Introduction to Jewelry Painting in Watercolor and Mixed Media

1. What You Need To Know: Hi, thank you so much for joining this class. This is a jewelry painting class. I have a couple of illustrations for you where I'm going to cover everything from how to paint gold, silver, different types of gemstones and pearls. There's a lot to do and learn and I hope you're just as stoic as I am because I love painting jewelry. You don't know me yet, my name is Sophia. I'm a watercolor artist and author based in Munich, Germany, and I specialize in anything that is jewelry paintings, glass, crystals, anything that is transparent, luminous and shiny, I am completely obsessed with. When I put together this class, I wanted to include a lot of variety, not just with the type of jewelry that we're going to paint, but also with the media and the types of paper that we're going to use. Some of the illustrations are on cold press watercolor paper. And painted just with watercolors, and then there's a few where I paint on hot pressed watercolor paper and I'm also going to incorporate colored pencils. You'll see the difference and the type of effects that you can create when you either use only watercolors or you combine them with colored pencil. We're just going to go over materials really quickly and then start with the first painting. 2. Materials: Materials. Since we do have a bit of a mixed media approach here, we have two different types of paper, cold pressed and hot pressed this time. Then your set of watercolor paints and different sizes of round brushes, and then also a set of color pencils. Then your basic supplies like masking fluid, white gouache, and the charcoal paper to trace the outline onto your watercolor paper. Paper towels, glass of water, all of that. I'm listing everything for you, so you can just hit pause and look at it, make sure you have everything ready, and then we can start painting. 3. Golden Flower Ring Mixed Media: So before we begin painting, let's just have a look at our materials again. Here's the finished illustration that I already did as a testrun and then I need my pencil, a couple of different size brushes, watercolors, and the materials for the colored pencils, the sharpener eraser, and then here are my color pencils. I always match them to the watercolors that I use. And before I start mixing the colors, I just wet all of my paints so that it's easier to mix them. And we're going to start with the first color, which is lemon yellow. I'm just mixing it up again in my palette. All of the colors that I use are Windsor and Newton, but you'll find the same colors by different brands as well. And this is cadmium yellow. Then some yellow ochre, which will be the main color of this ring, actually. And then burnt sienna. We're also going to need our dark brown. Mine is always Van **** brown. If you don't have that, you can also use Sepia. And then you'll need some gray. I use neutral tint. You can also use Pains gray if you have it. And then there are some light blue reflections which you can use Cerulm blue for. Here are all the colors again. You can hit pause and make sure you have everything. And then we'll continue by tracing the outline onto the paper. So I have my outline printed out, and then below it, I have charcoal paper shiny side down, and then I just trace it with my mechanical pencil. I always take my time doing this because it's very hard to erase the lines of the charcoal paper from the watercolor paper. It's not exactly the same as a regular pencil. So I'm making sure that everything is nice and straight and I don't make any mistakes while tracing it. The main thing for this golden ring is basically that to paint gold, you don't need any golden pigment. So gold is always a mix of yellow, yellow ochre, brown and black. And this ring is a very simple and good way to show you how to paint gold in general. Now I'm just rubbing out some of the lines to make them less prominent because it's very hard to rub them out once you've started applying some paint over them. And since we're painting with yellows and ochres, all of which are very transparent, the pencil lines and the charcoal lines tend to shine through. So I'm trying to erase them as much as possible so that I don't see them when I've started painting. First layer on dry paper, we're going to use lemon yellow. This is a very, very watery mix. And this is just the base color for the whole illustration. I'm painting this on dry paper with my side four brush, and I'm going to apply it all over the whole illustration, except for the middle part, the center where the diamond goes. So you can just do the same thing, and I'll meet you when we're both done. I'm almost done. I just need to add some details for the middle part here. And then I'm going to let everything dry completely before applying the second layer. Now, everything has dried and I'm using my kneadable eraser to rub out some more of the pencil lines because I really don't want them shining through. And then I'm going to paint layer number two on the bottom part of the ring with yellow ochre. So you can get your yellow ochre ready. I'm still using my size four brush. This is pure yellow ochre on dry paper. And this will be the main color for the golden ring. This mix is slightly thicker than the very watery lemon yellow, but it's still quite transparent. Here I'm just leaving out that one highlight. And I'm making sure that my edges are nice and clean. And then the inner part of the ring is also going to get a coat of the yellow ochre, except for that highlight part in the middle as well. This is on dry paper, too. So a While the bottom part is drying, I'm going to get started on the petals. And the first one, I'll be painting wet in wet, actually, because if you look at the reference photo, you can see that there are softer blurred lines between the different colors. So in a second, I'm going to put down a layer of water right here. Not too little, not too much. You just want an even shine on your paper, but no puddles. And then with the smaller brush, I'm using the size one brush, I think, and some pure yellow ochre. We're going to start painting there. And then some slightly more concentrated yellow ochre goes in the middle here. There are some shadows, some reflections, whatever is around the ring that reflects in it will also be depicted on the paper. And here I'm just smoothing out the edges. I don't want any hard lines on this petal, so that's why I painted wet and wet. And then I like to put down some paint, clean off my brush, dab it off on the paper towel a little bit, and smooth out the water lines and the paint lines that I have. Here, too, I'm putting down some clean water. The technique is the same painting wet and wet. I always take my time putting down the water, sometimes even more so than with the actual paint. This is slightly more concentrated yellow ochre as well. There's also this roundish oval shape there. Cleaned off my brush, and now I'm smoothing out the lines a little bit because I want soft blends everywhere. So because the reflections on each petal are different, I'm going to use a different method of painting. Here, I also put down some yellow ochre, but on dry paper, and then I cleaned off my brush, made sure it was clean, but still damp and then used it to soften the edges like I'm doing right now. And then the top petal here, the yellow ochre goes on the dry paper because I have a sharp edge where it meets the black part. The black is also a reflection. You'll find that both gold and silver will always have black reflections in them. It's just part of how the metal looks when it's being photographed. And here I'm just painting around that highlight on dry paper, like I said, And now I'm going to add some more yellow ochre on dry paper on the outside edges of these petals. Okay, so this is pretty much done. And up next, we're going to use some cadmium yellow. Also for the center part, if you look at the reference photo, you'll see some deeper yellow reflections around the diamond. And that's what we're going to get started with now. So use some slightly more concentrated cadmium yellow, also with a smaller brush and on dry paper as well, and I'm just going to paint them in. So now and again, while I'm painting, I like to use my eradicator brush to soften some hard lines that I get while I'm painting like I'm doing here. And then I also like to use it to clean up the outside edges of illustrations. This is optional. If you don't have a stiff brush like this, you don't have to do it. And you also don't have to meticulously clean up your outside edges and lines like I'm doing here. It's just something that I personally prefer to do. I find that the eradicator brush works really well for softening up these hard lines. And it's just better to do it now and again while you're still painting instead of at the very end when there's much more to clean up and it's eventually harder to do. But like I said, you can skip it. This is this is optional. And And now I'm just finishing up the yellow parts for the middle here. Although this is some more yellow ochre, actually, that I have on my brush. And then around the diamond, it just needs a bit more cadmium yellow. And then I'm going to continue with the petals again, painting wet and wet. So this is my size four brush again. The previous layer is completely dried, so I can rewet it with some clean water. And then using the dark brown van **** brown or like I said, if you have CPI, that's also fine. I'm going to deepen the shadows and get some more reflections onto the petal. This is a smaller brush, and this is Van **** brown. I'm going over the shapes more or less that I've previously painted with the yellow ochre. And I'm cleaning off my brush and softening the edges a little bit, because I still don't want any hard lines in this petal that hasn't changed. It's looking weird right now. It doesn't look like gold at all yet, but towards the end, it tends to come together quite quickly. So have some faith. Now I'm also wetting this part because I need to darken it quite a bit, and I want to be able to take my time with it, so I'm putting down some water, so I don't have to rush and I don't have to worry about water lines forming. This is my gray, neutral tint. Like I said, if you have pains gray, that's also completely fine. You can use that. And this is like a semi transparent concentration of gray. If you look at the reference photo, you'll see that there's a gradient, so I'm not going full concentration with the pigment yet. I am adding more paint on the outside now, and then I'll blend it towards the center of the petal. I'm cleaning off my brush. And it's just slightly damp, and I'm blending the dark gray with the semi dark gray. And then it continues over to this side. Now, I'm going to let that dry. It doesn't look perfect yet, but bear in mind, we are going to use colored pencils as well. And I find that that's a very neat way to really get the smoothest gradients and transitions when you combine watercolor with colored pencils. Here I'm again using my gray on dry paper. And the same thing down here. And over here as well, neutral tint on dry paper. And you can already see with these dark spots and shapes, it already looks a bit more like metal. And so now I'm going to leave the flower part alone and I'm going to come back to the bottom part of the ring again. This is some more yellow ochre on my brush and I'm painting in a little detail on dry paper. The method for this illustration or any other jewelry illustration, basically, how I do it is firstly, I try to identify the colors. So when it's gold, I try to really look at it and see, Okay, where is it yellow? Where is it brown and where is it gray and black? And then, secondly, I look at it and I try to find where do I need hard paint lines and where do I need soft lines? And that's a deciding factor on painting wet and wet or wet and dry. So here at the bottom, for example, there's this middle section where I have soft lines, paint lines. If you look at the reference photo, it's quite obvious. So that means I paint wet and wet. So I just put down some clean water again, and this is yellow ochre. And I'm just adding a bit more in the middle there, and then cleaning off my brush, dabbing it off on the paper towel, and then softening the paint lines again. And then while the color is still wet, I'm