Easy Oil Pastel Cups

1. Welcome and Introduction: Welcome to this class on easy oil LP still cups. In this class you will learn to paint seven easy and beautiful ILP still cups, starting with a simple purple cup, moving on to the blue cup, a cup with cherry branch. The next three will be Christmas team, starting with the red cup with Christmas lights, about poker with biscuits, and find me a VLOOKUP it snowman. For our final painting, we'll be painting two red cups. We will start the class, but then basic introduction to the oil pistol and different tools and techniques that can be used in this class. And how you can easily draw the outline for the cups, as well as some additional element that you can add to your paintings. Hi, my name is Michelle MSG, and I'll be your instructor for this class. Dismissed from India. And my profession, I'm a civil engineer. I hope you learned something new and exciting from this class. You can find me either work on Instagram, happy painting, and see you in the next video. 2. Class Project: As for the class project, you can paint any of the seven cups, or you can paint all the cups. You are more than welcome to come up with your own unique combination of the cups. You can experiment with different shapes and sizes. For the cup, you can use different colors and you can add or subtract different elements to the cuffs. I encourage you to join along with me as the whole video in real time. And let's paint. And don't forget to upload your beautiful artwork in the project section. See you in the next video. 3. List of Supplies: For this class you will need pencil, light colored pencil to draw the guidelines of the cups. It is partner. Masking tape to secure the foot blinding. I'll be using blending stump, Q-tip, anticipate instead of tissue paper, you can use cloth also. As for the oil-based stupid, I'm using black coil pistol paper for this class. I'll be using yellow ULP still. You can use whatever oil-based till you have. See you in the next video. 4. Pressure and Blending with Oil Pastel: Let's talk about ILP strlen preset. Ilp cells are very sensitive to preset. With the ILP style, you can apply three different types of presses, starting with a demonstration of light pressure. Now moving into the medium tracer, applying a little bit more pressure as compared to the light pressure. And find me going in with a heavy precept, applying a lot of pressure with the ILP still. These are the three different kinds of tracer that you can use with your ILP is still n, depending upon a different kind of situation, will be using different kind of pressure as required. And now continuing forward with Lending with different kinds of presets. For this, I'll be demonstrating you how light pressure, medium pressure, and having preserved plants. And as for the blending part, I'll be using Q-tip to blend the colors. Instead of Q tip, you can use blending stump, piece of paper or cloth or whatever you prefer. Blending means mixing two or more colored buttons we are using only single color in here. Blending refers to getting a uniform consistency of colors inside the circle. Drawing the circles with the pencil. The whole redo it in real time. So I encourage you to join along with me and practice. Starting with the first circle with light preserved. In case of flight preserver released surface area is covered. Moving on to the medium pressure. Then finally, applying heavy press it. I decided to add one more circle to demonstrate a different key scenario of blending with the heavy bristle. And with these, we are almost done with filling in that colors for different preset. Continuing forward with blending, with the blending here I'm using Q-tip for this first circle laptop like heavy pressure with a Q-tip to blend the colors. The surface area covered by the light pre-service lot in that adult, often with this blending Egypt translucent quality. Moving on to the second circle. For this, I have to apply medium pressure to blend the colors. The result obtained with this kind of blending is somewhat opaque. Now moving on to the third and the final circle. For this circle, I were playing a little bit of tracer. And even if you don't apply the preset, the blending is all opaque. So it depends upon you whether you'd like to leave it as it is and apply pressure to blend the color. The foot circle with a lot of heavy pressure. Prove this point. Now continuing forward with the demonstration, I'll be using different tools to blend the colors, starting with the pencil to draw the circles. Inside this circles, I'll be using the same color and applying medium pressure to fill the circles. For this demonstration of blending the colors, I'll be using my finger tip, blending stump as well as tissue paper to blend the colors. I'll be keeping the pressure of the color constant that is medium presser while wearing their tools. Now going in with a color to fill inside the circle. The purpose of this demonstration is to show you that you can use whatever tools you have to blend the colors. Filling in all the circle with a medium presser. Now starting with the first circle, going in with my finger and applying medium presser to blend the colors. Blending in with fingers comes in handy. When does that PCA is large. Now moving into the second circle, blending with a Q-tip. Q-tips are the most widely used tools for the blending of colors in case of oil pistols. Moving on to the third circle and blending with the blending stump. Applying medium to have a preset to blend the colors inside this third circle with the blending stump. Blending stumps are used for blending in narrower and constricted spaces. And finally, moving on to the fourth and the final circle going in with a tissue paper to blend the color. Applying heavy preceded with a tissue paper to blend the color instead of the tissue paper, you can use clothes. Piece of paper or floats are generally used when the surface area is larger. And with these burdened with a demonstration. And I hope you learned something new and practice along with me. See you in the next video. 5. Blending Overlaying and Blurring: For this section, I'll be demonstrating how to blend two or more colors, how to achieve gradient with colors. As well as some of the ILP style techniques, such as overlaying and blurring effect. For this first demonstration, blending with two colors, I'll be using three colors, yellow, red, and blue. And as for the placer, I'll be using media when heavy preserved. So here are the three colors that I'll be using for this demonstration of blending of two colors, I'll be showing you three techniques. The first one will be overlaying two colors for blending. The second one will be by keeping us a present in with Tim, the two colors and going in with the blending tools to blend the colors. And the third one we'll be using white and commitment to blend the colors. Starting with first demonstration of overlaying technique for blending orderliness right on top of the yellow. And as you can see, that it's overlaid on top of the yellow appears to be ordered nice and color. Now moving on to our second demonstration, going in with the red and blue, overlaying blue on top of the red and overlaid sets and appears to be somewhat of violating color. And find me going in with the blue and the yellow overlaying yellow on top of the light blue. And the middle section appears to be somewhat of green color. This was just a rough demonstration of blending of two or more colors. This time, I'll be using the same color competition, yellow and the red, green and blue, and blue and the yellow. Now continuing forward with the second method of blending two colors, this time, instead of overlaying the two colors, are we maintaining the syphilis and in-between those two? And I'll be going in with the blending attempt