Transcripts
1. Hello Again!: Everyone, thank you for joining me here for this special accommodation class in the watercolor postcard series. And beneath that, I'm an artist from India. And this time it's all about. So we're going to explore all the color palettes of the vibrant colors that we see in nature during this season in detail in this class, and also all the elements that we associate with odd. Now this is a beginner friendly class. So even if you're not familiar with water as a medium, you're welcome to join it. We'll be exploring all the colors, all the elements, NPP movies get started with projects. And then we'll go on to create beautiful fun illustrations in watercolor. So without further ado, let's get started with some water telephone.
2. Materials Needed: The materials of this class, it's pretty straightforward. You'll need watercolor people. So I'm using the Ba Hong, a 100% cotton tree intermediates and papers. I've cut it into these small postcard size sheets. But you can use a slightly bigger or smaller people as you wish. Basically it's helped if it is a 100% cotton people. Now, for the colors I'm using, the Daniel Smith are discrete BAD colors. So you can use any watercolor brand that you like. And I'll be sharing all the color palettes that we're using for the projects separately. So you can just match them with the brand you have. For the brushes, you just need a couple of ground rashes and a flat brush. So again, this depends on size paper you're using, but since we're doing the small postcards, you won't be needing a lot of big brushes. And we need one white gentlemen for the highlights. So since we're going to do some fun illustrations, it'll help if you have a white gel pen OK wash to add those highlight. And that's about it. It really doesn't matter what brand of art material you have. Just try to go for a good-quality watercolor paper, and that's about it. So let's have some fun with these illustrations.
3. Color Palette: So before starting with projects, I thought I'll just share all the colors palette that we're going to be using for our projects. So it's basically everything related to autumn here on my table. So I'll start with the yellow so we lead a nice warm yellow. So I'm using the hand side yellow medium over here from Daniel Smith and then a slightly muted or brownish kind of yellow. So this yellow block over here, and I'm also using an orange. So this is the permanent orange from Daniel Smith. But even if you don't have these exact sheets, it's fine. You can use something which is kind of close enough to these. So couple of nice yellows and an orange. And we also need similar sheets for red. So I'm using a bright red over here. So you can go for a scarlet of mammalian and then a darker red. It looks almost pinkish here on the cam, but it's more of dark red over here. And then we need another one which is slightly different from these two on the darker pink kind of range. And I'm using an Alizarin crimson for that. So these are the three red shapes that I'm going to be using. And next, we'll need a green. So this is kind of a tone down, muted green, not the vibrant spring green that we see. So this is the Perlin Green from Daniel Smith. So you could use something which is not to vibrant atone down green for the leaves and pumpkin, et cetera. And then we'll need couple of crowns, so a nice warm ground, so something like a burnt sienna and then another darker brown. So if you don't have or Dan Brown or a burnt umber, you can simply add a dark blue to light brown, That's one Sienna to get some darker shades of brown. So that's pretty much everything related to doom. So all the colors that we are going to be using for the projects, you need not have the same colors because even same colors in different brands me, looked a fringe. So if you're using a different brand, it's very likely that your colors look different than these, but that's fine. What we're trying to do here is to replicate what we see in nature during autumn. So a couple of nice warm yellows, reds, couple of grounds and a green is all that we need to get started with our projects. So like I said, we're trying to replicate what we see in nature during autumn. So this is the main color palette that we're going to be using. And in the next section we'll explore some of the main elements that we're going to try out and our projects.
