Evergreen Fairy: Painting a Botanical Fairy with Gouache and Watercolor

1. Welcome and Introduction : Hi, everyone. Welcome to my new class evergreen Fairy, painting a botanical fairy with gauze and watercolor. In this class, we will be creating one simple yet vibrant project, a beautiful evergreen fairy inspired by botanical elements and festive color. We will begin with basics where I'll show you how to create simple seeps and sketches for the fairy. I'll also be showing you different types of wings that you can create along with a few additional elements that helps bring the corrected to life. After that, we will move on painting techniques where I'll be using both watercolor and gauze to getter to create expressive leaves, ribbons, marries, and other decorative details. Hi, everyone. My name is Wishal and I'm an artist from India. On a skills here, I teach a variety of art classes including watercolor, gauze, oil, pastel, and ink illustration. You can also find more of my work on my Instagram and YouTube channel. This class is suitable for both beginners and intermediate artists, and most of the lessons are recorded in real time, so you can easily follow along with me at your own piece. I hope you will join me in this class, and together, we will have a lot of fun painting this beautiful and vibrant ever green fairy. Let's dive in and get started. 2. Class Project : For class project, create your own ever green fairy using watercolor or gauze. You can follow the project exactly or add your own touches by changing the leaves, colors, wings or decorative elements. Once you are done, upload your final painting to the project gallery. Add love to see your work and how you personalize the fairy. Apart from this, you can also see your pencil sketches and different kinds of leaf you have created. 3. List of Supplies : For this class, we need a pencil and easy to do the basic pencil sketching. Then I'll be using this tombosspin to do the final outlining for the face and a little bit for hand. Then we have got the sakura micron jelly pen and white colored pencil. I won't be using it, but if you want, you can use it to add highlights and reflection for some of the sections. Watercolor brushes, small and large brush will do the work. Then we have got a skin tip to secure the paper. Tissue paper, tissue paper will come in handy. Watercolor, I have got this gameling artist, watercolor. You can use whatever watercolor you have, gauze. You can use either gauze or watercolor or if you want, you can use both. And here, I'm using 300 gsm watercolor paper from Bristow. So these are the basic supplies that you will need for this class. 4. Sketches : Welcome to this first video in here. I'll be showing you how I'll be creating the simple pencil sketch for our fearing. You can start with a simple restrat line to determine the length for our faring and then divide it into eight equal different section. Start by dividing into two equal parts, then further divide into four different sections. And then further divide into eight different sections. Now. Now for our fairy, I'm creating this kind of simple slanted line following the different section that we have created. This first three lines that we just created will represent different section of her body. For the first section, we have her head, so simple ovals for her head, and in here, the second and third section. We'll be creating her chest and that torso, simple cylindrical set for her hands, circular seat for her shoulder, and the remaining section, the remaining five sexon, I'll be creating her gown. So I've divided it into eight different section. For the first three sexon we'll be creating the upper part of her body and for the remaining five sexon we have the remaining section of her body. Instead of it, if you want, you can divide into other different section. Instead of dividing into eight equal parts, you can divide it into six. So this is basically how I'll be creating the simple ancelskech for our fairy, we'll be adding more details, but this is how I'll be creating now for Feres space in here, I'm showing you a very simple version for the face facing towards the right, starting with a vertical and horizontal line intersecting. We have got the horizontal line a little bit above, below the horizontal line. I'll be adding the here and this is how we'll be creating very simple version of the face. If you want, you can divide into more section instead of dividing into two different section, you can add one more horizontal line for her nose to make the process bit easier. This is basically how we creating the face facing towards the right. Here's one more example of the face facing towards the front. Let's make it a little bit more defined. Starting with the same thing, vertical and horizontal straight lines. In here, I created a little bit of oval see for the face. Now let's divide into mode section, another horizontal lines. So this will be her nose. For this upper part, we'll be adding the eyes and just below the nose, small mouth. We'll be adding the ear, just below her eyes like this. You can use the simple guidelines to create the simple face facing towards the front. You have got two simple sketches for her fees. You can also experiment on creating her fees facing towards the left, if you want. Now, let me show you some example for her wings. I'll be keeping her wings quite simple. I'll be creating a little bit of butterfly like wings and divided into three different sections. So you can start with simple straight lines to determine the length for her wings. And you can create any kind of wing, but I'll be creating this kind of simple variation for her wings. You can just keep it simple with two different section of the leaf or you can just follow along with me and create three different sections for the wing. Instead of this kind of butterfly like wing, you can also create angel's like wing. So here's a very simple example for the angels wing. So you can create this kind of wing for the fairy. You can make the outline a little bit more thicker. And we can create lots of feather for the inside. Simple seeps like this, bit curved see for the feathers. Bit curved seed for the inside for the feather. You can also create this kind of scaling for the insides of the feather. And I won't be creating this kind of wings, but if you want, you can proceed with it, too. And mostly, I'll be creating this kind of very simple variation of the leaf and the stems beside the fairy. Here's a very simple sketch for the kind of leaf and the berries that we'll be adding. In the next video, I'll be showing you how I'll be creating other kind and other variations of th leaf using watercolor and the gauze. But this is simple pencil sketch outline for the leaves that I'll be creating for most of the section. And as for the ribbons that I'll be adding beside the fairy, very simple and spiral like seeds like this, I'll be adding this kind of riven. These are some of the basic simple pencil sketches for this section, and I'll be seeing in the next video with different kind of leaves. 5. Leaves sketches : Welcome to the first section of leaves and additional elements. In this section, I'll be showing you three or four different kinds of leaves that you can use in the project. Mostly, I'll be using only two types of leaves, but if you want, you can incorporate other kinds of leaves too. I'll also be showing you how we can create simple berries as well as ribbons. Let's start with a simple sketch for the leaves. So these are the simple kinds of leaf that I'll mostly be using for the project. I'll be showing you three or four different colored variation to create this kind of leaf. For coloring all the leaves and the additional elements, I'll be using both watercolor and gauze. So you can feel comfortable with using them both, and it depends upon you whether you are going to use watercolor or gauze to do the coloring. Here's a simple sketch for the second version of leaves that you can use. Creating this kind of curb elongated see for the leaves. I won't be using this kind of leaf, but if you want to include this kind of leaves in the project, you can do that. This is a very simple version for the leaf. Now, here we have got the third kind of leaf. So in here, we'll be creating the holly Branch leaves. I'll be creating a seed of five or six leaves, creating this kind of bit curved hexagonal seeds for the holly Branch leaves. We'll be using variations of the greens to do the coloring. I'll also be using a little bit of white to do the outlining for some of the leaves as well as a little bit of detailing in the form of midribs and the veins. And with these, we're done with a simple pencil sketches for all the three kinds of leaf. Now let's do the coloring. So for this one in here, I'm using the watercolor. With the watercolor, you'll get a lot of transparency and layering becomes quite easier with it. W the layering of watercolor green can create very subtle gradiation and all the layers of the colours will be visible with the watercolor. For this one, I decided to start with the olive colour, a bit diluted consistency of the olive colour. A bit diluted consistency of this olive color to act as the primary layering for the leaves. By diluted consistency, I mean, I used a lot of water with the colour to make it a little bit diluted, and when I'll be using concentrated color, in that case, I'll be using less water. This is going to our primary layering for the leaf. For our projects, we'll be using other color combinations to create the leaf. But in here, I'm just showing you a rough demonstration how we'll be using two or three different seeds of the greens to create the leaf. In here, I'm using light sd of the green. Once again, this is a bit diluted version of the green. Adding a little bit of greens, particularly more on the left side to make that region a bit darker. I'm considering that the light is falling from the right side, so the left side will be a little bit darker. Now, let's spread the colors a little bit. You can just use the breast to spread the color or you can use water to spread the color. But in here, since the primary layer with the olive has not rind up, so you can easily spread the color. Now for the second one in here, I decided to use gauze. Once again, for this one, too, I'm using a bit diluted consistency of the ring. With the gauze, the main advantage is that we can do lots of layering. We can even apply lighter color on top of the darker color, which is very hard in case of the watercolor, but with the gauze, using a bit thicker consistency of the color, we can overlay we can overlay the lighter color on top of the dark ones. And since in here we are using a bit diluted consistency of the color, the seeds of the color will differ a little bit consistency since it's a bit diluted, so it won't remain uniform and consistent, but you don't have to worry about it, as it will add another layer of characters to the leaves, and we'll also be doing more layers on top of it. Now for the third one, the holly leaves in here, in here, I decided to use a bit concentrated watercolor. In here, I'm using a bit darker side of the green. And as compared to the other two leaves, I'm used a little bit less water. So the consistency so the consistency is great in here. You can see a bit more concentrated color. Now, for the first or second leaves that we use, I added a lot of color to it, so I'll be using the color from it and spreading it for the remaining leaves. In here, I'll be using the same color and creating different seeds with it just by reducing its intensity a little bit. For these leaves, we'll be getting various seeds