Fun Autumn Watercolor Doodle for All Levels

1. Introduction: Hi everyone. My name is Nia and I will be taking you through today's class where I'll be painting an autumn doodle which has many autumn elements such as mushrooms, autumn leaves, dried flowers, nails, and so on. This is a super easy and fun class for all levels. Come join me if you're interested in drawing and painting along in this class, I'll be taking you through right from the very beginning of my planning stage. Sketching, drawing the outline painting with water colors. I will be adding details using colored pencils and adding some optional gold shimmers for fun. This doodle is very flexible since I will be showing you how I plan things out. You can also add on your own elements if you would like to make customizations, or you can also apply this method to other theme doodles as well. But just like usual, if you guys would like to recreate the exact same doodle as what I made here, I will also have the outline available for you guys to download in the projects and resources section if you've never taken any of my classes. Just as a disclaimer, I'd like to mention that I ever slightly speed up the painting process to class going. I also skim through parts of the painting if my hand is either inactive or off the camera, this is usually when I'm thinking things through. If you're planning to paint along with me, please watch the lesson or the full class prior to painting along, just so you know the flow of things this way. When you are ready to paint along, you can paint at your own pace. You can pause in between each step. This way you won't feel rushed. Like I mentioned at the beginning of this introduction, this class is catered for all levels. It's just one of those easy and fun projects anyone can do. You can even play around with the styles and different color combination using the same method that I've shown you this class. If this sounds like fun for you guys, please come join me in this class and let's begin. 2. Supplies: Firstly, let's go over the supplies. This is the sketchbook that I'm going to be using. For the sketchbook, I use the paper Canson Montval 200 GSM and it's a cellulose paper. This is actually a sketchbook that I made myself. And I do have a skill share class on this if you're interested in making it yourself. But of course you can also doodle the autumn leaves according to the aspect ratio of your individual sketchbooks. Before I draw out the outline, I'm going to show you guys my ideation process or how I drop down all of my ideas into my sketchbook very quickly for the elements that I want to include or at least the things that I had in mind at that time. For that, I'm going to be using the sketchbook. But of course, you can even just use scrap paper for this. For this painting, I'm going to be using two brushes. The larger green one is by George Jorn, and this is a size two round brush. The other one is by Express. And it's a size zero synthetic brush. Both of these are synthetic brushes. It doesn't really matter what brand you have. You just have to make sure that the size will suit the size of the painting that you're going to do. These brushes just happened to be easily available when I was looking online, but they basically act like any other synthetic brushes. The green one is fairly old and the tip is not even that sharp anymore. But it's fine for this doodle. I know that these brands might be a bit difficult to find depending on where you live. A more common brand for synthetic brushes are Lyra or Reefs. They basically will react in the same way as these brushes I have. You'll also need a clean jar of water or you can also use two. If you don't want to keep changing your water personally, I'm fine using one for the two jar method. The first jar of water is basically to clean your brush from the paint. The second jar is for you to use to reactivate your paint. This way that one jar will stay nice and clean so you don't have to keep changing your water. I might not show the tissue much in the frame of my videos, but I always have tissue right next to me as I paint. It's as important as the jar of water the tissue is for me to take access paint off my brush. This is key to control brush load, especially when I'm using a palette that I don't use often it's still beads for the palette, I'm just using this plastic one from. So as you can see, it's fairly new or I just don't use it that often. The paint still beats. But that's fine because I can control the brush load with my tissue still. My only recommendation for palette is to use something that is light in color, preferably white. You can see the color that you're mixing. To draw out the outline, I'm going to be using my Pentel Sharplet mechanical pencil. The filling is HB or two? B. Either one is fine and I'm using a pentel eraser, but you can use any brand that you have on hand. Moving on to the colors for my watercolors, I'll be using term verde byline, indigo by Schmincke, Chinese white byhlebine yellow ochre by Holbine CPA Byline Quincena by Daniel Smith Nugamboh by Daniel Smith, Vermilion Byhlbine and Crimson Lake Byhlbine. I'll also be using Bleep proof white by Dr. H Martins I'm going to be using colored pencils to add some details later on. This is a watercolor colored pencil, but you can use ordinary color pencils as well. Since this is just a hobby grade, cheap water color color pencils, it just has numbers instead of names for the colors. And this is the brand that I I'm just showing you the colors that I used in case you want to use the exact same ones, but you can choose according to your taste or according to the set that you have on hand. Lastly, for some optional accent schimmer, I'm going to be using my fine tech gold palette. Those are all the supplies. I'll also have it listed down here in case you want to take a screenshot and get everything ready. 3. Ideation: Before I start to paint, let's do a little bit of brainstorming. Since I have a large space to fill, I want this to be autumn theme. I'm going to write down some ideas or elements that I'd like to include in the doodle. I just find that this process helps take away the intimidation of drawing or painting on a blank page. It can be applied to other paintings or doodles as well. After writing down some of the elements, I'm going to sketch out a few of these elements, especially the leaves and the mushrooms. Since I have a lot of ideas for the shapes this way, I'm just creating a library that I can always go back to as I'm doodling later on. This doesn't mean that the types of leaves or mushrooms can only be the ones that I've sketched out here. Of course, as I draw the outline later, if any ideas come up, I can always draw them out and include them in my layout. But sometimes when I am making outlines, we are already making so much decisions when it comes to the layout, composition, size, and things like that. Having this library just take away a little bit of that thinking process. We can pick and choose the shapes from this library here. This also serves as slight practice to draw certain shapes. If you're feeling a bit uninspired, you can also search on Google or Pinras for specific shapes or elements. You can collect them here together in the sketch or this library and practice drawing. It's easier when you're drawing out the outline later on. This way you can minimize erasing, since I'm sketching according to each element, like just a row of leaves or a row of mushrooms. Instead of scattering different elements just by sketching it out, it also gives me a bit more ideas. Sometimes as I'm drawing certain leaf, I get the idea of, say, trying similar leaf, but in a different branching system, or vice versa. Or you can also play with the size, length of leaves, and things like that. You can also include different ideas from what you see around you. If you'd like to take nature walks, you can take photos for reference and include certain things in your doodle, which I'm actually going to do for one of the mushrooms that I saw, an interesting mushroom as I was taking one of my afternoon walks around my neighborhood. Since I want most of my elements to be the autumn leaves and the mushrooms, I'm