4. Autumn Elements: So in this section we will be discussing about all the elements that we'll be using in our projects. So again, these are all things are due. So these are few of the things that will be repeatedly using inner projects, especially these leaves and berries and these may believe so. This is something that you'll be using as part of illustrations, will ground etcetera in our projects. So we just try all of these out now. And then we'll move on to our main project. I'll just start with the maple leaf. So I'm just going doing an outline of the main belief over here. And you need not do an exact kind of leave because this is more of an illustration. So I'm just trying to create a very basic kind of outline. And we'll be trying out this big size of leaf for a lot of our project backgrounds. Also, maybe a few smaller versions like the pumpkin project. So I'm just trying another one here to share a different kind of color palette. So in this one we're going to be using the yellow, orange, red kind of ballot. So we start with a very light yellow color for the B's. And then we add the red or crimson wet on wet. So for the base you could either wet the leaf or a did start directly with warm yellow. Now, I start directly because I like it that the colors turnout so vibrant. So I'm not trying to turn them down, our lighten them using water. So I'm just starting directly with this warm yellow and rest of it. Adding the crimson or the scarlet colors on top would be done, bet on wet. So all the blending would happen wet on wet. But this first layer that we do is mainly wet and dry. So even during this layer, you could add variation by adding different values of the same yellow onto the sheet like this. And while it's still wet, I'll just be dropping the scarlet or the mammalian or the any bright red that you have. So since, since this is wet on wet, you will need to do a lot of blending. But you can definitely give it some direction with your brush. But right now I'm just dropping the color and letting it blend. If you want, you could use a clean brush, just cleaner brash and wipe it on a tissue and then try to do the blending like this. But like I said, I mostly just drop the colors and let them be. And after this price you could add more details like this one. So this is done wet and dry. So once this layer dries, you could add the crimson. And then use a clean dredge to soften the hard edges and then draw the veins, etcetera. So for that you'd be using a much darker colors, somewhat like this crimson, brown mix kind of thing. So that's what we'll be using for these weeds. And then we just try out another leaf. Now this time again, we will start with the yellow piece. But instead of the yellow, orange, red kind of leave, I'll be doing somewhat greenish yellow leaf. So this one is kind of during the onset of autumn when you see the green leaves turning yellow. So this leaf is at that stage. So it's again B, B using a very muted or toned-down kind of green. So it goes well with this yellow, not trying to create a very bright, vibrant green yellow mix. Just a very muted yellow green mix. And like you can see this, this one is more towards the beginning of the autumn, whereas this one is gone through that stage. It's now turning almost orange, red, et cetera. So that's what we're trying to show a different kind of leave for different kind of stage of autumn leaf is at. So then we'd add details onto this one using a darker green. The veins, et cetera, like what we do for the orange, yellow one, with the crimson. For this one, we will use a dark green to add the details. Now, I'll try a few more leaves like this one. So this is more of a filler that we use in different projects. So we'll be using these in the foreground or just adding these elements as illustration. So I'll show you a simple technique of trying these leaves. It's something which I've covered in many of my other watercolor pattern classes. But I could do this all day. I just loved painting these leaves. So I'm using a size six Sigma brush over here. So I start with a very thin line like this. Dress the brush, and then lifted slowly. And we do it for the other side as well. You could skip leaving that white portion in between, but I just leave it like that. It's nice to have that highlight. So I'm just trying that out again. So we use this motion. We start with a thin line and then press the brush to create this kind of leave. So I'll be triangle out a bunch using the same motion. It's kind of my go-to thing to do whenever I get a new water color shade, I just tryout leaves like this. I find them extremely therapeutic. So this is the kind of punch that we're going to be trying out in one of our projects. And then we also have another type