Cherry Watercolor Painting | Srimathi | Skillshare

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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

    • 1.

      Intro

      0:43

    • 2.

      Artsupplies

      3:14

    • 3.

      Light n Shadow

      13:20

    • 4.

      Color Palette

      22:26

    • 5.

      Basicsketch

      9:40

    • 6.

      Masking Object

      4:58

    • 7.

      Painting Background

      8:05

    • 8.

      Painting Baseground

      6:19

    • 9.

      Painting Cherry

      13:50

    • 10.

      Shadow and Highlights

      3:49

    • 11.

      Painting Stem

      16:38

    • 12.

      Outro

      0:18

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About This Class

  • In this class, I'll show you some new ways of using Watercolor Paints, mixing up the colors in mind-blowing ways. I've created 7 step-by-step lessons where I take you through many technique to make your own color palette, playing with light and shadow of artwork. Together we'll explore:

    • Light and Shadow
    • Color Palette
    • Sketching and Masking
    • Highlights n Shadows
    • DIY Painting!

    We'll also explore your own personal creativity, learning about the power of mistakes and imperfection, intuitive creation. You'll gain the knowledge and confidence to express yourself and develop your artistic voice.

  • Is this class for me?

    Absolutely, 100% yes! All are welcome. You don't need to be a professional artist or illustrator to take the class. You don't need to know how to draw, or even have ever sketched before. All you need is the willingness to learn, take risks and have a mind-load of fun!

Meet Your Teacher

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Srimathi

Artistcastlebysri - Art Educator

Teacher



I am Srimathi, a computer science engineer from the state Tamilnadu, India and I must say it's a beautiful place with a rich cultural heritage. Art and painting relaxes me and keeps me going everyday. It is like therapy to my mind, soul and heart.

I started my art journey with Color pencils when I was a child in early 2010 and eventually became a full-time artist in 2019.

I learnt by experimenting and by trying out various mediums such as watercolor, gouache, color pencils, graphite and charcoals on my own.

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 perspective towards everything you see forever. I also take online an... See full profile

