Transcripts
1. About this Class: Hey everyone, welcome to yet another class on painting watercolor patterns. And this time it's about all things. Fall. Autumn is such a beautiful season, and I've been lucky enough to witness it in all its glory. So what I've tried to do in this class is to capture that wavelength, those crisp leaves and all that beauty into these patterns. I'm ready. I'm an artist and educator from India. And in this class we are going to be in six beautiful patterns that you can post as postcards to your loved ones, or just try them out for the fun of painting patterns. As always, this is a beginner friendly class. So even if you have never tried watercolors or patterns, you're welcome to join them. I'll be covering all the basics about this medium and greed composition depths and tricks so that you can go on to create your own buttons as well. We'll be covering some greed fall elements over the course of six projects. And by the end of this class, you'll have six beautiful patterns for you to try out. So I hope you'll enjoy this class and join me on this fun adventure. So let's get started.
2. Materials Needed: Now for the materials of this class, you'll need watercolor paper. I'm using these postcards. These are 300 GSM and 100 percent coordinates. I'm using cold press version. Now, this is not a very extensive kind of watercolor class, so you won't be doing a lot of washes. So you can go for a slightly lower GSM paper as well. Anything that you have right now is works just fine. Just make sure that it's something that is 100 percent cotton because that'll help you with the techniques. But even if it is a 200 years and people that should do as well, because what we're going to do in this class is more on the illustration state. So all of them are not going to be really water-intensive. And as such, you don't need a very heavy GSM paper to start with. But the size of the paper is again, your choice. You could go with bookmark size people or even bigger paper if you'd like to try patent on bigger people for watercolors, I'm using the Daniel Smith professional grade beans. Now this is an illustration base class so you can go for any art agreed, supplies, something out it's greed is preferable. But even if you don't have them and you have students, please feel free to join in and I'll be sharing all the swatches and column exists in a separate section so that you can match them with whatever brand that you're using. For brushes, we lead a couple of round brushes. I'm using this postcard size people, so my brushes in comparison to this size. So I'm using a size 2, 4, and 6 from silver brush. You can go with any brand of brushes that you have. And the size will totally depend on the size of people that you'll be using. Now I do recommend having at least two brushes because there are a few patterns where we are mainly been big one element with the big brush and then adding in some details with another brush right away so that we can work with it. But you can always clean the brush in between these two washes and do it as well. So even if you have just one brush with a good tip, that's fine. And we need a pencil for some of the patterns where we're doing some outlines and then painting them. If you're somebody who likes to be directly without any sketching, you can directly go with the paint as well. But that's it. That's all the materials that you'll need for this class. So let's get started with the color palette.
3. Color Palette: Now staying true to the theme of this class, balanced color palette is going to be all things Paul. So these are the pattern that we're going to pick a book to share the colors that I have used in each of these patterns. Now most of them are very basic colors, so you're going to have them in any palette that you get in the market. So I'll just share it. Hears that he can easily match it with the brand that you have and we can get all set for the battery. So I'll start with the yellows. So we need one nice and cool yellow, something like a lemon yellow like this one. This is mainly for the leaves and flowers. We have used this other bees. So this is the lemon yellow from Daniel Smith. And then we need a warmer yellow as well. So I'm using the Hansa yellow medium. You could institute go for something that is more towards orange and yellow, that is more towards red and orange that is there in your palette. Or mix the yellow that you have with a dark red to get this kind of an orangeish yellow. And then we'll need a nice red. So I'm using a scarlet over here. So you can go for any vibrant red, which is, again, are nice and warm red. And then we need a cooler red or something on the doors of maroon. So for this, I'm using a perylene maroon. If you do not have all these reds, you can just go with whichever red you have. In all probability, you'll have scarlet over million in your palette. So you can use these to get the darker maroon. You can add a hint of blue to get a maroon. So that's thing with the Scarlet. If you add blue to them, you'll get shades of blue. Whereas if it's on the pink side like crimson, et cetera, then if you add blue to them, you get the purples. So to get a maroon, just add a hint of blue to whichever bright red that you have, like Scarlett of a billion. Then we have the burnt sienna and emphasis used in a lot of the patterns that we have over here. So a couple of brands that we need to get the fall vibe. So one of them is burnt sienna, and the other one is going to be burnt umber, which is a slightly darker brown. So if you don't have food in your Padlet, you can always go with whichever Brown you have. And how to add a hint of blue to get a darker brown like this. So you don't need to have all of these colors in your palette. You can try kind of mixing them with whatever colors you have. This is just to give you an idea of the colors I have used for all the projects. And last but not least, we'll have one green, so I'm using the sap green over here. Now I'll use green for the filler leaves, but it does add a nice park to the yellow, red, brown kind of palette that we have here. So I've just taken it in a few of the patterns to give it some nice pop. But that's it. Those are all the colors that we'll be using in this class. And I miss starting it in the materials, but we also need a white gel pen. Again, this is optional. I have a few patterns where I have added a few highlights using this gel pen. But if you don't have it, you can always skip this step. But that's the, that's the color palette and that extra material that I missed in the material section. So this is what we're going to use for all our projects. So let's get started with some basics.
