How to Make Objects Look 3D in Watercolors

1. Intro: My name is an. In this class, we are diving deep into one of the most important watercolor skills, creating the illusion of three dimensional form. You will learn essential form principles that every artist needs and how light shadow and edges work together to make flat shapes feel solid and three dimensional. We will start by mastering to render simple three D primitives such as sphere, cube, cylinder, and cone. Using clear approachable watercolor techniques. We'll go through step by step demonstrations for each shape and then build them with fun real world projects. First, we'll focus on sphere, then move on to cylinders, cone and finish with cubes, gradually building your confidence and skills. If you are completely new to watercloor or if you want to strengthen your foundation first, be sure to check out my other class, how to do washes in watercloor. It's a perfect companion to this course, especially for mastering smooth gradients and soft transitions and how to apply a wash. By the end of this class, you'll have the tools to paint objects that feel solid, believable, and three dimensional. Let's get started and bring your paintings to life. 2. FormPrinciple 2D: Let's start with the basics. Understanding how light interacts with objects. This is what gives them a sense of volume. We'll talk about the light source, core shadows and cast shadows and reflected light. Once you master this mentally, your painting becomes a lot more intuitive. Before we jump onto it, let's analyze what forms are. In art, forms are three dimensional shapes. They are height, width and depth. They can be geometric like cubes, spheres, and cylinders and cones, et cetera. In organic forms, it's a form of a human body, a tree, or a cloud. In drawing, we often create the illusion of form using a light, shadow, and perspective. This makes a flat shape like circles or squares look three dimensional like spheres or cubes. In painting, Artiss uses color shading and brushwork to give depth and volume to objects, making them feel more realistic and look it exists in the real world. Let's analyze how form works in a sphere. Now what I'm going to do is I'm going to create a circle. This is a circle and it's a two flat shape now. It's a circle, it's it's a really flat shape. It doesn't have depth, dimension, or anything like that. It doesn't look through dimse at all. Let's assume this circle is affected by a light from this side and this is a light source for us. I'll put light source. It can be light, it's going to be sunlight or whatever it is. Whenever light it's an object, we get the light side, the shadow side. When our light hits, there is something happens called, which separates the light side and shadow side. I'm putting a line here and this is called terminator. It's a terminator. It's called terminator because it terminates light on the shadow side. Before this looks really flat, I'm going to put it like a volume or shape like this. I'm going to fill the shape really fast. As fast as I can. Now what I'm going to do, I'm going to use my finger to make it flat. You can see that we have a little bit of af tone. We'll call this af tone because I put some tone there or a shade there, or you can also call it a shade. It's an a shade. When I light, there's also something happens called an eyelet. An eyelid is the brightest or the white part in an object. Since the light source seating there, so I'm just going to make eyelets there. I'm going to name this high lights. Now we created a Afton and now we create a light source and we also create an island. We also create a terminator, but it doesn't make any sense. But as soon as I'm putting some volume here like this. I'm just going to use my finger to soften a little bit. This is a terminator. There is something called core shadow. The core shadow is nothing but I'll write it down, core shadow. Ceshadow is the shadow side from the light side and the shadow side. The core shadow is the similar value of a terminator because it's on the shadow side, right? I'm just trying to get the shape a little bit better. And by the way, I'm using a charcoal pencil. This gives a really darker value, so that's why I was using it. And you can see that we created the core shadow, and it's all similar to the value of a terminator. You can see that we getting somewhere, I started looking three, but at three, it doesn't look three times at all. So wherever the terminator is, since it is a sphere and it's going around the shape. I'm also going to increase the value a little bit near the terminator, like that. I'm going to soften it like this. Let's soften everything. You can see that it started looking a little bit three dimensional. I'm going to make the terminal a little bit darker like this. To show the separation between the core shadow and the light side. I also do this a little bit. I'm just going to. Now you can see that we created this really nice terminator and a core shadow. Now it looks like it's floating in space. In order to anchor any object on any basic spheres or any objects that exist in reality, to anchor, there's something happens called a core shadow. Since the light is coming from here, it's going to cast a shadow like here. I should the core shadow here. I should have wrote somewhere else. It will be darker near here and it slowly get lighter. I don't know, did I say core shadow? This is called cast shadow. Since what this is doing is it's a casting the shadow of an object on the ground for us. As soon as I cast the shadow on the ground, you can see that this two D flat shape looks a little bit three d realistic. Again, you can also make the form better by working on the forms little bit by increasing the values. For example, I'm just going to the core shadow, getting away from it. And you can see that the more increase the core sharow on the terminator, and you can see that we able to create this really nice three d sphere from just by using the principle of form principle. I'm just going around here. I'll just clean it a little bit. You can see that we created a simple to flat shape. In order to make this more realistic, what I'm going to do is I'm going to vinet it. I'll just go like that. What I'm trying to do is I'm trying to create a value which is darker than the sphere which is in the here so that you can see the eyelet and the Afton better. Now you can see that now this a tone reads a little bit in the front and the dark shadow, push it even further. This is called a form principle. There is also something called reflected light, so we don't have to do it here. The reflected light are nothing but whenever the light hits, it bounces back and it bounces back an object. Sometimes you get a lighter shade or whatever color your ground is and it reflects back to our sphere. This is called reflected light. To recap everything. We took a basic shape of a circle, then we add a light source. Then we created this uh highlight here and you can see, that is the brightest spot in any object. It's called an eyelets and I put it here. We created the terminator right here and you can see it here, the terminator, and which terminates the light and the shadow side. That's why it's called a terminator. Think that way, so it's easier to understand. We also created a core shadow. The core shadow is nothing but the darkest object of the shadow sign. That's a core shadow and we create it. Whenever to anchor something of an object or anything on the ground and based on the lighting, it cast a shadow. That's why we created something called cast shadows. I didn't write the cast shadows. I'll write it here, cas shadows. We also learned about reflected light. Whenever the light hits and the light hits and it reflects back on an object which is close to it. If this is red, there'll be a red light reflecting on this cylinder. That's why there's a little bit of eyelet I put it there. It's a reflective light. There's also a tone just to show it's not white and we also create a vignette to show the atne and the eels little bit better. 