Enhancing Watercolor Painting by Creating Light in your Art

1. Introduction: Light enables you to not only see the object, but also identify the form of each object will allow light. Each object looks like a two-dimensional shape. The elements of Art I used by artists to create a layer Art in various media. The most common seven elements of Art include line, shape, form, space, texture, value, and color. You might wonder why light is not on the list. Indeed, light is an essential part of form. And very, how can a three dimensional object be catched? Anger? Two-dimensional, flat piece of paper is all of our how we catch light and shadows in our artwork. Hello everyone. My name is usually a designer, an artist, and our educator. I have shared my painting, our work in different platforms, including Instagram, Facebook, and YouTube. I also have published two classes on Skillshare. The first one, a Complete Guide to Watercolor Bokeh Effect Background. Second one, The Illusion of Depth. How to Create Realistic Shadows with Watercolor. Less class is my third fundamental classes, which is how to enhance your watercolor painting by Creating Light in Your Art. In this class, you will be running the importance of light in Art. How light affects colors than relationship between light and shadows, the various directions of Light. And also three projects. First one, Painting with Back Lighting. Second one Painting with Top Lighting, certain one Painting with Side Lighting. And also my final Thoughts. After this class, you will be able to apply these knowledge and skill to not only watercolor painting, but also other Art media. I cannot wait to share all my lessons with you and look forward to seeing you all in my class. 2. Class Project: Painting light in your watercolor can create a composition. Good lighting doesn't mean how intense Las, but how its direction and effect on the elements of your artwork. On the other hand, we can enhance your watercolor painting by creating light and affecting the perception of the viewers. Here are some of my paintings as a symbol. The first Painting is with strong lighting from the top, you can see the shadow on the second flowers. Cma, is it a second Painting? The lightings also from the top, although shadows from different flower above it, seamless in the last one, even though you don't see other flower. But based on a shadow, you can see where is light in front. The next Painting, I adopt dramatic back lighting so you can see the edges of wildflowers are growing. The last group, I have very soft, subtle Lightin from the back to crayola EMSA fear from either sunset or in the early morning. In this class, you will be running the basic knowledge of light in Art, including the importance of light, how light affects colors, the relationship between light and shadows, and the various iterations of Light. Furthermore, you will create three paintings of leaves with three different directions of Light. I will show you how to catch light from different directions. The how light affects each element to create layer forms. Also, you will be learning how to create sun rays and watercolor bokeh effect background. To add depth of your painting. In each project, you will be running my whole painting process, including how I sketch, how I modify the reference, applying masking fluid, painting, watercolor, bokeh effect, background, and how to create leaves in a realistic style. This class is for everyone who wants to row how to paint light in Art or enhance your watercolor painting by Creating Light in your artwork. You can find all the reference color chart, Sketches, final paintings. And a less of our surprise that we need for this class under Resources section. If we, you are ready. Let's get started. 3. The Importance of Light: Humans side is based on light. No light, no site. Light, on the other hand, is an essential part of our because it determines not only shape and form, but also value and the colors. Painting can easily look flat layers, not any form of Light involved in the compensation. Light in our cannot only able you to see, but also create the illusion of depth. For example, in this painting, I, in order to show the illusion of space, created different layers of Background and really pop the main subject in the foreground. That's why painting light can build a sense of perspective and depth in Art. Furthermore, painting light in Art can create a certain, in fact a motion. Let me show you some famous artists paintings a year. Wonder why. The first painting I'm going to show you is dense at the moron dela delayed by Renoir. Renoir use loose brush strokes, MVB colors to express the line shown you through leaves on people. This painting was reoccupied Wisner, representation of light and its effect on objects. You can tell when the time was. People were happy during that time. The second painting I'm going to show you is called Girl with the Red Hat. Girl with the red hat is one of your Hannah's, Vermeer's small. These are work. The most remarkable characteristic of this painting is not only is exquisite use of color, but also is dramatic effects created by light. This painting has a soft look, but psychological expression due to light greens, we spry why specs of the tip of her nose and her lips only. The last example that I want to mention is The Night Watch by Rembrandt, who is one of my favorite artist. They spending caused lots of conversation due to large scale of this artwork. The large group of portrays, its action picture and the strong contrast, light, less light effects have a land viewers to certain phases in this painting. The might use in this painting has successfully created the story. Artists have a pride light in there are to create dramatic m's are fears that continually invokes the viewers emotion years after ears. Last. Why painting light in Art is essential. Now we have around why light is so important in Art. Let's move to the math lesson. How light affects colors 4. How Light Affects Colors: Relationship between light and color. It just like the one between Light in the humans, this ability, Light is a lot only source of colors for all objects will are light layers and no color. Color is created by light. We can say colors because the human eye campaigns and light receptors, lacquer or SAP, visible light. The