4. Basic Techniques: In this section we're going to cover all the basics that you need to get started with these beautiful patterns. So starting with watercolor and very basic techniques, wet on wet and wet on dry. Now, wet on wet, as the name suggests, is when the people is wet, either with Berkeley or of water or with another layer of paint. And then you drop in another color and the blending with each of the wet on wet. So for example, here I have this red and I'll just drop in another color in here. And let's see what happens. So you can see that it just blends in, it bleeds into the other color. And in wet on wet, watercolor has a life of its own. It decides how it's going to flow. But on dry, on the other hand, is when the paper is dry and you're adding the details with a wet layer of paint. So we use wet on wet and wet on dry for all the lead dealing. Now in terms of screws, you'll see that most of our elements are either leaves or flowers, etc. So we need a few basic strokes when it comes to watercolors that you can try out. So with any brush that you have, try creating some straight lines. So just use the tip and tried to feed the finish line possible with your brush. Now this may differ from band-to-band and how good the tip of your brushes. But try these straight lines and these seekers, because that's what you'll be indeed to paint with. So once you know the C code, you can easily draw the circles, et cetera, that we're using in a lot of these fillers. And also in this pattern, you can see that we have drawn one and the base of it as just one big circle. So once you know the C code, you can draw a circle like this and fill it up. And it's much easier to do it this way. And it also helps you build up some muscle memory. So do try these out simple seekers and straight lines so that we can get started with the main patterns. And also in all of these patterns, you'll see that we have some fillers over here. So for the leaves, I'll just show you how I go about building these leaves. It's quite simple and it's fun, and it's also addictive. So you start with the slanted brush like this and press the brush and leave it. So we start with a thin line, then press it and leave it, and then figure out the other side and same manner. Now let me show you that one more time. So we start with a thin line, press the brush and lift it up slowly like this. And we do the same for the other side. So it's fine. And most of the times whenever I get a new beam, I just straight leaves with this and it's quite addictive. So I keep them. So these were the size of your brush. You'll get different sizes of leaves also based on how much pressure you apply, you could use a big brush and apply less pressure and get smaller leaves as well. But that's about it. That's how we're going to be in cleaved. And we'll be using the same motion to be in these flowers as well. So for the sunflowers, and we'll do something similar. So this is the center. Now I just pressed and leave it like this crest and leave it. So this is all I'm going to paint the petals for the sunflowers. It's fun. It's simple. So I hope you've enjoyed this. And we have another pattern in which we are building clouds. So there again, we're using the C code. So you can see that just by using the C stroke, you can beat all the petals one-by-one. And then for the central part here will be using the wet-on-wet technique. So while this is still bed, I'll add a darker black or blue at the center. And the way it will blend with the petals. And that's kind of the fun parts. So if I just add appeal, you'll see that it blends with the still read so beautifully and gives it a nice start. Now, after this is dry, you can of course add more details with Andre. This is one of the techniques that we're going to try out. Another great use of wet-on-wet is to build some texture on the leaves and the personal Bosch itself. For example, if I have a leaf over here, now by the time that dries, you can see that it becomes too boring or basic. So to add some life to this, you can simply add a darker value of this color or another dark color like this. Just drop it in and let it blend and let it form its own patterns. And that kind of gives a nice touch to beliefs. We have done this in Allah patterns. Wherever we have these bigger leaves, we had just done this wet on wet technique to add in some sort of a texture on the leaves. And can see that it looks much better than having a very clean mono color kind of. So that's it about the basics. Now, let's dive into some details about composing these patterns.