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Transcripts

1. Intro: Hello. Warm welcome and loos from Shrimati Art Educator. In this session, you're going to learn with a painting of a beautiful cherry using watercolor paints. And here we are going to introduce you with different techniques, and we are going to start learning with the color palette and all the light shadow theory concept. So we're going to apply all the techniques that we learn and just we are going to create with the painting. So excited to share all the techniques to you all, so excited. And let's get started. 2. Artsupplies: Hi, guys. Back again. So we are now going to just go on looking with the art materials. That's a place we need for our picture. Here have come with factor notes brand watercolor paper. So it's like a spiral bound notebook, so we can go with this. It comes with 300 GSM quality, and it got like 24 pages and A five sized. So this is a good brand, good to start with. We can just take this paper. And if you have some different brands with a watercolor is also fine, you can go with that. And nextly is going to be about paints. So for paints, I'm just going to use the fabre castle one. So these are the paints. I'm just going to use a starter kit. So if you have much expensive or professional ones, also a beginner one, everything is fine. So I'm just going with a beginner set. So I'm just having with a fabre castle. Mostly we go with green shades and red shades and browns for our picture. So this is nice to have with you. And next is going to be with a brushes. So for brush, I'm just having a round six round brush. So this is number six, and it's very good in observing and holding water for a long time and helps in also detailing well. So this is a must have. Also, this is a fabric castle brand, and next is going to be with a Bustos. So here is the bruise shows one, and it goes with of various sizes, and it's consists of six brushes. List. So here, it's like, there are three round and a dagger, fill bet and flat, as you can see. So these are velvet touch brushes. Excellent to use with gas pines and watercolors. So I just suggest using this. Next is going to be an important thing that's the masking fluid. I use this again with a Brooke brand. So if you have something with their want or papo is also fine, we can go with that. So I suggest using this, and we are going to use this for hiding our main object and just painting or the background. This is necessary. And next is going to be with a spray bottle to reactivate the colors. And finally, just going to use with a masking tape and a palette. So palette is any ceramic plate is enough. So we're going to keep on mixing with much colors. So I just suggest using this. Yeah, so these are the many main things that we need for our painting. And one misty thing is going to be the tissue papers we need for watercolors or any painting that's necessary. So you can all take all your materials and get ready for the project. 3. Light n Shadow: So welcome back. Here, I'm just going to start with a little explanation on how you can just understand the light and shadow theory. So to understand the concept of light and shadow theory, what I'm going to do is just with a small illustration of making the light and ball. So I'm going to create a ball. So I have just chosen my crimson color, with that, and this is my number six round brush. So this is a fumba castle one. And you can go with this if you want to practice, just give a try. So with this, I'm just going to make a small outline of a circle. So this would be perfect. If we go like this, this will be a perfect thing. So if you want to make with a pencil is also okay. The outline with a pencil is also fine, but if you're very much confident on making the with the paint. So this is just a practice work, and you can go with making the circle anyway you want. So also, if you want to make some kind of cone or cylinder or any different shape is also okay. We are just going to make a small understanding of the light and shadow. So this is an object. I have made this an object. Now, just cleaning my brush, I'm just going to make with yellow. So with my cadmium yellow, I'm just going to create the light source. Light is going to be on the left side here on the top. So we're going to create at this place, I'm just going to make a small circle. So this is maybe sunlight. So we can just make with a rays. So just like a simple illustration of this picture is enough. You don't want to make it so detail or like, this is not the perfection. So it's going to be only with the understanding and gaining knowledge of how the light and shadow it works. So we're just going to create like that. And let's just extend rays. So here, I'm just going to make with leftover washes and not with a new one. So the light, it falls over the object and it extends on the top. I just touches the edge at here, and it just goes till this place. So this is going to be the center portion, and here will be the highlighted point, the focal point. Now, as the point, the light reflection hits mostly on this place. So you have to just not keep in mind always that if the light is on this side, that is here, it's going to be on the right side of the object. So shadow will be exactly opposite. That is over the left side. So here it's going to be right side, the shadow is created on the left side. But in any condition, it's like a rule wherever the light is, the shadow will be exactly opposite to the light. And that shadow shape, everything, the color, everything differs depending upon the object, the light falls on. So this is completely different. And here, what I'm just going to do is just going to make a small swatch, a little swatch like this. So with this wh, I'm creating the depths, starting from the lightest range and blending it with the highest of the range to make you understand. So this is going to be the lightest wash. So I'm mixing a little quantity of water, diluting it well. So with the dilution of water, it can just able to differentiate with the same color itself. So it's going to be completely with a monochrome effect, the monochrome object because as it is the same color. And diluting with more of water, what will happen is you can just produce the lightest version and swatch all over like this. So I'm here filling with simply dragging all the paint. Now with the tissue, I'm just going to wipe off the excess water, clean my brush well. Now you can see that the light falls over on here, this portion of the ball. So I'm just going to lift my paint from this place this way. Okay, so after making this removal, what will happen is we can see some whites. There will be some whites. And if you don't feel any whites, it's not a problem, and this is just an experimental one. You can just take your white paint. So with the white paint, you can make a little pale effect on the reflection point here. So where the light just falls much, you can see a white thing here. I hope so, yeah. Now, slowly adding a bit of black to the crimson, I'm getting the darkest version of the color. So with this, I'm just going to create with a other end. So where the light will never fall. So that region is going to be filled with the crimson and black mixture here. So even you can just take your own favorite color so that can be like blue, green, anything you can experiment with whatever you have. That's fine to go. Now, I'm just going to make a perfect distinguish of this darkest tone to the lighteson so you can have a split here. Now, this split extends till this place. We can extend it here. Also, you will be having the lightest of the object. The light there will be some kind of a light on this place. So I'm just removing my color. I'll explain how this is going to work. Now, after we make with all the differentiation in the colors, what I'm going to do is we need to create a shadow to create a shadow. So this is going to be the light part and the opposite is going to be on this side of the object. So exactly the rays falls this way. So the shadow will be created this way. Okay, so I'm just creating with an empty brush here. So this is a shadow portion. And this shape, exactly, as I said before, it depends completely with the shape of the object that's here. Okay. And for the shadow, it's not going to be with the same color as the object. Also, the shadow just it starts darker. It starts very darker, and when it just moves away from the object, what will happen is it reduces its tone. So to differentiate that also, I'm just now going to mix a good amount of black two, like one fourth of crimson. So we can take like that. So you can go blend both like crimson and good amount of black. So you will get some kind of a wine shade, maybe. Yeah. So we can call that a wine. And from here. Like this, I'm just going to make a separation of the shadow and very near to the object, the shadow will be so dark, and there I'm just going to make with the very brightest of the shadow portion. So we need to make so much of black and lesser amount of crimson. And when it reaches a little away, what we have to make is we need to reduce the tone, that is the crimson tone slowly little by little, and we need to desaturate the black color here in the nearest of the object like this. So that will work perfect. So you can just complete making this shape as this is a sphere object. It's in a sphere shape. You can just finish like this. So yeah, this will work good. Now, here I just if you have never tried just listening to the video, what you can do is take a mixture of, like, different color, not the crimson itself, but black is a must have. Also, indicating the light source, you can just take your yellow itself. So with that yellow, you can just make up this one. And for the object, if you're not interested in concern and your favorite thing is some different color, you can go with that. So because our interest in learning is very much important, so I just ask you to do all this very kindly. And with the black and that your favorite color, make sure you can create the shadow portions, too. Now, we are done with a basic of object, light source and the shadow. So here we have to name something that is we don't know, like, what is the lightest part, what is the darkest part. So to name all that, so to know about all that, I'm just going to make you understand by marking the parts like here, it's going to be the highlighted part where the points or the rays, it just falls over the sphere directly. So this particular point, it is going to be the highlight of the object. So this is the highlight. Also, we need to note that this highlight is super reflective when it is a gloss effect material. If the material is made up of a gloss a shiny one, a metal, so metal maybe like some kind of a silver like that, for example, if the material, it is reflective, the highlight will be so reflective. And you might have seen in real life, like for mat, we can just consider our nail polishes or some paints when we just like a paint over the car. So when we just travel over the road, when the sunlight falls on the glass or the