3. Creating 3D SPheres: Back to this chapter. In the last chapter we learn how light affects the form. In this chapter, we're going to take the same concept and we're going to play on watercolors. We'll do a couple of spheres, cones and a couple of cubes and cylinders. I also attach the reference, the reference folder in the class material, so you guys can go and check it out. Let's do. While I'm doing this, I'm also going to show different ways of rendering spheres as well as techniques to do everything faster. Let's do a sphere. So you could pick any car you want and maybe I'll pick maybe Cobalt blue Cobalt blue is good. I'll pick Cboblue and you can pick any car you want. In the last chapter, we learn creating Afton first. Let's create a Afton. In order to create a Afton first, what I'm going to do is I'm leaving an eyelids. Whenever the light hits and that's our brightest part in a sphere. I'm just going to leave the white bit for I'm leaving that white bit and I'm just making that sphere. The first time you do it, you try to be really neat and perfect. Don't worry about it and just keep with the flow. You can see that I created a flat aftone and I also left an eyelid. We can also layer it slowly or we can also do wet on wet. There's two ways to do it. While it's getting dry, I'll show another technique of leaving eyelids is doing the same thing, not worrying about the eyelid first. And once you start looking like a sphere, what I'm going to do is I'm going to tissue paper and I'm going to take you can see that I'm making it like any kind of shape works. I'm just creating this. It's up to you. Either you just leave an eyelet just by going around it or you can do this. We it's easy for you. The next one I'm going to do is wet on wet. Let's do on wet with the tissue method. These ones, I'll let it dry, then we'll go and add a value and I'll show you guys how to create three dimensional. Maybe I'll go a little bit bigger. Actually, I don't paint this log when I paint. So for a demonstration, I'm doing a little slower. You can see that we can create this big sphere and the same thing, let's assume the light is coming from here and we create eyed. The next thing is, I'm going to put a terminator. Terminator is the one which separates the light side and the shadow side. There's also core shadow happens, and I'll put it here like that. And cour shadow right here. Actually, I'll just combine it together. You can see that it already took a little bit of shape there. In order to make my core shadow little bit darker, I'm using French alter and blue, or you can also use peons gray. While it's wet, I'm going to do this. You can do that there. I'm going to clean my brush and I'm going to take this left or blue and I'm just going to soften it like this. And and you can see that now we have the core shadow and the terminator on the sphere. There's only one thing missing, and that is to anchor anything on an object on the ground, we use cache shadow. I'll use French An Blue again. I'll just put line, one line like that, and I'll just combine it like this. This is the darker spot that happens here, the contact point between the floor and the sphere. You can see how easy we made this sphere look three dimensional. You know, just maybe, like, come on and there you go. If you want to create a reflected light because the light is hitting and bouncing back, take a tissue paper again. I just do couple things like this. You can see that it create this really nice technique. Now you can see that we created three different spheres with different techniques. This one wet on wet. I'll show you. The last one we're going to use a dry brush technique. The dry brush technique is a little bit different. What I'm going to do is I'm going to start with the darker sp, for example, the terminator. I put the terminator first. Then I'm going to clean my brush and I'm going to go to bal Blue, and I'm going to create the Afton by mixing like this. Then I'll connect this shape to this shape like that. I'll leave the eyelet there. I'll go to French Alt and Blue and create the cache shadow at the bottom like this. You can see that it creates this really nice cache shadow. Now you can also combine case shadow as well as the Wawn wed. You can see that you created this really nice sphere with a cache shadow on it. So now we learn a different things, but this one I let it dry first. Let's go and finish this. I'm going to go to Kobo Blue. Again, This is layering technique. Now I'm going to Kobo blue and adding something on the top. This is our core shadow. I want to use clean water to create a softer edge like that. Now I'm going to French Altermblue and creating the terminator terminator like this, then I'll take the same exact French ultra and blue and case shadow. There you go. You can see that now it created a really nice three dimensional form for our sphere tube. Let's do the last one. Let's see what technique we can use. Let's use the dry brush technique here. We'll go to French ultramblue and we will create the terminator first like that. Then I'm going to take the CBablue now and use it and mix it like that. I'll take the cobol again and I'll soft on it and go around the sphere. You can see that 03 dimensional start looking. Before it dries, I can create a case shadow, and you can also increase the terminator once it's we on wet. Now you guys know how to do we on wet. There you go. Again, if you want to look something brighter, for example, this one, this is the one we did the final step. This one I'm just showing it to show to make this look brighter. You can see that just by doing that, it pop more. I'll do the same thing here on this sphere. You can see that it shows the forms a little bit even more because eyelet pops more. 4. Creating 3D Cubes: Okay, let's do a couple of cubes. But the thing is the cubes can be a little bit tricky. If you want to draw, just draw it a little bit. But again, I'm really comfortable with perspective. Again, don't be super accurate when you're drawing the cubes and do as you please. I'm the cubes are a little bit not tricky. I'll do one more here. Again, we're doing exercise, so I'm not worried about being neat. The same thing again, the same concept. We'll use Cobablu again here. We'll use the first thing called, what is it called the Afton, showing the shape of it. You can see that when you do this, this looks a flat shape. It doesn't have any dimension. As soon as we introduce the form principle, things will start looking three dimensional. Let's