to blend the color in-between. Now going into the right and W. Finally going in with the blue and the yellow. With these, we're done with the colors. I did not overlaid one color on top of the other. Now going in with the blending of stem and blending the in-between colors, blending the red with a yellow in the middle to obtain oranges color. Blending the red with a blue top ten violet color. And finding, blending the blue with the yellow to obtain green color. The blending obtained from this method is somewhat of a more uniform consistency as compared to the earlier method that we used by overlaying one color on top of the other. And finally, moving toward technique, I'll be using the same color competition. Yeah, learned the red, green, and blue and yellow. This time I'll be leaving a space in between the two colors. And then that DSPs, I'll be filling in the right. Moving on to the second one, the red and the blue. And finally, moving on to the third one, blue and yellow. No going in with the white, adding the white in-between the two colors. Now let's blend the colors. This time I'm using Q-tip to blend the colors. First time, starting with blending the white with the yellow and the white with red and phoneme blending the all three colors in the middle. Doing the same with the second one. Learning the white with the red and blue with the white. And finally, blending the all three colors in the middle. And then putting the thing with the third one. And with this, we're done with our blending demonstration using two colors. Now continuing forward with the demonstration, this time Malbec fruit ingredient with the yellow color. And to blend the colors for the gradient, I'll be using the second technique that we used earlier for blending of colors to bring in with a light yellow, deep yellow. Light orange. Orange. Be pardoned. And find me going in with already know, going in with a Q-tip to Blender color, blind, medium pressure with a Q-tip to blend all the colors. So this is our first example of the gradient. For the second demonstration that the gradient, I'll be using the same color combination. But this time I'll be living space in between the colors. And I'll be adding white and middle. Light yellow, deep yellow, light orange, orange button. Finally going intimidated. Coding right in the middle. Learning the white with the rest of the color, using the white and the Q-tip, blending a yellow with a deep yellow. Deep yellow with a light orange, light orange with the orange. And orange with a deep orange and finally deep orange, red. And with this, we're done with our second demonstration of the gradient creation. Now continuing forward with the other two techniques that will be overlaying and the blending setting with the overlay technique by overt link, I mean overlaying one color on top of the other color overlay technique to work properly, you have to apply how we created the first example. I'm using yellow and the red. I'm overlaying rate on top of the yellow. You have to keep in mind that not all Collette can be overlaid on top of each other. For the second example, I'm using the same colors, yellow and red. But this time I'm using rate as my primary layer. And on top of this, I'm going in with a yellow. As you can see. You're looking not be overlaid properly on top of that red because yellow is blending with the red and creating orange color. And the same goes for our third example, using yellow and w, using yellow as the prime really. And on top of this, I'm going in with them low, overlaying this blue on top up the yellow is greeting somebody greenish color. But reversing the order of the color, overlaying yellow on top of the blue overlay technique can be achieved. Removing the accumulated blue color from the yellow using tissue paper for cleaning your oil pastel color, you can use Cloud also now continuing forward with the last technique for this section, blaring, blaring, blaring the edges of the color. For this, I'll be using the same three colors, yellow, the rate or the orange color, and W. As for the tools, I'll using Q-tip and blending stump, as well as I'll be using my finger to blend the edges of the color. Now, let's blur that color. For this first one, I'm going in with my finger and applying heavy prefer to blur the color. For the second one, I'm going in with a blending stump, applying heavy pressure with the blending stump near the edges of the color to achieve the blurring effect. And for the third and the final one, I'm going in with the Q-Tip. The same lighting effect can be achieved using piece of paper or cloth. With this, we're done with this demonstration for this section. See you in the next video. 6. Cups: Now moving on to drawing cups. In this demonstration, I will show you how you can easily draw the simple cups for all our class predict either I'll be drawing the sake of the cupboard directly on the paper, but I'll be following the reference line to draw the cups. When our first example I am directly drawing the shape of the cup on the people. The whole renewed in real time. So I encourage you to join along with me. And let's go some of the cups. Rowing this first basic cup using simple shapes. Now at I think the handle to the cup, adding boundary to the rim of the cup. Now moving on towards I can come for the second cup. I'm using the reference line to draw the cup. The cup is facing towards the right. The center of the top has shifted towards the left corner. Turning handle, Foot Locker, base to the curb. And with these, we are done with our second example of that curb. Moving on to our third cup for this element drawing America, starting to drawing with a flattened ellipse for the top of the cup, dividing the ellipse into four equal parts. And now I'm going in with a straight line through the center of the cup and dividing the whole cup into two equal parts. And now defining the outer boundaries for the curb hiding there and therefore the cup. With this, we are done with our third cup. Moving on to the fourth and the final cup. For this demonstration, I'll be drawing two curves using a reference to draw the guideline for the cup. Instead of killing the ellipse at the intersecting lines. Going out. The basic outline of the cup, defining the base of the curb, defining the second cup. Now adding handle to the cups. I forgot to add the base for our first cup. With this, we are done with the basic shapes of the curve using that influence lines. Now moving into the sauces for the Cubs, groin, so easy, you just have to draw two concentric ellipses and add a base to the saucer. Following the same method for the saucer and adding this offset for this big cup do concentric ellipses with obese. With this, we are done with the cups and the saucer. See you in the next video. 