5. Composition Tips: In this section, I'm going to share a few tips and tricks about how I go about composing my patterns. Now, these are not hard and fast rules. These are just something that helped me in creating these patterns. So I always have a few main element and then a few filler elements. So the elements are the ones that you know, you have thought of at first. So in this case, the pumpkins are my main elements. And then I have a few other leaves that also as all of the elements, after you're done with the mean elements, you still have a lot of whitespace in your pattern. So this could be left as it is if you like it that way. But I kind of like to fill it up a little bit. And that is where these fillers come into picture and the kind of art, a lot of the patterns. So you can see that all these little dots, little leaves, et cetera, do add a lot to the pattern. And that's why I make sure that apart from the main elements, I also have some nice filler elements that are to the pattern. So in terms of composition, you have your basic rule of thirds and the focal points which are not really connected to painting itself, but are more about the visual appeal. So it could be the photographs, it could be anything that you are presenting visually. So when you have a painting or a pattern or anything, you can divide it into grids like this. So there are four points that get generated over here, and these are your focal point. So when you place your main elements somewhere around these points, you get automatically attracted to these elements. So it's just something that I follow that I prayed to please a few elements of view of my main elements on one of these points. So that may view is automatically attracted to these elements. And then of course you can add the pillars for the deal. So Populars, you could go with something like leaves, circles, triangles, or even swirls. Anything that can add to the overall composition works just fine. Something small, something not overpowering the main elements. So that is the key when it comes to pillows. And also, I usually tend to follow a law. So in the sense that I usually start from seed this side, the bottom left say that then kind of work my way up. But you can do this anyway. I mean, you can go from any site to any site, just make sure that there's certain rhythm or flow to the pattern. So you can just make sure that your mean elements follow a certain, certain clue that it could be anywhere. It may not really always start from the bottom left. That is just something I FOR loop, but feel free to experiment with this. And another thing that I follow is having incomplete elements at the edges. So this kind of gives the appeal that there is something beyond this deeper in terms of his patterns. I just have these little elements that are at the edge that are not really complete. Birth gives you certain continuities. So you can do this with any of the edges, any of the sides. Just add something like this. Makes you feel that there's more to this pattern than words, they're under speech. So that's the reason I leave a little bit of elements here and there. Also, when starting out with a pattern, you may really not be sure how the elements are going to look like. So I usually go with a small thumbnail and displease may mean elements and see how they blend well together with the pillars. So that kind of gives me an idea of how to please the elements. So for example, if you can have flowers like this, they look more like a joke, but okay, so just imagine there'd be the flowers. So we have these flowers over here. Then you can have a few leaves in between. And that gives you an idea of how this pattern is going to look like on the page. So then you can go ahead and add a few pillars and just be in this out. So I do create these little thumbnails because they help me in getting an idea of how the baton is going to look like eventually. But this is optional if you're going with a new pattern, maybe you can display out small thumbnails to get an idea of how it's going to look like. But that's it. So let's get started with our first project.
6. Project 1 : Fall Florals: All right, we start with our first project and this was going to be simple, kind of an underdamped minute project. So for this, I'm using the C code and drying this flower, the petals. I'm just doing this DAB and kind of motion. And why does it still work? I'll use another brush and adding some red at the center. Now you could use any dark red or maroon for this. And once you apply it at the center, you'll see that it kind of spreads onto the petals and gives a very nice effect. And I'm also dragging it a little bit like this so that I can create the separation on the bedroom. So you can just drag the color from the center and then use a bigger brush to just blend it in a little bit so that it doesn't create any hard edges. But that's it. That's how we're going to do this flower. So let's just try this out once again. So I'm going to add another one over here. Simple C strokes. We create these petals and then add in the red to blend in wet on wet. So here I'm trying to create that flow between my main elements. So this is still wet, so I'll just quickly add that darker maroon, red color and give it a little bit of direction on the petals so that we can create that secretion. And then I blend it with the yellow grass. Alright, so let's have another one over here. Same motion, the stroke. And while it's still wet, I drop in the red. We'll have around four or five of the main elements here in there. So we already had three. Now, this part has to be done for each flower individually because we need the blend to be wet on wet. So if you go around painting all the flowers together and then drop in red and center, it may not blend as easily as it is doing right now. So to get this kind of effect, you'll have to work on it, flower by flower. Adding another one over here. In the same manner, we start with the yellow and drop in the red, wet on wet. So you can see that having two brushes kind of the whole process because you do not have to wash your brush after every time you bend the petals are every time we've been central portion. So it's just easier to do it this way to have two brushes, one for the petals and 14 percent. So we have all our main element now via four of them and deciding a few here and there so that it kind of gives the sense of continuity. So we have a few incomplete main elements like this. I'm adding one hero and I'll add one at the top. Maybe one here as well. That one the top. These are just maybe add in one here as well. All right, I should stop with these. Okay, So