Nature in Oil Pastels: Blueberry Leaves & Branches – A 7-Day Art Challenge

1. Welcome and Introduction : Hi, everyone, and welcome to my new class. Nature in oil pastels, blueberry leaves and branches a 70 art challenge. In this class, we will be creating seven vibrant and beautiful oil pastel illustrations, inspired by blueberries and botanical elements. Throughout this challenge, you will learn how to paint blueberry clusters, branches, and varieties of leave in different seems, sieges, and compositions. We will start with the five main projects on colored paper, focusing on simple and Wigner friendly illustrations. Then we will move on to two additional projects on black paper where we'll be creating more detailed and striking compositions with stronger contrast and richer colors. These are the two projects in which we'll be using the black colored paper. These are a little bit more detail and bit more defined. We will begin with the basics where I'll guide you through how to draw blue berries and leaves in different compositions and perspective. Essential oil pastel techniques like hatching, cross-hatching, blending, color mixing, and presser control, and the tools and the materials you will be needing to get the best result. Hi, my name is Vishal. I'm an artist from India. This is my Skillshare profile, and I teach beginners for analy classes on oil pastel ink illustration and watercolor here on Skillshare. You can also check out my other class on oil pastel blueberries for more practice, and you can find more of my work on my Instagram and YouTube. This class is suitable for Bgner as well as intermediate artist, and anyone who enjoys nature inspired art, all the lessons are taught in real time, so you can easily follow along with me at your own piece. So join me in the seven day challenge, and let's create this beautiful, colorful blueberries illustration together. I'll be uploading a project each day, so I hope you will join me, and I'll be seeing you in the class. 2. Class Project : For your class project, you will complete this seven day oil pastel challenge by creating seven blueberry illustration, featuring leaves and branches. We will begin with the five main project on colored paper, where you will practice drawing simple blueberry clusters, leaves, and compositions. Then we will move on to two final projects on black paper, where we'll be creating more detailed and vibrant illustration with a stronger contrast. Each day, you will follow along with one project starting from basic saves and gradually adding layers, blending and details using oil pastel techniques. You can follow the project exactly or add your own creative variations in colors, leaf saves, and compositions. Once you are finished, upload at least one finished artwork or your full seven day collection in the project gallery. Apart from that, you can also see your practice seeds. I'd love to see your progress and your unique takes on this Blueberry illustration. Let's get started and let's create something beautiful together. 3. List of Supplies : For this class, you will need pencil and erase it to do the pic pencil sketching and normal pencil and eraser will do the work. Tissue paper. I will help in avoiding smudging of the color as well as color blending, masking team to secure the paper. As for the blending tools, I'll be using QTIP blending blending stump. Here, I'm using MogioGalries, 160 GSM oil pastel paper, colored paper. I'll be using MongiosGaler oil pistle as well as Brusto's artist oil pastel to do the coloring. You don't have to use the same oil pastel. You can use any oil pastel that is available to you. You can use free pass, you can use Kripa Space List or any other oil pastel that's available to you. You can also use colored pencil to do the final detailings and outlinings. It will come in handy. That's all the supplies that you will need for this class. 4. Pencil Sketch : Welcome to the first section sketches. In here, I'll be showing you different ways in which we'll be creating the blueberries, the insides of the blueberries, different kinds of leave and simple thumbnail sketches for five of the main projects. In here, I have already started with a simple circular C for our blueberry, and give it a little bit of three dimensional see. We'll be adding the coloring, following the canton, the curve cheap of the blueberries in this manner. You can consider it to be the canton lines, and following that curve, we'll be adding the color using the oil pastel at the top, in here, we have got the calax. For all the seven projects in here, mostly we'll be creating very simplified versions of the blueberries, generally using oval or circular saves to create the blueberries. And here's another example of the blueberries. In here, the bottom section will be visible. Once again, starting with this oval save for the blueberries. This will be the bottom, very small circular see like the stem connected to the blueberries. And for this too, we'll be following the cantoon lines to add the coloring. These are just hypothetical lines that you can use as the guidelines to do the coloring later on. With the help of this kind of guidelines, you can make your drawing process much more smoother and you will get a little bit more three dimensional look to your paintings. So these are the two simple examples of the blue berries. Next, we have two bisected portions of the blueberries. One will be bisected vertically, the other will be bisected horizontally. In that manner, we look inside for the blue berry. Here's a simple coloring of the bisected portion. This is from my earlier class. We'll be creating a very simplified version of the inside like this in this manner. We'll be creating seven or eight seeds on both sides and simple circular lines to divide it into different sections in this manner. Very simple version of the blueberry, that is bisected vertically. Mostly I won't be using it for any of the project, but if you want to include it, feel free to do that. Here we have got another bisected portion above blueberries. This is bisected horizontally. So lots of seeds will be visible for this one. This is from the same Skillshare class of the blueberry that I showed you earlier. Multiple seeds will be visible in here. We'll have a very small and thin flash at the top, then a little bit of purples and lights colored region in between, and then the remaining region will be a bit of lighter seeds. The seeds will be yellow in color. I won't be including this in our project, but if you want to include it, you can create it in a very simplified version since the size of the blueberries will be quite smaller and we won't be able to add that much detailing for it. Here's a gloser look for the cex. Mostly, I'll be creating it like this, three or five star like C for the inside, curved starl or you can see inverted starlight C for the inside. And as for the top, very small projection, rough projection like this for the calx at the top. These are the simple ways in which I'll be creating the calx. Let's do the naming. We have got the seeds in here. And very small and thin flesh for the blueberry at the top. If you want you can experiment with few more examples of different section or different sections of the blueberries. Instead of the bisectc poison, you can create one fourth or one third of the blueberries. So feel free to do experimentation on your own. Now let me show you some of the examples for the leaf. Here's a very simplified version of the leaf. Adding the veins coming out from the midrms Here's another one, a bit larger and the normal one. Adding the veins coming out from the mid ribs. The middle portion of the leaf is called midrib, and the lines that comes out of the mid ribs are called veins. You can create varieties of the leaf. You don't have to stick with only the two leaves that I've shown you. Here's another version of the leaf, another variation of the leaf. This leaf a little bit folded in this manner. Let's create one more example of folded leaf. This leaf is folded a little bit from the top. I would recommend you to experiment on your own and create more varieties of the leaves with different sees sizes and different foldings. We have got the midrib, the line that divides the leaf. And then the veins that come out from the leaf. Next, we have got sadose and the highlights. For this one, I'm consideraing that the light is falling from the top left sign. We have got a simple blue berry in here. The highlight the highlight will be on the top left sign. The sadose will be forming on the bottom right sign in this manner. Now, here's second one. The light is falling from the top. The highlights will be at the top, a very small section for the highlighted section, and the sados at the base like this, just being the blue berry. Apart from the blueberries, we'll have lots of leaves and the stem. The same thing can be applied in here. The highlights for the leaf will be on the top left side, and the sados will be forming on the bottom, right side or at the bottom section like this. The leaves at the top, only the highlights will be visible. If you want to include the shadows, you can add the sado at the top of the blueberries. One more example of the lights and the sadosT time the light is falling from the top right sign, and in here, I decided to create a bit larger blue bearing. Here we have got the source of the light. Light is falling from the top right. The highlights will be in here, the top right sign. The darker region or the sados will be in here on the bottom left sign. We'll be wearing the seats of the color. This region will be the most darker, and as we progress, we'll be making it a bit lighter. In here, the darker seed that I created, it won't be the sado but it will be the darkest region on the blueberry. The sados will be forming on the bottom left corner. And in this manner, we'll be doing the coloring, considering that the light is falling from different perspective. You have got the rough idea. In the main projects, I'll be explaining it a little bit better. Now let me show you some of the thumbnail sketches for five of the main projects. I would recommend you to create more thumbnail sketches on your own so that you can add more personal touches to your paintings and the illustration. This is the first one. In here, we have got few leaves at the top. For the bees, we'll have lots of blueberries. His simple sketching like this. I'd recommend you to practice some more thumbnail sketches so that you can create or add more present touches to your projects. Just create a few more variations or a few more example of this kind of blueberries in different perspective. So this is how this project will turn down. I'm going to create the thumbnil sketch for the second one. So this is how the project will turn down. And here's a very simplified version of that. Simple circular sees like this for multiple blueberries. I'm just creating few leaves at the sides. And as we progress, I'll increasing the number of the leaves, but increasing the size of the leaf in this manner. Very easy thumbnail sketch like this in this manner. Now for the third thumbnail sketch, this is the main project, and in here, we have got fewer blueberries and fewer leaves, but the leaves and the blueberries are quite defined and detailed, but larger oval saves for the blueberries. And larger leaves with the stems visible in here like this. For the smaller projects, we won't be able to create that much detailed or defined leaves in the blueberries, but for larger ones like this, the leaves and the blueberries will be quite detailed. And now, for the fourth thumbnail sketch, this is the main project. This is one of my favorite project from this class. And this took a lot of time, and this will be the first project in this class. A very simplified verson for the thumbnailket. Here we have got medium number of the leaves and the blueberries. The seeds and the sizes of the blueberries, as well as the leaves varies a lot. We have got smaller leaves at the top. And as we progress, we have got larger leave and same goes for the blueberries cluster. At the top, we have got fewer blueberries and for the middle, we have got more and for the bottom, once again, fewer blueberries. This is one of my favorite from this class. This is the last thumbnalskech that I'm going to show you very simplified and very easy even. Only three blueberries and two leaves. A bit larger oval saves for the blueberries. Main stem that is a little bit bent and grouped like this, two large leave and one more blueberry at the bottom. So that's all for the simple sketches. I hope you will practice on your own a little bit of more examples, and I'll be seeing you in the next video. 5. Oil Pastel Basics : Welcome to the oil pastel basics. In here, I'll be showing you some of the basic oil pastel techniques that we'll be using in this class. Start with the simple oil pastel strokes. Oil pastel allows different kinds of strokes depending on how you move your hand. We can create sot strokes, long strokes, circular strokes, and layered strokes. Changing strok direction creates different texture and visual effect. Now let's talk about a little bit of freezer. Preser is one of the most essential aspect of the oil pastel. In here, I've created three small spherical see. The first one I use light preacher or the second one, medium presel. And for this third one, I've used heavy preser. The fourth one is a combination of both medium and heavy preser. With the light braiser, we get soft and green texture. With a medium preser we get more colored coverage with slight texture, and in case of heavy preser as you can see, it's rich bold color with no coverage. Oil pastel is a very revers tying medium. We can use the same kind of technique that we generally use for the pen and ink illustration. Here's an example of hatching technique. So basically, hatching uses parallel lines to create seeding. We have plain hatching lines, then a little bit of angled hatching lines. Third example is broken hatching lines. The fourth one is curved hatching lines. With the hatching lines. The closer the lines are the darker the toe will appear. Further apart the lines, the lighter tone, and it works well with the light freezer and layering. It's great for building structured seeding. Apart from the hatching, we can also use the cross-hatching, stippling, scribbling, and a few other ink and pin illustration techniques. Next, we have cross-hatching. It builds upon hatching. So first example, we have got angled cross-hatching. The second one is vertical and horizontal cross-hatching. Third one is a combination of curb cross-hatching. Basically, cross-hatching is layering lines in multiple directions. It helps in adding depth as well as creating darker shadows. It also create textured and graphic look. Mostly, I'll be using it for strong contrast or detailed seeding. Now let's put this into use. For this one, I'm using the hatching technique to add the contour lines, starting with the ovals for the blueberry. Following the hypothetical curve chip of the blueberries and adding the lines in this manner, a little bit of curb hatching to create or do the coloring for this one. Now, hold the second one in here. I'll be using cross-hatching. Starting with the ovals for the blueberry. Now let's use hatching first and then we'll be converting into cross-hatching, following the curve contour lines for the seep of the blueberry, and now doing a little bit of cross-hatching in here using the curve lines. So as you can see, it is a little bit more darker and a bit more detailed as compared to the first one. So depending upon the requirement, we'll be using both cross-hatching and hatching in our project. Next, we have got a stippling technique from the pen and ink illustration. It basically uses small dots or taps of the pistil. In case of this stippling, sparser dots create lighter areas and denser dots create darker tones. It helps in creating soft texture effect. We can do the coloring for the small blueberries in this manner using stippling. It will take comparatively more time, so I won't be using it, but if you want to do a little bit of stripping for some of the smaller section for the leaf or the blue marries, especially for the calex or the seed, you can use that. So doing the coloring for this blueberry using the stippling. As you can see, it's comparatively more taxian and grainy as compared to the hatching and cross-hatching blueberries. And lastly, in here, we have got scribbling. Scribbling uses free lines to create any cap or structure. So just random lines in this manner. You can also add a little bit of uniformity to the random lines. Feeling the insides of this blueberry that we created with the scribbling lines. For coloring, our project, I'll also be using lots of scribbling to do the coloring as it's free flowing and it's quite faster, comparatively more faster. So these are some of the basic ink and paint illustration techniques that I'll be using in our main project, cross-hatching, hatching, stippling, and scribbling. If you want to do a little bit more practice on your own, feel free to do that. You can also use some of the other techniques from watercolors. Next, let's talk about a little bit more freezer control. So we can start with a light freezer, and as we move, we can just increase the pixel and create a little bit of gradient in this manner from lighter seed to the darker seen. In here, this is a little bit textured one. In the next video, I'll be sewing you with a little bit more smoother variation for the gradient. Now let's talk about oil pastel blending. Blending in oil pastel means mixing color directly on paper to create smooth transicent or neo sand or to create gradient, different kinds of gradient. For this example in here, I'll be using the three primary colors yellow, blue, and red. And to keep it a little bit simpler, I'll only be applying low to medium pisel here's the third one, the red colored one. So how it works, basically, I'll be starting with the first color lightly, and then on top of it, I'll be adding second color, and the addition of the first color on top of the second will do the blending on its own. And to make it a little bit more smoother, we can play with the spreezer. We can apply different kind of strokes using circular stroke to blending it, or we can use blending tools to blending it. For the first one, we'll be blending yellows and the