dropping in some transparent gray. This is quite diluted gray. I don't want it to be too dark. And then also some gray over here after the yellow ochre has dried. I'm continuing with the petals again. So this is more concentrated gray, and I'm painting on dry paper now. So I always use the neutral tint as black as well. Looking at the reference photo, you'll see that these details and the big one, especially in the middle part of the flower is actually black. But I find that when I use, super concentrated neutral tint, it looks basically the same as black, and it saves me some space in my palette. I don't need an extra color. Then using the colored pencils later on, we're going to use black and go over it, so it will look pitch black, lamp black or whatever you want to use. Now I have some burnt sienna, fairly diluted. It's not very concentrated and I'm painting over the cadmium yellow sections on dry paper as well. You can also go ahead and fill these in on your own and then come back to the tutorial and see how I did it and then compare. That's maybe also a good way of learning. I'm still using the size one brush here. I actually didn't need to use a smaller one. I did include in the material list, I said, double zero, which is basically a super fine detail brush. I always say use the tools and brushes that you need. It always depends on your skill level. Some more skilled artists will use a bigger brush for super fine details because they have more brush control, but it also very much depends on the type of brush that you're using. There are size ten brushes that come to a super fine point and you can actually use it as a detailed brush as well. Then there are other brushes which are a size two or a size zero, but they don't come to a very fine tip, so they're not very suitable for small detailed work. So always use the brush that you need for whatever it is you're painting, even if it's different from the recommendation that the teacher gives you. The reflections on the diamond are finished, and then I'm just continuing with the Bnciena on the outside parts of the petals. Again, this is on dry paper. A So there are just a few more lines on dry paper as well on the bottom part of the ring. And then another one over here. This is yellow ochre again. Just one smooth line. And then we're going to continue with detailed work on the petals of the flower. I'm just cleaning up my lines again. Maybe I'm being just overly critical with my own paintings. All right. So this is very concentrated neutral tint, and this is where I use it as black. And I'm just following the lines of these little reflections here. I'm just looking at the reference photo again and again and trying to see what goes where. And then I just painted in on dry paper. It's very straightforward. It doesn't need special skill. If you manage to stay inside the lines, which can be a challenge even as an adult. But if you manage to do that, you're totally fine for these types of illustrations. So now the lines are actually getting smaller and smaller. This is where I probably should have downsized my brush. I don't know why I didn't. So if you have a smaller brush, use the smallest one that you have for these intricate lines. And if you're not confident that you can paint the smallest lines in with your brush, you can also and draw them in with colored paint slows later on. Also an option. So it's quite flexible. I'm just going to go around the center part with these fine lines on dry paper. It's going to take some minutes, not too long, though, but you can just paint after me, and I'll be back with more instructions when I'm done with this section. So now I'm going to get started on painting the diamond. So the diamond is basically colorless, but it reflects a lot of colors that are in its surrounding when it's being photographed or just looked at, actually. So diamonds are usually just a mix of a bunch of irregular shapes and forms in gray black. And then there's the occasional color in there as well. And we're going to use a light blue, seruleum blue or manganese blue, whatever you have. If you don't have a light blue, you can also use, I guess, a light green or something. It really doesn't matter. The point is just that there is always a bit of color in there. Now I have transparent neutral tint on my brush and I'm going to where I am painting in just a few of those gray shapes. It's mostly triangles and a few wrecked angles and then some connecting lines. I guess you can do this without a reference photo, actually. Because there's no right or wrong way of these shapes as long as you have some triangles that suggest the cut of the diamond, you're good to go. And now with the light blue, I'm just going to add a few tiny highlights. And then after that, with more concentrated neutral tint, I'm going to go over the dark reflections that I just painted. So even though these reflections are very small, they still have dimension in them and they still have depth. And creating depth with transparent objects is usually done best by layering color. So there's more transparent color, and then there's richer color on top of it, and it always suggests that there's something else underneath the surface at which you're looking. So yeah, adding darker color on top of the light gray just creates that sense of depth. So now I'm looking at the reference photo, and I'm thinking that all of the hues and tones are more or less in place, and it's a good time to switch to color pencil. When I do combine watercolor with colored pencils, I use the color pencil as a means to complement the watercolor that's already on the paper. And it's just such an easy way to create soft paints transitions, smooth edges. It's just much easier than painting another two layers at least with watercolor to achieve these results. It's much more beginner friendly. It's quicker, and it's just the two media go together so well. So now, this is black. And I use Faba Castel for colored pencils. I guess it's the same with more or less all the brands that do color pencils. But with the ones I use, the color names are the same ones as the watercolors by Windsor Newton. So I'll find a cadmium yellow. I'll find a yellow ochre. I'll find a Paine's gray in my color pencils. So I match them to the watercolors that I've previously used. So here I'm using black and then a light gray to just go over the reflections that we just painted with watercolor, intensifying them a little bit, adding a few more details, not next to them, but on top of them. And I always make sure that my pencils are very sharpened and I have an electric sharpener to do that. It's just much easier than using a regular one. So I recommend that if you use or if you plan to use color pencil more often. So here we can just add just a few more, tiny lines, just making those reflections a bit more detailed. Then continuing with the black on the top petal in a second. It's really just solid black on the outside. And then it does soften towards the inside, and I'm going to use a paper smudger in a second to blend the colors and soften them towards the center of the petal. Here I'm applying quite a bit of pressure. I really want this solid black. So this is the small paper smudger that I have. I also have a bigger one, but the smaller one is better. And here I'm just going over the entire bit to really smooth everything out. H and this is how I usually layer color pencil. I'll paint a little bit on, then I'll smudge it with the paper smudger. If there's excess pigment on the paper, I use a dry brush to just brush it off and then add another layer with the same color. I never properly learned how to use color pencils, so this is just how I do it. I don't know if there's a proper way or a way of doing it completely different. I'm not sure. This is a I think terra cotta is the name of that color. And here's a bigger smudger. Here I'm just darkening the whole petal using almost no pressure at all and just running the pencil across the section here and then always blending it in between layers, and that makes for a very uniform and smooth layer of color. So now I'm just going to go around the flower using the light gray, the black, the medium brown and lemon yellow. I'm going to apply strong pressure for the black and just light in medium pressure for the lighter colors. And then, like I said, paint in circular motions for a little bit, then smudge the color into the paper and then continue painting. So I'm going to do this for a while, and you can just follow me and I'll see you in a bit. So now we're almost done with this illustration. We just need to work on the bottom part a little bit. Also because all the colors need to match across a whole illustration. So the brown of the flower petals needs to match the brown that's on the lower part, of course. So otherwise it would look off and incomplete. So I'm just adding a bit more down here, and I'm using the bigger paper smudger because the area is just larger and it's easier and less time consuming. A I'm adding a bit more yellow to match the top part of the ring and also because it's looking a bit flat and bland down there. So just a faint layer of yellow and then some more of a medium brown. And then just like I did on the top, I'm just going to go back and forth with the different colors and you can just match what I'm doing. Yes so I think I'm almost done. I'm looking at the reference photo again, trying to find areas that I still need to improve. I have some pencil dust around the illustration that I'm just picking up with the eraser. And then using the white, I'm going over the white highlights just to bring them out a little bit and to perfect the transitions between the colors. So I'm painting the white into the color that's next to the highlight as well, just to make it a bit smoother. And then it's really just taking a very close look at the reference photo again and finding the last little details that I can still add or areas like down here where I can still improve the color a little bit. Lastly, I'm just going to add a bit more of the bright yellow on the petals here on the top, because it does look very faint on my paper, and I want it to be a bit more yellowish. And that was the last step for the golden flower ring. I hope you had fun. I hope you enjoyed painting it. I hope you learned how to paint gold if you didn't know how to before. And if you feel like it, do take a quick photo of your artwork and post it on the platform. I would love to see how you got out. 4. Pearl Earring Watercolour: So let's mix our colors. For this illustration, the palette is pretty simple. We just have a couple of colors. Here I have neutral tint in a pretty diluted mix. So this is like a medium gray, and we're going to paint the silver in just grays. So we have a medium gray, and then a darker one. This is also neutral tint. I also use neutral tint as black whenever I need it at its full concentration. So the silver part will be medium gray, very dark gray, and then white highlights. And this is yellow ochre. This is for the pearls. They do have even though they are white, they do reflect some colors in them, mostly beige in my photograph that I have here, and this is Van **** brown, which I didn't actually really end up using and some white gouache. I found this new white gouache, calligraphy gouache, which I think is a bit whiter than the basic one that I used to have. Okay, let's start painting in the pearls. I'm going to show you two ways to do this. The first one, I'm going to paint wet in wet. And then the other two, I'm going to paint wet on dry. So you can see that you can use both techniques to paint them, and you can pick whichever one suits your preferences and skills better. So now I'm just wetting it. I had a bit much water on my brush here, so I'm just picking it up again, making sure my paper isn't too wet. And now I'm coming in with some yellow ochre for the first layer. You can see that the color is fairly concentrated because I already have water on my paper. I have less water in my color mix. When I paint the other pearls on dry paper, I'm going to dilute my yellow ochre a bit more, otherwise, it would be too dark. So here I'm just making sure that everything is nice and even. And then I have a paper towel. I'm sorry, you can't see. I'm going to show you from the side in a little bit. I have a paper towel and I'm just creating