of the green. And you can clearly see it. The first three leaves are quite darker than the remaining ones are lighter, comparatively lighter. Now, adding the stems for the remaining leaves. And with these, we are done with the primary laying for all the three kinds of leave. This has dried up a little bit now, using the same side of the green that we used earlier and creating the midribs and the veins for the sins. This two will merge with the first and the second layers of the coloring we did, but we will get a subtle outline for the midribs and the veins, and on top of it, when it destroys we'll be going with bit darker side of the green to create a definite and crisp outline as well as add the midribs and the veins for the insides. These are a little bit more defined in our project. We'll be making it a little bit more simpler since we'll have to create lots of leaves. You can do experiment on your own and try different techniques to create a little bit of variations for the kinds of leaf you will be creating, adding the midribs, the middle portion of the leaf and then adding the veins coming out of it. Make the veins a little bit curved following the seep of the leaf. So right now, it does not look that great, but intensity of the color will decrease a little bit when this dries and it will also merge with the remaining two layers and create a subtle gradient. Now for the naps in here, once again, in here, I'm using watercolor instead of the gauze. But if you want, you can use the gauze tube. In here, I'm taking a little bit of different approach. I'm adding only the midribs and doing the outlining for one side. The one side will become a little bit darker and the other side will remain a bit lighter. I'll be particularly adding more greens on the left side to make it a bit more darker. And for some of the leaves that are lying underneath or beneath the other leaves, I'll be adding more greens to make it a bit darker to sow the shadows. Now, in here for this kind of leaf, using a bit concentrated green, the green from the gauze and using it to create this kind of bit broken lines for the midribs and the veins. With these kind of lines, a bit broken lines, you can add bit of more texture and a bit more characters to the leaves. So mostly, I'll be using this kind of bit broken lines. But if you want, you can also use uniform and consistent lines. And I assure that the color has dried up since we are used gauze, but it has not dried up, so the midribs in the veins for the three leaves are not that great. So I will wait for it to dry a little bit, and then add another layer of during on top of it to make the midribs and the leaves once again. So this is one of the mistakes you should avoid. And yeah, we will wait for it to dry a little bit until it dries. I'm using a little bit of this cream in here. You can mix both the gauze in the water color. It won't create that much of a difference. So in here, I used a bit of gauze. And now I'll be spreading this gauze a little bit with the water. To create a bit darker region near the stems of the leave. Just using simple water and spreading the colors a little bit. And with this, we have created a bit darker region for the stems and the upper side for the leaf. The three leaves in here turned out not the way we expected. So fasten this process a little bit. So this is Jobson. You can just wait for it to dry naturally or use the blow dry to quicken the process a bit. Now let's do the outlining. In here, I'll be showing you two different kinds of outlining for the leaves. In here, I'm using olive color, olive green to do the outlining. I'm creating this kind of bit detail and crisp outlining for the leaves. As I was mentioning the vibrancy of the colors has decreased a little bit when this dried up, the watercolor. But you can see the greens that we use for the gauze has remained vibrant. The kind of green that we use is seen. The kind of greens that we applied is seen even after when it dried up. It depends upon you what you'll be using. Mostly, I'll be using the gauze for the darker regions and it's quite easier to overlay the colours on top of it by using thicker consistency of the gauze. With the watercolor, it becomes a little bit difficult or challenging. And now I'm creating this kind of simple broken lines to create the outlines, the midups and the veins. You don't have to use the same color. Instead of this, if you want to make the process a little bit faster, you can also use the bras pins. You can also use fine liners and create outlines using black. You can also create this kind of a bit broken outlines for some of the sections of the leaf. Now adding the veins. So I'm just overlaying the lines on top of the earlier greens that we used. And as you can see, it's looking quite good. The colour that we use as the first and the second layer has mixed a little bit and created some kind of subtle gradient and overlaying this color on top of it to create the mid drops in the veins it little bit more makes it look a little bit more real. For this one, since this is a little bit curved in here, I'm using a bit lighter state of the green, I am using grass green here. Instead of this, you can also use other states of the green. You don't have to stick with the olive green. You can use dark green. You can mix a little bit of brown with it, too. In here, I'm creating a little bit more detailed variation for the midribs in the veins. At the maze of the veins, I'm making it a little bit more thicker near the midribs. This process will take a little bit more time, but it will create more defined and more real like leaves. So if you want to create this kind of leaf, you can do that. And with these, we are done with the third leaf. For the remaining two leaves in here, I decided to use a bit thicker consistency of the green and instead of creating the kind of outlines wedded, I decided to make it a little bit curved. So creating this kind of outline for the leaves in here. You can also experiment with other kinds of outlining for the different kinds of leave. Making this kind of curved lines for the entire outline for this fourth teeth. And now let's add the mid drops in the veins for the insides, creating this kind of simpler variation, simple broken lines for the midrps in the veins. If you want, you can create the kind of veins and the midribs that we did for the third leaf, creating simple lines following the curved shape of the leaf to add the veins. And with these, we are done with the fourth leaf. Now for this one, I decided to mix a little bit of brown with the green and creating a bit darker color for the outline. The same kind of outline that we did for the fourth leave now. Let's at the midribs and the wins for the inside. We will wait for it to dry a little bit and then a little bit more detailing in the next section of this video. 6. Layering the colors for leaves: Welcome to the second part. Let's continue where we left top. We'll be waiting for it to dry a little bit the five lefts that we did outlining for and then add a little bit of bound detailing with the white for some of them. Till it dries in here, I am adding a little bit of detailings for these leaves. I'll be primarily doing the outlines on particularly one side and adding this kind of simple variations for the mid ribs. If you want, you can also add the veins in here. Creating this kind of dynamic lines for the outlining dynamic lines, I mean line with varied thickness. Creating this kind of outlines for the remaining leaves, I'll also be using a little bit of water to spread the color to mix it with the remaining colors to create a subtle gradient for the outlines and the remaining section, the insides of the leaf. You can also experiment with other colors, and you can also create a little bit of different kinds of outlines, a little bit, a little bit curved outlines or a little bit pointed outlines. Now, in here, I'm going with water. So this brush contains only water and I'm spreading the colors, the colors for the outline section. For some of the leaves, I'll be doing it. Doing it creates a little bit of subtle gradient and the transicen becomes quite smooth. So this is how you can create a little bit of gradient as well as a subtle transition in between the outlines and the remaining section for the insides of the leaf. You can also mix a little bit of the outline of the midrib stew. And with these, we are done with the outlines in the mid rib. We will wait for it to dry and add a little bit of white for some of the sections till it dries here. I'm using a bit thicker consistency of the gauze, and I mixed a little bit of brown with this olive color and creating outlines for the leaves, the hexagonal leaves, the holly leaves. Adding the mid drops and the veins for the insides. So the leaves did not turn out the way I was hoping to create. But you have got the rough idea how you can create the different varieties of the leaves using a little bit of colour to do the outlining for some of the leaves in here, too. So a different seed of the green in here, olive green. I'm using white to create the little bit of detailing form of mid drops in the veins for these leaves. Overlaying this white on top of the earlier outlined section for the mid drops in the veins. In here, I'm using white, and as you can see, when this dries up, it will lose its intensity a little bit. And in here right now, it's not looking that much white. It looking a little bit of gray color. Using the same white, the concentrated white from the watercolor. Let's overlay it on top of the lines to make it a little bit more bolder. So if you're going to use a bit concentrated white watercolor, you have to do two or three lines to make it look a bit more vibrant and bit more distinct. Otherwise, you can use the concentrated white ink white gauze or white acrylic, if you have. You can also use the sakura jelly pen. Adding a little bit of detailing in here too on top of the mid ribs and the veins. The outlining that we are doing in here will fade a little bit when this dries up. Let's do the outlining for the remaining leaves in here. If you want, you can also use a little bit of water to subduate a little bit by lending it with the remaining section. Let's do the outlining for the remaining leaves in here. And for the last one, I'll be using white later on. Until it dries in here I'm showing you a very simple version of the leaf that I'll be adding beside the fairy. Simple estem and simple kind of leaf like this, the second kind of leaf that we practiced. Adding this kind of corm leaf in here. For our projects, we'll be using variations of the green two or three seeds of the green to do the coloring, but in here, I'm showing you simple example. And since in here, I'm using diluted consistency of the color, the seeds of the green is a little bit different for different leaves. Simple stem like this. Let me show you another variation in which I'll be using two seats of the olives to create it, starting with broken lines to create a stem. Now let's create simple leaves. Here, too, I'm using a bit diluted consistency of the colour. So these are very simple kinds of leave. We'll be adding multiple branches alongside the fairy for her head, for her hands and on top of her cloth and beside it using a bit thicker consistency of the olive and adding it for some of the sections, the two colours will mix on its own because of wet and wet technique and we eat a subtle gradient, making it a little bit more darker in here, too. Now, for some of the leaves in here too, adding a little bit of greens, darker green. Adding a few more leaves, and we will wait for it to dry. Let me show you how we'll be creating very simple versions for the merries since we'll be creating very small and manue berries, all you have to do is to create the simple circular seeds for the merries, leave a little bit of white speech for the highlights. So we'll be adding multiple baries for the branches like this. Either you can add single berries or a cluster of two or three baries as you see fit. Instead that the green has dried up and then added, otherwise, the two colors might mix like it happens in here for a single berry. It got mixed with a little bit of the green. And for the ribbons, we'll be creating this kind of very simple and curvy seeps like this using bit of broken lines. Instead of it, if you want, you can create are you can create a little bit more detail and define ribbons. But I'll be keeping things simple and creating this kind of simple variation for the ribbons. We'll be continuing on with more detailings and a few more examples in the next part of this video. So yeah, see you there. 