🌽 Corn in Oil Pastels: Learn Sketching, Kernels, Husk & More 🎨

1. Welcome and Introduction : Hi, and welcome to this corn and oil pastels learn sketching, kernels, cups, and much more. So we have got duel project for this class, and they are very easy and simple to do. And it won't take much time around eight to 10 minutes. As you can see, I have used a small sized paper, E six paper. If you prefer, you can use other size paper. And we'll have a lot of fun painting this beautiful and easy oil pastels cons. Apart from this, we'll be creating colorful leaves, husk, and silk for the top of the conn. We have also got additional ink illustrations. I'll start this class with the basic simple sketches for the cons and different ways you can create them. Then we will do the seeps using various seeps techniques to create the kernels for the conn. Then I'll show you the colors that I'll be using, feel free to use other colors. Not only this, we have additional f project like this ink illustration. Then we have got this full color illustration of the con along with the husk and the silk. Here's another one for ink illustration of the whole plant. And finally, this barbecue corn. So join me in this class, and let's create some sweet corns. Hi, everyone. I am Vishal an artist from India. I love creating simple, fun and being new friendly art classes that anyone can follow. On a skill set, I teach a variety of classes, including oil pastels, noodles, watercolor and ink illustrations. You can also find more of my art on Instagram and YouTube. For this class, we'll be starting with basic sketches and ink illustrations for our con. Then we'll be moving on to practicing seeps and strokes to build kernels and husk and the con. After that, I'll be showing you different oil pistol techniques for texture and highlight. And playing with color combinations for corn, husk, and surrounding leaves. And finally, five extra bonus projects, including detailed ink illustrations, a large full colour corn painting, and some fun variations like a corn plant and a corn barbecue. For most of the work, I'll use oil pistil and sometimes I'll add colored pencil for outlining and details. This class is designed to be simple, fun, and bienni. So whether you are a complete new to oil pastels or just looking for relaxing little project, you will enjoy painting along. So grab your oil pastels and let's dive into this easy corn pistol projects together. Oh. 2. Class project : For this class, your project is to create your own con drawings and paintings using oil pastel and colored pencil. You can recreate any of the duel con project that I'll be covering in this class. You are free to make changes at other lements. You can play with the size colors, and instead of using this colored paper, you can use simply the white papers and you don't have to create it in smaller sizes, you can use larger seats to create it, feel free to make adjustment. You can also see your practice seeds like this one, that sketches of the various cons. And in various perspective, you can see it this, then you have the seeds, various color combinations and presers and the colors that you'll be using. You can see this all. Apart from this, you can try the five additional project like this colored con. Then we have got this C Barbecue ink illustration, this con plant illustration, and this complete con. So please say your project in the project section. Sing your project will help you reflect on what you have learned. Other students can learn from your process and get inspired, and I truly love seeing your project. It makes teaching even more meaningful for me. The next thing that you can do is upload your artwork to the projects and resources tab after completing the projects, and please leave your feedback, reviews, and suggestions. They help me improve and also let me know what you'd like to learn next, and don't forget to have fun with it, experiment with your own color choices, styles, and texture. 3. List of Supplies : For this class, you will need very basic supplies, a pencil and an eraser to do the basic pencil sketches and I'll also be using colored pencil to do some of the highlights and outlines for some of the project. Bush to remove the oil pistol dust, oil pistil, I'll be using gallery oil pastels, oil pastels paper and ink or brass paint to do the outlining for ink illustrations. 4. Basic sketching for corn: M. Let's do some simple sketching for our con. So before jumping into oil pistol, I always like to break down the subject into smaller sketches. Here you can see I'll be exploring the con in different stages from whole cop to close up up kernel. So let's start with a very simple sketch for our first cone. So this is a very simple sketch of a very simple cone. So this is how we'll be making the cons for our easier project. Now let's do a second one. For this, we'll be adding the husk. This some small leaves like structure for the husk that surrounds the cone. Don't worry about perfection here. Keep it light, so it's easy to adjust later. Now let's do the third example. For this third example, let's expand the husk a little bit by expanding, I mean, let's make it a little bit more broader and open. So simple sketch for the con and a little bit more open husk. For our main project, apart from this, we'll be making it more detailed corn cob, kernels, silk and husk even we'll be adding the leaves. Now let's do a cross section area of the cob along with the kernels. So a simple cylindrical seep and we'll be adding this kind of small structure for the kernels. So this is just a very small specific example. For our main project, we'll be making it more detailed and long. Let me show you another example. So this is also a cross section of the cob and the kernels. Simple repetitive state to create the corn. Cn is a great practice subject because of its repetitive pattern. So adding the kernels on top of the cob will be a very repetitive process. But since we'll be using oil pistol, it will be a bit faster as the pistol the size of the cob and the kernels will be a bit larger. Now let's darken the pencil sketch a little bit, and I'll be adding some rough details, the kernels on top of this cob to make it a bit detailed and you will get a rough idea how we'll be proceeding for our project. The pencil sketch that we did earlier, you don't have to follow exactly the same way. So you are free to make adjustment and changes as you sip it. As you can see, I'm roughly going over the earlier pencil outlines. For our main project, I'll be starting with the basic pencil sketch, and when I'll be coloring them with the oil pistel, I'll be making some adjustment if it's required, you don't have to stuck strictly with the pencil outlines. Feel free to make adjustment and change the seeps or make it long, small, whatever you prefer. So this is the repetitive process I was mentioning about adding the kernels on top of the cob. And this will take a bit of time. Et's do another example. After this, I'll be sketching out the full corn totally covered with the husk and a little bit of the silk. Do you know that corn is grown on every continent except Antarctica. And one more thing, it silk on a corn cop connects to one kernel. So the number of silks is equal or equivalent to the number of the kernels. Let me show you how we'll be adding the kernels. This is a simple rough demonstration. I'm using intersecting line horizontal and verticals to create basic shapes for the kernels. For our main project, we'll not making them this much symmetrical. We'll be making it like a little bit lopsided or a bit ununiform. So yeah, these are some basic pencil sketches. Now let's make a larger con. Now let's do a basic and very simplified version of the conn. So here I'm starting with drawing out the stem. And for this conn, we'll be only creating the husk, the kernels and the cop will be totally covered by this husk, and I'll be adding a little bit of silk on top or at the end of this con. So this is the very simplified version of the cone. If you prefer, you can make it a bit detail. And while I'll be doing the outlining, if you want, you can convert it or make it into ink illustration for this conn. So this is just a simple shape. Some of the husk is a bit opened. If you prefer, you can add a little bit more detail to the husk. And we are done with a very basic simple sketch for the corn. Now, let's do the outlining. For our main project, I'll be only drawing three or five cons that have the husk and the silk. So we'll mostly I'll be making the cons along with the kernels. So visible con kernels. And only for three or four of them, we'll be making the husk, the silk and even the lips and the stem. If you want, you can use reference image from the Internet to mig and create many pencil sketches and being more famial with the sketching of the cons, and you'll get more ideas to draw the cons in various ways. Feel free to experiment on your own with many images from the Internet, especially from the main interest, you will find some very fascinating illustrations of the con. So yeah, feel free to do that, and we are done with this section. So I decided to make it a little bit more detail. So here I used ink lustration to add more details to this con. So here I use ink llustration to add more final lines and details to this larger con. And I was not able to record this, so I'll be showing you how you can add small kernels for the cons in here. So very small and repetitive seeds for the cons kernels on top of the cobs and let's do the sea for all the other cons that we have gotten here. Let's move on to this next one. For this, I am starting going over the outlines to make it a bit more bolder and I'll be adding fine lines and details to create more details and make it look more realistic. It would take a little bit more time. If you prefer, you can just leave it as it is. Since it's a demonstration video, you don't have to create the small kernels, as we've been doing a lot of kernels in our main project. But if you prefer you can join along with me. As for the husk and the stems, I'll be going over the outlines to make it a bit more bolder and a bit more distinct from the rest of the cons and the husk. And then I'll be adding fine lines near the edges and at the bottom of the husk. Let's add the detail for this last husk for this conn, and now moving on to the stem, I'll be making it a bit bolder and darker. Now, let's add fine line details for this one, a little bit of lines as we have already done most of the work. For these cross sections of the conn, we'll be making some section a bit darker and adding a little bit more blacks to make the kernels a bit more distinct and detailed. So let's do that going over the outlines a little bit and making it a bit darker and surrounding some of the kernels a bit more This process is very repetitive. Here, let's make it a bit larger. So extending some of the rows or columns of the cone, let's add the kernels for this. Here I have made the kernels a bit more large and more defined. And with these we are done with this one. Let's do the same for this next one. Adding tiny details for the center of the kernels that are visible. And now let's go over the outlines and make it a bit bolder and the darker. In our extra ink illustration, we'll be making the kernels a bit more defined, more darker, and we'll be adding much more detail as compared to the ones that we are doing in here for the sketches. Here, too, I decided to make it a bit larger. Now let's add a bit more detail. Make the outlines a bit more defined and detailed. And with these, we are done with this additional part. H 5. Detailed corn ink illustration - Bonus project: Welcome to our first bonus illustration. For this, I decided to draw a full illustration of a con, a full ink illustration of the cone. Since in our last demonstration Vd, I was not able to record the illustration, the ink illustration of the con, the long con. So I decided why not create a more defined and detailed ink illustration of a con? Let's start with drawing out the basic Ps and the guidelines for the cone. I use center line to determine the length of the cone. The cones are somewhat cylindrical in ZIP, so the major section of the cone is cylindrical and the upper part of the cone is conical. Very simple C. And now let's draw the maze for this, I'll be creating four or five husk that surrounds it, and I'll be making them a little bit more detailed as compared to the ones that we did as compared to the ones that we'll be doing in the project. Since the paper for our project will be much smaller A six and this is E five. So let's draw the guidelines for the husk. Feel free to use other reference images from the kit and practice on your own, it will be a very good Oh. And let's create a few more husks surrounding this. So this will be very repetitive process in here since I'll be adding each and every kernel of the cod and we'll be making it a bit more detailed. It will take a bit more time, and I'll fast forward or I'll skip some part that is more repetitive. I am basically done with the basic pencil sketch for it. Let's draw some simple guidelines to draw the kernels. So I'll be adding the kernels inside these guidelines. These are somewhat rough ones, but I'll be making a bit adjustment while I'll be going in with the ink. Here I'm using the micron pen. You can use other paints or if you have ink paints, it will be a bit more good. I will add another characteristics to your painting as with ink pain, you can create dynamic lines. By dynamic lines, I mean lines with varied thickness. Here, too, I'll be trying to achieve somewhat of varied thickness for the lines later on. For now, let's go with the pencil outlines. Feel free to make adjustment, change the see sides or add a few more leaves or husk, if you prefer. As you can clearly see, I'm not following the guidelines exactly. I am making a little bit of changes. I'll be doing the same for our projects too. So make adjustment and changes wherever you think it's required. Now, let's go over the stem and the rest of the base for this slice. And I think we are done with a very basic simple outlining of this con. Let's lightly erase the pencil marks. I'm also erasing the guidelines that I drew for the kernels. Since this was not that defined later on, I'll be once again going in with a pencil to do a better guidelines for the kernels of this con. Now, let's remove this with the brass. I use brass to remove this dust in the oil pastels it ensured that I want me smudging the colors from the people. So going in with the pencil to draw out the guidelines for the kernels. So for this, I decided to add six or seven rows of kernels. If you prefer you can make if you prefer you can adjust the number of rows in the column. For the kernels, I'm creating this somewhat rectangular polygonal s for the kernels. So these are rectangular ones. And so, okay, let me show you what I mean. So these are the saps that I'm creating for the kernels. And as I mentioned earlier, that I'll be trying to create somewhat of dynamic lines. To do that, I'm going over the lines that I created once again and also I'm adding some lines below or above it. One or two more lines to make a little bit of ununiformity for the kernels. Also, you don't have to stick with the guidelines that we have created. You can change it and make some adjustment as all the kernels on the core are not that uniformly aligned, feel free to make adjustment, and you can even leave some of the species empty as some of the kernels are missing from some of the cons. This is a repetitive process, and let's add lots of kernels for this con. For the edges or the outlines of this con, let's make it a little bit in the seep of the kernels, somewhat jig jag. Not jig jag, but somewhat in the seep of the kernels. So this process is quite repetitive and it will take time. So you can consider this as the doodling as you don't have to apply your brain, do the same repetitive thing. So this is what I was mentioning for the outlines to make it a little bit like this in the shape of the kernels. As I mentioned earlier, the process was repetitive, so I added this manning kernels on my own, and you can see, and you can see that I followed the same instruction that I mentioned. And now let's completely fill the rest of the kernels. To make it a little bit interesting and fun, you can create some seeps or pattern with it and then fill the rest of it. What I mean by that, you do one row, then another row is empty, then do the third row, patterns like that, and later on, you'll be feeling it. That is what I did when I was doing it on my own. So I did one row, one column, another column was cap. But then I came back and did it. And we have got only a few more left. So let's complete this, and then we will move on to the husk. If you want, you can add a little bit more details, add few highlights and some lines for the kernels. Now, let's do the husk. So for the husk, I'll be going over all the outlines and make it a little bit more bolder, so to create distinction in between the outlines of the husk as well as the conn, and then I'll be adding lines like this for the top and bottom sections of this husk not only this husk, but all the husk that surrounds this con. If you have ink pin or breast pain, you can create the outlines with more dynamic lines, and it would be much faster. Doing the seam in here, going over the outlines twice or thrice and making it a bit bolder and adding the fine lines. This lines are not straight. It follows the seam curve of the husk going over the outlines and making it a bit bolder. If you want, you can add more husk. In case of real corn, we got a lot of husk, but to make it project simpler, I added few, and if I tried to add more, it would become a bit more challenging for me too. So, let's add the fine lines for this one. And now we have got only two more husk and the best of this cnlab. For this one, let's make it a little bit more detailed, so I'll be adding more lines. Also, the densities of line are comparatively more for the lower regions. And as we move up, it become a bit las but for the edges, we have got more lines. Let's make the outlines a bit bolder for these regions. For other extra project, I'll be making more detailed kernels for the ink illustration. So I think I've got three more ink illustrations as extra or bonus project. So we'll be making them a little bit more different, add more details or make it a little bit easier too. So yeah, let's continue with adding the lines for this side, and then we will move on to the other side. Et's make this part a little bit more bolder since it comes in contact with the kernels. So we'll have to create the distinct boundaries. And now let's move on to the last husk that we have got here. For this curve part of this curve section, add more lines and make it a little bit more darker. Make it bolder and then we'll be adding the lines. Adding few more lines to the upper regions. If you want to create more realistic ink illustration of the con, you can use stippling technique. It will take much more time, but the result will be very much different and more realistic. Now, let's do the outlines of the cons a little bit and add more lines wherever you think it's required to make it a bit bolder and more distinctive. I decided to add more lines in here and let's do the base and the stem. Let's make it a bit more darker and more bolder. And we are done with this pink illustration for the conn. If you want, you can add much more details to it, add more lines wherever you think it's required. But I think I am satisfied with it. I'll see you in the next project. 