visible light spectrum ranges from about 382, 780 nm, including red, orange, yellow, green, blue, and valid. When light hits an object, some light is absorbed by an object and the sunlight is refracting. We, as humans seen a refracting light up chairs appear to be different colors based on what colors lay, reframing the way and objet, Azores and refresh light can determine the color of an object. We see also the value and intensity are affected by amount of light to in lower light, colors appear darker and less intense. On the other hand, when layer is a lot of Light, communist appear more vibrant and saturated. In Art, we talk about warm colors and the cool colors. Red, orange, and yellow are warm colors that can bring the emotions of energy, womb, comfort, passion, happiness, and optimism to humans. While green, blue, and welded are cool colors that can involve our feelings of colonies, sadness, and in different. When the correct colors are used in Art and paintings, they can be powerful to invoke the viewers emotions. A painter can refresh his or her own emotions or even produce a feedings in others. After running, how light affects colors? Let's move to the next lesson. The relationship between Light and Shadows 5. The Relationship between Light and Shadows: What is the relationship between light and shadows? We can simply a spray. A shadow is an absence of light. When light is blocked by a non-transparent objects, Lin, a shadow is formed. In Realistic compensation. Layer is a light, layer is a shadow. Light always travels in a straight line. When the light hits an object. Shadows always form on the opposite side of light. Also, depending on different directions of light is coming from. And the intensity of the light source Shadows a form in a variety of shapes. And the intensity. For example, when I press the light right above the print, you can barely see the shadows on the table. However, once I move the light around to 45 degrees, you can see how the shadows changes. Not only the shape, but also the intensity. Also, when I'm more than light farther from the print, you can see the edge of a Shadows is a softer. In Realistic compensation layer two kinds of light are surrounding us, including refracting light and highlight. Refreshing Light refers to learn light that bounces off of objects. And highlight refers to the source of Light. In this class, I'm going to focus on light. If you like to read more about shadows, you can head to my analogy class, that Illusion of Depth. How to Create Realistic Shadows with watercolor. Where you can read more about different kinds of shadows and how to create Lin in your painting. Now, let's move to the next lesson where we can real how to create different answer fears by applying different directions of light. In our appendix 6. Directions of Light: As we all know, Leaves impossible to have only one single light source. In real life. Objects are affected by different light sources, including refracting light and the green light, which is highlight layer, are essentially five different directions of light in clothing. From phi top Back, button light here. As artists, you can decide which it directions of light, light you want to adopt in your painting in order to create a certain kind of EMSA affairs. Before deciding which it directions of light that we are going to adopt. Lesser more about the effects of each direction from Lighting can evenly illuminate your subject, but tends to flatten your subject due to the lack of Shadows showing to create a sense of form and the illusion of space. For example, in the lab Painting, surgeries, praise a candle right in front of the girl's face. Let's why her face has less contrast and the details compared to other parts of MS Painting. Side Lighting is the most common lighter rushing used in Art. The side Lighting can be more expressive due to highlights on one side of your subject and shadows on the opposite side. Also. The side Lighting can bring out textures, dimensions, and the depth of your subject, which you can enhance your two-dimensional painting to be more three dimensional, look is spatially in Realistic composition. Let me show you two paintings. Love first example is lighthouse at two lights. By add War Harper. He created a three-dimensional look on not only the lighthouse, but also the surround this between the front grass area and sky. Another great example is self portrait by Rembrandt. He had Creating the most dramatic is brushing in his poetry's by using side Lighting from 45 degrees and taking light and dark two is streams. That's why Rembrandt lighting has been marked as one of the important lightings in photography. Top Lighting can create a dramatic feeling due to the strong contrast been a shadows will cover most of your subjects, might lose the details. The same as button Lighting. However, leads to Lighting directions can create an intensive fear for your paintings. Here are some examples for top Lighting. The left Painting is a self Poetry by Gustave Courbet, which emphasize his face and the right hand because he was a shell list. The right Painting is faith by myself, which emphasize the Lotus lad keeps is faith and the grow towards the light for button under Lighting. Here are two examples by article. He use button Lightin from the stage to lead a viewers to the singer. And the tensors. Back Lighting occurs when the light source is coming from behind your subject, which you can create a nice rain light around your subject, brightening up the edges of your subject and pop your subject up out of the background. The contrast and dynamic range are very high. Just like the left painting, lady with a parasol by Monet. On the other hand, I can also create a softer M severe by using sunset light behind trees and leaves. Just like the painting on the right-hand side, the new beginning by myself. In this class, we are going to create three projects by applying three major directions of Light, including top Lighting, side Lighting, and back Lighting. When we finish, you can press them side-by-side to see the different m's of fears among them. If you are ready. Let's get our our surprise. 