7. Additional elements : Welcome to the third and the final parts. In here, I'm using a bit concentrated gauze, and let's continue with it and see that the color has dried up. And the white that we use the white watercolor, as you can see it when it dried up, the intensity has decreased significantly. You can use bit concentrated gauze and create this kind of outlining. In here, I overdid it. I added more whites and added more details in form of mid drops in the veins. For our main project, as you can see in here, I did not add this kind of outlining with the whites. I used only a little bit of white for some of the sections to make it a little bit more bolder, a bit more distinct. So you don't have to follow along with me in here and try to add and try to add less amount of white for the highlights and the outlining. Now, moving on to this kind of leaf, adding a little bit of broken lines and overlaying this on top of some of the veins. Also going over some section of the outlines. Let's do the same thing here a little bit more detailing in the form of mid reps and the veins, not covering the entire section, only a small portion with it. As for the highlight for the berries, a simple single dot will do the work. For the larger berries, you can add two or three dots to make it a little bit more shiny. You can also use white to add the mid drips and the veins for this kind of leaf. Bit of broken lines to create the mid drips, and you can also create the veins. Since it's not looking that great, I would advise you to not create the veins with it. But if you want, you can create only single lines for the mid ribs. And now I'll be showing you two different example of the mary buses that you can create that the fairy will be holding on. So starting with the red to create simple dots, the simple dots for the Marys We will wait for it to dry. Since I'm using a bit concentrated, using this concentrated ride and overlaying it on top of the green to add multiple berries in here. We'll have to use a bit more saturated red to overlay on top of the greens. Adding a few berries here and there for some of the sections, I'm adding the marries underneath the leave so only a small portion of the berries are visible. Let's set one or two more in here. And one more in here, beside this one. When this dries up, I'll be going with the white to add a little bit of reflection and highlight. To make it a bit more detail, you can use two different sets of the riots, but since the sizes of the berries will be quite small for our main project, I won't be using two or three sets of the I'll only be using a single set of the d and create simple variations for the berries. Now, in here for the holly branch, I am leaving a little bit of larger spiece in the middle for the highlights. You can play with a different kind of highlight for the insides. Let's add a few more cluster of the baries. Let's add one or two in here. To make this process a little bit faster, you can use the red sketchin red fine liner or red breast pain to create the barries Adding few marries for this branch, too. I decided to add few more in here, adding one more just beside this one. The red that we use early for the smaller made has not dried up, so let's add a few more baries. And yeah, with this, we are done with the berries. Now in here, I'm using yellow green, and as you can see, it's a bit diluted color and try not to overlay this on top of the lad and create this kind of bus like effect for the entire section. We'll be using different seeds of the green. Now, in here, I mix a little bit of light green, and since the earlier color has not dried up for parli it films on its own, yeah, creating these kind of small bruss strokes to create the texture for the uses This is not going to meet that much details. Since we'll be creating very small versions of this for the main project. But if you want to make it a little bit detailed, you can add small leaves at the outline sections or near the outlines. For now, I'm just creating the colours from the inside and yeah, creating this kind of simple appearance using small brussel strokes. The goal in here is to cover the entire section with this kind of small brass strokes. For the outline section, as you can see, I'm creating a small resemblance of the leaf by creating this kind of by creating this kind of outlines like this. In here, I'm using olive green. So you can create this kind of outline for the outside regions. I decided to sew another variation of this kind of buses using different shades of the green to create the outlines in here. And for the right side, I used a bit darker sides of the green, and in here, I'm using a bit lighter side of the green. Also spreading a little bit of dark seed of the green from the left to the right. And we will wait for it to dry and then add more berries. Till it dries, I decided to spread the color a little bit more in here by using a little bit of darker seed of the olive. The goal in here is to create a little bit of different regions of the greens for this entire bush. The other thing that you can do is to start creating the bush first and then use a bit concentrated green and add it over the green and use a bit concentrated red to overlay it on top of the greens to create the berries. For some of the reasons in here, I'm using a bit more concentrated green, olive green, not covering the entire second but some of the section in the middle. Gritting small red dots for the berries in here. I'm adding the berries on the section where I did not add their colours. You can wait for it to dry or just add the red in the empty spaces in between the green mouses. Here too, adding a little bit of red for some of the sections. I would advise you to wait for it to dry and then add the colours. Otherwise, it colours might mix with each other, as you can see, it's happening a little bit here. But I decided I was going to be a bit careful, but some of the colours got mixed, so try to avoid this kind of small mistakes. Now, in here, I'm using sakura micron jelly pen to add a little bit of highlights and reflection for some of the berries. I won't be using it as I find it a little bit difficult to add highlights and reflection on top of the watercolor and gaze with this jelly pen. But if you want, you can use it. And with this, we are done with the leaves and additional elements. I'll see you in the next video. 8. Pencil Sketch for the Fairy: Welcome to the first part of this project. This project is divided into six different section. Let's start with the basic simple pencil sketch for the query. So in here, I'm directly started with this kind of slanted line as I practice as we practice in the demonstration video, a set of three slanted lines and this kind of s for the remaining section of our gown. If you're not comfortable with this outline, you can start with a simple sketch that we practice, starting with a simple asteroid line to determine the length for the fury. Now dividing into different sections. So a total of eight different section. Start with dividing into two equal parts and then four equal parts and lastly, and further divide into eight equal part. For the upper three part, we have her face, her soldier and her torso, a little bit of this kind of oval see for her face, and I'll be creating a little bit of bend s for her back, creating a small cylindcal seep for her neck. For her soldier, the same kind of seep that we created in the demonstration video, a little bit curved as like se so this kind of s for her torso and her waist. Now for the remaining section of her upper part, this kind of simple S circular C for her shoulder, cylindrical C for her forearm. And this kind of bit conical C for her arm. For her palm, we are creating this simple oval se. We will be making adjustment later on. But this will be the simple C for the top of our firing And for this remaining eight section in here, we'll be creating her gown and adding the details with leaves and other lement. If you want to make changes to the proportion, you can do that. If you want to make the face facing towards the front, you can do that, too. But I'll be creating this simple sketch for the fairy. In here, I made the gown a little bit more flafy as compared to the practice. Now, let's create her wings, the same kind of wings that I saw you in the demonstration video. As compared to her body, I decided to make it a little bit more larger. I'll be creating the three wings for it. Butterfly like wing, if you want to make changes and adjustment, you can do that. And if you want to create angels like wings, you can do that, too. For that, you have to do a little bit of adjustment to her gown to accompany the large wings, the angle like wings if you're going to do that. In here, I created somewhat of butterfly like wing. If you want, you can create it like birds like wing or angel's like wing. So feel free to make adjustment and changes as you see fit. Now, let's add a little bit more detailing, starting with drawing a rough guideline for her here. I'll be creating a large bun for her here. For most of her clothing, I'll be adding lots of ribbons. Let's do a rough outlining for some of the leaves that we'll be adding on top of the gown. In here, I'll be creating a simple kind of leaf that I showed you in the demonstration video. Instead of this, if you want to create other kind of leaf that I sowed, you can create holly leaves or mistletoe leaves or other kind of leaves. I'll be creating this kind of leaf and I'll be wearing the siges. Some of the leaves will be quite large. Others will be quite smaller. For some of the leave, all the sections will be visible for the others. Some of the section will be lying behind other leaves. So what I mean to say that you can create any kind of leaf in any manner as you see fit? I'll be covering most of our gone with the leaf. But if you want, you can only cover the upper section or the lower section. In here, I'll be trying to start with the smaller leaves for the middle section, I'll be creating a bit larger leaves and for the bottom section, once again, a bit smaller leaves. Try to create a sense of depth by showing that some of the leaves are lying behind the other leaves. So some of the section of the leaves are covered by it. Try to create a little bit of non uniform leaves by wearing the sides and making some of the leaves a little bit more crooked or a little bit bent like this. You can also add stems if you want. And apart from creating only a single kind of leaf, if you want, you can add more varieties of leaf. The whole VT is in real time. So if you want to follow along with me, you can always join me. For the sections where I'll be increasing the screen, I'll be letting you know. So if you want to follow along with me, then you can just pause the VD or you can reduce the spen. Now, let's create folds for her gown. I'll also be adding few leaves just below the gown. This is Opnal if you don't want to do it, you can just leave it as it is. You can create the leaves only for the upper part of her gown. Or you can just follow along with me and add few leaves just below and beside the gown. Adding few leaves in here, too, as well as sewing some of the folds of her gown on the side. Creating smaller leaves, simple rough outline for the leaves. This is just a simple pencil liskee If required, I'll be making adjustment. I won't be sticking out with the guidelines that I created for the pencil lskege in here, feel free to make changes and adjustment as you see fit. Let's create a rough outline for her facial feature, nose and mouth. The fees in here seems a bit broader. So I'll be making changes and adjustments, erasing the fees and making it a little bit more defined. A bit more cylindrical neck for her. Let's create this kind of bit curved C for her face. Creating a rough guideline for her hair line. A small section of her head will be covered by here in here. Let's create a rough outline for the meaning section of her here. So in here, if you want to create the fairy facing forward, you can do that. But as I mentioned, I'll be making the fairy facing towards the right, adding a little bit of detailing for the face. Now, let's make our hands a little bit more detailed. And with these, we are done with the first part of this project. 