Chill & Ink – Chilling Monkeys in Winter Waters

1. Welcome and Introduction: Hi, everyone. I'm so excited to welcome you to this cozy and creative class, chill and ink chilling monkeys in winter waters. This class has this five project, each one featuring expressive, playful monkeys, snowy landscape, rippling water patterns, and whimsical winter details. This project are designed to be fun, relaxing, and highly creative. We will start our project with very simple ones, and as we progress, we'll be adding more elements and adding more details to it. And this will be our last project with lots of element, hot spring heaven. Hi, I'm Michal, an artist from India who teaches watercolor ink illustration and oil pastel classes. This is my Skillshare profile, and these are some of the classes that I teach on the Skillshare, oil pistils and watercolor. You can also find more of my art on YouTube and Instagram. We will begin the class with tasting supplies in which we'll be tasting the different kind of paints and the brushes we have and kind of lines that we can create a bit of basic techniques, hatching, cross searching, stippling, then very simple, different kind of eyes in the noses that you can create and sketches for few of the additional elements. And then we will proceed to the coloring, different colours that we'll be using different techniques like wet and white technique, blending, a little bit of different technique in which you can create fur and hairy texture and few other elements that you can directly create using the bras. And lastly, how you can create gradient with the blacks, and then we will move on to sketching out the different kind of monkeys. I'll be doing one with only the fine linen and other only using the watercolor brusses and using the watercolors. And then we have the f project here I'm sewing starting from the last one, hot spring heaven, floating treats, drifting calm in the quiet current winter spring and gentle company, and the first one chilling in serpentine waters. In this class, I'll guide you through how to create clean ink illustration using fine liners, different ways to draw monkey characters, cute, expressive fluffy and stylized monkeys, how to add movement and depth to water using ink strokes, how to use watercolor to build sados, highlight and fluffy texture, and layering technique to bring you icy landscapes to life. Once we are comfortable with the basis, we will dive into the full class project, each focusing on different composition. This class is perfect for beginners and intermediate artists. All lessons are easy to follow and most demonstrations are shown in real time, so you can paint right along with me. I'm so happy you are here. Let's jump in and start creating this cousi winter monkeys illustrations together. I'll see you in the next video with a class project. 2. Class project: For this class, you will be creating your own ink and watercolor chilling monkeys in winter water illustrations, inspired by the five paintings we are going to explore in this class. You can recreate any one of the paintings or try all five, whatever you enjoy the most. Once you finish, please upload your artwork in the project and resources section. You can share your final painting, your pencil sketches, your ink outlines, and colored taste or practice seats that you have done, progress photos if you like. I love seeing how you interpret the lessons differently. So don't hesitate to see even if you are a beginner. You can also leave a review of the class and share your thoughts, suggestions or feedback. This really helps me to improve future classes and bring more fun lessons to you. Feel free to ask me anything in the discussion section, and I'll be happy to guide or help you with your artwork. I can't wait to see your chilling monkeys. See you in the next video. 3. Supplies: For this class, you will need basic supplies, pencil, erasure, masking tip to secure the people, watercolor paper, here, alum using 300 GSM watercolor paper. You can use any other watercolor paper of 300 GSM, watercolors, I'm using camelin artists watercolor paints, I'll be using fine liners, gel paints and normal ballpoint paints. You can use whatever paints you have apart from this. If you have additional paints or white paints, you can use two to add the highlights. Like here, I have Zikuratakis white paint, and here's Zikuratakis paint with gray seeds. Ink. I'll be using both white and black ink. I have got this ikura takes Sumi black ink and this white ink. I'll be using white to add the highlights and create ripples and weaves on the water and black ink for the rest of the water bodies. And apart from this, you can also use gauze if you have instead of the watercolor to do multiple layerings. So these are the basic supplies that you need for this class. I'll see you in the next video. 4. Basics fineliners and brush pens: Welcome to the first section. Here we'll be tasting the supplies, the different kinds of paints you have, and the other supplies, the breast paints and the watercolor brushes, creating different kind of thick and thin lines. Then we will move on to creating various kind of lines like broken lines, small hatching lines, a bit of combination of both hatching and crosshatching lines. After that, we'll be doing some basic techniques, hatching, crosshatching, stippling, and scribbling. Let's start with tasting our supplies here. First time using this gel pin that I have. I can create both lines thin and thick lines for the thick lines, I'll have to just do two or three layers of the pain to do it. And then let's use the second one. Here we have got different varieties of sakura micron pin. Mostly, I'll be using the sakura micron to do the outlining and create different techniques. Apart from that, I'll also be using a little bit of brass pins with the sakura micron pain depending upon the thickness of the knee. You can create different varieties of the lines here. I have got the Zikurataki mangaka pin with this, I can create very thin lines. I'll be using it at thin and fine details. Here, I got this red colored gel pen. For some of the project, I'll be using a little bit of red. I can use that. Now let's try out some bras pain. Here, I got this Bristo breast pain. With this, I can create both thick and thin lines. Here, the quality is not that great, so I'll be using it to create this kind of rougher lines if required. If you don't tap, you can only use the water calibrs, you can create any kind of lines with that. Here I have got another breast pain with Zikorotaki. With this two, I can create varieties of the line. I won't be using it. Mostly, I'll be using this Zikurataki breast pain to do the final outlining. And with this, as you can see, I can create varieties of the line, both very thin and thick lines. And I'll also be using this to do the outlining for the smaller areas. Here's another Ziurataki pain. This has called greased. I'll be using it for the grease monkeys, if required. Otherwise, I'll mostly using the watercolors to do it. Now let's try with the watercolor brushes. Here I have got the small and medium sized brushes that I'll mostly using. With this, just by wearing the preser and the angle, you can create varieties of the line. For colouring the monkeys, I'll mostly using the smaller and medium sized one, and to feel larger areas, I'll be using a bit larger size of the watercolor brushes. Earlier, I used the watercolor to create the lines. And this time here, I'm using Sumi waterproof ink since we won't be doing much detail work. So any thin or medium size of the watercolor brush will do the work. You can clearly see the difference. The intensity of both the color are quite different. Now, let's create some lines. Fine lines. Here I'm using gel pen to do this. For some of the sections, I'll be creating this kind of broken lines to do the outlining, as well as to create fur like textures and create a bit of fluffier texture for the for some of the smaller sections of the monkeys. And this kind of outline, as you can see for most of the monkeys, I use both broken lines and a little bit of this kind of line that I'm going to show you, small tiny lines, a little bit of hatching to create the line appearance. You can also vary the seed in the sizes of the lines. Here, if you increase the sizes, you can create a bit of hairy texture for the outline section. And for small hairy texture, you can create this kind of small lines. Let's do one more example. This is a bit larger and all the lines are connected to each other. These are some of the lines that I'll be using to doing the outlines. Moving to some of the techniques, I won't be using that much, but if you want, you can do a little bit of it to create a bit more detailings to it. Here we have got the hatching. Hatching is a technique where we draw parallel lines close together to create texture or value. The closer the lines, the darker the area looks. Then we have this cross hatching. It uses overlving sets of the hatching lines that cross each other like an axe. This creates deeper shadows and richer texture. Moving on, we have this stippling, a technique where you create seeding and texture using small dots, more dots more dots lead to darker areas. Few dots leads to lighter areas. And lastly, we have got scribbling. Scribbling is a loose technique using random overlapping messing lines to create texture for rough surfaces. I'll be using a little bit of this hatching to create a bit of sding. So as you can see, just by wearing the number of the lines, I can create different kind of seeding for the area and the regions where I want to make it a bit more darter, I'll be adding more lines. You can do the same with this other technique, the stippling and the scribbling. So adding more dots in case of the stippling and for the scribbling, I'll be adding more rough lines for the regions where I want to make it a bit more darker. Adding more dots for this stripling to make this side a little bit more darker. Let's do the same for the scribbling, adding more lines on the left side to make it a bit more darker. So using the different techniques, the hatching, crosshatching, stripling and scribbling to create a bit of siding, I won't be using this a lot, but for some of the cases, I'll be using a little bit of hatching lines to create a bit of siding. Now, let's do the outlining for some of the simple eyes. Here I'll be showing you six or seven different kind of eyes. First, we have got very simple eyes, two small circles like this. Here we have got the second set of the eyes, a bit larger oval seeps for the eyes. Let's create a bit more detailed one. Same fine, circular seeps and inside of this eyes, I'll be adding the pupils and the iris, a little bit of white spies for the highlights. A few lines that encircle the whole sp to create a bit more weary and tired look. Now moving on to creating more defined and detailed eyes. Here we have got humanoid like eyes. For one of the project, I'll be creating this, but for most of them, I'll be creating the cartoonist and funny looking eyes. Let's aerate the feature of the eyes a little bit to create this kind of bolder and enlarged eye here and using a bit of broken lines to do the outlining, and a few more lines for the upper and the lower section to make it a bit more bolder. Let's do the sixth one. So we have got this mask like eye. I'll be using this for the third project. Inside this region, I'll be adding the eyes. You can create or add any kind of eyes. Here I decided to add the human like eyes for this Adding few lines in the middle second to resemble the presence of the nose. And now let's do the nose. Here, I'll be showing you four or five examples where simple noses starting with two simple dots. So two simple dots to create very easy noses. I'll be using this for the small monkeys to create this kind of nose, and I forgot to add this kind of eyes, so I'll be using this for our second project, simple eyes. Now let's create a bit more detailed nose. Triangular C for the nose, two nostrils, and a little bit more detailing for the mouth. This is one of the detailed kind of the nose that I'll be using. And now let's create one more. This is the kind of nose that I'll be using for our fourth project. Apart from this, I'll also be creating a much simpler version of the nose in the S of cross. A, with these, we are done with the nose. So let's create the leaves, the lots and the lily leaves present. I'll be using the watercolor to do the outlining, but in here, I'm just creating this whole like see. I'll be dividing into different sections. And to add a little bit of more characteristic to the leaves, I'll be sewing some section of the leaf are missing like this in here. A triangular portion of the leaves is missing like this. To add more characteristic and more details to the leaf floating on the water. If you want, you can also create the simpler version of the lotus. For only one of the project, I'll be adding the lotus and only a single one. If you want, you can add lotus. You can also add small lotus birds. So these are some of the elements that I'll be adding on top of the water, the leaves and the lotus. Then we have got some kind of rocks. And here we have got some different kind of the rocks that I'll be creating. For our project, I'll be using both fine liners and the watercolor to do the coloring. But in here, I'm just showing you how you can create using only the fine liner. Using a little bit of sading technique, using the hatching lines to add more details for some of the regions of this. So a little bit of sading. You can also try cross hatching stippling to make it a bit more detailed and more darker. You can also vary the thickness of the lines to add more characteristics to this. Then here we have got another kind of the rocks. This are a bit larger one bit longer ones, and it same kind of lines, a bit of hatching lines. You can also vary the thickness of the lines to add more characteristics to those rocks. Instead of keeping all the lines of same length here, as you can see, I'm wearing the length, a little bit of siding and a bit of hatching. And for our last project, I'll be creating this kind of planks. For the hot spring heaven, I'll be using this kind of wooden planks to add the bridge, as well as for some of the upper section of the house. Also, I'll be creating this kind of pools for some of the submerged section in the water. Let's do a few more examples of the wooden planks. Where a simple outline section and a few lines, a bit of broken lines to admit more details to the wooden planks. These are some of the additional elements that we'll be using in our project. Apart from this, you are more than welcome to add more elements as you see fit. And with these, we are done with the first section. I'll see you in the next one. 5. Watercolors: Welcome to the second section. Let's continue where we left off. Here I'll be using the watercolors and sewing different techniques and different ways, I'll be using it. Let's start with the simple definitions hue. So here we have got this ocher hue. Hu refers to the pure color itself without any mixing. For our project, I'll be using ocher yellow, a little bit of red and green. Apart from that, I'll also be using black and white. Now, next we have got tint. So tint refers to a lighter what's another color made by adding more water. Earlier, I used a bit concentrated form of the char to create the first circle. In here, I'm just diluting it by adding a little bit of more water. Primarily, I'll be using a bit diluted form of the color to create the layering. I'll be starting with a lighter color. And as we progress, I'll be adding a bit more darker colors and a bit concentrated one to add more details. Then here we have got seed. Seed refers to a darker version of that color made by adding black or darker pigmentation. Here I used a little bit of darker color, a bit of black to create this seed, a darker straight of this ocher color. Mostly to create a bit darker sed, I'll be using the same color but a bit more concentrated color or a bit darker tone of that one. Like for this occur one, I'll be using a bit brownish color orbit of burned sienna to make it a bit more darker inside. So this time here I'm using burned Siena to make it a bit more darker inside. Since the colors are wd, it will blend smoothly. I'm just spreading it to make this process a bit more smooth. Et's talk about the value. Value refers to how light or the dark color appears. So here I use the yellow color and its value is a bit dark since I used a bit concentrated yellow color. Here we have got light value of the yellow. Here I diluted it with lot of water, and so we have got the different values. I'll be starting with the lighter values for the coloring, and then we will move on to bit darker. Here I made a mistake. At a bit of color was platted in here. And if this happens with you, you can use a bit more water to spread it and then use Tissu paper to soak it up. I'm adding more waters and spreading it. Since the color was a bit more diluted, it has not that much pigmentation, so I can easily remove it most of the color. Going in with the tissue paper to soak the color. As you can see, most of the colors has been soaked up. A little bit of the color is still visible, but most of them has tried. Most of them has been soaked up either tissue paper. So if you make mistake like this, you can use the tissue paper or the cloth to remove it. Next, we have got a referred to smoothly of the watercolor covering a large area. For our project, as I mentioned, I'll be starting with the lighter scenes. In here, I was not able to record it, but as you can see, I'll be explaining it. Here I created three different kind of the vases. So the first one is flat vas, one even consistent color over the whole area. The second one integrated vas a vast that's lowly cenous from dark to light, the upper Saxon is a bit darker and the lower sexon as you can see in a bit lighter. And the third one is variegated vas a vas blending two or more colors together. The upper region, the middle, and the lower region a bit darker and the regions in between them is a bit lighter. So we have got three different kind of vases that I'll be using Now, let's talk about wet and wet technique. Here for this one, I'm using a bit of wet and wet technique. I use a layer of water to as primary layer, and on top of this, I'm using this purple to spread it. In here, I don't have to start with the watercolor directly. Instead, you can start with the water as the primary layer on top of it, add the color, it will spread on its own and you will get a bit lighter vs. Now, let's use the same thing wetn wet technique. This time, instead of using single color, I'll be using two colors. I started with the water as the primary layer now. Here I'll be blending two colors, using the wet and wet technique, starting with the purple, adding the purple, a bit less pigmented purple on the left side. As I added a little bit more water for the wet and wet technique, I'm using this dry brush to remove some of the water. This time, I'm using a little bit of orange color, and now let's spread it. It will blend on its own. Mix the colors a little bit by the brush, but it will mix on its own and create a beautiful gradient. Let's move on to blending using wet on dry technique. Here, I used a bit diluted form of the cher. And on top of this, I'll be adding a little bit of burned Sian on one side to make that side a bit darker so that region is a bit darker and the other region where I won't be adding it is a bit lighter. I'll be using this to do a little bit of blending to create bit as well as to depict light and the sados. Let's do one more example here, I'll be using a bit more wet and wet technique. This time I did not paint attention the brush was carrying a little bit of the pigmentation, the ocher color. So try to avoid this kind of silly mistakes. Here I'm using wet and wet technique. This is our first layer with the water. Now, on one side, I'm adding this bit pigmented ocher. As you can see, I'm adding it in the top left side and on the bottom right side, I'll be going with bit darker sand. Ocher color. Here I'm using a bit of burnt sienna and it will blend on its own. You'll have to mix the colors a little bit. Till it dries, let's practice a little bit of fur creation. So here I'll be showing you how I'll be adding how I'll be creating the texture and for some of the monkey. We'll be adding two or three layers of different sets of the colour to create fur like texture and a fluffy texture too. So I'll be showing you four different examples. So this is going to be our first layer. On top of this, we'll be adding a bit more darker sites of the color. We will wait for it to dry a little bit, not completely dry. I'll wait for it to die in such a manner that the next layer of the colour that I'll be adding on top of it will blend it not smoothly, but a little bit with the first layer. Let's do a third example. Here, I'll be creating a bit of fluffy texture. For all the three color, I've used a little bit of grayish color and on top of this since I had a little bit of red pigmentation on the bras, so it turned out like this a bit of reddish gray tone. Here too, I'll be doing two or three layers of the coloring. For all the three example, I'll be using different sets of the gray to create the fluffy and here like texture for our monkeys. For this one here, I used a little bit of more red colour to our grade to create this kind of coloring. In here, I'll be using red to create fluffier texture. We'll wait for it to dry a little bit, and then we will proceed with the second layering. I'll be starting with the first one, the first rectangular C. Here I'm using a bit dilutc consistency of the gray and creating this kind of hatching lines. As you can see, I use less pigmentation of the gray, and this one will be a bit lighter in the tone. I'm using the same color for this third example. For this one, I'll be creating a bit more texture on the bottom left side. The top right side will be a little bit lighter than the color, small strokes throughout the entire region to create fluffier texture. As you can see, I have not covered the entire sexton, created small strokes throughout the entire region. It will blend on its own a little bit since the first layer was not dried completely. For this one, here I'm using a lot of pigmentation, a bit darker side of the gray. For some of the monkeys, I'll be using this kind of small lines, a bit of hatching lines to create a fur like texture. Using the same color. Once again, small strokes. Here, comparing to the second layer, here, I'll be adding a little bit less gray. Continue with creating this kind of smaller strokes and overlaying it on top of the second layer. For the outlines, here I'm using a bit lighter tone of the gray. We will wait for it to dry and then add another layer on top of it. Now, moving back to the first one, here, once again, I'm using a bit lighter shade of the gray. And let's create a bit more fluffier texture for the outline section, a bit of small strokes with the brush to create here like projections as the outline, very small brush strokes. On top of this, I'll be going with a bit darker set later on. For now, let's create the same kind of outline for this second example. Here I'm using the red, a bit more pigmented red. Once again, doing the same thing, creating small strokes with this to create for texture for the entire section. As you can see, as I'm moving from left to right, the intensity is decreasing a little bit since the aper has not dried up entirely. Let's add another layer on top of it. Small strokes for the outlined section to create a bit more here like projections. For our main project, apart from the watercolor, we will also be using the fine liners and the bras pans to add bit more texture and more detail ins to create fluffy and to create fluffy texture for the entire bodies of the monkeys. We will wait for it to dry, moving on to the third one. So here I'm using, once again, bit more darker tone of the grain, adding it primarily on the lower section, small strokes with this, moving on to the second one, overlaying this on top of the lighter side of the grain that we used earlier as the outlining section, doing the same thing, creating small strokes to create for projection. Moving on to the first one here for the lower section only, I'm adding this gray tone. I'm using this gray color. So using this to create a bit of outlined section for the different layers of the fur for this. Here, as you can see, I'm using small strokes and create a bit of outline section for different layer of the fur. In this manner, we'll be creating the fur and the fluffy texture for our monkeys. Now let's create additional alments that we'll be using for our projects. So we have got leaves, big and small ones. Here, I'm using broken lines to do the outlining. For our main project, we'll be using both the fine liners and the watercolor to create this. But in here, I decided to just only use the watercolors to do it where a simple C. And to add more characteristics to it, as you can see, I removed one section of it, a small triangular section. So for some of the leaves, we'll be doing this removing one or two different sections of it. Here's another example, a bit smaller one. We'll be surrounding it with the black water later on when it dries. For now, let's create different kinds of rock pattern, different kinds of rocks that are coming out of the water, small strokes of the brush to create this kind of line. The outlines would be a bit darker tone and the remaining section, as you can see, it's a bit lighter tone. I'm using the brush at an angle so that I can create this kind of line. Here's another one. This time, I'm using a bit more lighter tone of the colour to create this. So you can consider this kind of bit on wit technique using very lighter tone of the grid to create first layer, and I am leaving, and I'm leaving a little bit of a space in between different layers of the rock. On top of this, when it dries a little bit, I'll be going in with a bit darker tone of the gray. So it's died a little bit. And here, I'm using a bit darker tone of the green, and it will blend on its own because of a little bit of the weight from the earlier layers, creating a bit more bolder and darker outlines for the different section of the rock. And as I mentioned for our main project, we'll be using both the combination of fine liner and the watercolor to make this a little bit more detailed and more defined. And now let's surround it with the black water. You can use both the watercolor and the ink. Primarily, I'll be using the ink to create the water since it will be more uniform and will provide more darker color. Let's do the same in here, too. You love to causes while doing the outlining for this. For the smaller sections, I'll be using the bras beans to do the outlining and then fill the rest of the regions with the watercolor brushes. Here, as I mentioned, you can create a little bit of gradient. The regions the regions near the leaf can be a bit darker or a bit lighter, and the other regions will be of different sad. By different side, I mean, if you are going with a darker set for the region near the leaf, then the regions apart from that will be of bit lighter sad and vice versa. So I'm not able to really explain it, but you will see it in the next section of this video where I'll be creating few leaves and create a bit of gradient in between the different sets of the blacks and the grease. In here, I use watercolor to do the coloring for this water, but as I mentioned, I'll mostly using the black ink to do it. Here, let me show you how I'll be creating the ears. Here, I'm using a bit different color combination, starting with the gray as the primary layer. For our main projects, I'll be using lighter sets of ocher or lighter sets of the pink to create the reddish orbit of pinkish ears. Adding a little bit of pinkish color for the lower region. Mm hmm. And now let's create the outlining. So using a bit pigmented pink colour to do the outlining for the ears. This is just a rough example. For our main project, we'll be making it a bit more detailed and we'll be using other color combinations. The pink has spread a little bit with the grey, but if you want to spread it a little bit more, you can use water to spread it. But here's one more example of only using single cant to create the fluffy texture. Here I'm starting with the lighter set of the orchard as the primary layer. And now, I'm using a bit darker tone, a darker set or you can say a bit concentrated darker, creating small strokes throughout the entire regions. And as you can see, I'm not completely overlaying on top of the entire region. For the outline section, I'm creating this kind of rougher versus strokes to create for Aperion. Let's add another layer on top of it, a bit more concentrated one. For the lower regions to let create a bit of rougher texture. Using the same color, but just by wearing its intensity in the pigmentation concentration, you can create for light texture and fluffy texture too. Let's move on to gradient creation. I'll be sewing you two examples in this section. I'll be using different color to create the gradient. For our third section, I'll only be using black and the grays to create the gradient. As you can see, I have already started with the orchid to create the gradient. Apart from this ocher, I'll be using ambul, yellow, light yellow, gray, and then once again, yellow, orange, red, dark red, and brown. Basically, a gradient in a smooth, gradual transition from one colour to another or from dark to light. Here I'm starting with the ocher color and then I'll be moving to a bit white or greystone in the middle. And then once again from white or greystone to bit darker tone. Gradients are created by slowly adding more water or slow introducing a second color while painting in one continuous stroke. You can also use a bit of wet on wet technique to create a bit more flow and more smooth gradient. But here I'm just using the colors, spreading this gray a little bit more to mix it with the light yellow. Now, let's spread the grey color a little bit more. And once again, I'm going with this yellow. Let's mix it with a gray color. Since it does not dried up, it will blend on its own. Generally, there are two kind of gradient that you can create value gradient, starting from dark then medium, and after that, light tone, same color becomes lighter as more water is added. In case of value gradient, we start with the same color, and it becomes lighter or darker as we add more colors to it. Then we have the color gradient like this one. One color blends smoky into a different color. Here I'm blending this red to the orange and the orange has already been blended with the yellow. I'll be using this gradient for the ears and a little bit of stomach and the faces of the monkeys. A good gradient should look soft, even and singless without harsh lines. And yeah, with this, we are done with the second section. In the third section, I'll be showing you a gray and black gradient. 6. Gradient creation: Welcome to the third section. Let's continue where we left off. In here, I'll be creating value gradient of black and the graze. Apart from that, for this value gradient, I'll also be adding different leaves, the same kind of leaves that we practice in the upper part. So small and large leaves, I'll be creating four different leaves, and I'll be using black to create the gradient. We'll be doing a bit of flat v. To create gradient, it would be advisable for you to use the watercolor. With the ink, it will be a bit challenging since the intensity and the pigmentation of the ink is quite high. Before creating the gradient, here I'm using the grade to do the outlining for our leaves, a bit of broken lines and bating a bit more details by adding the leaves into different section. This is optional. If you don't want, you don't have to create the leaves or do this kind of outlining and adding more details to it. And as I mentioned for our main project, we'll be using all the three, the fine liners, the watercolors and ink to make this project a bit more easier and more simpler and to create a bit more characteristic and more depth to our painting. Going over the outline for this last key. And now let's add small lines to create different sections of it. You'll have to wait a little bit for it to dry so that it won't merge with the blacks that we are going to use to create the value gradient. Now, here as an ensign, I'm using watercolor carefully going over the outlines. We don't want the grease to mix with the blacks. Here you'll have to use a bit more concentrated black to create this gradient. This tide will be a bit darker and the right side too, the middle region will be a bit lighter inside. Let's define the outline section in which we'll be adding the color. I'll be using water to spread the black for the middle region to create a value gradient. For now, let's fill this region with the black. Carefully filling the remaining section with this black. Let's do the outlining for this one. Creating the outline for the remaining section. Let's do the coloring for this side, and then I'll move on to the right side and use water to create the value gradient in the middle. Here, I use water to spread the color. So as you can see, the intensity of the color is decreasing just by using the water. Once again, here I'm using a bit concentrated black to do the outlining for our leave the small leaves in here. And on the right side, too, I'll be using a bit more concented black. The above example is the color gradient and this is the value gradient exercise that we are doing in here. Let's make it a bit more larger. Here once again, I'm using water to spread the colors and blend it. For this geno, a little bit of gradient. And it will blend on its own. I used a bit more water in the middle section. Otherwise, the middle section will be a bit more lighter. Let's wait for it to dry. Until it dries, I'll be showing three different kinds of flat passes that we can do. The three that I created in the upper section, I was not able to record it. So let's do this. Here we have got the first one, the flat as only using a single colour to create this layer. Then we have the second one, the graded vase, a vase that slowly changes from dark to light. And then let's create one more the variegated vase, a vast blending of two or more colors of different intensity. Here, I'm only using a single color and I'm just wearing the intensity. The top, middle, and the bottom part are of higher intensity in the middle sections, here I'm using water to do color blending. These are the three different kind of vases. Mostly, I'll be using flat and graded was. Not that much of variegated was. And with these, we are done with the first three sections. I'll see you in the next one where we'll be sketching out the different kinds of the monkeys. 