this highlight by just blotting it on the paper and sopping up the color that's there. And you can see on the reference photo that there is each pearl has a pretty big white highlight there. I thought that that would be the best way to do it because you can pick up you can lift off a lot of color from your paper while the pigment is still wet. And then I have some neutral tint here on my small detail brush. And now I'm using the I think this is a size one or size two brush that's just clean and damp, and I picked up some of the pigment. And now in this half moon shape, I'm painting some more of the very diluted neutral tint. And then I'm lifting some off again from the side because the side has reflective light. So it's a bit lighter than the center of this round shape. And whenever you paint something round, you always want to I mean, you generally want to paint in the direction or form. So in this case, we're painting circles in round shapes. And now here, I'm painting on dry paper while the first layer of the first pearl is drying. So again, this is yellow ochre, and then in a second, I'm going to have my paper towel ready. You can also probably use like a tip, like a cotton swab. That would also work really well, especially for the highlight and the size that we need here. Am I here, I'm just blotting a little bit. I need a bit more. And then again with a smaller brush and some neutral tint, I'll paint another half moon shaped stroke here, like a sea curve, and you can see how it easily blends into the yellow ochre. Then with a slightly bigger brush that's clean and damp, I'm lifting some of the gray off because I don't want it to spread all the way to the edge of the pearl. Then here I have some more of the gray. I'm going to do exactly the same thing for pearl number three in a second. Then I have a side view there and you'll be able to see better how I use the paper towel to lift off that highlight. Okay. If you've never painted pearls before, this was actually also the first time that I painted one. That earring that I have is really a good exercise because you can paint three of them in one go and practice while creating a neat little illustration. So I thought it would be a good example. Right. So now I have the paper towel here and I'm just blotting it off like this and then the color lifts and I get my highlight. H. I thought painting wet on dry works really well here. If you printed out the outline a lot bigger, which you can, of course, you can paint this as big or small as you want. Wet on Wet is maybe a better way to go because it buys you more time to get that first layer down. But when the pearls are this small, there's no real reason why you'd have to paint wet on wet. So now I'm just lifting off some of the color there around the edges because I don't want the neutral tint to spread, like I said, and then when that's done, I'm already using white gouache to bring out the highlights even more and get that nice shiny look that the pearls have. Usually, I only use whitewash at the very end to create highlights in my illustrations. But in this case, I use it almost from the very beginning interchangeably with the other watercolors. So I painted this on dry paper right now, and now I'm using the small brush to just smooth out the edges a little bit because I do want smooth edges. There's nothing on these pearls that would break the light in any way. So we have smooth transitions from one color to the next. And then, again, this is white quash on my little brush. And I'm painting a very fine sea curve right there. I'm not going all the way. I am going all the way to the edge. No, not quite. Not quite going all the way to the edge. So I think you can already see how the circle is taking shape and becoming a bit more three dimensional. Here I'm just smoothing it out again. I did speed this process up for the remaining two pearls because you just saw me do one, and I'm going to do the other ones in exactly the same manner. So whiteqh in the middle. Then clean off your brush, smooth out the edges a little bit like I'm doing right here, and then add another scurve close to the edge of the pearl. So I'll meet you with more explanations once I'm done with all three pearls in this manner. Thing with white quash is that it often needs a couple layers until you get that whiteness that you want. Sometimes it can look really chalky or gray almost, although the calligraphy quash that I found in the shop the other day is a bit whiter than the one I had before. I think it is. So we're going to do some layering here and build up the whiteness and the colors as we go. So I'm just adding another layer here and then smoothing it out so that I have soft edges. I'm also adding some more here on this more central highlight, and it's just getting wider and wider, as you can see, smoothing out the edges again. I find the squash very easy to handle almost easier than watercolors. It's like you can work with it when it's on the paper, you can push it around. You can soften the edges, but it's still super easy to control. I'm just making sure that I like the edges that I have here. I wanted to kind of, like, blur out in a way. So I'm adding another layer here and then on the third one, as well. A we've already adjusted the highlights, we need to adjust our other colors as well. So this is neutral tint again on my brush, and again, I'm painting a little sea curve there. Oh, I'm sorry about the light. I don't know what happened there with my camera. I didn't change the light or anything. I just moved my hand. I don't know why I did that. And then I clean off my brush and I soften the edges like I did before. And then the same thing for the other ones. It's like I really think the best way to practice and to learn is just do the same thing over and over a couple of times. So having three identical pearls in one illustration is really excellent practice. And then maybe if you're not happy with your first try, you can do it again, then you'll already have painted a pearl six times. Cleaned off my brush again, soften the edges. And then, again, here, little sea curve on dry paper. If you've painted something white before, but anything that's white actually has a lot of color in it because it reflects everything that's surrounding it. So these pearls are a bit beige because I was taking the reference photo myself because they're actually earrings that I have. So I was bending over them, taking the photo, and then I think the yellow ochre color is just like my skin tone that reflected in them. But if you had something red around it, the pearls would have a reddish tint in them. So now I'm just going over them again with white. This is just a layering process and you can do this as often as you want until you're happy with the shape and the overall intensity of the colors. Again, here I have a bit of white wash on dry paper. It's just the same process over again. Well I'm adding another highlight to them. It's just a little dot there in the gray sea curve. I just cleaned off my brush and now. I do want this highlight to remain fairly small, so I'm trying not to make it bigger and bigger and bigger as I try to soften the edges. So I'm doing this quite carefully. I'm just blending it a little bit. And then this one I'm placing here just for some diversity, I suppose. O. And this one goes right there. It's a tiny little sea curve. You just keep adjusting. At some point you also need to stop and stop fidgeting with it. Otherwise, you can be, like, stuck in this stage for another 30 minutes. Oh Okay, so I think I'm happy with the pearls, and now I'm moving on to the silver hoop and those little hooks. So now I have not very concentrated neutral tint. It's fairly diluted because this is going to be our mid tone. So then this is the mid tone, and then we add very dark neutral tint and then white guash for highlights. So here, I'm really just painting them in. I am looking at my reference photo carefully to figure out what the shapes are and where the color goes. This is on dry paper. I'm just looking at the reference photo. There's a lot of reflections and stuff going on, so I was thinking, Do I simplify it somehow? I'm just painting this hook in. And then the last one as well. There's an extra little bit here at the top. I'm also painting in separately. And then it's just even coverage with neutral tint for the whole hook Hop, not hook. Sorry. A It's not a perfect circle because the earrings actually aren't a perfect circle. They're a bit uneven. And I actually liked it. I didn't want to correct it for the sake of this painting because I thought it makes it look a bit more livelie and interesting. And that's just how they are. So that's how we're painting them. I'm not painting over the little hooks. I'm making sure that I'm painting just in between them. Slur. And then I have more concentrated neutral tint on my brashnal and we're going to do the darkest areas. And here I'm just trying to not mess it up. I'm trying to create contrast and shadow. But it's such tiny areas. It's easy to make it look just confusing for the eye. I'm holding my brush at almost a 90 degree angle because I want to paint with just the tip. So I'm sorry that I'm blocking the view here a little bit. But you see in a second what I painted in. Because I don't want to paint outside the lines of the hoop. So I'm just going carefully and slowly and painting with, like, the very tip of your brush, it just gives you more control. And you can see that. Also, please keep looking at the reference photo for yourself. And if you do, you can see that the darkest colors, they're not evenly on one side. They're interrupted a little bit. So it's not like one side of the hoop is dark, and then the other one is completely white because that's how the light shines on it. It's a bit, it's a bit interrupted. I'm adding some shadow on the left side of that little metal thingy there, and then moving over to this side. I'm painting fairly slowly here. I was thinking about speeding it up a bit, but it's not going to take too long. I just like to take my times when details or areas are quite small, because then yeah, I have more control over my brush. And there's a lesser chance of messing it up a little bit, just for the sake of being done 2 minutes earlier. So it's already starting to take some shape and form, I think. Now I'm coming down here to the little hoops again. And I'm painting the dark gray on the inside of this little hoop. Here, I'm just looking at the reference photo. Whenever you see me, pause or hesitate for a couple of seconds, I'm looking at the photo, trying to get it right. And here the shadows also on the left side of this little hoop. And it's going to get a highlight in the middle. Whenever you add your first round of contrast, be that with highlights or low lights, you can really see how the illustration is starting to look realistic and much more three D. So it's already coming out quite nicely. I'm quite happy with this. Here, I'm just going over those segments, again, darkening it a little bit. This is super detailed work here right now because I'm adding shadows on either side of the metal ring. I'm really doing this very carefully. And this is, again, the same more concentrated neutral tint. And I'm just going to add shadows to the rest of the silver parts here. Also painting on dry paper. And you can just watch me paint and then maybe hit pause and paint after me. It's the same technique that we did just now, so I'm just going to paint around the whole earring and meet you when I'm done. So the mid tones are in, the darkest tones are in as well. And now we just need some more highlights for the silver part. I'm already really happy with it. I think it's coming out really nicely. So now I have some more whitewash here, and I'm adding highlights here and there on dry paper. There's no magic to it. We don't need to soften the highlights. We don't need to lift anything this time. We're just adding some white paint here. So I'm just going to go around the whole coop like this. And usually highlights have the best effect when they create contrast. So it's going to look it's going to pop more when you put a white highlight next to one of the darkest areas in your painting compared to when you have a highlight that like swimming a little bit in your midtones, there's less contrast, and then it pops less. So I always