red. So starting with the yellow, now overlaying a little bit of red on top of it. Middle region in here, it's somewhat of orange color. You can get a little bit of different seeds of the color depending upon how you are doing the mixing. So in here, once again, we use both the color. Here's another layer of the yellow on top of the red. So two color. So two layers of the yellow, and the orange that we get in here is more smoother. Here's third example in here, I'm doing the things in opposite manner. I started with a red and overlaid yellow on top of it. What I mean to say that consequence of adding the colors matters a lot. So depending upon what set of the color we want, we'll be experimenting in this manner. Now for the second one in here, we'll be using yellows and the blues, we'll be getting somewhat of greenish color. For the first one, we started with the yellow. Now going with a blue, overlaying a little bit of this blue on top of the yellow to get somewhat of greenish color in the middle. In here, we are using blue as the primary layer and now overlaying yellow on top of it. The green we get in here is a little bit different. Overlaying a little bit of blue on top of the yellow and going back with the yellow to overlay it on top of the blue to get somewhat of more smoother consistency of the green. Here's the third example, we are doing the same thing, overlaying a little bit of yellow on top of the blue. And instead of using the yellow, I'm going back with a blue to get somewhat of smoother consistency. Now let's take it a step further instead of medium preser in here and applying high preser. So a bit of smoother consistency of the yellow now using the blue and applying more preser. The green Vega art in here is smoother and more consistent. To make it more greenish, just add more layer of the yellow or the green in this manner. So you have got the rough idea how we can use the color to do the blending. The layering of the colors matter, the preserve we are applying that matters, the strokes in which we are adding the colors matter. Generally, in here, I use circular and straight strokes to do the blending. But for our project, we'll be wearing it. Here's one more example of three colors together. You can also create a larger scale of the color wheel using the three colors. Now, the final example using reds in the blue to get somewhat of purplish color, overlaying a little bit of blue on top of it. Now for the second example, overlaying a little bit of red on top of the blue. The purple for the two overlapped region, as you can see, it's quite different. So we'll be using our common sense and depending upon the requirement, we'll be blending the colors in that manner. And that's all for the LP B six. I'll be seeing you in the next video. 6. Blending and Gradients : Welcome to the oil pastel basics two. In here, we'll be exploring blending using different tools and a little bit about gradient creation, color mixing and blending for different purposes. Let's start with the blending. On the first one, we haven't got Q tip, since the Q tips are small and precise, making it great for control blending. With the Q tips, we can create soft slightly texture blend, and it also helps in maintaining some grainier texture for the oil pastel. It's based for small details or for the edges of the seam. It also helps in creating controlled gradient. Next, we have got blending stems. Lending stems are tightly ruled paper tools used for smooth blending. With a blending stem, we can get smooth and controlled fins slightly softer than the tips. And compared to the tips, it does not remove too much pigment. It's based for fine seeding, soft gradient and detailed bur since the sizes of the blending stems are quite smaller. Third, we have got tissue paper, which is soft and flexible. It's great for larger areas. With it, you can get smooth and soft blending effect. It also creates slightly diffused and eerie pins, as you can see in here. It's best for background or large surface or to create soft colored transitions. Next, we have got cotton swab. This is somewhat similar to the tissue paper. With it, we can create slightly stronger blending than the Q tips. It also helps in spreading the colors more widely. It's best for medium sized areas or doing layer blending. It also helps in create soft textured work. Then we have our finger. With the finger, you can control the freezer more precisely. With the fingers, we can create smooth and rich blending. It can also help in creating polished painter iloc. It's best for strong blending, color mixing, and smooth gradient. One of the tip that you should keep in mind, clean your fingers when switching colors to avoid muddy tones. The last one in here, we don't have to do the blending since we used heavy freezer. So that's all for blending with using the tools. Now let's dive into color mixing and color blending. For the first example in here, I'll be using sats of the purple. I started with mediums in here. Do the partial blending. Once again, I'm using medium prison. To make it a bit more smoother for the grainier texture of the blending, apply one more layer. To make it more smoother, you can use more presser like this, a little bit of medium preser. And to get more smoother blending, you can just apply more layers of the color, a little bit more dark purple, applying more layer of the lighter purple. What I mean to say that till you are satisfied with the consistency of the color, you can just add layers and layers of the color. Don't oversaturate more layers won't be feasible that month since the more layers you add it, the harder it gets to add more layer. Now for the second example in here, I'm using yellow and orange to get somewhat more lighter orange donnee, same kind of blending of the colors, layers and layers of the color to get somewhat of the orange color in bitten, yellow and orange. This is somewhat of greenier texture. Now for this one, I decided to get a little bit more smoother transition in between the colors. So starting with a medium freezer. Now, let's make it a little bit more smoother. So for this, I'm using the Q tip to do the blending of the colors. Applying medium to heavy presser with the Q tip to blend it smoothly. As you can see how smooth and the glossy the color mixing turned out. Now for the third one in here, I've started with the medium preser and I'll be using white to do the blending of the color. Adding the orange just beside the white. Us now one more layering of the wipe on top of it. Then finally, going in with the lending tools to do the blending using the Q tip. It's a little bit different from the blending that we did earlier. It's a little bit more smoother. Now, let's use this for the spherical see for the blueberries. In here, I'm starting with the Prussian blue to create a circular see for the blueberry. Now, this will be the darker region of the blue berry. I'm concnring that the light is falling from the top. So this will be the darkest region. I applied medium preserve for it. Now going with the purple color, overlaying a little bit of this purple on top of the Prussian blue, adding it for the top and the bottom sections like this. Now let's do the blending of the colors. Once again, I'm using the tip to do the blending, applying somewhat of medium to heavy preser to do the blending, mixing these two colors together, purple and the Prussian blue. Since the Prussian blue that we use has richer pigmentation, that's why it's overpowered the light purple that we use. So to make it a little bit more lighter, you can always use a little bit of white to do the blending. For this one, let's make it a little bit of lighter tone. So in here I'm starting with a blue. This will be the darker region. Adding the Calex in here, simple circular s. Once again, I'm using the purple. These two colors are somewhat of same consistency. The pigmentations are of somewhat of same consistency. This blue won't be overpowering the light purple that much. Once again, I'm using the Q tip to do the blending, applying medium to heavy preset to mix these two colors. Here are two strokes in which you are mixing the colors matter. For more smoother blending, you can use the circular strokes to get a little bit of canton linens. You can do the blending, following the cantu lines, the hypothetical canton lines. In here, I basically use circular strokes to do the blending. The light purple that we use is not that much visible. So another layer of light purple like this, blending it a little bit more with the blue that we used earlier. You can also use the Q tip to redefine the scene. Giving it a little bit of more smoother outline like this. Such a simple examples for our main project, we'll be using more colors and making it a little bit more detailed and defined. Now let's read color gradient using different sets of the color. This will come in handy while doing the coloring for the blueberries. Since for the blueberries, we'll be trying to sew color gradient for the lighter and the darker seats of the color, the highlights and the shadows. So I started with the darker seed, the Rusin blue. Then use two lighter sads of the blue. And here I'm using purple. Now, using a little bit of gray. The stickning I added a little bit of olive on top. And finally, making it a little bit more lighter using white. Going with the Qtip to do the blending, here spreading the color from dark set to the light scene. You can also do the opposite, spreading the color from the lighter tones to the darker tones. The result will be somewhat different. So you can experiment this on your own. You can create two rows of the same colors and then for the one. And then for the one of them, you can start with the darker set. For the other one, you can start with the lighter set to do the blending. So this is our very simple gradient of the blue color. Let's create one more example. In here, I'm using green colors to create the gradient. This will come in handy for the coloring of the leaves. Now going in with another darker tone of the green. To make the blending more smoother, you can also add a little bit of yellow in between the two colors. This is the olive green. Now we are using the grass green overlaying a little bit of the color on top of the olive. Let's make it a little bit more lighter. I did not explain the color gradient properly. A color gradient is basically a smooth transition from one color to another or from light to dark or vice versa from dark to light off the same color or different color combinations. It has been creating depth, providing smooth sading. It also provides realistic lighting, and it's also helpful in creating soft backgrounds. If you want to continue and extend this gradients, you can use more seats of the yellows and then white. But in here, I'm satisfied with this green color gradient. Now, in here, I'm going with the QTIP to do the blending. Once again, I am starting from the darker seeds and Alvin just spreading the colours toward the lighter scene to do the blending. You don't have to stick with the QTIp to do the blending, feel free to use other tools. Applying medium to heavy preser and extending the colors in this manner to get a smooth blending of the color for this green colored gradient. As I mentioned earlier, we'll be using the color gradient to do the coloring to create the lights and the shadows for the blueberries and for the leaves. We'll also be using a little bit of color gradient for the coloring of the stems. If you want to create the background for the project, you can use the color gradients. Now here's one more color gradient in here. Always starting with a darker tone. For the middle region, we'll have a bit lighter tone. And then once again for the end region, we'll have the same darker tone. So I started with the maroon in here, we have got orange. For the middle section, we have got yellow. Now, once again, using the orange, overlaying a little bit of this orange on top of the yellow that we just used. And finally, once again, using the maroon color. In here, we'll be getting darker tone, lighter tone, and darker tone a gradient in that manner. For this one, I'm spreading the color from the lighter tone towards the darker tone. So I'm extending the yellow towards the orange and then orange towards the maroon. Or you can do the opposite extending the colors from maroon towards the orange and then towards the yellow, which I am doing right now. For this one, starting directly with the maroon to do the blending, extending the colored, overlaying it on top of the orange. Extending the color combination of maroon and the orange on top of the yellow to get a smooth blending like this for this gradient. That's all for this gradient. Now let's create one more gradient. So in here, I'll be using the seen color combination, but I'll be making it from darker to lighter, starting with the maroon. And for this one, I'll also be using the white to make the transen a little bit more smoother, overlaying a little bit of orange on top of the white. Once again, using the white. And finally, going in with the yellow. So we have got maroon, white, orange, white and yellow. Now going in with a Q tip to do the blending of the color, extending this maroon and overlaying this on top of the white. Extending this orange and overlaying this on top of the white with the use of the white in case of the gradient or the blending, it makes the process bit more smoother as it reduces the intensity of the color. In here, it reduced the intensity of the orange and the maroon and make it a little bit more lighter, which makes the blending process a bit more smoother. And with these, we are done with this gradient of the color. Now let's talk about some of the preventive measure that you should use to avoid smudging of the color. Use tissue paper underneath your palm to avoid smudging of the color like this. So if you are not cautious, the color will mismuge by your palm. So I try to use the tissue paper or some clothe underneath my palm to avoid the smudging of the color by mistake. By mistake, if you have got some colors like this and if you want to erase it, if it's of lighter tone, you can apply the eraser to erase it. It will be somewhat removed, not done completely, but it will lose its intensity quite a lot. I forgot to mention about the blurring effect. With the finger, you can get this kind of blurring effect. You can get this kind of soft texture or you can see atmospheric effect by using your finger. And yeah, that's all for the oil pastel basics too. I'll be seeing you in the first project. Mm. 7. Blueberry Cluster : Welcome to blueberry cluster. This is my favorite project from this class. Let's start with a simple pencil sketch, starting with this kind of bit curved line for the stem of the blueberry. In here, we'll be creating a total of seven blueberries with lots of leave. This will be somewhat semi realistic. You are free to make changes in adjustment to the seep side as well as the placement of the blueberries, leaves in the stem. Or you can just follow along with me and create the same kind of painting that I'm creating. So one of this blueberry will be lying behind the other larger one. Adding one more blueberry in here. Let's connect the blueberries to the main branch. Let's connect the blueberries to the main stem. We'll be adding multiple leaves. Lightly erasing the pencil mass. And now we'll be creating multiple leaves a total of seven or eight leaves in here. Before doing that, I'm starting with the raw mer for the main branch. So as you can see, in here, I'm applying low to medium pressure and we'll be doing two or three different layer of the coloring for the branch. This project is divided into two sections. This is the first section. But this section, we'll only be doing the leaves, and in the next section, we'll be doing the coloring for the blueberries. Going over the outlines of the stems that is connecting to the main branch for the blueberries. Instead of this, if you want to make it a little bit more greener, you can use seeds of green. Instead of this amber. I'll be overlaying greens on top of it later on. In here, using this green to create the simple outlines for the leaves. For one or two of the leaves, I'll be making them a little bit folded like this. The first one that I did, a part of it is a little bit folded. I'll also be wearing the seeds in the sides of the leaves, so feel free to experiment with different kinds of leave as well as placement and their sides. Instead of directly using the color to do the outlines, you can start with the pencil sketch. You can start with the pencil sketch, and then later on, do the coloring with the oil pastels. Adding one larger leaf in here. So this will be the largest leaf. One more leaf in here behind this two larger ones. Adding one more in here behind this two bluemrries and for this side, Put the side, adding one larger leaf in here. If you want, you can add one or two mon leaves on the right side, and the sleep is a little bit folded like this. Now, let's do the outlining for the blueberries. So in here, I'm using cobalt blue. Simply going over the outline a circular sep of the blueberries. Making it a little bit more and larger. Now for the three blueberries in here. One of the blueberries slice behind this two. So only a small section of this is visible in here. One more blueberry in here. So with these, we are done with a total of seven blueberries. If you want to increase the number, you can add a few more blueberries. Now let's do the coloring. So in here, I'm using the darker sad of the green. Adding it for the folded region for this leaf and one in here. Here, as you can see, I'm lying medium to high presser. For these two regions of the leaf will be a little bit darker. And also for the leaves that are lying behind the leaves or behind the blue berries, I'll be making it a little bit darker to sew the sados adding it in here in between these two blueberries to make this region a little bit darker to sow the sadose cast it minded two blueberries, adding it in here for the leaves to a little bit for the sados and here just beside this smaller leaf. Avoid smudging the color, I'm using tissue paper now using this cadmium yellow to make some of the section of the leave a bit lighter. This is going to be multi layered and multi colored leave. So I'll be doing the coloring in layer, and it's going to take a little bit of time since we are