7. Monkey pen sketches: Welcome to the first part of monkey sketching. In here, I'll be using pencil to do the initial sketching and then fine liner or gel pen to do the final outlining. So here, I'll be showing you all the five different kinds of monkeys that we'll be creating for our project. Let's start with a very simple see circle for the see of its head, and I won't be creating the entire body. If you want, you can do that, but I'll be keeping things simple only up to its chest. Let's add detail for its free. I'll be creating this kind of see somewhat of fluffy YCA. Let's create the same thing in here. Why CP in here too. This is one of the easiest monkeys that we'll be creating. Tiny ears on both sides. And this is just a simplified way in which you can create it. Now, let's add the details. To create for tracture I'll be creating this kind of line using the gel pen or the fine liner. We have practiced this kind of line in our earlier section. So we'll be doing the same thing in here. Later on, I'll be going with the gel pen to do the outlining to make it more bolder and add more details the eyes, where simple nose and the mouth. I'll be creating these small circular saves for the eyes, two little dots for the nose and this kind of simplified worsen for the mouth. So this is our very basic simple pencil sketch for the two monkeys for our first project, chilling monkeys in serpentile water. Now, let's do the outlining. For some of the sections, I'll be creating this kind of broken lines for the others, I'll be creating bit bolder lines. If you are using fine liner or gelpen and if you want to make the lines a bit bolder, you'll just have to go on the lines once or twice to make it a bit bolder. As you can see, just by going over the outlines and using this black ink from the gelpin, these two monkeys are looking quite good. So let's do the C for this one. YC for its face and circular C for its eye. Small seeps for its nose and a little bit less detailed mouth. If you want, you can play with different combinations of the eyes, nose, and the mouth. Feel free to experiment on your own. Now let's create the furry texture. This kind of small hatching lines, and they are connected to each other. In this section, I'll be creating six monkeys in total. So a total of three set and in the next part, we'll be doing two more. After that, we'll only be using watercolor to do the coloring. I won't be using the fine liner to do the outlining, just to show you that you can easily create both card of monkey, only using fine liners in the ink and only using the watercolors or gauze or whatever color you are using. Creating the outline for rest of its body. And to create a bit more furry texture and to sew a little bit of sados below its head, I'm creating this kind of line just below its neck line. To make it a bit more interesting, you can just vary the sizes of the lines a little bit. Let's make some of the regions a little bit bolder, add a few more lines below its eye. Creating ripple effect with the lines for the water. And yeah, with these, we are done with our very first simple monkey. We want to make adjustments, changes and play with the seep in the sizes feel free to do that. Now, let's do our second one. So we have got these two playful monkeys from the second project, Winter Springs and gentle companion. Here too, I'll be starting with the basic sees. I'll be starting with a face. So the outline for the pace will be a little bit different. Earlier, we used Y seep to create the phase, but in here, the upper portion is somewhat seen, but the lower portion is a little bit rounder. Here's another way you can create it. Start with two oval C for the I and and for its mouth, I'll be creating this kind of ellipcal C. So these are the outline for its face. Now let's do the rest of its face. I'm just encircling the entire section with it. If you want you can make it a little bit more oval, but here I decided to create this kind of bit curve rectangular C for its upper part. You can clearly see it somewhat of curve rectangular or square C for its entire head. Now, let's do the remaining portion of its body. For these two monkeys, a little bit of its hands will be visible. I won't be creating the fingers. Only the soldier will be visible. Two or three lines to represent the hands are present in here. If you want to make them detail, you can even add the palms, fingers. For our third project, we'll be doing that, but for now, let's keep this simple. Here, for these two monkeys, the ears are quite large as compared to the first ones. Now, let's create the eyes. Were simple eyes. This is the kind of nose that I was talking about in our earlier section, somewhat of cross like C for the nose. If you want, you can play with other combinations of the eyes, nose, and the mouth. But for the gentle companions, I'll be keeping things simple. With this, we are done with the pencil sketching. Let's do the outlining. Here. Once again, I'm using the gel pen to do the outlining. If you have more paints, different kind of fine liners breast pins, I would advise you to try them too and see what is more comfortable to you. For some of the section, as you can see, I'm doing the broken out lines to create a little bit of more organic peel for the monkeys. I'm also wearing the line thickness. Let's go over the outline for its eye, very simple saves for the eyes, and let's do the same thing for the second one. Got very simple nose, a little bit of cross C for the nose. Very simple smiling mouth for our gentle companions. Now, we're moving on to the remaining section here, too. If you want, you can create the fur like texture like we did for our first two monkeys using hatching lines to do that. But here I decided to keep the lines a bit more cleaner, a bit of broken lines, but uniform and straight lines, otherwise, we have got the big airs in here. Going over the outline for rest of its body, a bit molder lines to sew a clear distinction. Now let's do the same thing for the second one. For the Arian here, its neck, I'm making it a bit more thicker so that it's a bit more furry or fluffy in here. So the reason in between the head and the rest of its body, the neck line, I'm making that region a bit fluffier. And this mill on the neck lines like we did for the first two monkeys, I'll be adding few lines to create and to sew a bit of clear distinction in between its head and the rest of its body. A bit thicker lines or two or three lines to make the list of its body a bit more bolder and more darker. If you're using brasmin, you just have to vary the piecer and you can get different kind of line. Now, let's create the ripple effect using the fine liner, using this gel pen. For our main project, mostly I'll be using whiting to create this kind of effect. And with this, we are done with our second monkeys, moving on to the third monkeys. For that project, we'll have three monkeys, but in here, I'll be showing you only the two. These are a little bit more detailed, I would say, the most detailed one of all the projects. The seep of the piece is a little bit similar to the one we did for the second one. But in here, the lower portion is a little bit smaller as compared to the second one. Let's create the outline for the Let's create the outline for the second piece. A bit smaller section for its lower part of its face. Here I'll be creating fur like texture for its outline and for most of its body. And yeah, as compared to the second one. Is head is a little bit more fluffier and a bit more rounder. And as for its ears, I'll be keeping them a bit larger, and I'll be creating the kind of eyes that we practice, the goggles like eyes and circular eyes, circular big eyes, a bit more detailed nose and mouth. Let's do the outlining for remaining section. Here I'll be creating the hands and the hands will be holding. One of them will be holding a bottle and another one bread. For our main project, the monkeys will be holding. The three monkeys will be holding different things, but in here, I'll be showing you a monkey holding a bottle and another one holding a bread. I'm not creating that much detail hands, very simple hand for fingers, and I'm not sewing the thumb, if you want, you can do that, too. I'm just trying to keep things as simple as it can be. For the second monkey, I'll be sewing both of its hands for the first one. The second hand is not that visible. It lies behind its body. These two hands will be holding a big piece of bun or bread. These are optional. If you're not that comfortable, you don't have to create this kind of hands. You don't have to even add the hands. You can just create its body up to its chest. The hands will be submerged inside the water. I'll be dividing its body into different sections. So the stomach will be of different color and I'll be using a little bit of fine liners to create a clear distinction. Let's do the outlining, starting with the broken lines for the upper section, the eyes, the goggles C for its eye. Here we have got a bit triangular C for its nose. Let's add the mouth for it. Large circular sees for its eyes. Inside the eyes, I'll be adding the pupils and iris, a little bit of curve line, a little bit of curve line for the contour of its nose. Yeah, let's create the hatching lines to do the outline for rest of its body. Let's create this kind of hatching lines to do the outlining for rest of its face. Apart from this outlining lines, I'll also be adding more lines, a bit of large and small lines following the contour of its face to make it a bit more thicker and a bit more detailed. In here, I'm not doing that, but for our projects, we'll be doing that. This is a little bit carved in here. Let's add the ear, same kind of ears that we created for our second pier of monkeys. We have got a fluffy little feas. So here we have got a fluffy little face for our third pier of monkey. Let's do the remaining part. For its hands, I won't be creating the arching lines, very simple plain lines to create the outline for its hand. You can use a bit of broken lines, but otherwise, I'll be using plain and uniform lines to create its fingers and the remaining portion of its arm. Instead of this piece of bread and water bottle, you can add anything. For our current monkey demonstration, I'll be adding orange on its one hand and the other hand, we'll be holding a large piece of bun, and same goes for the second monkey. It will be holding two pieces of buns. So feel free to experiment with different kind of food items, vegetables, fruits and vegetable for your monkeys. Going over the outline for the second hand. So this is holding a bottle, a cold drink bottle. You can also add a straw coming out from it. And we are thee with the outlining for its bottle. Let's do the remaining section for its remaining part here, I'm using this kind of lines, a little bit of hatching lines and a bit of broken lines to create a bit of fluffy and fur like texture for its finger, creating this kind of small lines to sew a little bit to add a little bit of more detailings to it. Now, let's do the outlining for the second monkey. Here I'm starting with its hand. Make the fingers a little bit more bolder and a bit more distinct. Going over the outline for its second hand. As for the coloring of this monkey, I'll be using two or three seeds of the gray. I'll be starting with the lighter seeds from the gray, and then on top of it, we'll be using and on top of it, we'll be using a bit of hatching, add another layer of lines, and finally, a bit of darkened tone of the green to add final layer of the hatching to create fur like texture. And on top of that, I'll also be using a little bit of bras pain to create a clear distinction between different parts of its body, the hands, the neck line, and its head. Continuing on with the rest of its face, adding a little bit of curvier line following the contour of its head, triangular shape for its nose and two nostrils. Let's create the small mouth for it. Let's do the remaining section for its head, a bit of a small hatching lines to do the outlining. Moving on to the outer section for its head. So this is a piece of bread that it's holding. Now, let's do the remaining part of its head. Finally, adding the ears. This ear is not that much visible. And now let's do the remaining section of its body. Creating clear distance and different section of its stomach and finally, creating the wave like pattern aipleeffect for the water. And with this, we are done with our third pair of the monkeys. I'll see you in the next video where will be creating four more monkeys. 8. More pen sketches: Let's continue where we left up. Here we'll be sketching these two monkeys. This are somewhat a combination of the second and the third one. So let's start with the pencil sketch where the simple sees for its face. This is somewhat similar to the kind of fees that we created for all the upper part. The lower part, it's somewhat similar to the second monkey. It's a little bit of elliptical see for its load spot, and now let's do the outlining for its head. Is head will be following the contour of its face. Here, I won't be creating its hands. If you want, you can do that. I'll be keeping this a little bit simpler. So this is a very simple see for its face. Let's create one more. So this monkey is a little bit belted, so it's faces a little bit. So its face is hoisting towards the top left side, a little bit of skewed face. Let's do the outline for the rest of its body. Here we'll be using combination of both broken lines and a little bit of hatching to create the for texture. The eyes will be a little bit different. I'll be creating the humans like eyes, a bit more detailed nose and the mouth. Otherwise, the rest of the things are somewhat similar to the third player of monkey that we did it. Now let's create the eyes. Very simple eyes, human eyes, a bit smaller eyes. Large nostrils for the nose and this kind of mouth, this kind of mouth that we created for our first pair of monkey. And now let's do the outlining. Here, once again, I'm using the gelpinFor some of the sections, I'll be creating the broken lines. For other section, I'll be using the hatching lines to create a bit for texture or to make the lines a bit more bolder and more darker. For the eyes, the upper part and the lower parts, I'll be adding a few more lines to make it look a bit more weary and more tired. Small pupils inside the eyes. Large nostrils, few more lines in between the eyes and the nose. Let's create its mouth, a bit more detailed mouth. Let's do the remaining section, a bit of this kind of broken line and a bit of hatching lines. Let's make the sides a little bit more bolder. Now let's do the outline for the rest of its head. A combination of both broken lines and a little bit of small hatching lines. For the top I used a bit larger lines to create here like projections going over the outlines for its ears. And we are done with the feeds for our first monkey. Let's create distinction between its head and the rest of its body, small hatching lines just below its snake line and the remaining section, small hatching lines took some more clear distinction. And we are done with our first monkey. Let's do the same for the second one. For this pair of monkey, I'll be using lighter seats of the color. I'll be starting with a Camugio or ocher as the primary layer, and on top of it, we'll be adding a bit more concentrated ocher. And then either I'll be going with a brown or burned Siena as the third and final layer, I'll be creating hatching lines to create for like appearance, and also for its eyes, nose and mouth, I'll be doing outline with the burned Siena or the brown. You can use the fine liner or the breast pin to do the outlining, but I'll be trying to use the colour watercolor to do the outlines. Continuing with the remaining saxon of its face. A little bit more lines for this upper part two bit more hires and here. More lines on top m lined to create a bit of weary and tired looking appearance. To large nostrils for its nose. And finally, let's create its mouth. Yeah, with this, we are done with ours. Fourth pair of the monkeys, let's create the ripple like effect for the water. And with this, we are done with this peer of the monkey. Let's do the last one. This two is a bit simple one. So these monkeys are from the last project, hot spring heaven, and we'll be creating multiple monkeys, multiple small monkeys. Very simple see heart like C for its face. Sorry, this part is not that visible, but show you how what I mean by heart like C. Just this simple see for its face, I'll be creating very simple eyes and nose, lets around its face, following the seam contour. And instead of creating the heart like seep, I'm just making it a bit more circular for the upper part. Here, I'll be creating a bit larger ears, larger as compared to its face and a bit larger and curvier ears. Now, let's do the remaining section for its spotting. Outline for its stomach. I'll be using a bit lighter seed of color for its stomach. Tiny eyes, small circular see for its eyes, triangular see for its nose. And let's create very simple mouth for it. We have got very simplified version of the feat for this monkey. And yeah, we are done with the basic pencil outline. If you want to add more details to it, you can do that, but I'll be keeping this simple since we'll be creating a lot of this smaller monkey for our last project. And here, I'm using the el pen to do the outlining using both broken lines and a little bit of small hatching lines going over the inside of its face. For this region, let's make it a little bit more darker, using a bit of hatching and sanding. Curvier and larger ears, making the ears a bit more molder and darker. Small eyes circular see for its eyes. On both sides of its eyes, I'll be creating this kind of curved sap. I'll be using colour to do that for our main mouset but here I'm just using the gelpin to create it going with the outline for its mouth. And with this, we are done with its face. Let's do the same thing for the second one. And here, I'm not following the outline that I did with a pencil sketch. I'm just shifting its face a little bit below so that it won't be overlapping with the fourth pair of the monkey. You don't have to stick with the pencil outline that you have graded feel free to make changes and adjustment as you see here. For this pair of monkeys, here, too, I'll be using the lighter sades of the color ocher browns and a pinky stone for its face and its stomach. If you want, you can use other colour schemes. So after completing this section, we'll be diving into the next section, where we'll be creating the same five pairs of the monkey, and I won't be using the fine linon to do the outlining Instead, I'll be directly starting with the water color. So you can get comfortable with creating the monkeys in both manner using the fine lands or the breast beans and only using the watercolors. Creating the remaining parts of its body and the ripple effect. Wave like pattern for the water. And when these we are done with the monkey sketches. I'll see you in the next video, we will be greeting colored monkeys. 9. Monochrome monkey: Welcome to the first part of colored monkey. Here, I've already started with a gray to do the outlining for its face the same kind of monkey that we practice in the first section. So here, I'll only using monochrome colors, gray and a little bit of black to create this monkey. I am applying very low pressure with this watercolor brush to create this line, a bit of broken lines. Now, let's create a bit of furry texture. So small strokes to create this kind of lines following the contour of its face. I'll be adding a bit of more and darker lines on all the three corners of its face. Now let's create a bit outline for the rest of its head. Simple see for its ear. I'm just changing the angle of the breast a little bit, and by wearing the angle, as you can see, I'm creating a little bit. And just by wearing the angle, you can see, I'm creating a bit of lighter sad of the gray. Here, too, I'm just wearing the angle and using this bit lighter seed of the gray its body. Small strokes, a little bit of hatching. We will wait for it to dry a little bit and then add another layer on top of it till it dries. Let's do the same thing for the second monkey. Same kind of see a YC for its face. Our first monkey will be monochrome. Instead of using this grease and the black, you can use any other colors you can use orchards, browns, even red. That will be interesting too to create varieties of the monkeys, this monochrome monkey. Here I'm doing a little bit different. I outlined its entire head, and now I'm creating this kind of small brass strokes first surrounding the AS beside it face and for those areas around the cornets I'm adding a little bit more lines. Now here, I'm adding the lines for the rest of its body, a bit more darker, a bit more larger strokes. Now let's do the remaining section, the upper parts of its head. The same kind of strokes. Just by wearing the angle of the breast, you can create a bit different kind of strokes, a bit lighter strokes, feeling the entire section of its head with these smaller strokes. Just vary the angles and you will get a bit different kind of strokes, a bit lighter and a bit darker strokes depending upon where you are adding it. For the regions near its face, I'll be adding a bit darker side, and as we move away from it, I'll be adding a bit lighter side. Let's make its body a little bit more larger. Let's create the eyes. So for the eyes to, I'll be using two layering. So this is our first layer. Doing the remaining sexton for its face, nose, and the mouth, two small parallel lines for its mouth, and we will wait for it to dry. This has to dried a little bit. You won't have to wait for it to dry completely. A little bit of dryness will do the work. Here I'm using black, and it will blend on its own a little bit with the grey that we used earlier since the grid did not dry completely. So a little bit of weight on weight technique is working in here. And now let's create a clear distinction between the head, its face, and the rest of its body. So the regions just below its face, and on top of its neck, I'm adding a few more lines with this darker side of the black A few more random lines here and there to make it a bit more darker and bolder. Adding a bit more lines near the corner regions. The color you are using, the more strokes you create the lighter at Pelgate. So I'm just using the same color. And now here I'm using a bit darker tone here, black to make the outline a bit more darker. Now let's create the water ripple effect for the water. Mostly for our main project, I'll be using white ink to create the outlines the ripple effect, but in here, I'm leaving the white of the people to act as the outline or the ripple effect on the highlights. With this, we are done with the water. Wait for it to dry and then go in with a bit more darker and concentrated black to make some of the regions a bit more darker, a bit more bolder and to read another layer of the outlines. Like here I'm doing it for all the coroners and just below its chin. I'll also be adding a little bit of more lines for its neck line to create a clear distinction in between its face and the rest of its body. Going over the outline of the eyes, nose, and the mouth. I'm not covering the entire grease that I used earlier. A little bit of green is visible. You'll have to admit causes while adding the small details. If you're not that confident, you can use the fine liners or the brasmin to create the smaller details. Do the detailing and outlining for the ears. When these we are done with our first pair of the monkeys, I'll see you in the next video. 10. Chilling in serpentile waters: Welcome to the first project chilling in serpentile water. This is one of the easiest project and one of the smallest one. Let's start with the water body. Here I'm starting with this intersecting lines to draw out the laptical see for the water body. I'll be dividing into four different sections. You can consider this to be a eptical seep or somewhat of teperd oval seep. For both the upper and the lower part of this, I'll be creating serpentile like seep to represent the flowing nature of this water body. For this project, I won't be using the fine liner. If you want, you can use the fine and do the outlining. Since this is our first project, and this is going to be monochrome. The monkeys that we'll be adding for this will be quite simple and easy. So I think there is no need to do the outlining. So we'll only be using the blacks and the whites and a little bit of gray to do the coloring. Creating this kind of wavy lines to form somewhat of serpentile like see for this water body. In here, I'm trying to so that the whole ground is covered with snow. There is small water body present in the middle and in the middle of it, three monkeys are resting in it. I divided into four different section, and the plan was that for the different section, I'll be adding different monkeys, but later on, I decided to keep it bit simpler. So I'll only be adding three monkeys for somewhat lower region of this water body. Here I'm using circular sep to represent the heat for the three monkeys. If you want to increase or decrease the number of the monkeys, feel free to do that. Creating basic saps to outline the sap and the position for the three monkeys, adding tiny ears. And with this, we are done with the basic pencil sketch. If you want to make genius and adjustment, feel free to do that. Now let's lightly erase the whole pencil sketch. Try not to completely erase it. Some of the pencil sketch should be visible so that we can use it as the guideline for adding watercolor on top of it. Now, let's do the coloring. Here, mostly we'll be doing weight on re technie. Here I'm using a bit concentrated degree to go over the outlines for the monkey, creating small strokes to do the outlining for the monkey. The monkeys that will be creating for this project will be a bit easier as compared to the one we did in the practice session, creating small strokes to create the furry like appearance and the textion Let's do the outlining for the third monkey. In here, too, we'll be doing layering of the colors, one or two light layers of the green and then a little bit of black to add the detailings and the outlining. Creating the outline for the lower section of face. And now let's create more smaller strokes to create the appearance of the fur and the texture. Smaller strokes surrounding the entire face. Right now it's not looking that bright, but when we will be adding more layers and a bit darker tone, then it will become a bit more clear and bit more crisper. Also create small ear for the monkey. For this monkey, only one ear will be clearly visible. The other will lie behind its face, so it won't be that much visible. Continuing on with creating small strokes throughout the entire region of its face to create its head. Instead of using only grease in the black, if you want, you can use other color screen. And with this, we are done with a third monkey. And now I'll be roughly creating the upper section of its body. Here I'm using a bit lighter tone of the green, just wearing the angle of the brush. By just wearing the angle of the brush, you can create a bit lighter tone. That's what I'm doing in here. And with this we are the primary laying for our monkeys, we will wait for it to dry. Now, raising the pencil outlines a little bit more. Now, let's continue. So here I'm using the same color that we use for the monkey. I'll be creating the wavelike pattern for the serpentile water boding. We'll be using different shapes of the gray to create it. And lastly, we'll be using blacks to completely fill it. So create this kind of wavy pattern to create the serpentile see for this water boding. Wave like C for this entire section. This ports on the right side of this water body will be a bit larger. Instead of creating this side a little bit larger, you can make it a bit smaller or you can just convert it into somewhat of circular C. H. Let's make this region a little bit more curvier. So this is our first layering. Now for the second layer, here I'm using a bit more saturated form of the grain. Are we adding it on both the sides of this lighter version of the grain. So on top and below it. Following the sip of the lighter grid that we used earlier, reinforcing the serpentile like sep that we just created. Here, instead of creating uniform line, I am creating somewhat of broken curvier lines to add more characteristic to this serpentile sip of this water body. Follow the initial seed that you created with the lighter seed and feel free to make some changes and adjustment. And as you can see, instead of adding two line on both the side, I am wearing the number of lines too, so feel free to make adjustment, play with the S in the siges. You can also do a little bit of intersection and overlay it on top of the lighter side of the gray that we used earlier. And with this, we are done with the upper section. Let few more lines to make it a bit more curvier and more interesting. Let's continue with the remaining section. We'll be doing the same thing in here too, following the initial s that we use for the lighter side of the gray and creating somewhat of broken lines. Now, let's continue with the remaining section. Since we are using wet on write technique, so you'll have to use a bit of more color to do the entire section. Otherwise, if you are using wet on wet technique, then you won't have to use that much of the color. Now moving on to the bottom section of this, this is the carvious portion of this entire water body. And yeah, with these, we are done with the shade of the gray. Here once again, I'm using a bit lighter sad of the green and adding it just below the darker seed of the green that we just used. Here as you can see, the strokes are a bit more broader as compared to the earlier one. Earlier, we created with thinner strokes, but here we are creating a bit broader strokes, and not only for the region beside the darker side, I am adding a little bit of it for the middle section two. Let's go in with the black. So here I'm using watercolor instead of the watercolor, if you want, you can use the ink to. But since this is our first project, I decided that I'll only be using the watercolor, so Carefully outlining all the three monkeys. Try to preserve the rough texture that we created with the grease, so create a bit of smaller strokes and overlay it on top of the grease to preserve the rougher texture that we created. So small strokes to preserve the rougher texture for the monkey's hair. And now, we'll be filling the remaining section. I won't be covering the entire section with the black. I'll be leaving a little bit of empty spaces in between to add a little bit of more characteristics to this batter body. I'll also be surrounding the grease. Some of the larger strokes of the grid that we just added, as you can see, I'm doing it in here. I'll be overlaying a little bit of the black on top of it, as well as surrounding it to add more details and add more depth to the painting. Yeah, let's continue with the remaining section. Leptom causes in here since we have got very small and career lines in here. Here too, you have to insure that the intensity of the black that we are using remains the same. What I mean to say that as we use the color, the intensity of the color decreases, so we have to renew the color on the brush so as to maintain the same intensity of the color. Otherwise, the more we use the color that is on the Bus, the intensity of it will decrease. Now, let's continue with the remaining section. I'll be creating the same kind of line. I'll be creating the same kind of texture to fill the entire section of this water body. Surrounding the larger strokes of the green that we did earlier and filling the rest of the species with this not covering the entire sexon leaving a little bit of white dips in between. Apart from this, we'll also be using a little bit of whiting to create somewhat of wave like pattern or some kind of ripple effect that surrounds the monkey. As you can see just by surrounding the streaks of the gray that we used earlier, it is adding more characteristic to this water body. It shows that there is some reflection in the water body, and it shows that the water body is not still. It's in mosin. Let's continue with the upper section, following the contour of the water body that we just created surrounding some of the larger gray strokes and filling the rest of the species, not covering the entire section, but leaving a little bit of white species in between. And with this, we are done with the upper part. Let's do the same thing for the remaining section, the lower part. Insure that the intensity of the black remains the same. And with these, we are almost done with the lower section. And now let's add it for the remaining section, a small streak of the black. Now add more black wherever you think it's required. For some of the section where the intensity of the black has decreased a little bit, you can add a little bit more black there. Also, as you can see, I'm surrounding some of the larger streaks of the gray with it, using black to make the outlines of the monkeys a bit more clear and to sew a clear distinction between the three different monkeys. As you can see, I'm also doing the outlines for the ear with this black, a little bit for the outlining a little bit of this black to create a clear outline in between its head and the remaining potion of the monkey's body. Now let's add a little bit more black for the curvier section and the condon section of the monkey, just like we practiced in the earlier video for the upper section and a little bit for the lower section beside it chin and a little bit for the lower section too. Creating very thin line to do the outlining for its face. You'll have to be cautious to create this kind of smaller lines. If you're not that confident, you can use fine line to do the outlining in here. H. Creating few more finer strokes with the brush just below its neck line to add more texture. Now, add more details wherever you think it's required. I think we are done with the black. Let's add the final detailing the nose and mouth and eyes, very small dots for the nose, a small line for the mouth, and I'll be using a bit darker tone of the black to create the eyes for now. Let's create small lines for its mouth. Here I'm going with a bit darker tone of the black to create its eyes to small circle for its eyes. If you want, you can leave me a little bit of white space to sow the reflection or the iris for the eyes. Carefully creating the eyes with this buttercalibrs, you can use the fine liner to do this small detailing, adding a little bit of small black dots on top of the nose that we created to make it a little bit more prominent and more distinct. Now, add more black wherever you think it's required. And with this we are done with the black for the monkeys. Add more black wherever you think it's required for the water body or the remaining section. When the coloring for the monkey and the water dries a little bit, I'll be going with a little bit of white to create ripple effect to create ripple effect with the white. Here, as you can see, I'm making some of the section a little bit more darker. And the watercolor has dried. Now I am using whiting to create this kind of pattern, ripple effect for the water watting. If you don't have the whiting, you can use a concentrated white colour. If you have gauze, you can use that too, or you can use or you can also use the white paint. Creating few more patterns like this. As you can see, I'm also surrounding some of the gray streaks that we created earlier. Adding a few more lines following the contour of this water body. Let's add a few more lines. Adding a tiny dot for the highlight for its eyes, very tiny dots. And with this, we are done with our first project. I hope you had fun painting this one. Let's unmask our painting, and I'll see you in the next video. 