9. Fairy wings: Continuing on where we left off. Lightly raising the pencil sketch for the upper part, the hand, the mouth, and upper section. I'll be raising the pencil sketch in different sections so that we can have a rough idea of where we'll be doing the coloring for the next step. In here, I'm using a bit diluted consistency of the color for the face. I'm using a skin color in here. I'll be adding a little bit of darker tone to it later on. Now adding it for the hands of the fairy. The hand is a little bit lighter. Now moving on to the here. In here, I'm using the ocher mixed with a little bit of burnt Siana. So this is a little bit thicker consistency as compared to the color we used for the face. Starting with doing the outlining for the outlined section, I'll be making it a little bit darker for the inner section. I'll be keeping a bit lighter, creating this kind of outline to add a little bit of texture to it, too. Now, using water to spread the color. Try to spread the colours evenly and instead that the middle section, the middle section remains a little bit of lighter consistency. Later on, I'll be going in with the different seeds of the greens and the reds to add the berries and the leaves on top of it, extending the hair a little bit just beside her forehead. Now, we'll be doing the primary layering for the wings, lightly raising it. For all the elements for this project, we'll have to do multiple layerings of the color. And here I'm starting with a Cambo So using this cameo j and spreading it for the entire section of the wings that we have created. You are free to use other colors. If you want, you can use the grease in the loose for the wings. But in here, I decided to mostly use the yellows, greens and reds for all the elements in this project, adding it for the second wing. And the final one. Instead of creating three wings, if you want, you can add only two wings for the fairy. The largest wing is a bit more darker and remaining two wings are a little bit lighter. Now going in a bit diluted form of this light green and yeah, adding it primarily on the edges. And now spreading it a little bit. I'm not going to cover the entire section, but just spreading it to create this kind of wing like appearance for the wings. Let's do the same thing for the remaining two wings. If you want, you can make it a little bit more darker by adding a little bit more Cambojo. I decided to make the other two wings a little bit more darker, so I am not adding the yellows in here. Later on, I'll be going with a bit more darker sides of the greens and the reds to make it a little bit more darker. The upper wing, the first wing will be a bit lighter, so that's why I used a bit more concentrated yellow up there. Now using a little bit of more concentrated green and yeah, adding it in the same manner. Adding it near the outlined sections, starting with the lower parts of the wings. I won't be adding this screen for most of the section like we did with the earlier light green. But for some of the sections and yeah, here too, spread it a little bit. Using it to make the outlines a little bit more crisper. Doing the same thing in here too, spreading the green. Let's do the same thing in here for the third and final wings. Now, I'm using water to spread the colors a little bit. The three colors that we have used right now will merge a little bit on its own, since the yellow that we used earlier and the light green that we used has not dried up properly in this green too. And this green two is a bit diluted, so it will mix and create a little bit of subtle gradient. Now, moving on to the chest. So in here, using the lighter side of the green, so for her clothing in here, I'll be dividing into two different section. This section will be in green. And the remaining section and soldier, her hand and upper part of her chest will be in red. Here, too, I'm using a bit lighter consistency of the green. I used a little bit of green for the middle section in between her soldier and the arm. Now, let's make some of the section a little bit more darker to sew a little bit of satoPrimarily adding this darker side of the green on the left side, a little bit just below her arm. Adding a little bit above her waist. Now, using water to spread the colors a little bit here too, since we are doing wet on wet technique, the two colors will mix a little bit and create a subtle gradient, adding a little bit more green just above her arm. And yeah, with this, we are done with this now. Let's move on to the lower section. Here to lightly erase the pencil marks and see that a small section of the pencil skate should remain visible that we can use as the guidelines to do the coloring. In here two, I'll be starting with the greens to do the coloring for the leaves, the leaves we have created. For the leaves too, we'll be using multiple layers of the coloring. In here, I'm using the lighter side of the green for the coloring. This will be our primary layering all the leaves. Here to, we'll be trying to represent a little bit of light in the sados. So for some of the sections, I'll be making it a little bit more darker with darker side of the green, and for the other section, we'll be using this lighter side of the green to so that this legion is a little bit light. Going over the outlines of the leaves and completely filling it with the greens. You don't have to stick with the pencil outlines that you have created. Instead of it, if you want to add more leaves or change the placement of the some leaves, you can do that. The whole we do it in real time, so you can always follow along with me. The consistency of the green will be changing a little bit since we are to add a little bit of water and a little bit of coloring, so you don't have to worry about it for the change of consistency of the green, since this is our primary layer, and most of it will be covered later on. Tinning on with feeling the insides of the leaf with this green. Wherever there are two leaves, try to create a little bit of sepreson by leaving a little bit of white in between them like this. So this process is going to take a little bit of time since we have got lots and lots of leaves in here. And this is what I was saying using this darker side of the green to add it on one side to make that side a little bit more darker here, too, because of the weight and wet technique, the two colors will mix on its own and create a beautiful subtle gradient. And since we are adding a little bit more colours toward the upper part, that part will become a little bit darker. Add a little bit more green, especially near the regions where there are two leaves to sow a little bit of sadosF the other leaf, add a little bit more greens. You can use the water to spread the colors, or you can also use the lighter side of the green to mix it with the darker seed that we just added. Also, if you want to extend the seep in the side of the leaf, you can use this darker seed of the green to do that. Let's do the remaining leaves. We'll be adding the coloring in the same manner. So once again, I'm starting with the lighter set of the yellow green as the primary layering for the leaves. And I'm leaving a little bit of white space in between all the leaves that we are creating. And for the leaves that are lying below the other leaves, we'll be adding a little bit more green to sow a little bit more darkness or what I mean to say to sow a little bit of more Sadows Using the darker side of the greens. Now, continuing on with the remaining leaves. Since we have created this many leaves, this process is going to take a little bit of time. If you want to make this process a little bit faster, you can just reduce the number of the leaves, and if you want to make it a little bit more challenging and a little bit more interesting, instead of creating this size of leaf, you can make the size of the leaf a little bit more smaller and thus increasing the numbers of the leaves, it will take a little bit more timing, but the result will be much more better and much more beautiful. And as we are moving away from the top, I am increasing the size of the leaves a little bit. I'll also be creating a bit smaller leaves, but mostly I'll be trying to create a bit larger leaves in here. Going with the darker side of the greens for the leaves that we have created just now. For this one, I use the darker set earlier using the yellow green to create the see for the leaves and using this to merge with the darker sad of the green, Let's create a few more leaves and then we'll be mixing the dark green or overlaying the dark green on top of it. In here, extending the dark greens a little bit. And as you can see, primarily, I'm focusing the dark green on the one side, spacly on the left side. Now, here I'm using a bit more thicker consistency of the dark greens to sew a little bit of more sados. As I was mentioning, primarily adding it on the left side, a bit thicker consistency of the same dark green that we used earlier. And since the light yellow that we use has dried up a little bit, so the two colors will mix, but not that much. For some of the leaves, I'll be completely filling it with the greens. For the others, I'll be creating a little bit of veins like structure, and for some of them, I'll be doing a partial blending of the colors. And here, as you can see, I'm also using this darker side of the green to create a little bit of rough outlining for the leaves. You can also create this kind of rougher texture for the insides of the leave. If by mistake, if you've added a little bit more green for some of the leaves, you can just use the brush to pick up that colour and spread it for the other leaves. Like in here, for this leaf, I added a little bit more green, so I'm using the green from this leaf and using it for the other leaves. Adding it for the remaining leaves that we have in here. When this dried up, we'll be using a little bit more darker consistency of the green, dark olive green, and create the mid drips and the veins for the leaves. I'll also be using a little bit of white to add a little bit of highlights and do a little bit of outlining for some of the sections. Spreading the color for this larger leaf in here. And with these, we are done with this section. 