trying to make the leaves look a little bit realistic and we'll have to do lots of blending. For the regions that I want to sew a little bit of light color, for those regions, I'm adding this yellows, particularly in the middle section and between the mid drips and the outline sections. And now going in with lighter side of the green. Overlaying this green on top of the yellow. Here, as you can see, I'm applying medium preser and we are almost covering the yellows that I just added. But when we'll be doing the blending, it will make the whole leaves a bit more lighter since we added the yellow. Yellow as the primary layering for the leaf. I'm leaving a little bit of space in the middle for the midrib. For the midribs and the veins, we'll be using dark seeds of the green and then later on, do a little bit of blending to reduce its intensity. Carefully overlaying this green on top of the cadmium yellow in here for the small leaves. Now for the larger leaves in here, following the seep of the leaf and doing a little bit of seeding, filling the entire section with this. Adding it on the other side. Now moving on to this one. Another larger leaf, adding it carefully just beside the blueberry. Overlaying it on the other side. Well, making this leaf a little bit darker. So here I applied a little bit of more presser. Now for the remaining two leaves, adding it in here, and now moving on to the last leaf. Here too, I applied a little bit of more presel as compared to the other leaves to make it a bit more darker. And with these, we had done with these two greens. Now let's just add with the first layer of blending. So using QT to blend the colors. You will have to apply a bit medium to high pressure to do the blending. Primarily in here, I am blending this darker side of the green. The bottle green that I use for the darker regions of the leaf, particularly in here, the folded parts of the leaf. Apply heavy pressure and blending it to get a uniform and smooth consistency of the color. Here I'll also be adding a few more layers of the colours and add veins later on. Moving on to this leaf, the one that lies behind the other two leave and doing a blending of the color, the greens and the yellows. Near the edges of the leaf is a bit darker because of the sados casted by it. Doing the same thing in here for this leaf in between the two blueberries. To make the sees a little bit more detailed and defined, later on, we'll be using the blending stem. You can also use the colored pencil to make the outlines a bit more sharper and a bit more distinct, extending the greens to the main branch. Now for the remaining leaves. Instead of blending colors in circular manner, I'll be extending the colours like this to blending these two colors, the yellow and the green slowly and gradually filling the entire section. Gradually mixing these two colours to get a smooth and uniform blending of the color. For the regions where we added more yellows. The regions, as you can see, are comparatively lighter. And here, I'm extending the colours from the mid rips towards the outline section and doing the reverse, extending it from the outside section towards the mid ribs to get a smooth blending following the seep of the leaf. With these, we are done with these two leaves, moving on to the smaller one. This is the smallest leaf in here. And yeah, with these, we are done with the blending. Now for the lighter leaves that I have in here, this is the lightest leaf of all. Let's do the blending in the same manner. For this particular leaf, we applied lower prices. So this will be a little bit more lighter as well as it will have a little bit of texture. So this is our first layering and first blending of the colors. We'll be adding a little bit more coloring and adding and adding another layer of blending later on. So this project is going to take a little bit of time. That's why I divided it into two different sections. The whole video is in real time, so you can always join along with me and doing the blending on the other side of this leaf. For the blueberries, too, I'll be keeping it a little bit text yet, so we'll be using mostly low pressure and extending the colors to feel the remaining section for the blueberries in the second part of this video. Now moving on to the last leaf in here and yeah applying heavy presser to do the blending. And with this, we are done with the first layering of blending. Let's add a little bit more detailing for some of the section. So using the screen to make the outline section a little bit more darker, to make the shadows a bit more distinct and a bit more darker. Also, if you are not satisfied with the save and the sizes of the leaf, if you want, you can extend it a little bit more. Here I extended this portion. Sending it to a little bit more using this mortal green, the darker side of the green, blending it to the remaining section. Apply heavy preset to blending. Here we are aiming for smooth and uniform consistency of the color. We have got one, two, three, and four leaves that we want to make them a little bit more darker to sew some of the sados casted when the other leaves or the leaves themselves are a little bit folded. If you want to make it a little bit lighter, you can always use a little bit of lighter side of the green or yellow and overlay it on top of it and then do a little bit of partial blending for the regions that you want to make it a bit lighter. Now for the mid ribs and the veins, simple straight line for the mid ribs. And then we be creating multiple veins coming out. Adding the mid ribs for all the leaves and then we'll be adding the veins. Adding it in here. Put this one, only the veins will be visible on the sides. Making it a little bit more bolder, a bit more darker. Increase the thickness of the mid rips a little bit more since after this, we'll be doing a little bit of blending to reduce its intensity. So that's why I decided to make its thickness a bit more broader. Applying a bit of medium pressure and blending the colors a little bit for the mid drips so that it will mix with the remaining colours of the leaf. As you can see, I'm merging the outline section of this midrip to the remaining color of the leaf. Let's do the same thing for all the leaves. Always keep the tissue paper under your palm. Otherwise, since you are going to use multiple layers and multiple colors, the colors will be smirsed by the palm. Now for this smaller one, this project, I won't be adding any shadows or background, but if you want, you can create that. Extending the colors in here from the mid drops a little bit, doing the same thing in here for this smaller section of the leaf. Now for the section that you are not satisfied with, just extend the colors or mix the color a little bit till you are satisfied with it. Now adding the veins coming out of the mid ribs. Fitting this kind of bit simple and bit curved lines for the veins. Adding the veins coming out from the mid drips like this, I am following the seep of the leaf and creating the veins a little bit curved, as you can see. To make it a bit more darker, you can use a bit more darker side of the green. For this one, only this part will be visible. Add more veins if you want, or you can also make it a bit more distinct and add more detailings to the veins. You can add smaller veins coming out from the veins. Now, like we did earlier with the mid ribs, just doing a little bit of partial blending for the veins that we created. Instead of using the Q tip in here I'm using the blending stem since the sizes of the veins are quite smaller as compared to the mid rib and we don't want to blend the entire section. Only a partial blending will do the work. So I decided to use the blending system since it will make the process a bit more easier and I'll have more precision and accuracy with this. Applying medium to heavy prison with this to do a partial blending of the veins in here, to subdue its intensity a little bit, and to mix it with the remaining colour, the background color of the lean that we just created with the cadmium yellow and the light shades of the greens. We'll be doing the same thing for the remaining leaves in here. As I mentioned for this section of the video, we'll mostly be doing the leaves, and in the next part, we'll be completing the blueberries, adding a little bit of more coloring for some of the sections of the leaves, doing the coloring for the main branch and finishing this project. This is one of my favorite project from this class. Let me know which one is yours. Blending partial blending of the colors in here for the veins of this last leaf in here, largest in the last leaf in here. Oh. Now, doing more blending of the colors wherever I think it's required. Also using it to make the outlines a little bit more sharper. Blending the yellows and the greens in here and making the outline a bit more sharper and a bit more crisper. You can always use the colour oil pastel color to make the outlines a bit more detailed and defined. You can also use the colored pencil, the green colored pencil. You can also use white. That will be interesting too. White oil pastel or white colored pencil. Using this to make the outlines a bit more sample. I'll be doing the same thing for all the leaves, most of the part of the outline section of the leaves like this. I am also extending a little bit of oil pastels to increase the size of the leaf a little bit. In here, as you can see, since we use darker shades of the greens and add it and applied a bit of heavy presser with it, this leaf that lies behind the other two larger leaves, it's quite darker, and it portrays the cados quite well. Now for this one, for this side to the darker side, I'll be using lighter seats of the green to add the veins, the veins underneath the leaf that are visible. So I'll be using the lighter seats of the green later on. Do the blending till you are satisfied with it. So for the remaining section of this video, I'll be doing lots of blending till I'm satisfied with the result. Now, as I was mentioning using lighter side of the green to add the beans in here on the other side of the leaf. Now subduing its intensity a little bit. So doing the same thing, using the blending stem, and blending it partially. Using it to define the seed a little bit more clearly. In here, the midrs and the veins were not that prominent, so using the green to create it. Doing a partial blending of the color, subduing the intensity of the darker greens a little bit. And I'll only be covering up to here for this section of the video. And I'll be seeing in the next video where we'll be completing this project. 8. Blending with Greens: Continuing on where we left off a little bit more blending in here with the tip here, I'm reducing the intensity of the mid ribs and the veins a little bit, as well as also spreading the dark colour to make this region a little bit more darker, comparatively more darker. Continuing on with doing the coloring for our main stem, applying a little bit more raw armor on top of the stem, the smaller and the larger stem. To make it mold darker, you can also use other sets of the brown. You can use raw siana. You can use dark brown, a little bit of more in here, just beside the leaf and the stem. Connecting this blueberry to the stem tune using simple curved lines, connecting this one too simple curved lines like this. And with this, we are done with the raw umber phone now. Now, give it a little bit of greenish color, using a little bit of green overlaying only a little bit of this green on top of the raw mud that we used. You can use anised from there bud green, bottle green with radiant green, yellow, green. And here I decided to use a bit darker bottle green extending the side a little bit in this manner. We are going to do the blending, once again, a bit of partial blending, the browns and the greens. We are not aiming for a smooth blending. Since in here, we have small stems, I decided to switch the Q tips with a blending stem so that I can get a little bit of more precision and more control with it. In here, I'll also be trying to make the outline section of the stems a little bit more defined using this blending stem to do the blending. It was not working that well. The outline was looking a little bit of blurry. So I switched it once again with the QTip. I'll be using both alternatively the Qtip and the blending stem right now in here. Once again, I'm using the blending stem for the smaller region. I'm applying heavy pressure to do the blending, the greens and the blues, the green and the browns. To avoid smudging of the color, using the tissue paper underneath my palm. Do the blending carefully near the blueberries. Now for the upper section of the stem, blending the smaller stems that are connected to the blueberry. And now for the main stem, slowly and gradually applying freezer and blending the colors in this manner. I'm also blending a little bit of the stem that is connected to the limb so that we can achieve somewhat of smooth and clear transition in between the browns and the greens. I do more blending wherever you think it's required. Adding a little bit more texture in the form of this kind of small thoughts on the side just by extending the color a little bit using the blending stem. Smaller stem in here, connected to the blueberry, making it a bit thicker in here, doing the same for this one. Continue with the blending till you're satisfied with the result. A little bit of more blending in here for some sections. I'll be doing a little bit of more blending. I'm just be moving the axis of the oil pastel that is stuck to my blending stem, using this blending stem to redo the blending of some sections of the leaf and making the edges, the outlines a little bit curve and soar. As you can clearly see, a little bit of blending using this blending stem, mainly focusing on connecting it to the main stem, the browns and the greens. Applying a bit of heavy to medium pressure to do the blending near the outline region so that we can get a bit of smooth and consistent outlining. You can also use this to extend the leaf a little bit, create a little bit more pointed edge in here, increasing the width a little bit by extending the colors in this manner. Extending it a little bit more to give it a little bit of blurry effect at the base. Me blending in here just beside the main stem. The stems that are connecting to the blow berries. And with this, we are done with the blending for now. Now let's do the coloring. In here, I'm starting with the Pusan blue for our blueberries, starting with doing the starting with creating this kind of simple C for the galaxy, a little bit of star s for the bees. For the blueberries, I'll be trying to achieve a little bit of rougher texture. Instead of the Rufer texture, if you want, you can always aim for smooth texture by using lots of color and applying heavy presser. So with these, we are done with the creation of cex for all the blueberries. Continuing on with the Prussian blue, adding it for the upper part of the blueberries. Follow the curtep of the blueberries and add the frutianbl in that manner so that we can give it a little bit of more three dimens snow hue. For the blueberry that lies in here behind the two blueberries, completely filling it with the frution blue. For this one, since it's facing in other direction, so I added the Prusien blue at the base. Now for the remaining two blueberries at the top, following the curve shape of the blueberry and creating the contour line a little bit of more of this trustianblu. And with these, we are done with the Prussian blue for now. Let's do the blending. As I said, I'll be aiming for a rougher texture. So I'm just going to spread this Prussian blue towards the Calex and I'm not going to use other color for now extending the Prussian blue in this manner blending stem. I'll be using the blending stump only with the tissue paper or the Q tip. We cannot get this kind of rougher texture. Also use this to redo the outlining a little bit, giving it a little bit of more defined scene. As you can clearly see, we have got darker sand at the top. And as we move away from the top, we have got lighter sand. And since we used only a little bit of the producon blue, we have got rough texture just beside the Calex. I'll be spreading the color in this manner for all the blueberries that I have eaten. Instead of this, if you want to use other color, you can also include the covet blue and light blue. So with that, you can make it a little bit smoother. But as I mentioned, I'll only sticking with the Prussian blue and just extending it to do the partial blending and covering the remaining section of the blueberries. Later on, I'll also be using a little bit of white to create highlights and reflection. For now, continuing on spreading the protein blue in this manner. I'm not going to spread the color from the calex, so avoid doing that and be careful while spreading the color near the Calex. So once again, a lot of color has been accumulated in here, so I'm going to remove it. I have got a zactine and sandpaper to remove the color. Now continuing on doing the same thing, spreading the color in this manner, the protein blue to get a bit of rougher texture for our blue berry. And I added the color in such a manner that it will look three dimensional. I did not add the color uniformly earlier, so you can see for some of the section, particularly on both the sides of the blueberry, we added more of the Prussian blue, as well as for the middle section. But for the remaining section, a bit smaller amount. And while we added the blueberries, we followed the curved lines of the blueberry or you can see the contours so that it will look more three dimensonal. Continuing on doing the blending for the remaining blueberry in here. This is the last one, so carefully, start doing the blending for the upper part first, and then we'll be spreading the color. Spreading the colors in this manner towards the cex. Don't blend the color near the calx spread it towards the calx. Also use it to define the seed, giving it a little bit of more curvier and more circular see. Now we are going to extend the color the Prussian blue a little bit towards the stem so that we can mix or blending the colors a little bit in this manner. Only a tiny amount of Prussian low will do the work. So blending it to the browns and the greens of the stem. You can always use the colored pancil on the