try, even though when it's not exactly like that in my reference photo, I always try to put the very lightest areas next to the very darkest ones because it's that contrast that makes it look more realistic. So that's what I'm doing here. So I'm almost done with this. I'm just going to make, like, one or two final adjustments. Like I said, sometimes you need to go over your ahiget to make it look like super, super white. So I'm just looking now and I'm seeing, okay. Do I need to layer it a little bit here and there, just to make it even brighter. And that's what I'm doing now. Other than that, the illustration is finished. So I also hope you finished yours, and as always, I would really actually really like to see your paintings. So if you can take a quick snap and maybe post them here on the platform or share them on social media so that I can see what you made. And yeah, thank you for joining, and I hope to see you next time. 5. Brown Topaz Earring Part1 : So we're going to start by mixing our colors. If you have a larger palette, use that one because we're mixing quite a lot of colors for this project. I'm starting with some pure dioxsen violet here. And then up next is some quin violet because I wanted to have a cool and a warm violet. This is Venetian red. It's a red that is almost like a rust color, somewhere between red and brown. And then similar to that, I'm going to use some light red as well. The two are very similar when they're wet, but they do dry differently, so I thought best to have both. This is winds are orange. And this is a mix of yellow ochre and some white gouache. And then I have a mix of yellow ochre, white gouache, and a tiny bit of opera rose. And the next mix is going to be Venetian red again, mixed with some van **** brown. And then again, Venetian red with quin violet. Then I have some pure Vandyke brown. This is neutral tint. If you don't have that, you can use Payne's gray as well as your gray. Then up next is burnt sienna. I'm going to label everything in a second, and then you can hit pause and make your own mixes. So don't stress. Then some pure yellow ochre. And last but not least some lemon yellow. Alright, so you can hit pause now and make all of your mixes, get everything ready, and then we'll start painting. Alright, so I have my outline ready, and I'm just rubbing out some of the pencil lines that are a bit too prominent here on the upper part. This is the metal hook, and I'm going to paint with yellows and burnt sienna, and I don't want the pencil lines to shine through. So I'm just trying to rub it out nicely. And the first layer for the metal part is going to be very transparent, lemon yellow. So you can see it's just barely visible here on the screen. This is really super transparent. And I'm going to paint the whole metal part on dry paper. I hope you're not intimidated that this is a two part tutorial, each with over an hour of video material. It's not that this earring is more difficult to paint than the other ones. It's just more time consuming. So the topaz is I don't know how many layers I painted. Each little segment is at least three or four layers, and then watercolor and color pencil. So it's not the most difficult. It's just the most time consuming of all of the jewelry tutorials here in this bundle. So I hope you're not discouraged to try it. You also don't have to paint it all in one go. But yeah, it's definitely not an advanced tutorial. So you can really see just how transparent the yellow mix here is, and I'm taking my time painting it all in. I am going to speed some of the painting process up a little bit just because I'm very slow at painting. And I didn't want to make you sit through my very slow painting process and have to watch it all. So some of it is, I think, at 1.5 speed, but it's still slow enough so that you can easily follow. This is burnt sienna on my brush right now. I'm using the size one brush. I'm going to use it for most of the painting, actually. And the lemon yellow has dried already. And I'm just applying the burnt sienna here on dry paper. And towards the top where the metal bends, I'm just blending it out and adding some more here, I want a completely smooth surface across all of the metal. And because there's a reflection of light hitting the top part of the hook, the burnt sienna doesn't cover the whole thing when it bends. And then towards the bottom, the metal is more in the shade, so it will be darker there, and I'm covering it all with burnt sienna. Now, with some slightly more concentrated burn Sienna, I'm going over it once more, covering only the areas where I find that they're the darkest in the reference photo. So the bottom part of the hook here and then also the bottom section here. Uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, and now I have some very diluted neutral tint on my brush because I can see in the reference photo that there's a slightly grayish hue to the gold on the top where there's a reflective light. So I'm just adding that in. Some more burnt sienna at the top here. I'm just mixing up some more colours and then going to continue to paint this lower part off the hook. I'm not sure if it has its own name. This is burned Sienna as well on dry paper. Oh, the Chinese neighbor downstairs is being quite loud. I hope you can't hear. So what I'm more or less doing for the first two layers or maybe even three of an illustration like this is I paint very transparently with very diluted colors because I'm looking at this earring, and I can just see, like, 1 million different sections and segments, and they're all different reflections and different colors, and it's very overwhelming and not easy to get a sense of orientation. So I put down the first colors that I see, and it doesn't look very sophisticated yet. It doesn't look very much like gold at all at the moment. But that's okay. So the first step to tackle a jewelry, a piece of jewelry like that for me is to just identify the base colors and then put them in. But transparently enough so that I can still paint over them, I can still refine it. I can still add layers. But I know which color goes where, and that helps me to then be able to paint it calmly step by step. So now I'm just looking at the reference photo again and I'm going to continue with some more diluted neutral tint. And like I just explained, I'm just putting it down where I see it. There's no special technique that's necessary. It's just wet on dry. But being careful that my colors aren't too concentrated at this step. Some more gray over here. Now, the lower part of this metal hook is pretty much completely in the shade. So I have some Van **** brown on my brush because it's going to be quite dark down there, so I'm putting that in. Okay, we can get started on the actual gemstone with some winsor orange. This is like a medium concentration. It's not too diluted because this top segment is actually going to be mostly black almost with just a few areas where the orange shines through. But I am painting all of it in orange and then covering it mostly with some super concentrated neutral tint towards the end. And I'm painting on dry paper as well. There is not too much wet on wet for this illustration. So I don't know if I need to mention it every time that I'm painting on dry paper. So I'm looking at the reference photo, and I feel like I'm missing a pencil line here. So I'm just drawing that in so that you can see, and then I'll continue with the Windsor Orange. H. And then there's a tiny little spot of orange peeking through down here in the middle. And then the next color I'm going to use is the Venetian red and Quinn Violet mix. As you can see, also not too transparent because the colors are pretty intense throughout this whole gemstone. I just cleaned off my brush here and I'm smoothing it out towards the edge of the stone. The edges are going to be slightly lighter than the middle part because of the reflective light that's bouncing off the edges of well, any round object, basically. So the edges are usually slightly lighter. Sometimes they have a gray hue to them. So I'm painting the color on this side of the segment and then cleaning off my brush, dabbing it off on the paper towel, and then smoothing out the paint edges towards the edge of the illustration. Just like so you can see how I'm just feathering it out a little bit, and then I have a soft gradient there. The segment is just too small to paint wet on wet. I mean, I guess you can, but it's just so small that it's easier to paint on dry paper and then just smooth out the color a little bit. Now I have very diluted neutral tint on my brush, and I'm painting this small little section right here. The next color that I'm going to use is some quinn violet. And you can see how my gradients are still pretty messy. Like I said, this first layer is merely there to just give us a sense of what color is actually wear. But we're going to go over everything at least twice and then we're going to use colored pencils, it's going to look much nicer and much more refined as we continue painting. So if your squares and segments look as messy as mine, don't worry about it. Don't worry about painting perfectly smooth. It's fine just the way it is. Next, the Venetian red and quin violet mix again. Make sure every segment is dry before you continue painting on the one right next to it, because we want them to be quite separate. The colors are not supposed to bleed into each other. So just make sure everything is dry. But since we're painting on dry paper, the paint dries really quickly. Next segment is slightly bigger, so I'm actually painting wet and wet. I'm putting down some clean water. Not too much and not too little. It's always great advice. Just enough water so that everything is nice and glossy, the surface, but no puddles of water. This is light red. Quite diluted, not too strong. And painting wet and wet just gives me more time to make sure that my edges are nice and clean and I don't have to worry about hard paint lines in the middle of the segment. So I'm going to let this dry and move over to the other side of the stone with some dioxys and violet. This is on dry paper again. And then I'm going to paint wet and wet again, although I probably could have done this on dry paper. If you're quick enough with your brush, you can paint this on dry paper. This is going to be light red again as well. And now I was just looking at the reference photo and realized just how much darker I need this area to be. So in a second, I'm going to go in with another load of paint this time, a bit more concentrated while it's still wet. So I'm just charging this area, as they say. And then when this area is just dry enough, I'm coming in next to it with some quin violet on dry paper. A at the top here is burn Siena, I think this is. It's hard for me to tell, to be honest, because I'm doing this voice over, like, at least three weeks after I actually painted the illustration, and I made so many color mixes for it, and they're quite similar. So it's hard for me to tell, but this is, this is Bern Sienna. And then right next to it goes diluted neutral tint. Now I'm going to continue with the yellow ochre, white quash, and Opera rose mix. The white quash makes it slightly opaque, but not a lot, so it still counts as a transparent color, I think. And now I've actually mixed some light red with a tiny bit of white quash, and I'm putting this down here. I'm going to show you in a second. Just add that to our color chart. This is light red with a bit of white wash. Don't forget to label your swatches. Always important. I don't know how many times I've not labeled my swatches and then completely forgot what color mix I made. O. Up next, I'm going to use some more concentrated burnt sienna for this very narrow segment over here. And then after that, again, I'm using the mix that we just made with light red and white quash. I'm just painting this one down here first so that the other one can dry in the meantime. So this is the new mix. And then next I'm using the yellow ochre and white quash mix for this little area over here. Then on wet paper, right next to it, over here, the Venetian red and quin violet mix, I accidentally deleted the part where I put down the water. I'm sorry about that. But as you can see, it's obviously on wet paper. Again, if you're fast enough with your brush and your paint, you can also