7. Additional Elements: In this section, I will show you some example of the artist's name lehman, that you can add to your main projects. So for our first demonstration, I'll be showing you a symbol cheering done with the theory, starting with a pencil to draw the basic guideline for the main branch. Now I'm going in with a rate and creating small circles with array to represent the theories. And finding going in with the brown and connecting the terrorists to the main branch. To add more details to this painting, you can use to where reasons of the brown. And that's what the theories, you can use a little bit of height two. So the reflection of the theories. And with this we're done with our cherry branch moving onto the light for the lights alveoli using two-color, starting with a yellow, dots with this yellow. And for the other color, I'll be using Vue. Bring the scene with them, loop rating dots with them. You, you can use other color, whatever you prefer. Now going back again with a yellow to create the wires connecting lights to each other. To add more details to it, you can use different colour of the wire. You can add more colors to it, and you can use fight to add reflection to the bulbs. And let's put the final touches. I'm going into my finger to add the blurring effect with a yellow light. And with this, we're done with our second example of the decimals. Now moving on to our third example, who lived and for this I'm starting with a rate setting three smaller circle with a red and leaving a little bit of space on the top left corner. Now going in with the white and adding it on top left corner to represent the highlighted portion. And as for the leaves, you can use any color combinations of the green. Here I'm using tallow green and light green. You can use whatever green tube reform, growing them basic outline for the leaves. The known Lincoln, even the light beam. And now filling in the light green side the leaves. I have a blank medium presser with it and not covering the whole section. No. Going back once again with the yellow-green and overlaying it on top of that and your outlines. With this, we are done with our holy branch. No, moving on to the fourth example for this album, drawing three simple theories, starting with the red, drawing three different circles. Apart from the red, I'll be using white and dark brown to add more detail to the theory's going in with the white to add reflection to the cherries on the top left corner. And now I'm going in with them around and adding it to the bottom right corner of the theories to represent the side of religion. Some of the theories and release we're done with our cherries. Moving on to the fifth element number sqrt. For this, I'm starting with our initial load and drawing a circle, applying medium pressure with the outer nuclear layer to draw the circle. And now with the same medium presser, I am filling in the rest of the circle. And now I'm going in with the skin tone and overlaying it on top of the ordinance yellow and drawing three concentric circles. And that's where the final touches, I'm going in with the dark brown and overlaying it on top of their skin tone. With this, we are done with our first element. Or the sixth element will be drawing the white snow man with a scarf and hacked, starting with drawing three circles in as endings, ideas and other to further torso and the rest of the body. And now I'm going in with a rate for this carbon. The head painting white on top of the head. The hands of the snowmen with a black for the ice and the buttons of the snowman, I'm using black, the nose, I'm using orange. And with this we are done with our white snow man with a scarf and hurt. Moving on to the seventh and the final element for this, I'll be drawing snow cover trees. This one is very easy. For this knock over trees. I'll be simply drawing four triangles for the first 3.3 triangles for the second tree, adding one triangle just below the other triangle, milkweed, the CBO snow cover trees. With this, we are done with our four triangle trig, moving into the second three triangle tree. And with these, our seventh and the final elements, snow-covered places complete. I decided to add some white to the hand of the snowman, as it was not clearly visible. Burning some final touches with the white and the black for the snowman and release, I would add additional elements, sexiness complete. See you in the next video. 8. Purple Cup: For the first-class project will be painting a simple purple cup with a saucer. Going in with a pencil to draw this kit for the club. He had a hub radically started drawing this kid with the pencil. If you have difficulty, you can start with drawing the ellipse, dividing the election to 40 full part, and then using the center of the ellipse to draw the rest of the cup. Like we did earlier in our sketches. The whole reduced in real time. So I encourage you to join along with me and let's pin. If I named the curvature of the cup, finding the mass of the cup. I didn't the race to the cup. Hurting her nose to the cup in the seat belt, the letter S. And with this, we're done with this kitchen of the cup. Now let's paint for our first simple cup. I'll be online using lilac. Salomon, think are good at a dark variation down here. I've already started with defining the lower boundary of the cup of the allylic, as well as defining the boundary of the curvature of the curve with the allylic. Allylic for the top left corner as well as the bottom of the cup. Now, going into the settlement and overlaying some of this element on top of the lilac. I'll be going back and forth with the settlement and the lilac. Finding the base of the cup with the lilac going back with the allylic for the handle of the cup. Going back with the solvent for the handle of the cup. Once again, going back with a lilac for the top part of the cup. Heading Salomon in-between. Defining the other edge of the cup. With these, we're done with the allylic and this alone for now. Now, let's blend the color. I'm using Q-tip to blend the color. I'm starting from the base of the cup to blend the colors, you can use whatever tool you prefer. Now let's blend the rest of the curve. Starting from the bottom of data, blending the lilac with the settlement. Blending the allylic with the settlement may airplane medium pressure. If you use cloth or tissue paper than lightning will be much faster. Loved playing how people decide to blend the colors in the middle. Faith to maintain the contour of the cuff while blending the colors. Greenland to the handles of the curve. We lease, we're done with the handle moving onto the top part of the curve. Learning the allylic with the settlement. Blending the colors in the middle, once again. Going back to the beats of the cup with this element and adding it on the left side. Learning this element to the rest of the lilac. Now, earning the settlement for the insights of the cup. Going in with a Q-tip to blend the settlement blending mode for the mass of the cup. Now for the insights of the cup, I'm going in with the ocher, learning the ocher to a smooth consistency. Finally going with a darker variation of them around. We're done with our purple cup and then brings, now, moving on with the saucer. For this time I'm starting with a light pink, going to flatten it lifts with the pink. Growing up Latin, he lives with the pink and filling in the color. Blending the pink to a smoother consistency. Now we're going into the lilac, blending the lilac to a final consistency. Blending the allylic purified and consistency for the saucer. And with this we're done without saucer. Now going in with acuity for the final touches. Blending the colors wherever required for the finite consistency. And with this, we're done with our purple cup and saucer. See you in the next video. 