10. Coloring the Gown: Come to the third part. In here, I'm starting with a bit concentrated right. You'll have to add it a little bit carefully, try to leave a little bit of white space in between the cloth and the leaves. Instead of using a larger brush, you can use a bit smaller brush. It will take a little bit of time, but you will get a little bit more precision. Or you can also use breast pains or sky pins to do the outlining for the leaves first and also create the outlining for the clothes and then feel the insides of the clothes with the red. If a little bit of this color overlaps on top of the green, you don't have to worry since we'll also be doing the outlining for the leaves later on. Try to leave a little bit of white space in between, but if a little bit of the colour touches, you don't have to worry about that. So for the entire section in here, we'll be filling this with the red. This red will be the primary layering for her clothe. On top of it, we'll also be adding a bit more darker side of the red. And when this dries up, we'll also be going with the white to create some simple patterns and designs as well as add a little bit of outlining with it. So carefully filling this red for the entire section. This process is going to take a little bit of time, so be patient and yeah just fill the entire section with the red. And you don't have to worry about it if the consistency of the color in is a little bit, since for the regions in between the leaves, we'll be adding a little bit of darker side of the red later on to make those region a little bit more darker to so that the shadows cast by the leaves has made that regions bit darker. In here, since we have different section of the cloth and different folds present. So for those sections, I'm leaving a little bit of white spice. This white piece is acting as both separator as well as as the outline for the different sections of our cloth. In here, you'll have to be a little bit more careful since we'll be adding few leaves in here at the bottom. I decided to add the colors in between the leaves first and then we'll be doing the outlining. By outlining, I mean, encircling the leaves and then feel the rest of the area with the red. Instead of creating this a little bit darker side of the red for her cloth, you can also use a little bit darker side of the yellow color combinations that we used for the wings. So you can start with the Camuju and then add a little bit of red on top of it. In that way you can create a little bit of orange color for her cloth. Before adding the coloring for the remaining section of our cloth in here, I decided to add the coloring for the leaves. So using this olive color for the leaves in here for the leaves in here, I decided to use a bit different consistency or different color. Instead of it, if you want, you can always use the yellow green for the primary layering for the leaves and add the coloring in the same manner as wedded for all the leaves for the upper part. In here for the leaves, I decided to use the same color combination that we use for the remaining leaves. Instead of starting with the yellow green, I just use the arcs consistency of the green, but I diluted consistency of it to create the first laying for the leaves. You have got the option. If you want, you can use the olive greens or you can use the same color combination that we used for the leaves earlier on, or you can just dilute the darker consistency of the green with more water and create the primary layering for the leaves and then add a little bit more darker consistency of the greens. In here I'm going darker consistency of the green to add it particularly on the left side. Using this to create a little bit of outlining for the leaves too. A For one of the leaf in here on the right side, I did not add the kinder for it. Instead of it, I'll be going with the red to cover that leaf and to so that it's a part of her clothe. Going back with the red, once again, in here, we have got different sections of her gowns. Try to leave a little bit of whites piece in between the different sections, adding it carefully and encircling this red as the outlining for the leaves. In here, we are using a bit darker consistency of the d for the coloring, but when this dries up, it will lose a little bit of its vibrancy. So we'll be adding more layers on top of it. Overlaying this on top of the earlier red to create a little bit of folds for the cloth. Using this to create a little bit of foldings for the clothes. Now adding it in here in the front for the other section of her gown. Adding one more layer or one more section in here in the front, and I'm also leaving a little bit of whites piece in between the different sections of the clothes and the folds that we have created. This is going to be a little bit trickier, so we'll have to feel the feel the rats for the insides in between all the leaves, extending this ray in here and overlying this on top of the outline of the leaves that we created and converting it into a part of our gown. Extending some sections of our gown a little bit. So the red and between the leaves, I'll be adding a bit more darker tone of the red later on when this dries up, so the cytos casted by the leaves has made those region a little bit more darker. Now continuing on in here, adding the red in between all the leaves that we have created. So this is going to be a little bit trickier. Pcentenia fill the entire region with the red. You don't have to worry about it if some of the red overlays on top of the green since we'll be doing the outlining for the greens later on with a bit more darker send of the green. And to save a little bit of time, instead of using this red, you can use a bit darker consistency of the red and blend it with this red for the remaining section. In that way, you can save a little bit of time, but you won't be able to create a subtle gradient and the effect that we can get with the different layerings of the watercolor. It's your choice. If you want, you can add the darker red or you can just follow along with me with this I'll be adding the red for the middle sexton later on. I'll wait for it to dry. Other white, I'll get the colours masked by my palm. In here, I'm adding the red for her clothes for the upper part. The same red, but a bit more concentrated form. I just use a little bit of less water for it, creating this kind of circular see for her solsu adding it for her chest, adding it in here, leaving a little bit of white piece in between the different sections. Adding a little bit more for her waist, adding a little bit of rains. Now in here, I'm going with a green and extending the stems a little bit for some of the leaves, overlaying this green on top of some of the section as well as using it to create the stems for some of the leaves. Make the stems, as well as some section of the leave a little bit more darker. Adding a little bit more green in here to make this region a little bit more darker. In here, I mixed a little bit of red with a green my mistakes. Try to avoid this. I waited for it to dry a little bit. It has dried up. In here, I'm using a bit thicker consistency of the dark green and broken lines to do the outlining for the leaves. I'll also be creating the mid drips and the veins for the insides of the leaf. Instead of it, if you want, you can create the simple and uniform line. Otherwise, you can just follow along with me and create this kind of bit broken lines to add a little bit more texture and bit more characters to the leaves. For some of the leaves, I'll be creating broken lines, and for others, I'll be creating this kind of bit rougher texture, rougher outline, this kind of jagged outline for the leaves. And for the stems too, I'm not covering the entire section with the screen. I'm leaving a little bit of the le color to be seen. This do is going to take a little bit of time. For the regions that you want to sow a little bit of sado, add a little bit more greens there. Apart from this, I'll be using white to add another layer of outlining as well as add a little bit of highlights using water to extend this darker shade of the green to make the sados a little bit more prominent. Adding more greens, extending a little bit more to blend it with the remaining section for the leaf. We'll be doing this for all the leaves. To make this process a little bit faster, if you have brose pins, you can use that. You can also use the sketch pens, and you can also use the colored pencil that will add another kind of texture and a little bit more detailing. With those, you will get a little bit more precision and more control. You can just follow along with me and do the outlining at texture. Extending the greens a little bit with the water to make this region a bit more darker. For this lead to extending the green a little bit, now, using the water to spread the color and mix it with the remaining section. Now continuing on and doing the same thing for the remaining leaves, doing the outlining, adding a little bit more greens to sados for some of the sections. I'm making the left side a little bit more darker to sow the sadosO those region. I'm considering that the light is falling from the right, so the left side will be a little bit more darker. Going with the water to spread the in here, I'm using tube brush to make this process a little bit more easier and bit quicker. Going over the outline for the stems and creating this kind of rough outlining for the leaves. Making this region a little bit more darker, asado is cast by the larger leaf on the right. Now, once again, going with the water. Spread the color a little bit. Now, for the larger leaf in here, a combination of broken lines and this kind of rough outlines for the leaf, making this region a bit more darker. Let's do the same thing for this one. Let's do the same thing for this one. Now going with the water to spread the colours to mix it with the remaining section for the insides, spreading the color. And as I mentioned, I'm using different brus to make this process a bit more faster. Moving on to the leaves on the left side. Doing the same thing, creating the outlines for the leaves, adding a little bit more dark for some of the section, particularly on the left side to make those region a bit more darker. And then we'll be going with the water to spread the colours to mix it with the remaining section. M you can also create the mid drips and the veins in here. For this region, added a little bit more for the upper part too, so the cado casted by the flowing cloth, the gown. I'm creating mid drips for some of the leaves and I'll also be creating the veins coming out of it later on. If you want you can do it right now. But since we spread the water a little bit, the two colors will mix and we won't be able to create a bit crisp outlines. Going with the water to spread the colors. We have got one, two, three, four, five, six, seven, eight, eight or nine leaves to do the outlining. I'm also adding the mid ribs for the insides of the leave for some of the leaves. So this is our third section of this project. After that, we'll be adding the color in between the leaves. For the other sections, we'll be creating different kind of smaller leaves as well as the red berries. We'll be adding ribbons, adding more texture and detailing for the wings. We'll be adding leaves and berries for her hair, and on her hands, we'll be holding lots of berries and leaves. We have got three or more sections to complete this project. In here, I added a little bit more bolder outlines. By outlines, I made bid drips for some of the leaves. Now using water to spread it, spreading the mid rips, too. With this, I'm also creating a subtle gradient for the mid ribs for some of the leaves. Now for the leaves in here, I'm using a bit more concentrated green. So we have got dark green mixed with a little bit of olive. Particularly, I decided to use this darker sad for the greens for the green for these leaves, the olive green leaves that we created the two leaves and using it for the remaining leaves too, add a little bit more green since the leaves will be a little bit more darker because of the sados casted. Now using water to spread the color. I'm not covering the entire section, as you can see, just spreading it a little bit. Now for the remaining two leaves. And yeah, with these, we are done with the leaves in here, spread a little bit of more coloring for some of the sections. Now let's add a little bit of designing or you can see pattern for the middle section just above or west. This is optional, creating this kind of simple pattern in here. If you don't want to do this, you can just keep it as it is. And I would suggest you to not do this right now. Instead of it, you can create other kind of pattern and designs. It did not turn out the way I wanted. So I would suggest you to not do this and create other kind of pattern or designing, blending the colors a little bit in here. And with these, we are done with the third section, we will wait for it to dry a little bit, and yeah, I'll see you in the next section. 