do this on dry paper, I guess. I just decided to wet it first. And now I'm going to use the Venetian red and Van **** brown mix. Sorry, my camera I had a little hiccup here. Sometimes I lose a minute or two of material when the camera switches from one memory card to the next because then the recording stops and I don't constantly look at the little screen of the camera. And then I just need to press play again. It doesn't do that automatically, unfortunately. I'm going to add yet another color to our color mix. Alizarin crimson. This is pure Alizarin crimson. No mix. But I feel like I need it and I somehow didn't think of it before. So this is lazarin crimson over here. As you can see, also fairly diluted. It's just about the same concentration as all the other mixes. And right next to it, some diluted neutral tint. I Up next is the Venetian red and white quash mix for this narrow segment right here. And next, the Venetian red and Van **** brown mix. Next to it goes some pure Venetian red. Now the next segment right below it has two colors. The top part is pure Van **** brown, and then the bottom part will be Venetian red. So this is the pure Vandyk brown. And then I'm adding Venetian red, and the two are just blending into one another. And then there's a slight gradient of color. We're going to intensify that and bring it out in the coming layers. I'm adding a bit more brown right away. And I'm continuing to paint the edges of the stone in very diluted gray. Like I said, this is because of the reflective light. It just takes some color away. And I was looking at the reference photo and realized I'm missing another pencil line here, and I'm just drawing that in. Then I'm continuing to paint with pure azar and crimson. Next, I have some pure Bern sienna. This is burn sienna down here. And this narrow segment again is diluted neutral tint. I always say diluted neutral tint, like all of these colors are very diluted. This is neutral tint. Next is the slightly larger segment on the bottom here, because it's a bit bigger, I'm putting down some clean water first and I'm going to paint in wet and wet and I'm painting the left side with Windsor orange. Then from the middle onto the right side will be burnt sienna. This is just Windsor orange. And here's some more concentrated burnt sienna, and it's just going to blend into the orange and then get darker towards the right. And like I said earlier, really don't worry about things looking a bit messy right now. Mine does as well. It's just the hot press paper tends to do that to you. But we're going to add more layers, and then we're going to add colored pencils which will smooth everything out perfectly. So don't worry about perfectionism. I'm just trying to blend the colors in a bit better here, and then I'm just going to leave it. Next to it goes the Venetian red and white gouache mix. How next to the little orange square is the yellow ochre and white quash mix. I'm going to paint the next segment in wet and wet. I don't know why I did that, to be honest. It's completely unnecessary. So feel free to paint that on dry paper. It's the Venetian red and white quash mix. Even more diluted because I'm painting on wet paper. Like I said, I don't know why I did that. Looks like I started to have a thought there, and then just stopped or something. So yeah, feel free to paint this on dry paper. It doesn't matter at all. And then when this is dried a little bit, right next to it, I'll paint the yellow ochre and white quash mix again. Um, So this is yellow ochre and white quash. And then the same goes onto this narrow little area here. And I'm continuing with the Venetian red and white quash mix. And the next segment, I'm going to paint wet and wet because I do want a gradient there already, even though it's just the first layer. So I'm adding some water, and then the Venetian red and white quash mix. I'm starting on the left side, making sure that my edges are nice and crisp, and then I'm cleaning off my brush a little bit and just smoothing the color out towards the middle, just like so. And then I'm adding a bit more because my paper is wet, so the color will dry even lighter, so I need a bit more pigment on there. And then I'm just cleaning it up a little bit. When that's dry enough, the same mix, so that's Venetian red and white quash goes onto the segment right next to it on dry paper. It's funny that the mix the color mix that I didn't even think of in the beginning is the one I end up using the most. And then I'm just dropping in a bit more. Now I'm looking at the reference photo and trying to decide where to go next and what the base color is. This is neutral tint. And I feel like now the whole thing is already much less daunting. Like, now I can look at it and feel like, Oh, yeah, I can totally paint that. Oh, no, it's fine. So that's why I always like, the first layer is always the most, the most daunting. But once that's down on the paper, you can just relax and paint calmly, and it might still take a while, but it's totally fine. This is Venetian red and white gouache again. Yeah, it took me a few hours to paint that earring. But I was watching Loves Blind, I think, on my iPad while I was painting it, and, yeah, it was just a super relaxing painting session. This is the yellow ochre, white quash, and Opera rose mix. And now I'm going to move down to the bottom with some zarin crimson. Well, not quite the bottom. So this is Eliza and crimson. And then some really concentrated quin violet because these segments at the bottom here are going to be really dark in the end, so I'm not afraid to go in with stronger color right away. Coming back to the right hand side with some more diluted neutral tint again, like I did with all the other segments that are on the side. Just picking up some more. I think I had some quinn violet left on my brush right there. There's a slight purple tint to it, which is totally fine, actually. The next one, I'm going to paint wet and wet right here because there is a color gradient in that little square. So I'm wetting it first and then going to drop in some zarine crimson. So that's a zarine crimson right here. I'm making sure that the edges are nice and clean, and then I'm just letting it bleed out towards the middle. And then I'm just cleaning off my brush and softening the edge a little bit. A next, I'm coming back to the Venetian red and white quash mix. So that's going to be this little segment and the next one as well. And now that the Alizarin crimson has dried, I'm using the Venetian red and quin violet mix to paint in the little area down here. I'm looking at the left side again, and I'm finding two areas that I'm going to fill in with burned sienna. So that's this one right here, and then just below it is a tiny, tiny little wrecked angle that I'm also going to paint in with burn sienna. This one right here. And then next, I have some more gray on my brush, and I'm painting in this area right here. I wanted a hard line between those two little areas because they appear separate in the reference photo, so that's why I didn't paint them in in one go. Two. And now I have the yellow ochre and white guash mix. And now I'm starting to paint in the second layer while completely overlooking that there is still an unpainted segment on the earring, which is fine. I'm going to fill it in later. So now I'm wetting this area, and then I will drop in some of the gray. And I'll paint it in from the outside towards the inside and drying off my brush like this so that I don't have too much water and too much pigment on it. This is also a smaller brush. I think this is a 20 brush. So now, also, feel free to downsize your brush. It just makes it easier to paint in more precisely. And I'm just going really slowly cleaning off my brush and then just smoothing out the color like this. I'm adding some more gray. And then I'm going to do the same thing for this segment, wetting it with water first. And then I have some quite concentrated quin violet. The colors are going to get more concentrated and more intense now that we're painting the second layer. So don't be afraid to really use concentrated mixes. And here you can see just how careful I am not to mess up the lines here. So that's why a smaller brush is really helpful. And then it just bleeds out towards the middle. And again, I'm just going to clean off my brush, dab it off on the paper towel, and then smooth out the paint edges. A a So this square is dry enough so that I can paint some more gray on the one on top of it. This is on dry paper. Next, I'm using pure Alizarin crimson for this area right here. Now, the next one is the slightly larger segment, and I'm using the number one brush again. To add some clean water. This will go wet and wet. And this is some Venetian red. I'm just topping it up a little bit. You can see how much more concentrated the colors are that I'm using now. Now I'm using two brushes. I have the smaller one to drop in the color and then the slightly bigger one to soften the edges. I don't want to bleed out too much, helps me to gain a little bit of control here, and then I'm just letting it dry. This one will be on wet paper as well, adding some more water here. And then adding Venetian red again. I'm being very careful when I drop in the color first because sometimes I don't know just how much and how quickly it will bleed out. And here I'm just softening the paint edges. I smaller segment right here. Also wet and wet will get some quinn violet. Oh, that's actually a 30 brush that I'm using now, I can see. Again, softening the edges. The paint edges are far from perfect at this stage, but like I said before, I really don't mind. I'm not worried about it too much. I'm just trying to get the tones and the intensities of the colors right, and I'll worry about blending and smooth gradients much later on. And then here I have the Venetian red and Van **** brown mix. This is a very tiny area. And I'm continuing to paint wet and wet right over here. This is clean water, and then I'll drop in some more quin violet. As I was looking at the reference photo, again, I realized I'm not actually happy with all the color mixes that I made, so I'm just going to add one more. And I want some kind of, like, dark red, rusty ox blood kind of color. So I have the Venetian red there, and I'm adding in the last bits of A lazarin crimson that I have. And then some dioxys and violet. And this is some Bern Siena. I'll actually know this is Van **** Brown. Sorry. And I'm going to label it in a second and you can hit pause again and also do the mix yourself. Let's continue painting. I always have these tissues and paper towels ready so that I don't accidentally splash some color on it while I'm busy mixing or moving things around just to protect the illustration. I'm continuing to paint down here with the new mix. I'm also going to add it to the area next to it, right here. I'm just leaving a very tiny white line between the two of them. And I'm also using the same mix to paint this kind of, like, linear pattern. That's all the way on the right side over here. All of this is on dry paper. So the Alizarin crimson square right here is going to get another coat of red, pure isarin crimson because I find that you need to layer it quite a bit to get a certain intensity of color. So this is pure Alizarin crimson again. And then on top of that some of the I don't know what I should call it, rusty Ogblood color that we just made. So that's that right here, just dropping that in. And again, cleaning off my brush and smoothing out the edges there. So I'm letting that dry, and I'm just continuing to jump around the whole gemstone. This is burnt sienna for the tiny area that I've previously overlooked, just on dry paper. Then on dry paper with the slightly bigger brush, but feel free to use the smaller one as well. This is pure lazarin crimson. Now I'm going to use the most concentrated gray I can get, but because this is going to be basically black in the end, if you want to use black right away, if you have that in your palette, feel free to do so. I will go over it at a later stage with a black colour pencil. For me, this is just super concentrated gray. But I did want a kind of, like, warmer undertone and not a cool gray for the segment. So that's why I had some orange brownish colors down there previously. So now I'm applying some water to the area