oil pastel once again to redefine the soup a little bit to make it a bit more sulcular and a bit more curvier. But for now, I'll only be using the blending stick. Going in with the black, a little bit of black to make some of the section bit more darker. Only a tiny amount of black in this manner. The regions where we added more percian blue, I'm just adding black, a little bit of black in here like this. Now we are going to redo the blending. This is spreading the black a little bit in this manner, and try to blend it a little bit with the prussian blue from the earlier. Try to contain it within the upper section. We are not going to spread it towards the calx. We are not allowing it to reach towards the calx only up to the half point, keep that in mind and to the blending in this manner, blending the prussian blue with the black and extending it a little bit. Now for the remaining two blueberries in here, the same thing, a little bit of blending of this Brucian blue with the black. For this blueberry in the background, completely filling the entire section with this black. And with these, we are done with the black for now. Now for the insides of the calex reading the Prussian blue a little bit, only a little bit of this prussian blue, try to aim for a rougher texture for the insides of the calax Go back once again with the black and creating tiny dots inside the calex for the middle portion of the calx in this manner. Now going in with the white to create highlights. I'll be creating this kind of simple exclamation mark for the highlights or you can see the reflection caused by the blow berry. You'll have to apply a bit of heavy pressure to overlay on top of the black and the Prussian blue. If you want, you can do two or three layers of the white to make it a bit more contrasting and a bit more lighter. But in here, I'm satisfied with this kind of shade of the white on top of the black and the blues. Adding it in here for the last one. If you want, you can also use a little bit of this to create a little bit of highlights and reflexion for some section of the stems and a little bit for the leaves too. For the insides of the calex and beside it, also adding a tiny amount of white. And with this, we are done with the white for now. Now I'm going back once again with the blending stem to do the blending a little bit near the cex. Also using it to redefine the seep of the exclamation mark a little bit. For some of the section, the thickness of the white was a little bit more, so I decided to use it to reduce the intensity and blending the white a little bit in this manner. Just blending the outlines of the white that we just used. As I was saying, a little bit of white to do the outlining and a little bit of reflection for some sections of the leaves and the stems. I won't be using it for all the leaves, for some of the leaves only. A little bit for the stems in this manner. Go over the mid rib. If you want to get a dark streak of the white, you'll have to apply a bit of heavy placer, but in here, I'm mostly using medium low placer since I don't want to draw more attention from the white. Now, going in with the blending stem to subdue the intensity of the white a little bit, blending it with the greens in this manner, a little bit more blending of the whites that we just use for the stem. More blending of the white wherever you want, more blending of the whites for the regions where you added it just subdue its intensity a little bit. If you want, you can also cover it entirely, that region will become a bit more lighter. Spreading the color a little bit for the blueberries. Now, these are all additional details. If you are satisfied with your project, you don't have to do this, but I will be blending some section of the blueberries, some section of the leaves till I'm satisfied with it. I decided to use a little bit more Prusin blue on the side to make it a bit more darker. I'm blending the colors in this manner a little bit to sow that cado casted by the blueberry that lies above it. More blending still, I'm satisfied with the consistency and the coloring of our blueberries and the leaves and the stems. As I mentioned, if you're satisfied with your project, you don't have to overdo it. A bit of more white for the reflection. A little bit more blending on the stems in here, the greens and the browns. Spreading the blue a little bit towards the brown for the stem, extending the side of this main stem a little bit by spreading the color. And with these, we are done with our project. This is one of my favorites from this class. I hope you enjoyed painting this. It was a lot of fun to do the coloring, and it took comparably more time since we did a lot of blending, a lot of coloring, and finally removing the masking tape. I hope you enjoyed it, and I'll be seeing you in the next project, happy painting. 9. Delightful Berry Branch : Welcome to Delightful Berry Branch Project. Apart from the one we did earlier, this is also one of my favorite projects from this class. Let's start with this kind of slanted angled line. This will be the main estem for our blueberry. In here, we'll be creating a total of seven large leaves and six blueberries. Creating this kind of normal leaves like this. Some of the leaves in here that we'll be creating will be a little bit bent, and we are creating this kind of bit organic saves for the leaf. Instead of this, if you want, you can create very clean and normal looking leaves. Or you can also create a little bit of sharp leaves. Let's do the coloring directly. And here I'm starting with the lemon yellow, using this lemon yellow to do the outlining for the leave. As for the coloring of the leaves, I'll be using lemon yellow, dark green, olive yellow, grass green and yellow green. We'll be using lots of color, and the leaves that we'll be creating will turn out very beautiful and very vibrant. In here, I won't be using any tools to do the blending. We'll be applying lots of preset to do the blending of the colours. We'll be using multiple layers. This is going to be a multi layered and multi colored project. I hope you will enjoy painting this one, the whole video is in real time, so you can always follow along with me. After creating the outlines for the leaves, we'll be adding a little bit for the insides. I decided to create one more leaf that lies behind this one. Increasing the width of some of the section of the stem like this. Now, feeling the insides with it. Just using random scribbling technique like this. We are not going to cover the entire section. We are just going to make some of the section for the insides a little bit lighter when we'll be doing the blending later on. So the section in which we are adding more lemon yellow will become a little bit lighter. Just use random scribbling lines to add the color in this manner. Now, in here, we are going with the olive yellow, overlaying a little bit of this olive yellow on top of the lemon yellow, as well as adding it for the other regions beside it like this. Once again, we are using a scribbling technique to feel the insides in this manner. And as you can see in here, I'm not covering the entire section. I'm also leaving a little bit of empty spaces in between. Adding it for the last leave in here. And with these, we are done with the olive yellow. Now let's make it a little bit more greenish. In here, I'm using the yellow green, Overlaying this yellow green on top of the other two colors, the lemon yellow and the olive yellow. The intensity of this green is a little bit richer as compared to the other two colors. Overlaying it on top of the other two colors while leaving a little bit of specs in midwin like this. This is our third layer of the color. We have got two more leaves. Continue on with adding the yellow green for the remaining leaf, adding it for the last leaf in here. And with this, we are done with the yellow green for now. Now let's make it more greenish this time. I'm using the grass green. Add the grass green for those region where we want to make it look bit darker, I'll be mostly adding it near the stems, as well as a little bit for the upper region like this. As compared to the other three colors that we have used earlier, I'm adding it comparatively less. You can also use it to do the outlining for some of the section. I would recommend you to do the outlining for only one side or only a small section using this. Continue on with creating scribble marks like this using this grass screen. And now adding it for the last leaf. Random strokes with grass green, overlaying it on top of the other colors, the lemon yellow, the olive yellow, and the yellow green. Adding a little bit more for some of the other leaves. Now, moving on to the blueberries. In here, I'm starting with the purple. I have got mauve color in here, using it to create the outlines for the blueberries P to increase or decrease the numbers, seeps and the sizes of the blueberries. I decided to create a total of six blueberries in here. We have already created four. Let's create two more. This one will lie behind this larger leaf. So only a small section of it will be visible like this. And one more at the bottom. Simple circule see like this. And with these, we are done with our six blueberries, connecting it to the stems, using the lemon yellow color, overlaying it on top of the purple like this. Increasing the bit of the stems using this lemon yellow, overlaying more lines to make it more thicker bit more stronger. Connecting the stems to the leaf in this manner. Also, we are using it to do the blending of the color, all the layers of the colors that we have accumulated so far for the leaf, apply medium to high presser and blend all the colors together using this lemon yellow. You have got the option. Instead of using the colour to do the blending, you can use the blending tools. You can use the tissue paper, tip or blending stems to do the blending. But as I mentioned earlier, for this project, I decided not to use any blending tools. I'll only be using the colors to do the blending. To continue on with using the lemon yellow as blending agent, applying heavy plaster with it to blend it with the lemon yellow, the grass green, and the yellow green from the earlier. And as you can see, the regions where we added more greens is a bit more darker and the regions where we added lighter tones, the lemon yellow earlier is quite lighter. Thus we have created a little bit of subtle gradient, as well as giving it a little bit of natural look to the leave This is our first layer of the color blending. We'll be blending a little bit more later on. For now, apply medium to heavy present and do the blending of the color in this manner. Spreading the colors a little bit towards the main stem. Now for the fourth leave, do the same thing, blending the colors together in this manner, applying medium to heavy presser to do the blending. I'm not spreading the color inward or outward. I'm just mixing it in this manner by overlaying lemon yellow on top of it. Instead of this, if you want to create a gradient or if you want to read the contour for the mid drips and the veins, you can spread the color from the outside towards the inside, or you can just do their post. You can use the midrib as the guideline and spread the color towards the outside. This creating a little bit of small resemblance for the veins that is coming out from the mid drips or you can just follow along with me and do the blending in this normal manner. You can also use it to expand the side of the leaf a little bit if you're not satisfied with the side of the leaf. Blending the color for this one. Blending the color in here for the leaf in the stem like this, we have got two more leaf. Always use the tissue paper underneath your palm to avoid smudging of the color since in here, we are using lots of color and lots of layers. There is a high probability that the colors will get smuged by your palm. So use tissue paper or cloth or any paper underneath your palm to avoid smudging of the colours. If a small amount of colour is smuked by mistake, you can always use the eraser to remove it. But if a large amount of color is smoked, it will be quite challenging to remove it. Blending the colors in here for the last leaf, applying medium to heavy press the same kind of thing we did for the earlier leaves. And look how beautiful and vibrant it's coming out. After doing this, we'll also be using darker sad of the green, dark green to create the midrobs and the veins and on top of it, I'll also be adding a little bit of white to sew a little bit of reflections and highlight for the leaves. And with these, we are almost done with the coloring for the leaves, not the coloring, the blending for all the leaves. Do a little bit of more blending wherever you think it's required or wherever you are not satisfied with. I'm satisfied with it for now. Now, in here, I'm using the darker side of the green, overlaying a little bit on top of the yellow green to make some of the sections of the stem a little bit darker. As you can see, I have not covered the entire section. I only added a little bit of it since we'll be overlaying more color on top of it, by doing it, it will blend on its own. So using this color, the olive yellow, overlaying it on top of the greens, the lemon yellow, as well as the green that we used just earlier. And yeah, just by adding it, we are doing a little bit of partial blending. Going over the entire section of the stem with this color, the olive yellow. Instead of the olive yellow, you can also use the lemon yellow, but I decided to make it a little bit different. Adding for the bottom section of the stem with it, a little bit of partial blending of the colors using it that is connected to the blueberry. And with these, we are done with the olive yellow for the stem. Now, let's do the coloring for the blueberry. We started with the purple podra outlining. Now in here, I'm using the Prussian blue to create the circular appearance for the calix. Simple circular seed like this at the upper part of the blueberries for the calix. Instead of this colour, if you want to use other variations of the color of the blue, you can do that. You can also use other variations of the purple. Now, in here, I'm going with the sky blue, and we are going to add it just below the Prussian blouw that we just use, adding it below the Prussian blue Calex. As you can see, I'm feeling almost the entire region while leaving a little bit of species in between. In here, right now, I'm giving it a little bit of grainier texture. Later on, I'll be using more layers of the colors to do the blending. We'll be aiming for a bit of rougher texture for all the blueberries, adding it for the last blueberry in here. Now, a little bit more for the blueberries at the top, making it a little bit more thicker, a bit more darker. A bit of color is accumulated on top of the oil hale. So using the tissue paper to remove it, now continuing on with making it a little bit more grainier, adding another layer of the color on top of the blue berries like this. Early, we did not cover the entire section, but now we are covering most of the section using it. I'm also subduing the intensity of the Prussian blue a little bit by overlaying a small section of this sky blue on top of the Prusine blue galaxy. So we are adding a little bit of this sky blue on top of the Prusine blue Calex. Going back once again with the Prussian blue, adding it particularly on the one side to make that side bit more darker. In here, I'm focusing on the top left side, creating this kind of bit rougher texture with this kind of smaller and rougher strokes with a prussian blue. Adding it for the last blueberry in here, small strokes with a Prussian blue. Add a little bit of more wherever you think it's required. Now going back once again with the sky blue, we are doing a bit of partiil blending of the two colors. Apply medium to heavy preset to do the pile blending in this manner. Do not cover the entire section of the Prussian blue, only cover some of the sections like this and spread the colours toward the other section. When you are spreading it, try to give it a little bit of contour like C, a bit under or you can see circular C for the blueberries. Once again, going back with the Prussian blue to make sum of the section a bit more detailed a bit more outlined. Making the connection between the stems and the blue berries bit more prominent with the greens. Since we use lots of layer, a lot of oil pitel dust has accumulated, removing it using the rs Now continuing on with the lemon yellow, overlaying it on top of the stems to make it a bit more lighter and increasing its thickness a little bit more. Make the connection between the blueberries and the stems bit more prominent and a bit more clear, a little bit more of this color. Spreading the color in this manner, doing the same thing for the last blueberry in here with the sky blue. Spreading the color a little bit more the Prussian blue, using this sky blue. And with these, we are done with the primary coloring for our blueberries. I'll also be adding a little bit of white, but I'll be doing it later on. Now in here, I'm using dark green and creating this kind of broken lines to create the appearance for the mid drips and the veins for our leave. Instead of creating this kind of broken lines, you can use plain and normal lines to create the mid rips and the veins. Once I create the mid rips and the veins with this, I'll also be adding another layer of the white colot to make it a little bit more highlighted or what do you mean to say that I'll be adding another layer of white on top of it to sew a little bit of reflection in the highlights. Create multiple veins on the sides of the mers like this. Instead of creating straight veins, I'm making the veins a little bit curvier like this. So for all the leaves in here, we'll be doing the same thing, creating multiple veins, using curvier lines, a little bit of curvier and broken lines like this in this manner. You can increase or decrease the number of the veins. You can also make the veins a little bit more complex by branching up the veins into more sections. Adding the veins for this fourth one. We have got three more leaves doing the same thing, creating multiple smaller veins like this, using bit broken and bit curvier lines like this. More veins like this in this manner, following the curtsy of the leaf and add the veins