9. Blue Cup: For our second class project, we'll be drawing a blue cup with a whip cream. I'm starting with pencil to draw the guideline for the cup, starting with a flattened ellipse and dividing it into fourths, x and the whole we do it in real time. So I encourage you to join along with me and let's paint. The center of the ellipse is drawing a straight line and dividing it by finding the depth of the cupboard, that straight line. Then finally, in defining the curvature of the curve with these word inevitably six people of the cup. The cup notating handily to the cup. That's what the color for this project. I'll be using cobalt blue, turquoise green. Wait for the cup for clean. I'll be using settlement, as well as our nice yellow for the toppings. I'm using light blue, golden yellow, and it's cartilage. And as for the reflection, I'll be using little bit of light gray. Sketching out a rough guideline for the whip cream. Growing in heart in the center of the cup. Adding an inverter and exclamation mark on the left side of the cup to represent the deflection on the cup. With this, we are done with the sketching section for the curb. And now let's paint starting with cobalt blue, defining the outlines of the cupboard, this cupboard view, adding a small streak of cobalt blue on the top of the curve. Adding this covariate blown left side of the cup. Put the coffee mug. I'll be using cobalt blue, turquoise, green, and white. Carefully outlining the inverted exclamation mark with a cobalt blue, outlining the heart with the cobalt blue. Adding a little bit of cobalt blue under the hood, adding little bit of cobalt blue on the right side of the tub. Now going in with the turquoise green filling in the rest of the copper turquoise green layer playing heavy preserved. For the cup, I'll be not be using any blending method. We simply using overlaying technique to blend the two colors together. Surrounding the heart with the turquoise green and overlaying it on top of the cobalt blue. Filling in the rest of the curve with this turquoise green. As we discussed earlier during the demonstration of overlaying western blot, all the colors can be overlaid on top of each other. This turquoise green can not be totally overlaid on top of the cobalt blue. So I am using this asset advantage to blend these two colors. Most of the cobalt, turquoise, green is somewhat visible. So there is no need to blend these two colors using any blending tools. Adding more turquoise green wherever required. Redefining the age of the HUD with this turquoise green. And with this, we're done with the turquoise green and the cobalt blue. Pull that up for now. Now moving downwards towards the base of the cup, starting with this cobalt blue, adding this cobalt blue mainly towards the left side of the cup. If finding the boundary of the base of the cupboard is cobalt blue. Now I'm going in with the turquoise green. Filling that costly for the whole base, as well as overlaying it on top of the cobalt blue. Applying heavy person with this turquoise green to blend it with the cobalt blue for the beta of the curb. Going back once again with the turquoise green to define the base of the cup. Moving on to the handle for the cup. Moving into that cobalt blue. Finding the outline of the handle of the cup with this cobalt blue. Adding two more cobalt blue near the right side of the cup. Now going into the turquoise green and filling in the handle of the cup. Overlaying this turquoise green on top of the cobalt blue. Moving their cumulative oil-based to dust with a virus. Now containing photo with the rim of the cup with white. White on top of the top with heavy bristle. With the same almost done with the rim of the cup with the white. That's what the inverted exclamation mark that will act as a reflecting surface for the cup. I'm going in with the white, seamless for the hug, filling in the heart, but the white. To add some reflection for the handle of the cup. I'm adding a little bit of white, seamless for the base of the cup. Adding little bit of white on the left side, adding in some more white wherever required. And with this, we are done with the cup. Continuing forward with the whip cream on top of the cup. For this assignment, starting with the settlement, defining the scope of the with settlement screen, I'll be using settlement and oranges, yellow is for the toppings. I'll be using golden, yellow, light blue, and red. With these, we're almost done with defining the seat belt and whip cream, adding little bit of settlement on the left side of the whip cream, as well as on top of the rim. I'm applying medium pizza with this element. For the cream also, I'll not be using any blending tools. I'll be using overlaying technique to blend the colors. Adding little bit of solvent on every layer of the whip cream. Know, going in with the oranges, yellow folder, clean, supplying medium pressure with this odd, nice yellow overlaying some of these oranges, yellow on top of this element. Filling in this order in use, yellow for every year of the war between and overlaying some of this orangeish yellow on top of this element. Applying medium pizza with this or in UCL and leaving a little bit of a space in-between. Booing Rick once again with us Elman, and applying a little bit of a reprise it for the bottom layer. Doing the same for the rest of the layer, applying little bit of heavy piece and on the left side of the rib clean on every layer. Earning in the color wherever required. Nobody defining the shape of the guts of the whip cream. With these, we're almost done with them in between. As for the toppings, I'll be using Scarlett, golden, yellow, and light blue here. I've already started with the Scarlett, creating smaller random streaks with this cartilage. I was learned satisfied with a clean, so I decided to add little bit of more or a nice yellow as well as a little bit of more Salomon. Continuing forward with the whip cream, going in with a light blue and creating random strings. Continue for red with the addition of toppings on top of the whip cream, confined in, going in with a golden yellow and creating random streaks here and there. And with this, we're done with the addition of topping on top of the whipped cream. And for the final touches, I'm going in with a light green and adding it just below the bottom of the cup, applying medium pressure with this light gray. Now, going in with my finger to blend the color and creating a blurring effect with this light green. Adding some more white wherever required. And with this, our second product lookup with the whip cream is complete. See you in the next video. 10. Coffee Mug: For our third class project, we'll be painting a coffee mug with a cherry branch. For the third project, I'll be using a reference line to sketch out the guidelines for the mug, starting with drawing the intersecting lines. Then instead of calling this intersecting line with an ellipse, drawing the outer rim of the mug. Known drawing parallel lines with the sites of the mug. Now what do we do it in real time? So I encourage you to join along with me. And finally, connecting this parallel line for the base of the mug. I decided to add more volume to the smoke by adding obese, but I was not satisfied with it, so I decided to erase it. Now I think the handle to the mug and find nice getting out the deadline for the saucer. That's what the colors I'll be using, yellow, ocher and brown for the mug, for the saucer. I'll be using a reset in brown. For the cherry branch, I'll be using the red and brown. And with this we're done with this getting sex and for the mug. And there's also no, let's paint starting with pale yellow, defining the outer edges of the mug with the pale yellow. Now moving on to the handle of the month, ending this milimolar inside them, completely filling in sites of the mug with the SPD. A look. Now moving to the rim of the month. I think that being alone other side of the mug. With this, we are done with the pale yellow for now, continuing forward with the ocher, adding a little bit of ocher and on the right side of the handle. Now adding more ocher inside the MC to provide the control to the moon. And that's, well, let's look at heat, light and then friction, the hole. We do it in real time. So I encourage you to join along with me while adding the circle. Now adding this ocher to the left side of the room. Doing same for the other side of the room. Adding some more ocher here in the innovative and required. Also redefining the base of the mug with this ocher. Now let's blend the color. I'm using Q-tip to blend the color. I'll be applying heavy pressure to blend occur with the pale yellow. You could use any other tool, whichever you prefer. A blank here, replace it to blend the colors. Most time are starting to blend the ocher to create a smooth consistency. Later on, I'll be