for these I'll add the red ones together. So for the center, I'm just adding in one group because these were like half flowers, so you could just be in them in one go like this. But then again, it depends on the people you're using with your people just rang up paths. You can go for these one by one as well. Next, we'll let this dry so that we can get started with the next element, which is going to be the leaves. So I'm just going to give you some final touches. And then let's wait for these to dry and get started with the next layer. And once you people to try and start with the leaves, the leaves, I'll follow the same technique that I share. Things through, press and lift. So based on the size of the brush you're using, the CEO believes will change. So here I'm going for something like this, slightly smaller than my meal element, which is the Cloud. But still it's not like a filler. It's still kind of amine element over here because we only have very limited elements in this particular project. Now another fun thing to do is to paint your elements in different directions. Like in this case, I've been pointing in different directions because that kind of adds to the composition as well. When you beat everything in facing the same direction, it kind of makes it boring a little bit. But in case of the cloud was, there was nothing we could do, but that leaves we can play around with how the appalling so you can rotate your people so that you get the best angle to Pete. I always see that better or did the people then add an uncomfortable angle? So keep rotating your people and being these leaves at different angles so that it kind of makes the composition more interesting. I like how this is turning out to be. It's a simple, yet beautiful projects, so I hope you'll enjoy this. So we're on to our final details for the main elements. Here, I'm just adding a few more leaves. And then we think about adding the fillers. So I guess we're good with this. Let me just take another view where discreet people, alright, I think we are good. We just add the details in the center of the flowers. Once it is dry. And along with that, we'll add the finance. So for the pillows, I'm using the middle and color, the dark color and just painting these dots. Nothing fancy. And when pleasing these dots, just make sure that you're not holding them all together. So we already have a very good flow of the main elements. You have your leaves, you have your flowers. So you can just add in these small dots here and there so that it kind of bends up the species that is there between them. So it doesn't be lake MP or too sparse. The elements don't seem like they're too far away. So adding these small pillows just connect them together. So I'm just going to add these in all the places where you see kind of a little bit of whitespace, but not too many of them. We're not going to crowd the composition altogether. Here again, populace as well. You can add in a few incomplete circles that show that there's more to this pattern. So you can add them at the edges like this. But mainly the purpose of the pillars is to fill up the space that is with all these elements. So I'll just repeat my people again so that I don't end up smudging the ones that I've already painted. Continue adding. To add a bit of a darker color. You could start with something that is much more darker than what you did the first layer. And just add a few dots like this at the center. So it just kinda mix the yellow and red combination popes, who I'm adding a little bit of seeds for something like a sentence so that it kind of makes the other colors pop. And that's it. So that is our first project. There are quite some goo. It's super fun to try out and it's done under ten minutes. So I hope you will give us a try and see you in the next one.
7. Project 2 : Fall Leaves: Onto our next project. And in this one we're going to be in some beautiful leaves, four leaves. So here I'm going to sketch it a little bit and you can skip this step as well. And to strain to the ground how the compositions look, going to look like once being due. So I had created a small thumbnails. I just thought I'd go ahead and sketch it up a little bit just to mean leaves. And the rest of it, we can be indirectly with our watercolors. So just trying to figure out how the leaves are going to be pleased over hill. And we have another one here. So I'm just doing this curvy strokes so that you can get the leaves like this. And that's it. The leaves again, one more here maybe. So these are going to be our main element. Along with these, we'll add in a few more leaves like this. So this will be being dead lucky. I'm just making sure that we have all the central branches, the stem and please, so that's it. This is what we're going to paint now. To start with these leaves, we'll start with a light wash of burnt sienna. And then slowly, we want to add in more details on this wet on wet. Then this one has to be in DC paper is drying super fast. But if it is, you'll be able to stay in bed for awhile. You can consider maybe doing two or three leaves together as we matured and when to do it one by one for now. So I'll just add in the darker brown like this, just dropping it in WTO in there so that it kind of blends on it. And we move on to the next leaf in the same manner. So here, since we have already drawn it, I'm just being doing it alone. And I add them, the darker brown here as well. I feel that this worm dissolved, so I'm going to add a slightly darker brown on this one as well to the previously entered. So it just happens to be a slightly darker color than what the Beasley address. So you could go with a bond sienna and burnt umber combination, or simply add a little bit of dark blue to the buoyancy. And I have to get a darker brown so that we can add it on top of this and just let it blend red on red. I kind of like the brown spreads here. Now if you're not happy with, you can always give it a little bit of direction with the other brush. But I, for one light watercolor trace to find the week ago. So I just let it blend and bleed into the other layers and see what happens here. So yes, we are done with 30 beliefs and we're going to continue the same for the other leaves. Now, at this point, you can also play around with the values of the same brown. You can also have different values for different things. I kind of kept all the main elements in the same value. But you can always play around with this, but you don't need to stick to a single column or a single value for that matter. Just added a few darker values here and there just to make it more interesting onto our lastly