here. But do look at the reference photo right now, and you'll see that this segment is not entirely dark gray or black. So I'm leaving out a little area on the lower left side where I'm just not applying any water. I did not draw that in with a pencil line. I don't know why, maybe I didn't think it necessary. And then in a second, when I'm coming in with the gray here, you'll see exactly where I didn't apply any water because that's where the paint is going to stop. So that's this area. And then for the rest, I have enough water on the paper to give me some time. I don't need to rush here. So I'm leaving this area, and then I'm also leaving, like, a tiny line up there at the top, where the orange is going to shine through. And the other gray area has dried completely. So I'm coming right back with some more concentrated gray on dry paper this time, and it's going to get me a much more opaque uniform look. Looking at the reference photo, I found that I'm missing a pencil line here. So I'm just drawing that in and then I'm wetting this lower section with water, and then I'll drop in some pure Venetian red. So this is Venetian red on wet paper. Once this area is dry enough, I'm starting to paint one right next to it. Again, this is wet and wet, so I'm putting down some water. I'm just making sure that I'm not touching the dark gray that's next to it, because that tends to bleed out quite ferociously when you wet it. So I'm just very careful that I don't touch the gray with my wet brush. And then this is the Venetian red and quin violet mix. It's funny how I'm still managing to completely ignore the two white areas in the bottom left of the earring. So I'm just continuing to paint up here again with some pure quin violet, a bit more diluted again than we just previously used. And while that's drying, I'm giving this area another coat of concentrated gray. This is on dry paper this time. A So this narrow area between the two gray segments also has some color gradient in it. I am adding a little bit of water, but really not a lot because, like I said, I'm trying not to touch the two gray areas. And then I'm dropping in some burnt sienna, dabbing off my brush and smoothing it out there towards the top, adding a bit more color. This is pure burnt sienna. And I'm also going to adjust the intensity of this area here going to do that wet and wet. So this is clean water on my brush, and then I'll be dropping in the Venetian red and Van **** brown mix. But I'm continuing to paint wet and wet here. And then I'll be adding the Venetian red and quin violet mix from the top and then smoothing it out towards the bottom. The super tiny area there in the middle is going to get some pure burnt sienna. This little bit here. So also wet and wet, I'm going to add new the latest mix that we made with the Alizarin crimson in it. Again, I'm trying not to touch the gray area that's on top there. That's the last mix, quite concentrated, making sure the edges are clean, and then I'm going to clean off my brush and smooth it out. It's more or less the same procedure all the time, which is good because that means you can practice it over and over again. That will be a nice color gradient there. Here, I'm just going to add the same color mix, the yellow ochre and white quash. I could have done this on dry paper, to be honest, there's not really a need to do this wet and wet, also, since it's the same color. So that was a bit unnecessary, but it also doesn't matter. And here I have way too much water on my brush. I'm just sopping it up again. And then with the smaller brush, I'm adding the Alizarin crimson mix. Nice and concentrated from the top, and then it'll be a nice contrast to the light color that's underneath. These color gradients between the super dark colors and the lighter ones are in the end the pieces of the illustration that are going to create this transparent and see through luminous look. I always try to create as much contrast between the colors as I can. It just adds so much more to the illustration. Here I'm going to paint wet and wet as well, just adding some water. And then I'm adding the same mix and letting it bleed out again. Okay, so down here, I'm also going to add the Alizarin crimson mix, although slightly more diluted. It's not going to be as dark as the one I just painted before. So here it is. H I lost a few seconds of video footage here. This is just pure burned sienna on dry paper. My camera switched to a different memory card again, and I didn't catch it soon enough, but you didn't miss anything. I just added some burnt sienna there. And this is Quinn Violet. I here I'm adding pure Alizarin crimson. Then this narrow segment here is going to get some burnt sienna, dropping it in from the top and then smoothing it out towards the bottom. And this is Van **** brown on dry paper. Here, I'm adding the same colors as I did on the narrow area right next to it, just from a different direction. So this is Benziana as well. And then just to increase the contrast a little bit, a tiny drop of Vandyk brown at the bottom. And here I'm also going to add Van **** Brown. Moving back up towards the top here, there is also a little color gradient in that section there. So this is on dry paper, burnt sienna, and then at the bottom Vandyk brown. And then I'm just going to blend the two together like this. And here I have some pure lazarin crimson again, just because the square is starting to look too pale compared to the other ones. Here I'm adding some more of the Alizarin crimson mix. Then continuing down here with burnt sienna on dry paper. And this is also burnt sienna quite concentrated. And the small area just below it, the one that's gray is also going to get a partial coat of burnt sienna just at the top, and then I'm blending it into the gray with a clean brush, just like this. And here I'm adding another pencil line that's been missing. My brush is really I should have cleaned it better. This is water. And then some more danciena. Now I have the yellow ochre, white gouache and opera rose mix on my brush, and I'm creating this wrecked angle right here, and then I'm going to drop in some of the yellow ochre and white quash mix right at the top there. It's quite opaque. I'm cleaning off my brush. I had a bit too much on there, and then again, just smoothing it out. Sorry, I'm holding my brush at a very steep angle. And now, this area and the one right next to it in a second, are going to get another coat of yellow ochre, whitequah and Oprah rose mix as well. A And still using the same mix, yellow ochre, white quash, and opera rose, I'm painting wet and wet here because I want to lend it out towards the right side. Here, I'm just adding some clean water, and then I'll drop in the Venetian red and quin violet mix. So I was looking at the reference photo and I found that on the right side over here, the gray is not really prominent enough after I painted the dark mix on it, so I'm just adding some more gray there, hoping that I'm not going to disturb the darker color. But I have quite good quality paper, so I think I'm good. So coming down to the quite messy looking large area down here, I'm going to do the same thing that I did at the top, wetting it with water, and then I'm going to add very concentrated gray. And, of course, looking at the reference photo, it's obvious right away that this is going to be a super dark area, and that's why I didn't even really bother with blending my colors nicely underneath it. And I'm continuing to use the concentrated gray on dry paper for two very small areas down here. And because I adjusted the gray just above this area, I'm doing the same down here. This is gray with, like, a tiny bit of quin violet, I think, in it. It has just a bit of a tint. This is on dry paper. And while everything at the bottom is drying, I'm coming back up here with more concentrated gray on dry paper because this is going to be really black. So I'm just adding another layer before I start painting with the colored pencils in a little bit. We are almost done with the watercolor part, by the way. So I'm just making sure I'm not going to lose little orange highlight there. So I've let that dry completely, and I have the Venetian red and Van **** brown mix on my brush again on dry paper, fairly concentrated. And here I'm blending it out towards the bottom. And here I have some more pure quinn violet on dry paper. I've picked up some of the zarine crimson mix, and I'm just intensifying what I've got over here. I just want it to be darker, so I'm adding another layer on dry paper, making sure I'm not messing up the fine lines that I previously painted. So I do want to stay within the lines. I don't want to make them more. I don't want to make them wider or bigger. Then comparing to the reference image, this section is looking a bit too pale, so I have some quite diluted pure quinn violet here, and I'm just giving it a light coat. And while that's still wet, I'm dropping in some more concentrated quin violet on And lastly, for the watercolor, I'm just going to add a bit more of the Venetian red and Bandyk brown mix here, a bit more diluted on dry paper. So this is it for the watercolor part. Part two is up next with colored pencils. 6. Brown Topaz Earring Part2 : Hi, and welcome back to part two of the tutorial, the easier and more relaxing part. This is only colored pencils. The first thing you should do is match all of your colored pencils to the watercolors that you have on your paper. So find the right oranges, browns, purples and reds. And then what we're going to do is we'll just match the colors that are on the paper. We're going to increase the color intensity and the contrast, and we're going to smoothly blend everything so that it looks nice and shiny and we get that super smooth glossy surface that this gemstone has. So I'm starting here with a light purple. I'm applying very light pressure onto the paper, and I'm just matching what I have on the paper here and doing the same thing with the light gray. So I'm just drawing over the colors that are already on the paper, and then I'm using the small paper smudger here to blend everything into each other. This is more or less what we're going to do for the remainder of this tutorial. So here you can see that I'm drawing in circular motions, working my way across the segment like this. So I don't think I'm going to give too many instructions for the remaining part of the tutorial because there's not much to explain. The only thing that I just mentioned is really not to apply too much pressure when drawing with the color pencils and be confident that you can add another two or three layers of color onto the paper if you have good quality paper, so you can work your way slowly up, and that will just increase the quality of your illustration towards the end. A Here I have a bright pink that is more or less like opera pink, and I found that it's a good addition and a good match to the yellow ochre, white gouache and opera rose mix. Again, I'm applying very little pressure here and always using the paper smudger in between. Then with the segments that I want to be a bit more opaque and whitish, I layer the color with white in between. Now I'm applying some white, then I'll use my paper smudger again. And then adding some more color. The orange here is also a good addition because in the initial paint mix, we had, like, yellow ochre and also some rose. So you can just match your colours like that. So here for this next square, you can really see how color pencils are used to create new colors or color mixes because you can mix colored pencils just like you can mix wet paints. The way it's done is just by layering them. So I'm starting with some orange here, again, very light pressure. I'm not drawing a lot of paint onto the paper. Then I'm smudging it to make sure that I have a very even surface, and then I'm adding another very thin layer of white. And because both layers of colors are quite transparent, they Kind of like blending to each other. And then when I add a bit of more rose on top of that, that will complement the orange and the white. So that's how you mix colors with colored pencils. So this purple that I have here by Faba Castel is called Crimson number 134. And it's a pretty exact match for the Quinn violet. So I'm going to use this to just, like, really refine and smooth out the violet that I have on the