11. Colored companion monkeys: Welcome to the second colored monkey. Here, once again, I'll only be using the water color to do the coloring and the outlining. Here I'm starting with this color combination of ochre and a little bit of white to get this lighter seed. Instead of this, if you have your skin tone, you can use that. This is our primary layer for the face the same kind of seed that we did for our sketch. On top of this, I'll be going with the ocher, a bit concentrated ocher to do the outlining and a little bit of blending. We now let's do the second phase, using the same colour to do the primary laying for it. This pace is a little bit tilted. Let's make it a little bit more larger and a bit more curvier, doing the same for this one, a bit more larger, a bit more curvier. Until it dries, let's go in with a bit concentrated ocher colour to do the outlining. Here I'm using a bit concentrated ocher, and it will blend a little bit with the rest of the field color that we used for its phase. And that's what we are aiming for in here, a little bit of blending of the colors. Until it blends, let's do the remaining section. Let's find the outline for its head. So this is our first layer using flat with this ocher to create this rounder and curvier see for its head. I'm leaving a little bit of white, I'll be adding more layers on top of it, and it will be covered by those colors. So as you can see, a little bit of this color has blended with the peel color that we use for the feast, doing the same thing for this one, outlining the feast with this ocher color, a little bit of this ocher will mix with the other color because of the weight and weight technique. And now let's define the see of the hint. The left side of its fest will' be visible. I'll be adding the ear later on because its head is tilted. This right side is a little bit more larger. A small portion of its arm will be visible in here. I'm using the same color where I started. It's become a little bit diluted. So if you want to use a bit bolder color, you can just use the ocher once again. Otherwise, you can just continue on. Here, since I want it a bit darker tone, so I'm using a bit thicker consistency of the ocher once again. Let's do the outlining for rest of its body, the fort monkey, a flat vase in here for the rest of its body. I'll be using burnt Sienna to create a clear distinction between its head and rest of its body later on. But for now, let's create a flat vas for rest of its body. Let's create the tail for this one, for the sketch person. I did not create the tail, but in here, let's add the tail. Curve your tail. And for this one, too, since there is not that much space, let's make it a bit smaller and with thinner. This is our primary layering, we'll be adding more layer on top of it, and as for the darker set, I'll be using the burnt sienna. Let's wait for it to dry a little bit. And here, I'm using the burned SNA to do the second outlining, a little bit of landing tube. I added burn SNA a bit earlier for the body, but it was not that dry, so I waited for it to dry, and now here I am doing this. Adding burned SNA to create outline for it sand Let's do the same thing for the second one, going over the outlines. We'll be blending it with the ocher a little bit later on, but for now, let's do the outlining. A little bit of outlining its here. Let's do the outlining for the tail. I'm threatening a bit of broken lines for the outlining of this Instead of this Burnsian you can also use brown, a little bit of brown for its ear. You'll be spreading it later on, but for now, let's do the secondary layering and then I'll be going with a wet brush to spread the colors. The regions near the upper its head and just beside its ears and a little bit near its ear will be a bit more darker, adding bit more bursiena near those regions. And now here I'm going with only water to spread the colours and blend it a little bit. Only using water to blend the colors. Spread the colour, it will blend on its own because of the wet in wet technique. Spreading the colours the upper part, the upper part of its head. It will create a smooth gradient on its own, but you have to spread it a little bit so that it will flow smoothly, spreading the colors a little bit for the tail too. One side of the tail is a bit more darker, that's what we are trying to create in here. It's to the remaining section for the ear. Here, once again, I'm using the same color that I used for its pees. Here, I also used a little bit of pinkish color to it to make it a bit more lighter. And I'm using this to spread the brown that we used earlier, the burnt sienna for its ear. And we will wait for it to dry to add the final details until it dries. I'm using this black water colour to create the water, a little bit of white space in between different layers of the water. For our projects, I'll be using the whiting to do that, but in here, so if you are going to use the watercolor or ink, you can create this kind of wavel pattern just by leaving a little bit of the white piece of the paper to be visible. Now here I'm using a bit concentrated but Sienna to do the final outlining a bit of broken lines, making the ears a bit more clear and more distinct with this. Some of the sexton of the tails, too, let's outline some of the section and make it a bit more bold and more darker. So using broken lines to do this. We are waiting for it to drain the face. I decided to make this region, the region below its neck, a bit more target, so adding another layer of this a little bit more burns info per part too. It will blend on its own because of the wet and wet techniqu. I'll be blending it later on, but for now, let's do a little bit of more outlining. Let's create the ice with the same colour, the burned sienna, a bit more concentrated burned sienna to do the ice, the nose in the mouth. Instead of this, you can also use the black to blow this, or you can use brown. Or if you're not that comfortable with using the watercolor brushes to create this tiny details, you can use the breast pans or the fine liners to do it. Let's do the same for the second monkey. Feel free to experiment with different kinds of eyes, nose and the mouth. You don't have to stick with what I am doing in here. You can experiment with the other eyes, nose and the mouth and the ears, so feel free to do that. Oh adding a little bit more outlining for some of the sections of the tails, a bit more broken lines to do that. Making the lower regions of the tail and the other section a bit more darker with this concentrated bond sienna. Yeah, let's add a little bit more to make it a bit more darker. And now, once again, I'm going in with the water to spread the colors to get a bit more smoother blending, a little bit of water to spread the colors. Gradually spreading the cover. Don't cover the entire section with it. Just add the water below the burn skin, and you just add it and spread it a little bit. The rest will work on its own because of the wet and wet technique. Here for the upper section, I used a bit of more water, so try to avoid doing mistakes like that. Add more finer details or outlines wherever you think it's required for this upper section, I forgot to add the second ear for this monkey, so let's do that outlining with this Now, for the insides, using the same colour combinations, a little bit for the inside, if you want, you can add a little bit of burned Siana for one section of the ear. And with this, we are done with our second pair of colored monkey. I'll see you in the next one. 12. Winter springs and gentle companions: Welcome to the second project, Winter Spring and Gentle Companion. Let's start with a basic pencil outlining. The composition for this painting is that the whole ground is covered in the snow. There is a small pond in the middle. There are a few floating leaves of the lotus and two monkeys are chilling in one corner. Here I have already started with a pencil to do the outlining to define the set for this water body. Feel free to make changes in adjustment. If you want, you can make it a bit smaller or if you want, you can just cover the entire pen with this black water that we'll be creating. Apart from this, I'll also be creating wave like pattern with the whiting for the entire section of the water. Here I'll mostly using the water color to do the coloring. If you want, you can use the black ink to do the coloring for the water. Now let's sketch out the guidelines for the monkeys. I'll be adding two monkeys in here, the same kind of monkey that we practiced. In here, the monkeys will be a little bit more simpler than we practiced. So circular C for its head. A small porsonats body will be visible. Now let's make the feast a little bit more defined. The same kind of feast that we practiced. Sketching out the guidelines for it head. A little bit more round and near its neck. And now let's sketch out the remaining portion of its body. A small portion of its hands will be visible, both the hands for this monkey. And for the second monkey, he will have his hand crossed and looking towards us and looking towards the skies. Let's do the second monkey. He's facing towards the top left. And he's crossed his hands. A little bit curved for its spine. A small portion of its other hand is visible here. If you want, you can add the fingers like this. Now, let's add the tail. Adding tail for this one, too. If you want you can increase or decrease the number of them monkey, you can change their positions and the placement. Adding eyes and the nose. This is just a basic graph sketch. I'll be making adjustment as I see fit. With this, we are done with the basic pencil sketch for our monkey and the outline for the water body. I'll be creating this kind of floating lotus leaves. I'll also be wearing the seeps inside of it. Near the corner and the edges of this water body, I'll be adding few leaves a cluster of three or four leaves. Apart from this, you can also add few lotus and lotus bird adding few more in here too. For the entire snow covered landscape, I'll be using gray various seeds of the grad, two or three seeds and a lot of water we'll be doing both wet on wet technique and white on dry. I'll be starting with white on dry, and then I'll be adding more water to spread the colour to get somewhat of green, a bit more darker side of the gray and other regions with bit lighter side, and I'll be trying to create a gradient in between that. So a bit green color and then white of the snow. If you want, you can add leaves in here like this. With this, we are done with the basic pencil skit. If you want, you can add more details, additional elements. Now, let's lightly erase the pencil marks. Lightly erase the pencil marks. We won't want it to be completely erased. A small section or small portion of it should be visible so that we can use it as the reference to do the coloring. And here. Now, let's do the coloring. In here, I'm starting with a gray. I'll be creating some small and larger strokes with this gray. It's a bit diluted consistency, and then I'll be doing and then I'll be doing the outlining. For now, let's create this kind of random large strokes. I'll be using water to spread it. As you can see, it's not that much concentrated. It's a bit diluted. Now, let's spread this color. So here I'm using water to spread the color, and I'll be trying to create a gradient using this. Use a lot of water to spread it. We don't want any harsh lines. We don't want any harsh lines, so use lots of water and spread it. Just by spreading it, you can see that there will be some rigs that will be a bit darker and others will be a bit lighter. So that's what we are aiming in here to create this kind of uneven flat pass. Using a little bit of more water spread the color. The intensity of this color will decrease a little bit when it dries. Let's spit some of the color a little bit more. The regions where there is more gray spread it a little bit more. Now, let's do the outlining. So this time here I'm using a little bit more concentrated gray, and it will blend with the rest of the section a little bit. And I'll also be using a little bit more water to spread it later on. But for now, let's do the outlining for this upper part. If you want, you can create this kind of strokes to give a little bit more depth to this person. For now, let's continue with creating a bit thinner strokes with the breast to do the outlining for this upper part. And it's blending on its own because of the ton weight technique, the upper region has not dried up. To make it a little bit more smoother, I'll be blending it later on, but for now, continuing on with the remaining section. If you want to make changes and adjustment to the seep of this part, you can do that. Creating a bit of carve lines. If you want, you can create straight and edge lines too. Adding a little bit more grey for some of the regions where I want to so that's where I want to create a bit of sados. So for those regions, I'm adding a little bit more gray. Now let's give it a little bit of thickness, another layer of line parallel to the one we did for the outlining. Adding another layer of line in here too. Also, you can vary the thickness of this upper part. In here, I'm using water to spread the colors and do a little bit of partial blending. Using water to blend the colors and spreading it, spreading this gray The regions where I added more gray will be a bit more darker. And as you can see, I am mostly spreading the green for the upper portions. Let's make some of the regions a little bit more darker. Right now it seems a little bit more darker, but when it dries, it will lose a little bit of intensity and will become a bit more lighter. Now, let's wait for it to dry until it dries. Let's do another section. For this section in here, a small portion of the top is visible. Let's do the outlining for it in the same manner. I'll be making this region a little bit more darker, so adding small and finer strokes with this. Here I used a bit lighter tone of the gray. Later on, I'll be adding a bit more darker tone to do the outlining, but for now, let's continue with this tone of the gray. And as you can see, the upper portion has dried up and the intensity of the gray has decreased a little bit and has created beautiful gradient for some of the regions. Let's spread this colour to create another gradient in here. Et's make this region a little bit more darker. Let's make some of the regions a little bit more darker and a bit grainier. So adding a little bit of gray and spreading it with the water, not covering the entire section, leaving a little bit of a space for the outlining. Making the regions a little bit more darker. So using a bit more gray, let's add a little bit more grain here too. Now let's move on to the bottom section. So kind of curvier lines here too, if you want to make changes in adjustment to the seeps in the sizes, feel free to do that. Here I have used a bit more lighter consistency of the gray. I'll be using darker color later on, but for now, let's continue with it. Adding a little bit of broader strokes and creating another parallel lines following the same. And now let's do the same thing that we did for the upper part. Random strokes of gray, and we will be using and we'll be using water to spread it spreading the water. Here I won't be mixing this section of the water with the outlined section. If you want, you can do that. But here, I'll be trying to keep the porton near the outline section a bit lighter inside. Adding a little bit of more water and spreading it. I'll be adding another layer of little bit of gray and then use a bit darker tone of the gray to do the outlining and a little bit of partial blending. In here, I'm using a bit darker tone of the gray to do the outlining, just like we did for the upper part. This is a little bit different from the upper part. So we used wit and wind technique earlier and then did the outlining, but in here, it's a little bit different. We used water first, and then we used a later side of the gray first and then used water. And in here, once again, I'm using a bit darker side of the gray. Ding few random strokes near the outline section. Now, let's spread it a little bit. Adding a few more random strokes for the lower part too. And now let's spread it to decrease its intensity a little bit. Yeah, with these, we are done with both a part. This sougon was looking a bit lighter, so I decided to make it a little bit more darker. Using a bit darker side of the grade to redo its soutlining and make it a little bit more darker. Creating some small glass strokes to make this region a bit more darker. And yeah, with these, we are done with the upper and the lower part. Let's add a little bit of more definition for some of the portions. With these, we are done with the upper and the lower part. Let's do the coloring for our bunkey. So here I'm using a bit diluted orchard to do the coloring for its body. If you're not that confident, you can do the outlining with a fine linen and then use the water colter to do the coloring. Let's create its tail, a bit curvier tail. For its space, I'll be using a bit lighter consistency of the color. Let's create the body for the second monkey. Here, apart from this one, I'll be using the burnt sienna to do the outlining in a little bit of blending to create a bit of sados and give it a bit more depth perception. Creating the tail for our second monkey. And finally, let's create its head. I'm just doing the outlining for it. For the inside of the face, I'll be using a bit lighter color. But now, let's continue with the remaining section of its head. The side of the ear will be a bit larger. Going over the outlines once again to make it a bit more bolder, a little bit of lending in between these two different seats of the ocher. Since here I used a bit diluted consistency of the ocher, we'll have to do two or three layering. Creating very thin strokes with the breast to do the outlining its remaining portion of the face. Let's do the same in here, outlining for its head. This is the outlining for its face. Now let's do the remaining section, the remaining part of its head. You'll have to causes and patient in here since we are creating some small details for our monkeys. You add a little bit of darker tone of the ocher to create a per separation in between its head and the remaining section of its body. Outlining the second ear. For the ears, I'll be using a little bit of pinkish color and a little bit of ocher, adding the ear for our first monkey. And with this, we are done with the first laying for our monkeys. Since the initial layer of the color has not dried up, let's make some of the regions a bit more darker. So using a bit darker tone of the ocher and blending it with the initial layer, the primary layer, making the tail of the monkey a bit more bolder. If you want, you can create this kind of sado or reflection of the monkey using a bit lighter tone of the ocher. If you want, you can keep it acetis and use a gray colour to do the coloring for the water. But I'll be using a blacker color complete black to do the water. Until it dries, let's create the floating lotus leaves. A cluster of three or five leaves floating around the edges and the cons of this water. Some of the sections of the leaves are torn or are missing. Outlining this poison a little bit more. Now, let's continue with creating more leaves. As you can see, I'm wearing the saves and sizes of the leaf. Not all the leaves are of same size. And as I was mentioning, if you want, you can add the lotus and the lotus birds. You can also increase the number of the monkeys. This video is in two parts. This is the first part. I'll be completing creating all the leaves, floating leaves in here. And then in the second part, we'll be doing the coloring for the water, adding final details to our monkeys and a little bit of whiting to create wave like pattern or still water like pattern. Moving on to this side. In here, I'll be grating three or four leaves. Let's create a bit larger one. If you're satisfied, you don't have to add more leaves, but I decided to add two or three leaves in here too. A bit larger leaf in here. Another leaf in here. One more in here. Apart from these floating leaves, lotus and lotus birds, if you want to add others, if you want to add other additional element, feel free to do that. And if you have added any other additional element, please save your project. Now creating fine lines to divide the floating leaves into different sections. I'm using a bit diluted consistency of the grade to create these fine lines. If you want to make this process a bit faster, if you have grey colored brass pain or gray colored sketch pin, you can use that to do that. You can use that to treat this kind of fine lines. Continuing on with creating more fine lines for remaining leaves. To make it a bit more interesting and add more characteristics to it, you can vary the side of the lines and instead of using the same consistency of the gray, you can vary its consistency, using a bit darker consistency of the gray for some of the leaves and a bit lighter set for the other one, or you can use a combination of the both for a single leaf. Some of the lines will be a bit some of the lines will be a bit darker consistency and others of a bit lighter consistency. Insure that the watercolor has dried before placing your palm on top of the paper. With these, we are almost done with adding the fine lines for our floating leaves. Adding a few more fine lines for the remaining leaf and and with this, we are done with this part of the video. I'll see you in the next section where we'll be completing this project. 13. Water and final details: Let's continue where we left off. I'll be covering the entire section of this region, the water body with the black. Here I'm using black watercolor. If you want, you can use black ink color. You can add the color in two ways. Either you can create a kind of variegated flat was. For that, you will have to mix certain areas of bit darker intensity and others of bit lighter intensity, thus creating a gradient scale of blacks in the gray. To do that, you can add the blacks near the edges, as well as surrounding the floating lotus leaves. And then for the other regions, using a little bit of water to blend the colors, you can completely fill the entire region with a black. I'll be sewing both. If you are going to create the gradient then doing it with ink could be very challenging. So you're going to if you're going to do that, use the watercolor. For now, I'm just surrounding the edges as well as outlining the floating leave. To make this process a little bit faster, you can use the bras paints to do the outlining and then use the water colour to do the coloring. Outlining small floating leaf. I'll also be outlining the monkeys later on, and you'll have to admit causes to do the outlining. If you make mistake, you don't have to worry, you can use the whiting to rectify it later on, but try to be causes and carefully do the outlining. So we are done with outlining the upper section. Now let's do the other part. Adding another layer of watercolor just below this. Covering this entire region will take time because we have so many small elements that we have to do the outlining for. So we piece in ten. Let's continue with filling the remaining section with the black. If you want to create a gradient, you can use the bit diluted form of the black color and then use to create the kind of variegated flat pass or gradient that we practiced in earlier section. In here, I increase the speed since this is going to take a little bit of time. So if you want to follow along with me, you can pause the video or you can reduce the playbacks speed. Right now, I'm using a little bit of water to spread the color in the middle section. If you don't want to create the gradient, you don't have to do this. You can just completely fill the entire section with the concentrated black. In here, once again, I'm using concentrated black to do the outlining for the smaller leaves, and I'll be doing the same thing for the two monkeys. Since I'll be using darker color in here, so I decided to cover the seeds of the ocher color that I used earlier to create the reflection for the monkey. Now let's do the outlining for the monkey. Right now, it's not looking that great, but when we'll be adding more layer and a bit more color, then the gradient will become a bit better. Let's do the outlining for this one. Carefully doing the outlining, creating small strokes to do the outlining. Now, let's feel the remaining section. A bit of darker color the outlines of the monkey as well as the floating leaves. The gradient that I was trying to create was not turning out that well. So instead of that, I completely feel the entire sexton with concentrated black and waited for it to dry. So this is how it turned out. And then here I'm using the whiting. I'll be creating this kind of bit curvier dipper effect near the edges. And for the remaining section, I'll be creating straight line to so that the water is still in the middle. This is following the contour of the leaves and the edges and creating this kind of carver lines. You can see that I am wearing the lengths of the lines, and mostly I'm using the broken lines. So we'll be surrounding all the floating leaves, all the edges, and also be creating a ripple effect for the monkeys. To make it a little bit more interesting, you can use this whiting to create the resemblance of some small fish that are speaking out from the water. Yeah, let's continue with creating this kind of outlines for the remaining leaves. If you don't have the whiting, you can use the concentrated white water color. Otherwise, if you have gauze, white gauze or white call colour or white gelpin, you can use that to create this. Continuing on with the remaining section of the upper part. Creating this kind of pattern for the leaves in the middle. So this is going to take a little bit of time. We'll have to create lots of small and curvy lines to do this. And after doing this, we'll be adding more details to our monkeys. I'll be using burnt sienna to do the coloring, adding one or two layers and doing a partial blending of the colors with the ocher, the primary layer of the monkey that we used in sealing. Now for the remaining section, the middle portion, I'll try I'll be creating this kind of broken lines so that the water is still we have got still water in the middle sections. Here, too, I'm creating broken lines, and I won't be covering the entire section. This kind of small lines for the remaining section, the middle part, and a little bit near the corner and the edges. This too is optional. If you don't want to create this kind of line, you can keep the water completely black. Continuing on with doing the outlining for the leaves and the remaining section. Now, let's do the outlining for the monkeys. Ripple like different surrounding the body of these two monkeys. After this, I'll be creating more lines for the middle section as well as do the outlining for the curvier outlining for all the floating leaves, four or five leaves that we have on the bottom left side. Yeah, let's continue with creating more fine lines, bit of broken lines to create this kind of stonery look for the water. Moving on to creating this kind of curvy lines for our floating leaves. Some of the floating leaves, the lighter sets of the gray that we used to create and divide the leaves into different sections not that clean, so I'll be adding another layer of gray on top of it later on. Let's make the outlines of the tail of monkey a little bit more crisper and clear. I'll be using this white to do a secondary outlining for the silhouette of the monkey's body for now. We'll be continuing with adding more lines throughout the remaining section. Two lines in between the two monkeys. And, yeah, with these, we are almost done with the white. If you want, you can add few more lines in between the empty species. Outlining some of the other edges. Et's do the outlining for the monkey. So here, too, I'm using a bit of broken line to do the outlining, creating small las strokes to do the outlining. This is optional. If you don't want to do this, you can just leave it as it is, but I wanted to create a clear distinction in between the water and the body of the monkey. Adding a little bit more curvier line for the upper section of some of the leaves. And now let's colour the monkey. Here I'm using a combination of ocher with a little bit of pink. I diluted this color combination to get this seed. So this is closer to skin tone. Adding this colour for all the four ears of the monkeys. I'll be using the same colour for the inside of the monkey's face. Here I'm using a little bit of red for the ears. Now, let's spread it spread it a little bit, and it will blend on its own to create a kind of red looking ears for our monkeys. Spread it a little bit more. The intensity of the color was a little bit too high, so spreading into a little bit more with the water. And now let's do the coloring for the feas. The early color that we use for the here, I'm using the same color. I added a little bit more orchard to it. And using a lot of water to spread this color. Using the same color in here too. This is a little bit more lighter as compared to the first one, completely covering the entire section, doing a flat pass with this color. And now let's wait for it to dry a little bit. Until it dries, here I'm using a bit concentrated cher. So we'll be doing a little bit of seeding with this. For some of the regions. For some of the regions, we'll be making it a little bit darker. So here we are using wet on dry technique. Now, let's go in with the butter. Now let's go in with the butter to spread this color a little bit and blend it with the remaining layer, doing the same thing for the upper section, the head of the monkey. Now for the tail, once again, using the ocher. Adding a little bit more ocher for the one side. Making the sides of the monkey as well as the outline edges a little bit more darker using this ocher, adding this tail of the second monkey. Adding it for other hand. You have got the rough idea of what I'm trying to do, trying to create a little bit of light and shadow regions for the parts of the monkey's body. Let's define this upper part of the head a little bit more. In here, I'm using a little bit of red that we used earlier for the year to create a blessing effect for the cheeks of these two monkeys. The color will spread on its own. And using the same color to make the outline of the hands a little bit more distinct and more pronounced. Let's use this color to do the outlining for the remaining section of the monkey. Making the lower section of the tail a little bit more darker. And in this case, for the upper section, making it a little bit more darker. Adding a reddy stone on the side. Adding a little bit of redstone to the side of the monkey. Adding a little bit more for the head, let's make the head a little bit redis. Doing the same for the second monkey. Adding it for both outer and inner edges. Now let's wait for it to dry a little bit. It has dried up. Now, let's make it a little bit more interesting. So in here, I'm using a little bit of burnt sienna, and let's create the outline for both of its hand. In here, I'm creating comparatively larger strokes to do the outlining for the hands of this first monkey. So this is our first hand, and here's the outline for the second hand. I'll be making the edges of the outlines a little bit softer using water for now, let's make the outlines of the second monkey a bit more crisper. Using water to spread the color a little bit to merge it with the remaining layers, making this section secon in between the face and the ears a little bit more darker. And this side, too, so so that the side is a little bit insano creating soft edges for the outlines of the hands. With these we are done with the outlining for the hands and the remaining section using the same burnt Siena to create its eyes, nose, and the mouth, the same kind of eyes that we practiced. This monkey is looking upward and the first machine is looking towards this monkey. The first make is looking towards the right. Instead of this eye, you can create any other eye that we practiced or you can create your own interpretation of the eye, creating small strokes to create. Now let's add the eye Now, let's create the nose, intersecting line for the nose. I forgot to add the circular C for its eyeballs. I'll be doing that later on. Let's create its mouth a simple curved line for the mouth. And now creating circular C for its eyeball. Making the outline of its face a little bit more distinct and more clear, doing the same thing for the second monkey too. Outlining the eats to make it a little bit more molder. Adding a little bit of more lines to create a clear distinction between its head and the remaining section of its body. Also adding a little bit more lines, adding a little bit of more colour, create a separation in between its ear and the remaining portion of its head. And yeah, with these, we are done with the burnt Siana In here, I'm using to create more lines for the different sections of the line. And with this, we are done with our second project. Let's unmask our painting. I hope you had fun painting this one. And I'll see you in the next video. 