of leaf like this. So this is slightly easier. You just draw these central parts, central. Connecting path like this, and then press your brush for the leaf. So it's quite simple and it's a lot of fun. The result may value upon the brush that you're using. But basically we're just pressing the brush to get this kind of a stroke for the leaf. And that's it. So like I said, based on the brush size you're using, the size of belief may vary. Next, we'll be painting some varies like this. So a, since we have the white of the people here, so we will be just leaving a bit of weight for highlight like this and Greiner circle. So if you're drawing these berries on top of another layer of beans, then for highlights, we'll just be using the white gel pen. But in this case, since the White shows, we're just adding it directly. And we then add a darker crimson or darker red towards the bottom to create the shadow. Wherever you have created the highlights, we just add Docker sheet in the opposite side. So if we try to draw these berries on a background like this, then we can see that even if you leave that area, it'll just show up as the yellow that is there in the background. So in this case we'll just be adding the highlights using a white gel pen. Also on these leaves, a bit of white would be added for highlights. And next, I'd like to show how I go about drying this pumpkin. Mainly. I draw a circle like this. Then I pleases slammed somewhere here. And then just draw the ridges like this. Now, when it comes to our projects, will be erasing this to remove all these dark lines. But since this is just a sample, I'll be showing you the painting but directly on this. So we'll start with the lightest layer, that is the warm yellow. And we'll try to show the light towards the top of the pumpkin. So this area will try to keep it as light as possible. And we'll add a much darker sheet at the B's. So for the top area, I'm simply using a very watered-down kind of yellow. Whereas towards the bees I'll be adding much more augmented value. So here I'm just adding slightly darker, yellow. You could also go for the next sheet or an orange for that matter. But like I said, we trying to create the illusion that the slide at the top. So for that, we creating all the shadows at the B's. And then while this is still crying, I'd just be adding a dark orange are close to red kind of color for the ridges. Now this is still VET, so it's going to blend in and it's going to merge. But that's fine. We just creating one of the layers. And I'm using the same color to blend this in a bit. So next we can use a very dark kind of red or orange to create these ridges wet on dry. But since this is wet on where it looks much softer, but it's the process of layering. So will be having these highlights at the top and a much darker shade at the bottom. And then adding all these details using a dark color. But this kind of effect that you see over here is because we're living it on wet right now and then we'll be adding this wet and dry. So that's about the pumpkin. And one last thing, that's the mushrooms. So we'll be painting one of the projects and one of the projects for this would be our main subject. So I'll just show you quickly how we go about that. So we have this Bs of the mushroom. And I'm not going for any exact proportions and just doing somewhat illustration kind of drawing for this. And then for the colors will be adding a nice warm Scarlett kind of red at the top. And for the B's will be using yellow ochre, very tuned down yellow ocher. So even for the top part, we will start with a lighter value of red, like this. And then we'll drop in a much more pigment it value on one end. So whichever way you want to show the light, we just drop the Dhaka been mentored value on the opposite side. In this case, I'm done and on the right side here, I'm doing it on the left side. And for the base, like I said, we'll go with the yellow ocher. So it's a very tuned down water down kind of color over here. And now I'm doing it right away here to show you how this looks, but not project. We'll just wait for the top part to dry completely before we start with the beast. Because otherwise it starts blending in like this, which is fine too, if you like it that way. And then we add some details onto the base like this using burnt sienna. So since this is wet on where to it is giving a very soft kind of blend, whereas this is done wet and dry. So you can see that the texture looks quite different. And then we add these details as well, again, wet and dry. And then add those circles at the top using the white gel pen. So that's about it. These are all the main elements that we're going to try out enough projects. So let's get started with our first project.