6. Shapes and oil pastel techniques : Now that we have our sketches ready from our last section, let's move on to practicing the texture of the, the kernels, the husk, and the silk. In this video, I'll be showing you the example in a demonstration how you can create the kernels for the conn using various kind of preser and a bit of different color variations. This step is really important because once you understand how presser and strokes affect your oil pastel work, the final painting will feel much easier. So these are the example of very simple oil pastels strokes that I created using the pale yellow. And to make and to convert the strokes into kernel, we'll be making it a bit thicker. By thicker, I mean making it a bit broader. So let me show you what I mean by that. So same kind of strokes, but just wearing the angle and making it a bit thicker. These are the basic sees of the kernels of the cone that we'll be creating and we'll be using various colors and combinations of different varying frecre let me show you another example. Here I'm applying a bit more pressure with it, and the cons are a bit far apart. The kernels of the con are a bit far apart. Let's move to another example. For this one, too, I'll be applying high presser to get thicker kernels for our con. And instead of making it a bit apart, I'll be making it a bit closer. So here's another example of the kernels for our con. These are comparatively much closer to each other as compared to the first example, which we're far apart. Now let's do a third one. For this, I'll be using light presser or you can say medium pressure. With light preser we get a very soft almost pistol like effect. This is perfect when you want to create a base layer or to sew lighter areas of the con. But if we press harder like we did in the earlier example, the colors become richer and more solid. Notice how the thickness and closeness of the strokes change the look farther apart, strokes look rough and textured, while closer strokes look smooth and more realistic. So depending upon the kind of project we are creating, we'll be taking these things into consideration, making the kernels far apart or much closer to each other or applying medium light or heavy presers now for the next demonstration, I'll be showing you a little sections of the kernels. Now, let's create a smaller sections of the conn. For this, I'll be using two or three colors. So as we discussed earlier, we'll be applying all what we have learned, high presser, low presser, closer and far apart kernels of the cone. So here I am applying a bit more presser with it. And here I'm not creating the kernels uniformly. I am trying to create as realistic kernels as they are in real corn. And this is our primary layer now going with the pale yellow, and a little bit of other color was stuck to my pale yellow. So let's remove this. I'm using this pale yellow to highlight or make one side of the kernels a bit lighter, and on the other side, I'll be making it a bit darker, and then I'll be using the darker tones of the color like ocher or a bit brown to create outlines for some of the sections. Create some of the outlines to make the kernels seeps more defined. And for this here I'm going in with the ocher. We are not trying to create a total perfect safe or uniform seep corners or edges a little bit definition to them to represent that there are distinct and different kernels present on this cone. So you can clearly see I'm not outlining all the sections, but only some sections and only a little bit of those. So this is kind of con kernels that can be created very fast and have a rough texture. For the second l, we'll be making them more detailed, but it will take a bit more time. Now going in with a pale yellow or white to make it a bit more lighter on some sections. So as you can see the light reflects from the cons and that's what we are trying to achieve in here. Oh. So for this, I'll be basically using white colour or pale yellow or sometime or in this yellow if we are trying to create a bit darker set of the kernels for the cn. So this was rough texture for our conn, and it was comparatively faster as compared to the other two examples that I'll be sewing Now let's do the second example. For this, I'll be trying to create the kernels a bit more detail and define. So let's make the kernels a bit more defined in the sp and a bit more uniform. So for this example, I created three rows and four columns. Here I started with this pale yellow as the base layer. If you prefer you can use light preset to make the process bit more easier as overlaying of the color on top of the light preset will be much easier. Now, let's add more colors to it. So here I'm going with the yellow, and I'm overlaying this on top of the pale yellow for some sections. Here I'm going with another side of the yellow, a bit darker set and blending it with orange yellow and the yellow that I add. Now let's blend it to the rest of the kernels by using the seam orange yellow we used for the primary layer. We are creating somewhat of gradient for this con. That's why it will take a bit more time. And the details that we'll be creating using this process will be more defined as compared to the first one. Once again, I'm going back with the ocher to do the outlining for some of the sections. Now, let's do the highlights for some of the sections to sow the reflection of the light on the con. Apply a bit more pressure with the oil pistol, the white, since we use two or three layers of the color. So you'll have to apply a bit more pressure with it to overlay it on top of all the other colours. So until going back with the yellow, once again, to make it a more detail, we'll have to go back and forth till we get the desired effect or the colours for the corn. So that's why it takes a bit more time. So feel free to use and add as many layers of the color till you are satisfied with the kind of conn you are aiming for. This is our second example, which is comparatively slower and it's a bit more defined. Now moving on to our third and the final demonstration of the kernels for the con, This is completely different from all the two examples that we did earlier. Here I'm starting with the yellow. You can use any other sets to create the primary or B slayer for the kernels of the con. Yellow or a darker tone on top of it in the seep of the kernels. For this, we'll be using much more defined outlines to create the distinction. Here, I'm using the ocher to make the outlines a bit more detail compared to the earlier two outlines. As you can clearly see, we have got much more detailed outlines. Going in the pale yellow to make some sections or some part of it a bit lighter. Here, too, we'll have to go back and forth with two or three colors till we get the desired effect. And since we are overlaying this color on top of the base layer, we'll have to create the kernels a bit more defined. So the thing is on a real corn cob, all the kernels are packed tightly in the rows and they are like tiny repeating pattern. So when you are painting them, it's okay if every kernel leg not perfect. What matters is the overall pattern feels full and structured. So that's what we are aiming for this third example. And, I think we are done with this one. If you want, you can add a bit more detail, but I think adding more detail will be overkilling it. So these are our three example of the corn. Now let's move on to creating the husk for this. I'll be only creating a single husk for the cons. So here's the first example here, I'm starting with the primary layer for it, and as you can see, I have applied medium pressure with it. If you want smoother consistency and solid color, you can apply heavy presser with it and just going over with the darker set to do the outlining and some umber streaks to create a bit of pattern or you can see gradient for this husk. Here's another example for this. We'll be using different technique to create the husk, and here I have started with a light olive so this is the once again base layer now. Instead of using the dark tone, here I'm going with a bit lighter grass green in here. And I'm not covering the whole sexton, but some sections of it and once again, going back with the olive to blend it together and doing the outline. Here's another example for this one, I'll be using a bit lighter states. Here I am here I started with this green. Here I started with the grass green. Now using the same color combination, the light live. And as I said earlier, I'll be making it a bit lighter to sow somewhat reflection of the light. So going in with a lighter sad you can use white or pale yellow to do this. But before doing this, let's define the seep a bit more. And now, I'll be adding the highlights. I decided to make it a bit more gradient like colors. Now going in with the white to add a little bit of white streaks to create somewhat reflection. We are done with a three example of the husk using three different color combination and different techniques. Now let me show you the example of the silk that you can create using two or three color. Here I started with the ocher and let's create a bit of contrast. I'm using the set, adding it or you can see overlaying it on top of the silk that we created with the ocher. This is the very simple example. Here's another example of using lighter and darker tones. Well yellow for the lighter tone of the silks and use russet or ocher or any other shades of the brown for another layer of the husk. Here I am going in with the three tones of the color for this kind of husk. Let me show you one more example for this I'll be using starting with the yellow. So very simple and jag this kind of line for the silk of the corn, and we'll be only adding the silk for only three or four product. And these are very simple to create. For the first layers of the silk, apply light presser, and then you can apply the heavy presser. Otherwise, it will be a bit challenging. And yeah, with these, we are done with this section. In the next section, I'll be sewing with the different color combinations or the colors that I'll be using for this class, and I'm using oil pastel, gallery oil pastels. And also, you can use the pencils to do the outlining to make your project much more detail and defined. So here I'm using the pencils to do the outlining to make the husk more crispy and defined. You can do the same with the conn kernels. Darker seats of the yellow or the browns to do the outlining for those. Same goes for the silk. So using this bancil color will make your project much more defined detail, and it will be much more fun. Here I'm using sets of orange to do the outlining. Not all sections of the kernels but some sections of it to make it more defined. So the choice is yours to use the pencil color too, so feel free to use if you prefer. But for majority of the sections of the project, I won't be using them. Here, see you in the next section where we'll be using different color combination. Not using, but I'll be showing you the colors that I'll be using. 7. Colors for the class: Welcome to the third and the final video of this demonstration sections. So for this, I'll be showing you all the colors that I have got from this oil pastels gallery oil pastels that I'll be using for the cons and the husk. So yellows and the greens. So these are the colors that I'll be using mostly, I'll be using a color combination of two or three sets of the yellow, pale yellow and white to add the highlights. Also, you can use orange yellow, too, and somewhat and sometimes oranges to to make the cons a bit darker than the sides. So feel free to use the sets of yellow and the orange that you have. I'll be using this eight or ten colors that we have got. So here we have got yellow. Basically, I'll be showing you all the colors that I have got, their names and the numbers. I am using the gallery oil pastels, and you'll have to cause us not to do this kind of mistake. So always ensure that the tip of your oil pastels is clean. Use tissue paper or cloth to remove the accumulated oil pastels, and ensure that the tip is clean. Otherwise, you will smoge the colors or blend the colors unintentionally. And so since we are using oil pastel, it sits most easily. So to prevent then use tissue paper under your palm or cloth to prevent that. And one more thing you can do is to start from top and move to the bottom. In this way, you will ensure that the colors will remain smuged free. Here's the last color, the white that we'll be using to add the highlights. These are the oil pastels colors. You can use the pencil colors to do the outlining and add a little bit of more characteristics to your cons. And now, these are the numbers and the names from the gallery oil pistil set that I have A few more things to keep in the mind. I'll be using colored oil pastel paper. You can use any colored paper or white paper, ensure that the quality of the paper or the density of the paper is more than 150 or 160 GSM. Otherwise, it will be a bit challenging to do overlaying on top of the paper. Since the oil pastel paper have a bit texture, it's much easier to do the layering of the color one on top of the other. The paper with a smooth texture will be a bit challenging. We'll be applying two or three layers of the color. As I mentioned earlier, we'll have to go back and forth till we get the desired effect or decided kind of coloring that we want for our cons. For our project, I'll be creating some. For our project, I'll be starting with very small pages. So A six, if you prefer, you can use bigger papers or bigger size of sketch pads. We have got two more colors. This is lemon yellow, and the last one will be two, four, four white. Now let me show you the greens that I'll be using for this. I've got six greens. You can use any other sets of the greens. You can also use a bit of black to do the outlining, but I will try to avoid using the blacks. Sometimes I might use green, but mostly I won't be using the dark sets of the color. Like earlier, I'll be showing you all the colors, the sets, and then I'll be writing the numbers and the names. For the leaves, too, we'll be using two or three colors combination. Not the leave, the husk. For one or two project, I think I added the whole plant or you can say the leaves and the stems, too. But mostly I created the cons and the kernels and a bit of husk. So these are all the greens, the six greens that I'll be using for our project, feel free to use other shades of the green that you have. Let me give you the numbers and the color name. This is 242 olive yellow, a bit lighter side. You can also use shades of yellow for the leaves. And I'll be also using white to do a bit of highlights for the reflections. This is 226 jade green. We have got three more colors. I think they are grass green, yellow green, and last one is olive, light olive, perhaps. Some of the suggestions that you can use for your project. As for the layering, start with the light layers and weld up to darker ones. Oil pastels look richer when you lay it it slowly. And as for the preser start with the light presser for soft sending and heavy preser for bold and saturated colors. Can experiment with the strokes for texture of the kernels and the silk. So the angles of the strokes, apply heavy preser and light presser and you can see what kind of strokes create what kind of texture for the cons and the husk and the kernels. Blending of the colors, you can use blending tools like blending stem, Q tip, cotton, or tissue paper. And with these, we are done with the colors. See you in the next video. 