do the same thing on this cube as well. So in this cube, the problem, we can't use won wet that much because of the size of the cube. So we will do different lighting conditions on these. I'll go this one and this one is a little bit darker. Let's do this technique. In watercoloor, we usually start with the light to dark, but I'm starting with a dark ear. Again, this is artists preference. This is just to show we can also use different techniques as well. But I recommend when you start with watercolors, make sure you start with the lightest lightest value. And you can see that I create a darker value. The same thing what we did on one of the spheres here. I don't know which one it is. You can see that just by doing it, we created the nice shape already. This have to be light because this is where the light is hitting. I'm just going to make it a little bit light like that because I want to get the sharp edges on the corners. Just by doing it, you can see that we start with the light dark and there's a darker and there's a little bit of a mid tone and this where light is hitting. What is missing now? Can you guys guess? Hopefully you guessed it right case shadow. By adding that, you can see that we created this really nice three dimensional cuboid or cube of this. Let's go on to apply the cube on this side and assume that the light is hating this side. I think still it's wet. You can see that the paint is running off. Now what I'm going to do is I'm going to take this top plane and clean my brush. I always have a rag around to clean my brush, and that's what I was showing in the supplies, why I keep a rag with me. I just soft on this darker value at the top like that. There's only one thing is missing is, can you guys guess what is it? Hopefully, you guys saying it to yourself a case shadow. Casa is really must because it helps to anchor your cube on the ground and don't even forget it. And I'll just do this. You can see that we create this really nice cubboy. Again, this is where there is a concept called reflective light can help. I'm going to take a tissue paper again. This trick I showed in the beginning of the class. You can see that we cannot create this refractor light and I'll just put some mark here. Let's do the last one and this is the last one. I assume that light is heating this side of the plane, and this is dry. This will give really nice sharp edges for our cube because this is the one we started in the beginning the top line going to have a little bit of volume. I'm going to take a little bit of water. I'm just going to go here. Because the light is ing the front side and the last one is case shadow once we have the case shadow, and this will anchor really nice. There you go. You can also do I create this line on it. Now you can see we can use different cubes of this. If you add a couple of vignette, it will pop. You are shaped better as well. Like what we did on this. Let's put a different color. There you go. Same thing. There you go. You can see that it kind of shapes our cube packer. 5. Creating 3D Cylinders: So now we learned how to do the sphere, um, the cube. Let's do some cylinders. So again, um, if you want to, um, draw some, um, cylinders, go for it, again, don't try to be neat because these are the exercise, you know, we are learning, right? So again, um, even in here and show couple other um techniques of doing the cylinders. And again, um, these are the techniques you are doing to try to do to make look three dimensional. You can see how fast I did it and if you want, you can take your time. I'm going to go for a little bit of a bigger brush this time because I'm going to speed up the process on this one and the same thing. The first one, let's use something called. The dry brush technique. I'm doing the core shadow first. This is our core shadow in a cylinder, when the light it here, and there's going to be a highlight and there's going to be a terminator core shadow, and that's what I added, the core shadow. Now what we have to add is called the course shadow here, I'll go a little bit like this. Since it's BA and you can see that I'm just softening it and I'm just going to leave some eyelets for the cylinder itself. You can see that just by doing it, we created this really nice cylinder already. This looks really tight. I'm going to use a clean brush and I'm just going to put some water here. So when you try this first time, you may not get it. Don't be frustrated, do a couple of times because I've done this several times. I've thought this on the class, so it looks easier for me, looks easier for me to do it. But if you guys try it, I always don't discourage the first time when you do it. It's okay. Take some attempts, do a couple more than what I'm doing now. It's the same techniques we did on the top part, put a darker value and use a cobalt blue lighter value and just combine it. Just by doing it, you can see that how fast we created this really nice cylinder really fast. The only one thing is spending is adding the core shadow. Since the light is coming from this side, the shadow will be at the back like that. I'll just put it. It goes like that. It's like a fat cylinder, so it's a fat shadow, there you go. You can see that it looks realistic already. What I'm going to do is let's do the first method. What I will do is I'll create Afton first. This is a afton filling the shape as fast as we can. Let's assume that the light is coming from this side. When it comes of this side, we have to create an eyelet. What I'm going to do is I'm going to make my tissue paper like this and I'm just going to dab it here. You can see that we cannot create eyelet. I'm going to let it dry and let's do wet on wet on this one. Wet on wet. And filling the ship as fast as I can and I'm not doing that. I'm just going one single stroke like this. It's quick and confident. Now you can see that we already created this and assume that the light is hitting on the corners. I'm going to go here, use my tissue paper to get the eyelet back and you can see that we can create that eyelet. Let's add a terminator. For term, I'm going to use French ultramarin blue. Again, I will put next to the eyelets and now I'm going to use the core shadow. And I'll use ubrav this co ball blue and just mix it like this. Sometimes what happens is your core shadow may not be darker and since the light isn't coming from here, the core shadow will be at the top like that. Now I'm going to take cobll blue and I'm slowly softening the edge. You can see that now we create this really nice light side and the shadow side. Now what we have to do is we just need a case shadow. There you go. You can see that we can create this really nice cacher. The one thing we did in the last class, I don't know if you guys remember to frame something. If I frame this, and this eyelet will be darker and you can see that how darker it got. The more darker you make the shapes around it, the eyelds will pop out more. It's the exact same thing I did on the form principle. There you go. Let's do this one, and this is the last one we're going to do of this guy. This one, what I'm going to do is I'm going to block the terminator first. Where in the cylinder, there's also a little bit of darker value because the form rolls, I usually put it like that. Now I'm going to take koba Blue, I want not darker than my terminator. By the way, if you guys out to soften edge or how to do these washers, you can also go on watch how to do washers video. That will help a lot. I also teach how to old your brush too in that video. Highly recommend if you guys need to water close, and I'm going to take some clean water and I'm just going to rub it off like this. And you can see that we can create this really nice. When I'm in the corner, there's also Docker value Appens. I'll just add it here and there you go. One thing is spending, you guessed it. I know you guys are getting used to it and what I'm going to ask. I'm just going to a casa dose like that. Now look at that. As soon as we added it, it pop everything. I'll also do it here and I'll also do it here and here. There you go. And we'll do one more. We'll do a cone and we're done with our basic primitives. 