paper. So there really isn't that much explaining that I need to do. I was thinking about adding music to the parts where I'm just not going to say anything, just because otherwise it would be super quiet. On the other hand, personally, I don't prefer it when music is added to tutorials because I just like to put on a Netflix show or a movie on my iPad and have that running simultaneously while I'm watching a tutorial. And then when the painting class has music in between, it just gets in the way of me enjoying my own entertainment. Yeah, so you can just paint after me and just watch what I'm doing because I don't need to explain a lot. The only thing that I would maybe say at this point is that when I started painting jewelry, I didn't find any class online that actually taught how to paint jewelry, so I just tried and failed until I kind of find my method. That I was content with. And I found that as soon as you create contrast on your page between the little segments and areas of a gemstone, that's when it really starts to pop and to come to life. So by contrast, I mean, when you look at the segment that I'm smudging right now, the top is really light, and then the purple segment above it on the left side is really dark. So I have contrast there. And I'm going to try to create that type of contrast throughout the whole gemstone. So here I thought I would just show you from the side how I'm holding the pencil. It's not at a very steep angle. The steeper the angle, the darker and more intense the lines that you're going to draw. So I'm holding it quite flat, and that allows me to apply a little pressure and just, like, run it across the page and then using the paper smudger, create those really soft blends and surfaces. So here I'm actually starting to use black to deepen the purple because I think black and purple go really well together. Again, I'm applying a little pressure to my pencil here so that the purple shines through the black and it's not too opaque. And then I'm using another purple pencil to blend it into the lighter area of the segment and create a nice soft smooth gradient. Now, these fine lines that we have here on the right side, they also need to be a bit more intense and a bit more pronounced. So make sure your pencil is super, super sharp. For that reason, I prefer using an electric pencil sharpener, and then hold your pencil at a steeper angle towards the paper because that allows you that gives you even more control over the tip of your pencil, and then you can paint over those lines without making them thicker or wider. And here I'm also going to use black to deepen the color of this red segment because if you look at the reference photo, most of the segments around these two larger black ones are also blackish, so it just reflects onto them. And I'm just replicating that after the white here for the right side. Like I said, in the first part of this tutorial, these two areas need to be, really, really dark, black black. So I'm applying a lot more pressure here. You don't need to be too careful, make sure you don't lose the light highlight at the top there. Don't paint into it. Otherwise, you can use a lot more pressure here. It saves you time so you don't have to paint another two layers on top of it. A Here, this segment is a good example of how you can really create those transparent layers with colored pencil. I'm adding on top of the purple watercolor, I'm adding browns, more purple, dark brown, lighter colors. And then in the end, the original watercolor still shines through, and that creates a lot of depth, and keep in mind the gemstone is a round shape. It is a solid body. Some of the light shines through it from all directions, and creating this depth by putting one transparent layer of color over another is really the best way to bring to life. So this next segment that I'm going to paint is the one right below this one. And if you look at it, you can really see how sloppy I was with my watercolors. I mean, we are painting on hot press paper on hot press paper. It's not very forgiving, but now I'm just using colour pencil to make up for any mistakes or sloppiness that I created previously. I'm just adding a few more layers, dark color on the top, light colour on the bottom, just for the sake of contrast. I would have done that even if it were different in the reference photo, actually. Because sometimes I do draw from reference photos where I don't see a lot of contrast in the diamond or a sapphire or ruby or any type of gemstone. And then I will just create contrast within each little segment, and then my illustration looks much more vibrant than the reference photo did. So here I'm just smudging it all out, and I'll end up with a super nice smooth surface and the fact that my watercolor is anything but nice and smooth underneath it just makes no difference at all. Here in this segment, there are a few spots that have really dark color brown and there's also a black line that we didn't prepare for with watercolor, but that's totally fine because the black and the dark brown is going to cover any lighter colors that's underneath it. So I'm painting in these more detailed, smaller areas over here, and then my camera stopped unfortunately, I'm jumping to another memory card, and I lost about 2 minutes of materials. But all I did was paint in that slightly curved purple line that's right above where my pencil is right now. So you didn't miss anything. Up there, it's a bit more fidgety, but depending on how large you printed out your outline, it's actually not too detailed and should still be easy enough to do. I feel like I should add more instructions, but I don't really have any. In part one, I had so much more to say because we had so many different paint mixes with the watercolor. And I needed to tell you, like, which one I'm using because it's probably not obvious just by watching me paint. But here, there aren't any color mixes. It's just, this is a brown pencil, and then this is a purple pencil. And, um, yeah. The way I'm coloring with the color pencil, I already explained, little pleasure and then always, always smudging in between the different layers. But yeah, maybe actually, if somebody is still listening to this, please let me know if you prefer music in tutorials because I have no idea what other people prefer. I only know my own preference. So maybe in the comments here on the platform, just write me a quick. Actually, music would have been nice or no music is totally fine. Because then I know, yeah, so that's the survey. As a little add on. I would appreciate your opinion. I'm generally adding a bit more white here in these lower middle sections because the light just really seems to shine through it and also bounce off it, looking at the reference photo. So they are a bit more Patel. But that's also really makes the popcmp supra the bottom there to Now, at the top here in the reference photo, see the riff of light is really hang across a couple of those segments. So I may lie across all of them to create a more uniform refinant area. So the hook of the earring is a bit more detailed in the reflections that it has. So I'm making sure that my pencils are always super sharp, and I'm also holding them at a slightly steeper angle because that makes it easier for me to paint in tiny lines and that fine detail that we see here in the reference photo. And if you've watched my tutorial on the golden flower ring, which is primarily about how to paint gold, you'll know that gold always has black and dark gray reflections in it, mostly black, actually. And since this is a rose gold type of hook, we also have black reflections in it. Don't be afraid to paint them in. It's part of what gold looks like when it's being photographed. So that makes it look more realistic, actually, even though at this stage, it looks a bit strange, but trust me, it'll come together in the end. Okay, so now we are almost finished with this illustration. And usually the last step for me is to put in highlights either with white gouache when I'm only painting with watercolor or here with the white pencil. Oh I decided to use white pencil instead of gouache or maybe even a gel pen. I do see people using gel pens, but they never really seemed to work for me for some reason. I don't know why. Maybe I'm buying the wrong brand. I don't know. So here, it's the white colored pencil. It's very sharp, and I'm just painting white highlight lines between the segments because that's going to create the effect that there's reflections in it, and it's just going to I always say make it pop, but it's such a stupid expression, but that's what I feel like is happening. So yeah, I'm not putting them in everywhere, here and there. I'm trying to make it look random, which is always a challenge when you're painting intentionally and you try to make it look not intentional. So there's not really a rule of where to put the highlights. I mean, there is the reference photo, but you can also move away from the reference photo at some stages of the painting. And here, the only thing that I'm looking for is to paint my white line next to a super dark area. Again, this just comes down to contrast. The white is just going to be more prominent and more visible when it's right next to a dark red here or the dark purple over there. That's the only thing that I'm trying to find. We can I add white, where it's really going to show? Because if I add a white line between two of those super light squares in the middle section, it's not even going to come across, really. So that's the only thing that I'm doing here. And then we're done with this earring. I really hope you finished it, and I really hope that you're happy with your results. I would love to see your finished painting. So if you have a second and you can take a quick picture of it and post it here on the platform, I'd be super interested in seeing how you got and, yeah, I hope you'll meet me in some more of my tutorials. 8. Sapphire Ring : Welcome to this jewelry tutorial. There is not much color mixing that we need to do. So here are all the colors. You can hit pause and mix them up in your palette. We don't need any complicated mixes or anything. So this is more of a beginner friendly tutorial. This one is on cold press paper, and I'm starting with painting the silver part of this ring. Painting silver means painting grays and blacks. That's all it is. There's no actual metallic pigment involved. So I am putting down a layer of water here on my paper because I'm going to paint this wet and wet. Wet paper means I have more time putting down my color, and I don't need to rush and I don't need to worry about getting hard paint lines. So I always take my time when I'm putting down the water because I don't want to go over my outline. I don't want the water to be anywhere. It's not because when I start painting with the actual pigment, the pigment is going to end up where I don't want it to be. So taking your time with the water is just as important as being precise with your pigments. And this is very diluted pains gray. You can also use neutral tint. Any, neutral or slightly bluish gray will be fine. Doesn't make much of a difference. And this is a very transparent layer. As you can see, it's going to dry even lighter, but this is just going to be my base layer, and I'm applying it all over the silver part of this ring. And while the gray is drying completely, I'm mixing up some of my lightest blue. You can use cerulium blue or Manganese blue, whichever one you have is completely fine. Make sure it's quite transparent. So there's quite a bit of water in the mix. And then we're going to paint this on dry paper all across the heart shaped surface of the sapphire. And I'm painting this on dry paper because my brush is big enough, and I'm confident that I'm painting quickly enough and there won't be any hard lines forming while I'm still painting. So I waited until the blue was dry enough so that I can paint the little silver segments that are holding the stone right next to it. I have a smaller brush here and, again, some diluted gray, and I'm just painting these in so. Everything has dried now, and I can add more detail to the silver ring. So I'm referring to my pencil lines here, and I'm starting to paint different segments wet and wet. Here, you can see, I have a slightly bigger brush again. I think this is a size two or