paint, what will happen is if that is reflective, it will produce much white spot on that. And on the same case, we can consider the tire of the car. So the car's tire is like a rubber material, and if we keep the same thing near the car when we are just on the road at the same point, standing under the sun, what will happen is the tire will not produce any reflection. That is like that point reflection it will not produce. So if you have never observed, you can just when you go out, you can observe. And this is the thing it's important with the highlights. And next is going to be with a this point here. So this we call us terminator. Terminator is like a sudden change in the color. So this is much goes with the natural color, the actual color of the object. But this suddenly desaturates because the light is not able to produce any reflections from this side. So the sudden change in this reflection or the point that particular point, we can just call that as a terminator. So hope you understand, and this is going to be the cast shadow. The object's shadow. And this is the core shadow, core shadow is an exact one, exact shadow of the object. So this is like a second exact maybe. So with this shadow, what it meaning is. So when the light is fall over the object, what will happen is this part of the ball this part of the ball will not produce single amount of color. So this region will be completely like desaturated, very highly desaturated. And that portion we call us coshadow. So this is like reflection of this objects over the floor or some area we have kept. This is called a cached shadow. So these are major things to be noted in the color theory. This is a very basic thing to be known as an artist. Now this is important. And if you want to learn more, I'll just upload a separate session describing all the terms, technical terms and describing more with more experiments using the paints or using different objects and different shapes. I'll just upload in next session, if possible. So it depends on your interest. So if you just go with more reviews, I'll be uploading with that content. Yep, I hope you understood with this. And if you have any questions, so please feel free to ask me in the comments so I can answer. Yep, that's it for this video. Next, I'll be meeting you in the next session with the color palette one. Thank you. 4. Color Palette: Hello. Welcome back to a new session. Here in this video. Now, I'm just going to show you up all the color mixtures, and we're going to create a wonderful color palette. The picture the reference picture that we are going to use of making the main picture is going to be, like, displayed over the video on the side. So you can just make the reference. And with that, you can just see like with the corresponding colors, and what are the colors we are going to create. So in this picture, you can see it has got like a light shadow concept well implemented on that. So we can see so many color differentiations, and it majorly just goes with the shades of the green and black, then red. So majorly, when we pick up with the colors, there are two cherries and stem over that, and it's placed over the floor. And behind that, it has got a wall. So these are the things it has it's like a main thing we can see as a subject. Now, what we're going to make is we need to just make a simple differentiation, is it the only color that is visible, like exact green and just red varieties and just black? Is it the only one? So definitely it's not going to be the same, just three colors, but we are going to create so many like subclors with the help of the main colors because this is the main subject we have, and with this, we can see the light reflection. I falls over the left side, and we can see the shadow on the right side. The cherry shadow is falling on the floor in the right side. And the horizon line, it's just a little below to the center. So we can spit like it's one fourth and three fourth. So this portion has got with a floor portion and the opposite the top one, it has got with a wall behind that, and cherry is being placed over the floor. So for making the background wall, firstly, our focus is going to be with a background one and creation of color palette for that particular thing. So to create that color palette, I'm just going to pick up with the main colors. And here, I just focus on the middle portion. So that is you can just go only focusing the behind wall. So even in the behind wall, there are like corners, all the four corners, and the bottom center so that region is like a kind of a bright green shade. And the other side surrounded by the, the corners are going to be with the darkest portion of the green. So this split the difference for this what I'm going to do is, I just pick up my halo green for this. So with making a simple swatch with a to green. So this is the main color that we are going to use. Now, we need to find out the corners of the wall. So that goes with the darkest color. Now, with a to green here, I'm taking in my palette, so you can keep a note. Also have a palette near. And just you can pause the video, then keep on mixing and you can replay the video. Also to this to green, I'm adding a bit of black. And checking what color it turns out. So it gives kind of a slight darkest shade. So you can see the difference here. Now, the color is not like okay for me, so I'm going to add a bit more black to this and create little darkest of the green here. So I'll be showing that color swatching here. So this is the difference. The corner areas will be mostly with this color. And if you want to make it so brighter, sorry, this darker, what we can do is we can add a little amount of black and very light amount of t green, just a light amount of tele green to this to make the darkest corner portion of the wall. So this is going to be a little bit darker in difference when comparing this. So yeah, we are done with a simple color check for the background here. Now, as we have just generated the corners of the wall behind, now I'm just going to try creating a palette for the centered of behind wall. So I just pick up my emerald green for this. So the emerald green will be this shade. And just testing out with my olive green if it's like blending up with the darkest to the lightest tone. So here in the middle, we can just apply with the olive green. So I'm swatching even olive here. So this is going to be the olive. Now, I'm going to create a mixture of the emerald green. So this is my emerald one. And with that, I'm going to add a bit of halo green. So when adding with a halo green, mixing it together, it produces a kind of a medium increased color density. So this is going to be the mixture. Now, just continuing to the very center of the behind wall, what I'm going to do is after a mixture of this emerald and Taro green, I'm going to make a lightest version. So for that, I'm just going to take my grass green. And in my set, the fiber castle 24 shades, it goes with the grass green color. So I got in that tube, that's going to be this one. I'll show this T is going to be the color, the grass green. But in case, if you don't have any grass green provided, you can just create by just mixing up with lemon yellow and the lightest shade of green that so the lightest yellow plus lightest green will just produce a kind of a lime shade. That is the green shade that is perfect to use. So we can go with that. Now, I'm picking up the actual color grass green on here. So I'm also going to make the main color using the grass green. So this is my main color. And with this, I'm going to create with a new shade. So this is going to be the mixture of grass green. Also, it's going to be with a little amount of light cadmium yellow. So when I add these two colors in equal parts, you can see. So it produces a kind of very lightest shade of the green. So it's kind of a lemon green. We need to mix so beautifully, blend beautifully. And this is the result. That's it. So for the medium place, like, this is our palette and whichever color that matches to the exact of the behind wall. So we are going to take up that colors and go to paint for the wall. So yeah, that's it for the background wall. Now next we can move on creating for the base ground. Now, creating the base ground color, we can make a simple observation first. Here, we can just go like move over yes from the left side of the base to the right side of the base. So we have a much good transition, like starting from the lightest, the pale shade of the green. So moving on to the right, we'll be crossing with the shadows of cherry. So a little bit reflections over the floor. And when we just move on, we can see with the dark est of the floor. So these are the transitions we have got. And now our task is going to be like swatching colors to create that like, at least matching color color tone. That's going to be our task. And for here, I'm just going to pick up my emerald green again. So just mixing up emerald green. The paint. And with this, I'm going to make the pale version of the base ground. I'm going to add a bit of white to this. So when adding white and making a mixture with this green, it'll produce a very pale shade. So this is what we need for the left side of the floor. So we can just go with this on here. So this will be perfect. And next to the right end, I'm just going to create a mixture. First, I'm going to try out mixing like for the emerald green and to green. So that will produce a kind of this color. So we have that in our parallel already. So emerald green and green will produce this effect. So as I don't have the color left out in my palette, I'm just going to mix a bit of emerald green. And to this, I'm going to make a little mixture with palo green. So when I just mix both the colors, I'll be getting some kind of a medium increased tone to the green shade. And to this make a bit darker to the base ground. I'm going to add with a little bit of black here and mixing it together. So no green and no black should be left, like unmixed. So we need to properly blend all the colors from every side. So I'll be getting this color to make the little darkest on the floor. So this is going to be the color and if you feel the color, I feel like the color is a little bit darker in black. So we need to put up with a little amount of black, that is enough. And here I have added with a dark amount of that is a huge amount of black. So it's not the color that I want for the right side of the floor. Now, to make the mixture perfect, I'm going to add a bit of emerald green to this and test out whether the mixture will be perfect for me. So here, yeah, this is okay. So I'm just I can go with this. This is perfect. So we have just made with the major colors like transition from the pale shade to the darkest shade of the base ground. Now the important thing is the shadow portion. So the cherry shadow falls over the ground. Here, it's not going to be actual black. But even though it looks like an actual black, but it's not going to be the actual one. So here, I'm going to make a mixture of Talogreen. So you can just take a Teo green