5. Project 1 : Fall Pattern: So we'll start our projects with a very fun and simple pattern. So we're trying to combine all the elements that we saw, simple maple leaf and some berries into a pattern, a full Gage kind of prep. And I'm just leasing an outline for the Maple Leafs over here. Into step two of the three major elements of the biggest myths. And then we have a few smaller leaves us when, okay, now that b have the policeman for Allah leaves, it leaves. We'll start with the painting part. So I'm starting with night warm yellow, the Hadza yellow medium that I have. So you could start with any bomb yellow that you have. We are working on the Beasley, it'll show so it's going to be the bomb. And then on top of it will be adding the other colors wet on wet. In case your people is drying up faster than what I have over here, then maybe start a walking wet on wet on the leaves as you go. In my case, since I'm able to still staying wet, i'm working on all three leaves together. Next we will drop in. The water, may live or any, Right, right. That he had a scholarship crane afraid onto this way down red. So just mix the color over here and just randomly cropped it. Now doing that. Now this one from Daniel Smith, just crazy. So you can see that it's spreading on to the previously is that I have applied. But that's okay. It is giving a sort of radiation to the leaves. So I'm not adding as much Grimm's into the other two leaves. I'll just leave it at this and we let the strike. Okay, now got my leaves have cried. You can see that they are much lighter than they were before. So I'm starting with the next set of elements, which is the spline. Jeff leaves. I've used the red, the red for this. Not, not the brighter one, but slightly deeper red, but still lighter than crimson, if it makes sense where what we're trying to do over here is the color scheme as close to autumn as possible. So we just using variations of the low red crimson range for this particular postcard. We have another bunch of PBS, the paper a bit. Get a better angle. This way it's much, much easier. I'm just trying to fill up the gaps left by main element, which is the maple leaf. And I'm trying to fill it up with these, these bunch of leaves will be adding some berries after this. But for now, these two kind of formed all your main elements. And that's the last just leaves. Now, next, mean, just let this cry a little bit and strive in start with the batteries. Now for the berries, I'm just using the Crimson, the darkest shade in this postcard. So I'm leaving that small white gap as we discussed in the elements section. We can also do this using the white gel pen, but since the background here is right already, just leaving a bit of highlights as it is on the base. Empty spaces left by previous elements. So just making sure that on the gaps are. Yes, we can have a few more here. And it comes to patterns. I really like filling up wages. So that's the reason I'm trying to cover all the gaps that I see over here. But if you want your pattern to look less follow, just maybe reduce the number of elements. I, personally, I find this interesting, so I tried to fill it up with as many elements as possible. It's sometimes tricky because you really don't know where to stop. So that happens with me as well. But in this case, I guess it's very pretty. So I'll stop with this one now. And now we add a darker value of crimson onto these berries. So we just create the shadows like this. Just drop them on the opposite side of the highlights wherever you are created. So these bearings are still a little wet so the blending in on their own, but in case you have reprised rider, that's fine as well. It just dropping the darpa crimson and then use a clean brush to blend it. And after this, we will add the details, the weeds onto the bigger leaves using the same crimson color. So I'm using the same brush because it's got a very good tip. Them using the fin tip to create the means. You can also go with a smaller brush, our script liner brush, in case you don't want to continue with the same brush. Do this for all the leafs. It still looks a little empty to me. So at the risk of ruining this pattern, I'll just add a few more berries, maybe with the lighter colors. So I'll go with the Guam yellow that we started with, the leaves. And let's see how this turns out. If you're watching this video, it likely turned out okay. So I am just going to be adding these smaller berries wherever I see a lot of whitespace, I'm just adding these. Having these variations in your elements really helps in building up the composition when it comes to patterns. So having a mix of break small elements and placing them in a way that it's pleasing to the eye is what patterns are all about. I really like the feel of this postcard so far. I wouldn't be adding a lot of highlights to the sun because mainly on the white backdrop.