8. Simple corn - 1st Project : Welcome to our very first project. For this, we'll be drawing a very simple and small con along with the husk and silk and a very small stem to the cone. Here I'm using black oil pistol paper. You can use other colored paper or simply white paper will do their work too. Now let's start with drawing out the sketch. Here I'm using this straight line to determine the length of the cone. A somewhat elliptical seep or you can say cylindrical see for our con. You can make it a bit larger or a bit smaller. And now let's add the husk surrounding this corn. So this is the piece for our corn, and this is a very simple save for it. Now let's do the stems and add the husk. So for the husk, I decided to add seven or eight. You can increase or decrease the number of husk and change the pattern, saves and side also. So feel free to experiment and make it as comfortable or easier for you. So this is our basic pencil outline, and while I'll be adding the color, I'll make adjustment if I need. So let's start drawing it. So let's start coloring it since this is a very simplified person and there is not that much space for it. So here I have already started with this pale yellow, and I'm creating small strokes to create somewhat texture for our cardinals for this cn. Here I am aiming for a rough texture, and this will be somewhat similar to our third demonstration of the cn. This will act as our best layer, and I'm not completely covered it, so we'll be overlaying light yellows and other seeds of yellow on top of it to make it more detailed. Now I'm going with the yellow. So let's add some small strokes of yellow on top of it. So we'll be covering majority of the pale yellow with it. You'll have to apply a bit of preset to overlay it on top of the pale yellow. Try to create smaller strokes in the seep of the kernels for this conn, and you are free to use other color combinations of the yellow. Now I'm going with the sad of the yellow. And we are done with this golden yellow. Now, let's add a bit darker red. So a little bit of orange for some sections, especially near the husk and near the edges to make those regions a bit darker to represent or so that the cadose is created by the husk. And finally, going with the ocher to do a bit darker sets to add a bit darker side. So we'll be creating small sizes or small strokes with this kernel to represent the seeps of the kernels, since we cannot do the outlining in here with this ocher this small strokes to represent a bit of darker regions and outlines, and we are done with the ocher. Finally, let's go in the white to add a little bit of highlights to somewhat reflections of the light from some of the kernels. Since the coin is so small, we'll be adding randomly the white strokes. And we have got a very basic coloring for our con. You can make it a bit more detail by using the pencils to do the outlining. And now let's do the coloring for the husk. Ensure that the tip of your oil pastel is clear, and here a little bit of dark green was stuck to it. So let's remove it. It it would be much more easier if you use cloth to remove it. And here I'm going with this lime green to do the primary layer for our husk, applying a little bit medium presser or you can say high presser to go over the outlines first. And as I mentioned earlier, you are free to make changes, and I'll be making a little bit of adjustment to the seeps and the sizes of the husk. So try to create sharp and crispy edges. As I mentioned earlier, you can also use different color combinations of the green. Also, if you're going to use colored paper, you can twist out the colors on it first and then add it on your project as the color acts different. As color intensity change depending upon the color of the paper that you are using. Here, I am going with the darker side of the green, and we are overlaying it on top of the lime green that I added earlier for some section or you can say for edges or one sides of the lime green. Now let's go in with the darker sides of the green to make it a bit darker and to sew clear distinction in between the husk. So the layers of a husk will be a little bit more differentiated using this darker side. It will also represent the darker regions of the husk and create somewhat clear and definite outlines for the husk. W we are only creating or adding small single straight strokes for this husk with this darker side of the green. Let's add a little bit of highlights for our husk using this pale yellow. Instead of this pale yellow, you can use the white also. Also, I'm using this to make the step a little bit more defined and adding a little bit more volume to it. By more volume, I mean, I'm making it a bit broader. So this is our way simplified version of the cn. You can make adjustment. Instead of a single one, you can add two more. So that will be interesting. Yeah, let's add the small silks. So I'm using this ocher to heat the silks. You can use other color combinations, too. Like here I decided to add russet a little bit on top of the ocher for our silk. And let's add a little bit of silk on top of the kernels, too. So extending some thread of the silk on top of the kernels. Now add more color wherever you think it's required, and we are done with this adding a little bit of highlights. So yeah, add a few more colors and make adjustment to complete your first project. And to get a more definite shape and distinct line, you can go in with the pencils to do the outlining and create some characteristics outline or bowl lines for the outlines and the rest of the cons. Adding final touches with this peel yellow. And with these, we are done with our very first project. Let's unmask our first con and yeah, see you in the next project. I only used oil pistil to create this project, and to show you that you can add more details to the colored pencil, I added somewhat details and outline. And you can clearly see the difference between the oil pastel and the one that I added a little bit of colored pencils too. 9. Semi realistic corn - Bonus Project: Welcome to our second bonus project for this. We'll be creating a somewhat realistic looking con. Here I am using I size people and it's white. You can use the smaller one, too, but it will be a bit challenging since I'll be making it bit detail. Our first project did not turn out the way I expected, so I decided, why not? Let me show you somewhat realistic kind of con that you can create. Here I have already started with the outlines a straight line for the center to determine the length for the con that I men. And these two lines that I intersected it is to determine the width. Also, to insure the symmetry of the cone, I added these two lines. But if you prefer you don't have to use this kind of lines. And let's create the husk that surrounds us. I'll be adding six or seven or five to seven husk. You can add more or you can even add fewer. The choice is yours, and this is just a basic pencil sketch for our main drawing. If required, I'll be making adjustment and changing the seeps and the design of the leaves. Not the leave the husks that surround this con. And yeah, let's add two or three husk on the other side. For this, I'll be using combinations of yellow, red, a little bit of brown, too, and for the leaves, I'll be going in with the lighter side. And I think we are done with a very basic pencil sketch for this corn. Feel free to make changes and adjustment if you prefer. Since this is a bonus project, I decided to make the outlines a bit more clear so that you can see the kind of C that I have created for this, and I'll be applying heavy presser with the oil pistol to cover the outlines, the pain outlines that I'm doing right now. Also, you can turn this into two project. One will be the ink illustration and another one will be the oil pistlillustration. Use reference image to make your project much more realistic. Let's cover this section of the con with this husk. And let's do the outlining for this other side. So the bottom section of this con, the husk would be a bit more broader as compared to the con since it encloses it, ensure that the bottom section is a bit wider. And we are done with the outlining. Let's slightly erase the pencil sketch. Oh, I forgot to add the outlining for the base. If you want, you can add few lines to indicate the darker regions, and it will help you to add the darker colors later on. And we have lightly erased it. Now, let's remove the erasers dust. And with these, we are done with a very basic C for this project. Now let's do the coloring. Here I'm going with the golden yellow, and let's create smaller strokes for the kernels. This will be somewhat rough kernels. And if you want, you can use other weather to create the kernels as we did in the demonstration video. We have got three or four ways to create kernels. But here, I'm going for the rough texture, and I'll be completely covering the entire section of the con with a color, not this one, but a combinations of them, and then I'll be going with a darker sets of the color to do the outlining. Mostly, I'll be using ocher and a bit of russet. Here, as you can see, I'm not paying that much attention, but creating random strokes in the seep of the kernels, and I am leaving a bit of empty specs in between. I'll be using seeds of different kind of yellows and a bit of orange too to do the kernels. And yeah, let's completely fill this entire section of the conn. I'm going with a pencil to do the rough outlining for the sections of the kernels that I'll be adding in. So for this, I decided to create five to 71. If you want, you can create fewer ones or even you can increase the numbers of the lines. So these are the rough lines or rough guidelines in which I'll be adding the kernels. And as I mentioned earlier, I'll be using sets of yellows in the orange. Here I'm going with the orange and overlaying it on top of the golden yellow that we added in the S of the kernels small broader strokes of this orange, and I'll be adding them inside the guidelines. So here I'm aiming for somewhat semirealistic u and the husk. If you want to make it a little bit more detail, you should proceed with the second example of the demonstration video. The result will be more realistic. Now, let's do the outlining a little bit, some of the cons outline, not all of them, and I'll be using. Before doing that, let's add a little bit of highlight for some of the sections. Here I'm going in with the pale yellow later on, I'll be adding somewhat of white. Also, I'm covering the white of the paper and blending it with it to make it or create somewhat of gradient for that small sections. Going back with the chat to do the sets for the kernels. I'll be creating random kernels, not encircling it properly or what I meant to say, not going over the entire outline. Once again, I'm not able to properly express what I want to see, but as you can see, I'm not creating the perfect set for the kernel and I'm not adding in and I'm not adding it properly. A few kernels here and there, and I'll be using other color to create more kernels so as to create a little bit of contrast. A little bit of random polygonal C for the kernels, not that well defined. CM is the one that we need with the kers. If you want to make it a bit more detail, you'll have to slow down a bit and make it a bit detailed and more defined. We have got only a few of the rows left, and let's add those. If you want, you can go back with the ocher and add a few more rows of the kernels. That's what I'm doing in here, going back and forth till you are satisfied with the color that you are aiming to get for this corn. And, yeah, we are done with rough coloring for the kernels. I'll be adding a little bit of white for the highlight for some of the section. You'll have to apply a bit of presser to add this white since we have applied three or four layers of the colors, and, yeah, we are done with the white for the highlight. If you want, you can add tiny dots of the white for some of the specific kernels, but I'm done with it. Going in with the yellow colored pencil to do the outlining once again. As some of the golden yellow from the first layer was outside of the outline. Now let's do the greens. Here, I'm going with a grass green to do the primary ear for the corn. We'll be using a combination of lighter and darker sets of the green to create the husk. And you can see I'm applying medium presser with it and not completely covering the entire section of the husk, as we'll be adding the lighter section and a bit of white to create the reflections and the highlight for it. So yeah, let's completely cover the entire section of the husk with it as well as the stem and the base of the go and then we will go in with a bit darker or a bit lighter sets to create the gradient for the husk, as well as add a bit of shadows and dark sets to it, and With this be done with the husk and the cord. I forgot to add the base and the stem, which I'll be adding later on. Here I'm going with a light olive. And as I mentioned, I forgot to add the stem. Now, once again, going back with a light olive and let's apply for some of the section of the husk, primarily near the lower regions. Here, once again, I applied medium preserve with it. Now I'm going with the light olive and let's blend these two colors to get a gradient in between this grass green and the olive for our husk of this corn. Here I'm applying medium presser as I am not going for a complete blending, but a partial blending of the color to get a somewhat rough texture for it. For now, later on, we'll be applying a bit more pressure like here that I am doing to get a somewhat more definite blending and a gradient for the husk. And now finally going with the dark green to create the darker regions. Here I'm applying a bit more preserve with it, and the inner regions of the husk will be a bit darker as well as the outlines, and we'll be adding the mid ribs for some of the sections of the husk. In here, too, let's make it a bit darker since it's covered by the other husk. This side is the inner side of the husk, so a bit of more dark green. The regions that are closer to the con that are a bit bent will be a bit darker. In here, too. Since this is the best part of the husk, it will be a bit darker. Let's do the outlining for this husk on this side. And now moving onto the other side. So the mid ribs will be a bit darker, and let's do the outlining for the husk. And if you want, you can create the straight line for the mid rib, but I'll be not doing that for now. Let's add a little bit of lines for the base of this part of the husk. And let's decrease the intensity of this dark green a little bit. Once again, going back with a light olive. And here I'm applying a bit more presser to blend it with the rest of the color. So apply a bit more presser and to decrease the intensity of this dark green a little bit and do a partial blending of the color to get a smooth gradient for the husk. Doing the same for this side. And you can see we have achieved somewhat of gradient for this husk. And since I was aiming for rough texture, I have not applied that much presser to do a complete blending, but a partial blending of the colors to get somewhat of rough texture, and to see that the greens, the dark green is present in there and to maintain the see of the green lines that we added. It's to the maze and the stem. And with these, we are done with this coloring. If you want, you can add a little bit more or use other colour wherever you think it's required. I'll be making the husk a bit lighter, but before doing that, I decided to add a bit more color for our corn. Now going in with the white to add a bit of reflections or highlight, you can see, for some sections of the husk. Here I'm applying a bit more pressure with it, since I'll have to overlay it on top of the layers of color. And if you prefer, you can go back with a light olive to blend the white a little bit, but I'll be leaving it as it is. And with these, we are done with our very simple, somewhat realistic con. Before doing that, I decided to make the lines of the husk a bit crispier. So I'm going with a pencil to define the outlines. The edges of this husk are a bit more making it crisp and more defined. You can do the same for the kernels. You can go in with the brown or Ochre, pencil colored. Let's go over the outlines for the bees. And we are done with this. You can add other colored pencil tune to make it more detail, but I'll be leaving it as it is. Let's remove the excess oil, pistle dust from it. And this time we are done with this. I'll see you in the next project. 10. Light colored corn - 2nd Project : Welcome to our second project, and this will be somewhat similar to the first one, but we'll be making it a bit more detailed and of lighter side. Here I am using white oil pastel paper, and I'll be creating a slanted con with leave stew. If you are like me are using this kind of paper, ensure that your per remains fixed. And now our paper is fixed. Let's start with drawing out the guidelines for it. So as I mentioned earlier, this will be a little bit slanted. So this is from the right. And yeah, let's do the basic sets for our corn. So this will be the seep and the size of our con. You can make it a bit larger. You can make it a bit larger, smaller. Instead of placing this con at the middle of the speech, you can adjust to the up or down to. For this projective, we'll be adding the husk. And apart from this, we'll be adding a stem and a single leaf too. So this is somewhat more detail as compared to the first one. And yeah, let's lighten the pencil marks a little bit, lightly ease the pencil marks, but ensure that some of it should remain visible. Use tissue paper or cloth to remove the dust from the eraser so as to avoid smudging of pencil marks on your paper. And this will be the same in case of the oil pistel dust. Use tissue paper or brush to remove it. Now let's do the coloring here. I am starting with the yellow instead of starting with a pale yellow like we did in the earlier one, here we are creating small seeps for the kernel with this yellow. I'm applying a bit more preserve with it and creating strokes of varied thickness. Now let's go in with another color. Here, I'm going with the pale yellow and feeling some of the empty spaces in between the yellows, as well as I'm overlaying some section of this yellow or this pale yellow. Here, once again, we are creating small strokes with it to sew or represent the seeps of the kernels for this conn, and we are done with this pale yellow. Let's add another color, a bit darker sd. Here I'm going in with the golden yellow, and let's add this on top of the pale yellow and the yellow that we added earlier. I am only adding this golden yellow for subsections of the kernels. And yeah, we are creating similar kind of strokes in the seeps of the kernel, primarily adding it for the bottom sections, and we are done with this. Now let's add a Darkt set. Here I'm going with the orchard to make it a bit darker and do the outlines somewhat outlines of some of the kernels. And I'll be adding a little bit more ocher on the top. But for now, let's do the highlights going in with the white and apply heavy preserve with it to create some highlights for our corn. And we are done with the basic coloring for our corn. Let's do the husk and the leaves and the stems. So for this, I am starting with the light olive. So let's draw the basic outlines and the saps for our husk. And later on, we'll be adding other colors on top of it to add more contrast and more details and characteristic features to the husk. Here I'm applying heavy to medium presser to create the husk. And I am trying to create somewhat crisp and straight lines, not straight, but crisp and defined lines for the outlines of the husk. You don't have to be that much rigid with it. Later on, while adding other colors on top of it, you can make your lines or the edges of this husk a bit more defined and detailed. Let's add the stems, and later on, we'll be adding the leaves. Here I'm going with the lime green and overlaying it on top of the light olive. So we are creating somewhat of radiant in between these two colors. And yeah, we are done with this. Now, going with the white to lighten some sections of this husk a little bit. The areas which are a bit broader, I'll be adding white on those and near the edges of the husk, too. And we are done with the white and the light olive, along with the lime green for now, let's add the leaves and extend the stems a little bit more. Continuing with a light olive to add the stems and the leaf. So the leaf will be a little bit band, so we are trying to create this in that manner. So the bottom section of the leaf will be a bit thicker and also the bend part will be thicker too, but the rest the tip or the end of the leaf will be thinner. So this is just the basic seep. If you are not that confident with it, you can start with a pencil outlines and then add the colors. Here I am done with the basic outlining To make it a bit darker on the inner regions of the leaf, I am going in with this darker tone of the olive. And yeah, let's plant it a little bit to make