7. Art Supplies: In this class, I'm going to use arches, Cold Press, hundred and 40 pounds, 100% Cotton. And size is nine by 12 ". I divide the night by 12 " paper into two pieces. The extra space here is for colored chars. This way is easier for you to see which colors that I use for each project. Here are the colors law. We're going to use a full this class. First is yellow, lemon yellow, which is right here. And then a second one is a one-to-one, 123. But sometimes I will miss one-to-one, the 123 here. So that's how I've put the chart like a color here. So the, you know, in the after 123 is once 39, ended unless one is 143, which is right here. As a, like a here, also mix 139 plus 143. So also put a color here in the fallen SY is the 100 right here. And also here is a one-to-five, so same as earlier. I'm going to miss these two colors. I have color here in the FMR1 is a one-to-five. And 91, which is really dark brown. So sometimes also mix them together. Right here In the last is the BU that you will see. I add here layer. So usually I will miss all the colors altogether. So here's my color palette. You will see. So once I have all the colors ready, before I paint, I usually have all my colors here. So you will be easier in the first term when you start painting. So that's the colors that we're going to use for this class. First, I use molar to when the paper. So you will see me every time before I start painting. I will use less Brush to wet my paper. Another thing is, you'll see me use a Quill says is six quite often, not just well of paper, but also smooth edges and sometimes small area. I can add the water on my paper by using Quill says six. That's one. And the second set is all about lifting colors. So when we do the summary or maybe do some highlights, you will see me how to use them. So by the time we go to different projects, you will see me use different nodes, either flat or the angular brushes to the colors. For the next group is full of Background. So I'm going to create sound watercolor bouquet effect by using those for Brushes. And you may see each Brush has different colors. That's the way I paint. I usually to have all the colors 3D in one, in each Brush. So for example, list, while I use a for light green, this one for brew lives through and listen for darker green, and this one follow 139 plus 143. So I like to have each brushes ready. So once I use neither color, I can just grab a brush quick so you don't have to remix or maybe the column I look different for the next step. That's why I have all a Brushes for the big one. And then for the next group is a fall, a beef. All the details. So same here. I have quite a few Brushes here. So same here you can see each color, each, each Brush has different colors from light green, middle, like a miss 121 plus 123 leaves when the One-two-three in list one is kinda just for the lemon, lemon yellow and less. Why is a void? Yellow as well? But it's the fall of smaller area. And therefore the earth tone, Lego 100. And Lisa, smallest one for always kind of mega BPS, one by the small area. You can listen to, add more details. So I will make a list on the screen of each size of brushes. But if we, you don't have so many Brushes, no worry, just use it or why you have and how you can make it work better. So that's all the brushes we're going to use in this class. For this class, we will need some items. Is SAP, Paper, Brushes, ceramic Palette for Colors, also different kinds of Paints right here. We also need a pencil. I usually use a 2H to sketch. Regular Eraser, a jar or bottle for water. Smolder, ceramic Palette. For masking fluid. You can use different kinds of brands. So it's up to you. Also the liquid Soap, also for masking for the Residue Eraser. We use it to remove masking fluid. And last one is all towel or rag or paper towel or up to you see how you feel comfortable. So let's all are surprised that we need for this class 8. Top Lighting 1- Modifying the references: In less project, we are going to ping a group of Leaves with Top Lighting. Here. Is that a picture that I took? However, I don't want to pan them directly. Let me show you usually how I modify the reference. I bring the image to Photoshop. Then I use Leso to select that group of Leaves, Light I want. Copy, move to another group, adjust the position. Then. A chess, the size. You can resize it, make you smaller. Now, it looks good. So I'm going to crop it. That's it. A new reference lab I'm going to use for this project? 9. Top Lighting 2- Sketching and Applying masking fluid: Let's sketch. You can sketch along with me or you can pause it here in the printing all the file lap I post under Resources section. You can trace them, That's no problem. But if you want, you can grab your pencil and sketch with me. First. Let's simply mark each Leaves position. Though we're here, sketch more details together. Let's add the two more leaves in the back. Now I think the sketch is done. Let's move to next step, Masking fruit. Follow this step. We will need water, liquid Soap masking through small Palette and the two sizes of synthetic brushes. First, way your brush, the into the Soap, then the price, food to your paper. Once you down, let's get ready to paint the background in the next lesson. 10. Top Lighting 3- Painting the sunrays: Let's pen the sunrays. First. Less, well, a paper. You can apply water to your paper, two or three layers, just made sure the paper is wet enough. Let's use a blue number 90 and the green number 121 to create a some rate effect. For less if fat, you have to move fast. So use another brush, which is aqueous six, to bring at trial water to carry the blue and green together to create a some rate effect. After green and blue brand together, well, washing your Quill size is six. To bring more water bagging, less time is lifting colors to create a summary. Now the sunrays, Los good, Let's move to next lesson to create watercolor bokeh effect. Baker 11. Top Lighting 4- Painting bokeh effect background: Now let's sun rain looks good. Let's continue to do all other background. If you find are low, paper is dry out. You can add more water on the paper. For the background, I like to create watercolor bokeh effect. I'll use a green 120 where as the first color, move your brush in circular way to create that effect. Certain area, I would like to add more blue to balance out. The background is a little bit abstract, is based on my knowledge and understanding about lighting. So it just, I created