in that manner. In here for this leaf, we have got a little bit of bulged section. So following the contour of the leaf and making the veins a little bit more curvy for that region. And finally, moving on to the last leaf, following the curve sap, adding the mid ribs like this, and now creating the veins coming out of it, a little bit curvier and wet broken lines like this. Making some of the section of the stem and the leaves a little bit more darker with this dark green, particularly the section where the blueberries is connected. Now, going over the entire section of the stem with it, and here I'm applying medium presser with it to overlay on top of all the layers of the colors like this. And with these, we are done with the dark green. Initially, I decided that I won't be using the blending tools to do the blending, but in here I decided to use a little bit of the blending stem. Instead of using the blending stem, if you want, you can continue on with doing the blending using the lemon yellow or the yellow green. And with these, we are done with the blending. And now, as I said earlier, using a little bit of white to subdue the intensity of the dark green to sew a little bit of reflection and the highlights on top of the leaf like this. This is optional if you're satisfied with your midrips in the vein or how the leaves turn out, you don't have to do this. So for all the leaves in here, I'll be adding the white in this manner. I won't be overlaying this white on top of all the midrips in the veins. I'll only be adding it for the darker ones, the midrips and the veins that are quite darker. I'll also be adding a little bit of this on some of the sections of thetems and after doing this, we'll also be adding it for the blueberries. As you can see, I'm not covering the entire sections of the mains and the mid rips with the white. Only a small section is being covered by the white like this. And with these, we are done with all the leaves with the white. If you want, you can add a little bit more white for some of the sections. Now, adding the white for the highlights and the reflection for the low varies. In here, I'm only adding the white on the top left side like this, small strokes with the white to add the highlights. I'm also adding a little bit of white for the insides of the calex. You'll have to apply a bit of heavy pressure to overlay the white on top of the blues. And with these, we are done with the blueberries. Going back in with the green, since some of the white that we used earlier has subdued the greens a lot. So for some of those veins, I'm adding the green like this in this manner. If you're satisfied with your leaves, you don't have to do this. Remove the excess oil pistil der. And with these, we are done with this project. I hope you enjoyed painting this. This was quite fun to paint, and this was quite smaller. And I enjoyed painting it a lot. I'll be seeing you in the next project, happy painting. 10. Overflowing Blueberry Harvest : Welcome to overflowing Blueberry Harvest. Let's start with a simple pencilsk. Here, I won't be creating each individual blueberry, but in here, I'm just simply sketching out the please where we'll be adding blueberries, and in here for the upper part, we'll be adding multiple leaves, five or six leaves. For this place in here, we'll be adding multiple blueberries. I'll also be adding a few blueberries on the bottom left side. In here, I'm directly starting with the peel yellow. So using this peel, yellow to create multiple blueberries. Let's create multiple smaller blueberries. In here, you can increase and increase the number as well as sizes of the blueberries. Here I'll be creating around 15 to 20 blueberries. Most of the blueberries in front will be complete by complete diamond circular c and others that are lying behind it. Only a small portion of it will be visible like this. You can follow along with me and create the same kind of blueberries that I'm creating in here or you can create it on your own way. As for the colours, I'll be using lemon yellow, lime green, and pale yellow for the leaves. As for the blueberries, we have got sky blue, light purple, and sapphire bloom. I'll also be using a little bit of green to create sados and a little bit of black and white. Now let's create fume leave where simple leaves like this. Here, too, if you want, you can change the seeps in the sides of the leaf. For one or two of the leaves among the sections will be hidden behind the blueberries. Let's add one more leaf in here. And yeah, we are done with that. And as I was mentioning, few blueberries in here on the bottom left side. If you want, you can also add few blueberries on the right side too. Adding one more in here, just beside it. Let's make it three. In here, we have got a little bit more space, so let's create few more leaves. So this will be our simple sketch for the blueberries. If you want to make changes in adjustment to the blueberries, if you want to add few more, you can do that. But I'm satisfied with the number of the blueberries and the leaves. Let's start with the coloring. Here I'm starting with a sapphire blue to create the Calex simple star like seed. So for all the blueberries in here, I'll be adding the calx like this. Make a little bit of changes and adjustment to the sips of the calex, try to make it a little bit uneven and ununiform. So some of the cex will be a bit smaller, others will be quite large, and some will have five petals, others will have six or seven ones. So accordingly, make changes to the sieves and the sizes of the calex. So in here, we have got one, two, three, four, five, six, seven, eight, 19, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 22, 24, 24, I have got somewhat of 24 to 26 blbrries. Let me know how many blbrries you have created in the discussion section. Adding it in here for this one. As you can see, I did not add the calax in the middle portion for all the blue berries. For some of them, I added it on their top or some of them at the bottom. Now using this sapphire blue to do a little bit of seeding, adding it particularly on one side. Just add it a little bit on one side of the blueberries, the side that you want to sew a little bit of sados. Adding it on the side that you want to make it a little bit darker. Also, since this is a little bit complicated since we have got lots of blueberry, so the shadows of the blueberries casted by the other blueberries will be a little bit different as the light is falling from the top right side, so the sadoh be forming on the left side, but because of the sados created by other blueberries on other blueberries, we'll have shadows on both left and the right. So accordingly, add the shadows, considering that the light is falling from the top right, and also consided that the shadows casted by the other blueberries. Adding the sappirebue for the three blueberries in here. And with these, we are done with the sapphire blue for the darker sets of the blueberry. Now in here, I'm using the sky blue, and we'll be overlaying this sky blue on top of the sapphire blue that we just used and doing a little bit of blending of the colors by applying medium to heavy pressure. Just surround the sapphire blouw with this sky blue and do a little bit of blending. This process is going to take a little bit of time. For all the blueberries in here, I'll be using this. And and and and if you want to make it a little bit more interesting, you can make some of the blueberries a bit more darker, so you can use cobalt blue or ultramarine blue for those. And for others, you can use lighter shades like sky blue. And you can also make some of them a bit more darker using blacks and browns. So if you want to experiment, you can do that on your own. In here, I'll be keeping the colors of the blueberries somewhat similar. So I'll only be using this sky blue, sapphire blue, and light purple. So we'll be making them blueberries a little bit of purple in color. But if you want to experiment with different seeds of the blueberries, you can proceed with using different shades of blue. Overlying is on top of the si fire blue, applying medium to heavy freezer and extending it a little bit on the other side. Try to avoid overlaying this on top of the Calex. We are almost with a half of the blueberries. You have got few more in here. Try to avoid overlaying this color on top of the pale yellow that we used to create the outlines for the blueberries. Extending the colors a little bit. Now we have got four or five more in here. If you want, you can also create graphs in the same like this. Now moving on to the blueberries in here at the bottom. Sapphire blue on this blueberry at towards the bottom left side, so adding sky blue on those regions, overlaying this on top of the sapphire blue, applying medium to heavy freezer and extending it a little bit on the other side. Now, add more Sky Blue whenever you think it's required. Adding a little bit more in here for this one. We are done with the sky Blue. If required, add a little bit more wherever you think it's required. And with these, we are done with the sky blue. So here I'm using the light purple. As I mentioned, I'll be making this blueberry purples. So using this lighter side of the purple, to make it a little bit darker purple, you can use mauve or lilac. We'll be basically filling the remaining section with this light purple, overlaying it on top of the sky blue and applying a little bit of medium preset to blending parceling with both the color, the sky blue and the Sapphire bloom. Try avoid adding it on top of the calx. You can add it a little bit for the inside of the calx, but avoid adding it on top of the outline section. So you can see just by adding this little bit of light purple, our blue berries looks a bit more vibrant and a bit more colorful. And we have got a little bit of transition in between dark and the lighted seats of the color. And since we are not adding the colors on top of the pink yellow that we use to create the outlines, let's make it a little bit more interesting. Avoid smudging of the color. I'm using the tissue paper under my palm. Carefully adding it for the smaller regions. Applying medium to heavy pressure with it to blending it with the sky blue and the Safire blue from earlier. This is one of my favorite project from this class. Let me know which project is your favorite from this class. Make this a little bit more interesting, you can use lilac or mouth for the blueberries that are lying underneath these larger ones. So you can use the darker sets of the lilac and the mouth to do the coloring for those blueberries. We have got few more blueberries in here, a little bit of color w must using the sit to remove it. Now, let's continue with the remaining blueberries. Adding this light purple the remaining area, as well as overlaying it on top of the sky blue and the sapphire blue and towing a little bit of partial blending of the color. I'll also be using the gray to create the sados later on. And as for the leaves, we'll be keeping it mid simmer using three or four colors, particularly pale yellow, lemon yellow, and lime yellow, and lime green. So we'll be creating bit lighter shades of the leaf. If you want to make it a bit darker, you can do that using darker sades of the green, radiant green, grass greens and dark green. Adding it for this one, just beside the leaves. This is going to take a little bit more time since we have got few more blueberries to add the slight purple. Try not to overlay the slight purple on top of the pale yellow that we used to create the outlines for the blueberry. Also do a little bit of blending where the intensity of the sapphire blue is a little bit higher. So if you have got lots of sapphire blue for some of the blueberries, overlay this light purple and apply presser to blend it with it to reduce the intensity of the sapphire blue a little bit. And with these, we are mostly done with all the blueberries in here, moving on to the three blueberries at the bottom, doing the same thing, filling the remaining area with this light purple, as well as overlaying a little bit of it on top of the sky blue and the sapphire blue and doing a partial blending of the color, adding it for the second one. And finally, moving on to the third one, third and the final one in here. If you want, you can still add few more blueberries for the bottom section. I won't be doing it, but if you want to make it a little bit more crowded, you can do that. Now add more light purple wherever you think it's required for some of the regions. Adding it in here for this one to make it a bit more lighter, overlaying it on top of the sapphire blue. Making this one a little bit more circular and safe. Making this one a little bit more larger. I decided to use a little bit of this light purple for the insides of the Calex. So just creating tiny strokes for the insides of the Calex with this light purple. Yeah, with these, we are done with the light purple. If required, I'll be adding a little bit of more light purple, but I think we are done with it. 11. Vibrant Leaves: Now, let's do the coloring for the leaves. In here, I'm starting with the lemon yellow, adding this lemon yellow in this manner, creating this kind of random strokes, a bit larger random stroke. Adding this kind of mid larger random strokes of this lemon yellow for the insides of the leaf. I'm not covering the entire section, using a little bit of scribbling technique for some of the sections of the leaf. Adding it for the last leaf in here. So this will act as the base and we'll make the leaf a little bit lighter inside. Adding it a little bit more for the other leaves in here to make it bit more lighter. Continuing on with this side of the green. So overlaying this on top of the lemon yellow, as well as adding it on top of the mid drift and just beside the outlined sections. Here, too, I'm creating a bit of random strokes with it. Overlaying it on top of the stems, making the stems a little bit more darker. This added beside the outline section, as well as a little bit for the mid ribs. For this one, adding a little bit more near the blow berries to sow the sados. For this one, too, I added a little bit more for the sados Now, let's do the blending of the colors. In here, to make this bit lighter, I'm using this lime green and using this lime green and applying somewhat of medium pressure, overlaying this on top of the lemon yellow and the green that we just used to create this kind of coloring for our leaves. Instead of this green, if you want, you can use the yellow green or you can use other states of the light green. You can also use pale yellow to do the blending to create the background or the coloring for the leaves. So using this lime green and extending the green that we just used earlier, using this lime green and extending the darker side of the green towards the center, also overlaying on top of the mid ribs that we just created. Extending it a little bit more in here to make this a little bit more darker for the sados cast at my the blueberries. In here as you can see I'm applying a bit more presser to do the blending of the color, a little bit of partial blending of the color, making the outlines of the stem a little bit more pronounced. Now going with the lime green and do the final blending of the colours, apply heavy pressure with it overlay on top of all the colors, and yeah, we'll be blending it. Extending the colour, the darker seats of the green towards the center, and for the center to extending it a little bit outwards. Apply heavy presser with it. If you want to make it a little bit darker, you can use other side of the green and use that to do the blending. Or if you want to make it a little bit more lighter, you can use pale yellow to do the blending. Apart from it, if you want to keep the leaves a little bit toxic, you don't need to do the blending. In that case, you can use a little bit darker side of the green to create the red drips and the veins linter on so that you can preserve the rough texture of the leaves. You can also use a little bit of scribbling or stippling to create textured leaf, defining the seep of the leaf a little bit with this oh for the remaining three leaves on this side, applying heavy presser with lemon yellow and blending all the colors with it. So these two leaves will be a little bit darker because of the sados casted by the other leaf and a little bit sados by the blueberries. Adding it for the last one, apply a little bit of more presser to do the blending. Carefully added near the blueberry, we don't want the pale yellow to mix with the greens. Now add more lemon yellow wherever you think it's required. I'm also using it to make the seep of the leaves a little bit more defined. Removing the oil pastel dust. Now using a bit darker side of the green to create the mid drips and the veins. If you want to keep it as it is, without any mid drips or veins, you can just leave it as it is, or you can just follow along with me and create the mid drops and the veins in this manner. Make it a bit more interesting. You can use two or three seats of the green to create varieties of mid drops in the veins. With these we are done with the top three. Let's do the remaining three. Later on, I'll also subdue its intensity a little bit. Adding it for this one, small veins and large midrib. And for the last one, adding the veins coming out of the mid ribs. And with these, we are then with the midribs and the veins, doing a little bit of outlining for this leaf to make it a bit more darker, overlaying it a little bit on top of the stem. Extending it towards the blueberries. Also using it to make the seep of the leaves a little bit more detailed and bit more defined. Now to subdue it a little bit, this time I'm using a little bit of pale yellow overlaying this pale yellow on top of the green that we just used for the stems, mid drips, and the veins. Instead of this, if you want, you can also use the blending stemp for the Q tip. But for this project, I decided that I won't be using any tools to do the blending of the color, so I won't be doing it. But if you want, you can proceed with that. Or if you want to keep the textured leave as it is, you don't have to do the blending in here using the pale yellow. Applying bit heavy pressure with it to overlaid on top of the green that we used to create the menus and the veins. Aim here is not to cover the entire sexon but just subdue