6. Project 2 : Mushrooms: But our next project we are going to be painting some cute little mushrooms. So I'm just trying an outline for the major elements of this illustration. So we'll have a couple of rocks or the look more like mountains right now. And then a few mushrooms. So I'm just going to mushrooms over here. And then we'll be adding a lot of elements later on. But I'm just trying to put the main ones like the mushrooms and drops, et cetera. Just giving a placement for these. We'll add another one over here. Also, add a few leaves. Big one leaves at the background. Displease him here and the rest of the elements, the smaller ones at the prompt. So I'll start with the leaves at the background. And once again, I'm starting with a warm yellow. And just for some variation this time I am adding in orange on top of it. Mostly working wet on wet. Try not bead on the mushroom because this is going to be a lighter color. So in case you do end up painting it like me will just leave this up using a clean brush later on. I'll just finish this leaf for now. And do the red on red part on this one right over here because the next leaf is attached to this one so we can right away. So I'll just finish it one leaf at a time. So I'm adding the scarlet or mammalian, this leaf red on red. And let's just clean up that small area where there's a bit of paint onto the mushroom. So I'm just using a clean brush and wiping it on a tissue. While still trying, we'll start with the mushroom. So for the mushroom amusing, the darker red. Red will start with a lighter value for the base washed like this. And then VDB dropping in a little bit. Big men did red on top. I'm just lifting this being from here because it was a little darker towards bottom. And I'm dropping a big man by a little red at the top. This is still wet, it's blending on its own, but in case it doesn't, you can just use a clean brush to blended. Now, the mushroom at the back is going to be slightly darker. So we need to make sure that the the S1 dries before we go onto that. So I will start working on the rocks of the mountains at the bottom so that we can let the mushroom and leave try. And then we add dogs, maybe adding a few more details on. So even if there's a bit of breathing happening at this point, until it leaves, it's fine. Now that the previous leaf has tried and just start working on the other leaf, you could use a hair dryer at this bind and avoid all this flip flops between the elements. But I am just trying to do it without a hair gray here. I'm letting the individual elements dry before going on to the next part. Wherever you have such connected elements, like in this case. You need to make sure that they're not being put together so that they don't bleed into each other. But leaves me follow the same pattern. We start with a warm yellow and then drop in a bit of orange or scarlet. Now this time we play a bit more with the leaves. So I am taking the crimson and just adding these dry, wet and dry patches onto the leaves. Need to be blending the edges a bit using a clean brush. But for now I'm just walking right on dry. So while it's still wet, just using a clean brush and blending the edges a bit so that there are no hard edges. Just trying to play a bit more with the leaves this time. So it's just a different way to paint leaves. That's it. V do the same with the background div, but this time I'm taking a much darker idea of crimson because this one's at the background. And that'll be avoiding this area. I wouldn't be putting in a lot of crimson over here because we already have the red from the mushroom in the foreground. So I'm not adding a lot of Fred there. But at the base, we can add lot of Crimson to show that this AVR, this leaf is darker ones. This is a little cry. We can start with the mushroom. So once again, I start with a lighter value of red. I'm trying to avoid the areas off the mushroom to drop in some big mentor. And just to put a little bit of blending here, work on the other. The mushroom, Mr. drying. Continue with the piano and then add at the top, dry completely. Now that might be produced dry, I will start with the tailing. I'm just adding a bit more detail. Leave at the back. So, just so that we have some radiation. Just blend in the hard edges using a clean, fresh. And for the base of the mushroom I'm using a very light yellow ako. And liftoff the color that you don't want. I'm still continuing with the yellow or the inner side of the same for the other one. But in case the background leaf is not dry and maybe just wait for it to dry completely. I just used a very dark, muddy kind of careless and just lifting it up. Yes, we're good now. So just finish adding some finishing to the edges. And b, let describe spat with adding onto the maple leaves. The remaining fillers are elements that are there in the fulcrum. Now for this part of the mushroom, I'm using a slightly light value of burnt sienna to add these details. But again, you can use smaller. If you're not comfortable using the same brush. This simply means try and I had a bit of this using random brush strokes. If this kind of a texture, and we let this dry. Next, we start with adding the remaining it emits. So we'll be doing this directly onto the paper. So I am mixing and dark crimson over here for the berries. Now in this case, since we're painting these berries onto an existing colored background. So I'm just being everything right now at the end. By creating these. And one more, just to get the composition right. So maybe I'll add one more on this side. I used already dark crimson and it's almost looking like brown over here, but it's very beautiful color and it's giving a nice contrast to the background. Mushrooms. Me let this dry now. Now that my paper has tried, we'll move on to the highlights. So I'm using the white gel pen just to create some simple dots onto the berries and adding a few lines here and there on two beliefs as well. Now, the main thing would be on the mushrooms. So adding these circles and dots to create a nice pat on, on the mushrooms. Adding a few more highlights here and there. So in case the leading on to each other. And you can fix it by adding a line. Just giving a nice outline for the mushrooms as well. And I guess maybe I should stop. So that's enough, highlighting a good happy with how this looks. So I hope you enjoyed it too, and see you in the next one.