6. Creating 3D Cones: So I did invented some couple of cones, but pyramids or cones, whatever you can call it. But I use the same technique, but I used a different color. I'll do one more year so you guys can see. And, this one, the light is coming from which way we can think of the light. So maybe I'll think of light is coming from this side. So the first thing first, again, let's use red. I'll use red again and I'll just block the terminator first and as dark as I can. With the terminator, this is the darkest value, and now I'm going to take some water, mix the same thing here. You can see how water it is. I'll just do this. There you go. The same thing on the other side, it's going to be darker, but a little bit darker. I'll just do this like that. There you go. Now there is no eyelets. We can't see any eyelets. The same trick, what we've been doing in the previous classes. Take it tissue paper and to create an eyelet like that, and there you go. And I'll just make the term a little better and only one thing is missing is just the case sharow which is going behind this guy. And as we learned the cylindrical forms, whenever the form is turning, the shape is turning and there's a dark shade happens at the end of the corner of it. I'm just going to take it and I'll just soften it like that. I also soften it like this here. You can see that now it looks pretty damn strong. Let's recap everything. So what we did is we start with sphere. And we use different techniques. I was making the shape first, leaving the eyeldsT one using tissue paper and this one was wet on wet and this was on a dry technique. The next one we did is cube or a cube. This one I showed how we can use the same technique and create a three dimensional depth based on the lighting conditions. The last one we learned is the cylinder, and this is the same techniques, what we learned in the sphere and we applied it. I can show the way of the lighting hitting the cylinder and casting the shadows. The last one we did is the cone and you can see the eyelets on different lighting conditions. Now it's your turn. Take my basic shapes picture reference and try to do a couple of this. The first time when you try, it might a little bit difficult. The next time when you do it, it gets easier. So I did invented some couple of cones, but pyramids or cones, whatever you can call it. But I use the same technique, but I used a different color and although 7. FormPrinciple Demonstartion Part01: Okay, welcome to this first demonstration of the form principles or how to make things look three D. So in the first exercise, we're going to be doing the shape 01. So for shapes like this, I'm calling it shape because whenever you paint, you always think about shapes. Don't think as an object because we're creating a shape using the three D form principle, and that's what we're doing. So the first one is the shape 01, but you can call it apple. But if you think about the basic shape of this apple, it's a sphere, right? And you can also see now is this chance of thinking about where the lighting is coming from. So I'll put the lighting is coming from this side on the top, and that's our eyelet. And there is also something called let's figure out the terminator. So the terminator is on the top, here and here, and it kind of goes like this, the terminator. Now put the terminator. And there's also terminator at the top, because it separates the light side and the shadow side. So I'll put the terminator there too. And if you see the core shadow, the core shadow is here because core shadow is always exists on this side, right? So this is the core shadow. And you can also see there is also reflected light. It's kind of like this white thing, which is bouncing from floor to here. But reflected light, let's see if you want to do it because the refract light is usually done with what's it called with a tissue paper. And there's also this thing, which is also at the top, like that. And you can also see there's a a tone, which is kind of here. So I'm just going to write it on the first one so you guys can understand. Terminator. The term is here, and this is a core shadow. And this all will disappear when we paint. And there's also a cache shadow, and you can literally see the case shadow, which is going like here and going all the way across. This is our case shadows. I'll put case shadows. When you paint, when you differentiate everything like this, your painting gets easier and you'll be surprised that your painting will start look three dimensional. You can see that we can block everything. Let's start. I'm going to start with maybe the first wash. You can also see there was a little tinge of this car this yellowish color in the eyeld I'm just going to put it and it's really subtle. Now let's do the Afton. The Afton is the basic red, so I'm going to go here and I'm using Winsor red and you can use any red you want and I'm going to fill it as fast as I can. If you don't know how to do washes, go and check out my other Skillshare, how to do washers class. And you can see that I left it here there's a tinge of low in there. So I'm using ello Ochre for it. Yellow ocher yellow ocher. Again, don't be scared about being the colors being right. And you can see that we create this really nice apple already. If you want to create this eyelet even more, take a tissue paper and just dab it even more like that. There you go. Now we create it. Again, we can use any one of the principles of what we learned so far and we can also go dry it out. Then we can also add the shadows on top of it. It's up to us. What I'm going to do is I'm going to add a little bit of more volume, so I'm going to take some more red like this and I'm going to put it here. You can also use burn Sienna. Since this is our first painting, I want to go step by step. And I leave it like that. That's it. You also see there's also other spots. I'm going to drive, so we're going to come back and we're going to add the second layer on top of it. As I said in the beginning of the class, watercolor is all about layering and glazing. Now we successfully create the Afton and there is also a little bit of variation of aftnes. There's another darker layer of Afton which is happening. I'm going to use a red and a little bit of this CBA blue, you can see that gives a libri of a purple and I'm going to go over where I'm seeing it. Whenever you see this value, it's