its intensity a little bit. And with these, we are done with the leaves. Now, I'll be creating simple sados using this gray, adding a little bit of sados in this manner. So for all the blueberries in here, we'll be adding the sados like this. To make the sados a little bit more realistic, you can also use a little bit of sapphire blue, add the sapphire blue just beside the blueberries and then use the green to overlaten top of it so that you can in that manner, you will get a little bit of blue sado And with these, we are done with the sadosG in with the pale yellow to make the outlines a little bit more defined. For some of the sections, I mistakenly added the blues and the purple. So for those section, adding a little bit of pale yellow. This is abnal if you're satisfied with your project, you don't need to do this. Adding it for the blue berries in here, this beside the leaves. You can also use white instead of the pale yellow to make the outlines a little bit more distinct. And we are almost done with it. Apart from it, if you want, you can also use a little bit of white to create some highlights for some of the sections of the blueberries, a little bit of highlights for the leaves too. Adding it a little bit of more grief for some of the regions, using gray to add the cytos for the leaf that I forgot to add. Adding a little bit more grief for some of the regions. And with these, we are done with this project. I hope you enjoyed painting this one. And I'll be seeing in the next project, happy painting. And 12. Berry Branch : Welcome to this project Berry branch. Let's start with a simple sketch. In here, we'll be creating somewhat of texted blueberries and the limes, a total of 15 to 20 blueberries of various signs. As we are progressing from top to bottom, I'll be increasing the number of the site for the lower section, we'll be decreasing the sizes of the blueberry. I'll be creating multiple branches and adding multiple blueberries, 15 to 20 in total. You can vary the seeds sides, as well as the placements of the blueberries, as you see fit. You can also create other kinds of leaf. In here, I'll be creating a bit simpler versions of the leaf. And apart from the larger branches, I'll also be creating few smaller branches with few smaller leaves. As for the colors, I'll be using mint green and radiant green for the leaves. For the plant, I'll be using raw umber mixed with the two variations of the green. I'll also be using a little bit of yellow ochre. And apart from that, we'll be using royal purple and Prussian blue and a little bit of sky blue for our blueberries. Creating multiple berries in here. I'm also wearing the sides a little bit. If you want to vary with more, you can do that, too. Adding a few more in here for the lower part. I'll be creating two main branches and then few stems coming out of it. Let's add few more in here. So this is going to be the main branch. And let's create leave in here. I'll be getting this kind of very simple versions of the leaf. On the right side, too, I'll be adding two or three blueberries. This is our main branch, and now let's add few leaves. Some of the leaves will be hidden by the blueberries. I won't be adding that many leaves beside or behind the blueberries, since that will make the process a little bit complicated and will take more time. So mostly I'll be arning the leaves on the sides of the blueberries. A total of five to eight larger naves, and then few smaller liens. Another branch in here. Extending it a little bit. On smaller branches or stem, I'll be adding smaller leaves. Adding a few more blueberries at the top. Adding one leave behind this blueberries cluster. One more smaller stems coming out from the main branch. And with these, we are done with our pencil sketches. If you want to make changes and adjustments, feel free to do that. Lucky erasing the pencil sketch, and we will be doing the coloring. This project is also divided into two parts. This is the first part. In here, we'll be doing the coloring for the blueberries and a little bit for the branches. And then in the next section of this project, we'll be completely coloring it. In here, I'm starting with the mint green to do the coloring for our leave. This is going to be the first layer. Right now, I'm using it to do the outlining for the leaves. Here I am gene Boss artist oil pastel. Creating multiple small leaves for the smaller branches in here. One of the larger leave that lies behind the blue berries. Larger leaf in here at the top. We have got two or three more leaves. This will be the largest leaf in here. Now, three or four leaves in here. So one of the leave is folded like this. If you want to create other folded leaves, you can do that the kind of leaves that we created in the first or second projects. So basically, I did the outlining for all the leaves in here. If required, I'll be adding a few more small leaves. But for now, we are done with the ment queen. Using the room to do the outlining for the stems. Using this rum but to do the outlining for the mean stems and the branches. I'm not adding any thickness to the branches yet. I'll I'll be doing that later on. For now, just roughly go over the outline section with the branches and the stems with this raw umber. Now moving on to our blueberries. In here, I'm using Prussian glue. And let's do the outlining for all the blueberries. Still, if you want to vary the seeds in the sides of the blueberries, as well as the placement of the blueberries, you can do that. If you want to make it a little bit less complicated, you can reduce the numbers of the blueberries or if you want to make it more complicated or full of blueberries, you can add more. You can add more blueberries and you can also use raw umber once again to extend some of the branches and add multiple blueberries on them. Now in here for the smaller branch, a small blueberry in here. And with these, we are done with a protein blue for the blueberries. I decided to create one more smaller blueberries at the top. Here we have got a total of 20 blueberries. A little bit of oil pastel was smudged in here, so erasing it. And to avoid further smudging of the color using the tissue paper and my palm, Let's do the coloring for the cex of our blueberries. In here, I decided to use the ram, but to do that. Very small dot with a raw umber at the center of our blue berries. Not particularly center, but mostly at the middle of the blueberries. I'll also be nating a little bit from the center to add smaller dots with this raw umber for the calax of our blueberries. Let's add a little bit more detailing defining the seep of our blueberry encircling the small dots that we have created with this raw umber. In here, we'll be creating a little bit textured blueberries. I won't be doing any blending using the blending tools like QTI blending stemp or tissue paper. But if you want to get smooth and uniform consistency of the color, you can also do the smooth blending and get a uniform and consistent sining blueberries. But I'll be making our blueberries bit textured. Adding a little bit of lucen blue for the insides of the calec Um, now filling a little bit more of this Prussian blue phone the insides of the circular seep or the elliptical seep that we created with rhumber for the Calex. Add only a little bit of this Prussian blue. Later on, we'll be making the seep of the blueberries a little bit more defined. And with this, we are done with the Prussian blue phone now. In here, I'm using royal purple. Applying medium pressure with the royal purple and creating this kind of smallness strokes throughout the one side of our blueberries. So these sides will be the darker. So depending upon where you are considering the light is falling from at the royal purple on the other side. So if you're considering that the light is falling from the top right side, then you'll have to add it on the bottom left side. And if you are considering that the light is falling from the left side, then you'll have to add the coloring this royal purple on the bottom right side. And apart from that, you'll also have to do a little bit of variation depending upon the shadows cast in by other blueberries. He now I decided to make it a little bit more darker, so adding a little bit more of this royal purple to make it a bit more darker. So I'll be doing the same thing for all the remaining luebries here. Doing a little bit of blending using this white, overlaying this white on top of the Prussian blue as well as the royal purple that we just added and doing a bit of partial blending of the colors in here to get somewhat of enough texture for our blue barries So I'll be doing the same thing for all the remaining blueberries in here. This is going to take a little bit of time since we have got lots of blueberry, but just apply medium to high presser with the white and do a partial blending of the colours, the Prussian blue and the royal purple using this white. Try not to blending the colors with a brown for the center that we used earlier for the cex of our blueberries. If you want to add a little bit more variation in the color, you can also use a bit darker bit lighter shades of the view. But for now, I'll be using the white and doing a partial blending for all the blueberries in here. In here, I'm creating a bit smaller brush or strokes to do this partial blending. Instead of creating this kind of bit smaller stroke, if I would have created a bit larger stroke, then the colours would have been extended from the position where I added it. So I want to keep the purples and the Bruin blue where they are. So mostly I'm creating this kind of smaller breath strokes and overlaying it on top of it and extending it a little bit, not that much. Carefully creating this kind of smaller strokes and yeah, doing a bit of partial blending. I'm not properly able to convey it, but what I mean to say that if you will apply heavy freezer with this wine and extend the colors a lot, then the purple will be extending for the whole blue berries, and I don't want to do that. I want the purple to remain where I added it. I'll only be extending the purple a little bit. That's why I'm creating smaller strokes with the oil pastel and extending it only a little bit from the production where I added it. Okay. We are halfway through these blueberries. We have got few more blueberries. So continue on with creating this kind of smaller brush or strokes and doing a partial blending of the color with this white. Still, if you want to give it a little bit of smooth texture, you can apply heavy pressure or you can use blending tools to do the blending for our colors. But in here for this project, I'll be keeping our blueberries bit texted, so I won't be doing that. So continuing on with creating this kind of smaller brush or strokes and doing a partial blending of the color with this white. So in here we are down to last three blueberries, doing the partial blending for this one. Now moving on to the second last one and doing a partial blending of the color with this white. Adding more white and extending the purples a little bit. And finally, let's do the partial blending for the last blueberries in here, creating small bros strokes, standing the purples only a little bit. And with this, we are done with a partial blending of all our blueberries. Now add more white wherever you think it's required for the blueberries that you are not satisfied with adding more white for some of the blueberries and extending the purples a little bit. You can also use this white to make the seep a little bit more defined, overlay this white on top of the Prussian blue to make the seep a bit more defined. Since we won't be using any tools or colored pencil to do the outlining in here. So I'm just directly using the colours to do the outlining and making it a bit more risper and a bit more oval sap for our blueberries. By doing it, we are also making it a bit more smoother and extending the side a little bit. So, mostly in this part of the project, I'll only be covering for the blueberries. And in the next part of our project, we'll be adding the color for our leave using mint green, viridian, and yellow ochre. We'll also be doing the coloring for all our branches and the stems. Continue on with using this white to do a little bit of better blending of the color. Mostly, I'm subduing the intensity of the prose blue a little bit, my overlaying this white on top of it. Treating smaller strokes with this white and overlaying on top of the royal purple and the Prussian blue. If you're satisfied with the coloring of your blue berries and the texture that you have achieved, you don't have to overdo it. Making the Prussian blue a little bit more lighter in here. Now for the last one in here, overlaying this white on top of the Prussian blue. No. Add a little bit of white for this region too. Now, going back once again with the Prusin blue to make the central part, the calx a little bit more darker. If you want to make the central a little bit more defined, you can create the five petal like for the galaxy of our blueberries. I won't be doing that in here, but in our next part of the project, I'll be making a little bit more adjustment. And with these we are done with this part. I'll be seeing you in the next part of this project. 13. Stems and Leaves: Welcome to the second part of the berry branch. Let's do the coloring for our leaves. In here, I'm starting with the viridian. As I mentioned, mostly, we'll be creating a bit of rough textured, coloring for our leaves and the plants and the blue berries. So using this viridian green for the folded part of our leave, I added a little bit more green in here to make it a little bit more darker and denser. Adding a little bit of this yellow orchard to make some of the sections of our leave a little bit lighter, and then going to add it for the entire section, mostly a little bit beside our mid ribs. Applying medium presser with this yellow ocher and creating this kind of smaller brass strokes for both the sides of the midrum. Instead of this yellow ocher, if you want to make it a bit more lighter, you can use other sides of the yellow too. Using the mint green that we used earlier, do the outlining and filling the entire section with it. Start with applying low presser and as you progress, apply a bit more presume. We'll be coving the entire section and overlaying it on top of the yellow ocher that we just used. Instead of this color combination, if you want to use other colors, you can do that, too. Now in here, I'm applying a little bit of more preset to get a bit better blending of the colours, the yellows and the mint green. We'll be doing the same thing for the remaining leaves in here. Moving into the leaf in here, the first one that we started. Following the curved sweep of the leaf and overlaying this mint green on top of the yellow ocher and peeling the rest of the space with this. Moving on to this one. So yeah, we'll be basically doing the same thing for the remaining leaves, starting with a bit of low pressure. And as we progress, we'll be applying a little bit of poor pressure and overlaying this on top of the yellow ocher and trying to do a little bit of blending of the colors for it. Since we are aiming for a bit of rougher texture, I won't be applying that much of braces. And for the leaves that are lying beside or under the blue berries, add the colors carefully. We don't want the blues to mix with the greens, so adding it carefully in here. I'll also creating this kind of smaller leaves. I'm wearing the size of the smaller leaves. But if you don't want to do that, you can keep it simple and only do the color on the leaves that we have created. But if you want to follow along with me and create multiple smaller leaves, you can do that, too. Adding the color for the largest leaf that we have created, overlaying it on top of the yellow ocher. Making the sizes of these leaves a little bit larger. For this leaf in here that lies under all these blueberries, only a small portion of this leaf is visible. Now for the leaves in here, for the bottom part, extending the wind green and overlaying it on top of the yellow ocher. I'll also be using a little bit of this color on top of the amber for the main stems and the branches. For now, we are done with it. If you want to make some of the leaves a bit more lighter, you can add a little bit more yellow ocher on top of it. Re using this viridian green to add the mid ribs and the veins, as well as we'll be using it to refine the seep of the leaf a little bit more. Basically, you can consider it that we'll also be doing a little bit of outlining with it. And later on to subdue its intensity, the intensity of this viridian green to make it a little bit more muted. I'll be adding another layer of greens on top of it. As you can see in here, we are using mostly muted tones of the coloring to create our blue berries and the branch. But if you want to give it a little bit of more sharper look and a bit more defined look, you can keep the viridiant green as it is. You don't have to add another layer of the green on top of this viridian green later on. Adding the mid ribs and the veins for the leaves in here. Use the tissue paper to avoid smudging of your colon by your palm. Now, let's do the outlining for the remaining three leaves at the top. For the smaller leaves, I would be adding the mid rips or the veins. Only a small mid rip if required. Otherwise, I'll be leaving it as it is. Doing the outlining for some of the leaves which I forgot to do. Now for the small leaves, as I mentioned, only doing a little bit of outlining, I'm not adding the mid rips or the veins, simple outlining with it. Now, let's subdue its intensity a little bit. So adding another layer of this mint green on top of the viridiant green that we just used. So applying medium lobe reserve with this mint green and overlaying it on top of the viridiant green that we just used. Okay. Just overlaying this mint green on top of the entire section of the leaf and thus reducing the intensity of the ident green that we used. Instead of using this, if you want, you can also use the white to make it a little bit more lighter, or you can also use a bit of yellow to make it a little bit yellowish in color. Apart from adding it on top of the iden green, I'm also adding it in between the different sections of the leaf, too. Also, as you can see, I'm adding this mint green following the