only going to add a few flowers and berries and maybe some small snails as fillers and accents. This is specifically for some small or awkward ******. I'm just going to sketch a few of them. But of course, if you want the flowers or berries or any other elements to be equally distributed as the rest of the mushrooms and the leaves, you can also include more ideas here. 4. Sketching the Outline: I feel like I'm quite comfortable to start drawing the outline here. I'm starting with a maple leaf, which I feel is very iconic for an autumn leaf. I'm going to start with the larger elements first that I'm going to distribute across the double page spread. I feel like they're going to be mostly the leaves and the mushrooms, but you can also see along the way, if you want to enlarge some of the other elements, that's also fine. I'm going to draw them out very lightly and loosely. First, just to drop the elements down without caring too much about the details. This way, I can easily remove and move certain elements if I need to. To draw lightly, it helps to hold your pencil further back. This way you're not focusing too much pressure on the tip of the pencil, and you also have more space for larger movements on your wrist. For this doodle, I want the elements to look a little bit more cute and plump, which is why I made the mushroom caps a little bit more rounded. I also soften the edges of the maple leaf. After drawing these out, I feel like the mushrooms will take a bit more effort to draw. And it'll also take a bit more space that might be awkward to leave out. I'm going to draw out the larger mushrooms first. I like to play with how they're clumped together. Some of them come in a whole bunch for smaller mushrooms, and some of them come as a couple and also single ones at the same time. I'm also going to play around with the viewpoint or the angle for some of the mushrooms. You can see a bit more of the gills underneath the mushrooms. Also play around with the feature of the mushroom peps, some of them, I'm going to make them shiny as I paint later on. For others I'm going to add a little bit of scaling for some of these mushrooms. I have a mushroom type in mind, not that I know the exact names of them, but you can also make up your own shapes. I personally like to play around with the distortion of the mushrooms as well as they grow out. Some of the caps might look a little bit slanted or weird, or you can also look for pictures as reference. If you're running out of ideas for these mushrooms. I personally like to scatter them around the double page spread this way. I have them evenly distributed depending on the style that you're going for. You can make the mushrooms a little bit more detailed than others or you can simplify the shapes. Since I feel like I have a good amount of mushrooms for now and it's fairly evenly spread out, I'm going to add on some leaves which frames and wiggles its way around the mushrooms. I'm going to start with the simple leaves, which I'm going to sketch on either side of the spread. Going back to the left side, I feel like I need to pair this leaf with an oak leaf to frame the mushrooms here nicely. After that, I felt like I need to add another mushroom at the top. I'm going to draw a smaller one that is a little bit distorted as well, and I just find that this is a fun little addition. Next I'm going to draw a couple of acorns on the right side of the spread. And I'm also going to draw one at the bottom left side of the spread. I'm going to make these fairly large since I feel they're actually quite iconic for an autumn doodle. Simplify these shapes, I start with an oval first, depending on the shape of the acorn that you're looking for. And then I just add on the caps for the top part and a little bit of the stem. At this point, looking at all the elements, I feel like it will need a bit more colors. I'm just going to classify the berries as parts of the autumn leaves, since they're going to be branching out in the same way as the leaves will. But these will add a bit more color to the composition. I'm drawing them fairly large. I personally like to play with the size and shape of the berries and how they're going to branch out. Just like the other elements, I'm going to them across the double page spread here. I'm just going to draw out a different type of maple leaf. Since I feel like the empty space is getting a little bit smaller and tighter, I'm going to start adding other elements like the flowers and such, especially in awkward corners. I'm also going to do the same with the leaves, since I can play around with how they curve around some awkward ******. Feel free to repeat certain elements like what I'm doing with the flowers and some of the leaves. As long as you spread them across the page and they're quite far, it will still look fine and you can still play with different colors as you're painting them later on. For some of the really small space, I'm going to just add the snail as a little filler to fill in a little corner. I'm just going to basically fill in the rest of the space using the same method as before. There's a space in the middle. And I'm going to draw across both of the page on the left and right. And I just feel like this connects the doodle together, making it one whole doodle instead of separate pages. 5. Cleaning and Repositioning Outline: Once I filled in the double page spread, I'm going to clean out some of the outlines that I can to make sure that the outlines are clean and less scratchy. To do this, I like to erase small areas and then realign those areas again, making sure that the lines are cleaner. You can also do this with a needable eraser by tapping some of the more scratchy areas and going over the lines again neatly for some of the leaves. If I initially draw the outline smoother and I want to make the edges textured, I'd like to use the previous outline, a slight guideline, and just draw the pointy edges around it. You can also use this opportunity to reposition or re, size some of the elements to make sure that the space between the elements work nicely for the left side. Here as an example, I felt like the initial flower that I drew out was a little bit too big in comparison to the other elements. Since I don't want this flower to stand out too much, I decided to make the size of the flower smaller and add another element next to it to fill in the extra space. Because I've added a new flower, I felt like the spacing was a bit too close to the previous berries next to it. Here, I'm just going to shift the branch of berries and I also decided to make the individual berries slightly larger that I feel like the outline is clean enough for me to paint on with water colors. I'm going to move on to painting in the next lesson. 6. Painting Mushrooms 1: Okay, so we're finally ready to paint. I'm going to start by painting in the mushrooms. Since I want to add quite a bit of detail to the mushrooms, I'm going to divide it into two lessons. In this lesson, I'm going to be painting the mushrooms on the left. I'm starting with a mix of Quincana with new gam boh to paint the base color of the first mushroom cap. I started by using a medium consistency. I also left out a tiny bit of space for the high lights on the right hand side. Then as the surface is still a bit damp, I'm going to add a bit of Pa to the previous mixture and just tap in the color on the left side and letting the color somewhat mingle with each other since that mushroom cap is fairly wet. After I've added the second color, I'm going to move on to paint the second mushroom cap. For this, I used the same mix of Nigam Bog with Quinciana, but this time I added a bit more quincena in the mixture. The color is a bit brighter. Just like before, I left out a little bit of white negative space for the highlights, and you do want to make sure that the previous mushroom is not too wet. The color won't blend into each other. For the area that's touching, I'm going to leave those two dry for now and move on to the next one. For this, I just added Vermilion to the previous mixture to mute the vermilion slightly. I'm starting by painting the bottom edges for the top part of the cap. I decided to add a bit