7. Project 3: Bird House: Next project is another Superfund postcard. So in this case, we're going to draw a nice bird house. So I'm, I'm not trying to be very specific with measurements over here, just taking some basic measurements and trying to create the house or the house. And then we'll add some trees over here. So just an outline of the tree, so nothing too detailed. But since this is more of an illustration, just adding a few placeholders for all the trees. And we'd be painting them with different font colors. And that's a few rocks over here. And the bird house and a little bit of, oops, the door. So here's the door and add a little bit of base over here. And then I'll just erase this a bit dark lines. So I also cleaned up my palette because the yellows, We're not looking yellow anymore. So we'll be adding a few yellow trees in the foreground, and we'll be doing an alternate yellow, red, and crimson for the trees. So I'll start with the warm yellow and we will be dropping in some big minted values here and B, it's a mediation. So you can start with a Beasley and make this and then drop in either an orange or the same yellow to let it blend wet on wet on its own. So we just dropping the color and leave it like that. And I'm going to be doing this for a couple of other trees over here. I'm trying to avoid the house over here, but it really doesn't matter because it's going to be a darker color. So even if you paint over it, it's fine. We can. But the Dodd from that we're going to use for the Boathouse, last one with yellow. And then we let us try before we start with the next set of trees. Here. Now that this set of trees has tried and I spilled a little bit of color onto the house. But like I said, it's not a problem because we are going to be painting it with a dark color. So I'll start with the next set of trees. The spam. I'm taking the Scarlett read four, the base layer, trying to avoid the other trees and the house2 drank to being within the lines. And after this, we're going to have another round of Greece, but with a much darker crimson color. So this one is slightly lighter in comparison. So you could either go with the scarlet, all the deep red as well. And lastly at the Crimson has to be the darkest to kind of contrast. I'm kind of doing alternate periods over the same color. And we're dropping some pigment trend. The same shape that we used, but a much darker value. Adding some variation. Okay. The CPI. Go for this one. Like I said, I'm using the darkest color that I have. So I mixed the Crimson with a hint of Brown to make it even darker. The idea is to create a variation using light and dark colors. So you're trying to create a contrast over here by using the yellows, the read, The Crimson. I love just being the rocks at the bottom. So amusing. Burnt sienna for the bees. Slightly darker than what we used for the mushroom post God. But we'll be using somewhat similar techniques. So it'll be dropping in a darker color at the top. And then we wait for this to dry, completely dry, and start with the Boathouse. So for this portion, I am using a yellow ochre mixed with a hint of grounds, so just me just need this light yellowish prom for this part. We'll be doing the details with a darker brown like bone Tambo. But for the main area of the house, the house we using this lighter yellowish brown shade and just drop in a little bit of pigment color here and there. To create some texture, is the same shape that we used for the bees, but just you use the same for being a bit more texture so they can adopt crown for creating this kind of picture. Now, didn't work on the darker brown. Okay. Okay. For the door. I'd just been bad first because it's going to be a lighter color and then read the darker brown around this. So just to be friend, maybe a couple of berries that sit. Right. We adapted the berries and pleased at the bottom as well. So I'm using a dark red for the batteries. Okay. Yeah. That's it. The same one that we used for the base. And before going on background piece, okay, first the background trees, I'm going to be using a darker red to start with for the yellow trees. So nothing much, I'm just kinda doing the winds that we have in leaves to symbolize the branches. So I'm using this light orangeish red for all the yellow tree set we have. Now for the red crease, we'll use the darker crimson color because you need these show up on the colour. So we need a darker color than the one that we used for the yellow trees. So I'll use the Crimson, the dark rooms and color that we created for the leaves in the foreground, for creating the same kind of branches on the trees. Once this highlights for the Crimson white gel pen to create these kind of Francesca, because this is not going to show up. So I'll start with the highlights. And again, just simple strokes for the leaves and few dots. And for the house. Just add little more highlighted. And now we'll start with the background. Crimson 3's adding branches using the white gel pen directly. And a few more highlights for the Boathouse. Two dots onto the trees like this with the right Japan. I won't leave the Crimson trees behind. So let's just add these dots to these trees as well. So I hope that you enjoyed trying this postcard out and see you in the next one.