11. Midribs and veins for the leaves: Let's continue where we left off. I waited for it to dry a little bit, and it has dried up. In here, I'm using a bit darker side of the green mixed with a little bit of olive. Now I'll be creating mid drops and the veins for the insides of the leaf. For some of the sections, I'll be creating a little bit of broken lines to add a little bit more texture or a bit more characteristics to the leave. I'll also adding a little bit more details for some of the section, the outlines for the leaf. Let's do the outlining for some of the leaves, and then we'll be adding the insides, the mid drops, and the veins. I'll also be going over the outlines of the stems and making it a little bit more bolder, a bit more darker. If you want, you can make the mid drops a little bit more thicker like this. And instead of creating this kind of broken lines, you can also create uniform and consistent lines. To make this process a little bit faster if you want, you can also use the fine liner or you can also use the fine liner or the brass pans to do the outlining and add the mid rubs in the veins for the insides. So in this video, I'll mostly be doing the outlining, adding the mid drops and the veins for the inside. So for the most part of this video, I'll be adding the mid drops and the veins and doing the outlines for the leaves. We have got lots of leaves, and for some of the sexin I'll also be trying to make the shadows a little bit more darker using this gray. You don't have to worry about variation in the consistency of the color that you are using to do the outlining. A bit of variation will make the whole outlining and the whole project much better. And instead of adding the mid ribs for the middle section of all the leaves for some of the section, I'll be adding it a little bit on the left on the right so that the leave is a little bit bent or orange facing on left or right direction. Apart from this, when this dries up, I'll also be using a little bit of white to add a little bit more detailings to the outline and to add a little bit of highlights for some sections of the leaf, particularly on top of the mid ribs, a little bit for the veins and a little bit for the outlines. The whole video in real time. So you can always follow along with me. And let's add the midrops and the veins for the remaining leaves we have in here. If you want, you can also add the midups and veins like structure for the wings that we have created. Instead of the screen, later on, I'll be using the reds to create the midups and veins like structure for the wings of this fairy adding it carefully in here and between the different folds of her gown. This process is a little bit quicker as compared to the adding the colours for the leaves and the gown. And yeah, follow along with me and add the dribs and the veins for the remaining leaves we have in here. I think we have around ten or 12 leaves. And as you can see, the two or three colors that we use for the leaves has blended very smoothing and created very subtle gradient. Some of the regions are comparatively lighter than others are a bit darker, and it looks very pretty, but instead of using two or three colours, if I only use one color, then I would not have been able to create this kind of effect or the background for the leaves. Using this many colours had taken a little bit of time, but the result, I think it's worth it. The leaves look a little bit more lifelike. Now for this leaf, a small section of it lies behind the larger leaf. So making the midrps and the veins a little bit shifted towards the right. Gritting broken lines with the brush to create the outlines for the midrps and the veins. Now for the larger leaves in here, For the upper section, just above her torso, the pattern in the design that I added does not look that much appealing, so I'll be using the white to cover it and add another layer of coloring. By coloring, I mean adding pattern or designs to make it a little bit more beautiful. You have got one, two, three, four, five, six, six leaves at the top, and one, two, three, four or five laps at the bottom. I'll be adding the midrps and the veins for the remaining leaves and then I'll be using a bit darker side of the red in between the labs, the white piece that we have. Moving on to the lower leaves in here. For this one, most of the section is folded, so only half portion of the veins will be visible on the side. So adding only the half portion of the veins for this one. Small broken lines, and yeah, following the following the cut sweep of the leaf and creating the bit bent veins coming out from the mid ribs. Now we have got a larger leaf. I think this is the largest leaf in here. No, this is the second largest leaf. We have got a larger leaf just beside it. So for this project in here, I have created a total of one, two, three, four, five, six, seven, eight, 19, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26 leaves. Let me know how many leaves you have created or instead of using this kind of leaf, if you have added other variations of the leaf or a combination of all the leaves that we have practice, let me know in the discussion section. Now adding the mid drops and the veins for the larger leaf. And you can clearly see the difference just by adding the detailings for the leaf. I look a bit more realistic and it has given a little bit more depth to the whole painting. Adding this kind of minute and tiny details take a little bit of time, but it adds a lot of characteristics and a bit more volume to the whole painting. Now we have got only six leaves in here. Creating this kind of bit rougher texture for the outline of the leaf. Let's add the insides, the mid ribs, and the veins. Simple broken lines a little bit carved following the seep of the leaf and creating the veins coming out from the mid ribs. And with these, we are done with the last leaf of the upper part. Now, let's add the outlines the mid drops and the veins for the remaining leaves at the bottom, starting with this. Now moving on to this one. For this one, we used olive cutter. It looks a little bit different from all the remaining leaves we have created. But by just adding the detailing in form of midraps and the veins, it looks somewhat similar to. Since we have covered most of the sections, the olive sections with the midrips and the veins. Let's do outlining for the leaf. Et's do outlining for the leaf. Now, moving on to the last two leaves, a bit of broken lines for the mid robe, adding the veins coming out from the mid ribs. And with these, we are done with the second one, second last one. And this is the last leaf. And it took us around 9 minutes, 37 seconds to do the outlining for most of the leaves, not all of the leaves. And with this, we are done with the outlining, adding mid ribs and the veins for the leaf. Now I'll be adding a little bit more detailing for some of the section in between the leaves. So I'm using a bit thicker consistency of the red and going over the empty spaces, the empty spaces in between the leaves, so use thicker consistency of the red or you can also use maroon color and yeah, filling the entire section with it. The region I'm using this darker side of the red to do the coloring in here to so that the shadow casted by the leaves has made this region a little bit more darker. As I move away from the top, man decreasing the intensity of the red a little bit to mix it with the remaining section, the lighter side of the red that we have used for the remaining section of our gown, using water to spread the color, to blend it with the lighter side of the red that we have used earlier. Adding the red in here in between the leaves. So in here, as you can see, the consistency of the red has decreased a little bit. I added a little bit of water. I added a little bit of water to decrease in intensity to match it with the remaining coloring of her gown, adding it carefully in between the leaves. You don't have to worry that much, even if you overlay a little bit of red on top of the green. We'll be adding a little bit more detailings with the white later on also be doing the outline for some of the leaves using this thicker consistency of the red to add more detailings for the gown. In here, I was not able to record a small section, but I use this, but I use the sicker consistency of the red and overlaid in top of the lighter seed and used it to create a little bit of sadose for some of the region, especially near the folded regions by adding more reds and blending it with the remaining section. So this is how it turned out. And since we are done with the lower sexion moving on to the upper section, using the thicker consistency, a darker consistency of the red. So going over the outlines of the soldiers that we have created and adding a little bit of detailing in the form of this kind of bit curved lines, making the upper part of our forearm a bit more darker, adding a little bit of the greens that we used for her chest, a little bit of red for the back, covering the entire section with it. Now, for her too, a little bit of darker consistency of the red, extending a little bit and overlaying it on top of the other reds that we used just earlier to make it a bit more darker. Since the consistency of the red decreased a little bit when it dried. Now, I'll be adding that details for the wings. So in here, I'm using CambojG over the outlines of the wings that we have created. I decided to make it a little bit more yellows. So mostly for the upper section and a little bit for the bottom section, I'll be adding this Camboj and using water to blend it with the remaining colors. I'm trying to make it a little bit more yellows, and when this dries up, I'll be going in with the red to add the outlining I'll only be covering up to here in this part, and I'll be seeing in the fourth part of this project. 