14. Yellowish colored monkey: Welcome to the fourth player of the monkey, drifting calm in the quiet current. So this will be somewhat similar to the third project that we did, and we'll be doing multiple colors and multiple layerings. Here too, I'll only be using the watercolor to do the coloring. If you're not that comfortable, you can start with the pencil sketch, and you can also use the fine liner to do the outlining and add the details. In here, I'm using a bit pinky stone. I used a little bit of pink and I added it with a green to get this kind of color. Let's create the seep of its fees, and then we'll be using occurs and the browns to add the coloring for the rest of its body. As compared to the last project, its fees will be a little bit more larger and elongated. Let's create the second phase. Apart from this, I'll be using this colour to create the ears and a small sexon of the stomach that will be visible. The colored monkey for that, I forgot to use the white for the eyes, but in here, I'll be using the white to create some beautiful fine eyes for these two monkeys. Let's create the small ears. Somewhat of ovalsy for the ears. In a small section of the stomach that will be visible. A little bit of flat mass for this. We will wait for it to dry a little bit. In here, I'm using this ocher, so I mixed a little bit of yellow with this ocher to get this kind of a bit lighter tone for this one. And here I'm using diluted consistency of this and creating these random strokes. Since the color that we used to create the face and the ear has dried a little bit, I'll be blending a little bit of this color with the feas later on, but for now, let's do the remaining section. Continuing on with creating the smaller strokes to create for like appearance and texture for the entire section. And as you can see, I'm leaving a little bit of space in between the different strokes. We'll be covering it with the darker sets later on. But for now but for now, leave a little bit of empty space in between different strokes. Feel free to use any other color screen to create different kind of coloring for the monkeys. Let's enlarge this porton a little bit. Here I made a little bit of mistake. A little bit of this color was on top of the ear. We'll be covering it later on, but for now, continuing on with more smaller strokes to make it a bit more larger. And now we will wait for it to dry till it dries. Let's do the same thing. Put the second monkey in here. I decided to make it a bit more bigger so another row strokes on top of its head. We will wait for it to dry until it dries, let's do the same thing for the second monkey, starting with the smallness strokes. If you don't want to mix the two colors together, you can start doing outlining surrounding the piece and then add the colors. Et's outline the ear to avoid mixing of the colors. Since I'm using the same color that I used earlier, its consistency is decreasing a little bit. To make it a bit more bolder and darker, you can use a bit more concentrated color to do that. You can just use the bit concentrated colour from the second monkey and use it in here. Let's make some of the regions a bit more bolder. So I'm taking a little bit of ocher from this monkey to second monkey. Now let's make the fees a little bit more defined. We will wait for it to dry a little bit. Add more strokes wherever you think it's required. Since the monkeys are a bit smaller, the head is not that much fluffier, but if you are making it on different set of people, you can make the heads a bit more fluffier and a bit more larger. Spreading the colours a little bit more to make it a bit more larger. Now it has dried up a little bit. Here I'm using a bit pinkish color. Using this to do a second laying for some of the sections, the nose the ears a little bit for its stomach. So small strokes with this pink color. For the regions near its eyes, I'll be making this region a bit more darker in color. So small strokes with this, also for its mouth, too, so small line with this. We will wait for it to dry a little bit and then add the final coloring, doing the outlining for the eyes, the nose, and the mouth. I'm using a little bit of water to blend it with the rest of the colors to subdue its value a little bit. A little bit of water to spread the color, to do a partial blending of the colors. You can clearly see the visibility of a bit darker tone in here. In here, I'm using white to create the white for the eyes. If you don't have the white ink, you can use a concentrated watercolor. Here I'm using a bit darker tone of the ocher as the second layer. So once again, I'll be creating the same kind of smaller strokes. Primarily, I'll be adding it near the corner and the edges of this face and a little bit for the lower section of its head and for its neck line. I also did a little bit of outlining with this occur. A bit concentrated ocur and smaller strokes to create a bit more furry texture for this So the second one key is a little bit of lighter inside. And here, I'm using a bit more concentrated color, more concentrated ocher. We'll be doing the same thing. Let's make the outline of this piece a little bit more clear using this ocher to do the outlining and create the small strokes. Outlining the upper part where this occur. The outline of the ears a bit more pronounced. Moving on to the lower section of its body. Another row of small strokes. Head a little bit more clear and crisp with this occur. Outlining the ear for the first monkey. Now add more smaller strokes wherever you think it's required to make that region a bit more flafer or to create clear distinction between different regions. After this, I'll be going with bit darker said, a bit of gray or burned Siana. Mostly, I'll be using the brown instead of the burn in. But if you want, you can use that too. Let's create a clear distinction between its stomach and the rest of its body. And with this, we are done with ocher for its body. Here, I'm using a bit concentra Here I'm using a bit diluted ocher. So small details like for the nose and for its mouth, a little bit of fine line detailing for the region below and above its eye, a bit of broken lines. We love to a bit careful while creating these small and fine lines. Create another broken line for its mouth, a little bit more coloring for its ears. A few more smaller strokes for its stomach, creating more fluffier texture with smaller strokes for some of the section that has become a little bit uniform. And now let's wait for it to dry a little bit, and then we will add the final coloring, final layering on top of it. It has dried up a little bit, not completely. Here I'm using brown. So a bit darker side of the brown. So here I'm using brown, a darker side. And just like the other monkeys, I'll be adding this darker set near the corner and the edges and make the outlines a bit more bolder and create clear distinction in between different sections. Here. Once again, I'll be wearing the sizes of the strokes. I'll be trying to I'll be trying to create a bit more smaller strokes. Since this colour is quite different from the other two colors that we use, it's creating much more clear and crisper outlines. Create a small strokes wherever you think it's required, primarily doing the outlining with it. I'll also be making the outlines of the ears bit more pronounced with this for now. For outlining for some of the sections, use broken lines to make the outlines a bit more organic. More smaller strokes. Let's make the stomach a little bit more distinct. Moving on to the ear, a bit of broken lines to do the outlining. And now we are moving on to the second monkey. I'll be coming back to the first monkey once again to add its eyes, the nose, and the mouth. But for now, continuing on with this second monkey, we'll be doing the same thing that we did for the first one, small strokes, adding more strokes near the corner and the edges, outlining the ears, a little bit of outlining and smaller strokes for the stomach. So yeah, same thing. Another of lines for the neckline. Now, let's move to rest of its body, small strokes with this down. You can also vary the size of the strokes to make it a bit more interesting. Insure that the earlier color has dried up, and then let's do the detailing for its nose here. Let's do the detailing for its nose, eyes in the mouth. Here, the color was not that dried up, so instead of doing the outlining for its face, I decided to add more detailing to the stomach and the rest of its body. A more detailing wherever you think it's required. Now the face has dried somewhat, so let's add more details to it. Adding even more lines for it here. Now for the eyes, you'll have to with extra courses. And now let's do the mean I. I'll be using the broken lines to create the I. If you're not that confident, you can use the fine line or the chains to do the outlining for the eyes. Adding a bit more finer lines to create a clear distinct between its fast and the rest of its head. And now let's carefully create its eyes. Marathon strokes with a brush to create the outlining for its eyes. Yeah, with this, we are done with ice, add more detailings wherever you think it's required. Here, once again, I'm using the black water colour to create the water. Let's add another two or three more rows of this black water colour to create this ripple effect for the water. And with this, we are done with the fourth pair of the monkeys. I'll be adding the ice later on. The whiting that I used has not dried up. So in the next spot, I'll be adding the ice. I'll see you in the next vlo. 15. Drifting calm in quiet waters: Welcome to the third project drifting calm and quiet current. For this project, we'll be creating three monkeys and the monkeys will be a little bit larger. The same kind of monkey that we practiced. This will be a little bit more detailed as compared to the one we practice. Here, I've already started with a circular C for its head, adding details for its face. This is just a rough sketch. If required, we'll be making some chins and adjustment as we go. For this machi, you can also sew their hands. I'm creating this hand just an example. I won't be creating hands for our mean project. For this project, we'll be using all the three, the watercolor, ink and paint, we'll be using fine liner to do the outlining and add finer details to our monkeys. We'll be creating a bit more detail eyes, nose in the mouth and using the fine liner to create furry texture. This project is going to be multi colored and multi layered. I'll be using yellow ocher and a little bit of brown to create for, like, fluffy texture for the monkey. Let's create the facial feature for the second monkey. Put the background, the water, I'll be using witn with technique, and I'll be using ink to completely fill the entire section with it. Then I'll be using white ink to create this splattering effect and create some random small ripple effect. And on both the side, the top right and the bottom left side, I'll be creating some wave like pattern using the white ink. So are we creating this kind of nose for all the three monkey. Instead of this kind of nose, eyes and mouth, we'll need to add any other kind of nose eyes as we practice or any other. And with this, we are done with the basic pencil sketch. Let's do the outlining. Here, I'm using Sakura Micron, fine liner. I'll be using both the fine lines and a little bit of smaller hatching lines to do the outlining a combination of both lines. Go over the nostrils to make it a bit more darker. For the two monkeys that first and the second one, I'll be keeping their eyes open. For the third one, I'll be creating closed eye for that one. And to create a bit of weary texture and look for this monkey, I'll be adding few more lines below and above the eyes. Let's create human like eyes and add more fine lines below its eyes in a rmit to give it a bit weir lo. Going over the outline for its ears. And now let's do the outlining for its head. Here I am using this kind of broken hatching lines. Using this kind of hatching lines to do the outlining for its head. Going over the outline for its second year. This project is also divided into two parts. For this part, we'll be doing the outlining for the monkeys and creating the water. And in the next part, we'll be completing the monkey by coloring it and adding more final details to it. Adding a few more lines to make the face look a little bit more weary and a bit older. A few more lines to create a clear distinction in between the stomach and the rest of its body. And with this, we are done with our second monkey. Let's move on to the first one. So for this one, I'll be making few adjustment and changes. If you want, you can continue with the outline you created and create the hands. But in this case, I won't be creating the hands. I will just creating only small section of its body that will be visible above the water, and I'm also changing the position of its face a little bit. If you want, you can just continue with the outlines you created with a pencil, or you can follow along with me and make some changes. I decided to make its face a little bit more larger, and that's why I sept it its face a little bit up. So we have got its nostrils and the mouth, adding few more line for it mouth. And now let's do the remaining section of its face. The same kind of broken lines and at curvier lines following the contour of its space. And now let's create weary and tired looking eyes. Two or three lines above and below its eye to give it a bit more exhausted and weary look. Adding few lines above its nose following the contour of its face. Let's create its head using the same kind of hatching lines to do the outlining for its head. If you want, you can make its face a bit more fluffier. I'll be adding more lines later on, but for now, let's continue with this kind of line, a bit more lines in mid, a bit more lines for the middle section of its face. Adding a few more lines just below its ear. If you want to continue with adding the hand, you can do that. You will have to just keep in mind to make the hands a bit larger, keeping it in proportion with the rest of its body. So a bit larger hands. In here, I decided to cover the rest of its hand under the water. We'll be creating ripple effect later on, but for now, let's use these broken lines to create the resemblance for its stomach. Yeah, with these, we add with the basic outlining for our first monkey, the third and the final monkey. Here too, I'm making a little bit of adjustment. Same kind of broken lines. Adding the nostril for its nose. And for the lower succin of its mouth, I'll be making it a little bit elliptical in shape. Adding the eyes, so this monkey has its eyes closed. Adding more lines just above and below its eye. And now let's do the remaining section of its mouth. Simple curve line for its mouth, creating the outline for the lower section of its mouth and now creating the outline for the lower section of its face. Let's create a little bit of resemblance for its eyebrow. Et's do the outlining for its head. The same kind of broken hatching lines. Adding the spine lines near its ear. Enough for the remaining section. Only a little portion of its body is visible. Adding few more lines for the freeze and the remaining section for this section, adding few more lines the middle section of its face. And with these, we are done with the basic paint sketch. Let's lightly erase it. Ensure that the ink has dried Insure that the ink has dried and then only erase it. If you want to make changes, add more monkeys, you can do that. You can also change the placement and positions of the monkey. Adding the eyeballs for our two monkeys, moving on to the second monkey. And for this monkey, let's add a little bit more detailing for its eye. Now, we'll be doing the coloring here. I'll be using wet on wet technique. If you have got a large bust, use that to do this wet on wet technique since we have a large space to cover. I'll be carefully adding it in between the three monkeys. For the smaller sexon, I would advise you to use the smaller birds to add the water. And instead of doing this, you can also use the breast pain to do the outlining of the monkey first and then use the ton wet technique. So we have covered the entire section with the water. Now here I'm using the ink to do the background, complete black. Only two or three drops of the ink will be enough to completely fill the entire section. You can clearly see the difference between the black ink and the water color that we used for our last project, how intense and the dark this ink is even after diluting it with water, et's spread this thing for the entire section. You'll have to wit causes and careful while adding it me and the monkeys. Put the regions near the monkey, I'll be trying to preserve its rough texture, the texture for its hair. So I'll be using small strokes like this to preserve its rougher texture. I'll be doing the same thing for the remaining two monkeys, this kind of small strokes to preserve the hair like projection of the monkeys. A small and fine line with this brush to do the outlining for the Mikey. Instead of doing this, you could have used the bruspin to do the outlining first as I was mentioning. But now let's continue with doing the outlining for this first one. If you made small mistakes, you can cover it later on with the white ink and use that white ink to create a little bit of highlights on the upper section of its head, or you can apply a bit more white ink and on top of it, you can use the other color, the yellow and the browns that we are using later on. Carefully spreading this ink in between these two monkeys. Now, let's do the outlining for our second monkey, the same kind of small strokes. Carefully filling in between ear and the first monkey. Now, let's feel this lower region. Here, as you can see for some of the regions, the ink is a little bit diluted. So if you want to create a little bit of gradient, you can do that. You can use the weight brush and soak up some of the ink, or you can use tissue paper to soak some of the ink and then use brush to spread the ink to create kind of gradient. Spread the ink for the remaining section. Carefully outlining the ear for the second monkey, doing the same for this third monkey, outlining its ear, and then spreading the ink for the remaining section. I'll be spreading the ink for the entire background to get somewhat of same uniform consistency of the black color. For the upper regions where I dropped the ink that region a bit darker, so I'll be spreading the ink from there to the remaining portion. And after doing this, we will be waiting for it to dry. Adding more blacknear the monkeys. These regions are a little bit lighter in seed, so carefully adding the ink in here. If you want to experiment a little bit, you can use a little bit of white ink and spread it a little bit. On top of this wet black ink, it will create a little bit of blurring effect as well as a little bit of blooming effect. That will be interesting too. On top of it, you can use white in to create ripples like effect or you can create simple lines so that the water is still making the outlines of its head a little bit more distinct. Oh. Adding small and detailed brush strokes near the monkeys to get a sharp and more pronounced outlines for the monkeys. And now spread the ink wherever you think it's required the regions where the ink is a little bit less or where the intensity of the black is less. And we will wait for it to dry. It has dried up, and for some of the section where I used a bit of more water, it's a little bit light, so we'll be covering it later on with white ripples. For now, here I'm using whiting to create ripple effect for the monkey, so So adding the curvy lines in the seep of water ripples for all the three monkeys. As I mentioned, if you don't have the whiting, you can use concentrated white colour. You can use concentrated white colour. You can use gauze. You can use acrylic white or if you have white jelly pen, that will do the work too. And one more thing that you can use to create the lines is white oil piece too. So that will do the work too. Adding few more carb lines to create this ripple effect. Enough for both the side, as I was mentioning for the top right side and the bottom left side, I'll be creating the save like pattern with a white. This is just optional. If you don't want, you don't have to do this. Instead of this, you can create the floating lotus leaves like we did in the last project. I'll be wearing the thickness of the lines. Some of the lines will be a bit thicker, others will be a bit thinner. Tinning on with creating this kind of curvy line. Small fine lines for some of the sections. Now let's add one more on top of it. So these lines are a bit more finer. Let's make this a little bit thicker. I'll be doing the same thing for the top right side. So this part is not that visible in here. But as you can see in the final painting, I created the same kind of pattern, a bit larger pattern on the top right side. And as I mentioned, this is optional. If you don't want, you don't have to do this. You can also add this kind of pattern on the top left side too. Using larger brussel strokes to cover the larger areas. And now let's create some finer lines. Following the contour of the larger brussel strokes. And as for the additional element, if you want, you can add the floating lotus leaves. You can also add lotus and lotus birds. Then we have got different kind of rocks that we practice. You can add floating wooden planks or some of the wooden planks that is coming out from the water. B you can also add some different kind of floating leaves. You can create small white fizzes that is biking out from inside the water. And you can also feel the entire section with more monkeys, white monkeys. Adding a few more fine lines for the upper section. It's not visible in here, but here you can see, I just wear it does the strokes, some thin lines, some thicker lines to create the wave like pattern for the top right side. If you want, you can add another layer on top of it to make it a bit more bolder and a bit more brighter. It's not looking that much brighter. So if you want, you can go with another layer of white on top of it. Here, as you can see, for the upper part, I added a little bit more white, and it's becoming a little bit more brighter and more lighter. So if you want, you can do that. And now here, I'll be creating some small ripple effect for some of the section four or five. You can also create the same kind of lines, simple broken lines so that the water is still or you can create the wave like or serpentle like, or you can create curve lines so that the water in motion like we did in our first project, or you can do the combinations of both. Here I'll be doing a little bit of splattering effect. Before doing that, let's create few ripples like effect for some of the sections. You can vary the seeps in the side of the ripples. In here, I've just created some simple lines later on I'll be adding more curvier lines to create ripple like effect here. I'm doing splattering effect to create small dots throughout the upper region and a little bit for the lower regions too. If you want to create a bit larger dots, you will have to keep the brush a little bit up, and for smaller dots, just place the brush near to the people. Here I'm aiming for small dots, so that's why I am keeping the brush a bit closer to the paper. And I think that's enough. Adding a few more lines for the monkeys. And with these, we are done with the first part of this project. And as I was mentioning, making these lines a little bit more curved to create a bit of larger ripple effect for some of the sections in here. You can increase the number of ripple effect if you want. And here, with this, we are done with this spot. I'll see you in the next spot where we'll be coloring our three monkeys. And 16. Colring the three monkeys: Let's continue where we laugh off. And here we'll be coloring the monkeys. This is going to be multicolored and multi layered. Two or three layerings of different colour to create the monkey. So we'll be using here, I'm using a bit lighter tone of the yellow. This is Cambohue so this is our first layer, a bit diluted consistency of this camo hue for the fees and a little bit for stomach, spreading the color. And now here I'm going in with a bit of ocher, a bit concentrated ocher and overlaying it on top of it. Adding this ocher. It's a bit concentrated and adding it randomly for some section of the monkeys, and we will be spreading it using water to spread it. I did not add this ocher for the entire region, as you can see, some of the regions are a bit darker, others are a bit lighter. And now spreading this ocher for the remaining section. The face is a bit of yellow is colored, the remaining sexon a bit of ocher color. Later on, when it dries, the distinction will be a bit more clear. For now, let's spread this color, the color on my bras, a combination of both camo hue and Cambou and the ocher. Spreading the color for the third monkey. And here with this, we are done with can now. Let's go in with a bit more darker tone. So here I'm using a bit of red dishclur. Here I'm using a bit of burned sienna. Here I'm adding this burned sienna near its eye, a little bit for its nose and mouth, and a little bit for its stomach. Now, let's spread the color a little bit. Adding a little bit of this burn sienna for its ear. Adding it for the third monkey. Here I'm going with the water to spread the color a little bit. Don't cover the entire section, and as you can see some of the regions are a bit darker, the regions near the eyes, the nose and the mouth, others are a bit lighter. Using the color on my brass to create small brush or strokes to create fur texture for the remaining section of the monkey's body. This is the first layer of the This is the first layer of the fur that I'm creating on top of this, we'll be adding two or three more layers of different color and different intensities. Going back once again with the bond Siena, a bit concentrated bond Sienna and doing the same thing, adding it above the eyes and a little bit for it nose to make the regions a little bit darker in color, adding a little bit for its lower part, the lower part of its face, the chin. It will blend on its own, but I'm using water to blend a little bit of it. I want to make these regions, the regions above and below its eyes, the nose and a little bit for its mouth, a bit more darker in sin. Spreading the color for the third monkey. Now let's do the coloring for its ear, using the burned scanner. While the small strokes with the burned scanner for its ear. Using the burn scanner to do a little bit of outlining for its face, a bit for its mouth and yeah, the same thing the ears, the same thing, the eyes, the nose and mouth, a little bit of this burned sienna. Now, going back once again with the water to spread the color a little bit. Once again, I'm using the oriena a little bit more to make this a little bit more darker, to create a clear distinction between its face in the remaining section of its body. Making the ears a little bit more radius. And now let's do the coloring for the remaining section. Here I'm using the ocher, creating very tiny strokes with this and overlaying it on the black strokes that we used earlier to create the fur like appearance. So very small and tiny strokes with this following the seep of its head and creating more small strokes when this occur. More we going to the second monkey, doing the same thing, creating small strokes and covering the top of its head and the remaining pots of its body. Small strokes, a little bit of more strokes near the top of its head. And we'll be doing the same thing for the first make too. And when this dries, we'll be going back with the fine liner once again to do the outlining for some of the sections. And as for its size, I'll be using a little bit of white to make the eyes a little bit more brighter. So for the eres, I'll be using the white later on. For now, let's continue with the orchard to create the smaller brush strokes for the entire section of this first monkey. Later on, I'll be adding another layer of the color and make the ears a little bit more distinct and more pronounced. Adding a little bit of this aqua color for the same regions, the eyes, the nose, and a little bit for its mouth. Spreading some of the aqua color for this third monkey and adding it a little bit for its eyes, nose and the mouth. And now here I'm going with a bit darker color. So here I'm using a bit of brown color. So overlaying this brown on top of the ocher, a bit more smaller strokes. I'll be creating the same kind of fur like texture. For some of the regions near the edges in the corneal, I'll be adding a little bit more small strokes. For the area below its in the neck line, I'll be adding a bit more strokes in here, as well as for the middle section of its face, the upper part where we created more lines with the fine liner. Create small strokes with it and do a little bit of partial blending. For the eyes, as I was mentioning, a little bit of white to make the ice a little bit more brighter. You'll have to bit causes and ensure that the paper has dried. So for the two monkeys, the first and the second one, I'll be adding the white. For the third one, the eyes are closed, so you won't be adding any colour. But if you want, you can create the open eyes. Use this white to create open eyes for the third one, too. Color has dried, and I'm using the fine leiner to make some of the outlines a bit more clear, a bit more crisper. Oh Instead of this, you can also use the watercolor brush or us bean to make the outlines a little bit more distinct, a bit more darker, doing the same thing for the other two monkey, a little bit more detailing, a bit of small hatching lines to create more furry like to create a bit of more fur like texture, making the eyes, the nose, and the remaining section of its face a little bit more clear, a bit more pronounced. Add more hatching lines to create a bit of more furry like appearance for its fur. So the monkey did not turn out the way I hope. The monkeys that we created in the practice session were much better. So if you want to make genius adjustment or create the same kind of monkey that we practiced in the practice session, you can do that. And with these, we add with our third project. Let's unmask this one, and I'll see you in the next project. 