four, and I'm just wetting this area on the top there. And then with a smaller brush, I'm going to add some more gray and I'm going to just run my brush along the outside lines of this segment. Just like this so that I have hard lines on the outside and then the color is going to blend and bleed in towards the center of this little area. Now I'm cleaning off my brush and dabbing it off on the paper towel and I'm just pushing the pigment around a little bit to make sure it's in the right place and exactly how I want it to be. Now I'm doing exactly the same thing on this side. I'm putting down some clean water first, and then with my smaller brush, I'm going to apply diluted gray in the same way that I did on the right side just before. S. Looking at the reference photo, I can see that the gray on the lower part of this area only goes up about halfway. So I'm not painting it up until the very top. It's just how the reflection is on this side. I'm dropping in some more color so that it matches the other side. Again, I cleaned off my brush, and now I'm just smoothing out the color a little bit. I'm making sure that my edges are nice and clean. There's a small section here, and I'm using my smaller brush to apply some water, and then I'm picking up some more of the diluted gray, and I'm painting along the top line of this area. And then I'll clean off my brush a little bit and smooth out the paint edges. So now I'm coming over to the right side again, and this is where the silver is curved, so we need to add a shadow that is stronger on the outside and then fades out towards the inside to create that three dimensional look of the shape that we're painting. So I wet it with water, and then, again, with my smaller brush, I'm coming in with some medium diluted gray. It's the same concentration that I used before. Here I'm making sure that my lines are all neat and crisp because I don't want to mess up the round shape of the ring. Otherwise, the ring would look like wonky and distorted. Yeah, so I'm painting really carefully here. And then I'm pushing the pigment around a bit towards the middle. And I'm adding a bit more on the side here because the shadow is quite pronounced. A And now I'm doing exactly the same thing on the left side with my slightly bigger brush, I'm applying some water to the page. I'm making sure that I have enough water so that the color can run freely, but not so much that I get puddles on my page because then I'm just going to lose control over the color. A so while the section on the left side is drying, I'm coming back to the right side of the silver ring, and I'm wetting this middle section here. Refer to your outline to see exactly which area I'm wetting. I did draw it in for you, but it's not really visible on my paper here because my pencil lines are not very prominent. And then, again, with the smaller brush and the semi diluted gray mix, I'm running my brush just like this. Across the outlines of this area. And you can see how I'm not painting a line in one go. I'm interrupting it now and again, and that helps me to distribute the pigment evenly across this area. If you paint in one smooth motion and then you lift off your brush at the end of it, you're going to get a big blob of paint. But if you paint in an interrupted line, the color spreads out more evenly. I Okay, so I'm just going to continue painting exactly in this manner with this technique, and you can just watch what I'm doing and paint after me. And then I'll be back with more instructions for the next step. So now I'm coming back to these silver sections that are holding the gemstone. They're also round, so they need shadow on the outside. I'm painting this on dry paper because the area is actually quite small. So I'm just applying a bit of gray here, and then I'm dabbing off my brush on my paper towel and then I'm smoothing out the paint edge towards the middle of this area. I'm going to do this for the other ones as well. Painting the diluted gray on dry paper. So now I'm going to start working on the actual gemstone. And I find when I look at a diamond or any type of gemstone like that, and I see all of these many, many irregular geometric looking shapes, it can be quite overwhelming. So what I do is I just pick one color. Here, I'm picking the medium blue, which in my case is cobalt blue. If you don't have cobalt blue, that's totally fine. You can pick any other mid blue like ultramarine, for example, and I just keep looking at the reference photo and I pick out the shapes and areas that are that color, and then I paint them in slowly and calmly. I know that this is going to be a bit of a time consuming process, but there's no need to rush. I can watch a movie on the side or listen to an audio book, and I'm just starting to paint in these mid blue sections on dry paper. And once I have many of them or most of them in place, the whole thing already looks much more manageable and less daunting than in the beginning. So I'm just going to keep doing this for a little bit, and you can just copy where I placed the mid blue, and then I'll be back when we switch to the next color. Now I'm going to keep painting with indigo on my brush. Again, I'm painting on dry paper. This is a medium concentration of the color. Painting with medium paint concentration at this stage allows me to deepen the color later on should I want to. I'm not making it too dark. I think I'm going to skip ahead a little bit and paint the rest of them in on my own time, and then you can hit pause and just copy where I place the Indigo. So that's the indigo done, and I'm going to continue painting in even more of those shapes. Only this time, I'm coming back to the lightest blue, the cerulem blue. I'm using a thicker concentration than I did for the very first layer, so the color appears darker and more intense. And in the end, we'll have four shades of blue with three different pigments. I'm still painting on dry paper with my small brush. Now I'm going to use some more of the cobalt blue, the medium blue. Now I'm using the lighter blue, the cerulean blue again. Next, I have cobalt blue on my brush again. These are very small areas, so I'm painting carefully, and I'm taking my time. Then I have the ceruleumblue again. Now I'm coming back to the smaller silver pieces on the side of the stone, and I'm painting on dry paper. This time, my gray is a bit more concentrated, and I'm just painting in some more darker details just according to the reference image. Now I'm adding a second layer or actually a third layer to the ring here. Again, I'm wetting this section with water, and then I'm applying another layer of the gray like I did before. And this is just to deepen the shadows and bring out the three dimensional form a bit more. And also, I need to increase the contrast between the darkest areas and the lightest areas because that will give us the effect in the end that we have reflections on a shiny surface. I'm continuing to repeat the steps that we previously did. Again, I'm wetting it with water, and then I'm dropping in some slightly more concentrated gray where I painted it before. Doing it in different layers and not just all at once just creates a better sense of depth. So that's why I'm doing it not all at once, but in different layers. And then I'm cleaning off my brush on the paper towel, and I'm pushing the pigment around a little bit so that I have a smooth gradient towards the center. And I'm going to do the same on this side, as well. Then there's the slower section on the bottom here. I'm also going to paint it wet in wet and then apply the medium concentrated gray from the side. A a Now I'm done with the watercolor part, and I'm continuing to paint with colored pencils. The first thing that I do is I pick a few blues that more or less match the watercolors that I already have on my paper. And then I'm using the small paper smudger to smooth out the surface. So here I'm painting in small circular motions with medium pressure, and the idea is to create color gradients within all those little squares because that's going to create the effect that there's depth to the stone and light shining through it. So I'm adding more color at the bottom of this triangular shape, and I'm smoothing it out, and then it's going to be lighter at the top of it. So here you can see how I'm adding color to one side of the square and then smoothing it out so that it blends into the lighter watercolor that's underneath it. And I'm just going to continue doing this now with the medium blue. I'm increasing the intensity of the color, and I'm creating gradients within all those little geometrical shapes across the whole gemstone. So now the heart is already looking much more like a gemstone, and I'm just going to continue building up the layers and the colors and especially increasing the contrast between the different segments. Now, to bring out the shape of this diamond a bit more clearly, we need to add highlights in certain areas. And the shape of this heart shaped sapphire is such that the surface, the top part is completely flat, and then the sides are at an angle. And the sides with an angle are where we have reflective light, and the light bounces off A way that makes the diamond appear almost white. So that's exactly what I'm going to do. I'm just going to add a coat of white paint across these little segments on the sides here, and then that's going to make it look much more like a diamond already. Now, I'm coming back to the blue colors to intensify some of these areas a little bit, and that's going to increase the contrast, and that in turn is going to make it look even more realistic in the end. Now, coming over to the silver knobs on the side, I'm using a medium light gray, and I'm basically just painting over the shapes that we already have in place. And now I'm adding the darkest highlights with my black pencil. I could have sharpened it a little better because these are very small areas, and then having a super sharp pencil just helps immensely. Now I'm coming back to the ring itself, and I'm more or less just deepening the colors that I already have. I'm painting with very light pressure and then smudging everything over so that I have a super soft gradient between the darker gray and then the light areas. That's going to create the effect that there's a smooth shine of light over the metal. And I'm going to continue to blend the medium gray with the light gray pencil because that's going to make the transition from dark to light even smoother. And same thing down here, deepening the shadow, and then softening the transition and the gradient with the lighter gray and the paper smudger. So you can already see how the increase in contrast is helping this illustration immensely in becoming this three d realistic looking piece of jewelry. And I'm going to deepen the shadows even more now using my actual black pencil only on the very sides, and then I will keep trying to blend it in towards the middle. But now that I'm putting the darkest colors in place, I feel like the ring is really coming to life. And it usually is that way that it takes a bit of work, and then only until the very last step or almost the very end of the painting process, you'll see the realistic effects really taking place. So I'm just continuing to add some more details in black. And I'm making sure in between that my pencil is always super sharp and has a very fine tip that will allow me to actually draw some detailed work here. Here, I'm just making sure I'm not making these lines too thick. I just want them a bit more intense. And then I'm adding some black here just like I did before on the right side. So it's the same process. So now I'm just looking at my illustration and I'm trying to find little bits and pieces that I maybe still want to add or change a little bit. But overall, I'm quite happy, and I think I'm finished. I hope you're happy with your result, as well. I would love to see it, actually. So maybe take a second, take a quick picture of it, and post it on the platform, and I hope to see you next time. O. 9. Last, But Not Least: Thank you so much for joining the class. I hope you had fun and I hope you're going to share some or all of the paintings. Share them here on the platform, share them on social media. Here's my handle and my website. Do get in touch. I'd really love to connect with you and I hope to see you next time.