usually on the shadow. And it all happening here. I'll do that and it goes like this. I'm going to take another brush and I'm going to I think there's a lighter value. The light it's on the top, so I'm just going to take off some of the paint using a clean brush. You can see that we create another value of the Afton. Now we can see the shape of the apple, a little bit better. And this is where the light is happening. As we did on other classes, I'm going to soften here around. And again, I'm not worried about this is being neat or being pretty, my strokes are being pretty. I don't care about it. And that's one thing you have to think about while painting, just let go paint. And there you go. So now we kind of created another like a volume on top of it. Let's say you're not happy with it, you can also glaze over it again. I'm just going to show that now, you can glaze over again. Again, you can see that since our wash is wet, this kind of helping a little bit. I'll also add deer because it's coming like that, I can also a it like that. And like that. And it also going on the edges on the cylinder as well as cylinders there you go. Again, I'm going to take a clean brush and take clean, and I'm just going to clean it like that. And there you go. So now I'm going to dry. We're going to come back and add another layer. 8. FormPrinciple Demonstartion Part02: So now we dried it, and you can see that it's pretty it's a little bit wet, but it's not that wet, so I can have another layer. So this is where we add the cold. Terminator. So the terminator is a docker, and I'm using red and French ultramarin blue. I don't use neutral tint. I use French ultra blue to get a docker value, and I'm checking the first terminator at the top. Again, I'm not worried about how it's going to look like there. I'm going to put my own spin on it, and it also comes a little bit like that. And there's also shadow of the top part casting a shadow on it. So I can also have that as well. And this is also another case harrow. So this is one more thing. In your shape or object, there might be having multiple case shadows, so don't be scared about it. And if you think about everything in shapes and everything gets easier, and I'll just do a couple like that. Again, I'm more take out of the brush. And I'm just going to soften it. This guys, I don't want much water in my brush. And there you go. It's the same thing here, and this guy connects here, and this goes to the terminator. Okay, there you go. The terminator. Again, in this class, we're going to ignore the refectal light. If you want refectal light, you can do it as well, but I'm going to ignore it. And I'm going to add the core shadow on top of it as well. And I'll just combine it like that. And I'm going to soften it. This form need to be softened at the top that here because it's going in like that. I'll also do a couple here like that. I'm going to clean it and I'll clear it like this. And you can see it. It looks really nice now, right? And again, if you want, you can increase the core shadow a little bit more. Like, take the French ultra blue from the palette, and you can also do it as well. Again, it does a strong lighting in the reference. So that's why we have to layer it several times. But in other demos, you will see how easy it is. And you can see that it goes like this bump right there and there you go. You can see that we create the core shadow, the eyelids, the af tone. The only thing painting is is our case shadows. The case shadows, I'm not going to wait. So I'm going to take newtotint. Maybe a little bit of French alterna blue, a little bit of blue here, and I don't want to be this darker. I'll just do this. As soon as we add the core shadow, you will see that this apple will be anchoring on the ground. I'm also looking where that cash shadow is extending from, and this is the most important thing. And it goes like that. And now you can see that we kind of create this really nice case shadow. The one thing I'm going to do is it's kind of weird this transition. So it can also take some red and it just blended, so it doesn't look white and there. It's kind of like a war on wet and there. And what we can do is we can take some red like this and we will extend the top part like that. And I'm going to take this darker color, adding the darker part on the top of it. So as soon as we add this darker part, and you will see that this will come alive, you can see the top part of the apple so there you go. And this is casting a shadow on the top. And there's also one more step on what I'd do, and we can leave it as it is, but this is a bonus step you guys can do, and I'll show another technique. So at the back, I didn't take the apple all the way up the back. So what I'm going to do is, this is the exact same thing we did on the spheres. Taking the starker value. Again, I'm not worried about being neat to my reference, take this really nice red, and I'll just blend it in and making sure to leave that eyelet for this guy the guy which is casting the shadow on Apple. And there you go. Now you can see the back too. So now let's do some veneering. So Vnering is the one we learned in the previous class, right? So when we do it, it just shows Things better. Again, this step is bonus. If you guys want to do it, you guys can do it. But you can see that as soon as we do it, it shows this pot better as well. I'll just blend it like this. Even it just blends and blends with the background, it also looks really nice. And we can also have something like that as well. So it's frames or apple. And look at that. So we took a concept of font principle. We created the first thing called the Tui, the Afton. Then we also created eyelet. Then we created another like a mid tone to create the form of the sphere. Then we are the terminator, we add the core shadow, then we add the cache shadow, and we also near it so we can bring the apple to the foreground. 9. Sphere Form: The last chapter, we learned how to do this in Apple with thinking of sphere, eating the like, and I also named it as well. But this is how it looks like when dry. So this one, maybe I'll make a little bit simple this shape. This is shape 06 because I want to show you guys how I did that. And again, I'll draw this for you guys, too. So this is kind of like a small grape. And again, we're going to sphere shape again. Again, even if it doesn't look exactly the same, I'm not worried about it. But this one I'll show you the technique of wet on wet on this one. The last one we did a layering technique. We dried it, we kept going. This one, we'll use a different technique. Sometimes I don't know what I'm doing. I'll just go with the flow when I paint this gets easier as you painting more and more. I'm going to activate my palette just by spraying it I just get rid of my paints here. Screen up the palette. I'll take this. This is how it looks like here. Again, when you do the washes, don't do like this and do confidence strokes, nice confidence strokes. You can see that what is it called? There's an eyelet. I'll make it a little bit different this time. You can see that the amount of colors I'm mixing while I'm painting it. And the echo. You can see that in a fast way, we can create this really fast shape I'm going to take here. I'm just going to fill