a watercolor bokeh effect to create depth of space. You don't have to tolerate, follow my or you don't have to worry about it doesn't match the reference. Let's continue use green one-to-one to create a first layer of bokeh effect. Then use green number 123 to add some dark areas. Now use number 121 again to mix both colors. Bader. I usually have a one Brush for one color. So when you need any color, you can just grab a brush and the user, you don't have to wash and the remix or MSR, the colors. Now let's add a little bit darker, green, which is number 139, process number 123, to emphasize certain areas. Again, I use it a Brush you with color one-to-one to miss Los color, kind of brendan patriot together. If you see some areas nap smooth enough, you can always use a Quill size six, brush with clean water to mix the edge to make them more smooth. Also, when you have a too much colors on the Brush, you can wash clean the color. Otherwise, you might carry the darker green to the lighter areas, which is now while we want. When we start a new area, I always add more water to the paper. And they also made sure when the water touch the previous pigment, tried to do it gently so you don't want to lay low water mark or lifting any colors. Follow up bottom part of background. I mainly will use a one-two-three 139 and even add some darker brew 143 to make Lahore area darker. However, I use color 121 to emphasize is some highlight alpha leaf in the back. Now we use greenways brew wine 43 to really push back the background to have a second or third layer. Again, let's use coil sides. Six boys clean water to smooth out the edge. Sometimes you can use the color left on the brush to do some subtle details. Now the background is almost done. Let's move to the next method to add the some details on the leaves in the bottom 12. Top Lightin 5- Adding some details to the leaves in the bottom: Now let's go back to Brush always color one-to-one to emphasize the highlights in look-back group. Use color 123 to add a cast shadows on the button Leaves. Use a color once 39 and the one-fortieth three to create the negative space. In the bottom. Adding cast a shadow. Bottom leaf can really create the illusion of space. So I cannot use 139 to add a more cast shadows, uncertain Leaves. Although the button Leaves are non-human subjects, we still can add some subtle details on it. For example, the texture and Shadows. Let's add some shadows and the Megabit contrast in this area. First, let's use a 123 to create a base of shadow. They use a little bit, 139 to add a darker on the edge. Finally, use 143 with 139 to really add a dark is par. For the background. This area looks flat, so I'm going to add the cast shadow on it to make them more interested. We use color 123 as the base of cast a shadow. Then we use 13092 mega some cast shadow to be darker. This area can be darker, so let's add a darker cast a shadow on it. Now the background looks good, but I do see some area I want to fix. First, use the brush you with clean water, gently. Apply on top of that area. Now would pick a color which is a darker one to apply in the wet area. Use a Quill size six brush with clean water to smooth the edge. If you would like to read more about less tips, you can go to my first-class, a Complete Guide to Watercolor Bokeh Effect in less than 12. Now I'm going to use Fred brushes size ten, and the anchor of Brush Size quarter to create more sunrays effect. Wake your brush and the leaf colors in one area until you are satisfied. Before mu2 next session, make sure your brush doesn't carry too much color, but either wash it or squeezes the air trial water out. Useless angular brush to create high contrast highlights. Now we just finished in the background. Let's pin the men leaf in the next lesson. 13. Top Lighting 6- Painting the Main Leaves: Let's remove masking fruit before Painting. Use a dry brush to clean the paper and make sure you get rid own a masking fluid. Let's pan the first leaf. When the paper inside the leaf don't touch the edge. Then use lemon yellow to create a base. Laying. Use one-to-one with some yellow to create a darker par. Less keen mind. The lighting is from the top, sola highlight. It's really strong. Let's use a one-to-one with a little bit one-two-three to add a lot darkest part. Now let's repeat the same steps for the second leaf. Let's use a color while hundred to create a combination between leaf and this. Then. Now let's leave some colors to create a mirror IP and the highlight. There's a continue painting more Leaves. Now use a color one-to-one process, one-two-three to add a look darker part. That's repeated. Same steps. Water first, use a yellow to create base. Sometimes you can add a color one country to make a connection while the papers to them. Having old Colors ready is really helpful. Now let's turn to lift color to create a rape. This time, I don't use yellow to create base by use one-to-one to do the base. Now use color 123 to emphasize is a button that dark is part. Always a kidney mile. We're on the highlights. This time I'm going to add a light blue as the highlight area that refreshing the sky. Use the one-to-one plus 123 to create a texture like a midrib and the vein of Leaves. Man use flat brush to lift colors to create the highlight. Now use the One-two-three to add the darker part Now let's use a color 100 to add the darker part under the the symptoms are using lifting technique can make a highlight more nature. Now use a one-to-one project 123 to create a shadow using color. Once 39 plus 14032 really added a dark is PPAR alpha cast shadow. Now use a color one-to-one process, one-two-three to create a mirror IP and the sun bend texture. Use a color once, 309143 to really emphasize the dark is part of the leaf. Now let's pan the last leaf. The last leaf has stronger cast shadow on here. That is a from the leaves above. Creating cast shadow is another way. Light you can show the viewer where is the direction of Light. Use a color one-to-one process, one-two-three to query the meat rape and went. And then you can use darker color like a wants 39 plus 14032, emphasizing the darkest part. Now let's add some cast shadow. Now let's do the final review. Some background I feel is not dark enough. That's why I'm going to add the more darker green, like a 139 plus 