well mixed. And with that, I'm going to add a bit of pale geranium blake. So if you don't have the color pale geranium lake with you, so you can just take so before that, I'll show you what is Pilgernium for the unknowns. So if you don't have that in your set, this is going to be kind of red shade. So you can take with a scarlet or vermilion. Those two colors blend very well with a Pilgernium lake. So here, taking this color, I'm going to make a good mixture. So I'm just keeping the color here. And to this, I'm going to make a mixture with a black color for shadow. So taking good amount of black and mixing all three together. So let's see, I'm very interested to see the color result here. Yeah. So we have got like a shade of lightest shade to the I'm adding a little bit of pale geranium lake to this. Now, when we just keep swatching this color, yeah, this is okay for our shadow on the base ground. That's fine. And also, you can see a very light shade that's very, very minute in front of the cherry. You can see on the base ground. It goes with a little shade. The tints of the cherry falling. The reflections is like emitter from the base ground. So for that reflections, I'm going to take a bit of the crimson here. So with this crimson, I'm going to add a bit of palo green. So when I add these two colors together, I can find some kind of a red shade, and you can just add a bit of Gil geranium too. Yeah. So this is lightest version, so we can just make it over the table for the reflection of cherry. Now, to create the cherry color palette, I'm just going to take with the two major colors. From this, I'm going to split up the color palette. Here are permanent carmine and pale geranium lake. You can see. So for permanent carmine if you don't have the exact thing in your set, so you can just go with crimson color that's very perfect or cherry red if you Oh, that's even fine. And for the pale geranium lake, this color you can, as I said before, you can just go with a scarlet or vermilion versions. So both colors will sort together. And I'm just going to make the swatch. So even you can just differentiate what color that's like it's going to be. So first is the permanent carmine. This is the color. And next is going to be with a pale geranium lake. So yeah, this is the color. Can see the difference. Now I have just made the selection of the major colors for cherry. And next is going to be with the lightest side. The left side of the cherry goes with much reflections and the light directly, it falls toward the left side of the cherry. So there we can find the very lightest point. So that we call is the reflection highlight. So that highlight is going to be a color. And next to that, it's going to be with some kind of orange and the pale geranium lake mixture. So we are going to generate that. Also to the right side, we can feel the terminating point, also the core shadow. So all this should selected and created. For the first one, I'm just going to create for the left side, the reflection part. There I'm just making with a pale geranium lake. And to this color, I'm going to add a bit of dark chrome yellow. So it's kind of a carrot color. So this is going to be the dark chrome yellow. You're going to make the mixture well like this. And now we can swatch. Yeah. So this is like on top where the stem is connected to the cherry. So that place, I can find a bit of orange tone. So for that color, I have just created this one. And now I'm going to take the dark cadmium orange. So to the dark cadmium orange, I'm going to make a mixture with the pale geranium lake again. So when just creating this two, like the dark cadmium orange and little geranium lake. So this gives the darkest version of the orange. So you can see that this is the lightest and this is the darkest. So we can go with any of the colors over the stem. Anything is fine. Now, creating the highlight of the cherry, here are the two colors we need, that is the coral and the white. So I'm just going to mix this together. So if you don't have coral, you can just take a lightest version of a baby pink kind. Even that's fine. So you can just go with this, or you can blend the normal regular pink and the peach color together to create the lightest atone with a pink instead of coral. So here I'm just taking my coral. And to this, we can try blending with a white over. Yeah, so this is going to be the reflection, the highlight. Now to produce the darkest side of the cherry, I'm going to make a mixture of this permanent carmine. And to this, I'm going to add a bit of black. So yeah, let's check. When adding these two colors, we can take the equal parts of both the colors mixing it well. So when I adjust apply to this one, yeah, it's like nearly okay. I don't know how it's visible in the camera, but yeah, this is kind of a wine. And next, we are going to add a bit of excess amount of the black to this same mixture and check result. So this is going to be the extreme dark portion of the cherry. Now we have checked with the permanent carmine with the black. Now we are going to check with the pale geranium lake to the black. So by that time, we can see. This is pale geranium lake, and to this, I'm adding a mixture of black. So this is going to be like the middle color that's going to help our transition for making like between this and this, it's going to be the transition color. So we can just have all the names written below this. Or if you're creating a color palette, just write the color mixture names. So it will be easy for you to pick up and make the mixture suddenly. And yeah, so we are mostly done with the cherry, and the leftover part is going to be with a stem, so we can create for the stem. These are the three shades that I'm going to majorly use for creating the stem colors. So this is going to be the grass green, the burnt ocher, and the Bontic brown. So mostly all the sets go with this color burnt ocher. And if you don't have this, you can just take your lightest brown, and maybe like a medium th is also fine. Burn Siena is very fine. So for vindic brand, you can just take your darkest of the brown. And grass green, you can go with a mixture of a light green and lemon low if you don't have this corresponding color. Also, you can take with a kind of a lightest version of green you have. Now, to create the color, first, we can just swatch the exact color. First, I'm going to take my burnt talker and make a swath. So this here on the stem, you can see, there are on the top, it goes with the shades of brown, and the complete body of the stem has the green shade. I transitions like the transition is going to be from the lightest to the darkest of the greens. So for the top, you can just swatch with a burnt toker. This is burnt ocher and next is going to be Vandek brown. And that is completely a dark rust brown shade. So yeah, this is the one. So this color we can use on the top. And next I'm just going to make a mixture of a burnt ocher and cadmium low. Now, just placing my burnt ocher. And to this, I'm going to add a mixture of cadmium yellow to make the lightest of the browns. So that is going to be the highlight point. Mixing cadmium yellow produces kind of golden brown shade. Yeah, this is the color. And now, with a burnt talker, I'm going to try out with a dark chromlow and check what happens. So with a burnt toker now you're going to mix with the dark chrome yellow. That produces the darkest range. So even we can have this in our palette and check, which is the exact one. And next this is going to be the brown varieties. And now we are going to create with greens of the stem. So the lightest is going to be with grass green, as I said. So this is with a grass green color. So you might have created on this place, creating the background wall. So this is the grass green. And to the grass green, I'm again just going to try creating with the talo green. So mixing both the grass green and talo green. So here mixing it will produce some kind of a medium shade of the green. Even this is okay for the stem. And next is going to be mixture of a burnt ocher and the grass green. So yeah, this is interesting. We can just try creating this two mixtures. So yeah, this is with a burnt ocher. And to this, I'm going to add a bit of grass green and try. So it produces to the darkest kind of olive shade. C see This bring out the sap green or olive sad. You can say any. Now we have just completed with the tap the portion, the the portion on the top, and this is going to be the portion in the middle. So the darkest of the green. Now we are going to create with the lightest of green. So for that, I'm just taking my grass green here. And to this, we can just take our light cadmium yellow and make a mixture. So with this, we can just have our lightest version of the green so you can see. So this is going to be for the lightest portion. And to this, I'm going to add again with a good amount of white. This is going to make even pale and you want to make it much, much fail to bring out the highlight, you can add much amount of white to this. So yeah, you're getting the results. Yes, this is the portion we need. So successfully, we are done creating with the palette. So next portion is going to be the actual sketching, the main sketching of cherry and coloring it. So meet you there by 5. Basicsketch: Hello, welcoming you back to the session of sketching with a main diagram. So here I have grabbed my actor sketchpad. So with this, I have just marked a masking tape on both sides. So if you want to make on all the four sides, that's very fine. And I have just grabbed my mechanical pencil to make the basic sketch. So mechanical pencil will be very comfortable without we don't want to keep on sharping and this is like we're going to just make a simple sketch of the cherry. So this will be very perfect to move on. Now, I'll just pin my picture, the reference picture on the corner. So with that, we're going to just learn how we can make with a sketch. So here, there is a horizontal line, and it falls at this place. So one fourth is going to be the bottom and three fourth on this place. So just leaving that, I'm going to mark this area for the line. You're going to make a stretch, straight stretch of the line. A horizon line. So this is going to be a line, splitting wall and the base ground. Now, the main thing is going to be the cherries. For making cherries, you can see, one is, like, behind and one is completely visible in the front. So the behind one has, like, a stem that which is divided like a V shape on the top. But the one completely visible is with a single stem and little slanting towards the other one. So these are like the details we need to observe first before making the sketch. And importantly, the one behind is, like, very straight, and one in the front is little tilted towards the left over the other one. So it's based on the directions. Now to make the drawing, I'm going to make the markups, where we can place the two cherries. So first is going to be exactly on this place, and second is going to be on here. So these are the two points where the cherries are going to be