the shape as fast as I can. There you go. I'm going to take another brush now, and this is for the guy, which is in the front. I'm going to take this darker value, maybe a little bit of what is it called yellow ochre. I'm just going to take this and join it like that. And there you go. And I also see a couple of things which is in the front, some kind of like this, here, which is happening. I'll do it there. And there's also this, this is stain, so I can also add that as well. And you can see that in a way that in a matter of seconds, we're able to create this. And this is a beautiful thing about warlers. So since it's wet, we can create another value on top of it. So this one, the same thing, I'm going to take this thing again and I'm going to mix it like this. Since the light is heating from here, there's going to be this is our shadow sign, the core shadow. And since the form is rolling over, and there is no cache shadow happening there. And this is our case shadow. I'm constantly thinking about my forms, and that's the most important part. And on the edges, it's kind of like that and even and I'm going to soften this edge. So by now, you guys should be able to soften the edge to take a clean brush and take your rag and you can just soften it like that. This is our eyelid part, so you can also use your clean brush to take some of the paint as well, and there you go. Now I'm going to go a little bit darker and like that, and this is the core shadow, and this is also close to the ground, so it's going to be darker as well. But technically, if we have to see this is where our termor is. I'm putting the termor just to show you guys where that is. And I'm going to take another brush. Since I don't want, what is it called sharper edge, I'll just blend it like that. It also goes a little bit here as well and here as well. I'm going to soften it like that. I'll just go. There you go. You can see that we're almost there. I'm also going to take my clean brush and take some of the paint because the refrictor light is happening here. You can see that it almost looking almost looks like a grape already. I go a little bit darker. I'm checking where the case shadows and this is full on wet on wet. Again, you can pick any technique you want. And using that red, and I'm also checking where this is going to end. Now, I'm just going to go around. I'm just checking the shape of it, then I can just make a shape using There you go. And as soon as we do it, and you can see that it anchors the grape on the ground. And you can see that I'm going darker, Bingo, it bleeds and it creates this beautiful thing, I'll let it be. If you feel like this is not darker at the bottom, take here and you can go also. You can also add another value as well. This is a good thing about wednwb. You keep on increasing the value whenever you see a sudden transition, as I said, take a clean brush, maybe a little bit of this and slowly blend it in like that. There you go. Now we created this, but there's one more area we have to add shadow as well. This is the front part of it. There you go. I also missed it this guy here. I'm keeping on holding a hon breast. I don't know why. And it's showing this part casting a shadow here as well. And sometimes, I take a really darker value, and wherever it anchors, you can just put it like this. So what this does is it anchors more and it gives a really nice value at the bottom of a grape. And there you go. And I'll just take some of it like that. And now you can see that we kind of create a grape in a wet on wet. And you can also see there's a stain here. Again, let's try it and hope, God and pray this, this might work and this might not work, and it'd have to be with a dry brush. And this also shows form because it goes at the bottom, like that. There you go. It's also a little bit darker. Talker here. I'll just do that. There you go. You can see that now we can create it using what on what. It creates a really nice thing. Again, if you want to vinet it, you can do it too, and it's up to you. The vintting is just to bring back some of the areas, but I'll just do it really subtle. Let's do this guy. This will be really useful here because we preserve that eyelets. And there you go. There you go. I'm just going to blend it like that. Again, if I do it, I'll work it. And I'll wear a little dry and we can see how it looks like. So this looks like, and you can see the differentiation between what we did, and this is full on wet on wet. Still, it looks three dimensional, but you can see that I did it, like in one wash it was really simple. So once you understand the form principle, you can create a lot of different stuff. And the next chapter, and I'll do something not sphere and some of a different shape. Okay. 10. Cylindrical Form: So in the last chapter, we did focus on sphere shaped objects. So in this chapter, we'll focus on something cylindrical. This is shape 03 for coffee mug, and this is a uber complex, but if you want, you can find your own reference as well. You can also see that T bag hanging from the cup, so we're going to ignore it. I'll try to simplify it so you guys can do it as well. So when you think about any kind of shapes, again, you can see that whenever I'm talking about anything, I'm saying everything as a shape, not as an object or the coffee mug. So when you think everything in shape, it's easier to simplify it as well as it's easier to paint. So this is the top part, and this is the bottom part. Shaking the curve. I'm shaking. So this shape is almost like So again, I'm thinking everything is a ship. So if you think about this coffee mug, it's like, everything is a rectangle. And we're going to ignore the reflection. As I said, we also going to ignore the tea bag as well. And you can see that I blocked in everything, and I also kept it really light. So in this one, what I'm going to do is I'm trying to do the first wash as we're going to create the first layer and we're going to dry it, then we're going to add the second layer. So again, I'll just clean up my palette really quick so that we can our own cours. So the first one is, let's put some this Windsor low and a little bit of lower. And I'm checking if you check the reference, shape 03, and there's an eyelet at the top like that, and there's an eyelet there. If you see, I'm constantly changing my brush. I'm not painting with one exact brush. If it's a bigger shape, I'm using a bigger brush. And if I'm painting a smaller shape, I'm using a smaller brush. You can see that I kind of create a coffee mud. And again, you can see that there is a highlight like what we did on our cylindrical objects. And it's her, so I'm just taking my tissue. I'm just really drying it. I'm not pressing art. I'm just taking it a little bit out. Like that. You can see that we created this really nice. I'll just go here and create the shape. I'll just do it like that. And you can see that we kind of created this first ti shape. So while this is happening, we could also do wet on wet or wet on dry. So what I'm going to do is I'm going to let it dry. I'll just put like soft out a little bit. I think I went over it. So again, it doesn't bother me. I'll take and I do that. There you go. I'm going to dry it and we'll do it again. I dry it now. I'm going to do the top one first. At