it a bit lighter. Blending this part too. If you prefer you can make it a bit more darker on the inner sides. Using the olive to define the outlines a bit more, not defining it, but making a bit darker on some of the sections to sow the distinct husk and to differentiate in between them. Going back with the lime green to blend this olive a little bit, applying a little bit of preser and overlaying this on top of the olive that we added earlier and blending it with a light olive. Let's ensure that all the colours are somewhat of same intensity, the leaves, the stems, and the husk. So you'll have to go back and forth with the colors until you are satisfied with the kind of colours and the color combination. Let's add the silk and a little bit more details if you prefer. So I'm going with the Ocheuat very tiny details on top for the husk. I think we are done with this simple coloring for the husk, the leaves, and the stem. If you prefer, you can go in with the pencil colour to add a little bit more details to it. 11. Two corns - 3rd Project : Welcome to the third project for this. I decided to use a purple paper. Let's sure that our paper remains fixed and you are free to use any other color. If you're using different colored paper, I would recommend you to first practice the colors on the rough seat and then apply on your main project as the color intensities and the seats are a bit different depending upon the color of the paper that you are using it. For this third project, I decided to create two cons. I'll only be creating very simplified version of it. It will be similar to the second project that we did. So this is our first con, and I'll be adding one below it. If you prefer, you can add multiple ones, but it will be a bit challenging and will take more time. We are done with the basic seeps for the cone. I'll be adding the husk, the stems later on. For now, let's start with basic coloring. So once again, I am starting with the pale yellow, creating random strokes to represent the seeps of the kernels. This time, I decided to make it a little bit more uniform and more detailed. We are starting with creating very small seeps or very small strokes with this pale yellow to represent the kernels. So I'll be creating five or six rows of the kernels for this con, and I'll be doing the same for the second one, too. You are free to use any other color combinations and other ways to create the con that we practiced in our earlier demonstrations video. Now, let's do the same for the second con. Creating very small strokes with this pale Yeler to create the kernels for the second one. For this conto, I'll be using the lighter sets of the green to create the husk and a very small stem, and we are almost done with the pale yellow for the second one. You can increase the numbers of rows and the columns for the kernels of the cone. Feel free to experiment and change the sea sizes or other element, whatever will be easier for you. And we are done with the second one. Now I'm going with a golden yellow. I'll be overlaying some smaller strokes of it on top of the pale yellow. I'll not be covering the entire section, but only covering a small sections. And here I'm applying a bit more preset to overlay it on top of the pale yellow that we added earlier. Now doing the same to the other con, adding a little bit of this golden yellow on top of the pale yellow. Now going with the ocher and adding smaller strokes on top of the golden yellow and the pale yellow. I'll be adding this ocher comparatively laser than the golden yellow we added earlier. I am using this ocher to create a bit of darker regions for our conn and to create a bit of outlines, not outlines, but small strokes to represent somewhat darker sets for some of the kernels of these two cons. Let's add the silk on top of the con so here I'm using the pencil colour to add the kernels. If you prefer, you can create it using the oil pastels, but it will be a bit challenging as we cannot create this kind of smaller and thinner lines with the oil pastels. So I decided why not use the color pencil to add the silk on top of it, as well as adding a little bit more silk on the inner regions of this con. If you prefer, you can add another color too, but I'm satisfied with the silk and the conn that we had created. Now, let's add the husk surrounding it. So once again, I am starting with the olive to create the basic outlines and the seeds for the husk. We'll be using other colors on top of it, a bit darker sets and a lighter sets too. And yeah, let's add stems to it, too. So I'm not making that much detailed husk like the first and the second one. The husk surrounding this corn are a bit smaller. Now, let's cover some sections of the conn with this. You'll have to apply a bit more process to overlay it on top of all the colors. We are done with this second one, too, and we are done with the primary layering of the husk, let's add a bit darker tone. So I'm going with the olive and creating lines. Not smaller strokes, you can say line or smaller strokes on top of the light olive. And yeah, let's add it on top of all the husks that we created. I'm not covering the entire section, but small strokes on top of it. Now, let's blend all these two colors together to get a very smooth gradient. So here I'm using the lime green to do that, applying heavy pressure with this to blend the two color as well as provide a definite shape to this husk. Let's do the same for the other corn on the upper side. So applying heavy pressure blend with the light olive and the dark olive. Now, let's add it for the stems of this two corn, and we are done with this lime green. If you prefer you can add a little bit more greens to get a better gradient for the color. But here I'm going with the white to add a little bit of reflection or highlight, you can see for the husk. So only some sections and smaller strokes with the white. So to add a more variety to the color for the husk, and I'll be doing the same to some small strokes of white for the two cons that we created. With these, we are done with the white. If they are all pistal dust, you can use brass or tissue paper to remove that. And you can add more colors to make it a bit more detailed and defined. Here I'm going in with grease. Here I'm going with the green sados for it, a little bit of green surrounding both the cons and you can use blending technique to blend it or you can use your finger to do the blurring effect. For blurring effect, you'll have to apply preserve with the tip of your finger and blend the colors to the rest of the paper. And with this, we are done with our third project. See you in the next project. 12. Corn plant - 4th Project : Welcome to our fourth project. For this, we have got a little bit different thing. I'll be creating the whole corn plant, the leaves, the stems, and three or four corns. So for this project, I made a little bit of mistakes. I use a lot of colors with the oil pastels. I will mention the point that you should keep in mind to not make the same mistake and to rectify the mistakes that I made for it, I used colored pencil to correct them. Let's continue with our basic pencil sketch for the corn plant. So straight line to determine the length of the plant. And for the leaves too and the conn, I'll be creating very simple lines, as you can see in here. I decided to add four cons for it. And yeah, I think I am done with a very simple sketch for this one. I'll be adding more details while I'll be using the oil piece still to color it. So let's start doing the coloring for it. For this here, I'm starting with a pale yellow. So let's go over the outlines and add a bit more details. Here I'm starting with pale yellow for the corn first. So very simple sieves for the conn and we'll not be making it much detail as we have got very tiny space for it. So mostly we'll be using overlying technique to do or add the colors for it. It will be similar to the third example of the demonstration video of the conn that we did. Here I'm adding the yellow on top of it. Adding very small tiny strokes with this yellow on top of the pale yellow to make somewhat resemblance of the corn. Now let's darken it a little bit. I'm adding the golden yellow for some sections of this conn. And I'll be making it a bit more darker later on. But before doing this, let's encircle it with the husk. So here I'm using the olive light olive to do the husk or to create the husk with it. Let's add the husk for the remaining three cons that we have in here. You can see, I'm also overlaying this light olive on top of the lower sections of the corn to make it a little bit more realistic. And here we are done with the husk for the four corn. Now, let's add the stem, the main stem for this corn plant and connecting it to the four corns that we had gotten here. Make adjustment, make it a bit broader or add more details to it. So whatever you see fit. Now let's do the leaves. So I'll be adding a bunch of leaves. If you prefer, you can add fewer leaves, but I decide why not? Let's create lots of leaves and lots of large leaves. Do the outlining the rough saves of the leave with light yellow and later on, lm using other seeds of this olive to make it a bit more contrasting and more defined. So this was my first mistake that I created lots of leaves. In easily I should have started with fewer leaves, and then later on, I should have added more leaves. So I'll recommend you to start with fewer number of leaves in the beginning and later on, you can add multiple ones if you prefer, but it will be much easier. And in my case in here, I added large number of leaves in the beginning and to make it broader and add more details to it, some of the leaves get a bit muddier or a bit overshadowed by each other. So I would recommend you to create fewer leaves in the beginning here you can see that I have already started with thickening the leave. Later on, I added more colors on top of it, and the overlaying lead to a bit of overshadows of the leaves. So try to avoid that mistake. Now, going with the darker side of the olive to add a bit of distinction and to create a bit of darker regions for the inner section of the leaves. By inner section, I mean the leaf spot that is closer to the stem, and the outer section will be the part of the leaf that is on the other side that is bent. So I'll be adding the darker sedes on the inner sides and a little bit or a single streak for the outer sides. Also, as you can see, I am adding it for the husk, too. So a little tiny streaks of this dark live for the husk. Instead of this light olive and the dark olive color combination, you can use the other color combination that we did in our demonstration video or in our first section or in our first project, feel free to use other green colour combinations. Now let's blend these two olives together. I am starting with this light olive to do the blending. If you prefer, you can use other sets like lying green. I'll be using the lime green and white later on. But for now, let's do the blending of the light olive and the dark column with this one. We are applying a bit of medium presser to do the blending. Here I'm doing a pile blending. By psil blending, I mean that I'm not overlaying the entire section of the dark olive that we added just earlier, only some section or parsley blending it. With a pile blending, you will get a rough texture as well as you can see that the other color is present beneath it. Also, you will get a somewhat rougher texture for the color gradient. That's what I'm aiming for this project and this leaves. Now we have got only the leaves at the top. For this projector, we'll have to go back and forth till we achieve the desired outcome or the desired coloring for the leaves and the rest of the plant. Add more olives wherever you think it's required to increase the density A more olive wherever you think it's required to decrease the intensity of the olive that we used earlier. And I am done with the olive for now. Let's lighten some sections of the leaves with this lime green. I'll be primarily focusing this lime green on the outer sections of the leaf. Once again, I am doing the partial overlaying of the colour to get a partial blending. Let's cover most of the leaves and the stems with this lime green. So yeah, let's continue with overlaying this on top of the dark olive and the lighter state of the olive that we used earlier. And with these, we are done with the lime green phone now. Later on, if you're required, I'll be adding a bit more. I decided to darken the conn a little bit, so I added a little bit of more yellow. And to make it a bit more darker and defined, I'm going in with this golden yellow, adding three tiny strokes on top of the yellow for this four con that we have got in here, and here we are done with this golden yellow. Let's add a little bit of shadows and darker regions. So I'm going with the ocher, primarily focusing on the top and the bottom. So the streaks that I'm creating with this is a bit larger as compared to the other streaks and we are doing an overlaying. So we are done with the conn. Let's move back to the leaves and make it more detail and defined. Since the leave of this corn plant become a bit less defined, so I decided to use color pencil to do the outlining and make the leaves a bit more defined and detail. I'd recommend you to do the same, use pencil colors to make it a bit more defined. Also, some of the other mistakes that I did that you should avoid Isil, you said start with a single one or two corn for the plant or like I mentioned, instead of creating this whole corn plant, you can start with specific sections like the top part of the corn plant and then the middle part. In this way, it would be much easier. And with these, we are done with the pencil color, add more color wherever you think it's required to finish this fourth project. For the fifth project, I have something exciting. I'll see you in the fifth project with multiple cons, and it will take a bit more time for the fifth project. See you there. I was not satisfied the way it turned out. So later on, I went back to the So later on, I went back to this project and used color pencil once again to make it a bit more detailed and defined. So here I'm using a bit darker side of the green to do the outlining. I'll be doing the outlining for all the leaves as well as for the conns. This side of green was not that darker, so I'm using another set of much darker green, and I'll be adding the mid ribs for some of the leaves, and, yeah, I'll be defining it properly as properly as it can be. The next project will be a bonus project in which I'll be creating an ink illustration of the corn plant with fewer leaves and a bit more detailed. I have not added the tassels. If you want, you can add those. In the next project, I'll be showing you how you can create tassels with the ink illustration. All we have to do is to do the outlining for most of the leaves. Also, if you prefer, you can use other shades of the green to create somewhat of blending of the leaves a little bit more. And for the stems, you can use a bit more darker greens. Here, I'm only using a single shade of dark green. So what I mean to say is use two or three sets of the green. It will take a bit more time, but perhaps it might make it a bit more detailed and a bit better. You'll have to bit courses around the corn. Now let's move to the bees and do the outlining for the leaves in here. You'll have to bit couses around the corn to avoid going over it. Also, I'll be going in with the seeds of the yellow or ocher to define the seep of the corns a bit more. Let's do the stem at the base. And we have got only a few leaves remaining. To make it a bit more distinctive, you can add a bit more dark green for the inner regions of the leaf. But inner regions means the part that is not bent, and the part that is bent for one side, you can add a bit more greens to create a bit darker regions. What I mean to say is to create regions of a bit of highlighted sections and a bit of darker seeds for darker regions. And yeah, I think we are done with the outlining with this dark green. Now, let's go in with the seeds of yellow to do the outlining for the conn and we are done with this seed of the yellow. With these, we are done with this project, see you in the next project. 