12. Detailing for folds and leaves: Now continuing on where we left off. And here, I'm using a little bit of burnt sienna woods with the red, and we'll be adding a little bit more detailings for the folds and a little bit for the insides of her gown. So using this colour to do the outlining and add a little bit of detailing for the insides of her gown. Use a bit thicker consistency of the colours and avoid overlaying this on top of the outlines of the greens that we did. But if you overlay it a little bit, you don't have to worry since film using a little bit of white itteron to add more detailings for the leaves as well as for her gown. So what I'll be doing in here? So I'll be going over the outlines, and for the lower sections, I'll be adding a little bit of more colors for the insides of her gown. Do the outlinings and add the colors for the insides. And for the earlier region, that I was not able to record a small section. As you can see the two colour cells mix beautifully. I use a bit thicker consistency of the red and mix it with the primary layer of the red using the white, and this is how it turned out. Now for the folds in here, adding it carefully in between the leaves and, yeah, doing the outlining for the remaining section. Adding in between the leaves. So this person is also not visible, but you have got the rough idea how to add the coloring for the sections in here. If you want to make it a little bit more darker, you can use a bit thicker consistency of the red mixed with the browns or a little bit of black for the insides of her now, but I decided to use the color combinations, put the folds in here for her gown. And for some of the section just beside the leaves, I'll also be adding these darker consistency of the colours and extend it in a little bit and blend it with the remaining colour to sow the shadows cast it by the leaf. And as you can see, I'm also covering the white section that we left off earlier, so cover it. And for the final layer in here at the front, a little bit of folded region, a little bit of folded region in here. And with this, we are done with it. I'll be adding a little bit more detailing later on when this dries up until it dries in here, I'm using a bit lighter consistency of the greens to create the stems, a bit crevi stems. You can create multiples, one, but in here since I have a small spiece, I'll only be creating this three on this side. I'll also be adding two or three on the front side. A bit smaller stems in here. Adding one more in here, a bit curve towards the bottom. A few in here just beside her torso. Now, in here I'm using red to create ribbons wrapped around her torso. So ribbons wrapped around her waist. Make it swirly by making it a little bit spiral like this. Adding more folds for the rivens in here. Now, extending the rivens in here, overlaying this on top of the leaves. Adding few ribbons in here on top of the leaf. Later on, we'll be adding a little bit of white to make it a bit more clearly visible. Now for this side in here. So adding two or three ribbons just beside the wings, the lower part of her wings for the upper part two, I'll be adding few ribonsEtending it just beside her west in here. Now adding the vans in here. Is that the content that you used for the gowns has dried up. Otherwise, the colours might merge with your palm. Using this light to create small berries. I'll be creating multiple berries alongside the stems that we have created. Small berries, small circular see for the berries. You can add as many berries as you want, but just don't oversaturate it. Otherwise, it will become a little bit hard for you to add the leaves later on. Adding the circular seeds for the baries in here. For some of the saxon I'm adding single marries for a cluster of two or three merries in here too, alongside her mist. For the stems that we have created in here, adding few marries. The large stems that we have a little bit of colouring from my palm was smuched in here, so using erase it to lightly erase it. Now, let's add the barries in here. Small circular seed for the berries. In here, we'll be creating a little bit long and curved seeds for the leaves. When this dries them. I added a stem in here, too, so adding the berries for this section too. Adding few more baries in here. And for the last stem that we have in here, few berries, four or five berries in here. Beside her torso, I'll also be adding few berries later on. And in here, I'm using light greens and creating this kind of simple variation for the leaf. This is our primary layering for this kind of leaf on top of it. I'll also be using a bit darker consistency of the green when this dries up somewhat. Creating the simple variations for the leaf for the stems that we have just created. You have to bit cousus so that the two colours don't mix with each other, since the red that we just use has not dried up. You can wait for it to dry or you can just be causes and carefully create the small leaves. So I'll be creating multiple leaves and trying to fill the entire region of the stems with it. And as you can see, I'm also wearing the sides of the leaves a little bit. Adding the leaves in here since we have got a smaller region in here, so I won't be adding that much leaves. Adding the leaves for the stem at the base. Now for the two stems that we have created in here, Adding it costly just beside the marries that we have created. Now, let's wait for it to dry a little bit. And if you have the blow dry, you can make the process a little bit faster. For this section in here, I was not able to record the baries. So you have got the rough idea how I created it, as you can see in here, the upper part of the video. We did the same kind of thing that we did in the practice session, and this is how it turned out. So I started with the riots and then use varieties of the greens to create the leaves around it, and we mixed it in a little bit by doing a bit and wet technique. If you want, you can pause the video and create this kind of leaves and the bariesput the top of her hands and this beside her torso and then continue along with me. In here, I'm using the same consistency of the red that we used earlier. So using it to create the details for her wings. Starting with doing a little bit of broken outlining for the wings. In here, I'm also making the seep of the outlines a little bit different from what we created. Earlier, there was a little bit of sep resin in between these two wings, but I decided to overlay the larger wings on top of the smaller one. And for the insides of the wings, I'll be creating this kind of in like structure. You can consider this to be similar as the mid drops in the veins that we created for the leaves. Instead of creating a single mid drops and the veins coming out of it, I'll be creating multiple, three or four mid drops for the wings and then add this kind of bit broken lines for the veins coming out of it. This is option if you don't want, you can just leave it as it is, or instead of using the red colours to create this kind of pattern and design for the wings, you can use other colors. You can use yellows, you can use greens. You can also use white or otherwise, you can just follow along with me and create the detailings that I'm doing for the wings, creating this kind of bit curved veins coming out from the mid ribs, like structure that we just created. So for all the three wings, I'll be doing the same thing. I forgot to mention that I also added few leaves and stem just beside her head on top of her here too. On top of the wings, I added few stems and small leaves just like the leaves that we added besides her gown, a little bit on top of her head on the right side. So you can pause the vein and create the kind of leaf or if you want to keep it simple, you can just leave it as it's simple hair that you have created. Creating one or two mid ribs like structure and then adding the ins like this. So in this video, we'll only be covering up to here and add a little bit of more detailing for some of the section. And in the last video, we'll be adding the fine detailings using whites and add more detailing for some of the section and also cover some of the mistakes that we have done or that I did. Adding the right for the last wing that we have in here. Creating small wings like structure with broken lines. In here, just beside her souldier adding in a little bit of more red and merging it with the remaining sections, making this region a little bit more darker. And yeah, with these, we are done with the wings. Now going with the red to add more berries in here and see that the color has dried up, adding multiple berries in here, creating small berries and yeah, overlaying some of the red on top of the greens that we used, adding just below her hands too. Later on, also be using a bit darker side of the skin color for her hands as well as for her neck and the face. Then I'll also be using black to do the outlining for of those actions to make it a little bit more distinct and clear. Adding marries on this region on both sides of her waist, small circular see for the marries. Use a bit thicker consistency of the colour to overlay it on top of the greens. Later on, we'll also be adding a little bit of white as the highlight on the reflexion for some of the berries. Now for the stems in here, doing the same thing, small circular see for multiple berries. I'll be making this region a little bit more darker, and I'll also be adding a few more stems and the lems. Mostly I'll be covering these sections with the leave. But for now, just add the berries circular seeds for the berries, a few berries on the top. And since I'll be covering most of the section with the greens in here, so I increase the numbers of the berries in here just beside her head. I decided to create one more ribbon. Adding a little bit of detailings for her R, using consistency of the d that we used for the berry and using it to do the outlining, too. And with these, we are done with this. Now, as I was mentioning. In here, I'm using a bit darker side of the green. So this time, I am using olive green, and I'll be creating multiple leaves as well as overlaying this green on top of the light on top of the light side of the green that we just use. So I won't be covering the entire section of the green, but some of the section or one section or one part of the leaf with it to add a little bit of more characteristics to the stems and the leaves that we have just created. This is going to take a little bit of time since we have got lots of leave. And as you can clearly see, I'm not covering the entire section. So continuing on with going over the outlines of the leaves that we just created. I'll also be using this darker side of the lives for the upper part a little bit, a little bit for the berries and the leaves that she is holding a little bit for the weights like here. Creating small strokes with the breast to add this kind of texture for the leaves. Just don't oversaturate it. Add it a little bit less as compared to the lighter side of the greens we use, doing the same thing in here too. Adding a little bit more beans for the region beside her hand to make this region a little bit more darker to so the cado cast it by her hand. Extending the greens in here. H. Now, moving on to the other side, here, the consistency of the green has decreased a little bit. If you want to ensure the consistency remain the same, you can use the same seed. Otherwise, you can wary the seed a little bit and continue on with the greens that you have on your breast. I am not worrying about it since I'll also be adding a few more leaves with other side of the green later on. And here I'm also increasing the number of the leaves a little bit since I had a little bit of empty spieces in between some of the leaves, so I added a few more leaves with this colour. Now, creating this kind of smaller branch coming out in here, extending it a little bit in here too on this side. And as was mentioning making this region a bit more darker to show the shadow cast it by her hand. I'll only be covering up to here for this section of the video, and I'll be seeing in the next part the last part of this project. We will wait for it to try and then add more coloring and more details. 