the top, I'm seeing this yellow ochre and a little bit of this burnt sienna. You can also ad a little bit of white if you want, but burn sienna and this one works. So at the top, there's a gradient which happens from ear to ear. I'm blocking in like that. I'm going to take French ultraormblue, and mix with this mix. I'm going to turn my paper a little bit because I'm painting in an angle to show you guys a little bit better and there you go. We blocked in the top part of it. This have to be really nice transition. What I'm going to do is I'm just going to blend my brush and we also have to soften this as well at the top like that. You can see that we can block on the top part and we are done. Now I'm going to do the the core shadow. This is our eyelet and there's a terminator right here. Let's do a terminator now. I'll put the terminator here. And I know that it's going to bleed. I should have dried it first, but it's okay. So this is our terminator. Like that. I'm going to go here, take some more low ocre and I want to soften this like that. And I'll go here. Soft like that. And you can see that we already crave the cylindrical shapes. So now we are going to add the core shadow. And you know that the core shadow is usually darker. Take this guy and this guy taking some Rmberv and mix it this side and combine it with our terminator like that. M. And there you go. You can see that we can create this really nice thing. Again, I would have waited a little bit to get this line at the top. And sometimes this happens. Don't make scare or anything. Just take your tissue paper and just fix that area like that. Even at the top, I didn't like this layer, so I'll slowly soften up. Now we can see that we created this light side on the shadow side. Now let's focus on this guy. And you can see this a cache shadow. The case shadow is really visible. The case shadows have hot edges. This is a great opportunity to blend this guy to this guy. This also easy to show show the forms a little better. And again, there's a shadow case shadow of the T bags which is showing up there. But since we didn't add it, I'll just ignore it. There you go. And it also going like this. The farms are rounding like that. And if you notice it clearly, that's a soft shadow. That's not a hard shadow. So I'll just clean it up. Soften it in clean water, like that. And there's also another softening, which is happening here. So I'll just wet the paper. Now if I put a value around it, you can see we get a soft shadow. And you can see that it created this really nice coffee mug. So there's only one thing pending. That is our Our Can you guess it? The cash shadow. So as soon as we have the cash shadow, and what it does is it anchors the cup on the Wow. And it's going to blend and it's going to make some color mixing by itself. And actually, it's really nice in watercolor. The only thing we have to worry about is the sharp shadow behind it, not inside it. And you can see that as soon as we have the cash shadow, we are anchoring our cup. And in the previous classes, I showed that before it dries out, you can also use this tube. I'm going to take some neutral tint. Where it sits, I'll just a a doctor value like that. And what that does is it even makes the cup sit even longer. No longer, sorry, on the floor, a little bit better. There you go. I'll do the same thing here as well before it dries out like that. I like that. Now you can see that we can see the connection between the cup and the coffee mug, and you can take some more and you can just blend it like that. There's also one more thing I'm going to add. I see there is also a dibra for Docker value, which is happening at the top. This keeps three dimensional. What I usually do is whenever I paint, I squint my eyes at the end. I always check if this look three dimensional. If it doesn't look three dimensional and I'll squint my eyes and it's see, where is the docker value happening? I'll just go and add it. The Docker value is here. I'll add it. And there's also docker value here. And I'll just soft on it like that. The same thing here as wall. And same thing here as well. And there you go. Now we can see that we cannot create asyndrical objects. Again, here, you can do the exact same thing. Veneering. Again, this sp is a bonus thing you can do. Just to frame our mug behind it, even this one. I'll just stop it here. I don't want to do anything else. And there you go. Now you can see that we cannot create a cylindrical objects and using the same principle of eyelids, core shadow, cast shadow, and eyelids here and this after. I'm going to dry it so you guys can see how it looks like. This is how it looks like, and it also reads when I squint my eyes, it looks three dimensional and that's what we want. 11. Cone Form: Last chapter we focused on a cylindrical object and this chapter we're going to do focus on cone or permit. This is road safety, the road safety sign or road safety cone, you can see it everywhere in what's it called in roads. Whenever they do construction, they usually use it. And again, you can see that I'm not worried about the proportions or anything, just going with the flow. This is a cylindrical object, but the shape is a little bit different. If you want, you can also use a root two. You can also see that there is two colors which is there and we'll try to get it as well. This painting when I do, I'm going to make sure to leave the paper as eyelet. We want to use a tissue paper because we can make it a little bit better. The first one is orange and whenever I do it, I usually clean my palette. That's one thing we have to do and activate my paint by using a spare let's take some orange. So orange and red. Whenever you can spray it, you can see that the cour comes really easily. I call it activating the paints, there you go, that's the top part. I'm making sure giving some room for that eyelids. Chicken at the top. There you go. I'm going to skip that and I'll show you in a second. Why? Again, I'm going to do the exact same thing here leaving that eyelet I'm coming down take some water. There's one eyelet which is going like that and going like that. And there's also another ed which is kind of going straight like that. And there's also at the bottom. And there's also one here as well. And you can see that this is another way of This other way of living planting your eyelets. So you have to use a tissue paper. But again, this might take a little bit first time when you do it, this is a little bit hard to understand. But the more you paint in waterclour, it gets easier and easier. Let's do this guy. I'll take some white paint for it because that's a little bit a lighter and making sure if it blends with colors, so be it. And it will look good if it blends with the color. And I'll just do this. Nice. Let's do the top one now. Now you know why I left those white things. Just by doing this, you can see that it does look already three dimensional. Now it's making now you can clearly see that the light is heating fronto you can see it. I'll just go here and make sure. There you go. Now I'm going to see, as I said in the beginning of the class, whenever there is something cylindrical and the cones a little bit darker. That's what I'm going to do now, take this orange and take this lubri of this