blinding the PLO with the alcohol. I decided to add more pale yellow. Now going back once again with a Q-tip to blend the color. Learning to occur in the middle. Now blending the ocher with the PEL on the left side. Now I'm blending the ocher with a p alone the right side. Moving on to blending the color for the handle of the mug. Blending the PLO with the ocher for the handle of the mug? No, blending the rim of the mug, applying heavy press it to blend the ocher with a yellow for the rim of the mug. Doing the same for the other side of the room. With these, we're done with them learning section ball no. Going back once again with the ocher to redefine the rim of the mug. A notary blending the ocher with the PEL look on the rim of the mug. Now for the insights of the mug, I'm going in with that assert Blaine medium pressure with that assert. Now going into with the Q-tip to blend the rosette, finding consistency. Using the scene with a set for the saucer, heating on the base of the mug with that effort. Filling in the rest of the upper part of the saucer. Defining the age of the saucer with data sets. With this, we're done with the rosette. Losing bid the bottom part of the saucer. For the bottom part of the saucer, I'll be using brown and I'll be applying happy to distribute the brown leaves. We are done with the saucer. Moving on to the cherry branch. For this, I am starting with the TVs. If you go for p-value kinetically start with a red cherries. Otherwise you're going to start with the pencil escapes. Here. I have already started directly on the paper with the red. Now for the branch, I'm using the same brown. Connecting theories to each other as well as connecting theories to the branch. Add more depth and detail to the Cheerios brand. You can use Y2, so highlight on the genies. And that's what the bone, you can use another shade of brown to suit the light and the side dose. But here I'm keeping the project as simple as possible. So I am only using two colors. I think some materials he had in there. With these, we're done with the TVs and the brand. I decided to add some more brown to the inside of the cup. Someone, but I'll do the branch. And with this we're done with the coffee mug with the cherry branch. See you in the next video. 11. The Cup with the Lights: What about filter drying? Really painting a red cup with Hollywood ranch in the light, starting with pencil to sketch out that guideline for the cup. Starting with drawing the intersecting lines than encircling this intersecting line with an ellipse, the hole. We do it in real time. So I encourage you to join along with me. And let's paint from the center of the intersecting line, drawing a perpendicular straight line, facing downwards. Choosing the perpendicular straight line drawn from intersecting points, defining the depth of the cup. Now I'm drawing two parallel lines when the both side of the Cubs, earning a little bit of God when the bottom of the boat parallel lines and connecting those two lines. Turning the handle for the cup. The cup is not symmetrical as the cup is facing towards the left. Their Twitter handle is somewhat up centered from the right side, and thus making it look symmetrical and off-center. Then finally, adding in base two the cup. And with these, we are done with this getting sex and for the scalp, for the cup, I'll be using scarlet, brown, white, and golden yellow. Here. I've already started with the brown. Starting to add this land on the top of the cup. Later on, I'll be adding the same amount on the left side of the cup. So let's just below the handles. I'm using this counter represent the side of religion for this cup. I'll be overlaying Scarlett on top of it. Continuing forward with the brown, adding it on the left side of the cup. I'm applying medium pizza with this brown. Adding the brown to the base of the curve, and adding some more down below the handle of the cup. And with this, we're done with the brown for now. Know going into it that Scarlett, I'll be overlaying it on top of this brown. Blame medium pressure without aid. Don't get confused with the same color. Some primary upset read and sometime I have said this cartilage overlaying the skull it on top of the brown. I'll be completely filling in the cup, the handle, as well as the base of the cupboard. This is cartilage. This cartilage on top of the brown carefully filling in this cartilage near the handles of the curb or link this cartilage on top of the rod near the handles of the curb. Finding the edges of the cube with the Scarlett. Moving downward toward the base of the Covenant is cartilage. And with this we're done with this colored for now. Now moving back with them, I think they're brown for the handle of the curves. Going back with a scarlet once again, now overlaying the Scarlett on top of the brown, not completely covering in the brown. Defining the upper edge of the handle with the scarlet. Adding some more discolored for the beats of the cup to redefine it. C. Now for the rim of the cup, I'm going in with the brown link, some scarlet on top of the ground by not totally covering it. With these, we're done with the green for the cup. The inside of the cup, I'm adding some weight. Now for the inside of the cup, I'm going in with a golden yellow. I'm applying heavy pressure with this golden yellow. And now for the final touches for the inside of the cup, I'm adding some brown and overlaying it on top of the golden yellow. With these, we're almost done with our curve. Now let's add the highlights. For the highlights I'm using white, starting with adding the highlights for the handle of the cup, overlaying some of the white on top of the scarlet. Adding some highlights on the left side of the cup. Earning some highlight on the left side of the cup by overlaying the right on top of this cartilage. Adding some more weight for the inside of the cup that was required. Doing the same for the breach of the curve by overlaying the white. Now moving on to the lights for the lights, I'll be using golden yellow and light blue, starting with a golden yellow, creating a small dots with a golden yellow. You can add as many lights as you prefer. Now going in with w. Instead of this golden, yellow, and blue, you can use whatever color you prefer. Now for the blending or smoothing the edges of the golden yellow with my finger. With these lights are complete. Now let's add the wire. For the wire, I am using my screen, connecting bolts to each other through the wire with the moss green. And finally, moving on to the holy branch. For the holy branch, I'll be using scarlet, white, moss green, and yellow green, starting with the Scarlett and creating three smaller circles. Adding bright as the highlight. Or laying right on top of the Scarlett, create the highlights for the leaves I love starting with the most green and defining the outline of the leaves. If you're not comfortable with directly drawing on the paper, you can start with a pencil sketch. For this, I decided to add three leaves. You can add more leaves if you prefer. Now for the insights of the leaf, I'll be using yellow green. Moving on to the second Neil. Filling in the yellow-green inside the mosque lean plane here with this element, this yellow-green. And finally, moving on to the third leaf, that's all the mosques and discovered by this yellow green, I decided to redefine the sake of the leafs with that small screen. So going back once again with the Maschine to redefine a seat belt. The leaves are going to be these. We are done with our later with the lights and the holly brand. See you in the next video. 