placed. And you can see this is the starting base of the cherry, and this is going to be the cherriesien. Same way. This goes in the side, it goes like tilter this way. To build up the sketch, as we marked with the starting and ending points of the cherry, and this shape goes mostly with a circle and just a little curvy towards narrow on the base. So making with the first cherry, I'm going with this outline. So this is going to be our basic thing. And we need to keep the lines so, so thin because we are not like 100% okay whether the cherry is going to be turning out very perfect or not, so we are not aware of it, but to make just a simple sketch. So we can call this simple thin line as an imaginary line. So we are going to make this sketch of this. And secondly, it's going to be the other one, and it starts here. So just gives a little gap here and goes this way. So the base, it's going to be complete if it crosses with the base like this and ends up here. Yeah, this will be perfect to make on. And the bays, it goes with a shadow portion, so that will not be mostly correct visible with a sketch. So I have just made with it basic imaginary line thing. And now on the top, here we are going to make with a small depression where we are going to make with this stem portion. So this depression for just now, it's fine. And on this side, it's going to be a little tilted and slanting. Yeah, this is the correct way to move on. Now, making with a top stem portion. So it goes this way, slanting and just comes along this way. So from here, I'm going to make little jerking in the hands to create the natural structure of the stem, and it turns towards the left here like this. And it's kind of a decaying part. So it turns very dry and brown state. So yeah, I'm just finishing it, building it broad. And when returning back, so it goes a little narrow. And at a certain point when it reaches this place, it just gets diverted to the other section this way. Abroad, not this broad, just like angle of maybe 45 is fine this way. And from here, it gradually goes on like this. Yeah, this is the perfect one. Even this I have made with a simple imaginary thing. And if we are not okay with this, we are going to correct this. Next, this is going to be slanting and it's a little behind the stem of the other one. So it goes this way, like this and from here, now it just moves towards the back and make a little on the top. Just the head of the stem is visible completely for us. This is fine. Here, it should be broad. That's not very stride and did not look unnatural. And we can make here a little broad. Yeah, this is fine. Now I'm just going to make the reflections, and before creating that, I'm just going to erase these two lines. Now I have erased all the unwanted lines. So you might have seen this was clumsy before, and I erased this app. And here, this is a complete fruit, so I'm making it. I have not erased this portion. After all these corrections, I'm going to make with the reflections. So the light is from the left side and the shadow potion is on the right here. So the shadow will be like basely. It goes this way. I'm making it very, very, very light. So this is perfect. We can go this way, and the other one for here, it starts this way and extends till this place. Yeah. So this portion will be dark near portion will be very dark. Now, reflections is going to be the highlights has curvy. It goes parallel towards the cherry this way, and it has got with a divisions like this and extends a bit, which should be parallel. You're going to create it like this and little bigger just a little.Th is very fine, closer. It should be much curvy parallel to the outside of the curve. Now on the up near the stem portions, it's going to be, again, the highlights. The highlight it is like on this place, here we can see it. I'm making along the shape of the cherry to make it look like three D. This is perfect and same way on this side, it's going to be little way here like this. On this side, it's going to be starting on here with a good curve and slowly just extends, moves on to the top like this. And comes back just goes up. So this is the highlight. And on this side, it's going to be with a curviness again. So it goes with two different sets of the curve. So this is the brightest one, the lightest one, and here is another one. So comparing this highlight, it is little we can level up like this is the first level of highlight. This is the second stage. And here it's going to be with the other curve. So there are two curves and two highlights, bigger ones. And here is a depression and here it's going to be another curve for highlight. And finally, it's going to be on this side as we created with the two different things. Here it's going to be on this place. So starts again parallel and goes curvy the bottom just extends and gets again with a curve, then you need to start closer like this. This will be perfect, it should be small when comparing to this one. And the height should be of same thing, making it low and just making up the line straight to this. So these are the highlights. So you can just pause the video, then do all the highlights as much as neatly possible because with this, we are going to keep on coloring with different different places. It will be easy for the beginners to color well. And in the next video, I'm just going to make a masking of this cherry. So keep ready where you are masking flouets. Yeah. So I'll be meeting you in the next session. Bye bye. 6. Masking Object: Welcome back. So in this video, we're going to make an important task for our paintings protection. So to simplify what we're going to make is, I'm just going to make masking fluid. So I'm going to apply masking fluid over this cherry and this cherry. So our focus is going to be hiding only these two objects because when we just paint the background, also the base ground, what will happen is the paints will be like disturbing with the object here. So we can just very freely just go paint over very easily when we apply with the masking fluid. So here, as I said before, I'm going to use with a heart masking fluid from Brostro brand. So this is super good. I have used this. And for using the masking fluid, we need to always have a separate brush because when you just use the brush, what will happen is so it will destroy the hairs. I think you can see it. Yeah, it will destroy the hairs and it will produce some gum like thing. So you cannot use other pains after putting this with a masking fluid. So I just request you to have a separate brush. So I just go with this size. So if you're okay with some bigger size, that's okay for larger spaces. But for a stem like this thinner place, it's good to have lesser amount of hair brush. So a, we can just start using the art masking fluid. And for that, I'm just taking in a little amount of liquid. Here, the fluid here and just pouring it in. So we are going to just make a little amount of fluid in this place, and I'm just going to start making the application over the objects. So we should not overdo. So if we are starting from the stem portion like this, we need to be very careful applying within the object, and we should not make the fluid flow outside of the outlines. So if it moves outline over the outside of the outline, what will happen is when we apply the background, the color will just hide away there, and we need to remix of paint again and repaint that missed area alone. So we should be very careful in applying all the fluids. So I'm just here commenced with the second stem. So straight away, we can paint with the normal one if we are applied with the fluid. This is so easy thing. Yes, you can see some sticky thing comes. So you should not apply the fluid again over. So we need to avoid that and go just with a single stretch. That will be very fine in working. So you can just go have a try separately first with any rough sheet or paper, that will be good. Because if you're new to this, you should be very friendly and you should understand the fluids, everything, like the texture, how it works, all the principles you need to understand. So I recommend you to just go using the rough thing first. Then you can just make over usage on this main diagram. Yeah, so I'm almost done. Here. But if you're not okay with the smells, please have a cotton piece of cloth to just if it smells bad, you can just close your nose, then work with this. Here, almost I have completed with all the subjects. So I'm in the last portion of coloring. And here you don't want to worry about filling with the shadows of cherry on the base ground. So let it be. We can just go make it with the colors mingle with green, so it's not a problem. It's not going to be the problem. Yeah. So yes, successfully done with a masking. This is okay. Now, it's very important that the medium should dry so well, and we can leave it like at least an hour because it needs to dry very well, and you should you should not keep your paper closed. So at least, like 30 minutes is a must to make it. So like, it depends on the medium too. So I just always what we'll do is I just leave at least 30 minutes for it to dry completely. And when we touch it over that, that should not be like very sticky. So now it will be sticky because I update just now, so I'll check it back after 20 minutes or 30 minutes, and that will be very fine. Okay, so I'm just closing this part of the video and we'll be meeting you after this ride in the next video, and we can start coloring work. Bye. 7. Painting Background: Hello. Welcome back to the painting session. So our cherry that has been covered with masking fluid is completely dry now. And to make the background color for the wall, I'm just going to take my color palette first that we created. So with this, you can see the background walls in with a palo green black. So I'm going to have my halo green, black colour, emerald green, olive so grass green finally. So all these five are the major important things. So in my palette, I'm going to make a squeeze of all the five paints. So yeah, even you get ready with all the paints, starting here with the grass green, I'm just squeezing the paint out. Next is going to be with emerald green. So yeah, this is with palo green here. This is with olive green, and finally squeezing out my black color. So that's it for our painting, and now we are going to get ready with a brush. So I have my round brush number 12 sized. So with this, I'm just going to mixing and the working of background color wall painting. So with this spray bottle, I'm just spraying with the water to make it a little moist. And first, we are going to start making with the corners. And to that to make that, I'm starting with mixing of a bit of a thilo green. Now just taking up my to green in good amount, and that mixing with a black. So mixing that well will produce kind of a dark ester green or shade. So if you're not okay with the color produced, you can just add a bit of green if needed. So I'm adding more bread. And this color goes a little like harding so I'm just adding a little bit of water to dilute. Yeah. So you can see the color