14032. Really appreciate the background back and the pop all the Main Leaves. You can review yours if with a contrast between from leaf and the background is good, you don't have to do it. So this is optional. Now I think the painting looks good. Let's say your name. We just finish the Painting with Top Lighting 14. Back Lighting 1- Sketching and Applying masking fluid: In this project, we're going to paint leaves with Back Lighting. Here are some reference from my own pictures. One with the summary. Another one will allow, you can choose either way as your reference. Let's sketch. Based on the reference, you can divide your paper into half and the pull-up Branches around one search area, make him more like a 45-degree angle. You can sketch along with me or you can download of sketch light appose under Resources sachet prior to this lesson. Now we just finished his Sketching the main subject. Let's add some back Branches. Try to avoid parallel line lines so we can make a list painting more interesting. Also, we can add some holes on the leaves to make him more realistic. Before applying masking fluid, I want to leave some of my pencil marks by tapping my eraser on certain areas, especially the edges of Leaves, I intentionally make my sketch it darker so you can see beta from the screen. The reason I'm doing this is a to avoid unwanted pencil marks in our highlight areas. However, when you remove masking through, the pencil mark could be slightly lift as well. That's why in this step is optional. Using a clean dry brush to swipe your paper instead of a your fingers to avoid the grease from your fingers. Now is all ready. Let's move to masking fluid. Here we will need water. Masking fluid. Amy hands, Soap, small ceramic Palette in two sizes of synthetic brushes. Now let's get some hints. Soap in your pelvic will be masking fluid. And now that's the way Your Brushes dig your brush into hints Soap through early NS, That's dip into masking fluid. So from here we can start cover the main leaf, the bigger area, and a small area like more pointy area, we will use a smaller brush to cover. Let's do it. You finish the brush, remember to wash it right away to avoid clocking. Now let's see, use a smaller brushes size one to fill in the tiny areas. Once you down, let's get ready to paint a background in the next lesson. 15. Back Lighting 2- Painting Bokeh Effect Background: Follow Background, I'm going to have a 1234566 Colors. Ready? The first one is just light blue, which is the number 90. We're going to add a sum in the sky, making more different. And we have a one-to-one which is a yellowish green. And second one is 123 for why leaf can the more olive green. And the fourth one is an added some vine leaf, one-two-three, Adding some 179 kelp to make him more greenish, but also add a some earth tone kinda more brownish to make a tonal more close to the silica, the One-two-three. And then we'll adult is why I use 143, add a little B1 Thursday night to make a kind of bluish green. And finally we have a some kind of branches in the back. So that's why I use a little be 91 pair at the sum United, which is 105 at the Branches color. Let's, let's start with adding water on your paper, two or three layers. Then we can start with color 121. Sunlight brew. Use a Quill size six to mix them together and create a soft edges. Remember to move your brush in a circular way. This way you can really miss color better together and the creator Buchanan effect. In this lesson, I'm going to focus on the leaf, the lighting. So for the bokeh effect, I'm going just quickly go through with you. If you want to dip into and know all the tips, you can go back to my first-class, a Complete Guide to Watercolor Bokeh Effect. For more details. Let's continue another session. Are usually well a paper when I ready to paint a session. So you have more control about the water in this area. I'm going to start with light yellow, lemon yellow, and the other sunlight brew since the last light shining through that whole area. So I'm going to make them lighter. Lemma going to use a color 121 to make a certain area darker. Then add a color one-two-three to create a darker area. Then you can either use a Quill size is six with water, or use in a previous brush with color one-to-one to mix the edge better. The best time to add the Branches in the back is when the paper's still damp. So we're going to use color 100 process a little bit one Oh fie to create the back branch. Also use Quill size sick with water to make the edges smooth insertion area, you can make them fade away. The central area you can always go back into, make it darker when the papers do kind of thing. Now there's another branch in the back Stem area. Alpha branch can make it darker by using column 105, adult lives will be 91. Now let's add a the darkest par with the color once 39 and the 143 Sarah area, like I said earlier, if not dark enough, you can always go back in, add a more colors. But before you do that, measure a paper is still them. If not, use it. A Quill size is six with clean water, just gently apply water on the top. Now let's continue painting the left side of the background by following the same step a prior water, use light green and add the darker green, four different layers. Adding the BEQ branch when the papers do them certain area, I'm going to add the lemon yellow to reflect sunlight. Let's continue painting the last part of background. In this area. I'm going to add the sun by brew as well. Sam here is the best time to add the back branch when the paper's still wet. Now use once 309143 to add the darkest area in the background. Now we've just been painful can't effect background. Go to math methods to paint the leaf in the Middle Ground 16. Back Lighting 3- Painting leaves in the Middle Ground: Let's add some back leaf down. The pattern is optional. You can add or not. It just for me, I feel Potter is kind of empathy. I would like to add a middle ground for this painting. Let's begin with the leaf in the right bottom corner. This time you don't have to worry about the edge because it's the Middle Ground. So we're not going to emphasize too much about the highlight of that leaf in the back. Some of that I might use the lifting technique to create a highlight. Now let's pan the Secondly. Use the lifting technique to query