of crimson lake to the previous mixture. This makes the red a bit more rich and deeper. I also left out a bit of white negative space following the curve of the mushroom cap again. Once I'm done, I'm just going to leave it dry and move on to the clump of mushroom at the bottom. For this, I want the color to be a soft, neutral brown color. I used a mix of yellow ochre with Chinese white and a touch of sepia to darken the tone of the brown. I used a lot of white here because I want the color to be fairly opaque and for the texture to be fairly thick and pigmented this way, the edges stay a bit cleaner against the white of the paper. I used a fairly thick consistency here, but the color won't be too dark because of the white. And I also left out a bit of negative space around the right hand side of the mushroom cap for a bit of highlight, just like the other mushroom caps, so it looks shiny. And I'm just going to do the same thing for the rest of the mushroom caps. After painting on all the small mushroom caps, I felt like the color look a bit too flat here. I used the clean, damp brush to reactivate a little bit of that thick paint. I used the sheet to take off the reactivated pigment. But I'm only going to do this for some of them. For a bit of variation here, I'm just cleaning out the edge Since I've taken off too much and I want to keep those two caps separated. After that, I'm going to add a bit of shadow by adding a touch of CP into the previous mixture. I'm going to apply the color at the bottom of the mushroom caps. After that, I use the clean dam brush to soften the edges. Since these mushroom caps are more or less dry, I'm going to move on to the stems. For this, I'm using the same mixture as the caps, but this time I added a bit of red that I already had on my palette. The color is still soft and creamy, but the tone is slightly different. I'm going to apply the slightly darker tone for the top part of the stem. And then I'm going to go back in with a clean, damp brush to pull the paint downward so the bottom is slightly lighter than the top. After this, I'm going to go back to the red cap mushroom. I'm going to use the same base color as the previous mushroom, which from Chinese white yellow ochre and a bit of CPA to paint the bottom part of the gills, that's slightly showing. Then I'm going to go back in using a slightly thicker consistency of the same mixture. This time the color is slightly darker. This probably has a bit more of the CPA in the mix and a bit of the red from earlier. I'm using this color to paint the left side of the ring, the bottom, and also the left side of the stem. Then I use the clean, damp brush to pull the paint. As I'm pulling the paint, you can see that my brush strokes are directed vertically, more or less. We can also create a subtle texture for the ring of the mushroom and the stem. I'm also going to use the same color here for the gills of the orange cap mushrooms. For the stems, I'm going to use the same color. This time I added a bit of the red that's already on my palette. Just like before, I'm starting with the left side of the stem. Then I use the clean damp brush to pull the rest of the color so the right side is slightly lighter. And I'm also directing my brush strokes vertically. This also applies for the ring of the mushroom as well, but this time the color mixture has a bit more yellow ochre. I feel like the color of these mushroom caps are a bit faded and I want to bring up the saturation. I used the red mixture that was already on my palate, which has million as the dominant color. I added a bit of CPA to create this reddish brown color. I'm going to use it to paint the bottom part of the mushroom cap as well as the left. Then I added a bit of new gamboh with a bit of quincena to lighten the brown to paint the rest of the mushroom cap while leaving a bit of negative space. The base color still shows through as the highlights. I'm also going to use the same color mixture for the second mushroom, but without the dark brown this time. Now moving on to the last mushroom on the left spread. I want the cap to be red again because I just love red capped mushrooms. So I'm using the red that I already have on my palate. But I added a bit of new gamboge to make the tone a bit more orange. Applying this to the sides. As I get to the top or the center of the mushroom cap, I deepen the red by adding crimson lake, just like before. For the gills in the stem, I'm using the same creamy color, starting with a slightly thinner consistency. And I'm just going to paint it all over. Then I'm going to go back in with added CPA and a bit of that reddish brown that's already on my palette. I'm only applying a little bit to the bottom part of the cap. I'm also going to do the same for the orangey cap mushroom. And then pulling the rest of the color to the right hand side using a clean, damp brush create a softer transition. I'm also going to do the same for the orange capped mushrooms. I'm going to use the same dark brown to paint the bottom part of the mushroom stems to depict a bit of dirt. And I also soften it using a clean, damp brush. But this time I'm using a tapping motion to get a different type of texture. 7. Painting Mushrooms 2: I'm more or less going to use similar mixtures for the rest of the mushrooms. On this right side of the spread here, I'm using a creamy brown mixture, which is a mix of yellow ochre, a little bit of CPA, and Chinese white. This time I'm going to use a light consistency to paint the base color of these umbrella mushrooms As you can probably tell from the mushrooms before, you can always suggest the tone. If you want it to be more of a soft reddish brown. Instead, you can red mixture or any of the other hues to adjust the tone slightly just like the previous clump of mushroom since the color looks a little bit flat. I'm also going to take off a little bit of this paint this time. I don't need to reactivate it because the base color is still fairly damp. So I'm just going to use tissue to take off a little bit of color that I've already painted on for the inside of these mushrooms. I want to use the same color, but I wanted to be a bit darker, so I added a bit of the dark brown, which has mostly CPA in the mixture. But I want to avoid painting on the top part of the stem since the edges of the caps of these mushrooms are freely, it might be a bit difficult to paint. But I'm not too worried about getting the edges too neat because I'm going to outline them with colored pencils later on. Before painting on the stems, I do want to make sure that whatever surrounding it is more or less dry. I want the stems to be lighter and for the color to be a bit more similar to the mushroom caps themselves. Here, I'm just using a medium to light consistency of the same colors as before. Just like the other mushrooms, I want the bottom of the stem to have a little bit of a darker tone. I just added a bit of the dark band that I already had on my palate and I soften the blend. Now onto the next mushroom, I'm going to treat this the same way as I did the other red mushrooms. But this time, since I have some scaling details on top of the mushroom cap, I'm going to just leave it as white negative space or the white of the paper for the color. I'm using this muted orange, red mix as before, from million as the dominant color. The gambos. To lighten it anobit of the quincena to mute the color slightly, just like before. For the top part, I added crimson lake into the mixture for a richer, deeper red. As for some of the scales which are not surrounded by the red of the mushroom cap, I'm just going to use a relief. Inconsistency of the creamy brown mixture, just like the previous mushrooms. I'm going to leave the cap to dry and move on to the next mushroom cap. I'm using the creamy brown color again, but this time I'm using a heavier load. The surface stays wet a little bit longer. And the color is also lighter in value because I want to go back in with a darker brown from a mix of CPA and yellow ochre. And I'm just going to dot this around the edges of the mushroom caps while the surface is still a bit damp. Mushroom is actually based on one of the mushrooms that I saw when I was