here. It has turned with most darkest of the green when mixing with the black. I'm okay with this color. So slowly, I'm just going to start making the paint over on this corner, this area around like this. So firstly, this part of the base ground, it goes a little darker. So I'm going to make it with a straight line on both sides here, this will be very beautiful. And you can see my paint the green paint has gone inside the cherry, and I don't want to bother because we have applied the masking fluid. So it's very easy, and we can just go with a single focus. So also in the upcoming session, I will just teach you to create how to use the painting works, how you can paint without using the masking fluid. So we can just I'll just teach you without the application. Now, so strtning with the coloring work like this. So I'm moving out slowly this way. Next, moving on to the center part. The green is so dark. I can just go with this green only on the base part here. This will work fine. Yes, so this is good. Next is going to be with the same green till this place is okay to go. So I'm moving on here, the same amount of green. Now just moving to the center, I wish to have emerald green mixture to my palette, the green previous mixture. So I'm adding good amount of water here. You can see. So the blending of all the colors is very, very much important to just make a smooth blend. Now again, taking a bit of emerald green and adding little amount of water to make it dilute, then blending it so well smoothly without bubbles. So that's important that a sign like the colors are blended so beautifully. Now, adding a bit of emerald green again. So again with water. So you are going to just keep on blending it. Now, after the time, I can find the blacks and greens are not separate, so we can just make with a shape on here. You need to blend it with the previous color like this so we can go with a flow blending it. Then on both sides, that will be very perfect. So we can just go in a curvy way because you can see the lightest of the part, the lightest of the wall in the middle. I just goes in a circular motion, and we can see the light particle only in the middle. So this area goes with a light part. And to make that effort, I'm just going in a circular motion like this. This is good to go. And if you feel like black is a little bit fading out, you can add a mixture of the green and black again, slowly very gently smoothening it, blending it like this. And if you feel the paint is little hard, just dilute. Now to the remaining part in the middle, I'm adding a bit of grass green here and mixing it well with the paint leftover paint here. You can see I'm just mixing it with the grass green. So the stem of the cherry is very much lightest of the green picture in the reference picture, hope you remember the picture. And here I have just created with the lightest of the green. So the cherry stem is lightest, so we need to create little darker shade of the green in the center portion here. Yes, I'm just making it with a regular horizontal swatch. So if we are done completely with a swatch, we can just take our brush, wash it completely. We can just go again with the same rounds like this to make it little with other coating over the coating to make it a little darker, all the paints darker. So this will work very good. And we need with a gradient effect. So the gradient effect will make the picture look alive. So this is important, and you can just keep on trying making the blending picture. Yeah. I'm mostly going in the circular direction of the paint with this, this way. And when I'm just feel like completely done, we can stop making the gradient effect and we can stop the complete process of coloring the background. So I'm not yet done. This going with the center portion going this way to make it more perfect ingradient. Yeah, this blending in a curvy way to make a center focused one. This will be a correct swatch. Here I have done with my painting work over the wall, the background one. So yes, I hope you have done completely on this. So let me just cut here and we can proceed with the brace ground in the next session. Thank you. Bye bye. 8. Painting Baseground: Welcome back to painting of the other session. So we are going to now focus on making with the base ground of this painting. So in this, we can just have a little look with the palette we have created. So for base ground, I'm going to use my emerald green white. So we have the emerald green left and yellow green also we have, and black also is in there palette. So is color is going to be for shadows. I'm just going to use this color. So that's a mixture of yellow green, black and pale geranium. So the excess colors that we need for now is going to be this two. For the students who don't have a pale geranium lake, you can just go with a kind of poster red or, like, some kind of any red versions, and that's like a little bright and warmth. So you can just go pick up your scarlet, vermilion, all these colors work very well. So vermilion will be the best suit you can replace instead of pale geranium lake. So let me just make a little squeeze of the two colors. Yeah, first with the pale erranium next is going to be with a white. So you can see here my colors are dried out. So to reactivate, I'm going to use the spray portal and spray it a little bit to make you dilute. So this is good. And with round 12 brush, again, with the same brush, I'm using this often the roundel because the size, the huge hairs, this hair will help me cover up the large space. So I have just gone with this number. Now, I'm just taking up with the emerald green. So just taking here a little amount and good amount of water. Now mixing it with a white color. So firstly, we can just produce with a dark esticide and we can go to the right side. So I'm not taking white now. So firstly with the emerald green, I'm going to take a mixture of teal green just a bit and see what happens so as we have created the palette before, it's very easy and helpful for me to create with the palette very easily. We have the reference of already made colors, tested colors. So we can blend all this together very well. I'm adding in very little bit of black to this to make it little brown. And here, very important thing is, like, we have created the background. So this wall color is little darker and the base ground should not be darker, and I'm very much concentrated in that. You can just ala the paint very smoothly in a vertical in a vertical way, it should be in a horizontal way, like this. Yeah, this is fine. So if you feel the paint is little watery, you can just make application of a little amount of amoral mixture and a bit of black to this, just a bit. This is perfect. Again, with the emerald. So going over and over again to make the floor. Smooth, gradual finish is very fine. Yeah. Now, so slightly, we need to just shift to the mixture of white and emerald green. So let me just clean up my palette. So I have just a little amount of moist emerald glad, just emerald green. And with that, I'm going to layer up on the sudden ear to the wall. So this is perfect to make. So I'm just going working here. Yeah. So this is okay. We can stop painting the work here. And now I'm just going to mix up this with a white to make it pale for the foreground, taking a little amount of white, mixing to the paint very well. You can see. So yeah, this screen is good. You can just make the painting. And the blending of the emerald green and te green, all the greens on all the sides is very much important. Can move the brush over very fast and go like this. Now I'm just going front and back this way and taking a little bit of emerald green again. Moving on to this area. Yeah. So mostly we are done. And we need a perfect blend. So I'm just creating only that moving forth and back like this. This is so good and relaxing to make. So I hope you feel the same when you just make with a gradient effect. The color should become ombre. Yeah. And if you don't feel like the darkness is okay, we can just add a bit of emerald green to this side to make it dark. Yes. So we are done. So finally, all the color blending work is completely done, and, yeah, we can stop with the base ground work here. And for the shadows of the cherry, we can just do that later because we need to make with a cherry and with that corresponding understanding, we can just make with the shadow portions. So yes, we can just stop here now and I'll be meeting you in the next part of coloring. Bye bye. 9. Painting Cherry: Welcome back. So this cherry that we have applied with the masking fluid in the previous session is completely dry now and I don't feel like much sticky, so it's like I can feel a 10% of stickiness in this. Now we're going to remove the tape off slowly. So to remove the fluid, I'm just using the paper knife. So with that help, I'm just going with little lifting up of the fluid from some corner, that would be fine. And you can see scum. Very smoothly, and you're going to just keep on removing it slowly gently because if that tears off, what will happen is it will be hard for you to lift. So I'm just glowing in a very slow motion to lift. So the stem portion here is very, very thin, and it will be a little like we need to be very careful, and you can see my fluid is completely teared off from this place. So I'm just going to focus on peeling off here. So yeah, the top portion of the cherry has come beautifully. Next is going to be the bottom. So we can just place our hands just near to the part where we are going to start peeling it off. Now just lifting up with the larger part that is the cherry part using my both fingers to go over it, can just start from that side because there is no any other object in that side of the cherry. But here we have another cherry. So we need to be a little concentrated in peeling off on this side, mostly done. Next, moving on to the other object. Slowly peeling off. So yeah, we're almost done. Now, if you make it with a good high pressure, what will happen is the paper may tear off, so there is a chance of the paper tear off. So mine is done. And here a little bit of the particle is mean stuck. I'm even peeling that gently moving all the particles with a paper knife. Yes. Now you can just you can just remove everything. Don't use your fingers to remove all the things. You can either blow away or you can just move on, like with any empty brush. This may be looking neat. Yeah. Now, next, our part is going to be with a coloring of cherry. Let's focus on that. Now to paint cherry, what I have taken is like the bruise shows velvet touched brushes. So it is like, number one round number eight round brushes I have taken. You can see it clearly. These are my two brushes. Number one and number eight. So you can just go with the size that I have mentioned. It would be easy for us to make with the precise lining effects. Now, coming on just with the pines, we are going to take our palettes help. So I'm just opening up my palette that we have created in the last session. So it's going to be with a permanent carmine. So I'm going to swatch a bit