seep of the leaf, adding it in between the different veins that we have created. You can also use it to redefine the sizes of the leaf. Now, let's do the same thing for the remaining leaves. I'll be adding a few more leaves at the top later on. But for now, continuing on with this mint green. I won't be creating any background or adding bees or creating shadows. If you want to do that, you can do that. But in here, I'll only be creating these multiple blueberries and the branches. Overlaying this on top of the radiant green and extending it a little bit to subdue its intensity and also making the seep a little bit more crisper, a little bit more defined. Now, for this one, the same thing. So this is going to take a little bit of time. We have got two or three more leaves, and then we'll also be creating few more leaves at the top. And then we have to subdue the intensity of the sum of the smaller leaves. Carefully adding in between the separate section that we created. We're laying it on top of the gradient green and redefining a see and the sides of the leaf a little bit. Adding it for this one, the leaf that lies blow berries. Still, if you want to add a few more leaves, you can do that. It will make the project a little bit more vibrant. I won't be doing it, but if you want, you can go ahead and create few more leaves. You can add larger leaves at the upper part than a little bit of smaller leaves in here. I think you can add four or five larger leaves and then six or seven smaller leaves. You can also add few more branches and do the coloring in the same manner. After doing this, we'll be doing the coloring for the stems and the branches and using a little bit of white to add highlights for some of the section for blueberries or the leaves if required. Once again, using the radiant green, Mike some of the section a little bit more darker. Going back with the mint green for the smaller leaves, overlaying this on top of the radiant green and subduing its intensity, doing this kind of bit partial blending for the leaves that we have created the smaller leaves. Now, as I was mentioning, creating a few more smaller leaves at the top, overlaying on top of the mint green. And now, once again, going back with the mint green and overlaying it on top of the rident green, also extending the size of the leaf a little bit, making the leaves a little bit larger. If you want to give it a little bit more defined seep, you can do that, too, but I'll be keeping it like this a bit of a texture for our leave. Now adding more mint green wherever I think it's required. So mostly adding it on top of the gradient green to subdue its intensity a little bit more. And with these, we add the leaves for now. If required, I'll be adding a little bit more colors later on. In here, once again, I'm using raw armor for the main stems and the branches, giving it a little bit more thickness. Here to a sequencing, I'm applying a little bit of medium freezer and just going over the outlines of the branches and the stems that we did, carefully adding it in between the leaves. Adding one in here. Now moving on to the upper section. I'm also adding a few more additional branches. If you don't want to do that, you can just follow the outlines that we created earlier and go over it, giving it a little bit of thickness for the top, making it a little bit thinner. Now let's make it a little bit of greenss in color. So a little bit of this viridiant green on top of the amber. As you can see, I'm applying very low pressure with it, and I'm not going to subdue the intensity of the brown with the green. Just a little bit of this viridant green to make the stems a little bit greenish in color. Creating a little bit more detailing for the stems. Creating these kind of small projections for the stems. Now going in with the mint green. Like we did earlier with the viridian green overlaying a little bit of this mint green on top of the rhumba. Here I'm applying a little bit more moisture as compared to the Midian green. So you can see that we are doing a little bit of partial blending using this since the intensity of the Rumber is quite darker. The mint green, which is a bit of lighter consistency of the color, it won't overpower the brown, so using it to do a little bit of partial blending for the stems and making it a little bit smoother. For the regions where the branch is connected to the stems of the blueberries, for that region, I'll be adding a little bit more of this mint green. For these leaves, making the outline a little bit more darker using this viridant green. Now, once again, continuing on with the mint green, overlaying this on top of the Ramber and doing a little bit of partial blending. If you don't want to do this, you don't have to do this. You can just use aqua color and overlay it on top of the amber and do a little bit of partial blending to make the branches a little bit more detail. Apart from that, if you want to make it a little bit lighter, you can add a bit lighter shades of the yellows on top on top of the amber and to make it a little bit darker, you can use burnt Siena or olive green to make it a little bit darker. You can also use black to make it a bit more darker, or you can just follow along with me and do the same thing that I am doing using this mint green. Adding it for the smaller stems at the top. Also overlaying a little bit of this on top of the leaves that we created, extending the sine of the leaf a little bit. Now we are basically done with the stems in the branches. If required, I'll be adding a little bit more colouring using a little bit of this mint green for the leave. Adding it for the smaller stems at the top. Using a little bit of the ment cream for the. And with these, we are done with the mint green fold down. Going back with the viridian green to make some of the sexon a little bit more darker, adding it particularly for the smaller leaves in here. Let's subdue the green a little bit with this mint green. This are just final details. If you're satisfied with how your project turned out, you don't have to do anymore coloring. For now, I'll only be doing a little bit of coloring for some of the section where I'm not satisfied where I'm not satisfied with the coloring. Using this meant green for some of the section, making some of the regions of the leaf a little bit lighter, redoing a little bit more blending for the stems and the branches. Using a little bit more brown to create a little bit more detailing, adding the stems to the blue berries in here and, yeah, overlaying this mint green on top of it. These are the final details for the project. And as I mentioned, I won't be creating shadows or background. If you want to do that, you can use different seeds of the gray, one or two shades of the gray to create the shadows for our blueberries and the leaves. In here a little bit of color was smirked using research to remove it. And with this, we are done with our project blueberry branch. I hope you enjoyed painting this. So this took a little bit more time as compared to other project. But yeah, we are done with the rough texted blueberries. A little bit more detailing for some of the sections. And finally, this time, I'm really satisfied with this and we are done with this project. I'll be seeing you in the next project. Happy painting. Okay. 14. Fresh Garden Blues : Welcome to the phrase garden Blues. This is one of the easiest and simplest projects of this class. In here, I'm using white to create a simple and smaller see for the blueberries. In here, I'll be creating three blueberries, a large stem, and two leaves. So this is going to be quite simple one. This too is going to be multi colored and multi layered. We'll be using eight or ten different colours for the blueberry. And if you want to make changes in adjustment, you can increase or decrease the number of the blueberries. You can also make changes to the seeds in the size of the stems that we have created. As for the leaves, too, you can increase or decrease the number of the leaves. So this will be our two simple leaves for this project. And I'll also be adding one more blueberry in here. This is our simple outline. And I'll be using olive greens, jade green and grass greens and moss green to do the coloring for the leon. And for the blueberries, we have got sapphire blue, pre winkle blue, ultramarine blue, light purple, and I'll also be using a little bit of pale yellow for some of the section. In here, I'm using the light purple, using this light purple for the upper part of the blueberries, applying medium pressure with this and adding it a little bit for the other side too. Now adding it for the blueberry in here, just surrounding the circle, just surrounding the center of the blueberries with it, adding a little bit of more. Now using this periwinkle blue, adding the prewwnkle blue for the middle section in between the outline section that painted with the light purple. Now using a bit darker color. So using ultramarine blue in here, using this ultramarine utue add the outlining on the other side, as well as overlaying it a little bit on top of the other two colors. I forgot to do the coloring in here. So using the pre winkle blue and adding it just beside the light purple that we used. Now using the ultramarine blue, making the outline a bit more darker with it. Making the outline a bit more darker for the other two blueberries at the top two. Now you're using blending stem to do the blending of this three color. Instead of this, if you want to use the QTIP, you can do that, too. But with this blending stem, I'll get a little bit more control with it, and I'll be doing the blending in different small section, following the curved sip of the blueberries and doing the blending for the entire section. To avoid smudging of the color, I'm using the tissue paper under my palm. Do the outlining from top to bottom so that upper part will remain lighter. If you'll be doing the outlining from bottom to top, darker colors from the bottom will spread a little bit towards the top and make the whole blueberries a bit more darker. But instead in here, we are doing the opposite, spreading the lighter colour, spreading the lighter colour towards the bottom and thus making the gradient a bit more lighter. We are done with the blending in here. Now, let's do the blending in here for the third blue berry in here following a circular seep of the blue bering and doing the blending in that manner so that we can preserve the curved sp. So to so that it's a little bit three dimensional. And with this, we are done with the blending of the primary layering. In here, I'm using darker color so sapphire blue, adding a little bit of texture a little bit for the upper part. A little bit just beside the outlines that we did with the other color with other color tram linu adding it in here, going over the outline for the center and a little bit beside it. Now let's redo the blending, applying heavy pressure with this blending stem to reduce the intensity of the sapphire blue and mixing it with the other three colors, the pre winkle blue, the ultramarne blue, and the light purple, doing the same thing in here, doing a partial blending of color and reducing its intensity a little bit. For the center, I'm not doing the blending right now, but I'll be making a little bit of changes later on. I'll be coming back to it later on. Hold down, let's do the coloring for the stems and the leaves. In here, I'm starting here, I'm starting with the moss green for the stem. So overlaying this moss green on top of the white outline that we used earlier to do the sketching. Make the stem a little bit more thicker. I'm not covering all the white that we used earlier, so a little bit of this white or the pale yellow that I use. Sorry, I mistakenly said white in the beginning. But in here I use pale yellow for the outlining. Here I'm using Jent green, a little bit different kind of green, overlaying this green, a little bit on top of the Muse green to add a little bit of more characters to the system. I'll be overlaying another layer of moss green in here, so a little bit of overlaying for the upper part of the stem with a moss green to subdue the intensity of the jet green a little bit. And we have created a beautiful stem for the blueberries. If you want, you can blend the color for the bottom part of the stem too. Now for the leaves, starting with the jet green, creating this kind of bit larger strokes to larger strokes in here. Now using this olive yellow, adding the olive yellow for the remaining section in here. Thank you. In here, I'm using the grass green. Adding the grass green on two sides of the leaves. So this is how we'll be doing the coloring. If you want to add other color or keep it simple, you can only use two or three colors, doing the same thing in here, starting with this jet green. So the jet green and the olive green will create the lighter section of the leaves and with the grass green, we'll be creating the darker regions for the leaf. Here too, we'll be doing the blending and later on, using the lighter sets of the colour to add the bedrops and the veins using Q tip to do the blending in here. If you want, you can also use the blending stem, but with a tip, I can do the blending a little bit more quicker, and I don't need that much of precision and accuracy in here to preserve the seep of the leaf. In case of the blueberry, we have to so that the blueberry was bit rounder, so I use the blending stem in there. So applying heavy presser with this tip to blend all the three colors. You can see that we have created a bit of gradient. The middle section is a little bit lighter and a little bit of different color because of the jet green. Let's do the same thing in here. For this leaf, I decided to make the bottom side a bit darker, so that's why I use the grass green in there. This leaf is a little bit more lighter as compared to the first one since we use the grass screen on both the sides of the leaf for the first one. But in here, we only use it for one side. Using the jet green to add the mid rips and the veins. Adding the veins coming out of the mid rib. Apart from this, I'll also be using a little bit of pale yellow later on. But for now, grating the mid rips and the veins, using this jet green. Overlaying a little bit of this green for the stem too. Now, let's make it a bit more lighter and add a little bit more contrasting effect. So using pale green, and you'll have to apply heavy presser with it to overlay it on top of this many layers of the green. Going over the outlines of the mid drops in the veins. And as you can see, I'm not covering the entire section of the mid drops in the veins with it, but only a small portion. Also using this pale yellow to create a little bit of highlight for some of the sections of the stems, a little bit of overlaying this on top of the jet green and the moss green. Adding a little bit of highlights and reflexion for the blue marries with small dots with the pale yow. Here too, you'll have to apply heavy presser with it, adding it for the upper part too. And yeah, with this, we are done with the pin yellow for now. Now, I decided to do a little bit of more blending for the leaves in here. So try to make the outlines of the leaves a little bit more crisper. So trying to make the outlines of the leaves a bit more crisper, blending the colors a little bit better for the outline region. Let's do the same thing in here for the stem that's connect to the main branch. So this is optional, if you are satisfied with the kind of leaf and the stems that you have created, you don't have to do the blending in here, but I decided to make the outlines a bit more distinct, a bit more defined and to create a little bit of blurry effect for the sides of the leaves and for the stems, too. I'm going over all the secon and doing a bit of partial blending for the colors. Blending the jet green, the moss green, and the pale yellow that we used. And you can see the difference just by doing the blending of the colors, we have made the outlines a bit more distinct and a bit more sharp. Now, once again, going back to the blueberries, a little bit of blending to subdue the intensity of the blues a little bit and also blending it with a little bit of the pale yellow that we use for reflection and the highlight. I'm also blending the stems to the blueberries, a little bit of it. And with these, we are almost done with this project. I decided to make some of the sex in a bit more darker. So using the sapphire blue to make the outlines upper part and sides a little bit more darker. Sub its intensity a little bit by blending it with the remaining colors. A little bit of blending. I'm I'm not going to do the complete blending of the colors. Doing the blending on the other side, too. And going back once again with the pale yellow to add a little bit of more highlights for the upper part. Adding a little bit of highlights for the outline section too. In here, too, I decided to add a little bit more highlights and do a little bit of outlining with it. And with this, we are done with the project. These are all additional things that I am doing to make it a little bit more clear a bit more risper. Using this cutip to blend color a little bit for the stem, in here, I decided to extend the stem a little bit. So blending it with the remaining section of the stem. And with these, we are done with this project. So this is quite simple and quite easy, and I hope you enjoyed this. Let's unmask our painting, and I'll be seeing you in the next project. Happy painting. 