8. Project 4 : Hot Cuppa: So for our next project, we're going to pick a nice tea or coffee break, whatever you prefer, or maybe hot chocolate. So am just once again drying the outlines for the major things that are there in this postcard. And I'm wrapping it around to keep it warm. So this is what I am drawing over here. So we have a cup and it's wrapped nicely, and we have a few leaves in the background. And so again, we're just placing the main elements and we'll add all the smaller details later on. So I'll just erase this and troponin some Karla here and there to create some variation. So I'm doing this with the light red. Once this is dry, it's going to look much different. So for now I'm just creating the base layer. Need to be doing this for the entire scarf or entire wraparound. This guy completely. Now that might be but his dry you can see that it's tried much, much lighter. So we'll start with adding some details on to this one. So I am taking permanent orange from Daniel Smith. So you could pick any dark red as well. If you don't want to go with the orange one, you could pick the scarlet read over Madeline. And we'll start adding some sort of designed to this one. So I am not trying to keep it straight and giving it to show that this is kind of a scarf or a plot. So if you keep it straight, it would look a little weird. So just try to keep it vv and not the patterns should match the groove that the scarf has. So I'm trying to keep it that way. Okay. Okay. Scarlet over million at one end, you feel that it's blending a lot. Just lift up a little bit of color using a clean brush. And next, we will read for this to dry. Okay, now that says dried, I'll start with the next layer. So I'm just adding the crimson. Right next to the audience. Okay. Once again, not trying to keep the line straight, I'm trying to keep them between bitmap shrew and we let this dry ones, this leaders try. We'll start with the next round. So for this, I am taking the dark crimson mixed with a hint of Brown to create a very dark kind of Ulla. In comparison to the previous layer that we've done. This looks much, much just trying to break. We'll start with the background games. So once again, we start with mixed up hint of orange over here. The Beast. And since we have only two leaves, I'm just going ahead and printing the base layer at the other leaf as well. And after this, we drop in. Red, could also go with Crimson directly. It's, it's fun to see these colors blend into each other. It's just so beautiful. So now we'll start with the coffee mug. So for this one, I'm saying that I'm using light create cutter like this one to create the shadows. So it's very light. It's just a hint of green. And we'd be adding a little bit of yellow to it at the B's wherever the fabric touches the coffee mug. So you can see that it's very light. I'm not trying to put in a dark color over here. Just adding a few shadows here and there. Now add the piece where the fabric touches the coffee mug. I'm adding a little more pigment. Kind of the yellow ocher mixed with the Cree to create these reflections. Now, for the handler, once again, I'm going to be using the same color. Just use a beam brush and lifted. Now if the remaining portion of the coffee mug is dr, we can start with adding the debate is over there. So I'll be using very dark brown bone Dumbo for the coffee or hot chocolate as you prefer. So I'm just adding it here and then we'll drop in a little bit of darker pigment it brown. Give it some depth at the cinnamon stars over here. So I'm using and you'd be adding a few more details on this. But for now, I'm just putting the elements over here. We start with the background. I'm leaving the hands-on beliefs. Yes. Now, just a fabric. I'd like to create a little bit more of depth. So what we can do is we can use the same colors that we used for the fabric. Slightly darker tones, like I'm starting with the orange. And we just added over here and then use a clean brush to blend it in. So be creating kind of shadow onto the fabric. So this way you can add a little bit of depth to the painting. So this is mainly decreasing. So you just using similar shade and then just softening the edges with Crash. I'll do the same for this part. But the spam, since we already applied a darker color by adding crimson kind of color around the edges and then use a clean brush to soften it a bit on a dark brown. And we let this dry for simple strokes here. Since we don't have a white background. Just fixing the edges of the n keys that are blended into the gallows next to them. We can use this gentleman to just fix it a bit. And that's it. That's a nice cup of coffee, chocolate for you. So see you in the next one.