taking one of my afternoon walks. And I just love the color combination of the browns. And I thought that it was interesting that the ring is growing the other way around, probably because of its growth stage. Since I'm running out of the creamy color, I'm just going to add white to the CPA and yellow ochre mix. I already had on my palette to paint the outer part of the ring. Since I am re using a lot of the color mixtures they already have on my palette, I want to let you know that what matters is not the exact percentage of the ratio, but you can measure the tones from the visual aspect. If you feel like the browns need to be a bit more red is she would add more red. If you want it to be a bit more muted, you can add more CPA and so on. As for the stem here, I use the dark brown that already had on my palette, which has the dominant colors of CPA, with a bit of yellow ochre In terms of the application, just like the other stems before, I'd like to place the initial dark brown for the darker area at the bottom of the mushroom and also the stem that is surrounded by the ring of the mushroom. And then I use the clean, damp brush to blend and pull the rest of the color upwards vertically. I'm using the same dark brown here to paint on the lines or the details of the gills. After the lines have dried up a little bit, I use a clean, damp brush to pull and spread the color while the surface is still a bit damp. I'm going to add CPA to the browns they already had on my pelt and mix it with a creamy brown. Then I'm going to line the top part of the gild that is right underneath the mushroom cap. While the surface is still a bit damp, the edges stays nice and dark to create a clear separation between those two features. As for the detail of the scales, I added a little bit of yellow ochre to the previous dark brown mix. I'm just going to paint on some dots, making sure that the cluster is tighter together in the center and the dots getting further away as it gets closer to the edges. Once the stems are completely dry, I'm going to paint on the inside of the ring using the same color mixture as the stem, which is from yellow ochre and CPA. Moving on to the next mushroom, I'm starting with yellow ochre to paint the bottom part of the cap. Then I'm going to follow this up using a reddish brown from a mix of quincena and CPA. With a bit of the red mixture that I already had on my palette. I just want to roughly blend darker brown with the yellow ochre at the bottom. I want to do the same for the smaller mushroom as well. As you can see, because I've accidentally mixed the yellow ochre with a darker brown, I needed some new Gambooh to lighten the color slightly. This is what I meant before, by just using your visual cues to find the right color mixture that you want for your painting. Since these mushroom caps are fairly wet, I'm going to leave them to dry. Meanwhile, I'm going to move back to the red mushroom and paint on the gills as well as the stems using the same creamy brown mixture, which is from Chinese white yellow ochre. And a little bit of CPA. For this one, I'm going to show you a different way of approaching coloring in the stems and the gills. I'm starting using a light consistency of the creamy brown mixture. The value is nice and light for the base color. Then I'm going to leave that to dry, so I'm going to move on to paint the shadows underneath the scales. Here, I'm just working with the colors that I already had on my palette. So I'm using the dark brown and the reds there, mixing it together to create this darker brown or reddish brown. After that, the gills as well as the stem, should be more or less dry. Here, I'm just taking any of the browns using a light consistency. The color is a little bit lighter in value, just painting on the texture of the gills as well as the shadow underneath the ring, as well as underneath the gills. And of course, softening it with a clean, damp brush, just like the rest of the mushrooms. I'm also going to add some dirt at the bottom of the stem. Here I'm using a darker brown with a bit more added CPA. I'm just dotting it in while the surface is still a bit damp from the lighter color. With these two different approaches, you can paint your mushrooms however you want to. As long as it comes to the result that you're looking for, I'm just going to treat the last mushroom the same way. 8. Acorns: I'm fairly happy with the mushrooms for now. In this lesson, I'm going to move on to paint the acorn. I'm starting with a mix of yellow ochre, Chinese white, and a touch of new gam bush to create a yellowy, creamy color. Since I felt like the yellow was a little bit too bright or saturated, I decided to mute the color with a bit of the back browns that I already had on my palate from the mushrooms previously. I just took a little bit of that to mute the color slightly. Then I'm going to paint the base color for the, or the bottom part of these acorns. I'm using a fairly thick consistency here, but after I've painted on the base color, I'm going to dab off a little bit of the damp color using tissue, so the surface becomes a little bit uneven while the surface of the base color is still a little bit damp, I'm going to use a mix of CPA and quincena to create a darker brown. This probably has a little bit of the base color as well, since my brush wasn't particularly clean and I'm just dotting the bottom part of the acorn. And then I clean my brush so there are no more pigments. This way I can soften the blend. For the top part of the acorn or the capsule. I'm going to use the same mixture from earlier, which is CPA and quincena, but this time it has a bit less contamination from the base color. The brown is darker and I'm just going to spread this color all over that area. Going to use the same color mixture for the stems, but I took the part from my palette which has a bit more of the darker brown. The stem is slightly darker than the scale. I'm just going to repeat the steps for the second pair of acorns, starting with the previous base color mixture, which has Chinese white, yellow ochre and a bit of new gam booch. Then I'm going to take off some of the color to make the surface a bit uneven here. I felt like the color was a bit too light, though I went in with a little bit of yellow ochre to darken the left side of the acorn. Then I use the darker brown mix to paint the bottom, while the surface is still a bit damp. If the surface is too dry and your paint is not spreading too much, you can use a clean, damp brush to help move the paint again. For the scale of these acorns, I decided to darken the brown for a bit of variation. I added more CPA in the ratio, but this still has a little bit of the quincena. This one is a little bit tricky since the scale of the acorn is touching each other, but I still want to keep those shapes separated. I try to paint in a way where I wait for an area to dry first before painting on the next scale. 9. Red and Brown Leaves: While we're painting the brown things, I'm going to move on to paint the brown and the red leaves. I'm starting with yellow ochre to paint the base color of the oak leaf. And I'm just going to spread this all over. When I'm painting larger ****** like this, I would use a heavier brush load. This way I don't have to keep reloading my brush. And the surface can stay a bit more damp for longer, which means the paint will be more evenly distributed while the surface is still wet. I'm going to use the brown mixture that I used earlier for the scale of the acorn, which is from a mix of CPA and quincena. And I'm just going to dot this around some of the edges of the leaves randomly. I'm also going to try to move the paint if it's not traveling the way I want to, to create a softer transition. I'm also going to do the same thing for the second oak leaf. Next, I'm going to paint the large maple leaf. I'm starting with the same yellow ochre as before, but I'm not going to spread it all over. Instead, while the surface is still damp, I'm going to add on other tones of brown. I used a bit of CPA here, but you can use any tone of brown that you'd like. Something that's a bit more reddish or a bit more yellow would also work. You can also add a bit