17. Pink and grey monkeys: Welcome to the third color monkey. Here we'll be here we'll be painting the monkeys from the floating trains project. So this is one of the most detailed monkeys that we'll be creating and painting. This is going to be multi colored and multi layered monkeys. Here, I'm starting with this pinky stone for the fees. I added a little bit of white and a little bit of pink to the gray to get this color. Grating the see for the feast. This will be our primary layer. F now, let's do the primary layering for the second monkey. And for the regions for its eyes, I'll be going in with a bit lighter tone of the pink later on. And we will wait for it to dry till it dries, let's do the coloring for its ears. Small ear. This kind of somewhat oval see for its ear. Let's make it a bit larger. E For its stomach and the hands, I'll be using the same color. Here I'm creating the fingers for its hand. If you're not that confident, you can start with the basic pencil iske and then add the color. But since it's quite easy, I'm doing this and I have got the reference you mean just beside it. If you are not that confident, you can start with the basic pencil skechO you can also use the fine lining to do the outlining and then add the watercolor. With these, we are done with the first laying for its hand. Let's do the coloring for second pier of the hand. Here, as you can see, I have changed the placement and the positions of the hands a little bit, and I'll be adding different kind of crouts on its end. I'll be using three or four bread buns and one orange or an apple. And, with these, we are done with the face, the ears, and the fingers. Now let's do the remaining section. Here I'm using a bit diluted grey. I'll be creating the same kind of strokes. Right now, I'm not blending these two colors together, the color from the face and the green. I'm leaving a little bit of space in between them. Right now I am using a bit more diluted gray. So let's blend the colors a little bit. A thin lines to do the outlining for the fees and a little bit of blending of these two colors together. Paler tone from the fees and this lighter tone of the green. Creating the s kind of smaller strokes for the entire region. This is our first layer for its head, and the rest of its body on top of this will be going with a bit more darker sets of the grease and a little bit of black too, later on, for now, let's continue with this grease. Two or three different layers of the grease to create this spurtl texture for the entire section. Do the outline for the ear so that you don't mix the colors together. Now, let's do another layer of outline for the second layer of the coloring. Not the layer, but another top layer. What I mean to see is creating another row of the gre strokes to create the fur texture for the monkey. We will wait for it to dry and then expand it a little bit more till it dries. Let's do the same thing for this monkey, same kind of smaller strokes, a little bit of blending of this grease with the paler tone of its face. We'll be doing two or three rows of this grease to create the fur like texture for the monkey. And on top of this, we'll be doing one or two more layers, a bit different, a bit darker, bones of the grease and a bit of black too. Following the contour of its sweeze and creating the same kind of strokes. Carefully outlining the fees with the screen. Until it dries up, let's do the remaining section. So using the uri to do the outlining for its hand. Doing the outlining for its second hand. Only the lower portion is visible, the the upper part, the soldier is behind its arm, doing the same for the second monkey. In here, I'm using a bit concentrated ocher to do the outlining for the braid that it is holding, braids and the buns that it is holding a bit concentrated ocher. With the concentrated color, you will get a bit more precision and control, but with the diluted color, you will lose a bit of precision and accuracy. As with the concentrated color, the brush does not carry that much water, but in case of the diluted one, we have a lot of water in our bus, so it's a bit challenging to control and precisely at the water color. So for smaller and nutetails, I generally try to use the concentrated color. The monkey has taken a bite from this man, so the upper part is like this. Creating another bun for this first monkey, carefully outlining all the fingers for its hand. For the finger, I'll be going with the darker tone of the pink to do the outlining and add a little bit of detailing. And also, for this burns too, I'll be going in with a bit of burnt sienna to make it a bit more detailed. In this hand, it's holding an orange. Instead of this orange, you can create any other thing, like the earlier sketch, you can also create water bottles or can of soda. Here I used a bit more concentrated color. I'll be going with a bit more darker tone later on, but for now, we are done with this the three buns and the one orange. Let's create the furry taxa for it. I'll be doing the same kind of thing that we practice in the color section. So this is our first layer, creating this small stroke for the entire region on top of this. We'll be adding more layer, but for now, covering the entire region with this. Ve a little bit of a space in between the hands and the rest of the body so that a clear discon can be easily created later on. Oh. Here I added a little bit of pink tone to the green to create this kind of color. A bit more closer to the pink is a bit more closer to the skin color. On top, this will be adding the grease. So that's why I use this kind of lighter tone of the green. For this monkey, I'm only using the gray. I did not add any other color to it, small strokes for the entire regions. Instead of this, you can also do a flat vase, but with this, you can create a bit more fluffier and more furry texture for the monkeys. That's why I'm doing this, even though it takes a little bit more time. Leave a little bit of space in between the outline regions so that we can create a clear distinction between different parts later on. Carefully add it between the burns and the rest of its body and the hand for its stemmer. We will wait for it to dry a little bit, and then we will add another layer on top of it. The rise lets to the remaining section, moving on to the upper part, the head of its monkey, using this create the outline for the ear. Let's add another row of small strokes. Overlying it on top of it and just above it. For the second monkey, the seep of the head is satisfactory, so I'm not adding that much, but if you want to make it a bit more larger, you can do that. Now for the stomach, here I'm using a little bit of pinkish color. I added a bit of grey to it. I added a little bit of green and a little bit of white to it in this kind of color. I will wait for it to dry a little bit it dries, let's create the water. In I'm using watercl to do that, but mostly for our project, I'll be using the ink. For one project, I'll be using the watercl, but for the rest, I'll be using the ink to do it. Now here I'm going with the pink. For this entire region, I'll be completely filling in the lighter tone of the pink. And when it dries a little bit, I'll be going in with a bit more darker tone of the pink to add bit more details to it. Following the contour of the upper part of its head and filling the entire region with this pink. Adding a little bit of pink for the side of the ears, Blowing a theme for this pair of ear for the second monkey. A little bit of smaller strokes for its stomach, small fine lines, a little bit of hatching. And for its nose, too, a small triangular see with this pink colour. On top of this, we'll be adding the black bot phone now, a little bit more pink for the lower section of its palm. And now here I'm using water to spread the color, spreading the pink for the rest of its here, doing the same for the stomach and the hands, spreading the color a little bit to create a bit of smaller gradient in between these two colors. I waited it for it to dry. Now it has dried up. Here I'm using darker tone of the green, and we'll be doing the same thing a bit more smallness strokes, overlaying it on top of the earlier two layers of the grease. I won't be covering the entire section with this screen, but only for the section that I want to make it a bit more darker, primarily near the corners and the edges. I'll also be doing a little bit of outlining with this for the upper part. And as you can see, I have decreased the size of the stokes. I'm also using this to create a clear distinction between different parts. Et's do the remaining section, the lower part of its head, creating a clear distinction between its head and the rest of its body. Moving on to hands and the rest of its body. First I'm doing the outlining, now let's add small strokes for some of the regions to make it a bit more bolder and darker. Small stroke to create for texture for the outline. This is our second layer. On top of this, I'll be going with the black later on, knowing the same thing for the stomach on the other hand. For this region, this will be a bit darker. Hitting the outlining for the stomach with this gray, adding a few more strokes wherever you think it's required. We'll be doing the same thing for the second making starting so let's create the smallest strokes. Adding more smaller strokes near the regions where there is curb sections where there is curb section and for the outlining section for its face and the mouth. Let's do the outlining for its ears. And now for the upper parts using this great to create another outline and to create a little bit for texture for the outline. Adding a little bit more near the ears. Let's add a little bit more in here to make this region a bit more darker. Now, let's do the remaining section, it's hand and the stomach. First time doing the outlining. And now let's feel the rest of the area with smaller strokes with the screen. Right now, the hands and the stomach is not looking that much clear and distinct. But when we will be doing another layer of the color to make the outlines a bit more clear, then it will look far better. Moving on to the other hand, doing the same thing. Row after row of small strokes. Let's add a few more in here, just above the red. I waited for it to die a little bit, and now here I'm going with this pink color, a bit concentrated pink color. And let's do the Let's make the outline of the fingers a bit more clear, a bit more crisper. You'll have to be a bit cautious and careful and ensure that the color has dried. Otherwise, it will mix with the other colors which we don't want. And if you're not that confident, you can use the fine to do the outlining. Let's create a few more lines for the stomach, moving on to the other hand, doing the same thing, creating crisp and clear outlines for each individual finger. Doing the same thing for the last four finger on his left hand. Adding a little bit more of this color for its ears. The courant has dried up. And now here I'm using the black bras paint to make the outlines a bit more clear and more crisper. So small strokes with this brass pen. Doing the same thing for the second hand. We'll be creating a little bit of more smaller strokes for its head. Now, let's create the eyes. Creating this oval seas for the eyes. I forgot to use the whiting to create the white spece for its eye. If you have not created the eyes, use a little bit of white to create the white for its eye ring. Otherwise, just follow along with me. Moving on to creating its nose and the mouth, triangular C for its nose. As you can see, I'm not covering the entire pink that we used earlier for its nose, so a little bit of it is still visible. Following the contour of its nose, adding a few more carbar lines on top of it. Moving on to the second monkey, small stroke to create clear distinction in between different parts of its body, creating the outline with this black for its second hand. Let's create a clear distancing for its face in the remaining portion. So small strokes near the curve ar and corner portion of its mouth and the face. If you want, you can also add a little bit of this to do the outlining for the outer sections. Moving back to its eyes, let's add the eyeballs inside its eyes. I added the eyeballs inside its eyes. If you want, you can do a little bit more detailing with it, like for its ears, its mouth, a little bit near its neck and a bit for the upper part. But I think I am satisfied how it turned out, so let's add a little bit of more detailing and coloring for the foods that it's eating and a little bit for its rest of its spotting. In here, I'm going with this burned Siena, and I'm adding it in between its finger. I'll be making these regions a little bit more darker. Put this bun in here. Instead of betting the finger, I add it in here. I'm using water to spread the color and blend it, so carefully blending it in between the sing and blending it with the rest of the ocher that we used earlier. So in here we are using wet on dry technique to do a little bit of partial blending. The aim was to create a little bit of sido region in between its finger and just beside it, doing the same thing for the orange it's holding. Here I used a bit darker tone earlier. That's why our orange looks that much darker. If you want to make it a bit lighter, you can add a little bit of yellow on top of it. Here I'm using water to spread the colors to do a partial blending. With these, we are done with our third pair of the monkey, the largest one. I'll see you in the next one. 18. Floating treats and monkeys: Welcome to the fourth project, Monkeys with the floating trees. In here, I was not able to record the first monkey, but you have got the rough idea how we practice in our earlier sketch video. I'll be creating the same kind of monkey using circular saves to create the freeze of its monkey and then extending it to create its head. In its two hands, it's holding two different bread buns, and near its suler it's holding a packet of biscuit or a water bottle. You have got the rough idea and you can easily create it. If you want to make changes and adjustment to its hand and the things that it's holding, feel free to do that. Here I am creating the outline for its finger. He will be holding large circular bun. In here, I'll be adding the water bottle or a packet of biscuit. Let's do the second one, starting with a circular C for its head, Goggle like C for its eyes, adding its ear, semicircular C for its ear. And now let's do the remaining section of its body. And as for coloring the monkeys, I'll be making a little bit of adjustment. The monkeys will be a little bit different but will be comparatively easier as compared to what we practice. And with this, we are done with our second monkey. Moving on to the third one, starting with the circular C for its head. So for this one, I decided to make it a little bit larger since this lies in the front. Adding its ear, and let's add now let's create the outline for its face. So this will be holding a piece of bun with both its hand and it has taken a small bite from it. Feel free to make adjustments. Instead of this buns bottles, you can add any other things, and you don't have to even create the hands if you want, you can create only up to its chest. And with this, we are done with the sketching. Now let's create the Addisonal element. Here I'm creating a single lotus flower. If you want, you can create multiple ones. I'll only be creating a single one, and apart from that, I'll be creating multiple floating lotus leaf. Besides that, I'll be creating small rocks that is coming out from the water. So numerous small rocks, a combination of bone this two. And this is going to take a little bit of time. Let's define the outline section. For this section on the right side, I'll be adding the lotus leaves and the small rocks like this. And on the right and on the bottom left side, I'll be creating curvy wave like pattern like we did in our first project. Creating lots of floating lotus leaves and small rocks. If you want to vary the see sides, feel free to do that. And this is optional. If you don't want you don't have to do this. You can also increase the numbers of the monkey. Instead of creating only this kind of monkey, we can add varieties of monkey, three or four type of monkeys. Let's create a few more, and then we will be adding that color for our monkeys and the remaining section. This video is also divided into two parts. This is the first part. And in the second part, we'll be adding the final coloring for our monkeys and for the wave like pattern. And with this, we are done with the basic pencil skit. If you want to make changes adjustment, you can do that. Now, let's do the outlining. Here I'm using Zikkuratake Mangaka fine liner. With this fine liner, I'll be able to create more smaller and thinner lines. A bit of more thinner and more precise lines. Since this is going to take a little bit of time here I increase the speed. If you want to follow along with me, you can pause the video or you can decrease the speed. So we will be doing the outlining, starting with the monkeys and then the lotus flowers and the floating rocks and the stones. Sorry, the first monkey is not visible, but you have got the rough idea how we'll be doing this. In here, it's in real time. So let me show you what I did for the first monkey, starting with outlining its head and defining a seep of its body. Then let's go over the outline for the gurgle like eyes for the monkey. Adding large eyes for the monkey. Here, too, if you want to change the kind of eyes, you can do that adding the eyeballs inside it. Creating a little bit of detailed notes for the monkey. With this, we are with feast simple feast for our monkey. And I'll be creating this kind of a small line, small strokes with this manga ca pain to create for texture for the entire body of this monkey. Creating small and large strokes with a paint to create this kind of texture. And for outlining its body, I'm creating a little bit of broken and bit of uniform line a combination of both. Let's create its finger. I'm not creating a detailed finger. If you want, you can do that, but just simple fold in its finger for the monkey. Here too, I'll be adding lines to create a bit of fur like texture. Since here I'm using a bit thinner fine liner, some of the lines will some of the lines won't be visible that much, so I'll be adding another layer of lines later on if required. Otherwise, we will be leaving it as it is. Let's do the outlining for its second hand and creating for Tasca for its other hand. Only a small porsona at second hand is visible. Let's do the remaining section of its body, for its stomach and for its feeds, I'll be using the same colour a bit lighter sad of the ocher mixed with the pink and a bit of white to create skin tone like color. Now moving on to the third monkey, we'll be doing the same thing. Starting with outlining its face. The same thing we did for the second monkey and the first monkey and what we practice in the sketching section. Instead of this, if you want, you can only use the watercolor to create the monkey. Now, let's create its nose. After this, as I mentioned, I'll be doing the outlining for the remaining parts, the floating lotus leaves, the rocks, and a single lotus flower. If you want, you can create multiple flowers too. Apart from that, you can also add additional element of your own choice. And as for the coloring the entire background on the water, I'll be using the black ink. For the entire background, I'll be using the black, and as for the lower left side, I'll be trying to create wave pattern using the water color and a little bit of ink seem like the first project. Now, let's do the outlining for its finger. This monkey is also holding a piece of bread and it has taken a bite from it, so it will be somewhat of semicircular and same. Here we'll be using the same color combination as we used in the practice station, a bit of ocher as the primary layer and on top of it, we'll be adding a little bit of burnt sienna to make some of the regions a bit more darker in the sand. Doing the outlining for the remainder of its body. Let's create for text for the remaining section. And with this, we are done with the third monkey. I'll be adding for texture later on. But for now, let's do the outlining for the other elements, the rocks and the floating leaves. I'll be using lighter states the grade to create and add details to the floating leaves as well as the rocks, the same we practiced in the earlier videos. I'll be creating small parallel lines as hatching lines, and I'll be using it to create a little bit of sading for the rocks. And as for the leaves, I'll be dividing into different sections, thin and small lines coming out from the center. So this two is going to take a little bit of time since we have got lots of floating leaves and lots of stones. If you want to change the color scheme, you can use the colors. You can use varieties of the greens, two or three greens to color the floating leaves. Then you can use greens in the browns to color the rocks. And for the water, instead of the black, you can use a combination of two or three shades of the blue for the regions near the regions near the floating leaves in the rock and the monkeys, you can add a little bit of darker side of the blue, and for the other regions, use a bit lighter side of the blue and can create a kind of variegated mass or a gradient in between different sads of the blue. It will take a little bit of time, but the project will turn out very beautiful. In here, I've increased the speed. If you want to follow along with me, you can just pause the video or you can reduce the speed. As I mentioned earlier, you can always increase or decrease the number of additional elements that we are adding in here. Continue doing the outlining for all the floating lotus leaves and the rocks that is coming out from the water. I'll be using whiting for this project to. I'll be creating the wave like pattern. I'll be creating the ripple effect for the monkeys and all the floating leaves and the stones. And apart from that, I'll also be creating some broken lines so that the water is still for some of the sections. So small and parallel broken lines for some of the sections with the whiting. And with these, we are done with the outlining. Let's lightly erase it. If you want to increase the number of the lement, you can still do it. Now, let's do the coloring. In here, I'm using a bit diluted consistency of the pink. I'll be using it for its ears and as well as the regions surrounding its eyes, carefully surrounding both its eyeball with this pinkish color, and I'll also be using it for its stomach and the fingers. This is our first layer on top of this. We'll be adding two or three layers if required. Adding the color for its finger. This is our first layer of the pink To make the fingers and the stomach a little bit more detail, I'll be going in with a bit darker tone of the color to create a bit more detailed outlines and add tiny details for it. I'll also be trying to create a bit of fur like texture using darker tones of the color. Adding a little bit of this pink colour for areas surrounding its mouth and a little bit near its nose. Let's do the same thing for the third monkey, adding this pinkies colour for its hands. Now, let's dilute this color a little bit so that we can use it for the stomach and a little bit for the floating lotus flower. So adding a little bit of water to this tone, adding a little bit of water to this color, and now let's use it for its stomach. A flat pass with this color, primary layering for our stomach of the three monkeys. Carefully adding it, we don't want two colored stomachs, the darker tone of the pink and the slighter one, moving on to the first monkey, adding it for its stomach. I'm also adding this lighter tone for remainder of its face, so a very light vase with this color. Let's do the same thing for the third monkey, starting with its face. And now let's move to the remaining section. It's a stomach, a flat vase with a slighted tone. Adding a little bit more color for its face. We'll be making that distinction between its eyes and the remainder of its feeds a bit more clear later on. But for now den with the spins. He here, I'm going with a gray, so a bit concentrated form of the gray. For the remaining saxonats body, I'll be using it. This gray looks a little bit more concentrated in here, but when it will dry, it will lose a little bit of its intensity and will become a bit lighter and on top of it, we'll be adding two or three more layers of the color, a bit darker consistency of the gray to create fur like texture, and then a little bit of ochre or brown to give it a little bit of brownish color, carefully adding it near its finger and the rest of its face, adding it for two ears Now, let's do the same thing for the second and the third monkey. Here, as you can see, the consistency has decreased already a little bit. If you want to use the same consistency of the color, you can just dip your brush into the same color that you used earlier. Otherwise, you can. Otherwise, you can follow along with me and create a bit lighter state of the monkeys. Moving on to the third monkey, here, once again, you can see that the tone of the color has decreased a little bit more adding it for the remainder of its body. So the first monkey is the darkest and the others are a bit lighter. If you want to make this monkey a little bit lighter, you can spread the color a little bit, or you can use wet brass to soak up some of the colors. You can do the same thing with the tissue paper too. Let's do the coloring for the remaining section, the floating leaves and the floating rocks. And I'll be doing the outline as well as dividing the leaves into different sections. This is also going to take a little bit of time, and we have practiced it a lot, so I won't be showing you the entire section. And with this, we are done with this section. I'll see you in the next video. 19. Additional details for the monkeys: Let's continue where I left up. As I mentioned, I did the outlining as well as divided the leaves into different sections and then the outlining for the rocks added hatching lines to add a little bit more details to it on my own. I believe that you can do it on your own. That's why I did not recorded it. Now here I'm using the watercolor to do the outlining for the leaves. I'll be doing the outlining for the leaves, the monkey, as well as the rocks, and then filling the complete region with the black. This is going to take a lot of time since we have lots of lement in here. You can also use brusmin to do the outlining first and then use the watercolor or ink to field the rest of the region. Carefully doing the outlining for all the monkeys, the floating leaves and the rocks. In here, we don't have to preserve the rough texture of the monkey since the outlines of all the monkeys are clean and smooth. Yeah, continuing on doing the outlining for the monkey first and then we'll be doing the outlining for the leaves and the rocks for the bottom left section. I'll be creating the wave black pattern using seeds of the green, black, and a little bit of white pink. For this monkey, let's add a little bit of texture for its head. So small strokes with the brush to create a bit of rough texture for its head. Now outlining one of the floating lotus leaf continuing on with the rest of the background with the black. Instead of using black, if you want, you can use other colors too. Let's do the outlining first and then we'll be adding the color for the remaining section. Since this is going to take a little bit of time, I decided to speed up the whole process. So if you want to follow along with me, you can pause the video or you can just reduce the playback speed. Oh. For the last project, we'll be creating multiple monkeys, we'll be combining most of the elements from all the other four projects. The fifth project is going to be a bit challenging. We'll take a little bit more time, and we'll have a lot of fun doing small monkeys. And yeah, let's continue with the remaining section of this one. Outlining the rocks and the stones and the remaining floating leaves. For some of the leaves, if you have problem doing the outlining, you can just cover the entire section with the watercolor, carefully filling the watercolor for this smaller section. So with this, we are done with the upper part. Now let's do the remaining section. After completing the background with the black, I'll be going in with a little bit of white ink and create the seam ripple like effect for the floating leaves and the rocks, also for the monkeys. Continuing on with the remaining section. In here, I decided to do the outlining first and then fill the remaining section with the blacks. So outlining all the elements in here first and then we'll be coloring for this section. Continuing on with adding the black for the entire section. Also, if you want, you can add small floating ducks, so you can use a little bit of white ink to create the silhouettes of the duck and then use the yellows and orchard to create the ducks. That will be interesting, too. We are almost halfway. We have got only a little bit of the section, so creating the wave like pattern in here. And with this, we are almost done with the entire background with the black. We have got only a single leave to do the outlining for. And yeah, let's feel the remaining section with the black. And now I have decreased the speed to the normal and in here I'll be creating wave like pattern using different sets of the blacks and the green. So right now I'm using the black. Mostly I'll be using the same just diluting it a little bit. In here too, as you can see, I diluted it a little bit, and for the remaining bottom section of this left corner, completely filling it with this one. When it will dry a little bit, its intensity will decrease a little bit. Or you can also use the wet rush to remove some of the pigmentation to make it a bit more lighter. I waited for it to dry and it has dried up. Let's add a little bit more detailing for the Mu monkeys. In here, I'm using a bit concentrated green and clipping small strokes to create fur like texture for the entire body of the monkey. I won't be adding this fur like texture for its stomach, its face, and for its hand. Other than that, I'll be covering the entire sexon small strokes. And yeah, let's continue with the remaining section. And with this, we are done with outlining the piece. As you can see, I added a little bit of brown with this gray to get this kind of brownish color, brownish gray. This is opson. If you don't want, you can just use the simple plain concentrated gray to create the fur like texture using whereas to create small stroke and layers upon layers of small strokes to create for like a period. You don't have to worry later on we'll be using a little bit of brastpin to make the outlines of the hands, the stomach, and the rest of its body, the head, and the remaining sexon bit more clear and crisper with a black bras pain. Moving on to the third monkey, doing the same thing. This is our second layer. On top of this, I'll be adding one more layer. Moving on to the first monkey. Making a lower section of the eyes a little bit darker, continuing on with adding more strokes to make it a bit more furry and adding more texture. Moving on to the upper portion of its soldier, a little bit near both sides of its stomach. Tiny strokes for the bottom section of its stomach, doing the same for this one, too. And now we will wait for it to dry a little bit until it dries. Let's add the coloring for the other section. Until it dries leads to the for reason