12. The Big Purple Cup: For our first project, we'll be painting a big bulk, bulk up, starting with this kid's drawing an ellipse from the center of one side of the ellipse, drawing a perpendicular line. Using the both ends of the ellipsis, sketching out to straight line and connecting it to the base of the cup. And now I'm defining the curvature of the curve, starting with the left side. Now moving to the right side and defining the temperature of the cup. The whole videos in real time. So I encourage you to join along with me. And let's begin with this. We're done with the basic SI for the cup. For this group, I'll be adding two handles, starting with the first terminal on the left side, using a straight reference line to draw out the second handle for the curve. With these two are learned without escaping section. Now let's paint. I'm starting with the lilac, defining the outlines of the curve with this lilac. I'm using this slider to depict the sideway regions of the cup. Apart from this lilac, I'll be using more and light purple. On top of that, I'll be using wave. I'll be adding the slack on the top left side of the curb, bottom left side of the cup, bottom light shade of the cup, and a little bit of light in the middle. Moving on to adding the allylic on the bottom left side of the cup. Adding some line like in the middle of the cup. Now adding comparatively more allylic on the bottom right side of the cup. Moving on to adding the allylic for the handles of the curve. Now we are done with the lilac. Continuing forward with them all. I'll be adding this month just beside the allylic, everywhere. Surrounding the allylic presented the middle with a mv. And now adding them up in the lower section of the cup just beside the allylic. And with this we're done with them all for now. Continuing borrowed with a light purple. Filling in the rest of the empty space with this slide. But anyone playing media implicit with this light purple. And with this, we're done with the light purple. And now let's learn all the color, the mall, the allylic, as well as the light purple. Applying heavy presented with a Q-tip to blend the colors. Carefully, blending the colors, you the outlines of the cup. Blending the lilac with the mom and the mom with the light by moving to the upper section of the cup with the sputum. Now finally moving to the middle section, as there is very less pigment of the light purple, I was not able to blend the middle section. So going back once again with a light purple. Now let's blend the rest of the cup. Applying heavy pressure with a Q-tip and blending the rest of the colors for the middle section of the cup. Moving all across the cup with this Q-tip and applying heavy visit to blend all the colors to a TB, find that consistency of the colors. Continue forward with the blending and applying. Having visited with this Q-tip, a T-bill, find that consistency of the blended colors. And with this we're done with them lending for the cup. Now moving on to the handlers of the cup. For this, I'm going in with this slide, but adding this slide, but we'll just below the lilac. Now let's blend my colors. Blending the lilac with a light purple for the handles of the cup. Moving on to the other handle. Earlier, I mistakenly smells a little bit of the allylic and the bottom part of the tub. So I decided to cover it with the base of the cup, going back once again with a lilac and adding and Bs to the cup. Going in with a Q-tip to blend this slide electrodes even find that consistency of the colors. Still I was not able to cover this month. So I decided later on I'll be adding theories on top of it continuing forward with the tub going in with the white and adding designs in the form of snow cluster, I'll be earning eight to nine designs. Have this node cluster throughout the whole week deals in real time. So I encourage you to join along with me while painting this little crystals. I'll be wearing the sequence id of the snow crystal designs. Adding a somewhat biggest know Kristen designed on the right side of the cup, adding and then there's no distalless and on the bottom left side of the cup, creating some smallest nucleus, two designs in the middle of the cup. Moving towards the about section of the cup and creating another design of the snow cluster. Adding another smaller Bristol in the middle of the cup. Now adding details to the snow crystals. Adding more details and finer distinction that the ice crystal designs. That button middle section of the curve was somewhat lacking. So I decided to add one more smallest nucleus to design. With this, we're done with our snow crystal. This means ending a little bit of white in the lower base of the cup to do some reflection. And doing the same for the upper part of the tub, adding a little bit of white to so the reflection. And with this we're done with the white for the cup. Now moving to the biscuits for the biscuits, I'll be using orange, yellow, Zelman. And does it get, I've already started with the orange, yellow. I'll be drawing three biscuits with it. Now going into this element and this element on top of the orange, yellow using this cell went to layer, thicker layer of the color on top of the oranges, yellow. I'll be using the settlement as well as other Nicea learned that alternating pattern. Going back once again without in this yellow adding it just below the settlement. Moving back with this element, this element is to be loved the ironist yellow. Again going with the oranges, yellow. And that's what the final layer I am going in with this element. Adding this element wherever required, and release we're done with the oranges, yellow, and the settlement as the primary lead for the muskets. Later on I'll be adding rosette on top of it. Now continuing forward with a fully branch, I'm starting with the Scarlett, creating two small circle with the Scarlett. As for the leaves, I'll be using turquoise green as well as yellow green. I'm starting with the turquoise green to draw the outline with a lead grind outline for the second leaves. Now going in with the yellow green, filling this yellow-green inside the outline of the turquoise green. I'm playing medium presser with this yellow green. You can use other combination of the green, whatever you prefer. And with this we're done with the turquoise green as well as the yellow-green. It's continuing forward with the rest of the painting. I decided to add six more teary is three on each side of the cup. Here I have already made three Cherry with this Scarlett on the left side of the curve, moving towards the right side of the cup, creating three more series with a scarlet on the right side of the cup. Now going in with the white to add highlight on the Chinese, adding white for the holy bronchial. So with this, we are done with the holy branch in the series. Now moving back to the biscuit with the rosette, I'll be overlaying this little sit on top of the settlement, creating small circles with the rosette and overlaying it on top of the solvent in the middle of the two biscuits. And overlaying a little bit of receptors on top of every cell when layered. With this, we are done with the biscuit. And finally going met with the lilac could define the rim of the cup and release. We're done with our first project. Let's unmask the masking tape. I hope you learned something new and exciting from this project. See you in the next video. 