of green if you would like to. After adding on the CPA on the right hand side here, I added some quincana as well. Moving along to the next maple leaf, this time is the Japanese maple leaf, and I want this to be reddish brown color instead. Here I used a mix of quincena with vermilion to make it a bit more reddish. I also added a touch of CPA to mute the color slightly, and also new game to make the color a bit more saturated and bright. For the last maple leaf, I'm going to use the same color as before, but this time I added even more new Gmbh. The initial color is a bit more orange, but I'm also going to alternate with the reddish brown from earlier. As you can see, I'm painting the individual leaves, but I want them to come together in the middle because this is supposed to be one leaf. I'm just approaching it this way so the leaf doesn't become too bulky. Since I want this to have a lighter touch while the surface is still damp, Feel free to add in other tones of browns as well if you want some variation in color. For the last leaf, I just used the same mixture, but I added more new gamboge and a little bit of ver million this time. 10. Flowers: In this lesson, I'm going to be painting the flowers. I'm starting with cam bush with a touch of vermilion to create a deep orange, yellow. And I'm just going to paint this on as the base color of this round flower. And I also want the edges to be a little bit uneven while the surface is still a bit damp. I'm going to follow this up with the reddish brown that I already had on my palette. Or you can also use vermilion with a little bit of CPA and quinciena. This color, I'm just going to apply it to the bottom of the flowers and this will just give a bit more form and volume to the flowers. Next, I'm going to paint the single flowers. For this, I want the color to be fairly light and creamy. I first use a bit of Chinese white with the yellow ochre that I already had on my palette. Since I want the color to be a bit more pinkish, I added a bit of crimson lake and also a touch of CPA. I'm going to paint the petals using a medium to th, inconsistency, but at this point, I don't want the edge of the petals to touch. You can see that there's a bit of space in the middle. I'm going to follow this up using a darker version of this color. So I'm just going to pick up a little bit of the dark brown that I already had on my palette and mix it with this pink. Since the surface of the petals are still fairly damp, I just want to.it in the dark brown won't spread too fast for the next single flower on the right spread, I'm going to use the same color as the previous base, but this time I added a bit more yellow ochre and a touch of the orange red that I already had on my palette. So there's a slight change in tone. I'm applying it the same way by leaving the center empty. And I'm going to follow this up with a darker brown just like before. I'm going to let the brown spread naturally. If the paint is traveling too fast though, you can always take the excess off using a dry brush. I'm going to move on to the next flower. As you can see, I'm erasing the outline, just like the previous flower. Since I want the color to be nice and light this way, the pencil marks won't show through for this flower. I'm also going to use the same creamy color. You can change up the tone however you'd like to. I just use the exact same one. Then as the center of this flower, I just used new Gam Bosch mixed with a little bit of brown that I had on my palette to mute the color slightly. You can also use New Gambooche as this if you want a brighter tone. Moving on to the smaller filler flowers, I'm just going to use the same creamy pink color. I also forgot to paint one flower next to the mushroom on the left there, but I'm going to go back to it at some point. 11. Green Leaves: Since we've painted a lot of the brown features, I'm going to add a bit of green for the leaves. I'm going to keep the simple by only using three colors, which are terra verde, indigo, and also CPA. I'm just going to play with the ratio of these three colors, whether you use them individually or mix them together. For the first fern that I'm painting here, I'm only using verde by itself. But I play around with the consistency to create different values for each of those individual leaves. At this point, I also wasn't sure whether I want to paint on the stems using my watercolors or colored pencils. So I'm leaving them blank for now. For the next bunch of leaves, I first use a mix of tear very with a bit of intigo. Then I ended up adding a touch off CPA to mute the color further, just like the previous bunch of leaves. I'm going to play with the ratio as well as the consistency. So some of the leaves are lighter and some are a bit darker with a thicker consistency. Feel free to also play around with the ratio. Some of the mixtures might have more indigo with a Terra verte, whereas some might have a bit more of the CPA. See how the color reacts to each other and just play around, have fun. This is also a really great practice for color mixing for some of the lighter leaves. If the surface is still a little bit damp, I like to sometimes.in a touch of a darker version of the color or just a thicker consistency of the color, this will just create a nice soft gradient from the lighter to the darker value. Since the leaf bunch here is fairly large, I'm going to paint on the stem using a thick consistency of the three colors mixed together. Since there's another one of these types of leaves, I'm just going to paint them on the same way. On the left here, there's a smaller version of these leaves, so I'm just going to use the same colors to paint it on. It might be a bit difficult to use the larger brush, so you can switch to the smaller one if it's a bit easier to control. After painting this one, I decided to go back to the previous leaf because after it has dried, I feel like the colors faded too much. So I'm just going to go over some of the leaves using the same color mixture. After that, I'm going to paint on the tiny leaves, on top of the mushrooms. I felt like as I was painting this that there were too many leaves. I'm going to leave the last row since it was a little bit too close to the previous leaf in terms of the composition. And I'm just going to erase it later on. Moving on to the next one, I decided to use a darker color. It's still the same mixture, but I used a bit more indigo and also CPA in the mixture to create a darker value. You probably noticed by now that the tones of creams that I've been using are similar all throughout, even though I create variations of it, that's because I feel like the tone of green goes well with the autumn theme. And the darker, cooler blues complements the reds and the browns that I've been using for the other elements. But if you would like to include other greens, that's also okay. For this particular one, I also decided to paint on the stems. This is so I can decide later on whether I like the look of it painted on or for it to be drawn out with my color pencils at the end of it. I actually painted on probably all or most of the stems on this composition because I quite like the thicker stems instead of the thin stems. If I were to draw them out. But this is completely up to you, you can make your own choice depending on the look that you're going for. By the way, for this next leaf, as you can probably tell, I used mostly terra Verde in the mixture even though my brush was still contaminated with the previous color. So it's a little bit darker for this one, I also decided to use more terra verde for a lighter green towards the bottom. I decided to add a bit more CPA for a bit of color variation, and the value is also a touch darker. As for the stem, I added even more CPA and I also use a thicker consistency. The value is much darker for the thin lines, while painting on the stems, I like to continue to the bottom of some of the lighter leaves. The darker values are just going to flow naturally into some of those lighter leaves. If it's still slightly damp, there's still a bit of space near the mushroom here. So I decided to freehand a couple more leaves. 