for the first monkey using the same color. Here, once again, I used a bit concentrated one as the consistency of the color has decreased a little bit when I used it for the two monkeys. And as I was mentioning, when it dries, the intensity will decrease a little bit. You can clearly see the intensity of both the second and third monkey. The color we used has decreased a little bit. The same thing will happen for this monkey, too, so we will wait for it to dry a little bit, adding a little bit more fine strokes to make it a little bit more darker. Using this to create an outline for its face, doing the same thing for its hand, a bit of outlining with this darker sad. And now let's add a little bit more detailing to some of the rocks. So using this bit of brownish gray colour to add a little bit of detailing for some fortune of the rock so that that section upright portion is a little bit in darker shade. This following the contour of the rock and adding a little bit mostly on the upper section. If you want, you can use a bit more concentrated color to do this. Adding a little bit more of this color for some of the other dogs. We have not colored the lotus yet, so we'll be doing the coloring of the lotus. And with this, we are done with the rocks. Let's do the remaining section for the monkey. In here, I'm using a bit concentrated color to do the outlines for its finger. To create a clear distinction between each digits of its finger. Carefully creating small strokes with the breast to do the outlining for its finger. Let's do the same thing for the second monkey. And finally, moving on to the fast marking, making the outline for its finger a bit more clear and crispon. Adding a little bit for its upper section of its face. Yeah, adding a little bit more wherever I think it's required to make that region a little bit more darker. Like in here, making the outlines of the hand a bit more distinct. Now, let's use the same color, a bit of darkest pink color to do the coloring for the lotus leaves, lotus petals. So in here, as you can see, I'm trying to make the lower regions of this lotus a bit darker, the upper region a bit lighter. And you can also use this colour to add a little bit of more contrasting color for some of the floating leaves. Now let's do the coloring for the foods. So here I'm starting with the ocher as the first layer. For all the four food items, I'll be using the ocher as the primary layer. And we'll be doing a little bit of partial blending with the darker set to create a bit of sadose and a bit of highlights. For now, let's continue with the ocher for all the remaining food items. Now, let's add the ocher for the first monkey. In here, I'm using a bit of red colour for the upper part. And in here, I'm using red for this packet of biscuit or cold drink bottle. I should have made it a little bit more detailed and defined. It's not that much key in what it's holding in its hand. Using this red or you can use burned Siena too to create a little bit of seeding for the other two fold items. It will blend on its own because of wet on wet technique. But if you want a smooth blending, you can use butter to do the blending. Now in here, I'm using a little bit of black to make the outlines a little bit more distinct to create a bit more contrast between different sites of this black and the grey. And as you can see, I mentioned that when this black bride up, it will become a little bit of less intensity, and it's looking somewhat of grease color. Continue on with doing the outline for this one. We'll be doing the same for the other three streaks, the curvy lines and the wavelike form that we created. And later on, I'll be using a little bit of white to add a little bit more detailings and to make this form a little bit more curvier using the white ink. Let's continue doing the outline for all the remaining sections. For some of the sections, I'll be overlaying this black on top of this earlier color to add more characters to the curve shapes of the wave. This is optimal. If you don't want, you can just leave it as it is. Or you can also completely fill the entire section with the black. With these we are done with the first wave. Now, let's do the same thing for the second one. Starting with doing the outlining making this seep a little bit more curvier and creating a bit more contrast between whites, greys and the blacks. For some of the section, adding a little bit more blacks overlaying for the entire section. Let's continue with the remaining section of this second wave. In here if you want, you can create a little bit of a smaller rocks. And with this, we are almost done with the second one. We'll be doing a little bit of same thing for the third one, but we'll also be doing a little bit of parcele blanding and a little bit of water to spread the colors to get somewhat of gradient. In here this time creating a outline for this region. Let's create one more outline like this. And now we'll be using water to spread it a little bit. If you want, you can add a little bit more black wherever you think it's required. Now in here, I'm using a little bit of water to spread this color a little bit to create somewhat of gradient. Carefully spreading we don't want the lines to merge with each other. Let's do the same thing for this one. Blending a little bit of the colors with the water, spreading it a little bit. Now, we will wait for it to dry. So it has dried up. Now in here I'm using whiting to create ripples effect. I'll be creating a ripple effect for all the elements, the three monkeys, the floating lotus leaves, the stones, and a little bit near the waves that are in the bottom left corner. Carefully following the seep of the leaves, the stones, and the monkeys and create this kind of pulse like effect using a bit of broken hatching lines, using a bit of broken curve lines. Since this was going to take a little bit of time, I decided to speed this process. We'll be doing the outlining for all the floating elements and then create a little bit of broken lines so that some section of the water is still lines like this, parallel straight lines, at a bit of broken parallel straight lines. Moving on to the lower section with the white ink. The background that I created with the watercolor did not turn out uniform, so I made a little bit of mistake. I should have used a bit larger and used a bit more concentrated watercolor to create the background. Or instead of using the black water color, instead of using the black watercolor, if I would have used the ink, that would have also created beautiful background. And with this, we are done with the white for creating this kind of lines, using this white to add a little bit of highlights or some home section. Using this white to create a little bit of white, here's for our monkey, a bit of highlights for some of the other section. A more white wherever you think it's required to add or create a bit of highlights or cover mistakes. Now, for the bottom section, using this white to create the outline for some of the waves and adding a little bit, following the seep of the curved lines. A bit of broken curved line following the seep of these waves. Adding it for the corner. Now moving on to the larger waves, adding a little bit more blacks for the black sections, regions where we added larger brasisto adding a little bit of more there. And, yes, I think we are done with the white. If you want, you can add a little bit more white wherever you think it's fine. Or you can also add a little bit more black. If you want to cover the white sexon in between the different waves that we have created in here. Now, let's move back to the monkeys. Let's make them a little bit more brownish. So in here, I'm using a little bit of brown color. Creating another layer of small strokes with this brown. This option. If you don't want, you don't have to use this brown, you can just leave it as it is, or you can use a bit darker or lighter side of the gray to create another layer to create another layer of fur texture. Making the lower regions of the eyes a little bit more darker using this color. Yeah, let's continue with adding the colours for the remaining section a little bit for its nose and mouth, too, to make it a bit more darker. Now, once again, I'm using a bit more concentrated colour to make the upper regions of the heads and the remaining section of the monkeys body is a little bit more darker. So creating small strokes for it, small strokes to do the outlining and make the regions a little bit more darker. We'll be doing the same thing for the other two monkeys. Small strokes, doing a little bit of outlining, creating a bit more texture. Adding it for the upper section, the head and a little bit for it and outlining its face too. And with this, we are done with this painting. I was not satisfied with how it turned out. So later on, I added a little bit of more adjustment and So these are some of the changes that I did. I used a little bit of more pinkish color for its eye, the regions near its eyes to make that region a bit more pinkish, add in the same color for ear, and then use the black breast paint to do the outlining to create a clear and distinct outline for its heads and the remaining section of its body, its hands and the fingers. So this is how the end project turned out. I'll see you in the next video. 20. Spring haven: Welcome to the fifth and the final project, the Hot Spring Heaven. This is going to be fun. We have lots of tiny monkeys. We have a large wooden house and a broken wooden bridge. In here, I've already started sketching out the guidelines for the hurt very simple hurt. These are all optional. If you don't want, you don't have to create the hurt. Instead of this hurt, you can create house or you can leave it as it is or just create the kind of rocks that I'll be creating for the background. Instead of this simple hut, you can create unbroken or abandoned hut or multiple ones that will be interesting too. Single door in the front and a small window on the other side. Okay. For the entire section of the hut, we'll be creating wooden planks, and some of the wooden planks will be a little bit softer, some will be a bit larger. Some of them will be missing. So here, I'll be trying to so that this is a bit rustic and old house or old hurt. For the front of the house, I'll be creating a small platform, and attached to this platform will be old rickety wooden bridge with broken wooden planks and supporting the wooden bridges will be a few wooden poles that are sticking out from the water. Numerous small monkeys floating around in the w and small rocks and stones that are coming out of the water. Some section of that will be visible. And on all the three sides, there will be ice covered mountains or ice covered glaciers, whatever you consider it to be. In here, I'm creating the guidelines for the doors. In here, I'm trying to create a little bit more detailed does in the window. Moving on to creating the windows for the side. This side, the right side of the hut will be a little bit covered by the mountain, the snow covered mountain. Let's create the outline for the snow covered mountain in here. For this project, we'll be using all the three things, the water color, the ink, and the fine liner to do the outlining, as well as adding manual details with the fine liners. Dividing the snow covered mountain in the background into different sections. Just random lines dividing into different sections, non uniform and curvy lines to divide into different sections. Moving on to the front, here, too, we'll be creating this kind of see. On both three sides, we'll be creating these kind of saves to so that snow covered mountain or snow covered land is present in here. In the middle, we'll have some small rocks and monkeys floating. This will be our old bridge, and these are the wooden poles supporting it. If you want to make changes adjustment or if you want, you can remove some of the supports or create broken ones. Create the outlines for our monkeys, starting with the circular C for its head. In total, I created 11 monkeys. If you want, you can increase or decrease the number of the monkeys, increase or its size, you can change placement and position. Everything depends upon your choice. Feel free to make adjustment. And since this is going to take a little bit more time for some of the section, I have increased their speed. For those section, I'll be mentioning that I have increased their speed. If you want to follow along with me, you can pause the video or you can just reduce the speed. Creating few more monkeys. Very simple seeps for the monkey, just like we practiced, heart save for the space and then surrounding the third save a little bit or tiny portion of its body is visible. With these we are done with the basic pencil sketch. I'll be making more changes and adjustment as required. For now, in here, I'm using the sakura micron fine liner to do the outlining. I won't be strictly following the outlines that I created, feel free to make changes and adjustment. Continuing on with creating outlines for the entire section. For the edges and the corners, I'll be adding two or three lines to make them a bit more bolder and to create a clear distinction between different section and different parts. So two or three lines. Instead of using this fine line, you can use the brush paints and create thick and thin lines to separate the different sections. Let's continue with going over the outlines. I'll also be creating the Oden planks for the entire section. To show a clear a prison in between different orden plex, I'll be adding two or three lines in between the different orden planks. And that will create a clear distinction between each odenplank. Leads outline for the platform. Near I switch to the jail pen to create a bit more bolder and a bit more darker lines, creating the supporting beams for the rotten wooden breach in here. Here, too, I'll be creating the wooden blank. The wooden planks in here will be a little bit more rustic and old. Some of the planks will be missing, some will be a little bit softer or a bit larger. Adding a little bit of depth through the side of the wooden plank. Creating the snow covered mountain or the land in the background, dividing into different sections. Fo I am just creating single line. Later on, after coloring it, we'll be making it a little bit more bolder and more darker and need to go three line, moving on to the front and doing the same creating the outline see for this snow covered mountain in this side. Back and dividing into different random sections and adding this kind of wavy lines so that too so that it's separated and there are different section to this Now, let's create the wooden planks for the front. Moving onto the top of the hut for the roof, same kind of wooden planks. Some of the portions or some of the wooden planks are a little bit sot or bit bend. Here I am using combination of broken lines and a little bit of bolder lines to create the wooden plank, doing the same thing for the front. So this is what I was mentioning, creating two or three lines to create a clear to create a clear distinction between different wooden planks, moving on to the wooden ridge. Same kind of wooden planks. Some of them are missing, some are a bit larger, others are a bit smaller. Completely covering the entire section with this kind of wooden planks. And in here, I'll be creating this kind of small stones and the rocks coming out from the water. So only a small section of this is visible. In here, I have decreased the speed, so this is the normal speed. And let's do the outlining for our monkeys, Harts for its face, and then encircling it, creating a bit larger ear for our monkeys. Okay. So let's do the outlining for all the remaining monkeys. You can increase or decrease the number of the monkeys. You can make them a little bit larger, bigger. You can make them a bit larger or smaller. I'll adding all the monkey on this side. If you want, you can add few monkeys on the other side too. And apart from that, you can also add few monkeys on top of the bridge or on top of the t. Once again, since this is going to take a little bit of time, I have increased speed, I've creating numerous monkeys and small kind of rocks that are coming out or some portion of the rocks that are visible. H. So yeah, let's continue with creating the monkeys and additional element. Apart from this, if you want, you can create the floating leaves. You can also create the lotus. You can also add other elements if you want. So once again here, I have decreased the spree. I did not recorded the whole portion, and I added more monkeys and more rocks coming out of the water. And this is the normal speed. Let's create the outline for this section. So this side, once again, creating a bit of rough and curvy lines to do the outlining for this side of the snow covered land or the mountain. We have this snow covered mountain on the three sides, and let's divide into different section and a bit of curvy lines to divide it into different sections. And once again, I have increased the speed, and we are creating two or three lines to make the lines a bit more bolder and add more characteristics to this snow covered section. Adding few more rocks for the middle section. And yeah, let's do the same thing for all the sides. So two or three lines and making it a bit more distinct. Creating wooden plank for this side of the hut Oh now, let's create the eyes for our monkey, two small dots for the eyes. For the background, I did not edit the lines. I'll be adding them later on. And with this, we are done with the outlines. Let erase the pencil marks, see out that the ink has dried and then erase it. I did not check that ink has dried and the gelpin take a little bit more time. So some of the ink got smudged a little bit near the bridge. So I'll be covering it later on with the black ink. But to sure, ensure that the ink has dried and then proceed. Now, let's do the coloring. In here, I'll be using the blacking to create uniform water. Before doing that, in here, I'm using brass pane to do the outlining since we have got so many small section and we'll have to bit causes to do the outlining. If you made mistake, you can just cover the entire section with the black ink. Cautiously adding this black and doing the outline for the section and then we're filling the remaining section with the black ink. Following the curved seep of the Oden breach and adding the ink in such manner, going over the outline of the Oden supporting beams. This is the normal spin. After I finish this area, this section, I'll be reaching the speed once again since we have a lot of area to cover. For the background, I'll only be using two seats of the grey and we'll be using the darker side of the grey first and then use the water to spread it. For some of the section, I won't be adding any water or any color for others, we'll be completely covering it. For the others will be completely covering it. As for the wooden hurt and the bridge, I'll be starting with a flat was of the green and use a little bit of darker consistency of the gree for some of the sections a little bit of the same colour that I'll be using for the monkey to so that it's a little bit of grainy texture. And apart from that, I'll also be using the white ing to create the ripple effect. So surrounding all the monkeys and the rocks coming out from the water. Once again, I've increased the speed and will be completely covering the entire section with this black, the water section, carefully outlining the wooden beam, and then we will be filling this area with the black tube. Cautiously doing the outline and then filling the remaining section with a black ink. For some of the section in between these wooden planks, I'm adding a little bit of black to convey that porton is missing. And yeah, we are done with the wooden breech, the supporting beams, and the background. Now, let's do the remaining section, carefully filling the black in between the wooden beams, and then we'll be outlining the monkeys and the snow covered mountains and the small stones and the rocks. So this is going to take a little bit of time. You'll have to admit causes while doing the outlining for the monkeys since these are very tiny features, the tiny ears, doing the outlining for this side, this side of the snow covered mountain. Doing the same thing for this side too. It took me around 10 minutes to completely fill the entire region with the black, and this is how it turned out when it dried. In here, I'm using whiting to create the ripple like effect. So the same kind of thing that we did earlier for all the project. Following the cantoon or the seep of this mountain and hating this kind of broken curved line. I'll be surrounding all the mountains, the rocks, the monkeys and the wooden supporting beams, the pillars of the house. Let's continue with this white ink. And as I was mentioning this video is divided into two parts. This is the first part. In the second part, we'll be adding the coloring for the background, the house, and the monkey. And in here, I'll only be completing up to the whiting, creating the ripples like effect for all the elements in here. Apart from the circular or semi circular seeps of the ripple effect, I'll also be creating some straight and parallel lines. Let's do the outlining for the small rocks in here. Two or three lines following the sep of the rock or the monkey. Now, let's increase the speed once again. If you want to follow along with me, you can decrease the speed or you can pause the video. So as you can see in here, I have created 11 monkeys. Let me know how many monkeys you have created for your project. Apart from this, as I mentioned, you can create the silvet of small white fishes that will be interesting too. You can use the white to create white lotus, and you can also create the floating leaves, the lotus leaves that will be interesting too. Now we have got only three or four things to do the outlining for. Adding a few parallel lines in here and there. Add more white ink wherever you think it's required. So this is the normal speed. And I think I'm done with the white ink. With this, we are done with this part of the video and see you in the next part, adding will be adding the more colors and more details to it, see you in the next video. 21. Coloring the tiny monkeys: Let's continue where we left off. So the ink has dried up. Now in here, I'm using a bit concentrated green for the background. We'll be creating some kind of variegated gradient with this. Let's continue with this side of the green. Apart from this, I'll also be using a bit darker and a bit lighter side of the grey. And we'll be using a lot of water to spread this color throughout the entire background. Okay. Let's continue with this using this concentrated gray. So using this concentrated gray and particularly adding it on one side of the snow mountains, as you can see, I'm leaving a little bit of space in between the drop, so after this, I'll be using water to spread it. I won't be covering the entire section. I'll be leaving the lower section untouched so the white of the peer will be visible in here. And I'll be doing the same thing for the remaining sections. Using this gray to do a little bit of outlining, then creating a bit of larger stroke with it and then using water to spread it. If you want to take a step further, you can use a little bit of black to do a little bit of gradient like we did in the last project for the wave for the water wave. For now, I'll only using this color combination to create the snow covered mountain in the background. And for the foreground to, I'll be using the same color combinations. As you can clearly see, I'm adding it on one side, and I'm creating a bit of larger strokes with a bras. If you want to do a little bit more sading, you can also use the file liner using the file liner to do a little bit of hatching or cross hatching to sort that some section of the snow covered mountain is a little bit more saded. Let's continue with the remaining section. In here, I'm using a little bit of water to spread this color, spreading this gray, a little bit of gradient cretion with this gray. Leave a little bit of space in between a different section. Leave a little bit of a space in between different sections, especially near the outlines that we created with the fine liners. After finishing the water coloring, I'll be coming back with a fine and to make these outlines a little bit more deeper and a little bit more distinct. Moving on to the upper section, doing the same thing, starting with bit larger and broader strokes with a gray, and then going with water to spread it. Instead of using the same brush to do both the things, you can use two different brush, one with a gray color and another with the water. In that way, you can make this process a little bit faster. Adding a bit more gray for this region. We have got lots of section put the background. We'll be doing the same thing. The snow covered sections, a bit of grease, and a little bit of darker or lighter sets and a lot of water. And here I decided to fill most of the section with the gree first, and then I'll be going in with the water to spread it. Adding a little bit behind this small hut. The more color I use, the less intensity becomes so you will have to use the same color of grey again and again if you want to keep the consistency same. In here, once again, I'm using the wt to spread the color. It's not looking great right now, but when it dried, intensity will decrease a little bit and the gradient will become a bit more clear. After finishing the water coloring, we'll be going back with the fine and to make the outlines a bit more crisper, a bit more wilder. Since this is going to take a lot of time in here, I had decided in here, I have increased the speed and we'll be doing the same thing for this section, this side, the snow cover mountain in here. Right now, I'm using water to spread the colors. And as usual, if you want to follow along with me, you can pause the video or you can just reduce the speed. Moving on to the front, using a bit of darker consistency of the gray and creating this kind of broader strokes, using the water to spread it a little bit, not covering the entire sexion leaving a little bit of space in between the different sections. Now the remaining section for the foreground. Moving on to the other side, we'll be doing the same thing, a little bit of larger strokes with the gray, and then spreading it with the water. So with these, we are done with the entire section. We will wait for it to dry a little bit. Until it dries, we'll be adding the color for the small rocks and small stones that we have in here in the middle of the water. For this, if you want, you can do the same thing like we did for the snow covered peaks in the mountains. But instead in here, I'll be creating small strokes to sew a little bit of sided region for some of the section. Small and minute strokes on particularly one side. In this case, here I'm adding the strokes on the left side. You can also do a little bit of hatching with the brush, creating small strokes with the brush to do a bit of hatching or cross hatching to depict a little bitter to make the sados a little bit more detailed and a bit more interesting. So for the larger one, add a little bit more grease. Now we have got four or five more. In here, we have got two or three more in the front. After this, we'll be doing the colouring for the house and the monkey. For the house, I'll be using the same gray and do a flat vase and then using a little bit of darker side of the gray to do the coloring and then a bit lighter side of the yellow or the same color that we'll be using for the monkey. In here, I'm doing a light vase with some gray. In here, I'm doing a light vase with the same gray, so lighter consistency of the gray and completely covering the entire section of the house, the hut, the pavement, as the platforms as well as the broken breach and the wooden panels and the wooden locks in the water. We will wait for it to dry a little bit and then add another layer of the color for the peaks and the mountains. I'm using a little bit more concentrated green. So till it dries, let's do the coloring for our monkeys. In here, I'm using a bit of skin tone. I'll also be covering the entire section with it, but later on, we'll be going with darker sets of the color to add fur texture and add a little bit more detail. For all the 11 monkeys that I have created in here, I'll be covering the entire section with this coloring. Apart from this, I'll be using red to add a little bit of details for the eyes and create a big nose and for the ears too. Et's slowly add the color for the remaining six monkey. Let me know how many monkeys you have created in the discussion section. If you want to vary the colors of the monkey, you can do that, or some of the monkey, you can use a bit darker seats of the color. For others, you can use a bit lighter set, or you can just change the color instead of this skin tone or this ocher color. You can use grayish color or pickish color. So the skin tone that I'm using in here is a combination of ocher, a bit of pink, and a little bit of white. Adding the colours for the last monkey in here, the smallest monkey. And as I was mentioning, I'll be adding another layer of color on top of this, so a very minute, so a very diluted consistency of this skin color on top of the entire section. I'll also be adding it for the wooden bridge and the wood panels, the locks that support this bridge. Do you? Flat on top of the gray. The gray will blend a little bit with this color that we are adding right now since the gray has not dried up yet. If you want, you can make it a little bit more darker. So you can use a little bit of darker consistency of the ocher, but I'm satisfied how it turned out. Let's do the coloring for our monkey. I wetted it for it to dry, and now in here, I'm using a bit darker consistency of the ocher and creating small strokes for the upper section of its end, so on top of its face and on both sides of its body, for the stomach reason or the stomach region, I'm not adding the fur like texture, but for the remaining section, small strokes. So small strokes will occur, we'll be doing the same thing for the remaining monkeys. Tiny and minute strokes, a little bit for the middle region, too, not covering the entire section of the stomach, but a little bit for the lower region to so that's asado casted wide. The remaining portion of its body in the upper part. Here too, you can play with different consistency and different tones of the color. A bit lighter consistency of the ocher or a bit darker consistency, or you can mix a little bit of brown or bunt Siena with it. And with this, we are done with the fourth one. Let's do the colon for the remaining seven. Here here we have got another smaller monkey. This is going to take a little bit of time. Here, once again, I have increased eye speed. The same thing, small strokes with this cher, a little bit more for the upper region of its head and then for both sides of the stomach, small strokes for the lower region of the stomach. And when these fee are done with the cher for the monkeys. In here, I'm using a bit concentrated red. So using this red to create the ear, for the entire region of the ear, I'm adding this red. Later on, I'll be using this red to surround the eyes. For now. Let's add the d for all the ears. So we have got 11 pairs of ear. Instead of using this concentrated, you can also use pink color. That will be the same kind of color that we use for all the other projects. You'll have to be a bit cautious since we have got very small ears for the small monkeys. Adding the red ear for the last two monkey. And yeah, this is the last monkey. Now, I'll be creating semicircular seeps on both sides of its eyes, Insure that the color that you used for the primary learning for its face is droid, and then when we apply otherwise, otherwise, the two colors will mix, and we don't want that creating very small and pine strokes with this thrust with the red and small triangular seep somewhat of triangular see for the nose. If you're not that confident, you can use the red fine liner if you have or you can use red gelpin. Let's do the same thing for the remaining seven monkeys that I created in here. I forgot to create the tails for the monkey. If you want, you can still do it. Use the whitening to create the elvets of the tails and then use the lighter or darker tone of the cha to paint over it. Since the intensity of the black of the water will be a bit high. So two or three layers of the whitening and then on top of it, you can do the coloring. Adding the small notes for this one. And now it's surround its eyes with the t. Now moving on to the three monkeys in the front. If you want to make the hurt a little bit more interesting, you can use this red to do the outlining for some of the sections of the heart, like the outlines for the doors and the windows and the different wood panels that divide the front of the house into different sections. You can use this red in there. Sorry, I was not able to record what I'm doing in here, but right now, I'm using a little bit of darker consistency of the gray, as you can see in here. For some of the section on one side of the wooden