the highlight. Now we're just finishing the second leaf. Let's continue for certain one. Using lifting technique to create a highlight and Adam more details on the back Leaves. For the last leaf, I'm going to do very subtle details. Even like a highlight. I'm going to do just really soft wake. Just finish the vagrant up back Lighting less than Mu2, less lesson 17. Back Lighting 4- Painting the 1st group of Leaves: Before removing masking fluid, Let's check the background is completely dry. Now it's time to remove masking fluid by using Residue Eraser. Laying, use a dry brush to clean your paper before painting. Now let's get our Colors ready. He said one-to-one, 123, I'm going to miss 121 plus 123 to make Sir color for the leaf. Let's apply water inside the leaf first. They use a yellow lemon to create a base. Then use one-to-one to create a dimension of the leaf. Tried to lin the edge of the leaf to be Brink, which is white because Laszlo highlight areas of a leaf. Now use in a color 21 plus 123 to define a leaf, such as the midrib and the vein lane, use color 123 to create a cast shadow area. Now let's repeat a sense steps for different Leaves. Now let's use in lifting technique to create highlights including ME rape and the by. Now use color 121 plus 123 to add more details. When the paper is damp enough, you can always use a Quill sizes six with water to smooth out the edges. Just keep this in my landlord Lighting is a farmer back. So we have to refer to where light is coming from. You can also have a reference Rennes to you. So you can remind yourself which area or which part is lighter. Now we use in lifting technique to create more details. The lighting is from the bag, so full and leave behind. They were reframe their cast a shadow on a leaf right in front. So some of them might look like a transparent. I'm going to add the same cast shadow for the overlapping area. In order to mega leaves look more realistic, we can create a hole naturally on the Leaves. In order to make the leaf and more realistic, we can add a more cast a shadow on the leaf. Now we use the color 123 to really make a big contrast on the leaf. Now let's use the color once 39 plus 14032 Cree, overlapping par, which is cast shadow on the leaf. Let's continue painting our leaves. After painting the field leaves, as long as you familiar with the steps, it will be so easy for you to paint a leaf for the following project. Plus, if you have all the colors are ready, just like me, it will be so easy to start with a yellow one-to-one, One-to-one t1 plus 123, and then 123. So just take the older and have all the colors right next to you. It just like a routine, you will be faster. They drown. Creating highlight by using lifting technique. Now we just finished painting the first group of Leaves. Let's move to next lesson to pin the rest 18. Back Lighting 5- Painting the 2nd Group of Leaves: Let's continue painting the second Group of Leaves. Some edges of Leaves, My be disappeared due to the strong sunlight from the back. Towards the end, I'm going to show you how to create sun ray light can really emphasize in the sunlight from the back. Now, I'm going to use color 100 to add a little bit on edge of the 0. So I'm going to use it a same color to add on the edge of law WHO Alma leaves. Now let's continue. Use one-two-three to create a big contrast, which is a cast shadow on leaf. Now let's use a one Saturday night plus 143 to add the darkest part. Nang use lifting technique to create a mirror IP and the vein to add more details. Lastly, repeat the same steps for the next leaf. Sin here, I'm going to use a color 100 to add on the edge of leak. Now let's use a one-two-three to add the cast shadow. Once you add a dark is par, which is the 139 plus 143, you really create a three-dimensional look. Less leaf laying. Use a color 100 to handle the edge Alpha. Who that really make the leaf look real. Now let's pan the last leaf of less Painting. Use color one, green to add an edge of the leaf. This leaf has big contrast. One side is darker, analysis side is brighter. So Adam is kinda leave in your painting can make less painting look more interesting. Don't forget to add other overlapping part. That's the way to show light is a front, the back. So the cast shadow on another leaf. Now use a little thing technique to create the highlight of the mirror it. The last thing we can add to the leaves is the ACH, some edges not so bright, so we can bring sunlight green to tone it down. Now we just finished painting a second Group of Leaves. Let's go to next lesson to paint the Branches 19. Back Lighting 6- Painting the Branches: I think now we finish all the leaves. Now, let's pan the patio and the stain. Let's add a color in the middle of patio in the state. Because of the light from the back, both sides of edge gonna be shiny, bright. So you can only see the middle part of the color. So let's do it. For this part, I use a color one, oh, 5101. And the darkest part, I add the 91 in here. Now let's pan the stain. Here. I'm going to add some green 179 into the brownish color. And the sum of eigenvalues, one-two-three. Also remember, only paying the middle part of stain. Both edges should be shiny you through from the Back Bay. The best effect of stains texture is adding colors when the paper is wet enough to naturally branding older colors together. Now let's use Kaltura once 39, Press 143 to add a lot donkeys part. Now let's add some stick outside the stent. So making more interesting. Now let's use a flat sides of one to smooth out the edge between the brightness par in the dark bar. So you can smooth out the edge by lifting colors. We can either lifting colors, randomness to stick, to make highlight. Now the Branches are done. Let's move to next lesson to create some sunrays from the back 20. Back Lighting 7- Creating the Sunrays: Now is the exciting part to create some rate effect. We will need. Quill says six for water, one flat brush and the one angular Brush. First, use in a Quill says six with water to gently brush on the area you want on leaf Colors. Then use it angular Brush to nave color in the stray light. Just make sure sun ray is continue going straight. Sometimes you might have to do it repeatedly. Do a few times until the carver lifted the also until effect that you are happy with. Always lift from the lightest part to the darker part. Also clean your brush almost IQ time after lifting. Now is done. That's a sign your name on your final painting. We just finished your painting. Back Lighting. Let's move to the next lesson. 