of permanent carmine here, then piel geranium lake. And we need dark yellow, dark rome yellow, then cadmium orange. Next coral for making the highlights. And for the shadow portions, I'm going to take up with pale gerium lake and black. So the colors that we're going to use now are to make the painting work started for cherry, I have just squeezed out freshly with a permanent carmine, then coral, and finally with a dark camium orange. So we already have, like, a white color then black, and finally, the pale geranium lake in our palette. So I just squeezed only the three leftovers. And with this, I'm just going to make a little spray and reactivate the water. Here you can see, as we did with all our markings on reflections, we can't see that very clearly. Let me just bring the note closer. So I think, only a little much of the thing is visible. So we need to just make a little highlight over that. So I'm just taking out my pencil to make the highlight over it. I have just made little darkening of all the reflection parts with my pencil. Now, just lifting with the eight number eight brtroround brush, I'm starting up using the color peel geranium lake, so you can see with this color, so with this color, I'm going to make it so light and give a very light layer of the pale geranium lake. So this is going to be our base layer. For drawing and we are going to avoid all the markings of the reflections over cherry. And our focus is completely going to be only with the leftover part where the light falls on the left side of cherry. So we can just make it completely with the tip of our brush. The brush should be very moist, so it'll work very well. Next is going to be on this side. Slowly moving on exactly along the sides of the reflections. So it's very important to work along the shape of cherry. Anxtas going to be the other one. I'm leaving all the darkest portions here, you can see, focusing only on the bright side. This is so good. I'm just moving on with the middle part. We need to completely use with a tip of our brush. And when you start with coloring potion, mostly keep on making the colorings from lightest range of the color to the darkest range and not in the reverse way because it's a little hard to make the removal progress if something goes wrong when you apply mostly with higher pigments and with the darkest varies also, it will be a little hard for us to lift all the pigments from the paper. So mostly, we can just start with making using our lightest of the shades. So we need to keep on diluting our paint and then start working area. Now slowly just moving with all the directions. Next I'm focusing only on moving around with this bright part, as I said, and not the shadow portion. So we are going to complete all the paintings or before the terminating point. So this is going to be our terminating point. And when I just move on to the after area part in the cherry, it's going to be completely dark. So here we need to make a little mixture along with a black. This is a little dull, and I feel like I want to increase the pigment of cherry. I'm just going to make it diluted, then add a bit. Yeah, this is looking good and attractive. Now, after completing the base portion of the bright side of cherry, that is a light portion on left side of cherry, now we need to make a base off the right side of the cherry, that's going to be the darkest, the shadow part. And to create it, I'm just mixing with pale geranium lake and black. So we get kind of a dark shade of the pale geranium, so unsaturated version. And with that, just painting the base so we need to be careful because even on the right side of this second cherry goes with two big reflections. So we need to mostly use our brush very straight, not slanting. So if we just go with the slanting portion of the strokes, what will happen is the complete brush will just go flat over the paper and make it so flattened with a broad strokes. So we need a linear stroke, and to create that, we need to hold our brush, little upright, and that will be the easy technique. So if you want to learn how to create with a linear strokes, you can just roughly now create with any rough sheet of just holding the brush upright and creating with linear strokes. And if you keep little slanted with the brush, what will happen is it will produce some kind of broader lines. That will be easy exercise to understand the stroke structures using the brush. So here we are using the eight number brush. That's very important to go with a linear stroke. Here I started working with the first cherry, and there we just made with a base of the darkest part, the shadow part. And to mix the colors of the shadow part and the brightest portion, we need to add a bit of a pale geranium lake again, and we need to go over the center transition. That is the uh area where the color transfers suddenly. We need to go over the area, the terminating point this goes application on both sides here, it's going to be the sudden change in the shadow from the bright side to the darkest where the shadow falls. But to the extreme opposite end of the cherry, it's going to be too dark and to create there, we need to use the little black adding a little amount of black to the pale geranium lake to create the darkest shadow portion. Even here in the second cherry, I'm just mixing with the pale gernium lake to blend the colors smoothly well. So the transition of the color should look ombre. It should be very gradually gradient looking. Here, I'm mixing with a little amount of excess black to produce the darkest shadow part. And we can just get with rust brown like that transition. So it gets unsaturated from the pale Gerinamak to produce the darkest version. The very corner of the shadow portion goes with the darkest portion. The color reflection on that side of the cherry is not completely visible. So to that area, pale geranium lake is like little possible. So we can just go mixing of color ratio should be like with the pale geranium lake, we can just take 20%, and the rest is going to be with a mixture of a brown that is bancena and black. So we can just go with that ratio or like 45 will be fine. 45 of the pale geranium will also fine. So we can go with this ratio and u to this, we are creating on the shadow portion, and to blend that, we need to add a little amount of Pal geranium like in the middle, as you can see, to blend the colors properly. So that will give again with the gradient effect. So the same way it's going to be done in the first cherry. So now you can see the color of the first cherry has become completely dry and it goes with some kind of the lightest shade of brown so that we made with a mixture of pal geranium and black, right? So that dried up and starting with a darkest color transition here, applying very gently, again with the tip of the brush. So here, again, just using with a number eight round brush. Slowly just move on. And this portion only goes with a shadow part, and the rest in the middle, we are going to make with a mixture of the pale geranium lake to blend the colors well. And the color should be a little moist to make it with a juicy effect. So here, the transition occurs after the color has been applied. So all areas mostly has gone out with a pale effect. And to reactivate, I'm applying with the pale geranium again to make it look more bright and vibrant. So mostly the coloring of the cherry is being completely done. And here, the reflection parts, all that leaving everything behind, I'm adding the detailing portions and just finally completing with all the blending things. Next is going to be with reflection portion so that we can make with a pink and white. So keep all that colors ready. Now, uplid colours should be like dried well to make the reflection part so let it dry completely. That's it with the painting cherry and we'll be meeting in the next shion so until then by 10. Shadow and Highlights: Welcome back to the second last session of creating the cherry painting. So here we are going to make with two main things that is very important for our still life painting. And this is going to be first with the shadows on the base ground and then going to be with the highlight reflection portions. So also it's going to be with two different color palette. So as I said in the previous session, so the first is going to be with darkest and the highlight is going to be with test shade. So for the darkest one, the base, the shadow portion, it's going to be with a mixture of the black color, and to that, we are going to add a bit of pale geranium lick because also we are going to add a bit of emerald green to that and creating a darkest mixture. So with this, again, using a number A drown brush from Bruto, I have just started coloring it with the darkest color just towards the cherry. You can see and it should not be very stright and sharp with the effect, not defined effect of shadow. So we can just go creating with making of little smudge, little bland. This much can be done with adding a grayish stone. So we are going to just reduce the value of that color, the shadow color and reducing it to make it look more natural. So completion of the shadow to the first cherry next is going to be with the second one and to that base, I'm making it as oval shape because the light is from the left side and not the complete round of cherry. Is not visible as a shadow, but it goes kind of oval shape. So I've just gone with that shape, and even here meging with the value lesser one, and the shadow portion is like done. Next going to be with a little corrections and sharpening the effect over the cherry on the side alone to make it more highlighted and to find. Next is going to be with the reflections, the highlight portions over the cherry. And to make the mixture, it's going to be the exact opposite, the lightest version of the color. And here I'm just mixing with a coral and white. So here, if you don't have coral, you can just go with a kind of flesh tint and white mixture or pink lightest shade of the pink and white mixture is also fine. So mixing both the colors very well, and this mixture should not hold a very bright pink. So it should be like a nude shade of pink that would be very fine to make. And to that, I'm just adding over all the reflections. So only to the right side of the second cherry, I'm completely coloring it with the reflections. But you can see to the left side, the first cherry and the other left out of portions is going to be with only using a lightest shade and the rest remaining part of the reflection, I'm just going to blend that with water and smudge it well. So this is going to be the effect. I hope you are just doing along with me with all the parts, and next is going to be with the coloring of stem. So this is the last part. And yeah, so many greens are required for that, we can just go with the color palette. So meet you in the next session. 