13. Tiny little corns - 5th Project : Welcome to the fifth project. So this is one of my favorite projects from this class, and this will be painting multiple cons of various sades and color. So this will be a pattern project. So here, I'll be creating ten to 15 different sads of the cons with different color combinations, and we'll be also creating some patterns and design. So let's start creating our very first tiny cons. Here I'm starting with a golden yellow to create the very small see for the top of the conn. A little section of the conn will be covered by the husk. The remaining part of it will be visible. I'll be using various shades of yellow to create this tiny cons. Here I'm going with a golden yellow. I'll also be using oranges yellows, pale yellow, and other variations of the yellow too. So feel free to use any other color combinations of the yellow to create the cons. Now, here I'm going with the orange yellow, very small dots to create the seep for the corn. Et's use another set. Here I'm using the pale yellow to create the tiny seed for the corn. So feel free to use other seeds the feel free to use any other variations of the yellow. You can also use a bit of lighter sets of the brown and a bit of orange too. Like here I am using it. Also, you're free to make adjustment, change the seep in the side, as well as orders of the corn that we are creating here. You can increase the numbers of core or even decrease the numbers of it. You can also add leaves to it. So the choice is yours. Here, I'll be only creating the husk for the lower section. The major section of the con will be rebuilt. But if you prefer, you can use the combinations of both. By both, I means only the husk or only the cons. So feel free to experiment and create varieties of pattern for this project. And, I think I am satisfied with the number of cn h Let's add a few more where there is empty space. In here, I used golden yellow, yellow, pale yellow and orange yellow. Now let's add another layers for it. But before doing that, I'll be showing you how I'll be creating very tiny and minute husks surrounding the corn. For this, I am using the lighter side of the olive and I'll be surrounding the corn with this And I'll be surrounding the conn like this for the husk. Now let's do another example of the husk. Here I'm going with a mint green. So the husk surrounding the corn will be not that much detail, but try to make the edges a bit crisper, not that much blunt. Also, this is the primary layer for both the corn and the husk. We'll be adding another layer of the color to create a little bit of contrast and add and add a little bit of depth and shadows to it. Here I'm using grass green. So basically, I am using a single sad of the color and creating two husks for the corns. Feel free to make changes and adjustment to the sides of the green. Put the seep in the sides of the husks, too. You can even add the leaves and the stems if you prefer. Now, here I'm going with the darker side of the green for the husk. So in here for the darker sides of the green, either I'll have to use very lighter sets of the green to do the overlaying or use white to add the highlights or a little bit of shadows. Also, I'll be adding the silk on top of it. For that, I'll be using the pencil colors. And if you want to make it more detail, you can use the pencil color to do the outlines for both the husk as well as the conn. Here, for the darker sides of the con, I'm here for the darker sides of the cone, I'm using the pale yellow to create the husk. Let's create another husk with the pale yellow. So this project will take a lot of time, I think, around 15 or 20 minutes, and this is the biggest project of all the main project. Let's go with another side of this olive to add. I already have used it, so now. Now here I'm going with a turquoise green to add the husk for this corn and let's add another corn. No, let's add husk for another corn with this turquoise green. If you want more precise and detailed husk, you can use the color pencil, two or three sets of the green, and with that, you can create very defined and crisp edges for the husk. We have got only four, so let's use another set of the green or the same sets that we have already used. I'm using the same turquoise green that I used earlier to add the husk. But for the color combination, the next color that I'll be adding it, I'll be using a different color. Now, for the last two cons, I'll be using darker sad. So let's see what we have got in here. To avoid smudging of the colors of my palm, I'm using this tissue paper to prevent that. Here I have got a last con, so using the same turquoise screen to add the husk for it. So we have got one, two, three, four c with this turquoise green. And yeah, we are done with the husk. So these are the primary layer for both the cons and the husk. We'll be adding multiple layers or two or three more layers of the colour to make it a little bit more detail and defined. To prevent the smudging of the color, once again, I'm using the tissue paper under my palm. As for the second layering, for the darker sets of the yellow, I'll be adding the lighter sets on top of it, and for the lighter sets, I'll be going with the darker sets of the yellow. In here, you can see I'm applying this pale yellow for the darker sets of the yellow, the golden yellow that we use as well as the orangish yellow. I'll be creating small kernels with this pale yellow for darker sets of the yellows. Also, I'll be adding a little bit of it for the darker sets of the husk, the dark greens. Add tiny strokes of this for the corn and a little bit for the husk. We'll have to apply a bit more pressure with it since these are very tiny and we are trying to create small dots for the kernels. Here, too, you'll have to go back and forth till we achieve the desired consistency or the desired colour. Here I'm going with the darker sets of the yellow, and I'll be overlaying it on the lighter sets of the yellows. Putting small dots or strokes on top of the lighter sets of the yellow like pale yellow or oranges yellow to create a little bit of small kernels on top of it, to create small kernels on top of the earlier primary layers. Also, I'll be using this to add a little bit of blending for the golden yellow and orange yellow that we used earlier. So here I am going with this ocher to add tiny details for the conn, a little bit of darker regions for the conn, seven or eight or five to six small strokes with this ocher for the outlining or a little bit of darker seeds for some of the small or larger kernels for the corn. Apart from this ocher, I'll also using rosette or other seed of brown, not that dark, but a little bit dark. So let's add white for some of the cons for which we have added the ocher. Add a little bit of reflections. And here, too, you'll have to apply a bit more breaches since we are aiming to create small tiny strokes and to create that, you'll have to apply a bit presser since we have already applied two or three layers of the colors. Now, let's add a little bit more details using the colored pencil. I'll make the husk a little bit more sharper and add more edges and more sieves to it. So for this two, I'll be using various shades of the green. And as you can see, just by using this colored pencil, we have created the ponte edges for the husk as well as add more definite and curved saves to it. So you use combinations or sets of green, the lighter color for the lighter sets, and a bit darker one for the darker side. Also, you can use it to create a little bit of blending, too. For the lighter sets, you can use a little bit of darker one to do the outlining and then going back or using the lighter sets to do a little bit of blending, too. So let's create sharp edges for our husk and use various seeds of the green to create a little bit of outlines as well as to sow the distinct layer of the husks. Here you can see, I am not entirely covering the entire section of the husk, but using it, but I'm using it in such a way that it shows that there are different sections of the husk, as well as doing the outlining and creating a little bit of darker regions for the husk. You can use the oil pistel to do the same thing, but for that, it would be advisable for you to use a larger paper. Instead of this A six paper, you can use E five or E four. So yeah, let's continue with adding finer details to our husk for all the cons that we have got in here. Screen the paper and remove the oil pistol dust with this brush. Now going back with the greens to do the outlining as well as adding more details to our husk and doing a little bit of partial blendings for the colors. For the corns, too, you can use the sides of the browns and a little bit of orange or yellow to create a bit more detailed kernels for the corn. And for the silk, I'll be definitely using the browns or russet to add finer lines on top of the corns. And I think we are done with the greens. If you want, you can add more. Let's do the silk. For this, I'm using this sad of the brown. Creating tiny fine lines for the silk for all our corns. Seven or eight fine lines for the silk. Also, we'll be adding a little bit of it on top of the corn too. And we are almost done with it. Now let's go and add more colors wherever you think it's required, adding finer details or making it a bit more darker or more lighter. So for the husk, I'm going with the seeds of the green to make it a bit more detail and do a little bit of partial and full blending to create somewhat of gradient, as well as adding more details for the outlines. So you'll have to go back and forth once again with the greens, the oil pastel greens and the colored pencil greens till we are satisfied, or you are satisfied with your painting. So this will take a bit of time. And after that, we'll be adding some tiny dots or create some pattern for the rest of the empty space for this project. Let's add pattern that I was talking about. For this, I'll be using different colours of the yellow to create the small tiny dots, somewhat circular dots. So let's fill all those empty spaces with it. So here I'm using the golden yellow. Then we'll have pale yellow, yellow, and orangish yellow. Yeah, I think we are done with this golden yellow now let's. Also, not only yellow, I'll be using white, too. If you want, you can even use greens. So the choice is yours, creating small dots, random dots throughout the rest of the empty space on this purple paper with this white You will have to apply a bit more presser with the colour to create somewhat bold and specific circular sieves or the dots. And I think we are done with the white. Let's use another sides. So here I'm going with a pale yellow and doing the same thing, creating small dots throughout the rest of the empty spaces on this purple colored paper. If you don't have to use the exact same colored paper, feel free to use any other colored paper or even white paper or black paper. That will do the work, ensure that the paper has a bit of texture as the plain or smooth paper, it will be a bit difficult to add the layers upon layer. Here I'm going with the yellow to add the dots. Let's remove the masking team to add a few more dots on up and down. And we are almost done with it. Let's add some finer details to it, and then we will move on to our next project. I decided to use the color pencil to add a little bit of finer details for our conn, so doing the outline as well as creating some tiny minute kernels of different colors and the seeds. So depending upon the primary layers of the conn, I'll be using various sets of the yellows and orange to add the conn. Here I'm using the orange and apart from this, I'll be using other sheds, so feel free to use varieties of the colored pencil to make your project more vibrant and colorful. So let's use this lighter seed of the One for other cons. You'll have to apply a bit pressure with it to apply on top of the oil pistils. Now here I'm going with the ocher. So let's add a little bit of tiny cdons as well as do the outlines a partial blending. And with these, we are done with this fifth project. I'll see you in the next project, happy painting. 14. Corn with more Husk - 6th project : Welcome to the sixth project. In here, we have got a small project, and it would take less than 10 minutes. Here I am using a darker side of the paper for our project. Feel free to use other sides of the paper, and you don't have to stick with the same size. You can use a bit larger side of the paper. So let's begin with doing the outline for our con. I use this straight line to determine the length of the con Here we have got a very simple C for the conn, somewhat conical at the top, and the rest of the body's somewhat cylindrical. Let's create the Bs for this conn. For this, we'll be creating four husk surrounding it, and as compared to the other project mean project, we'll be making the husk a little bit more bolder and more open. So here, let's do the outlining for the husks. If you prefer you can add multiple husk or instead of this four, you can even add less one, but I'll be only doing the four husk. So this is our basic pencil sketch. If you prefer you can add a bit more detail. Now, let's do the coloring. For this, I'm starting with a pale yellow for the primary layer or the primary kernels for this cont. I'll be using the rough texture to create the kernels. If you prefer you can use other methods to do this. Let's create tiny kernels for this You can use reference line to create the rows and column for the kernels, but I'll be doing these rough strokes for the kernels. And with these, we are done with a pale yellow now, let's use another side. Here I'm going with the yellow. As you can see, I have not covered the entire section with a pale yellow. And with this golden yellow, we'll be partially overlaying it on top of the pale yellow and cover some of the empty spaces, not all. And we are done with this yellow. Let's use golden yellow this time or another side of the yellow, a bit darker tone. So here I'm going with this golden yellow. And yes, I'm creating the seam rough strokes for the kernels. This will be somewhat multi colored cont that we have got in here. Let's add a little bit of darker kernels for it. So using the ocher, you can even use the set a bit darker side. I'll also be adding the silk on top. For now, let's do the husk. I'm using this side of the olive to do the outlining first. For the husk too, we'll be applying multi layers and use multiple colors. Let's feel a little bit of this olive for the insides of the husk. And with these, we are almost done with this. And with these, we are done with this olive. Now let's go with the darker side of the olive. So this will create the darker regions for the husk. So we'll be applying it on top of the lighter sades of the olive at the stem. If you want, you can do a partial blending, which I'll be doing, but later on, for now, let's go with a lighter sides of the green, this grass green or you can see light green, and we are overlaying it on top of the dark green, the dark olive and the light olive that we applied earlier. And here you can see I'm doing the partial blending of these three colors together by using this side of the green. And this is kind of texture that I'll be creating for the four husk. I'll also be adding a little bit of white for the reflection or you can see the highlight. So yeah, let's continue with adding the green for this last husk that we have got. And with this, we are done with this set. Now let's go back with the lighter side of the olive and do a particle blending of the colours together. So applying bit of medium presser with it to blend a bit. So applying a bit of medium presser with it to blend it with the grass green that we used just earlier. Now going with the pale yellow to add a little bit of lighter section for the top of the conn. On top of this, we'll be adding the silk. Now let's do the highlight and a little bit of reflection for the husk. For the highlights in the reflection, I am using this white. I'm applying a bit of medium preset for it to overlight on top of the greens. Adding a little bit of white for the highlights for the corn, too, small dots or small strokes with this white to add a little bit of small kernels and a bit of highlights for the corn. And add more white wherever you think it's required. And with this, we are done with the white. Now, let's add final details for our corn and the husk. For this, I am going in with this brown to add the silk for now. Add a little bit of more silk for the top and for the rest of the conn, only a few strand or fine lines for the middle section of the conn. You can use other sides of the brown to add additional silk, but I am satisfied with it. Going back with a pale yellow to blend this silk a little bit with the rest of the conn. Now let's use the pencil colour to add the final details and make the husk and the cons a little bit more sharper and more focused. Using this light seed of the green to create sharper and more uniform edges for our husk. So let's create sap and define outline for the husk with this green. You can use other variations of the green to make it a little bit more defined and add more contrast to it. And with this, we are done with this project. Let's remove the masking tab and I'll see you in the next project, happy painting. 15. Half corn - 7th Project : Welcome to the seventh project. For this project, we'll be creating a detailed section of the con, not a complete con. And here we'll be aiming to create somewhat more defined and detailed kernels for con. Here I'm using purple colored paper. You can use white or any other colour paper. The choice is yours. So I'll be using these lines to create the cylindrical sea for our con. The horizontal line is to determine the width of the con and the vertical line is to define the length for the con. Let's encircle both horizontal lines, and let's connect these two sites to create the cylindrical sea for our con. And this will be the corn scop and on top of it, we'll be adding the kernels. In this way, we'll be adding the kernels surrounding this. In this way, we'll be adding the kernels surrounding this circular top. On the other side, too, we'll be creating a bit smaller kernels since most of them is behind this curb. You can use this as the reference line to add or create lines, and then on top of it, we'll be adding the kernels. I'll be showing you this just for example, but I'll be using the oil pistol to create the kernels separately, and it will be a bit more defined and detailed. So you have got the rough idea for it. For this con, I'll be primarily using lighter sets of the yellows. Here I'm starting with the pale yellow. So apart from the pale yellow, I'll be using light yellow and ocher to do the outlining for the seeps of the kernel and a little bit of white to add the highlights for this. This is going to be a repetitive process and will take time. So I'll be creating each individual kernel for this conn. And as you can see, I am creating them a little bit separately from each other and leaving a little bit of space. I'll be filling the spaces a little bit with yellow and on the other side, I'll be using the ocher. So I'll be adding the yellow on one side, ocher on the other side. And I'll be using the talkcha to do the outlining for majority sections of the candles, and then I'll go back once again with this peel yellow to blend it with the yellow and the ochre. And with this, we are done with all the kernels. Add a little bit more pale yellow wherever you think it's required. And if you want, you can make it a bit larger or longer, or you can even add another rows and columns of the kernels to make it a bit broader. Now, as I mentioned earlier, going in with the yellow, primarily, I'll be adding this yellow on the left side and making it a little bit darker and on the other side, I'll be primarily adding the ocher to make it a little bit defined and using it as the outlines. So let's add this yellow for each individual kernel of this con. Instead of this color combination, if you want to make it a little bit darker, you can use the color combination of yellow along with orange or you can use golden yellow along with orange, yellow and ochre. And if you want a bit more and if you want a bit more darker sets, then you can use orange, then you can use orange, ochre and rosette. And with this, we are done with the yellow. Let's go in with the ocher. Primarily adding this ocher on the left side and creating a little bit of outline for each individual kernel of the cod. Carefully adding this ocher on the other side to define the seeps of each kernel on there. Now let's add this ocher for this side. Carefully adding it and encircling majority section of the kernels. If you want, you can use a sette too. Since I am trying to create a little bit lighter side of the con for this one, so I'll be sticking with this ocher. But We are almost at the half section of this con, and let's continue with adding more car for the rest of them. In the next project, that will be a bonus one. I'll be showing you an ink illustration of the barbecue con for that, we'll be creating two, two separate sections of the conn, and we'll be adding a little bit more detail for that ink illustration. I'll be making each kernel a little bit more defined and add shadows and highlights for that too. So that will be an interesting ink illustration project. And with this, we are done with the ocher now going back with the pale yellow and slightly blending it with the yellow and the pale yellow along with the orchard that we added just now. We are trying to create a little bit of gradient in between these three colours for the kernels of this cone. Also, the pale yellow will act as a lighter section for the left side, and we have got ocher for the right side to make it a bit darker. So yeah, let's carefully add this pale yellow for each individual kernel and blend it partially with the yellow and the ocher. And with these, we are done with the pale yellow. A little bit of color wmrged so I am going with the eraser to remove it. If the colour that is srged is light, you can easily erase it with the eraser. If you want, you can add a little bit of more colours, go back and forth till you are satisfied with the consistency and the color combination, but I think I am done. Now, let's add this pale yellow for the cob. And now let's create a little bit of gradient. Put the cob with this ocher and other colors. Adding a little bit of cher. And now going back with a pale yellow on second to blend it parceling. Now, going in with a white to add a little bit of highlight for some of the individual kernels of this cone. I decided that it would be better if I add white for each individual kernel. So that's what I'm doing in here, adding the white for each individual kernel to so the reflection of the light, and it will also act as the highlight section for the kernels. And with this, we are done with the white. Now, let's define the outline a little bit more, so I'm going with this colored pencil to do the outlining for the kernels. Here I'm using sad of yellow. If you prefer you can use Rst or Oka two. Now, let's remove the excess oil pistil dust. And for this side, I'm going with this yellow to add the outlines and give it a more definition. And if you want, you can add more details to more outlining, add a little bit of more contrasting color, make it a bit darker. But I think I am done with this project. So I'll see you in the next project with ink illustration of barbecue corns. Happy painting. 