13. The Snowman Cup: Photoresist the brain. We'll look painting of lookup with a snowman design. Starting with pencil to draw the guideline for the sketch. Growing a little slanted straight line from the center of that slanted line, going somewhat perpendicular line to define the depth of the curve. No drawing two parallel line for the sites of the cup. Growing new lives in circling the first line that we drew. No defining the base of the cup and 510k, adding their own data backup. And with this, we are done with this getting sex and for this painting. Now let's paint. I'm starting with the Cepheid, defining the outline of the cupboard, the sapphire blue. I am using the Cepheid recruit depict us how do we lead into the cup? I'll be using the sapphire blue on the top left side of the curve, as well as the bottom-right side of the cup. I'm applying heavy pressure with this stuff. I add blue. Ablating this, if I add blue on top of the pencil sketch. Now continue forward with the sapphire blue on the bottom right side of the cup. Defining the outline of the curve with the sapphire blue and filling in the rest of the space with this sapphire blue by applying heavy place it. With this, we are done with the SEP IMU. Now continuing forward with the white overlaying some white on top of the sapphire blue. Now moving on to the other side, overlaying this white on top of the sapphire blue on the bottom right side. Adding some more white here and there, wherever required. By adding a little bit of light on the top left side, as well as the bottom-right side of the cup. With these, we're done with the white continuing forward with the ultramarine blue overlaying some of this ultramarine blue on top of the white. I'm applying medium pressure with this ultramarine blue. And with this we're done with the ultramarine blue. And finally, going into with the light blue. Filling in the rest of the empty space with this light blue, I'm blowing medium to heavy pressure with this light blue. And with this we're done with the light blue. Now let's blend the color. I'm starting with blending the light blue with the ultramarine blue. I'm applying heavy pressure with this guilt trip to blend this ultramarine blue with the light blue. You can use whatever blending tool you prefer. No blending the right with the sapphire blue. Applying heavy bleed it to blend this color to a ***** and consistency of the colors. Moving downward, blending the sapphire blue with the white, going back to them and they love the cup and blending the light blue to it through their consistency. And finally, blending the sapphire blue, white and the light blue altogether. Moving a little lower, I'm blending the light blue with the ultramarine blue and the white. Now, learning the ultramarine blue, sapphire blue and the white altogether. With these, we are done with the blending for the cup for now. Moving on to the handles of the cup, I'm starting with a sapphire blue, defining the outline of the handle with the sapphire blue. Adding a little bit of sapphire blue near the bottom of the handle. Now going in with a light blue. Now going in with the light blue and applying medium press and then filling in the rest of this handle with this light blue. Now let's blend these two colors together. Blending the sapphire blue with the slight blue by applying heavy pressure with a Q-tip to obtain a smoother consistency. Blending the lower section of the handle. And with this, we're done with the blending for the handle of the tub. Now let's add details to the cup. Going in with a white, I'll be creating three circles of increasing size for the snowman. I need to tighten the biggest circle with this white. And with this, we're done with the basic theme of the snowman. Apart from the snowman, I'll be adding snow-covered. Please. Bring out the guideline for the trees for wood that reads Albert into triangles. Starting with the first triangle for our slope, our tree on the left side. The left, we decide this other triangle will be comparatively bigger as compared to the right one. The third and the final triangle for our snow-covered tree. Moving on to that tree on the other side, starting with first triangle, second triangle. And finally the third and the final one. Now adding the main trend for the tree. Adding a little bit of white just below the snowman and the tree. And with this, we're done with the white for now, bringing it with a Q-tip and learning the lower section of this white. Now going back once again with the white for the rim of the cup. Applying heavy pedestrian with this white could define the rim of this cup. Now I'm going in with a light blue and adding in this below the white on the other side of the cup. And that's what the inside of the cup I'm going in with the island this yellow. And finally adding a little bit of brown on top of this orangeish yellow. With these we're, and for the insights of the cup. Now moving back to the snowman, going in with the black, adding the ice of the snowman, the hands of the snowman, as well as the button for the snowman going in with a red for the cap of the snowman, as well as the scarf up this lumen. Adding this scarf of the snowman with this red. For the notes of the snowman, I'm going in with the orange. Adding weight on top of the snow, mentored and learning a little bit of white for the highlights in the eyes of the snowman. Lastly, moving on to the holy branch for this, I'm starting with this red. I'm overlaying this right on top of them. Lose, we will go to the other side, adding some more circles with the red on the left side. Now, moving on to the lips for the holy branch, for this, I'll be using a middle green and yellow green. Here. I've already started with the emerald green to draw the outline for the leaf. Bring the outline for the leaves with this emerald green. Moving on to the other side for the whole rebrand, bring out an outline for the leaves. I decided to add one more red circle and now going into the black and adding it on top left corner of the right to represent the side of religion. And that's for the highlights. I'm going in with the white and adding it onto the bottom-right corner. Continuing forward with the Lean, going in with the yellow-green and filling in the leaves with this yellow green. I'm applying medium pressure to fill this leaves. Well known to the other side. Earlier I was using medium pressure to fill the leaves. Now I have decided to use heavy prison. Filling in the leaves. Once again, we're playing heavy precess, defining the shape of the leaves with this yellow-green and then filling it. And finally filling in the last live with this yellow green. With this, we're done with the yellow-green. Because of the overlapping of the yellow-green on top of the green outline of the leaves are not clearly visible. So I decided to add the middle green once again and bring in defining the outline of the leaves. Overlaying the weather vane on top of the yellow-green and redefining the shape of the leaves. And with this, we're done with the holly branch. And for the final touches, I'm going in with white to add some highlight to the top, starting with the handle, adding a little bit of white on the handle. Now going in with a Q-tip to blend the colors, blending the white on the cup, as well as blending the right on the handle of the cup, adding some more white here and there wherever required. With these, we're done with our sixth project. I hope you learned something new and exciting from this project. See you in the next video. 