11. Painting Stem: So ray, like we are in the last part of coloring the stem of cherry. To color this, I'm going to show my palette again. So we have just made a experiment for the color palette for the stem, using colors Brnoca and bun diac and the first, the first experiment. And mostly just made with different colors using the grass green, and we made a mixture using grass green and light green. So we made it lighter using white and more white. So these are the transition we have gone so far. And now to make the stem, I'm just going to take a bit of a light cadmium yellow. So here is the light cadmium low white and burn tucker, burn deck brown, yellow green. So this is olive green, emerald green, and this is grass green. So I have all these colors in my palette ready. Now, with a round number one brush. So this brush, I'm just going to make a color mixing. So firstly, we can see in the picture. So we are going to take out our mixture of the light green. So the stem is a little bit lengthier, and for that mixture, I'm going to take with my green. So this is grass green. So with the grass green, I'm going to make with a lightest shade all over. So we need to dilute it with water. And the stem portion should be completely very light comparing the background, the wall painting. So I'm just diluting all the color. And this stem portion is behind the cherry of the stem. So this is behind, and this is in front. So to differentiate that, I have just dropped it here and the top portion goes with a dry area of the stem. So there we are going to color with a burnt Oker thing. Here in the next cherry, it's going to be again, coloring using the light the diluted version of the grassbea from the base here like this. And moving to the top, we need to make it a little light. So I'm just diluting a bit of water and spreading all the colors all over till the top. This will be perfect to go, and this is going to be in the front area. So I have made the front portion of the cherry. I have just completely colored this portion. The cherry, you can see. Yeah. Now next is going to be with the coloring of the dried area. So to make the dried area, I'm taking a bit of yellow och sorry, the burnt ocher and diluting that too well. So I'm just applying to the base of the yellow, the burn talker. And to that, if you want to make it the lightest, we can add a bit of light cadmium yellow on this side. So it will become some kind of the earth color, and next is going to be colored in all the areas of the top of the cherry here. You can see. And on the side, the darkest side of the bright steria it's going to be with the vindic brown. And there I'm applying a bit of dark brown here. You can see we can make with a mixture like this. Yeah. Now, only base colors have been filled. Now the task is to be mixing of the details over the stem. So for this, I'm just spraying as my all colors are dried up on the palette, so spraying it completely. Now, yeah, already. So burnt ocher is taken first here separately. And with burnt ocher, I'm mixing a bit of light cadmium mellow to make it an earth color. And with that, I'm just going to go over the bottom space on here. Gently and make it with a blend. You need to blend it. And similarly, this should be done to the stem on the second cherry here. Yes, I'm done. And next is going to be with the same color burn Talker. I'm making to the detailings. So first applying the color. Next adding the details, just moving to this way, curvy and extending till the bottom. So we need to stop it before the partition. And similarly on this place, it's going to be with the lightest. I mean the behind one here. So we can just go like this. And this. We can stop it here. Next is going to be with a Vandek brown. I'm taking a good amount because the detailings are a little heavy here to make it realistic. So I'm just giving a three D look effect. And splitting up with all the lines of the dried stem here, starting from the darkest part. So this gives detailings all the detailings are done accidentally with my number one round brush. So with this, it's like possible. So if you go with some kind of a bigger one, it will not be that good in giving the results. So I prefer you all to just go with this kind of brush. And next is going to be with a lining of the Vandic brown on the exact the very corner edge of the stem of first cherry. I'm doing that. And slowly just moving on to the top portion here of the cherry, you can see this side mostly it goes with the mandate brown, as I said, you can see in the picture, and even there, I'm going to make all the detailings using the darkest of the brown. So we can just go with the curves, little bent curves to make it look with a three D effect. Yeah, this is fine. And for the behind one, I'm just going with only two or three lines in the middle. And you can see some sharp points here. But I'm going to make that in the last portion. So now we need to just move on making with the detailings using the burnt talker. So with the burn talker, I'm mixing camiom a little and going with making the details on this area like this. Same way on here. Yeah, this looks good, and extending with the color on here. Next is going to be with a mixture using light cadmium Mello and the bunch offer lastly painted here. You can see. Yes. So mostly all dried up portions are covered well and painted well. Next task is going to be with the painting of the lengthy stem here. Now, for making the color, I'm just taking up my grass green here and mixing it with the light cadmium yellow. So just making the painting like this. So you can add a little colors just a little away from the outline to make it look like little thorns coming out from the stem, the particles coming out from the stem. That will look very natural. Yeah. Same way. I'm just going to make up a mixing and paint it on this side of the cherry here which looks very fresh and greenery. You can see No. Now, next is going to be we need to blend the colors here, the burnt ocher area, the dried up area of the stem, and the fresh part of the stem should be like colored well. And next is going to be the completion in the base using the same mixture. You can see with the grass green, I'm going to add little details over the top. And you can just clean up your brush and make the lines over the stem. You can see next part is going to be mixing of the grass green and white together to make the pale shade of the green. Remember, we have just created that using our palette and reference. So I'm just going to mix up that two colors to make highlight of the stem. So the color is ready and with a tip of the brush. So if you feel there is heavy water, the brush has goes with heavy waters, and just dab it over the tissue and with the excess leftovers you can see, I'm going to make the highlight portion over the stem. Like this, you can see a very bit of light shade on the left side of the object. So everything goes light there. And our task is to blend the things in the middle to make it look very natural. Till the top, I have made the white effect. And here on this portion, also the light is getting reflected. So even at this place, I'm adding with the whites and similarly on this end. So all the right ends on the picture mostly goes with the white sheet. So here comes the partition. To make the partition better realistic, I'm adding the white highlights on here. Also this place and on here. Next is going to be with the base. It mostly goes with the highlights. And dividing it on the top. The partition looks more natural, and we need to just blend the colors with the empty brush like this. Next is going to be, I feel like the colors are more pale here. And to neutralize it, I'm adding a bit of light cadmium and grass green mixture and a bit of just grass green to pop the color out. This looks better. Next is going to be on the rest part of the stem, the right cherry stem. So here, I'm going to take my white, just white. And with this, we can add to the right side of the object. So the paint consistency should be very perfect to get the exact output result. You see the reflection here. Now, mostly the reflections are done, and here and there on the cherry on the top of cherry, I'm adding with all the reflections using number one, brush itself can see. So these are minute detailings and also here it goes just near the reflections already done. Can make with the tip of the brush. And a little of this cherry's reflection over that cherry should be done here. This looks good. And a light on here just a light. I'm going with very light spatches on the corners. Yeah. So these are pseudo reflections. And finally, as I said, you can remember in the reference picture it has got with two thorns, the dried portions of the stem here and here. So to create that, I'm taking my Vandek brown age, reactivating it with water. So with this color, I'm going to create the texture. So very sharp thick texture should be done here like this, and the other texture should be done just below that. So this looks realistic and I'm adding the details if needed. H Oh, you can do the same. These are the final touch ups for painting. So we are almost 98% done with the painting, and this is the touch ups of all the works. So if you're not okay with some parts, you can just go take the paint mixture and make all the corrections well that will make you a painting like look so juicy and attractive because this is a fruit based illustration, right? This is the life painting. So I'm making all the detailings and here adding with thorns on this side, I can see on this place and this place. Just two. And to this, I'm going to make a little blend of the emerald green and the burnt ocher and just going over to the right side here. Of the stem. And this part is going to be as it is with a mixture of grass green and light Camillo. So yes, we are done with the stem portion completely. Now, yeah, I hope you have done all the pictures, details, everything. So have a last check with the pick painting, and I'm going to tape off my painting here, and I'll show you the result in the next video. So you can just tape it off very slowly, you need to remove it outwards. Very slowly and gently, if not, the paper made here because of x's gum in the masking tape. So peeling off very slowly like this. And I hope you have to just submit all your projects, all your reviews, feedbacks. I'm excited so much to listen all your reviews. So you can just uh keep posting all that after you're done. And mainly you need to just do the work and submit it in the project area. I'm so eager and excited to see all your works. So I'll just peel off this one too and show the result. So this is the last final result, and sorry for this. I have taped here, and the paint has gone to the outer side, and it's not needed, so we are going to cut to a paper here. So this is the only thing needed. This is the last final result, and I hope you have also attained the same effect you upload in the project area and give your feedbacks. So happy. And I'll be meeting you in the very last session of the chapter. Bye. 12. Outro: I hope you all enjoyed making the process of cherry using watercolor paint. Please drop your feedback and upload the output in project area, and I'll be meeting you in the next session. So stay connected, and thank you so much for joining this session.