planks, I'm adding this. For the upper section, I'm doing this thing, and I'll be using a little bit of water to spread it to create a little bit of seeding. So some section of the wooden plank will be a bit darker seed and the remaining and the remaining is a bit lighter sad. Using water, a little bit of water to spread it. Carefully spreading it Insure that one side remains a bit more darker, the other side remains a bit lighter. Mere spreading the grease that I just added. For the upper section, I did the same thing. You have got the rough idea of what I am doing in here. The same thing we did for the background mountains, adding a little bit of smaller strokes with the grease for one side, and then spreading it for the remaining section, leaving a little bit of space in between the different wood panels. Now you can clearly see what I did. For the edges and near the beam sections, I added a bit more grease and then spread it. So this is how it turned out. Let's make it a little bit more darker and a bit more defined. I'm adding a little bit of darker consistency of the green near this region, so just beside the snow covered mountain and a little bit near the platform. This side a little bit more darker, adding a bit more green just beside the window panel. So primarily, what I'm doing is adding the so adding a bit darker consistency of the grief for the regions where there are more wood panels or the main section where there is division of the wooden panels into different sections and near the edges and the corner and just below the roof. I'm making a little bit confusing, but you have got the rough idea of what I mean to say. Adding a little bit more grief for the front of the platform to make the edge a little bit more darker near the door and the remaining section. A few more thinner strokes of the roof for the upper section for the roof. And I saw saying, if you want, you can use a little bit of darker side of the ocher or the brown to give it a little bit more brownish color. Let's make this region a bit more darker near the snow covered region. Using water to spread the colors a little bit. Later on, when it dries up, I'll be going back with the fine on it to make the outlines a bit more clear. I wetted it for to dry a little bit. Now adding the finer details. So for the monkey in here, I'm using a bit darker tone, the brown redefining the outline for its face, a little bit for the central part. But central part, what I mean is that the heart seep that we created for the face of the monkey at that curve it ports on the upper section of that curve part, here I am adding smaller strokes with a brown. I got the rough idea what I mean to say, very small and tiny strokes for that region and using a little bit of broken lines to do the outlining for the seep of its face and a little bit on both sides of its body, not for its summer. So we'll be doing the same thing for all the monkeys, small strokes, small and fine strokes with this. Instead of this brown, you could have also used the burnt sienna, or you can use the combination of both for some of the monkeys. You can use burnt sienna for others, you can use the brown. Let's add the colouring for the remaining monkeys. We have got seven or eight more in the front. Creating smallness strokes for this one. Also use this brown a little bit of this brown to do the coloring for some of the wooden planks that we have in the water. And also for the supporting means, you could use this colour to add the coloring for the beams that supports the house and the door panels and for the windows tou adding it for the last monkey. And now add more wherever you think it's required. Small and fine strokes with the brush using this brown. And we are about to complete this project. So after finishing this project, I was not satisfied. So after finishing it, I went back and added more detail. So this is the second part. If you are satisfied with your painting, you can leave it as it is. Otherwise, you can join me in the third part, the extra part in which I added more deals, did a little bit of more outlining and finished last project the final project of this class. So this is what I was seen using a little bit of brown to make some of the section of the house a little bit more darker, a bit more bolder and a bit more and a bit more defined. I'm not going to add this brown for the entire section, but for some of the major sections, that will help cream. So that will provide a little bit more characteristics to this For one side of the wooden poles, I'm adding it brown, very small strokes of the brown, only for the one side. And if you want, you can use a little bit of water to spread it. But here, I'm just creating very small strokes. Adding a little bit more brown for the other side of the bridge. With these d with the browns and the monkeys and the hunt, if you want to add more coloring, a bit more detailing, feel free to do that. At that time, when I was doing the painting, I think it turned out pretty well, so I just removed all the masking team. If you're satisfied with your painting, you can it as it is, or otherwise, you can join me in the third part. We will be adding a bit more details, a bit more fine lining. I'll see you in the next video. 22. More outlining: So welcome to the last part of this project. In after finishing the project, I was not satisfied, so I decided to use fine liner and add a little bit more detail. So I'm making the outlines a bit more crisper, a bit more bolden. So I'm going over the outlines since the intensity of the lines that I created with the jail paints has been subdued a little bit by the watercolor. Here I'm making the outlines a bit more crisper. Apart from that, I'm also adding a few more fine lines for the wooden planks to give it a bit more wooden to give it a bit more wood like texture. Same thing for the remaining planks for this old rickety bridge that I created, and I'll also be doing it for some section of the herd for the background, the mountain that we have the snow covered peak, I'll be making them a little bit more detail by going over the outlines and adding few more lines, a bit more curvier and more distinct lines. This is what I mean to say, creating a few more fine lines and a little bit of small hatching for some of the sections. And instead of creating single line, as you can see here, I'm creating two or three lines to give it a little bit more bolder look and create and to show that they are separate and distinct part in this snow covered mountain that we just created. Dividing into a few more additional sections. And for some of the lower section, I'm doing a little bit of hatching. If you want, you can do a lot more of hatching or you can use cross satching or stippling too. And to make this a little bit more darker, you can go back with the gray, a little bit of more gradient creation. Moving on to the upper section, doing the same thing in here too, two or three lines to the upper section, the background, here too. I'll be doing the same thing for some of the rocks and the stones in here to, if you can add few more lines for them to make them a little bit more distinct, to make them a little bit more darker, or do a little bit of seeding for them. Creating two or three, bit sicky and bit curvier line to saw a clear distinction in between different sections of this background. Let's continue adding more lines and dividing into a little bit of more section, adding few additional section for some of the regions. Otherwise, you can just follow along what outlines you have created and just go over it, making them a bit more crisper. Now let's add few more lines, and then we will move to the foreground and add a little bit more detailing. And for these regions, the regions that are a bit more darker, you can add a little bit of hatching lines, small and large hatching lines to make that region a bit more darker. And with these, I am satisfied with the background. For foreground in here, I'll be adding it to some of the section. As when I was doing the sketching, I already added a few more lines for the foreground two or three lines that is clearly visible. So there is no need for that. Adding a few more lines for some of the small stones in the rocks in here. Small and tiny lines for this section. Sorry for the brightness. Add more details wherever you think it's required. If you want, you can use a little bit of lighter tone for the heart to make it a little bit vibrant. Now, here I'm using black and going over the outlines of the eyes, going over the dots that we created for the eyes to make it a bit more distinct and give it a bit more darker. You can also go over the outlines of the nose to make them a little bit more distinct and create a small triangular sat with the black. A little bit more detailing for this region near the windows. It's not visible in here, but I'm adding a few more lines for the background. If you want to add a little bit more genus adjustment, you can do that. You can use a little bit of white ink to add a little bit of highlight for some of the section of the hut and you can add few more pulse effect or more still water like effect by adding parallel straight lines. And with this, we add in with our final project. I hope you had fun painting this one, and I'll see you in the next video, the last video, the conclusion. And thank you for spending your precious time with me. I'll see you in the last video. 23. Three chilling monkeys bonus : So Welcome to the first project. So this is going to make exciting. The two bonus project are one of my favorites from this whole class. So I hope you'll enjoy it. Let's start with the outline simple outlining for the rocks on the surrounding sides. Like we did for earlier project, we'll be creating this kind of simple outlines a rough outlines for the rocks on both the sides, as well as I'll be adding few rocks in the middle too. You can increase or decrease the numbers of the rocks that we are creating in here, and you can also play with the seams in the sizes of the rock, so feel free to experiment a little bit on your own. Or you can just follow along with me and create this very simple and basic outlines for the rocks. For the bottom section two, I'll be adding few rock. And as you have seen that we also added few rocks on the top two. In here, we'll be creating our first monkey. The second monkey will be in here. Let's do the third monkey at the top. And the fourth one in here. We have got lots of space in the middle in here, so we'll be adding few rocks in here, rocks coming out of the water. Just simple outlining, we'll be adding a little bit of tailings with the fine liner later on. For this one in here, I'm using the Sakura micron fine liner. Let's go about the outlines and add a little bit of texture and detailing for the features of this kind of rocks. Mostly we'll be using a bit of hatching lines. First, let's do the outlining for the rocks and then we'll be adding a little bit of detailings make this process a bit faster, you can use the breast pins. You can also use the water clear brushes to do the outlining, and it will make the process a bit faster, but you'll have to be extra causes to greet small lines and add details. Continuing on with doing the outlining for the remaining rocks that we have in here. Moving on to this sign. As you can see, I'm not creating any kind of uniform or consistent client for the outlining. In here, I'm making the lines a little bit rougher. By doing this, we'll be adding more characteristics to the rocks that we are creating here and thus making it a little bit more natural. So this process is going to take a little bit of time since we have got lots of rocks on both the sides, as well as we'll be creating more rocks, more than insides. You don't have to stick with the outlines that you have created, feel free to make changes in adjustment. As you can see, I did not go over the outline for the earlier pencil sketch that we did for the larger portion of the rock, but instead of it, I extended this portion and creating a little bit of different kind of rock. What I mean to say just feel free to do experiment and don't stick with the outlines that you have created, M changes and make changes as required. Now for the bottom sections, we have got one, two, three, four, and five rocks. So let's do the outlining for these. This person is not visible in here, but I just simply did the outlining for two of the smaller rocks. Now moving on to the right side and doing the same thing going over the outlines, the pencil outlines, and making changes as required. I'll be adding these kind of smaller rocks for the insides. I'll be wearing the sines a little bit. For some of the sexon I'll only be creating one rock for other section, we'll be creating cluster of rocks. Let's do a rough outlining for our monkey. So simple seeps like this for the monkey's face. This kind of nose. Now, creating the eye socket for the monkeys, this kind of simple circular see for the eye. What happened with this monkey later on when I was doing the coloring at the later stages, I did a little bit of mistakes, so I had to cover this monkey. So I would suggest you to be causes while doing the coloring so as to avoid the mistake that I'll be going to do. Adding this kind of here. And as you can see, I added lots of lines around his eyes to make it look bit weary and tired. Our monkey is relaxing here. At few more rocks here and there. Few rocks in here. So you can start with simply creating a rough outline and then divide it into different section to so that there are numerous rocks. A bit larger chunk of rock in here. Adding this kind of smaller rocks in front of it to add a little bit of more detailings to the rocks. Let's do the simple outlining for this monkey in here. This monkey is facing towards the left. So the right side will be a little bit more curvier, the right side of its face. Making its jaw a little bit larger. Very simple seep like this. The remaining section of its mouth. Here, too, I'm not greeting any kind of uniform or consistent line. Instead of it, I'm making the outlines a bit rougher by adding no texture and going over the lines to make it a bit bolder and to add bit of more characteristics to it. Creating a rough outlining for its hair. Later on, I'll be making the lines a little bit more darker so to make the freeze a little bit more distinct from the remaining section of its head. A small section of its body will be visible. So for all the monkeys, only a small section of their body will be visible. Creating the outline for the rocks in here. So a small section of its body is covered by this rock. Here, too, I make changes to the outlines that went in earlier with a pencil ski Just beside its body, we'll be creating wave pattern using the white color later on. H adding one more rock in here, simple single one. Now we have got two more monkeys. For this one here this two is facing towards the left. Same kind of outlining that way for the second monkey. In here, I'll be making a little bit changes to its face. For the second monkey, we make the upper part, the area beside its eye a little bit curvier, but in here, as you can see, I'll be making it a little bit distinct. I'll be giving it a little bit of square like same. So at this kind of same. If you want, you can make it bit curvier like the second one. You can just follow along with me and lead the same kind of thing that I'm doing. For all the monkeys, we'll be adding a bit more lines to make the yes look a bit more real or a bit more tired or exhausted. By doing this, we are adding more fecal characteristics to the faces of the monkey and yeah, I find that by adding more lines, it looks a bit more realistic. Adding the ear, only one side of its ear will be visible, other will be covered by its here. Rough outlining with this kind of bit hatching lines, small hatching lines for its head. Now, for the remaining section of its body, a large portion of its body is visible. Creating this kind of simple sy for its hand and one of its hand, the right hand is visible. And the remaining section in here will be covered by the rocks. Et's cover the side too. Another set of rock in here. A small section of its body will be visible in between these two rocks. I'll be doing their coloring with the browns later on. But for now, we are done with a simple sketch for our third monkey. I'll be adding one more monkey. Let's do the outlining for this one. So this is the only monkey in this project that is facing towards the right. Same kind of simple facial structure for it. Simple worsens for the nose and the mouth. For all the monkeys that we have created so far, their eyes are open somewhat, but for this one, I decided to make its eyes closed. Adding the ear on this left side. And yeah, now let's create a rough outlining for its here, here on its head. So small broken lines like this to create a bit rougher outlining for its head. A small portion of its body will be visible only up to here. Just beside this, I'll be adding another rock. And with this, we are done with a very simple sketching for our monkey, small rock in here. Now for the empty spaces, wherever there are large empty spaces, I'll be adding few rocks. In here, too, on this left side, we have got large area, so I'll be adding one or two rocks. And as I was mentioning, I will be making its size close, so adding a little bit more detail in form of more lines and making some of the lines bit darker so that the eyelids are closed for this one. Insure that the ink has dried up and then lightly erase it. So here I increase the speed. We'll be adding more detailings for the rocks that we have created, as well as for the monkeys. So going over the outlines that we have just created, adding more lines to it, adding more texture in form of some of the in form of some lines, a bit of hatching lines, a bit of cross hatching. Mostly, I'll be using the hatching to add a little bit more detailings. I'll also be using hatching to do the seeding. Just by wearing the spacing in between the lines, we'll be able to give it a little bit more volume. As you can see in here, I'm not making the lines constant or uniform. I'm wearing the length of the lines as well as I'm wearing the spacing in between them. By doing this, we are adding a little bit more characteristics, a bit more volume to it. We'll be doing the same thing for the remaining rocks that we have created, making the outline a bit more distinct, dividing the rocks into few different section. The sections will be adding a bit more darker lines by overlapping it with more lines. And for the remaining section, as you can see, we are adding the lines. More lines for some of the sections that we want to sew a little bit of sados and for the lighter regions, we'll be adding fewer lines and increase the spacing in between it. For the rocks that are lying above the other ones, for the upper part, we'll be doing this kind of hatching, following the rough shape of the rock and adding the lines in that manner. Apart from that, we'll also be doing this kind of bit small hatching lines. For all the rocks, we'll be doing the same thing. This process is going to take a little bit of times since we have got lots of rock. Yeah, be peasant and just follow along with me. I'll also be using gray colour to do the coloring for some section of the rock to sew a little bit of cidose and to add a little bit of more contrasting effect to it. Simple broken hatching lines of varied length like this to add the retailings for our rock. Now moving on to this one, a little bit of this kind of smaller lines for the detailing for the upper part. Now dividing into different sections and we'll be adding more lines. Since this is going to take a lot of time, here I have increased the spin, if you want to follow along with me, you can just pause the video or you can reduce the speed. Otherwise, just enjoy the process and you can do it on your own by pausing the video later on the process of adding this kind of lines to add texture for all the rocks that we have created in here. This video is also divided into two sections. This will be the first one. Since this is a bit larger portion here, so I decided to add a little bit more texture. So using a combination of hatching lines and a little bit of cur lines to make a bit more detailed version of the upper part, this side will be a bit more darker so I add more lines. And now for the remaining section. Simple hatching lines that we have used so far. And here, I have reduced the speed. So this is the normal speed. Let's do the same thing for the rocks in the middle. Making the outlines a bit more distinct by making the lines a bit bolder, doing the outlining, dividing the rock into different section and making some of the section bit more darker with more lines. And then for the remaining section, we are just going to add lots of lines, lots of hatching lines. The same thing as usual, we are wearing the length of the hatching lines. If you want, you can use the cross hatching too. It will take a little bit more timing, but it will make the rocks a bit more detail and a bit more darker, make the region a little bit more darker, decrease the eye spacing, and to make it a bit lighter, just increase the spacing in between the different hatching lines. Oh. I did a small portion of it on my own, the upper rocks, I did outlining and add details. As for the monkey, I just use simple hatching lines to add texture for it here. Now, we are continuing on with the remaining rocks and the remaining monkeys. You have got the rough idea how you can create this kind of simple pattern and texture for all the rocks and the monkeys. Once again, I'm going to increase the speed, and if you want to follow along with me, you can just pause the video and you can reduce the speed. Here, too, if required, I'll be making changes in adjustment to the earlier outlines that we did with the fine liner for the rocks. So you don't have to stick with the outlines. The large rocks in here, we have got three or four rocks. To make the distinction a bit more clear, for the rocks that are lying behind, add a lot of lines to make those rock bit more darker, the sides to sew a little bit of shadow casted by the smaller rocks. Now, what a monkey, adding the eyeballs for the insides, making the eyes a little bit more darker. Let's create fur texture for its head. So simple hatching lines like this, following the seep of its head. So making the lines a little bit curve for some of the sections. We'll be making the area near its freeze a little bit more darker. So we'll be adding lots of lines there. And as we move away from it, we'll be decreasing the number of lines. But for the outline section, the outline for its head, we'll be decreasing the spacing in between the lines to make it a bit more darker. But for the remaining portion of its body? Simple hatching lines like this to cover the entire surface. For the sides of this body, I'm adding another set of hatching lines and facing in other manner to add a little bit more detail for the fur like texture on the remaining section of its body that is visible, adding another layer of hatching lines to make the upper part a bit more darker, creating a clear distinction in the form of wave like pattern. This will be covered by the ink lateron, but I'm just giving you a simple example how we'll be doing the coloring using the white ink literon in this manner to create wave like for more ripples like effect for the water. This is option if you don't want to do this, you don't have to do this since most of it will be covered by the black ink. Now, let's do the remaining section. Once again, I have increased the speed a little bit more. As usual, if you want to follow along with me, you can pause the video or you can reduce its speed. The third monkey in here to avoid confusing, I'll be calling the top monkey first one. Then the second monkey is on the right side, the third monkey on the left side, and the fourth monkey will be the monkey at the bottom. We have got few more rocks on the sides, a little bit of rocks on the bottom, and a large monkey. So that's the only thing that we'll be covering in this part of this project. And in the next part, we'll be doing the coloring using the black ink, using lots of browns, skin colour for the monkeys and black for the water. Adding detailing surrounding the rocks that we have created now, let's focus on the large monkey we have in here. Same kind of simple hatching lines surrounding its face. Adding the lines in different patches like this, layers upon layer to add a little bit more detailing for the monkey. And as you can see, the region beside its face, I'm adding more lines to make a bit more distinct to make it a little bit more distinct and make it bit more darker. And we are just adding layers upon layers of the hatching lines. Also we making the distinction between its head and the body a bit clear later on for now adding simple hatching lines for its hand that is visible. Now for the back, once again, lots of hatching lines in here, I have increased the side a little bit, adding it in here, the region in between the rocks. We are done with this monkey, and we have got three or four more rocks to add the linings and detailing. So we have got two more rocks, making the outlines a bit more distinct, going over it and dividing different section. And now adding the hatching lines. Lots of hatching lines. For the upper part, if you want to add texture and detailing, you can use a bit of smaller hatching lines. You can do that, but I'll be keeping these rocks quite clean, so I won't be adding any kind of lines on top of it. And with this, we are done with the rocks. I decided to add one more smaller rock in here. Now adding the texture for it. Hatching lines, making this region a bit more darker and lots of hatching lines in here. Add more lines wherever you think it's required to make some of the regions a bit more darker. And with these, we are done with the first part of this project. If you want to keep it on PN illustration, you can keep it as it is, or you can just follow along with me and do the coloring in next video. 24. Multilayered Monkey : M let's continue where we left off. In here, I'm starting with a combination of gray mixed with a little bit of pink to do the coloring for our monkey, use a bit diluted consistency of the color so that the lines that we created earlier with the fine liner will be visible. This rough coloring with it, and I'm also using a little bit of water to spread the colour, also to decrease its intensity a little bit, surround its face, and for the remaining section, the hair just spread the color. We'll be doing multiple layers of the coloring. This is our primary layering. Now for this monkey, For the monkeys, we'll be using a different color combination. For the two monkeys, I'll be using this color, and for the other two, I'll be making a little bit of variation to its color. And now let's do the colouring for the other two monkeys that we have in here. And in here, I used a little bit of ocher mixed with a gray color, only a little bit of gray to the cher. Spread the color now using water. Instead of it, you can make it a little bit more lighter by using yellow instead of the auger and mixing a little bit of green. For this one, I'm using camo jiu spread the color, using water to spread the color. Adding it castinar its fees. Now spreading the colours for the remaining section. Pretty M for the upper part, too. Now for the remaining section in here, the region in between both the rocks adding the color in here. Now we will wait for it to dry a little bit and add a little bit more coloring. And until it dries in here, I'm using a little bit of burned sienna to make the outlines a little bit more distinct. The distinction in between its head and the remaining portion of its body and on the other side, and this region in here in between the two rocks making a bit more darker by adding this burned sienna. Also extending a little bit of this burned Sienna alongside its face to make it to make that region bit more darker. Extending the color a little bit for its hands, too. And, yeah, with this, we are done with the primary layering for our monkeys. Let's wait for it to dry a little bit. Till it dries. Let's do the coloring for the entire section. In here, I mean directly using the Zikkurataki plating to fill the entire region with the black. So this process too is going to take a little bit of time, and we'll have to a bit causes since we have lots of rocks inside this water body, as well as we'll have to do the outlining for the monkey while preserving its fur like texture. We'll have to be extra causes while doing the outlining, while doing the coloring near the monkeys. Put some of the section in here, once again, I'll be increasing the speed since this is going to take a bit of time. If you want, you can keep it as it is white color and add black ripples using the black. Or you can just follow along with me and feel the black for the entire region. Just by adding this black, we will make the project look a little bit more alive, and it will add a little bit of pop line effect. So it will make the monkeys look a bit more distinct and a bit more defined. As for the outlining, as I was mentioning, I'll be creating this kind of smaller brusse stroke to preserve the texture of here like texture for all the monkeys. Adding it carefully in between the rocks on this region. And as I was mentioning that most of the ripple eff that we created with the fine n will be covered by it. Also, I'll be covering those lines. For the smaller region, use the smaller strokes. And for the larger areas, you can just start with a bigger stroke and then spread the color. And here as I was mentioning, I have increased the speed a little bit for the upper region, the upper like texture of the monkeys, creating this kind of hatching lines, creating this kind of strokes to preserve its hairy texture. And yeah, with this we're done with outlining the first monkey, let's do the same thing for the remaining one. If you were to follow along with me, as usual, you can just reduce the speed or you can pause the video. Carefully doing the outlining for the smaller rocks in here. And now let's feel this region in here. Carefully creating this kind of smaller brush stroke to preserve the hairy texture for our monkey's head and the remaining portion of its body. To make this process a bit easier for you, you can use the bras paints to do the outlining for the monkeys and the rocks and then fill the remaining section with the blacking. Carefully doing the outlining for the monkey, the third monkey in here. Yeah, same thing on the other side, the right side. Now, let's feel the remaining section between these two monkeys. Adding the colour on the side too. With this, we are done with the upper part. Now we have got only a small section to do the coloring. Greeting smaller birds or strokes to preserve the rough texture for the hair of the monkey, doing the same thing in here for its hand and the remaining section of its body and filling this entire section with the blacking. We have got a small section, very small section to do the coloring, and then we will be waiting for the ink to dry and add a little bit more detailing for the monkeys and the water. I decided to cover this small rock that we added earlier. And yeah, with this, we are done with the blacking. Now I'm going with a little bit of gray. For all the rocks in here, I'll be adding a little bit of green like this on the upper portion, and then we'll be using a little bit of water to spread it. In here, I'm using a bit lighter tone of the green to do the coloring. If you want to make it a bit more darker, a bit more bolder, you can use a bit darker tone of the gray. Extending the gray a little bit. For the section in which we divided the rocks into different parts, I'll be making those a bit more darker. And otherwise, for all the rocks, the sides of the rock we'll be adding a little bit of gray and then extending it. If you want you can maintain the consistency of the color, or you can just use different sides of the gray to make it a bit more interesting. Using water to spread the color you'll have to wit courses here not to mix the two colours, the grease with the black ink that we use earlier on, since it has not dried up properly. Just extending the gray a little bit. The upper portion of the rocks, I did not add any colors for it, but if you want, you can add a little bit of grease there too. Adding the grease for the rocks on this side. For some of the section for the upper part too, where one rock slies upon other, I'm adding a little bit of gray. As I was mentioning earlier that I won't be doing it, adding the grease for the upper part, but I decided to add a little bit of gray. And the color that we used earlier has dried up, starting with this fourth monkey in here, I'm using the burned Siana and once again, using this burnt sienna to create hatching lines. We'll be making the upper part a bit more darker. This is our third color for this fourth monkey. I'm also wearing this piecing in between the lines as well as the seeps and the side is a little bit, covering the entire section, almost the entire section with this kind of hatching line. This part of its soldier, I'll be trying to keep it a little bit lighter now