16. Barbecue corns - Bonus Project: Welcome to yet another bonus project. For this, we have got another ink illustration. This time we'll be creating a very detailed barbecue con. Like the last project we did, we'll be only creating a section of the corn. Not a con, but two cons. We have got two cons for this project. And let's do the basic pencil sketch for it. Cylindricalc. Simple cylindrical save for these two cons. And we'll be adding a stick for the center of the con. Apart from this, we'll be adding few kernels of the corn on the base and we'll be creating shadows using the hatching technique. The first outlines that I drew for the corn was not that feasible, so I added this one. And this will be our two cons. These are the basic seeps and I'll be making adjustment and change the seeps if required. To feel free to make adjustment and change the seeps and the sizes. This will be the scent for the corn, and here I'll be adding the sticks. And as compared to the first ink illustration of the con that we did, this will be a bit more detailed and more defined and will take a little bit more time. So let's do the outlining. Here I'm using the micron pen. If you are comfortable with ink pin or breast pin, you can use that too. And I'll be creating a little bit of dynamic lines of varied thickness. So for that, I'll have to go back and forth till I achieve the desired till I achieve the desired effect for the lines. So this will be our center of the conn, the cob of the conn, and this will be the kernels. So let me show you some of the simple kernels sap. We'll be adding a little bit of center for the kernels, too, and we'll be adding lots of fine lines, small fine lines for the kernels to make it a little bit darker and add and to add more characteristic feature to each individual kernels that we have got for these two individual con sticks. These are the rough guidelines for the kernels of the con. And you can draw reference line or guide lines using these kernels for the rest of the con. So whatever makes the project easier for you use that. Let's do the outline for the last kernel that we have got in here. And now let's add the thickness to it. We'll be doing the same for the second con that we have got in here, and let's roughly define the outline for the con. I decided to create a little bit circular end for the con if you want, or if you prefer you can create the conical ends. Et's follow the guidelines from the center and add the kernels. So this is first column of this is your first row of the kernels. Now let's add the other ones. And what I mean by I'll be adding fine lines so you can see the kernels that I created for the top, I added two or three lines. So I'll be adding more lines for that. And instead of single lines for the kernels, I'll be encircling them. It was a bit challenging for me, so I decided why not add guidelines so that I can add the kernels much faster and much easier. Let's continue with adding the kernels. So these are the basic seeps and as I said, that I'll be creating somewhat dynamic lines. You can see that I'm going over some of the sections of the kernels to make it a little bit bolder and more darker. Let's do the same for this robe. And as you can see, I'm adding tiny lines fine lines to make it a bit distinct and a bit more bold. You can create or add many lines or you can even use or you can even use pencic colour to do the seeding. One side will be a bit darker, other side will be a bit lighter. So it would be very interesting. So feel free to experiment, change seed and you don't have to create the two barbecue sticks for this corn. You can only create one that will be enough practice. Or if you prefer you can create a whole corn, too. So a whole corn is on a stick. And since this was going to be a repetitive process, I did this on my own, but then I saw, why not let's do the complete con and I'll increase the speed of the painting a little bit. So you will see how I created it. And if you want, you can join along with me and create this ink illustration. You can create one since this part is a little bit faster. It's twice the speed of the original recording. So yeah, let's continue with adding kernels for the rest of the corn. And you can clearly see that the fine lines that I'm creating is creating a little bit more bold sees for the kernels as well as creating a bit of lightness and sadoy region for this corn. Let's do the second one, too. So starting with the guidelines for outlines for the stick. Now, let's do the center. A little bit of more fine lines for the center to make it a bit darker. Draw the guidelines for the kernels that will be encircling this cob of then. Now, let's draw the kernels. So this is the side view of the kernels. We'll be adding the top view and then using the reference line or adding the reference line to add all the kernels for this. If you prefer you can add colors on top of it and it will be interesting. Now let's go over the outlines once again to make it a little bit bolder and much darker. And now we are adding the top of the kernels. Let's use this top of the kernels to draw out the guidelines for the rest of the kernels that we'll be adding on this con. And so you can use oil pastels to color it. For that, I'll suggest you to use light colors and use blending tools. So you will start with the yellows or peel yellows, apply your primary layer of it, and then blend it for a smooth gradient and then use another darker set of it on one side and a lighter set on the other side. And then once again, going back with the peel yellow or orange yellow to blend it to a smoother and uniform consistency. And the outlines on the sakura micron will and the outlines that we created with the sakura micron will create the shadows and the lightness, so it will turn out pretty good. So feel free to experiment with the oil pastels combination with the ink illustration. Or you can use other medium of the colors like watercolor or ink color or even acrylic. Acrylic would be a bit challenging since it will cover all ink illustration that we are doing in here. So you can use the colored pencil or watercolor to add colors on top of this ink Illustration. But this con, I decided to add more fine lines to make it a bit darker. Add more kernels for the rest of the conn that we have got in here. So we have got one, two, and three, four rows to fill, and then we'll be adding sados for it. Not that defined sados but I'll be using the hatching technique to create fine lines to form the sados for these two cons and adding six or seven or few kernels at the base, and I'll be adding the sados for them too. Let's add the fine lines and make some of the kernels a bit bolder and a bit darker. So this is our fourth bonus project, and apart from this, we have got five more mean project. And after this, we'll be finishing this class. If you have any more ideas to create different kind of car, let me know in the comment section. Yeah, let's do the last line in here to create the outlines for the corn on this side and completely fill the two rows with the kernels of the corn. And later on, we'll be adding the fine lines to make it a bit bolder and create a little bit of sados and dark regions for the kernels. Let's add the fine lines and make some of the kernels a bit bolder and a bit darker. To make it a bit darker, as you can see, I'm adding more lines for those specific kernels. And yeah, we are done with the basic inking of those two cons. Let's read some small kernels at the base, very simple and basic seeps. If you prefer you can add few more kernels at the Base, but I am satisfied with it. And let's make it a bit bolder and darker. Add more ink wherever you think it's required and I am done with it. Now finally, let's add the bees. So like I mentioned earlier, I'll be using the hatching technique to create fine lines for the sado or you can see the bees. But before doing that, let's erase the pencil mark. Now, I'm going in with the micron pen once again and using hatching technique to create fine lines for the bees, or you can see the shadows for the cons. If you want to make it a bit more darker, you can create more lines, more hatching lines and place them a bit closer to each other. Like here. As compared to the other side, this side is a bit more darker since I added a bit more lines in here. Let's add shadows for each specific kernel on the base. And finally, let's add shadows for this con, too. As I mentioned earlier, if you want to create more realistic conn, you can use the stippling technique in which you will have to create lots of dots, but the result will be worth it. It will take more time, but the result will be very realistic and very dark and bold. We are done with this fourth Addisional bonus project. If you want to make adjustment, feel free to do that, and I'll see you in the next project. Happy painting. 17. Rough textured corn - 8th project : Welcome to the t project. Here we have got yet another simple project for the conn. A very simple C for the conn, and we'll be creating a little bit longer husk for it and a lot of silk on top of it. Here I'm using a dark side of the paper. If you prefer, you can use white or any other sides of the paper. The side of the paper reach once again, A six, you can use a larger you can use a larger heat of the paper, ensure that the density of the paper reach more than 160 GSM and the surface of the paper is not smooth, as it will become challenging to add multiple layers on top of a smooth surface. Let's add few more husk surrounding this corn. So this two will be multi layered and multiclored. I'll be using the rough texture of the con to create it. So this will be a bit faster around seven to 10 minutes. And with these, we are done with our basic pencil sketch. Let's start coloring it. For this, I'll be using light seats of the colour to create this con. Here I'm going with the golden yellow, and let's create the kernels for this cont. As you can see, I'm creating the strokes in haphazard manner, not following the specific seeds for the kernels. But since we'll be adding multiple colors on top of it, we'll be creating specific size for the kernels later on. And with these, we are done with a golden yellow. Now I'm going with the lighter side of the yellow. This is orange yellow, and I'm adding it besides the golden yellow that we just added. And now we are going in with the pale yellow. Let's completely fill this con with this pale yellow, adding it on the empty spieces in between the two yellows that we added earlier and trying to create somewhat the seeps of the kernels with it. Let's overlay some of this pale yellow on top of the other two yellows that we added just earlier. And now, as you can see, you have got somewhat the seeps of the kernels that was not visible when we added the golden yellow. Add a little bit more pale yellow wherever you think it's required and give it a definite and proper see to this corn's kernel. We are done with the pale yellow for now. Let's go in with the orchard to add a little bit of darker seeds as well as cret bit of outlines for some of the kernels of this corn. And with these, we are done with the cher. Now let's move on to the husk. So I'll be using combinations of the green for it. Here I'm starting with the light olive. If you are using colored paper, I would recommend you to first try your colors on a rough sat of that colored paper and then apply on your main project as the colors behave differently on different colored paper. So the seeds become a little bit darker or a bit lighter and the color combination may change depending upon the seed of the color paper that you are using. Ensure that the kind of color combination that you are going to use will be suitable with the kind of color paper that you are using. Let's overlay some section of this con with this green and now here I'm going with this mint green to add a little bit of lighter touch to the husk that's around this conn. I'm doing a partial blending of the color, this mint green on top of the olive that we added just earlier. And let's define the seeds of the husk a little bit, making it a bit more crisp and define the proper and pointy edges to the husk that we have got in here. And we are done with the mint green for now. Let's make it a bit darker. For this, I'm going with a darker side of this green and adding a little bit of more outlines and details to this and we'll be blending it with this mint green to make it a bit darker and create a little bit of contrast and gradient for some of the regions of this husk. Instead of this green, you can use the darker sets of the olive. That will be interesting too. Let's add this dark green for the stem too. Now, let's add the silk on top of this con. For this, I'll be using this ocher. If you prefer you can use the colored pencil or you can use the color combinations of ocher along with the rosette and the pale yellow. The choice is yours. For this, I decided to create a bit larger and longer silk. So yeah, let's create tiny and fine lines with this cha to create and add the silk on top of this con. It was not that much darker and visible, so I decided to go in with this rosette overlaying this streak on top of the ocher and creating some fine line Finally, going in with this white to add a little bit of reflection or you can say highlight and making the Add a little bit of highlight for some of the kernels of this cone. The silk was not that defined, so I decided to add a little bit more russet for this. I was not satisfied with the best of this husk, so I decided to add a little bit of more greens and make it a bit darker. So I'm going in. So I'm going with this dark greens and slide green. And with this, we are done with this project. Let's unmark this project. After finishing this project, I was not satisfied with the result, so I went back again and added a few more details to this one. So let's add the final details to make it a bit more sharp and more interesting. So here I'm using the colored pencil, the dark side of the green to create the outlines and make the husk a little bit more defined, detailed, and adding more characteristics to the husk. You can also use other seeds of the green. Apart from this, I decided to cover some section of the corn with the greens. So I'll be covering the sides of the cn a little bit with these combinations of the greens and yeah, going in with this light seat of the green. Let's blend it together. So here I'm using the pale yello to blend it together. I did not use the same color combination that I used in seal. Feel free to make adjustment, or if you want, you can use the same color combinations, going in with the white to add a little bit of highlights and making it a bit lighter. Let's go back with the greens to decrease the intensity of the white a little bit and blend it with the rest of the greens. If you want, you can add more details. I gave up the idea, since it will take more time. I'll see you in the next project. 