and do the same thing. We start with the bone Tiana, and then drop it the darker burnt umber or of any darker brown for it to blend in together. Now we let this layer dry completely. You have a few details to add, but we'll do that once this layer is dry. In the meantime, we can start adding the next element. For this, we already have the stems and please just pin them all over the darker color. And I'm using a modal hill and painting these leaves. So I just kind of have this simple motion about this pressing the brush and leaving it so that it gives that impression of a. So the only reason I drew the stem beforehand was to get an idea of how much space I have between the mean elements to whether I can add a leaf like this or not. So I could get an idea about that. And then I ended up adding believes in this manner, simply just pressing the brush and leaving it like this. So this darker red or maroon color does add a nice contrast to the brown leaves that we have over here. And remember that we're going to have more. Once we are done with all these main elements, we're going to add a lot of females in here. And now you just wrap up all the main elements here. I love this brush and leave it. I kind of feel that this is empty, so we'll add another one over here. So this was not planned bird, I could see that we have a lot of space here. So we can just add a few extra elements like this. And another one here. And we're done with our main elements, at least the base layer of the main elements. Next, we'll be adding details on this once it's dry. But for now let's start with. So for the fillers, I'm using nice warm yellow. Adding these little circles. Again for fillers, you have to make sure that they did not do crowded and it went to school about the main elements here. So I'm trying to fill up the space that is between the main element, while at the same time not making them so much so that the data forget what the main element is. In most cases I'm leaving that little bit of white highlight. You can also add this using a wide-open drawn for now I'm just leaving it like this. Just looks fun to do this week. So I'm adding the rubbed, leaving that little whitespace and all the circles. Alright, ridden with the fillers as well. Now that the leaves have dried completely, we can start adding the details onto the leaves. Need a darker brown, something darker than what is already there on the leaves. So the second layer that we had applied wet on wet, you can use the same brown but much less water so that it's more pigment it. And now we can start adding the details on the leaves. Symbol means like this. So this is with a darker brown. So here's where you practice with street lanes will help. So once you have practice the thin stroke with a brush, it's easier to these little details on the leaves like the weeds or any such that you want to add to the elements. It really helps if you have control over the brush and draw straight lines with it, or rather used effectively. All right, so now I still feel that we could add a little bit. So I'm going to add darker, almost black. You could also go with indigo or a very dark. So I'm adding these smaller dots in between. So here we are trying to vary the size or the first one was quite bigger than this one. This one, I'm mainly making small dots or black or indigo. So it's just about adding a little bit more to the composition, to the pattern. Here you can see that as soon as you add those little black dots, that kind of brings the other elements into focus. And that's what I was trying to achieve, just not leave a lot of blanks. Whitespace. It works in case of some pattern, but it gives us some patterns. It's better to fill them up with some things that it kind of looks that everything is together. Turning the paper a little bit so that we can add in a few more. After this, I'm going to add a few highlights onto the leaves that we painted, just so that those a little bit of white highlight here. We already have those on the Big-O pillows for so good. But for these, I'm going to use the white gel pen and add these dots on the leaves. Just because they look fun. I like adding these white highlights. I always have been handy. So I just love to kind of highlight the ads when you add these little dots on to the main element, it's completely optional. You can also leave it as it is if you like it that way. I just like to add something like this or perhaps it up. That's our second project done, simply leaves and see you in the next one.
8. Project 3 : Fall Trees: In this project you're going to be in some beautiful palm trees. And it's going to be an illustration styles that will degrade the people intersections and being some trees like this. So this will be the first layer of trees. So I'm using the warm yellow. You could use any media law or something going towards orange and adding a slightly darker value right away while it's still wet. And then another one here. So it's like these imaginary sections that have made on the people. And I'm just making sure that we have a 13 in each section. And in the same manner for this one, we'll add some drops off, slightly darker color, darker value. And I'd been done other one over here. Same manner. Now, onto the top part. Again, we'll have a few elements that are not complete and a few of them that are proper complete trim. And then we have an incomplete element over here. So it kind of gives continuity. And that's a newbie. I'll add one here because it was quite weight. But that is it. We'll let this dry. Once it's dry, we are going to add the trunks to these trees. So for this, you can use a dark red or brown and just add a few strokes of the b's so that it looks like it's a tree with a drought. At this point they do look more orange popsicles or maybe the pumpkin popsicles. I'm not sure of that thing, but maybe I should copyright, but do look cute at this point. But we're going to add in a lot more details onto these trees. Also, another layer of trees on top of this. So it's all windfall it to please in someday. So for the next round of trees, I'm going to add these circular folds. So this will be the base layer of the trees. So this is again where your practice with these curves and circular strokes can help. Because you can easily meet these circles for the crease. You can also use a bigger brush that you don't have to work extra. And visitor can simply use a bigger brush to paint it as well. Hello, and adding a few more elements like the edges. And then we let this dry completely before the next step. 12 people as DRE, me start with the top layer of the trees. So for this, I'm just again using the