21. Side Lighting 1- Sketching and Applying masking fluid: In less project, we are going to paint side Lighting. Here are two pictures I took. I cannot combine the left top par with the right button leaf to make my own layer. Let's sketch. You can download a file Alpha my sketch under Resources section. It will be easier you have a with you. So you can know why Android also, you can trace my sketch, which is totally fine. So you can choose which one works better for you. When I sketch a line to mark each Leaves position. Just want to measure overall if they look good. Once everything looks good, I will start doing the details. Now I just finished a Main Leaves sketch. However, I would like to make a layout little bit more interesting. That's why I add another leaf, Ryan from a stain to break the lie all the way through the bottom. Also, I going to add a while to leaves in the back. Before applying masking fluid, I like to leave some pencil marks to avoid unwanted darker light when we finished painting. After we'd done, I like to clean my paper by using a clean dry brush instead of my fingers. Now it's time to apply masking fluid. So the same steps. First, where Europe Brush. Second, dip the brush into hints Soap. Dip your brush into masking through and you can start to cover the leaves. We can start with the bigger brush. First. We can use a smaller brush to cover the tiny areas. Now it's down. Let's move to this lesson for painting the background 22. Side Lighting 2- Painting Bokeh Effect Background: Less pen the background. First. Let's well a paper, you can apply water to the paper two or three layers. First, less use of color one-to-one to query the lightest area. Then add the 123 to create a darker areas. Once you've done 123, user brush with color one-to-one to smooth the edges. Remember to move your brush in circular way. As you can see when the paper is still wet is really good to create a pattern. Now let's see, use the color 123 to cover more darker area. On the right side. You see the edge for the pigment is almost dry out. Use an approach to add more water to avoid a watermark. After applying more water, Let's continue use in color One-two-three. And now let's use the color one-to-one to create a lighter areas instead of using mater to add more water, you can also use Quill sizes six to add the water in the small areas. Now, let's add the darkest part by using cover 139 plus 143. When the paper is still damp, let's use a Quill size is six to live colors in certain areas. This way you can create more layers of the background. Also, you can use the same brush to smooth the darker colors edges, bring all those same colors to the lighter area to create some layers. But just remember, you can do this when the paper is still damp. Now let's use color 143, a little bit 139 to create a darkest area. Then we can use the color 123 to smooth out the edge. Then use Quill sizes six with clean water to smooth the edge more. Some areas are not smooth. So I decided to use it a Brushes with color 121 to smooth things out and then also carry the same color to the left side to continue the background. Same here, I'm going to use Quill sizes six with water only to leave some colors to create a lighter areas. After colors are dry, I notice the dark is area not dark enough. So I'm going to add more 14032 push, really back in. Less time. Instead of reusing water only, I'm going to add a little bit green. Since the edges are a little bit darker. The tip of Brush, it is always toward darkness covered. So sun area or certain angles I cannot reach. So sometimes I do turn the paper. If we you see certain areas not dark enough or not smooth enough, you can always go back in to fix or add more layers. Let's continue the rest of the baker. He for you see some watermark on your paper? Don't panic. The Beta Wheeler we can cover it is by adding darker color. So you will not see. Let's continue use of color 123 to cover this area. As I mentioned earlier, I'm going to add a one or two leaves in the back. So now's the time going to add another leaf by using color one-to-one. Continue use color 123 to make color darker background. Now, add 139 to make it even darker to create more layers. When the color is still damp, last leaf, some colors to create the highlights. Now let's add some dark areas to create the notion of space. Hello is the leaf in the back. We still can create a time mentioned by lifting some colors to create a highlight. If the area is dry, how can we add more colors on here? Let's apply water gently on that area first, then add the darkest color to it. Finally, smooth edge. Now let's finish the last part of background. First, let's use a color one-to-one to create another leaf in the back. Then we use a color 123 to cover the whole area. You can either use in a previous lighter color to smooth the edges or a, you can use Quill sizes six with water only. Now use a commoner 139 plus 143 to create the darkest area. This area looks flat. That's why I'm going to add another darker color to make a layers that we have a Complete the background. However, I do see some areas that I want to fix. The steps of a fixing areas. First, apply water to that area. Second, upright, darker color to it. Smooth the edges. These steps are optional. If you happy with your background, you don't have to do it. Here. I'm going to add a little bit blue to make the colors more interesting. We just finished the bankrupt. Let's pan the leaf inland. Next lesson 23. Side Lighting 3- Painting the Main Leaves: Let's remove masking through by using a Residue Eraser. Use a dry brush to clean your paper. Just make sure you get rid of all a masking fluid. Now, let's paint. First step. Use a query size six brush with water. And when the inside of the leaf on the hour tell you why. Nest use yellow for the lighter areas. Since the paper's still wet, let's use 100 Earths color to commit to the stain. They use color one-to-one to create a darker area of Leaves. Based on the reference, you will notice the edge of each leaf is lighter. That's why when I, when a paper, I try