9. Project 5 : Pumpkins: Onto our last postcard and we'll be painting a grateful of pumpkins. So I'm just creating the piece over here. So this will be a create the wood and create. And next we'll have a pumpkin. So here I'm using the same technique that I showed in the elements section. So we start with a circle like this. Another pumpkin over here, and the math center like this. And then just add these curves. Add another pumpkin. Next, we add some leaves for scientists to start with our pumpkin. So B will start leaving the dark portion of the pumpkin, much lighter. To show that that's where the light is. And so we start with the yellow like this and then add the darker yellow or orange at the bottom or the spark. Now adding a darker pigment color at the switches so can differentiate them. This is going to blend them because we are working on, but this is kind of the first layer of BB. And I added, just add, used the same and add a little bit off. Darker, shade at the bottom. And while we wait for this to dry, we can start working on the leaves in the background. So in this case, I'm going to be using a mix of green and yellow for a few of the leaves and the orange red combo for the others. So the green that I'm using is a very muted kind of clean. So when I'm mixing it here with the yellow, it is just blending. It kind of looks nice. I add the same one over here. The yellow dropping in some red over here, just to create some contrast. So the orange red leaf that we already have. And since this leaf is in the background. Now that might be using a flash drive. Okay, we start with Brown and we just create these blocks. So for this one we're going to use the bees as green. So I'm starting with a much lighter color, lighter green for the base. And then we'll work with the same technique that we did for the yellow pumpkin. But just I have in this case we're going to use green as the color. So at the top I'm using a very light water DOM dream. And as we move towards the bottom, I'm adding a lot more pigment. Okay. Trying to create these shadows. Once again, this is the first layer of detailing, so we'll be adding a lot more color later on for the ridges. But for now, we're just trying to give this an appearance of or rather separation. Just trying to separate the riches like this onto our last pumpkin. And this one, I am making it slightly lighter so that we have a good radiation from the foreground, pumpkin. So a slight lead. Now, adding some more details on to the riches. So we're working wet and dry on this. So we just use a darker orangeish kind of carlo to paint first. And then we will be using a clean brush to blended in. To just use a clean brush, a little bit of water. And then like this, dark brown to add into D fields onto this one. This kind of separation, I'm just mocking it out over here and then use a clean brush to blend. Giving dry brush kind of texture onto this. Adding a bit of more than kind of effect. Yeah. Working on the shadows. And once again, blending with clean. Now really work on the liken this portion. We have do Pumpkin. I'm just adding a darker color for the background so that we have this kind of a separation. So we can see that there are those same thing for the green one. The same way that we did for the orange, yellow. Now for the detailing on the leaves, the leaves and this one I'm using. Now switching to Clemson. Okay? So I'm using the greenish color, brown. Let's take that same brown Am add some wines. Next, do the pumpkin. And we take the dog crimson. And beliefs. Another one. I somehow find these two leaves. I didn't feel better using Docker. One last round of the scaling. In this case, I'm not trying to create a lot of leaves here. Maybe I'll add a field, more highlights shell on the creed. That's about it. That's our final project. I hope you enjoyed it. See you in the next section.
10. Thank You and Beyond!: And that's it. It's a wrap for the autumn edition of the watercolor postcards series. I hope you enjoyed this class and I really hope that you'll get these projects or cry. If you do, please do upload them in the project section, I'd love to see what you create. And also if you're in social media and if you upload your projects there, you can find me as bad crazy dude LA, on Instagram, Facebook, and Pinterest. I do have a specific Pinterest boards for all these topics so you can check them out. They're also if you have any feedback on positive or negative about this class or any of the other classes that are there unskilled share. Please do reach out to me. Your feedback really helps me create better classes. So I'll be looking forward to hearing from you. And that's it's a history sheik you a creative journey ahead until next time.
Vinita, That Crazy Doodler