brush and expressing it like this. So it is a motion similar to what we did in the previous project where we had those leaves, simply pressing the brush and lifting it up like this so that the tip does the work. And you're going to add this for all the red ones. Now we'll repeat this for all the elements, on the main elements, the red ones, the trees. So we'll just add in these details right away. You can keep repeating your people so that the angle is better. But essentially we're just doing this. We're just dabbing the brush like this and adding the leaves onto the street. So since you already have a clear of the red, you're just building upon that leg. Last one. So almost done with one main element, that is one of the queries. Now we'll work on the trees in the background, the yellow ones. For this again, I'm using a darker red and we will start with adding some lines to this tree. So here again, you will be using the practice that you do. The brush, just using the street lines. So this is where all these buttons on the screen. Now we repeat the same for the other. Simply making this leaf-like pattern on the on a pumpkin popsicles. As always. Make sure that brushing your teeth, you're actually enjoying the whole process because that's what patterns are for. These patterns are quite therapeutic when you paint them. So it really helps winding down off. So you can just choose any of these patterns or anything for that matter, any element. And try them, try these backbones. And I find them mentally than a beauty. So these patterns are trying as well. So we're on to the last two trees, creating these straight lines. Now we've missed adding the cranks to read. So I'm just adding the brown. They look more like lollipops, not popsicles anymore. By just adding the cranks through these. And I'll just quickly give this a minute to dry and then add the fellows. Once it is dry, we can start adding the for the fillers I'm using. And just painting these. Now, we're left with plenty of white area that can be filled up. And also these pillars need not be complete like I put in that. So half of it goes beyond the yellow. So you can also try something like this. The idea is to just make it more interesting. The whole pattern make it more interesting. So maybe I'll just add a logo around us so that another color, this one is still more on the boundary. So maybe I'll just add some yellow dots as well to lighten it up. You're done with one round of fellows. Now. Add another round. Yellow. So I'm just adding it like this. So these dots are smaller in comparison to what we did for the first round of fillers. The add so much to decomposition. So that's just loved adding these little yellow dots. Critiquing the people to get a better. We're just filling up the spaces between all these elements and the big affiliate, of course. And as a final touch, I'm going to add in a little bit of white dots on this red. I'm using my gel pen and just adding a few dots like this between the leaves that we had been. Just add a few dots like this. I hope you like. The next one.
9. Project 4 : Sunflowers: In this project, we're going to create yet another beautiful flowers, sunflowers, illustration style. So I'm adding the central part of all the flowers together. So this is kind of my placement exercise. I'm just deciding where to place the elements for the sunflowers are going to be here, the center that we have to be aligned. So we are almost done. So the idea behind this was to please the flowers so that I know exactly they're going to be. And to understand how much of a species will be left after we start painting the flowers. So this is going to be done a great start. And so I'm using a Guam yellow to start with. And then I'll add a slightly different yellow for the Doppler. Now I keep neglecting my people to get the better shot. For me. Personally, I prefer to be in this direction, so it's easier for me if I could just read the people and being around dance, Stieg and the drain to stretch my muscles to get a good angle. But that's all we're going to be in the base layer of the petals. So we start at the center. We let a little bit of color spread onto it as well and just press it and leave it just like leaves. Tutorial you might have seen. We mainly just start slow press. You can also vary the colors a little bit. Like if you wanted to go over different values of, you know, you can do that as well. Last one, we can start adding the next element, which I'm using a dry brush and just painting these little dots around the flower. Details onto the painting them around the flowers filling up the space on this one. We're done with this. We're going to let this dry completely and then start with the details. But for now the flowers have already. So we can start the next layer of petals on a slightly lighter yellow. And we're painting in the gaps that are left in the first round. So I'm just painting the petals, painted in the first layer and the people and trying to do one side. So we're simply filling up the species that we left in the first layer. We just adding the battles between them. But yet they look much prettier because they are lighter than the previous petals actually painted. So I'm done. Just start with the technique that we're using. All right, so we're done with the first set of main element. Now we'll start adding the details and pillows, et cetera, in the step. So first of all, I'll start with the fillers. I'm adding these little leaves as pillows on this particular packet. So again for the leaves and prayer calling, same motion. We start press it a little bit and then he pressed the other side as well. So I'm trying to fill up all the empty spaces that are left here. And you can see how beautiful that sap green looks with the yellow flowers, the flowers. So that's another reason, or green as one of the colors in the palette. Because when it comes to color, there's still a few leaves that are still green and it kind of adds to the overall color palette. So I just thought I'd go with these little green leaves as well. Now we need to add the stem using a darker brown to connect them all together like this. Let's get to the center. You can see that I'm just dabbing it. Central part of the flower like this. On to the last set of colors for this, I'm using a darker green. So you could mix your sap green with a little bit of indigo, Prussian blue, just to get a slightly darker green. And I'm adding back. Can also be black. You can choose any color for the pillow that you want, something that goes with this palette and fill it out. So I'm adding these extra pieces that we have in this pattern. The next one.
