why it's plans are you can move on to the next one. 16. Class Project Wild Plants Silhouette 6: Okay, moving on to the final one. I'm using my silver black velvet size for brush. Andi drawing the main line. So this is one where there was a single wild plan. Fun or leave Andi which had the sunlight effect on all the branches of believes. Oh, so using sepia people add all the branches or all these them off the leaves towards the left side. So this is again as if there is a wind effect where all the leaves are blowing two words. They left side. Okay, now, this is exactly like in the class exercise. As you can see, I have already applied Indian gold onto the leaves, just like we did in the class exercise. Actually, what happened right here is that I forgot to click the record button. Andi. I only realized after reaching here that it was not recording, but luckily, and thankfully, we have a class exercise which focuses, or exactly how the system on how the strokes are. So we don't have to worry about it. You, If you have followed the class exercise, this will be fairly easy for you to follow. Using Indian gold, I'm adding the phone leaves in these trucks for learning these drugs. You can refer to the class exercise where I have clearly explained how we will be doing This also observed where I have made the ones at the bottom and once at the top, darker on the ones in the middle lighter, the sales speakers of the effect of the sun where it will be more lighter, closer to the area where the sun is now on top off the Indian gold, we will apply sepia, So we will be doing the same kind of strokes again. But this time it will be a bit smaller than the ones that be applied using Indian gold. Oh, this will make it appear as if the Indian cool part is being seen from underneath the sepia . So this is what gives it the sunlight reflected surface that is the's on light effect. So it seems as if for some off the leaves, thes and light is being reflected. That is why we applied Indian gold at first. Oh, okay. Oh, okay. For this silver it all we have to do is first apply Indian gold Andi paint all the least than on top off it we will be using sepia and runs. You finished with this? We can add small dining brown just towards the right side so that it doesn't look empty on the right side. Oh, Oh, - okay . As you can see, I'm adding small, tiny branches towards the right side because, I don't know wanted to be empty. Once you're satisfied with what you have done, the final painting is done. 17. Final Thoughts and Thank You: Okay. Now, this is the most exciting part of the painting at this peeling off the tape. So we will know, be love. Each off the tapes on, we can see how beautiful our painting has allowed. We always have to remember that we have to peel off the tape away from the painting. But it's kind of difficult when we have paintings both on the left, on the right side, we might accidentally dare the paper, as you can see, right? No, some part of the paper is speeding off, so we have to be very careful. But I have a simple trick to show you how you can avoid this as well. So when you're feeling off the tape, try toe pinch the tape in the middle That this towards the middle. Pinch the tape. So this way, both the sides off the tape will be away from the painting. So do you see? I'm changing the tape in the middle bit by bit and people So the part where we have pinched will be facing away from both the paintings that is the one on the top and the one on the bottom side. So this is how you can remove the tape when we have paintings on both sides. You can see how perfectly I have got the borders because I have been removing the tape away from the paper. So I'm doing this very carefully and slowly and see how the middle part of stand out now for the site. It doesn't matter. All we have to do is take it off, facing away from the paper that is towards the outside and that's all and done. Have a look at our final painting and marvel at the beautiful, gorgeous sunset Zilu. It's that we have made using wild plants. Now I want to show you some off the cute little paintings that I did, using the same techniques and methods. So these are some Polaroid paintings that I made, so if you don't have large paper, you can also make them on the smaller sheets separately instead of a large big one. See, I also made a card out off it, so this is just a paper. I bend it in half, and I made the painting on the front side on this one. Over here is my absolute favorite somehow, because there's yellow and red in it. It kind of makes it very attractive to my eyes. There are a wide variety of uses for these many paintings. As you can see, I have hung them onto a thread. Andi, I have attached them onto my bedroom wall. Andi, I have also added tiny lights onto it so that at night when I turn on the lights, it makes my paintings look beautiful. This was taken during the day because it was hard to capture in the camera during the night with the lights on. But trust me, guys, it's really, really beautiful. Thank you so much for watching my class. I hope that you have enjoyed painting these malls and setting things. If you do like my class, please leave reviews so that people like you can find my class downscale share. If you do drive these paintings on, want to post them on social media? Don't forget to tag me. My instagram handle is colorful mystique. I would love to share your paintings on my stories once again. Thank you so much for watching my class