for its fees, making the sides a bit more darker by adding a little bit of this burnt siana then we'll be doing the hatching lines. But for now, it's to the outlining for the fees. Now let's extend the lines like this using smaller bruss strokes. And for the remaining section, once again, heating hatching lines create bit smaller and bit thinner hatching lines extending the lines a little bit. And as you can see, I'm not covering the entire section for its face with this color. I'll be adding another layer of color on top of it. Only covering some of the section with this kind of small hatching lines with this burned sienna. Making this region a little bit more darkened with more hatching lines on the side. And yeah, with this, we are done with a burned sienna for our fourth monkey. Now moving on to the third monkey in here, I'm using brown. This is brown or you can see, it's raw umber and doing the same kind of thing, small hatching lines to create a bit clear distinction in between the head and the remaining section of its body. I also decided to use a little bit of this raw mud to make the distinction a bit more clear in between its head, its remaining portion of its body and the right hand on the other side. So using it and overlaying a little bit of it on top of the bunt an that we used, extending the hatching lines a little bit. Adding more lines in here in between the two rocks to so that sado casted by the rocks. Extending the lines a little bit just beside the rocks, too. Let's add a little bit of this round for the upper part to extending it a little bit in here. Using a little bit of water to subdue its intensity a little bit. So using water to sprit the color a little bit, mixing it with the remaining layers that we used earlier. With the water color, the main advantage is it. When this dries up, we can still see the visibility of all the other layers of the color that we used earlier. Now, using the brown to make the freeze a bit more distinct, using it to do the outlining, overlaying this on top of the burned SNA I used earlier. And as you can see, I'm not overlaying or covering the entire section of the burned CNN, but only a small portion of it so that the burned Sienna will be visible too. Creating smaller birds of stroke to add a little bit of hair like texture for the remaining section of its head. With these, we are done with the coloring, we will wait for it to dry a little bit in here, using a little bit of brown color. So using a little bit of the same grave that we used for its fees. In here, I have increased the consistency a little bit, a bit concentrated gray and creating the same kind of feature and creating the same kind of hatching line that we just created for the fourth one. So in here, what happened later on, this monkey become a little bit muddy, so I covered it with a blacking. Because while doing the coloring in here, if you want to make changes in adjustment to the colors and the way you are creating it, feel free to do that because mine turned out pretty bad, so I covered it later on. For this monkey in here, I'm using camo. The same kind of smaller brusstok to add the hatching lines. Adding the hatching lines just beside its fads and creating a little bit of outlining using this. Adding it on the other side too. Once again, creating smaller hatching lines for the remaining section of its head. Once this dries up, it will lose its intensity a little bit. Moving on to the remaining portion of its body, a bit larger hatching lines. Doing the coloring in here for its fur leg textion on the right side and the left side. Spraining the color a little bit. We will wait for it to dry a little bit and then add another layer of the coloring on top of it. Still it dries, let's do the coloring for our monkey. So earlier we started with a brown to add the hatching lines, once again, continuing on with the brown. Starting with doing the outlining for its face, and now we'll be creating the hatching line. And now we'll be creating the hatching lines, the same kind of hatching line that we have used so far. Extending the hatching lines coming out from the sides of its face and following the curved shape of its head, adding the hatching lines in this manner. The lower portion is not that visible, sorry for that, but I just simply added the same kind of hatching lines that we have added so far, making this region, the sides of its face a bit more darker by adding more lines, using a little bit of brown for this one, and using it to create a clear distinction and separation in between its face and the remaining portion of its body, doing the same thing in here, creating a clear distinction in between its face and the remaining portion of its head. A little bit of brown for the outer regions, too. Another layer of hatching lines in here. Now, I'm using camo for the ears, a little bit of camo for all the ears of the monkey that we have created, adding it in here too, spreading the color a little bit to decrease in intensity a little bit. I use dated to decrease in intensity. Now, adding another layer of the color for the ear, a bit of orange color, a small tiny dots of the orange for the ears. Now, for the fees. Now for the fees in here, I'm starting with a skin color, a bit diluted color for the fees. Now using the same color for the fees of all the three monkeys that we have used. This is our first layering of the color. Let's make it a bit lighter, so I'm using dry bras and soaking up some of the water excess water that I added, doing the same thing in here too, for this first monkey. And for the fourth monkey, too, I did the same thing. O. Let's add a little bit of detailing for the nose and the mouth, so a little bit of orange color. And now, once again, going with the water to spread it and decrease its intensity a little bit. Just by doing this, we have made the nose and mouth a little bit pinkish or oranges. Now for the regions besides its size, a little bit of aqua color, small strokes like this, and also a little bit on the sides, too, and going with the water to spread the color and reduce intensity a bit. In here, I'm using a bit of raw umber for this darker monkey. Using the water to spread the color and reducing intensity. Doing the same thing for this first monkey. This is what I was talking about that this monkey become a little bit muddier. Later on, I'll be covering it with black ink. But for now, let's do the colour. Bing a little bit of more fl texture for this monkey by using the brown. So if your monkey looks pretty good, then you don't have to cover it. Otherwise, I'll be covering it. And in here, I'm just showing you as an example that how you can be creating the texture for this one. Otherwise, I would have just covered it right now. We will wait for it to dry and then add another layer. For this monkey, I decided to make the distinction a bit more ear, a bit of brown on the side now using water to spread it. For this monkey, too, spreading the brown a little bit. Adding a little bit of brown for the insides. Besides its eye and nose, clearly seeds look a bit ugly, so I decided to cover it using the blacking a bit and covering it. When this dries up, it will mix with the remaining section of the blacking, and it won't be that much visible. We will wait for it to dry and then use whiting to cover it. Since I have a blow dryer, I can fasten this process a little bit. If you have blow dryer, you can speed up the process. After this, we'll be using white to create triple effect for the entire section. We'll be creating a curved lines for the saxon near the monkeys and near the rocks that are present inside the water using bit concentrated whiting, and creating this kind of curved lines for the regions besides the rocks. If you want, you can create uniform and consistent lines or otherwise, you can just follow along with me and create this kind of be broken lines. With the broken lines, I find it a little bit more interesting. So that's why I mostly use this kind of broken lines to add more detailing or more texture. This process is going to take a little bit of time. We present and add lots of line. For the larger areas, mostly we'll be adding this kind of simple and plain lines, simple and straight lines for the regions beside the monkeys and for the regions beside the rocks, we'll be adding a bit curvy lines. I'll also be using a little bit of white for some of the sections of the monkey to add a little bit of highlights. In here, once again, I have increased the speed a little bit. And as usual, if you want to follow along with me, you can pause the video or you can just reduce the speed. Adding bit curvy lines alongside the monkey's body. In here, too, this is beside its head. Let's add lots of lines, simple straight plain lines for the remaining section. In here, I have reduced the speed to the normal. And as I was mentioned a bit of smaller lines to add a little bit more detailing for some of the section of the monkey, adding it for the upper part too. For this region, there was a overlapping of lines, so I'm using a little bit of white to cover it. Now, adding a little bit more lines for some of the monkeys. Adding more lines in this region to cover the mistakes that I did. And yeah, with these we are done with the bonus project, I hope you enjoyed this. This is one of my favorite. I'll be seeing you in the next video. H 25. Mini Monkeys and iceberg bonus 2: Welcome to the second bonus project. For this one, we'll be creating lots of monkey, a total of ten cute little monkeys. And this is somewhat similar to the last project that we it. In here, I'll also be creating this kind of rocks. Simple structure like this. For the last project, we had multiple one, but in here we'll have larger rocks like this. On both the sides, we'll be creating a bit larger kind of rocks like this. And as for the colorings, I'll be using the same type of coloring that we used for the last project, a little bit of grey. For the sites, we'll be doing a bit of hatching, not for the entire section, but for some of the section to sow a little bit of shadows casted by the rocks that are lying in the front. Doing the same thing in here, creating this kind of bit jagged and bit organic seems for the rocks. So you can conside this that the monkeys are in the glaciers and these are large chunks of ice icebergs that are floating in here. And inside for the middle section in here, we'll be creating a little bit different kind of rocks, a bit larger and conical or you can say clindO you can say cylindrical like see for the rocks in the middle. And as usual, I'll be using the black in for the entire section, the water. Now let's create the side view of the icebergs that we have created. For some of the section, make it a little bit bent and mid curve to add a little bit of more characteristics to the icebergs, the floating icebergs. So we are viewing this scene from the top. So this side is visible in here. The other side want to be visible in here. Hitting the sides of the icebergs in here like this. You can vary the seeps inside of the iceberg. If you want to make it a little bit more larger, you can just make the sides a bit more larger. And for this region in here, we'll be creating lots of smaller chins of icebergs that are floating beside the larger one. If you want to keep things simple, instead of creating this kind of multiple smaller section, you can just create one larger one or two or three larger sections. Adding it in here for the upper part, the top right side. So this will be the floating ice workorgs that we have. I decided to extend this a little bit since all the icebergs that we have created are quite langan. So this will be our simple floating ice bool, and as for the rocks in the middle. So this kind of simple conical same make it a little bit realistic by making it a little bit curved and bend. Mostly I created two or three. If you want to increase or decrease the number or the sizes, you can do that. Here, too, we'll be using the hatching lines, curve and straight simple hatching lines. And with these, we are done with the rocks and the icebergs. Now let's create the monkeys. In total, I added the rocks in six different places. If you want to increase the numbers, you can do that. And if you want to create other kind of rocks that we have practiced so far, you can do that, too. So starting with simple oval seeps for the monkey, as I mentioned in the beginning, I'll be creating a total of teen monkeys. Here, too, if you want to increase or decrease the numbers, you can do that. Or you can just simply follow along with me and create the monkey. I'll only be creating the head of the monkey as well as a little tail. And with these, we are done with a pencil sketch. Now let's do the inking. So once again, in here, I'm using the sakura micron fine liner. And adding the minute details in the form of large circular see for its size, two oval seeps for its nose and simple smiling mouth. So this is the basic sketching for our monkey. We'll be using two or three different seeds of the yellows and skin colour to do the coloring for our monkey. I'll also be adding small tea coming out of the butter. But to create the outline for the fur like texture for the monkey, use small hatching lines to add the texture. So this is now we'll be creating multiple monkeys in here. I have created the monkeys in a cluster of two or three monkeys. Of this kind of simpler version of the monkey, if you want to ching or use other monkeys, you can do that. Now let's do the third monkey, starting starting with this kind of simple hatching lines for the fur like texture. Now for the insides, a little bit curb and bend hart, like see or we can a bit curb and fluffy Y see for the face of our monkey, oval see for its nose and simple is my mouth. Adding the ear And with these, we are done with this three floating monkey in here. Now let's have a closer look how I'm creating it. Starting with a simple seep for the face of our monkey, this kind of heart like seep or you can say, a fluffier version of the Y, Oval seep food and little nose, circular seep for the eyes, smiling mouth. So this is the simple face that we are creating, the same kind of fees that we have created for other projects and as we practice in the practice stations. In this section, I'll be creating a total of two monkeys. And as I mentioned, I'll only be creating the heads and a small section of its lower body, a little bit of chest, but if you want to make it a little bit larger, you can extend it. You can also create a small section of hands that will be visible. I won't be doing it, but if you want, you can do that. Creating this kind of bit smaller broken hatching lines to create the outline for the fur of its head. And yeah, with this, we are done with another two heads for our monkey. A small section of its body is visible. So only up to here, a little bit below its neck. That's what I'll onmic greeting. Four or five more monkeys. So two monkeys in here. If you want, you can also use uniform and consistent line to do the outlining. But I find that when I use this kind of bit broken and this kind of bit organic lines, it adds a little bit of more characteristics to the monkeys or the painting that I'm creating. So that's why I generally used to prefer this kind of bit ragged lines. Adding the ears for our monkey. In a small section just below its neck. For the entire section, we'll be completely filling in with the black ink. I'll be creating the ripple effect just beside the monkey, a little bit for the floating ice bugs and for some of the rocks that we have created. Creating the fur like texture for the head of our monkey. As for the face, I'll be starting with a skin color. I'll be also using a little bit of red to create rosy chicks and use orchards and seeds of yellow or other color for the remaining section for its head. I'll also be creating very simple and small teals that will be visible beside the monkey. Now adding monkey in here. This is going to be a single monkey. If you want, you can also add one more monkey beside it. In here, I don't have that much spice, so I'll only be creating this single one. Adding the Eats for our monkey. And with these, we are done with this. Now, for the bottom section in here, we have a little bit of a spiece. So in here, I'll also be creating two more monkeys. Creating a small hatching line for the head of our monkey, a little bit of furry texture. And yeah, we are done with this one. Let's do the last monkey in here for the bottom section. I'll be adding a few more monkeys at top, but this will do the last monkey in here at the bottom section. Creating small broken hatching lines for the head. Small ears. A little bit just beloved snack, and, yeah, we are done with this one. And as I was mentioning, I'll be creating the small tails. Very simple soap like this for the tail of our monkeys. In here, too, let's add small tail. If you don't want to add the tails, you can just leave it as it is. And as I was mentioning, if you want to add the hands too, you can add their hands. So they are waving their hands, you can create things like that. Now, adding the tails in here, I was saying that I'm going to add few more monkey, but then I saw that now, we have created ten monkeys, so I won't be adding any monkeys. If you want, you can add few more. But I don't have that much recipes, and if I add more monkeys, it will oversaturate I will oversaturate this painting, so I won't be doing it. Adding the monkey for this third one. Now, let's add the tail for our final monkey at the top. So with these, we are done with a simple sketching for our monkeys, now for the rocks. So same kind of simple patterns, make it a little bit curve. We add a bit more texture in the form of curved hatching lines and a little bit of simple and broken hatching lines for the bottom section to add a little bit of texture to it, create a little bit of bend sections and being that section a bit more darker by more by adding more lines to it. Simple broken hatching lines at the lower sections. So this is how we'll be creating the rocks in here. And I'll be using lighter seat of the gray to do the coloring for the section in which we use hatching lines. I'll be making those sects a bit lighter, but otherwise, the remaining section will remain a bit lighter. Doing the outlining for this one, too. Two, three, four, five, six, seven, eight, a total of eight more. Yeah, continue on doing the same thing for the remaining rocks that we have created. If you want to increase or decrease the numbers, you can do that. Apart from that, if you want to add other additional alignments, you can do that. You can also add floating leaves. You can add floating lotus or floating large leaves of the lotus. Adding a little bit of texture in the form of this kind of hatching lines, bit broken hatching lines and doing a little bit of seeding for the lower regions, extending it a little bit more and making the outlines a bit more bolder and in here, since this process is going to take a little bit of time, I have increased the speed a little bit. So if you want to follow along with me, you can just pause the video or you can reduce the speed. For the rocks in here, I decided to make it a little bit more darker on the sides, so I added lots of hatching line and did a little bit of sding. Now, let's do the same thing for the remaining rocks we have. Starting with doing the outlining for the rocks and then using lots of hatching lines for some of the section to sew a little bit of sando and to add a little bit of texture, I'm making some of the section a bit more darker. I'm also using a bit curved lines so that the stones or the rocks here are a little bit went and a bit more curved. Adding a few more hatching lines at the upper part and here. Make the outlines a bit more bolder and darker. And we are done with these two sets of the rocks. Now we have got only the two in here. Same kind of thing, starting with doing the outlining and then we'll be adding the texture and detailing. Once again, I have increased the spin. Simple hatching line following the canto, the curved sweep of the rock, as well as adding a little bit of curve line for some of the sections. Since this process was going to take a lot of time, the icebergs that we created, and we have already practiced a lot of it. So I did this on my own. So if you want to follow along with me, you can just pause the video and do the outlining of all the icebergs on your own. Or you can do the coloring first, and then later on, after finishing the monkeys and the water, you can add the texture and detailing for the icebergs floating insberg In here, I'm starting with the breast pain to do the outlining for this iceberg first, and then I'll be adding the black for the entire section. I can do the same thing with a watercolor buses, but it will take a little bit more but it will take a little bit more time and I'll have to be a bit more in extra courses. For this section, too, I'll be increasing the speed a little bit later on, since we have got lots of monkey in the stones to do the outlining for and then we'll have to fill sides with the black. We'll be filling the entire section with the black, carefully doing the outlining for the rocks. Try to preserve the rough and the organic texture of the rocks that we have created. So try to make the outlines a little bit more organic. In here, I have increased the speed a little bit. So if you want to follow along with me, you can pause the video or you can just reduce the speed. For the monkeys, use a bit smaller brush strokes to preserve the rough texture for the fur of the monkey. Small hatching lines to do the outlining for the monkey's head. You'll have to be bit cautious too to do the outlining for the tails of the monkey. This is going to take a little bit of time since we have to do outlining for lots and lots of monkeys and lots of stone. Then we have got the icebergs too. Doing the out running for this section in here. Now, extending the colour to feel the remaining space at the top. Doing the outrunning for this one monkey, the lone monkey in here. Outlining still, and no carefully filling the entire section in between the monkey, the rock, and the icebergs. Doing the outlining for this section in here, the icebergs in here. So I'll be doing the coloring in different sections so that the ink that we used for some of the section writes off, and then we'll be moving back to that section. Carefully doing the outlining for the rocks, filling this entire section with the black. If you want, you can use the watercolor brush to do the coloring, but Indian I decided to stick with the bramin that I'm using, and I'll be doing the king with it. Now, let's do the outlining for the monkeys carefully, outlining its small tail. But it also divided into two parts. This is the first part and we'll be only completing the inking in here, in the later part, we'll be adding the coloring for the icebergs, the rocks, and the monkey. We'll also be creating ripple effect by using the white ink, doing the outlining for the two rocks in here. Now, feeling the space in between the rocks. We have got to do the outlining this small tail, carefully doing the outlining and feeling the remaining section in here. Now, let's feel this section in here. Moving back to the top and adding the colors. And now let's complete the upper part. Adding a little bit of mon black in here. And with this, we are done with the upper part. Now we have got only the half of it remaining. We also have to do the cooling for this section. So going back in here and feeling the color in between the two monkeys, carefully adding it above its head. And now let's do the remaining section, starting with doing the outlining on the sides of the icebergs, carefully doing the outlining for the monkey's head. Try to preserve the rough texture of the form that we have created. Now carefully adding the colors in between. Doing the outlining for the two smaller rocks, extending the outlining in this side. Now, filling the remaining section with the ink. And now, let's do the remaining section, starting with doing the outlining on the sides of the icebergs. So let's fill this section in here first and then we'll fill the remaining section at the bottom, extending the ink a little bit to fill this entire region. Oh. Adding the color in between the two monkeys, doing the outlining for its head and its tail, carefully doing the outlining for its tail. Now feeling this small remaining section. Now we have got only two monkeys to do the outlining and feel the color, starting with doing the outlining for the monkey's carefully, outlining its tail, doing the same thing for the second monkey, outlining its tail, and doing the outlining for its face. And we will feeling the entire section with the black now. And I'll only be covering up to here in this project. In the next video, as I mentioned, we'll be completing it, adding the colors for the rocks, the icebergs, and the monkey. Carefully adding it in here, just beside it here. And now we have got only a small section, so completely filling this section. And yeah, with this, we are done with this part of the video, and I'll be seeing in the next part. 26. Using grey for the iceberg and rocks: Let's continue where we left off. And here, I'm using gray to do the coloring for the sides of the icebergs. I'll also be using a little bit of green for some of the section at the top. Just add this little bit of gray for the upper side of the sins for some of the section in which we added lots of hatching lines, add a little bit more graze, particularly on the left side, the upper left side. And now using the water to extend this gray and yeah, spreading in. And spreading it unevenly for the sides by spreading it unevenly, we are adding a little bit more texture and a bit of more detailing for the sides of the icebergs that we have created. I'll also be adding a little bit of gray for the top, as I was mentoning a little bit of lighter side of the gray in here, adding it in here to this part. So for some of the section, we have lots of lines or where we have outline section, add a little bit of gray. Type prefer use a bit lighter side of the gray for the upper part, extending the gray a little bit in here. And yeah, we are done with this side. Let's do the same thing in here, the other side, Insure that the ink that you have used has dried up. Otherwise, it might smug the painting, adding the grey in here on the sides of the icebergs we have created. And then the side, I used a bit darker side of the grey since we have lots of hatching lines for the upper part. I'm using a bit darker side of the gray, doing the same thing for the rocks in here, adding this gray in this form. And we'll be extending it a little bit with the water later on. But for now, just continue with adding it in the curved manner, add a little bit for the lower section in a straight manner. Now going in water and we'll be doing the same thing, spreading the colors unevenly For the section in which we did a lot of hatching, those section will become a little bit more darker. The other section will remain like this. And right now it looks a bit darker, but on this dries up, it will lose a little bit of its intensity. Spreading the color a little bit more in here. This revolt looking a bit more darker. Now spreading the color in here for the lower section for this section too, this extended section. In here for all the extended portion, I'll be using a bit darker side of the gray. Now let's do the same thing in here, spreading the lighter side of the gray a little bit for the upper part. In here for all the extended portions. Let's use now for this upper part, a bit lighter seed of the green, and, yeah. Now spreading it a little bit in here, too. Going into the water to spread the skull throughout the entire section, different extended sections. And with this, we are done with it. I waited for it to dry and it has dried up. Now, we'll be doing the coloring for our monkey. And here, I'm starting with the skin color. So adding this skin color for the face of our monkey, since it will lose its intensity a little bit, so you don't have to worry about overlaying this on top of the eyes and the nose. And as you can see, I'm using very diluted consistency of the colour to overlay on top of the monkey's face. Now in here, I'm using a bit of dry to soak some of the excess water that we added for the face of our monkey and also reducing the intensity of the skin color a little bit. And with this, we are done with the skin for our monkey. Now in here, I'm starting with the ocher, a bit diluted consistency of the ocher. This is going to be our primary layering for the monkey, adding it for the monkey's head, monkey's ear, and the remaining section. So we'll be adding it for all the teen monkeys that we have in here. Multiple colored monkey, you can do that. Instead of coloring all the monkey in the same manner, you can use other colors that we have used for other monkeys and create varieties of different colored monkeys. If we are done with a six month, we at the top. Let's do the same thing for the remaining four monkeys in here. I'll also be using a little bit of red for the ears and as well as a little bit of small red dots for the cheeks of the monkey, adding it for the last monkey in here. Right now, it's not looking that much colorful, but we'll be adding more layerings to it. Now, let's do another layering in here. I'm using camel Jim starting with doing the outlining for the fees of the monkey and adding it a little bit on the sides. We'll be doing the same thing for all the monkeys, making the outline the outline of its feet a bit more distinct and a little bit on the sides, too. Since we have very small seeps for the monkey, I'm not doing that kind of hatching line. But if you want, you can also do hatching lines, small hatching lines with the brush to add a little bit more for like texture for the monkeys. I'm also adding this for the tails of the monkey, doing the outlining, a little bit of texture for the monkeys with this emoji. The same thing, outlining the fees of the monkey, adding a little bit on the side. Adding it for this eighth monkey. Adding it for its stain. Now we have got two more monkeys. The same thing, outlining the face of the monkey, adding it a little bit on the side, adding it for its stain. And with these, we had done with the last monkey, the teen monkeys, with the Camuji adding it a little bit more towards some of the monkeys spreading their color a little bit. And now in here, I'm going with a little bit of red. Adding small tiny dots for the cheeks of the monkey to create rosy checks for monkeys. Also adding a little bit of this y carefully for its ears. Add a small dot of the red. The color will spread a little bit on its own since the earlier two colors that we have used has not dried up, so it will spread on its own a little bit. Small tiny dots for the checks and small tiny dots for the ears. Adding the d for the last two monkeys. And with this, we are done with the rate for all the monkeys. Let's add the ripple effect. So using this whiting and creating this kind of bit curves following the contour of the rocks, the icebergs, as well as the monkey. So we'll be creating multiple ripple effect for the entire section. I won't be adding the straight lines to create the wave like pattern, but if you want, you can do that, too. I'll only be creating this kind of simple curve two or three lines for the monkeys, the rocks, and the icebergs. I'll also be adding it for the tails, too, small curved lines for the tails. If you want to make it a little bit more saturated, you can add other kind of simple straight lines as was mansonin. I'll only be adding the curve line for only the sides of the icebergs that we have created. Here to increase the speed a little bit. Adding it for the last two monkey and now moving on to the side of this iceberg. Adding it a little bit in here. And yeah, with this, we are done with the whiting. And with this, we are done with our project. I had a lot of fun painting this one. I hope you enjoyed this. Let's do the favorite thing and masking our painting. I hope you enjoyed this, and I'll be seeing you in the next video. 27. Conclusion: Thank you so much for joining me in this chill and ink class. I hope you enjoyed painting this cozy, relaxing little monkeys as much as I enjoyed guiding you through each step. We explore sketching, inking, water texture, and soft winter colors, all while keeping the mood calm, fun and playful. Whether you completed one project or all five, I'm really proud of you for taking this time to learn, practice, and create. Now it's your turn. Don't forget to upload your class project in the project and resource section. You can see your final painting, your ink outlines, your pencil sketches or even your practice. I genuinely love seeing your process and how each of you brings your own personality to the artwork. If you enjoyed this class, please consider leaving a review. Your feedback means a lot to me, and it helps other students discover the class as well. You can also see a suggestion for what you did like learn next. I always appreciate your idea. Thank you again for painting with me today. Keep practicing, keep experimenting. And most importantly, keep enjoying your art. I'll see you again in the next class.