18. Three fat corns - 9th Project : Welcome to the ninth project. This two is one of my favorite project. For this, we'll be creating three cons and surrounding them with two husks. So this is one of my favorite apart from the one we did, the fifth project, and so these are the two of my favorite from our main project. Let's start doing this sketching. This will be quite different from all the projects that we have did. Here we have got somewhat circular see for the conns and this is the kind of see that I'll be creating. And instead of this three, you can create more or you can only create a single one. The choice is yours. And here I am using darker side of the paper. Feel free to use other seeds or whatever you have. Let's create the final outline for the third con that we have got in here. We have got somewhat egg like seed for the three cons, and we'll be only surrounding it with two husks. So yeah, we are done with the basic seeds for the corn, and let's create the husk that's around this cn. If you want, you can add one more up here, but I won't be adding it to make it more complicated. So yeah, only three cons for this project. I'll be adding the husk later on. First, let's start painting the con. So I'm starting with the pale yellow. Let's define the outline of this con with it, and we'll be adding combinations of light colors for these three cons. First, I'm using this pale yellow to define the outline for this seep of the con and then I'll be adding this inside. Then I'll be adding this pale yellow for the inside of this cone. It will act as the primary layer for the cone. So this is the kind of con that we practice in the third example of the demonstration video. Let's do the same for the other two cons that we have gotten here, using this pale yellow to create the outline, as well as adding it as the primary layer. Yeah, this will be multilayered and multi colored, too. And as for the husk, we'll be adding different color combinations and a little bit of different color or somewhat similar color for the cons. If you want, you can experiment with different completely different color combinations for each individual conn, and you can keep the husk of same color. The choice is yours. And let's continue with filling the entire section of this third con with this pale yellow. Instead of this, you can use other sites of the yellow or you can even use white. I'm applying somewhat high pressure with it. We'll have to apply medium or high pressure with all the other colors to overlay it on top of this. And with these, we are done with the primary layering for all the three corns that we have got in here. Define the sap a little bit more to make it somewhat of egg like seep. Now here I'm going with this golden yellow, and let's create the kernels for the corn. So here you can see I'm creating definite seep for the kernels and they are separately and they are quite separated from each other. Now going in with the yellow to add more kernels in between the golden yellow kernels that we added earlier. And with these, we are done with a golden yellow and the yellow for the first cone. Let's do the same for the other two cons that we have got in here, starting with the golden yellow to create the kernels for the conn, keeping it separate from each other, each kernel, keeping the kernels separate from each other, and then going in with the yellow to add more kernels. We are not completely covering the entire section of the conn with these kernels. We are leaving a little bit of space for other kernels of different seeds. I'll be using the ocher here to add few more kernels in between the kernels that we created with the golden yellow and the yellow. So add few kernels with this ocher specifically for the lower regions, and we'll have to go back and forth with the golden yellow and the yellow to add few more kernels here and there. Here I decided to use salmon, but then I gave up the idea, why not use the same color combination that we use for the two earlier corn. So the golden yellow and the yellow and a little bit of the ocher that we have got for the base layer, or you can say for the bottom section to make it a bit darker, or you can use the colored pencil to create the outlines for some of the specific kernels and make it a bit more detailed and more defined. Now I'm going in with the orchard to add few more kernels, especially for the best of the corns. Let's add a few more kernels here and there with the three colors that we have got in here, the golden yellow, the yellow, and the cher you can also use the other colors that you have got like a bit of orange or you can use salmon. Apart from this, you can also use pale yellow and a bit of white too. I am adding this kernel especially near the outer regions to make the soup a little bit more ununiform. And with these, we are done with the coloring of the corns for now. Let's add the husk. Only two husk that surrounds this cn. So here I'm using light olive to create the husk for the second example. The second conn that we have got in here, I'll be overlaying this on some section of the corn. And here as you can see, I've applied heavy presser to overlay it on top of the yellow. Ask for this third one. So here for this one, I'm using the lighter side of the green going in with the mint green. Try to create sharp edges for the corn. And here, too, I'll be overlaying this mint green on some section of the corn. So you'll have to apply heavy presser with the pastel that you are using to overlay it on top of the yellows. Add the greens from this first one. For this, I decided to use a bit darker side of the green. Here I'm going with the grass green. And let's create the two husk that's around this cn. Once again, here, too, I'll be overlaying this on top of the lower section of the corn. So apply heavy presser with it and try to create crisp and clear lines with the husk. Adding the final husk on the right side with this green and overlaying a bit of this screen for the corn. So these are the primary coloring for the husk. We'll add more dark and lighter colors to make it a bit more detail and more defined. And now let's make it a bit darker. For the first one, I'm going with the dark side of the green and adding it on some sections, we are doing a partial blending of the color in here by applying light preser with it. Now for the second one, I'm going with a dark side of the olive and creating fine lines on top of the earlier light olive that we used to create the husk for it. Intensity of this olive was a bit high, so I blended it a little bit with the light olive. Now for this mint green, I'm going with a dark green, and let's add a few fine lines with it, and I'll have to blend it since it's a bit darker. Going back with the mint green and let's do the partial blending of the colours. Here I'm aiming for partl blending so as to preserve some of the dark greens and to so that the visible lines of the husk. And with this, we are done with the second layering of the color for the husk. If you prefer you can add more colors and you can use the colored pencil to make the outlines a bit more defined and more crispier. Here I am satisfied with this oil pastels project. If you want, you can make it more detail and more defined. But I am done with it. I'll see you in the next project, happy painting. 19. Husky corn - 10th Project : Welcome to the tint project. Here we have got a little bit more defined con, and for this con, we'll be adding lots of husk that surrounds it. So for this one, we'll be primarily focusing on the husk creation. Almost three fourths of the con will be covered with the husk, and it will be surrounding all sides of the con. Start with sketching out the guidelines for our con. For this one, I'm using this purple colored paper. You can use any other colored paper. And this will be somewhat larger as compared to all the other con that we created on this small A six sized paper. And we will be having lots of husk. So let's create the husk that surrounds it. And also, I'll be creating comparatively more silk for the top of this con. Let's sketch out the guideline for the husk for this section and on the left side. For this, I'll be using the lighter combinations of the green to create the husk. And as for the corn, we'll be using the rough texture to create it quickly. Let's add a few more husk on this side. If you prefer, you can increase the number of the husk. But our main goal for this project is to create numerous husk that surrounds the corn and to make it a bit more realistic. Our primary focus will be on the husk, and if you want to make it a little bit more detail, you'll have to pay a bit more attention to the corn as well. Let's add some more husk on the upper sections. This is just a basic pencil sketch. I'll be adding more husk or make adjustment to it later on. Now let's add the colors for it. Here I'm going in with the orange callow and creating these random small strokes with it to create the kernels for our corn. I'll be using three or four sets of the yellow to create the kernels for this one. And here, as you can see, and here, as you can see, I'm creating tiny little dots for the kernels. And if you want, you can use lighter sets of the yellows to create the Bs and then add this one. But I decided to do this in this way. So with these, we are done with the first layer of the kernels with this oranges yellow. Adding a little bit of more kernels with this. Let me zoom it a little bit so that you can see it clearly. So we have got two. So here we have got four rows of the kernels. I decided to use ocher a little bit for the bees and later on I'll be adding the pale yellow or white to add the highlights. So yeah, let's add small tiny kernels with this ocher on the sides. We are not completely overlaying it on top of the orange yellow, but a little bit of overlapping, but a little bit of overlaying, and I'm trying to create it. And I'm trying to add it in the seep of some what you can say outlines or a bit darker sets of the kernels. And as you can see, I have covered some of the empty species now going in with the pale yellow and adding it on top of the ochre and the golden yellow. And with this, we are done with the primary layers for the C four now. Later on, I'll be adding more details to it. Let's move on to the husk for this. Here, I'm starting with the mint as the primary layer for the husk. You can use any other color combinations or any other colors to create the husk. The choice is yours, but here, I'm aiming to create somewhat lighter sets of the husk, so I'm starting with this lighter side of the mint green. So I'll be applying medium pressure with this, and I'll be completely covering all the husk that we have created, as well as if needed, I'll add a few more husk on some of the sections that surrounds the cn. Ensure that the husk at the bottom is a bit more broader as compared to the beaks of the corn. And yeah, let's add the mint green in here. Right now, I'm applying medium pressure with it, but when I'll be adding other colours on top of it, I'll try to achieve somewhat of partial blending. Later on, when I'll be adding more colors on top of it, then we'll be aiming for a smooth texture, and finally, we'll be adding a little bit of white or pale yellow to add the highlights. Adding the mint green for the last husk that we have got in here. Once again, I'm applying light or medium pressure with it to completely fill this husk. Let's add it a little bit for wherever you think it's required, and we are done with this mint cream for the primary layer of the husk for this conn. Let's go in with the darker side of the green. So for this, I'm going in with this darker side of the green. And yeah, let's try to create a little bit of sados or outlines with this. And I'll be primarily focusing on adding this darker side of the green to create a little bit of outline as well as on the lower on the side regions of this husk. So one or two lines for each individual husk or a little bit more line if the husk is a bit broader or more thick. Here I am applying medium presser with it and overlaying it partsily on top of the husk on top of the mint green husk. For the lower sections of the husk, I'll be adding a little bit more to sow or represent a bit of shadows or a bit of darker regions on those sides. Let's add the dark green for the top two husk that we have got in here and we are done with this. Add a little bit more dark green wherever you think it's required. And yeah we are done with the dark green for now. Go in with another side of the green, a bit lighter side. Here, I'm using the light olive, and I'll be doing a partial blending of the color using this light olive to blend it with the dark green and the mint green. Here, once again, I'm applying a bit of medium taser, and we are aiming for the partial blending in here to get somewhat of rough texture for the husk. So yeah, let's completely fill the entire sections of this husk and do a partial blending of this two colors using this light olive. As you can see, I'm trying to preserve the texture that we got with the dark green as well as. Also, I'm preserving the dark green that acts as the darker region as well as creating a bit of outlines for the husk. As you can see, this husk is going to be multi layered and multi colored, so it will take a bit more time as compared to creating the cons. And our primary focus for this project is to create a bit of more defined and more dense husk. Here, we are done with this light olive. Add a little bit more light olive wherever you think it's required. And with this, we are done with a third layer of the greens for our husk. Once again, going back with a dark green to make some regions a bit more darker. Here, once again, I'm applying medium pressure with it. As compared to the earlier layer of the dark green, here I am adding this dark green comparatively more. Yeah, let's add this dark green for all the husk that we have got in here. And once again, we'll be doing a partial blending of the colors. Now, once again, going back with it, the light live, and let's do another layer of partial blending. I was not satisfied with the kind of shadows and the dark region that we obtain when I'm blending the light olive earlier. That's why I decided to go back once again with the dark greens and to redo the parcele blending. So that's what we are aiming for in here. You'll have to go back and forth. But if you are satisfied with the kind of seeding and the kind of blending that you have got for your husk, then you don't need to repeatedly do the blending. But here I was not satisfied with the outcome. So that's why I went back and I'm redoing the parcele blending using both the colors, the dark greens and this light olive. Let's add this for the base. And with these, we are done with it. Let's add a little bit of white or pale yellow to create a little bit of highlight or reflection for the husk. Here I'm using white to add a little bit of highlighted sections for the husk. If you prefer, you can use the pale yellow too, that will do the work, too, or a lighter set of the green or yellow like lemon yellow or you can use light green, that too will do the work. Let's add a little bit of white for our conn, too, small strokes of white to add a little bit of highlights as well as reflection for some specific kernel or some kernels of the conn. You'll have to apply a bit of presel since we have a lot of layerings of the oil pastel. And, I think we are done with the white. Let's reduce the intensity of this white a little bit with greens. Once again, you will have to go back and forth till you achieve the kind of blending you want. And now let's do a little bit more detailing for our corn. So I'm using the colored pencil. And I think we are done with this. So let's add more color wherever you think it's required. In here, I decided to add a little bit of dark green. And now let's blend it a little bit with this light olive. And with these, we are done with this project. Oh, I forgot to add the silk on top of it, so I'm going with this russet using this colored pencil to add tiny strokes of fine lines to create the silk on top of the cn. Also extend this silk a little bit to the corn and add a few more strokes of the silk on the sides near the husk. If you prefer, you can go back in with the green to blend or decrease the intensity of white a little bit if you're not satisfied with it, and I'll see you in the next project. 20. Another simple corn - 11th Project : Welcome to the 11th project. For this project, I decided to create a little bit of gradient like corn and a simple one. Since for the past few project, we are paying more attention to creating a husk or a more detailed corn or a rough texture for the corn. So I decided to make this 11th project a little bit easier and create a little bit of different kind of gradient for our corn. So we'll be creating a very simplified version of the corn for this one. So yeah, let's continue with the outlines. Very simple sp for this conn, and it will be comparatively smaller to the and it will be comparatively smaller as compared to the last two or three projects that we did. So this will be the sp and it will be encircled by four or five husk. Very simple seeps for it. That will be the husk will not be that much detailed or defined, simple seeps for it. Let's add the base and the stem for this one. For this, I decided to create some long husk on the sides. This is our basic sketch for our 11th project. And if you want to add a few more husk, you can add that. But I am satisfied with it, and I'll be creating a little bit of white or pale yellowish silk for the top of the conn, like this. So if needed, I'll be making adjustments to the cn and the husk, but we are done with the basic simple sketch for our 11th project. Let's start coloring the cn. So here I'm going in with this yellow. Let's create dots in the seep of the kernels. Adding a little bit more yellow for the upper section and a bit less for the lower sections. Here I'll be trying to create a little bit of gradient using these tiny strokes of the kernels. So we are done with our primary layer for the cont. Let's go in with another set, a bit darker set of the yellow and let's create smaller strokes for the kernels. I'll be overlaying a little bit of this on top of the yellow that we added earlier, but mainly adding it for the acond spaces that we have in here. Add a little bit more strokes for the kernels. And with these, we added with the orange as the second color for our corn. Let's go in with another side of the yellow. No yellow. Here I'm going with the ocher and I'll be adding this ocher primarily on the lower sections. We are creating the same kind of strokes, small strokes to create the kernels and primarily focusing this on the lower section as well as a little bit on the right side. And with this, we are done with ocher. I'll be coming back to the corn later on. But for now, let's add the silk on top. For this, I am using this pale yellow. And if you prefer, you can use the white too. Let's add a little bit of pale yellow as the kernels and do a partial blending of the colors. We are done with our corn food now. Later on, if I need it, I'll add more colors to it. Let's do the husk. For this, I'm starting with a light olive, and I'm not completely feeling the outlines that I created, but doing a partial filling of the color with this light olive, covering some sections of the corn with this, and let's do the stem and the base. And with these, we are done with the primary layering. Now let's go in with the mint green to make it a bit lighter and do a little bit of partial blending of these two colors. Here, too, I'm applying medium pressure with it to do the partial blending of these two colors. Extending the size of the husk a little bit. And for the lower regions of this husk, I'm doing a little bit of better partcel blending. I decided to add one more husk in here, so let's create one more husk around this one. So starting with a slight olive to create the husk. Now going with this mint green and overlaying it on top of it, as well as adding a little bit more mint green wherever it's required. Et's add a little bit of this for the stem and the base. And with these, we add with the primary and secondary layering for our husk. Now for the finer color, I'm using this dark green, and