12. Berries and Fillers: In this lesson, I'm going to be painting the berries and also some of the fillers and some individual leaves. For this first berry, I used a mix of indigo with a touch of CPA to darken the blue even more. I'm just going to paint on the individual berries while leaving a touch of negative space for the highlights. Preferably, when I leave the highlights, I want the highlights to follow the curve of the berry to help enhance the round form. Since the space of the berries are quite small, you can switch to your small brush if it's a bit easier to control. For the leaves of these berries, I'm going to use these three colors still with ter verte being the dominant color mixed with a touch of indigo and CPA. For the stem, I use the same three colors, but I use the thicker consistency to create a darker value painting on thin stems. It helps to use a thicker consistency and a lighter or drier brush load. This way is much easier to control the lines to make it thin without the water or the paint flowing too fast. Moving on to the next set of berries. I want these berries to be red. This time, I don't want the red to be too bright. I mute it down. This is from a mix of vermilion crimson lake and also a touch of the broward he had on my palette, which most probably has a bit of quincena and CPA just like the previous berries. I want to also leave a little bit of white negative space for the highlights. I'm just going to leave these to dry for now and move on to the next berries. I started with a medium to thick consistency of new cam bush to paint the bottom of the berries. Then I'm going to use the red that I used for the previous berries to paint the top part. While the surface is still wet, I'm also going to.in a thicker consistency of the red at the very top of each berries, I felt like there was a bit too much paint and water for each individual berries. I ended up taking some of the color off using a dry brush. For the top of these berries, I added a bit of brown from Quinciana and Spa to the previous red. I just painted on three small lines per berry. As for the leaves, I added ter verde to the previous red mixture. And I'm going to play with the ratio to create different variations of the color. For this leaf, I added a bit more ter verde. And the ratio, it looks more green than brown. For the bottom of each of those berries, I use the same color mixture. And I'm just going to create a triangular shape. And I'm going to continue it down to paint the stem. I'm still going to use the same color, but this time I'm going to paint it on these round leaves right here. You can see that the colors here are a bit more brown. I felt like the first leave was a bit too muted. And I want to brighten the brown by adding a bit more red. So I just tapped it in. Then I added more verde. In the ratio to paint the stems for the smaller leaves underneath, I used a mix of terra de with a lot of indigo. So you can see that the color is even more cooler. As for the stems, I'm going to use the same color mixture for some of the single small loose leaves. I'm just going to use the reddish brown. This was from the red and a little bit of vermilion, but it has more of the red mixture in the ratio for the next flowers. I'm going to make these dried flowers. I'm still using the previous red mixture, but I added more CPA to create an even darker value. I'm just going to use this mix to paint on the flowers. I basically did around two to four brush strokes to create each flower in different sizes, making sure that they face in different directions. As for the leaves, I decided to add on some yellow ochre into the previous mixture. I'm going to leave them to dry for now and use the same reddish, dark brown mix to paint these tiny leaves on the round flowers and also the loose leaf that I. Moving along next, I'm going to be painting the pine lease for this. I just use de, with indigo. And I'm using a thick consistency and a light to dry brush load to create these thin lines fanning out for the stems. I use the thick consistency mix of CPA and quincena. I created a triangular form for the receptacle and then I added on the stem. Next, I'm going to paint the flower that I missed here. I used Chinese white with a little bit of CPA and yellow ochre painting the individual petals. Then while the surface is still wet, I'm going to continue downwards with a mix of ter verde and yellow ochre to paint the receptacle and also the stems. Since there's still a little bit of space next to the mushroom, I decided to add a bit more detail with some leaves. Now moving on to the snails as the fillers, I'm just going to use a medium consistency of Pia to paint the shell. I'm just going to spread it around using quite a watery load. The surface becomes a little bit uneven for the body of the snail. I'm just going to use a mix of Chinese white and yellow ochre. When you're painting on the body. You want to make sure that the shell is more or less dry. Since those two elements are touching each other. This way, those two colors won't bleed into each other. 13. White Highlights and Mushroom Scales: Since I've painted mostly all the elements by now, I'm going to start adding on details. In this lesson I'm going to use bleed proof white to add little dots for the scales of the mushrooms that I didn't leave out as negative space before. For this one, I made sure that the dots, as the scales are painted closer to the middle. I try to also vary some of the size and the shapes as well, so it's a bit more randomized. As I get towards the edges, I made them a bit more distance apart. As for some of the highlights, I'm going to add on a bit of random dots around the edges. So for the highlights, I made the shapes more circular and just a pure dot instead of those random shapes. I'm also going to apply the same thing for this next red mushroom. For this next one, I don't really want to paint on scales. Instead I'm adding on some highlights and also some dots to depict some mushroom spores. And I just find that these random dots add a more magical touch to the whole composition. I'm only going to add a little bit as you're doing this. Please be mindful because it's very easy to overwork and overdo the white dots for this one. I want the mushroom cap to be a bit more matt in terms of texture. So I'm just going to add the white dots as the spores without the highlights, since I didn't leave out any negative space for the highlights of these berries, I'm just going to paint it on with the bleeproof white. Since I've painted the shell of the snails with a dark value color, I decided to outline the swirl in the middle of the shell with the blue proof white as well. Lastly, for these berries, I decided to add some finer highlights as little dots. 14. Stems and Details: In this lesson, I'm going to be painting the details here. I'm starting with some shadows underneath the ring of the mushrooms. I'm using a mix of CPA with a bit of quincena. I'm using a medium to thick consistency depending on the value that you're going for to paint underneath the rings, and this will just give a little bit more of a lift to those areas. I'm also going to add shadows, as well as details for the gills of the mushrooms as well. To paint on the gills, I try to use a lighter consistency because I can always layer on a bit more if I need to later on, but I don't want the gills to stand out too much. And I'm just going back and forth to different elements to see which areas I need to add on the details here. As an example, I'm going to move on to paint the stems. Even though I still need to add on more details to the mushrooms, I'm just using the browns they already had on my palette. It doesn't really matter what colors you choose for this. I'm also going to use the same reddish brown and a lighter consistency to paint more flowers behind the ones that I've already painted to give a little bit more depths. I'm also going to paint some of the details of the stems for the leaves. Just like before, I just picked any browne that I have left. It's not going to matter. And it's not going to bother the composition much because it's only a tiny area. I would preferably use a thicker consistency just so the stem still stands out