blue. Since it's wet, it's going to create this really nice soft transition for me like that, like that. Then there you go. Just by doing it, you can see that it created this really rolling form of this cone or this cylinder. I'm also going to soften it at the top as well like that and like that, and like that. And I have to do the same thing for this guy, but this guy, I'll take neutral tint, and the darker pot is especially here. And now, you know, put some more water like that and slowly soften it using clean brush. And there you go. And you can see that it's clearly showing this form. Maybe I'll just go a little bit darker at the bottom as well, like here. Let's exaggerate a little bit. And now you can see that form is stirring. So there's only one thing left is the bottom holder. Again, I'm trying to get the shape. Really nice ceiling in this sky. Now if I go around. The one thing now is if I go around, it's going to create this blends with the cone behind it and it's going to bleed. I'm not going to do it as of yet, and I will just do this. By the way, the reference, it's not showing the shadow side of it, but let's add the shadow and so we can create some impact on it. The light is heating right on. What I'll do is I'll take this guy as the shadow. The shadow will go behind it. Like that. Even this guy will go like that. It you tear. Um, I'm just making up the shadow. I think the shadow is going like that. And I'll just There you go. So now you can see that we kind of created this thing. But there's one thing I have to add is this guy. I think it won't blend with that. Okay, it's dry enough, and there you go. So it's kind of going like that. I'll put something here. So this so the shadow is casting on the ground like that. There you go. And we can also make a vignette. Like that. Now we can see that we cannot took cone subject and we created the eyelet and it looked really simple, but it looks good. I don't like the fact that this is floating like that. I'll just add something like this. There you go. Now, it feels like it's sitting on the ground. I'll dry and I'll show you guys how it looks like. This it looks like. We can create the eyelet by just leaving the white paper as our eyelets. Then we created a shape for the orange one for these guys. Then we created a form on the sides to create the forms to bend. 12. Cube From: In the last chapter, we focused on cone shaped object or shape. And this last one, the last chapter, we're going to be focusing on square shaped or cube shaped. This is shape 010, the reference. So whenever you draw cubes or anything like flat objects, think about each individual individual shape. Think about the planes to draw. This is my frontal plane, and this is my top plane, and this is my side plane. Let's do the same thing here. I'm going to do the frontal plane, focusing on here, and this guy going like that. There you go. There's also this plane going at the top like this and we're just hitting here and there's also one more plane, which is going like that. There you go. Now we created two basic simple objects and I'm going to clean this guy and let's apply our wash. Let's do it. For this, I want to use simple old ocher and just do the flat shape. One single shape as fast as you can. There you go. Same thing here. There you go. Since we did quite a bit, now I'm a little bit confidence. When you do these to a couple of exercise, you get really confident at one point. I just happen. There you go. Now you can also have an opportunity to play with putting some colors here and there, mixing and now you can play with it, add some color variation on these guys. This looks really nice. Since it's a flat shaped object, we need to get a sharp edges. I'm going to dry, then we can apply the second wash on top of it. I'm going to dry it now really fast. As you see in the reference, let's add the shadows now. So I'm going to take burn Siena for the shadows. Nothing fancier. If you want, you can also add some yellow ochre in it. I'll focus on this guys first. As soon as we add this side, you can see that light started appearing on our scene and this box look three dimensional. I'll take this guy again and I'll do it here. There you go. You can see that in a matter of second, we're able to create this. One thing that is spending is adding the cash harrows because it looks like it's floating now. I'm going to add the cash harrows. For the cash shadows, I'm going to take this blue maybe a little bit of white paint. You know what? I want to get a sharp edge. I'm going to dry it, then I'm going to add it. Now it's dried quite a bit. Now what I can do is I can go on, add the shadow for our box. You can see that as soon as we add it, this guy came alive. Let's do this guy. It's going outside the paper, it's okay. I don't care. There you go. You can see that we already able to anchor these guys on the ground. There's one more thing I'm going to do is I'm going to also going to use a thinner brush. But before using a thinner brush, I'm going to take there's one more value we have to add. This is Docker value, which is inside the box. I'm going to move. Like that and like that. Now we can see that we created a more three dimensional object of this box, it's wrapping like that. Now one thing I noticed that there's also a little bit of values which is happening there. What I mean by that, you will see in a second when I add this. I think I went a little bit more. I'm going to take clean water. There you go. Now we can see that it separates the top part on the bottom part as well. Sometimes, also, I think we did this exactly on the cube exercise. I'm just softening it to get that effect. I'll do the same thing as here, take clean water and slowly blend it in like that. We're just differentiating this plane and this plane. There's one more thing I'm going to do is make it even realistic. I'm going to take Cifia and I'll go here and add this guy. And this guy like that. It anchors the box even more on the ground. Same thing here. There you go. This guy wraps it around like that, and this is where they open it. I'll also add this guy as well. You can see that we can create this realistic flat shape boxes using the same concept of light core shadow, case shadows and the Afton and everything. 13. Outro: Rats, you have made through how to make objects look three D and watercolor. You learned how to se and paint forms through light and shadow, edges, and layering. You also practice rendering the essential building blocks, spheres, cylinders, cones and cubes, and use them to build real world objects like apple, grapes, cup, cones, and even boxes. Remember, mastering form is a journey. The more you observe and paint, the more natural it will feel. For your final project, I encourage you to pick any simple object around your own, a mug, a lemon or a rock, or you can use one of the reference I have provided. And really focus on capturing the three form, using everything what we learned in this class. I'll love to see what you create. Be sure to upload your work in the class project section. I'll be checking in and offering feedback. Thank you so much for fainting with me today. And if you enjoy this class, feel free to check out my watercolor classes, too. Until next time, keep painting, keep exploring, and keep growing.