10. Project 5 : Mushrooms and Acorns: Onto our next project. And in this one thing, some mushrooms. For this again, I'm going to draw the outline for the mushrooms so that please men for these. And then we're going to be the adult cell. Have one over here. A little bit of an overview and maybe then please the other mushrooms similarly, go with my usual. I'm adding another one, this time, the bottom first, and then add the remaining part. Let's go ahead and add a few more mushrooms first, and then add a few of the cons. So these are going to be your main elements. Apart from that, we have a few fillers as well. Now adding icons here. So in between the space that we have between the mushrooms will add the overall shape like this. And of course we're going to be deadly. So this is mainly to place all the elements like this. So I'm again changing the direction of the current so that we have a little bit of variety in the pattern. If we keep all of the mushrooms and the constant the same direction, then kind of makes it monotonous and boring. So that's the reason I'm trying to change the direction. All right. We're done with the placement of the pattern and all the incomplete elements as well. Now Ellie, resistance quickly and we'll get started with the painting. So to start with the mushrooms, we're going to use very nice vibrant red. I'm using a scarlet over here. You could go with scarlet. Once you're done with me, add in a slightly darker onto this wet on wet. So this is to create a little bit of depth on the mushrooms to short source of light. So just dab it in here like this. I just fold the paper slightly over so that you can see the top mushroom is like this. So we added the first layer of red and then added the darker one side, depending on where you want to please, your source of light. And we repeat that for all the other mushrooms, we start with a lighter value of threads like something very masonry. And then we added the darker value to one side. So in my case I'm adding it to the right side like this. We're going to add some dots on top of it. But for now we're just doing the same steps, starting with dropping in the dark. The main element mushrooms over here. Adding the shadow, the darker red. Done. So next we'll start for that. I'm starting with a lighter brown at the beach. Like this. You could also go with yellow ocher or yellowish brown. And for all the cons together. For this, I'm using the same color, but maybe a lighter value. And just adding it. We don't have the mushrooms. Have it. I'm just adding it to dry. Once it's dry, we can start adding the rest of the details onto the mushrooms. So for this, I'm using a slightly darker brown. You could go with a bond. Now. I'm using the darker brown, slightly darker. Just like what we did. I'm using a darker brown. You can use a clean brush the other side so that no harsh edges over here. Simply using a clean brush and blending it. Now we get into adding the details. I'm just adding a few buttons like this with a slightly darker something that shows up on the color that you've used for. Now for the furloughs, we add in a few leaves, lighter yellow. So I'm going to call it oh, just a little bit of this and fill it in. We have some space like this. I meant with the yellow because it looks nice with that. But you can go with another color. You can also go with green if you want. We will also look really good. All right, we're done here and I'm going to let this dry now before starting with the next layer of furloughs. 12 people describe, we can start with adding this. I'm adding some simple circles of dots with a document. Looking for spaces where we have some extra white left. And also around the edges or corners like this. And Soviet. Another round of fellows almost. And I kinda like how it looks right now. We are yet to add a few more details to the mushrooms. And that'll be done using the white gel pen. So now that you're done with this one, maybe I'll wait a few minutes to just let this dry completely and then get started with the mushrooms. Now, that might be prescribed, I'll start with the mushrooms. So for this, I'm simply using a white gel pen and making these dots on top. You can add a bunch of just adding the Godard's and then just dabbing my pen dots. So that's like having a I really like how the white box on the red, because it is just so vibrant, it is looking really nice with that highlight. I'm adding some final touches to the other elements, like stripes on the mushroom. And of course, a little bit of highlight on the icons as well. So nothing too fancy, nothing to do with just adding a few lines so that it gets highlighted. And be done with yet another pattern. Hope you enjoy it and you'll try this out. See you in the next one.