in terms of the mid rib as well as the veins of the leaves. Though I'm going to just draw them on with pencil because I know I can get finer lines here. I also used a light consistency of brown to paint underneath the bulbs of the flowers for a little bit more dimension. Remember, when you're painting on thinner lines, please be mindful of the brush load that you're using. Make sure that the load on your brush is not gripping or puddling wet. Instead, for it to be more or less dry or a light load so you can create really fine lines. If you're having trouble with the load of your brush, don't forget to use the tissue right next to you to dab off the excess paint for the eyes of these nails. I'm just going to use CPA. I'm not sure if they're supposed to be lighter in color, but I'm just going to stick with these for some of the stamps that I've already painted on. If I feel I need them to be a little bit darker, I would just go over them again. Here I'm using browns or dark greens to go over those lines and make sure that they stand out a bit more. Once I'm done, I'm going to erase the extra pencil marks just to cleaner Look, when you're erasing though, make sure everything is completely dry so you don't risk smudging or damaging the paper. By the way, don't worry if you left out any details. You can always go back to them later on. Like here, I accidentally left out the stem for these tiny leaves, so I'm just going to paint it on. This is fine to do in any later stage of your painting as well. 15. Line Work with Coloured Pencils: In this lesson, I'm going to be drawing on the extra details such as textures and also the leaf veins and mid ribs. This is a really fun part because it really brings the painting to life. As you can see, I just have four different brown colors. And make sure that these pencils are always sharp because I want really clean lines, I try to use the color that I feel is suitable for the area of the painting. As an example, since I want to create the texture for the mushroom stems and I don't want the texture to stand out too much, I started with a lighter brown, then I use a darker brown around the sides to enhance some of the darker areas as well as parts of the outline. I also like to play around with the pressure. This way I can create shading while I'm drawing on the details. Now, Moving on to the scales, here I also have a dark reddish brown. I decided to use this color to paint the darker areas to help enhance the well for the mushroom cap. I also added on some textures following the curvature of the mushrooms to give it a little bit more volume and thickness to the cap. And this is more or less the method that I'm going to apply to the rest of the red mushrooms as well. Now moving on to the maple leaf, this is where I start drawing on the mid ribs as well as the veins for the mid ribs. I put more pressure on my pencil. The lines are a little bit thicker and darker. As for the veins, I try to lessen my pressure and just draw it on lightly so it becomes finer details. For the belly of the snail, I use my light yellow ochre looking color for the bottom just to give it a darker shade. As for the shell, I try to create a little pattern using the darkest brown. I also line the bottom of the belly using this color as well as the body between the shell. Just to give it a bit more definition for these round flowers, I decided to just add on lines that is directed outwards radially. And I'm going to try to fill in the whole space to create a bit of texture. The stems are looking a bit light. I decided to darken the top parts of the stem using the darkest brown. I'm also going to do the same with the stems of these berries. I'm also going to draw on the details of the leaves using the most muted brown as well stride flowers. Since I haven't drawn out the extra stems for the extra flowers, I decided to just draw it on using this colored pencil. For the single leaves and the smaller leaves. I'm going to treat them basically the same way by drawing the mid rib as well as the veins for a little bit of variation. You can also play with the angle and also whether you want the veins to be a bit more curved or straight. As for the single flowers, I decided to draw on a little bit of fine texture to each petal. By drawing on lines, I also decided to outline the petals using the reddish brown. Now moving on to this cluster of mushrooms, I decided to add on a bit of a darker brown underneath each of the mushroom caps, as well as the top part and the bottom part of the stems. As you can see for this oak leaf, I decided to play around with the veins by making them a bit more curvy and actually a little bit wavy for some parts of it. I also decided to add on finer veins branching out. As you can see, my pencil is getting dull, so I'm going to sharpen it again. This is just to enhance the quality off lines. After drawing on the veins. I also went back in to go over certain areas of the details with the reddish brown. Now moving on to the next maple leaf. Since the base color is more or less orange, orange, brown, I decided to pair it up with the reddish brown. I'm just doing this by intuition. If I feel like the colors will match each other, I'll just pick the particular color for the color pencils. But if you would like to include other colors as well, you can also do that and experiment with your own outlines and details for some of the doodles. If you feel like you need to define certain outlines, you can also do that. I'm just going to look at mine as a whole and see if it needs any extra outlines. But you don't have to do it if you don't want to either. If it's not the style that you're going for. Again, just like the other green leaves, I'd like to use the dart muted brown. That looks like CPA. But if you have some dark muted greens that will also work great in your composition. I personally just want to keep the colors limited which is why I just choose the browns that I picked for the mushrooms where the Showing. I'm going to draw on the kills so I can make the lines a little bit C, it looks a bit more detailed. For this, I'm using the midtone that I feel works for the details of the gills. For the stems, I'm going to treat it the same way as the previous mushrooms by adding on the darkest values for the bottom and also a bit of the outline. Since the base color look texture here, I'm just going to leave it for now and not add the lighter brown for the texture of the stems and the ring again with this red mushroom that has a well in the middle of the cap. I'm just going to treat it the same way. Here I'm adding the texture following the curvature of the mushroom cap to make sure it looks a little bit more rounded and it has more volume. I also added the reddish brown and the darker brown for the bottom part of the well, making sure that it looks deeper than the rest of the mushroom cap. I also added an outline underneath the cap to separate it from the gill. This also makes the mushroom cap look a little bit thicker. As for the gills as well as the stem, I'm just going to treat it the same way. You can alternate the brown colors that you would like to as well. For a bit of variation for these leaves, I felt like the color or the value of the greens were a little bit too light. I'm going to outline those light leaves. However, this is just a personal preference. If you don't mind the value to be lighter, that's also fine. I just personally feel I need to enhance and clear out the outline for all of the snails. I'm going to treat it the same way. I'm using my darkest brown here. I'm just making curve lines to create a pattern for the shell and also use the lightest brown to paint underneath the body of the snail. I'm going back to these mushrooms and I'm just adding on some darker outlines at the bottom. This is just to make the caps look a little bit thicker for all of the light colored flowers, I'm going to treat them the same way as the single one. So here I'm outlining using the reddish brown and I'm also adding on lines for the texture of the flower petals for some of the single leaf. Sometimes if the base color is too light, I'm going to give an outline just like the swan. And I also made a bit of textured