13. Final detailing : Welcome to six on the last part of this project, and here we'll be adding the final detailings and completing the project. So in here, I'm using white. So with this white, I'll be doing the outlining for some of the sections of the gowns, as well as create simple patterns and designs for the gowns. This is jobs if you don't want to create pattern or designing or using the white to do the outlining, you can leave it as it is. But by just using this white and adding more designs and pattern, it will make the whole project bit more vibrant, bit more colorful and a bit more beautiful. I won't be creating an intricate design. I'll be creating this simple variation of the design, simple broken straight lines following the curve of her gown and creating this kind of spiral saps. So for most of the sections of her gown, the lower part of her gown, I'll be doing this thing. I'll be creating the border with the white and also doing a little bit of outlining for some of the sections and simple spiral like seeps. As you can see, I'm using broken lines to add a little bit of more characteristics to the outlining. Instead of it, if you want, you can create consistent and uniform outlining too. For the middle section in here, I won't be able to create that kind of designing or detailing. But for the leaves, I'll be doing the outlinings later on. But for now continuing with the remaining section of a gown and creating the outlines and simple patterns and designs. Instead of this, if you want you can use other colors, it will be a little bit challenging to overlay the other colors on top of the darker red. But if you can use other colors too. Let's do the outlining first and then we'll be adding the retellings. And in here, we have got a larger section, so I'll be creating a little bit of different patterns too. So I'll be adding kind of rhomoid like seeps. By rhomoid I mean polygonal sap, a bit of a square like. I'm not able to properly convey it, but I will be showing you how I'll be creating those simple saps. For now, containing this kind of bitter spiral saves, semicircular saves like this. This is the simple kind of seep I was mentioning. Simple square like seeds. I'll be adding multiple months since we have got a bit larger area in here for this section and for the other sections too. If you want you can cover the insides with the white. For some of the section or some of the squares that I'll be creating, I'll be filling the insides with the why. Continue on with the remaining section of her gown. Apart from this, I'll also be coming back and add a little bit more detail besides the square seep that we have just created by adding a few lines. And you can clearly see just by creating this kind of bit broken lines it adds more characteristics to the outlining, creating a half circular seat or semicircular saves. Now, the square like patterns. Instead of this kind of pattern, or you can create other kind of pattern designs as you see fit. You can also use the white jelly pan if you have to make the process a bit faster, but I find it a little bit challenging and difficult to overlay the jelly pan on top of the watercolors, watercolor and the gauze, and it takes a bit more times. With the brush, you can make the process a bit faster, but you will get a little bit less accuracy. But I'll be sticking with the brass to do all the outlining and adding the detailings. In C to the consistency of the white you are using is thick, otherwise, when this dries up, it will lose its vibrancy. It might also feed. But in here since I very thick consistency of the white, I am sure that it will remain and the consistency and the vibrancy of it won't be fading out. And as was mansoni, for this region in here, for the insides of the simple square shapes that we are creating, I am feeling the insides. So if you want, you can create this kind of simple square shapes or the other kind of hollow ones that we did earlier. I'm also decreasing the sizes of the seeps a little bit since we have got lots of folds in here. And the extra additional details that I was mentioning, adding a few more for some of the empty species. Detailing for the upper part. We will wait for it to dry and then add more detailing for the lower part, but for now using the white to do the outlining, a little bit of patterns and designing for the upper part of her cloth. The red section of her clothes, simple square. Now for her Soulier starting with doing the outlining. Now, here too, I'll be creating somewhat of semicircular sieves that we used earlier. A square seep in here, doing the outlining for this section, too, beside here two. And this section, I was not satisfied with and how I used the green. So overlaying this white on top of this section to cover it a little bit. Now, as I was mentioning the detailings and outlining for some of the section of the leave. I'll be doing the outlines for some of the sections of the leaves partially overlaying the ray a little bit for the ribbons you created earlier. I won't be covering the entire section of the outlines that we did earlier, but for some of the section, as you can see, a bit of broken outlining, as well as for some of the metros and the veins too, if you want, you can add it. Adding it for the leaves in here too. So the sections that are more darker, I'll be adding this white to add a little bit of highlights and to draw a little bit more attention to the leaves. Mostly, I'll be using kind of broken lines to do the outlining for the leaves. If you want, you can also use uniform and straight lines. As was anon overlaying a little bit of white for some of the sections for the insights, the midrps and the veins too. This is open. If you don't want to do this, you can just keep it as it is. Doing the same thing for the remaining leaves that we have. Instead of this, if you want, you can also use the black to make the leaves a little bit more distinct. So you can use black instead of the white and do the same thing. Now for the regions in here, the larger regions of the red gown that is visible in between the leaves, I'll be adding a little bit of white later on. Now continuing on with the remaining leaves. You can clearly see the white that we are using here to make the leaves a bit more distinct. Is making the leaves a little bit more distinct from each other. And so the leaves are separate, especially for the upper part on the right side. Now let's do the outlining for the remaining leaves here, the larger leaves that we have created. Adding a little bit for the insides too, overlaying it on top of the mid rips that we created. Also going over the outlines of the stems that we created. And now, using this white to add a little bit of highlights for some of the small tiny dots on top of the red beerries adding it here too. Now for the berries at the top, small tiny dots, ensure that the red that you use has dried up since we use thicker consistency of the color. Ensure that it has dried up. Otherwise, the two colors might mix with each other and create pinkish color, making this region a bit lighter, adding a few more strokes in here. Adding a few highlights for some of the berries in here, small dots in here, Now, as I was mentioning, small dots in here for the large section, for the clothe. And now we are going to add the highlights for the remaining berries we have. This will take a little bit of time. So continuing on with the remaining berries we have with this white. Adding the whites on the other berries on this side. Adding a little bit more details for the simple patterns that we created. So simple lines like this. If you want, you can also use a little bit of white to add more details for the midps and the wins for the wings, like we did for the leaves, but I won't be doing it. I'll only be adding a little bit of white in here just beside her sulder. And with these, we are done with the white for now. Now, in here, I'm using a bit thicker consistency of the skin color, primarily adding it just beside the hair a little bit for the neck. Adding it for her hands, too, to make the hands outlines a bit more distinct a bit more clear. Also creating the resemblance of the fingers for her hand. Make this region a bit more darker. Making the neck a little bit darker. And yeah, with these, we are done with this one. Adding a little bit for her ear, too. Now going with the red colour to create rosy chicks for her. Extending it a little bit. Now, let's use the water to spread it and blend it with the remaining color for her face. Gradually blending it with the remaining section, adding it a little bit for her neck, too, a bit for her hands, extending it a little bit more. Since we used water, it will march with the remaining color. I decided to add a little bit more coloring for some of the leaves in here to make it a bit more darker to create a bit more contrasting effect for the green leaves and the fairy skin of the fairy using this olive green to add more leaves for this section. So add a few more leaves for this section. Making the outline of her hair and the ears bit more distinct with this. It the color has dried up in here, I'm using brastpin to make the outline, the physial feature of her bit more defined. This is optional if you don't don't have to use the breast pain or the fine do the outlining instead of it, you can also use the darker consistency of the skin color to do the outlining or you can leave it as it is. But by using this, I can make it a bit more distinct, a bit more clear. So that's why I'm using it. Adding the detailing for her fingers and the hand. I'll be using it to create her eyebrows, eyes. Now, adding it a little bit for her here, too. Adding more details for the upper part of her hair. Now, using it to create her eyebrow. I'll be creating closed eye for this sphere. Instead of it, if you want, you can create the open eye, but closed eye will be a bit easier, so I side it to create this kind of simple variation of the closed eye. Now for the lips, I'll be using a little bit of red and create somewhat of triangular C. Instead of using the red color, and here I'm using the red fine liner to make this process bit more easier and I will get a little bit more accuracy with it. Also creating red colored earrings. Making the seep of the leaves a bit more curbed with the black. Also doing the outlining for some of the section for the upper part. Making that distinction of different section a bit more keger with the black outlining. If you're satisfied, you don't have to use this. But the we are done with the Evergreen theory. I hope you enjoyed this. It was a lot of fun to do this one, and I was not able to record a small section of it, but I hope you can create it on your own since I sold you the scene section in the practice session videos. And yeah, I'll be seeing you in the next video, the class conclusion video. 14. Class Conclusion : Congratulations on completing this class and painting your evergreen fury. I hope you enjoyed working with watercolor and gauze and learned some new techniques along the way. Don't forget to upload your project and leave a review. If you enjoyed this class, I really helps. Thank you for painting along with me, and I'll see you in my next class. Happy painting.