let's create a little bit of shadowy regions as well as doing the outlines to separate each husk. Adding a little bit of dark green for the base and the main stem. Let's blend it all together. So once again, going back with the light olive and doing a partial blending of the color, using this to blend the light olive from the earlier, the mint green and this dark green. Here I'm applying medium to high pressure to get somewhat of smooth blending, as well as to achieve somewhat of gradient for our husk. And with these, we are done with the greens. If you need, you can add a little bit more greens wherever you think it's required. Now adding a little bit more yellows for some of the regions of this con to make it a bit more gradient like. Also, I'm covering some of the empty spices, the black of the paper with this one. Add more colours wherever you think it's required, but we are not aiming to completely cover the blacks of the paper. A little bit of black would be remaining visible. Making the silk a little bit sharper with the pale yellow. Now let's do the outlining for the husk, making it crisp and sar using this colored pencil. Also, I'm blending the edges a little bit by applying heavy presser with this pencil to blend it partially or completely with the oil pastels. And with this, we are done with our very simplified version of the corn and husk. I'll see you in the next project, the tools and the final meant project that we have in here. 21. Large corn - 12th Project : Welcome to the tools and the final project of this class. For this, I decided to make a little bit broader and a different kind of cone. So I have already sketched out the guideline for it. Now, let's color it. For this, I'm starting with this pale yellow. So I'm creating the saps of the kernel, each individual kernel, and as you can see, I am adding them. I am adding the kernel separately while keeping a little bit of empty space in between them. So we'll be creating the kernels for this corn in the same way that we practice in the demonstration video, the third example. So separate kernels and let me show you how I'll be completely filling the entire section of this. So if you are going to draw only corn without honey husk, you can do it in a similar manner. But I'll be adding the husk later on. But before that, I'll be showing you how you can add the kernels from top to the bottom. For this con, I'll be adding very simple swaps or very simple four or five husk, and I'll be covering the half section of it. So we'll be using a lot of overlaying of the colors, and this is going to be multi layered and multi colored project. Let's finish the bottom section of this con, and then we will go on to adding other colors for the cons, and we'll be adding the husk later on. And with this, we are done with the pale yellow. Let's add the best and the stem. A little bit of tiny strokes of white for the top. Here I'm not adding the kernels as I'll be adding the silk later on. So just tiny, small strokes of the pale yellow. Now, let's add the yellow. So I'll be primarily adding yellow on one side of the con. I'll not be adding it for each individual kernel, but for most of them. Also, as you can see, the size of this con is much larger as compared to all the other 12 main projects. So I decided to make it a bit larger. Adding a little bit more yellow for a few of the kernels. Now let's add another color. Here I'm going in with the orange. So I'll be adding this orange on top of the pale yellow, as well as I'll also be adding this ine for the sum of the kernels in which we added the yellow. Yeah, we are done with the orange. If you want, you can add more orange to some of the kernels, but I think we are done with this. Let's go in with this ocher. Creating tiny strokes with this ocher, as well as trying to create somewhat of outlines, not the complete outline for the kernel, but for one or two sides of it. Surrounding or encircling some of the kernels of the conn with this ocher as well as a little bit of tiny strokes of this for the insides too. Encircle some of the kernels with this occur For some of the kernels, I'm doing a complete circling. If you prefer you can use half encircling, but for some of them, I decided to do full inserting to get a precise or more crisp outlines for the kernels, you can use the pencil color. Let's add a little bit more ocher for some of the other kernels. I'll be covering the bottom section of the cond later on. But to show you how you can create a complete conn, I'm using the ocher for the bottom section. And with these, we are done with the ocher. Let's go in with a darker seed. So here I am using the set, doing exactly the same thing, encircling some of the kernels, as well as adding a little bit of this set for the insides on top of the pale yellow, the yellow, and the oranges. We are not aiming for blending, but a little bit of it just by overlaying on top of the other layers of the colors. Now, you can see that russet and the orchard that we added is acting like the outlines for most of the kernels of the con that we added. And that is what we are aiming for. That is what I was aiming for. And now, let's go in with the white. Let's add a little bit of highlight for some of the kernels. Tiny strokes are white, particularly tiny strokes of white, either you can add it on the right side or on the left side. So yeah, apply heavy pressure with the white and add it on some of the kernels to make it a bit lighter to sow reflection or light. And, yeah, we are done with the white. Let's create the husks. So let's start with drawing out the outline. As I mentioned earlier, that I'll be covering the half of the portion of this cn. So here I'm using the dark side of the olive to do the primary layering for it. So this section of the corn will be covered by the greens. So you'll have to apply a bit of macer and yeah, let's add the husk for this side too. And you don't have to create the kernels that way I did. Since I mentioned this in the beginning that I'll be covering it, I was just doing it to show you how you can create a complete conn. Let's add another husk in here. And yeah, we are done with this set of the olive. Now let's lighten it. For this, here, I'm going with the light olive. So here I'm applying medium to high presser, and we'll be completely overlaying this on top of the brown as well as doing a partial blending. So apply presser and blend these two colors together. A partial blending. Add the colour for the second husk that we have got in here. Yeah, let's move on to the one at the middle. So you will have to be careful while adding it for the one at the middle. We don't want the overlying of this light yellow on top of the kernels. Let's add the light olive for the last husk that we have got in here. For the beets, I'll be applying a bit more presser to get a better blending of the colors. And on top of it, I'll be using a lighter sides of the green or pale yellow or white to make it a little bit lighter, as well as to sow or add highlights or reflections. Let's make this husk a little bit larger. And yeah, we are done with this going back with the olive to create the outlines and defining it a bit better and create the bold outlines. And with this, we are done with the olives and now going with the mint green. Let's add it for some of the sections of the husk and making it a little bit lighter. And with this, we are done with the mint green. Now let's add the silk on top of the cod, as well as I'll be adding some silk on top of the kernels. Here I'm using the russet. If you prefer, you can use the pencil color. And with this, we are done with this 12th mean project. I'll see you in the next bonus project. 22. Two large corns - Bonus Project : Welcome to the final project of this class. So this is a bonus project in which I decided to create two cons, one with the husk and other without it. This video is twice the speed of the original video. So I'll just be mentioning the steps as you are familiar with how you can proceed to create outlines, how you can add the colors, the colors combination with the way you can create the husk, as well as how to use or apply different kind of preset to get varieties of strokes and texture. The additional thing for this project is that for this one, I'll be using the blending tools. Here, I'll be going in with the tips. If you prefer, you can use blending stem, tissue paper, cotton, or cloth to get the smooth blending. Here, I'm aiming for the smooth texture, or you can see smooth blending for the whole cd as well as for the husk. These are the two cons, and to make it a bit more darker and clear, I'll be going in with the sakura micron pen to sew the outlines and make it a bit more clear. Let's add a few more husk for this first con. And these we are done with a basic pencil sketch. Let's go over the outlines of the pencilkech with this micron pen. I'm doing it to make the outlines a bit more clear. I'll be overlaying the oil pistol on top of it, as well as apply heavy presser with it to cover this outline the pen outlines If you want, you can use the outlining with the pints and apply heavy presser with the pencil color or with the oil pastels or you can use darker seats of the oil pastel to cover the pin or ink marks. Let's add a few more husk to make it a bit more denser. And with these, we are done with the micron pin. Let's erase the pencil outlines, and we will move to adding the colors for it. So as I mentioned, I'll be using the blending tools. So first, I'll be laying a layer of yellow or any other lighter set for the cons. And as for the husk, I'll be using sides of olives and lighter sets. So I'll be trying to create a little bit of contrasting husk with sides of green and a gradient in between them. So here I have already started with a golden yellow, and let's completely feel both the cons. Now let's go in with the greens for the husk. Here I'm using a lighter tone, and to make the insides of the conn, a little bit of lighter sad, overlaying this pale yellow on top of it, and to make it a bit more lighter. Now, let's blend the colors for this. Here I'm using the tip, applying heavy pressure with this tip to blend it. Here we are aiming for a smooth texture for the primary layer of these two cons. So if you want to make this processor a bit faster, you can use the tissue paper, cotton or cloth. But when you are aiming for pre season and accuracy, try to use the blending stemp or the Q tip. As for larger areas, use tissue paper, cotton clothes to do the blending of the colours. Here I'm not doing blending. I am spreading the colour to get a smooth texture for the primary layer or the base layer for these two corns. Let's move on to the husk, applying heavy pressure with this tip to blend. Both the colors, the pale yellow and the mint green that I added. You'll have to be a bit careful around the edges as we don't want the smudging of the color. Now, let's add another color for our corn. For this, I am going with a light olive. Let's completely cover the entire section of the husk with this. And, yeah, we are done with this. Now, let's add a little bit of darker seeds going in with the olive. I'll be using this to create the darker section to add shadows as well as use this to create the outline bold outlines for the husk. Now let's blend it once again, applying heavy presser with this tip to blend to blend all the colors, the inside section, the outside section. But primarily we are blending but primarily, we are blending the light olive with this dark olive. You are free to use other color combinations of the green and the yellows to create the cons, and you don't have to create the two cons even, you can use or create a single one. The choice is yours. Let's blend the greens for this base section. And now let's gradually blend moving from bottom to the top. It's advisable for you to start from blending from top to bottom. In this way, you can avoid the smudging of the color. Also, to ensure there is no smudging of the color, please tissue paper under your palm to avoid that. And as you can see the type of blending we are doing with the Q tip and the ingredient that we are getting from this kind of blending, it's somewhat more vibrant and more chutle as compared to the other ones that we use only oil pastels. And with this, we are done with the blending of this first con let's do the same for the second one, adding a little bit of olive. And now let's blend the two colours. Applying heavy pressure with the Q tip to blend it. And with these, we are done with the husk. Let's move on to the conn. For this cond, I'll be adding two or three layers of the color. First here, I'm going with the darker side of this yellow, and let's create tiny kernels. It's not clearly visible in here, but later on, I'll be using the ocher and set to make the kernels a bit more visible and clearly distinct. As well as I'll also be using pencil colour to create some kernels and do the outlining for the con. And with this, we are done with this one. Let's go in with the ocher. So let's create some of the kernels. Let's create some kernels with this complete circle, so complete sweep of the kernel, some specific kernels. And for the other one, I'll be using a little bit of russet or colored pencil, as well as I'll be using white to add the highlights along with the pale yellows. So these are the kernels that I'm creating with the ocher. If you want, you can use other dark sets. Since this is not that much clearly visible, you can use a little bit darker sets of the brown, too. For the two cons, I'll be using a little bit different color combination. For this one, I use the golden yellow, the darker side of the yellow, and the ocher and for the second one, I won't be using the other side of the yellow, only the ocher and the other color to create the kernels. If you prefer you can use the same technique for both one, but I decided to use a little bit of different technique to so that the first one is a little bit darker and the second one is a bit lighter. So let's add the kernels for this one directly with this olive here. I am creating a little bit more kernels with it as compared to the one that we did for the second one. So let's completely fill this con with the ochre. And we are done with the ocher for this one. Let's add a little bit of highlights and create a little bit of lighter sections for the corn. So you'll have to apply a little bit of high preser with the white to add it or overlay it on top of the layers of the yellow. Now adding the white for the husk. So now let's blend this white with the rest of the greens, applying a bit of preser and blending mostly the sides of the white with the rest of the greens. And now let's go in with a pencil to do the outlining and make the sees a little bit more defined, more detailed, as well as create some fine lines with it to so the distinct layer of the husk that we have got in here. So you are free to use other sets of the green or combinations of the green here, I'll be using the dark green, a little bit of the olive green, and yeah, a little bit of grass green too. So the choice is yours. And you can also use this to do a bit of blending. So add more colours wherever you think it's required and do the blending. Apart from this, we only have got the silk to add, as well as to the outlining for the corn and for the rest of the husk that we have got in here. Switching on to the other color for this side. So here I'm using the olive pencil color. And yeah, let's do the outlining for the rest of the husk that we have got in here. You'll have to apply a bit of presser with the colored pencil as we have two or three layers of the oil pastel. Let's remove the excess oil pastel dust and continue with adding fine lines and more details to the husk. Making the vase a little bit more darker. And now let's go in with olive to make some of the regions a little bit more darker and act as the outlines. Some of the regions of this husk is a bit lighter in the seed, so I decided to add more olive for the best part or the bottom section of those. And yeah, adding a little bit of olives for the lower regions. And now let's go in with the tip to blend it. We prefer you can use other sides of the olives too. But here, I decided to make it a bit darker. And let's go back with a pencil to do the outlining once again. H. So I am using sides of different green to create a little bit of contrasting and different outlines. If you prefer you can use only single color to do the outline, even you can use the darker sides of the black or brown to do the outlining. The choice is yours. And now let's do the silk for both the conn. So here I am using the colored pencil, the roset, and I'll be also adding some of the kernels with this. So here, too, I'll applying a little bit of high pressure with it to overlay on top of the layers of the conn, adding more silk with this ochre color. And now let's add few more kernels for this con with this rosette. I was aiming to make the first con a little bit darker and the second one a little bit lighter. That's why I added two seats of the yellows for the second one, and for the first one, we only use a single side. Adding a few more kernels for this cone with this colored pencil. And with these, we are done with this colored pencil now. Add more final touches wherever you think it's required. Here I'm making the lines a bit more bolder to make the outlines a little bit more bolder and more dark. Finally, let's add a few more highlights or reflection for the con for the second con. Using white and applying heavy pre service to add the small streaks for some of the kernels. And with these, we are done with the fifth and the final bonus project. I'll see you in the next video. 23. Thanks and conclusion : Thank you so much for joining me in this class. I hope you enjoyed learning how to sketch, outline and paint corn with oil pastels. We covered so many fun techniques from simple as sketches to building kernels, creating husk, and experimenting with different texture and the colors. Now it's your turn. Add love for you to upload your class project in the project gallery. You can see any of the two main project or even try the five bonus ones. Don't forget to also see her or practice seats with the sketches, seats, and color experiments. It's always inspiring to see the creative processes. Please leave a review if you enjoyed the class. Your feedback and suggestions means a lot to me and help me improve future classes. And if you want to keep learning with me, check out my other skills here classes. You can also follow me here on the skills there so you don't miss the new updates. Once again, thank you for painting with me. I hope you had fun, learn new technique, and most importantly, feel inspired to keep creating. See you in the next class.