11. Project 6 : Pumpkin Spice: For our last pattern, we're going to try out some pumpkins and may believe. So. I'm going to sketch this out as well, just the placement of all the main elements like the pumpkin and beliefs. So this is how I usually draw the pumpkin. I marked percent in part and then just add in these curves around it. And that's it. That's how I draw a pumpkin long with this little bit of a stem. So we're going to repeat this for all the other main elements, like wherever we have this pumpkin. So I'm going to add it here. You're going to paint on top of this. But this kind of helps them getting an idea of how big the element should be and how much these so that we can accordingly add in the filler elements. So this is kind of a mini thumbnail sketch, but we're doing it right away on the project. So we have half an element over here, maybe another one over here. So this is just a fun way of drawing the pumpkin. And guess we're good, we'll add another one, the dog, because it's looking quite empty. So I'm just going to add another one at the top. Right, we're good with the pumpkin. Now we'll add the me beliefs. Now for this one, maybe you can go in directly with the paint as well. I'm just trying to understand how a leaf we can fit them here. So that's the reason I am just drawing this out as well. So for the maple leaves will go in with two color combination. One is the yellow, green one, and the other one is the orange or brown one. So those are the two types of leaves that we're going to paint will kind of pin them, ultimately. Coming up all the space. The main elements, the pumpkin as well as the leaves are the main elements, even look more like pillows at this moment. But you're going to have space between the leaves and the pumpkin. And I guess the sketch, an overall positioning of the elements. And we'll get started with, now. I'll start with the pumpkin. We firstly obese, worship yellow like this. Now while this is still bad, I'll add in a slightly darker yellow or maybe something towards orange onto these ridges that are there between the two sections. And we let it blend. I'm not going to add in a lot of detailing over here. Just another round of paint like this. And if you feel it's getting hard edges, you can simply use a clean brush and blend written like this. I think by the time I added the third layer, it was almost in the process of drying. So I've just kind of softened it with a wet brush. And we repeat the same process for all the other bumpkins, starting with a lighter yellow. Here again, if you want, you can go slightly yellowish green pumpkin. I just give them more on the orange, yellow side because we have the green leaves as well. Didn't want to mix them up. Repeat the same process for the other bumpkins again now. Now since we have to work with multiple bumpkins is I'm just going it as one. So that's the main element, or rather one of the main elements, that is the pumpkin. Now we'll start with beliefs. So that leaves again, we have a yellow, green, yellow, red kind of combination. So for the yellow, green ones, I'm just going to paint them together and then just drop the green like this. So we start with slid off lemon yellow and then dropping the sap green on top of it like this. We just let it blend. We're not too worried about how it is blending, or we like to keep it natural. So let watercolor do its stuff. It wants to. Now, since we're doing two different types of color combination for the leaves, make sure that the few leaves in between these yellow green leaves that you're building so that we can have the orange, red, yellow, red ones together. Yellow, green leaves. So now that we're done with one set of leaves, we'll go ahead and start with a nice warm yellow like this. I'm feeling adventurous, so I'm painting a couple of leaves together like this. And we've just drop in the red or orange onto these leaves. And then again, let the watercolor do its thing. So I'm dropping the red here. And I'll go ahead and paint the leaves in the same manner. So here again, we're using two brushes together. So it kind of makes the process easy so that you can lay the wash with one brush and add in the details with the other one in one go so you don't have to keep cleaning your brush from one pigment to other. Fun that I lead into Polo makes me add the details onto the pumpkin. So we'll also be doing a little bit of red on dry and glazing here. But nothing to be trying to repeat the illustration. Fresh kind of style. For this. I'm using the version that I don't really want. Just wanted to start with the orange like this, with a clean brush. So again, we're using brushes together. Last pumpkin. Added the orange and then use a clean version, blended them. Next we added onto the leaves. So for this I'm using slightly darker brown or dark red that you have. And we add in the leaves. Me repeat this for all the leaves that are in the audience raped group. Now that you used for details, we'll add a few dots as simple circles like this. So since the element of the pumpkin itself is quite light, I'm just trying to add a little bit of contrast with these darker, so good. You can add those. All right. Adding the details on the darker green. Just adding onto these leaves just like what we did for the bird with a different color. So you're kind of done, but I still feel that there's a lot of whitespace and we could do something about it. So I am going to add a few cell, just use a darker green, the same time cleaned but a darker value. And adding these smaller leaves, just pressing the brush and lifting it. So now it looks much better to me now. Additional elements to kind of give it some depth. One final round of dealing onto the pumpkin. Again, adding the orange. This time though we're not blending it in. You're just adding the red on dry. We are done. I hope you enjoyed this project and I will see you in the next section.
12. Thank You and Beyond!: Thank you for watching this class. I hope you enjoy the projects. You learned something new and give these patterns of crime. And if you do, please upload them in the project section, I'd love to see the beautiful patterns. And also if you are on social media, you can find me as that crazy toddler on Pinterest, Instagram, and Facebook. I do have separate Pinterest boards for all things called so you can check them out in case you need some inspiration related to autism. And as always, I'd love to know your feedback about my classes. So if you have any feedback positive or negative, please do reach out to me. I would like to improve the quality of my classes and your feedback helps me do that. Until next time. I hope you enjoy the policies and being some beautiful postcard. See you soon.
Vinita, That Crazy Doodler
