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.