outline to make the edges a little bit jacked for these mushrooms. I'm only going to add details for the texture of the stems as well as the ring. I'm using my darkest brown to create lines and give it a bit of shading for some of the shadows, but I'm going to leave the caps for these ones. Since this oak leaf is fairly large. I'm going to add a bit more detail to the leaf itself. After drawing on the main mid rib and the veins, I'm going to draw finer ones as well. For the finer veins, I try to put less pressure so the lines become lighter and more subtle. For these round leaves, I decided to do something a bit different with the veins. I tried to make the lines out just to give a bit of variation since most of the leaves look similar. At this point, for these thin mushrooms, I decided to create more of an umbrella texture. I'm just drawing out lines following the curve of the mushroom caps. You can make the lines closer together or further apart depending on how wavy or curve you want the bottom of the caps to be. After that, I'm just going to outline the stems as well as the curves under the caps to make the outline clearer. Moving on to this mushroom here, Instead of the midtone brown, I used my darkest brown to create the gills. This is because the base color was quite dark to begin with. As I'm drawing on the gills, I tried to also follow the curves around the edges of the mushroom cap. I also ended up outlining them to give a clean look for the mushroom cap. I use my light brown or mine brown and create little twirls to give a bit of texture around the edges of the cap. As for the stems and the rings, I'm going to treat them the same way. I'm creating lots of vertical lines. Playing with the pressure to create a little bit more depth and form to the stem. I also treated the ring the same way, even though this one is upside down. I gave a little outline along the top of the ring, and then I followed it with more lines directed to the stem, for the scales on top of the mushroom cap. I decided to use my darkest brown line, some of them, and this will just make them look like it's popping out slightly. As for the acorn, I'm going to use my light brown to darken the bottom for the nut part. I'm basically coloring it in, but I'm following the curvature of the acorn, putting more pressure on the left and less pressure on the right. There's a little bit more form and dimension. Once I'm done with the light brown, I use my darkest brown to add more lines following the curves. Again, as for the cup on top of the acorn, I underlined it using a lot of pressure for the bottom part to create a shadow using my darkest brown. Then I'm going to outline and also give a bit of texture by first following the curvature of the cups, then adding another line in the other direction to create a little bit of a checkered texture. I made sure to also create curved lines for the edges of the cup to give it a bit more volume compared to the nuts of the acorn. I'm also going to do the same with these acorns here, but instead of using the darkest brown to create the additional lines, I decided to stick with the lightest brown instead for a bit of variation. 16. Final Adjustments: In this lesson, I'll be making final adjustments and things that have missed along the way or felt like I need to further add. This includes outline shading with pencils, extra textures, highlights, and even to paint over certain areas. Again, with this mushroom, I still wasn't sure whether I want to add extra textures, so I just outlined the mushroom and also add assum shading to the stem. But I just moved on while I figure things out. For the maple leaf here, I felt like cleaning out the outlines. So I'm just going over that again with a reddish brown. As for these berries, I felt like the colors faded too much and it also flattened out. I'm just using a thick consistency of indigo here to paint shadows underneath. And this will just add more volume to the berries. After that, if I feel like the edges of the shadows are a bit too rough, I'm just going to go back over them. Using a clean, damp brush to soften the blend for the smaller leaves. I wasn't sure whether I wanted to include as many details as the larger ones, so I just drew out the midrib instead of the full detail of the veins and such. But here I just decided to add the veins as well. And I just made sure that my pencil is very sharp in order for the lines to be clear enough to see. After this, I'm going to go back to the light mushrooms and I decided to add textures since this mushroom looks awfully empty compared to the other elements in this composition. Here I'm just drawing dashed lines following the curvature of the mushroom cap and I just feel like this adds a bit more character to these mushrooms. So that was the main major change for the rest of the elements, I'm just going to look over again and see which areas needs an extra outline or extra details. Like the leaf that I accidentally left empty here Like usual, the final adjustment will always depend on the stage of your doodle and the style that you're going for. This is just to make sure that everything's up to your standard. You might need to do more adjustments or less than what I'm doing here, depending on the decisions that you made for the previous stages. 17. Optional Shimmer: This is an optional lesson. What I'm going to do here is to add gold shimmers to some of the elements, as well as just some dots for accents. You don't have to do this if you already like how your doodle and your composition looks, I just find that this is a nice way to finish up the painting and to bring everything together. Also, to fill in any additional ******, you can create circular dots. But for mine, I decided to make short strokes. I like to play with the thickness and also the size. I'm just going to do this for some of the empty ****** without forcing myself to paint on a certain area for the sake of getting an even distribution. If you would like to do this though, of course you can play with the size to make it easier to fill in those ******. After adding the main, larger ones, I decided to just add little sparkles by creating smaller dots. This time I'm creating circular dots. Instead of those strokes, I find that these little dots add a little sparkle or a magical touch to the whole painting. I'm also going to add small dots on some elements like some of the mushroom caps, flowers, acorns, and so on. You can also do this to the leaves, but I don't really want to paint over too much of the doodles since it will lose some of the details that we've worked so hard on. You can also use a thinner consistency instead of this opaque thick consistency that I'm using. This way, the shimmers will be more subtle and transparent. 18. Closing and Class Project: Congratulations for completing this class. I hope you guys enjoyed watching the process right from the final stage sketching to painting for the class project. I would love for you to paint your very own autumn theme doodle. You can take the route of using the downloadable outline that you can get in the projects and resources section. Or you can also create your own custom autumn doodle with different elements and even experiment with different styles using the same I've shown you in this class. Once you're done with your projects, please don't forget to post it in the project section. This way you can share it with me as well as other students, so we can have a big collection of bottom doodles. If you guys enjoy this class, I would really appreciate it. If you guys need a review, this would boost the class to be seen by more people so everyone can join in. It also helps me to make more classes that is catered to your liking. If you would like to see more art by me or more tutorials by me, you can follow me on my Youtube channel. Any where I post weekly art tutorials, mostly water color. If you would like to see more paintings by me. You can also follow me on my instgram at IG. Underscore any for this class if you're still here. Thank you so much for watching right to the very end. I hope you guys enjoy painting along with me. Best of luck for your project and I hope to see you in the next class. By