14. The Double Red Cups: The seventh and the final project we'll be painting to read cups. Here I've already started with drawing the basic escape for the Cubs. This getting us lended a straight line with this pencil. Instead of killing the slender discrete line with the ellipse. The whole renewed in real time. So I encourage you to join along with it. Let's bring this two beautiful cubs. Going to parallel lines coming out from this led to the straight line to represent the sides of the curve. Then finally connecting these two parallel lines to make the base of the cup. And with these weird and without first cup moving on to the second curve following the same procedure, starting with growing a slanted straight line and then encircling it with an ellipse. Now I'm drawing another parallel lines and finally connecting it to form the base of the second cup. And with this, we're done with the basic Seafood. Would the cup. Now moving on to adding the handle for the cuff, starting with adding the handle for the left curve, hardening the handle for the right curve. And now continuing fire with this, getting, adding that to the curb, and finally adding the base to the Cubs. And with this, we're done with the basic excuse. Put our class project, moving on to adding the colors. Here. I'm already started with a brown. I'll be overlaying this, but on, on top of the pencil sketch, I am using this button to depict the darker region for the cup. Adding a little bit of brown for the rims of the cup. Adding some more without another handle of the cup. Adding done with the two cup touches. Adding more without under the handle of the left cup. And finally adding a little bit of more brown for our right cup. And with this we are done with them around continuing forward with the light green. I'm using this light we do to present the lighter the agents have this cup. I need some of the slides people the rim of the cup, concentrating most of the lightly on the right side of the left cup. Know going in with a settlement overlaying some of the settlement on top of the light gray. And gentlemen, the slide degree with this element, this cup apart from this brown, light gray and the settlement, I'll use the audit and what we know going in with the audit. So don't need the light ray and the settlement with the orange. After the iron comes down with a blank, heavy person when there's someone million and filling in the rest of the empty space of the tub with this, when me and I'll be leaving a little bit of a space while using this when we're moving on to the second tab, over links some of this vitamin lean on top of the brown. And with this we're almost done with the primary layer for this cup. Apart from this pilus, I'll be adding more layers of color wherever required. And finally, I'll be going in with the white to add the highlights for the cup. Now let's blend the color. I'm going in with acute them to blend the color, you could use whatever tool you prefer. I have a blank. I replace it with this Q-tip to blend this brown with a 1 million. Moving up one, blending the colors near the handle of the cup. Totally blending them around with a vermillion. In Plotina, find that consistency of the blending colors. Now moving a little bit lower, lending this element and now are innervated by the median. And finally, moving on to the middle of the cup, blending the light gray with the rest of the colors. Applying heavy preserve the Q-tip to blend all these colors. And now blending wherever the final consistency of the color has not been achieved. Moving on to the second cup following the same procedure, blending them vermilion with the brown first, applying heavy Preston with the sputum to blend the vermilion with the midtone. Now moving but the middle texts and learning their grieved for the rest of the colors. Moving downwards. Learning this word mean with them, I don't know. Learning the orange with the brown. Learning the lower section of the cupboard that filter. And with this we are almost done with about primary lead for the blending. By primary, I mean, I'll be adding more colors on top of this and blending it to the rest of the car. Let's now going in with about 1 million and adding it wherever required to make that curve appear more sign here. And now blending this vermilion to the rest of the color. This time instead of applying how inquisitive blend up when meeting with the rest of the color, I were playing medium pressure, the modal yet you will be adding on top of each other, the harder it will get to blend the colors. So that's why you're applying medium precedent set of the heavy pressure. And with this, we're done with blending the vermillion for now, moving on to the handles of the cup, I'm starting with a brown overlaying this ground on top of the pencil sketch with this thread done with the brown. Bringing with them 1 million. Pulling the rest of the handle with this value mean, overlaying some of this vermilion and top of the brown. Now let's blend this vermilion with the brown using the Q-tip. Totally blending this one mean with that brown by applying heavy preceded with the Q2 to achieve consistency of the blending colors. Moving on to the handle, bling him implicit to blend the colors because there was no clear distinction between the handle and the rest of the cup. So I decided to add little bit of brown below the handle. I think Tim Woodward million to the handles of the cup per million to the rest of the handle. Now moving on to the mass of the cup, the starting with the brown, brown for the release of the cup. As well as defining the curvature of the cupboard, this brown. And now I'm going in with about 1 million overlaying them. I don't mean to get on top of the ground. And now let's blend this by meeting with them around, applying medium pressure with a Q-tip to blend this brown with them at the median. With this, we are done with a piece of the cup moving on to the rim of the cup, filling in that aid in between them down. Now, let's blend the color. Learning the vermillion in the middle with the brown on the top and the bottom. Moving on to the other cup of language, instead of with a Q-tip to blend the colors. And now blending the other side of that in by applying medium, place it on top of the brown. Let's put the inside of the cup. I'm going in with the ocher. Blending this occur with the Q2 to achieve a final consistency of the rocket. And with this, we're done with the cup. All that is left is to add the final touches and financing for the cup. I'll be going over the same color wherever required, as well as I'll be adding the highlight for the curve, and I'll be adding some color for the base of the cup. Here. I've already started with a very million adding a little bit of well-being for the base of the cube, as well as some of the very middle and just below the handle of the cup. Now blending the vermillion that we just added by applying medium presser with a Q-Tip. Blank medium pressure to blend the color this time, blending the colors wherever required. Learning to occur inside the cup a little bit. And now finally going in with the white to add the highlights with a curb, hiding the highlights for the handle of the cup. I didn't write on the upper left side of the cups adding a little bit of white on the rim of the cup. Now going in with a Q-tip and blending this white to the rest of the color by applying medium presser. Blending them, wait for the other cup. And with this, we're done with our two cup. Moving onto the base of the cup. Put this, I'll be using brown ocher alternatively, starting with the brown know going in with the alcohol, overlaying some of this ocher on top of the brown, adding a thin layer of the ocher just below the ground. And once again, going back with the brown, overlaying, a little bit of brown on top of the ocher. And find me blending the colors. Blending the Brown with the ocher. I'm applying heavy pressure with the cuter, cheap, the blurring effect with these colored a blank, they're heavy pressure of the Q-tip in the downward direction to create the blurring effect. Continuing to create the learning effect with this Q-tip. With this, we are done with our painting. Now for the fun part, unmasking the painting. I hope you enjoyed this project. See you in the next video. 15. Thanks and Conclusion: Congratulations on completing this class. I hope you learned something new and exciting from this class. If you have any doubts or question you can ask me in the discussion section. And if you ever meet any of the project, please have noted in the project section, he had limiting put your project. I would love to hear feedback on this class. Please leave a review and that review section. See you in the next class.