not to touch edge only inside. So this way we can create the effect of the leaf. Sometimes you can bring yellow back to brand both colors better. Now let's miss one-to-one and the one-two-three. Now let's create midrib of leaf by lifting some colors. Now we just finished the first leaf. That's the repeat SM staff or other leaves. After finishing each leaf alive to paint the connection between leaf and stem. I think when the paper wet, the color can brand together very well. When you paint a leaf, always a killer lighting direction in mind. Because the Creating loads a darker area and the shadow can really show the viewer where is lot duration of Light. Use one-two-three to create a dark is part of the leaf. Let's continue to pay more leaves. Once you get familiar with all the steps, painting leaf is not difficult. It's pretty easy for me, is kinda like a meditation. First, well, inside of the leaf. Second, use the either yellow or call the one-to-one to create a base of Leaves. Third, use a darker color, either 123 or one-to-one plus 123 to create the darker area of Leaves. Force lifting color to create a midrib. And then in this painting, keeping in mind the lighting is from right top direction. So the darker areas should be on the left. Using size one small brush you to add a darker, the darkest green to push the leaf to look back. Also adding some darker green by on the vein to make the leaf look more realistic. Creating light and shadows on your object, on the 2D paper can really make them look like a three dimensional object. Surgeon, darker area. I will use very small brush like a size one with color 123 to really emphasize, to make him more three that I mentioned. When you try to live colors. To summation earlier on not too much water on your brush, because too much water, you might mix all the colors together. So it's kinda like almost dry but not fully dry, is the best time to leave. Pending the first base is very essential because you are going to defy where is the lightest part and know where the shadow will be. The reason I pick a certain Leaves is because in the shadow, the cast shadow on the leaf. I can really make the painting more interesting. And also you can really show a viewer where is the duration of Light. Now, use the lifting technique to create a highlight of a mirror IP. Now let's use a smaller brush. You always darker color, which is the 139 plus 143. To really emphasize the darkest part. Let's paint a small details of a leaf. The corner of Leaves is affording back. So adding those details and really make a your painting more interesting. In this leaf, I'm going to add some blue, light blue to refresh the sky. Toddler. Son an IV can be more interesting. List leaf has not only is self shadow, but also the cast shadow from the staying on the right. So that's a really good way to show the viewer when the duration of light is front. The details of leaf. You can use it a size one. Brush ways to color one-to-one, either 21 on 123 depends on the base color. In this leaf. I'm also going to add the sunlight brew on the highlight area, 15, certain area to create a highlight. Then we add a color 123 to add the details of Leaves. And then one Saturday night, 143 to add a, the torque is part. Now let's pan the last leaf. I also add a blue on this knee to emphasize that I highlighted area really reflect the color of sky. Since the late leaf is in the button. That's why I use more darker greens, such as one-two-three, once 39, and even 143. To really emphasize the cast shadow, Frank. Other leaves. Now use it a small brushes size one to emphasize the darkest part. Using lifting technique to create a highlight of a mirror IP in the vein. Now we just finished painting the Main Leaves. Let's move to the math fashion to pin the Stem 24. Side Lighting 4- Painting the Stem: Now we have gone all the leaves. Let's move to Painting the stain. Here. I'm going to have a three colors. One yellow, 11, t2 plus one-two-three. Another one is one country add a sound one, Oh fie. The lighting is from the right side. So just make sure Cuba highlight on the edge of rice I and the atom the darkest part on the left edge. Once you paint on Lighting area correctly, the viewer can really see where the direction of Light, It's the best way to bring all the colors together well, is adding more water where you've seen an area to try just add more. So you will see the color 3D nature a bringing together, which is in a beautiful part. Ola Leaves the stain or down, now only has one more thing left. I want to show you. Remember we leave the edge of leaves to be white. Sheila highlight area, buy food locally and closely. Leanna, the same color or same brightness. That's why I'm going to make some offering darker to push him back. Now let's assign urinating on the European. Now, we just finished painting leaves with Side Lighting 25. Final Thoughts: Congratulations, you have Complete this class. This class is longer than my other classes. It's impossible to teach painting light in our width. Just one project. I've been thinking what the best way would be to not only give you the concept, but also apply to your painting. Last, why I decided to create three projects with a threat directions of light, but similar subjects, which is Leaves. Let's way, you can visualize the different m's are fears among land. Or at the same time. When you put them side-by-side, you can see each duration of Light crease, different effects and the M severe. So as all depends on what can invest or M severe you want to express in your Art. That's where you can decide which it erosion you want to use and what kind Effect and M severe that you want to, the viewer to see. Press go to discussion section to start our conversation. Share your paintings or ask any questions. Also, you can go to the review session to share what you have around follow this class is the layer, anything you will allow me to cover in the next class, or any comments. Our be so happy to hear from you. I also can be reached at in Creative Studio on both YouTube and Facebook. As a former, HE, the account in Creative Studio still cannot be reached. But I have a new account which is at, in Creative Art. So you can reach me overlayer again. Thank you so much for joining this class. I hope I will see Olsen in my next class. Happy painting