15. Midnight Blueberries : Welcome to this project, Midnight blueberries. This is a little bit different. For the last two project, we'll be using black colored paper. It has got a little bit of smooth traction. Let's start with a simple pencil sketching. In here, I'll be creating a total of 11 blueberries and lots and lots of ya. Starting with creating the oval seed, a bit larger oval seed for our blueberries. In here, I'll be creating a total of four blueberries. Two of them will be in the front, and other two will be sling behind them, creating the outline for the third one. And here's the fourth one that lies behind this one. In here, we have got three more, one more oval seed in here for the last blueberries. When I'll be creating the leaves, I'll be overlaying some of the leaves on top of the blueberries. A few more blueberries in here. And as for the leaves, just create simple lines like this and then and then we'll be giving it a little bit of more seed as it's not visible clearly in here, so that's why I've included the finished image. Continuing on with creating the simple outlining for our leaves, simple leaves like this. You'll be creating lots and lots of leaves for this, feel free to make changes in adjustment. You can increase or decrease the number of the blueberries. You can do the same thing with their side. You can make them a bit more larger or more smaller. Same goes for the lm. You can increase or decrease the number. You can increase or decrease the size. You can play with the placement of both the blue berries and the leaps. So feel free to experiment on your own and add your personal touches. One more leaf in here. For now, I'll be creating leaves. I'll be overlaying some leaves on top of the blueberries. I'll be creating few leaves behind the blueberries. You've got the idea, but I mean to say, add as many leaves as you want. Just don't oversaturate it. One more single blueberry in here. This is going to our simple pencil sketching, lightly raising the pencil mask, ensure that the small section of the pencil sketch remains visible so that we can use it to do the coloring. As for the coloring, we won't be needing that much of color for this. I'll be using Bustos artist oil pastel. For the leaves, I'll mostly using viridian green and halo green. For the blue berries, we have got royal purple, Prussian bloom. I'll also be using black and white. Apart from that, I'll also be using lemon yellow for the leave. Basically, what I'm going to do is adding this lemon yellow on both sides of the leave. This lemon yellow will act as the primary layering for pan lean. You'll have to apply a bit of medium presil on both sides of the leave. Here I decided to do the outline for the leaves first and then we'll be continuing on with adding the lemon yellow on both the sides. Go with the outlines of all the leaves that you have pretend with this lemon yellow. Applying mini pizzer to go with the outline and just simple peachic seeds in the mid drips in the middle. And then we'll be adding the lemon yellow on both the sides. Still, if you want to increase or decrease the numbers of the leave, you can do that. You can make them a little bit larger, a bit smaller. You can also change the placement. So feel free to experiment and add your personal touches to it. Apart from this, as I mentioned, I'll be using viridian green and halo green on top of it. I'll also be using a little bit of whine to do the outlining later on and add a little bit of highlights. For now, continue on doing the outlining for the remaining leaves that we have created in here. Here's another one. Simple leaves for the leaves like this. Here's another set of two leaves. After doing the outlining for all the leaves, I'll be adding lemon yellow for the inside. We have got smaller leaf in here. Some portion of the leaves some portion of the leaves lies behind the blueberries. One more leaf in here. Feel free to add few more leaves. If you want. You can increase or decrease the saves or the sizes. I'm satisfied with the number of the leaves in here now, adding the yellow for the insides of the leave, lemon yellow. And here we apply medium presser with this lemon yellow, adding it on both the sides. You can consider that I am doing a little bit of sting or you can consider that we are using hatching limes to add this kind of first layering for our leaf. This lemon yellow will act as the first layering and it will make this portion, the two sides of the leaf, the middle portion of them a little bit lighter since we'll be overlaying to more colors on top of it. Continuing on with adding the lemon yellow for the remaining leaves in here. Simple hatching line like this to do the coloring for all the leaves that we have created. If you want, you can add few leaves in here at the top, extending the stems a little bit like this. I forgot to add the coloring for the two leaves at the bottom. I'll be doing that later on. For now, going with the white and yeah creating simple oval seeps like this, put the blueberries. We have got a total of ten blueberries in here. Feel free to make changes to the seeds in the crus of the blueberry. You can increase or decrease the number of the blueberries still. Apart from that, you can also change the placement of the blueberries. You don't have to stick with the pencil sketch that you have cleated. As I mentioned, feel free to make changes in adjustment, add add your own personal touches to it. Going over the outline of some of the blue berries, making them quite thicker. And as I mentioned, I'll be adding the calx. I'll be adding it, but in here, I decided to do the outlining for the stems first, a little bit of outlining for the stem, and then I'll be coming back with the white to create the calex using this raw umber to create the outlining for our stem. This is going to be the main branch, and then we have got lots of small stems that are connected to the leaves and the blueberries. As we progress, I'll be decreasing the width of the stem and the main branch. For the upper side, we have a bit thicker branch, and as we move away, a bit thinner branch. I'll also be branching the main stem into different section for the lower half On top of this, I'll be adding a little bit of lemon yellow so that the color of the leaf and the system will be somewhat similar. With these, we are done with the Ramer for now. Going back with the lemon yellow, a little bit of this lemon yellow on top of the ramur that we just used. I decided to create one more leaf in here. Only a small section of the leaf is visible. If you want, you can add few more leaves in here at the top. We have got lots of empty spaces. Overlaying this yellow on top of the amber in this manner, adding it for this section, the thicker section of the branch. And for the remaining two leaves in here, adding this lemon yellow on both side. Add more lemon yellow wherever you think it's required for these leaves in here, a little bit of lemon yellow on both the side. Also increasing the length of the leaf a little bit, adding more yellow on the sides. And with these, we are done with the lemon yellow phone now. And as I mentioned, going back with the white to create the calex for our blueberries. Simple elliptical seep like this for the calix. On top of the calx liter on lv using Prusin blue, create this kind of small oval seep or elliptical see for the bottom of the blueberries in this manner for the calax. And with these we are done with the white for now. Now, we'll be doing the coloring for our blueberries. I'll be using royal purple and prosen blue, starting with the royal pulper to do the coloring to give it a little bit of three dimensional see at the royal purple in this manner, following the curtsy of the blueberries. We are not going to cover the entire section. We'll be living a little bit of empty spaces in between the royal purple and the white in this manner. So just follow the curved shape, the contour of the blueberry, and add it in this manner. For the sides, we have a bit larger lines. For the middle section, we have a bit smaller lines. And here I'm applying a bit of medium preser to add this royal purple for the blueberries. Continuing on with adding the royal purple for the remaining blueberries. We have got three more blueberries, following the curve strip of the blueberries and adding it in this manner so that it will look more three dimensional. And with this, we are done with the royal purple for now. Now going in with the ruchinbum mostly adding this Bluen blue on top of the royal purple. Once again, follow the curve stripe of the blueberry and add it in that manner. The sides will be a little bit larger, the middle portion bit smaller. Overlaying on top of all the blue berries that we have created. Here, too, you'll have to apply medium to high placed to overlay this on top of the royal purple. Now we are going to do the blending. We are going to extend the royal purple towards the calex as well as to the blending of this royal purple along with the crcine blue. And apart from that, we are also doing a little bit of blending with these two colors with the white of the outline section. Here, too, you'll have to follow the curd ship of the blueberry so that it will look three dimensional. Instead of doing the blending in circular manner, do this, follow the curds. For the region near the calax you can do the blending in circular manner, but for the remaining section, just follow the curd ship of the blueberry and do the blending in this manner. This process is going to take a little bit of time since we are following the curd sip of the blueberry and not doing the blending in any other manner. Since we are using the blending step, it takes quite more time. The reason that I'm using the blending stem instead of using the tissue paper or Q tip or my finger. With this blending stem, I'll be getting a little bit more precision and control over the blending. Apart from that, if I have used the tissue paper or my finger or the tip, a little bit of the oil pastel would have stuck to them on the tissue paper or the tip or on my finger. But in here with the blending stem, most of the color will be remaining on the paper. So that's why I choose to use this blending stem to do the blending for the blueberries in here. We are basically done with the three blueberries at the top, continuing in here for the cluster of four blueberries. Extending the colour to do the blending, first blending the Prussian blue with a royal purple, then extending the royal pb towards the white cex that we have created. Este, if you want to increase the number of the blueberries, you can do that. You can add few more blueberries using the white. You can start witholining them and then use the same colored skin, the Prussian blue and the royal purple. Continuing on doing the blending for the remaining blueberries that we have in here, a total of five blueberries in my case. In this manner, I'm doing a little bit of blending of the white, just following the curtsy of the blueberry and a little bit of blending of this royal purple and the Prussian blue with the white. After doing this, I'll be going back with the Prusine mile to add a little bit of detailing for the calex. Mostly, I'll be overlaying a little bit of prusin milw on top of the white of the calex and try to create a circular s, and then I'll be going in with the black to make some section of the calex a bit darker. We'll also be using a little bit of black for the side of the blueberry if required. And lastly, I'll be using white to add the reflection or you can say highlight on one side of the blueberry. For that, you'll have to apply heavy present. The more layer you use, the more present you have to apply so that the color will stick on top of the other layers. Continuing on doing the blending, we have got three more blueberries. Mostly, for this section of the project, I'll be doing the blending for our blueberries and a little bit of blending or more coloring for the leaves. And then we'll be continuing on the coloring in the next section of this project. Doing the blending for the second glass. Doing the blending for this one, following the curve shape of the blueberry, blending the Prussian blue with a royal purple and then extending the royal purple towards the galaxy. You have reached the last blueberry, do the same thing. Follow the curve shape of the blueberry, doing the blending in that manner, extending the Prussian blue and extending this royal purple towards the galax And with these, we are done with the blending for our bluebries. And as I mentioned, going back with the Prusin blue, applying heavy pressure with it to overlay it in top of the white, the galax Apply heavy presser and try to create a bit of ovals. It's quite difficult in here, but I'm just adding a little bit of Prusin blue on top of the white. I'm not covering the entire section, but mostly most of the section of the calax is covered by this Prussian mew. Now, going in the black, small.in here at the middle of the Calex. Here, too, you'll have to apply a bit of heavy preset to overlay this on top of all the layers of the colours, the white, the Prussian blue, and a little bit of blending. And with these, we are done with the black for the Calex. I'll be seeing you in the next part of this project in which we'll be doing the coloring for our leaf. 16. Colorful Blueberries : Welcome to the second part. Let's continue where we left off. In here, I'm starting with the radiant green for the leaf. Overlaying this with radiant green on top of the lemon yellow that we used earlier. I'm not going to cover the entire lemon yellow that I used earlier, but for most of the section, the simple overlaying in this manner where this radiant green. Apart from this, we'll also be using a little bit of halo green to create our mid ribs and the veins, and I'll also be using lemon yellow and quite a little bit of white. For now, continuing on doing the coloring for the remaining leaves that we have, you don't have to stick with the same color combinations that I'm using. Feel free to use other seeds of the green and other colored schemes to do the coloring for the leaf. Now for the remaining three leaves in here, filling this in this manner, applying medium pressure with this viridian green. Now for the last leaf in here, a little bit of ridian green in this manner, overlaying it on top of the lemon yellow. And finally, add more riden green wherever you think it's required. And the regions where you have not added that much of ridian green. With this, you are done with the idiant green. You're going to do a blending using the QTip to do the blending, a bit of partial blending, apply medium to high presser to do the blending, the lemon yellow with the viridian green. And just beside the blueberries causes and carefully do the blending. Here, if you want to use the blending stem, you can use that. But in here, we don't need to add that much of precision. Just be continuing on with doing the blending using this Q tip. This process is going to take a little bit of time since we have got lots of leave blending and blending with the Q tip takes a bit of time. So be patient and continue on with doing the blending. Instead of doing the blending, you can just create a smooth texture by overlaying more layers of the colors on top of it and creating smooth texture by overlaying of the colors. Apart from that, you can also opt out to create rough texture. So just layers and layers of the coloring to get a little bit of rougher texture for the leave. You have got the choice. Other you can follow along with me and do the blending for all the colors. Or you can just create smooth blending by adding more layers on top of it and apply heavy freezer, or you can create a bit ruffo texture. But for now in here, I'll be continuing on with doing the parcel blending for the remaining leaves in here. Using the tissue paper underneath my palm to avoid the smudging of the color. We have got around one, two, three, four, five, six, seven, eight, nine, nine or eight or nine neels in here. Using the tissue paper underneath my palm to avoid the smudging of the color and continuing on doing the blending of these two colours, the lemon yellow, and the viridiant green. Since we have got a little bit of a piece at the top and the bottom on the bottom right side, if you want, you can add another stem in here, a bit smaller stem with fewer small blueberries in. And instead of that, if you want, you can also include only the blueberries. You can also add more resonant touches to the project by adding a little bit more additional elements to it. In here, we have got five more leaves. Continuing on with the Q tip to do the blending of the color. After doing this, we'll have to create the mid ribs and the veins, then do the outlining for some of the sections of the leaf. We'll also have to do the coloring for the main branch in the stems, and I have not added the highlights for the blueberries, so I'll be using white to do that. We have got five or six more things to do, then we'll be completing this project. We have got two more leaves in here. It took me around four to 6 minutes to do the blending for all the leaves in here, and this is the last one, a bit of parcel blending of these two colored lemon yellow, and the viridian green. Would these done with the leaves a little bit of blending of the color for the stems in here. If you're not satisfied with the blending, you can do a little bit of more blending. But for now, I'll be continuing doing a bit of parcel blending for the stem that we have in here. The upper portion of the stem, a bit of partial blending of the color in this manner using the tip a little bit more blending in here and this beside the blueberry to make it a bit more thicker, since the stem beside the blueberry was a bit thinner. You can also use the tip in this man to make the outline of the leaves a little bit more defined or you can also make them a little bit blurry. For some of the leaves, I'll be doing the blending in this manner, near the outline intersections. Apply a bit of medium to heavy presser and do the blending in this manner for the leaf. And if you want to create a bit of blurry effect, you can do that, too. You just have to apply a little bit more presser and change the angle of the tip at an angle, you can create a bit of blurrying effect using this tip. And after doing the coloring and adding the mid drips in the veins, we'll be making some section of the leaves a little bit more detail. So another layer of outlining at the later stages of this project. Do the blending carefully near the blueberries. We don't want the greens and the blues to mix. Now, using the halo green to add the midrib and the veins. Right now, it's not that much visible, but when we'll be adding a little bit of more detail by using lighter seeds of the colour to go over the mid drops and the veins, it will become a bit more apparent. And since we'll be using a bit lighter seed, it will create a bit more contrasting effect. So that's why I decided to use this holo green, a bit darker seat of the green and which is also more similar to the coloring of the leaf. And instead of using this halo green, if you want, you can use other seeds of the green to create the outlining. In that manner, you don't have to redo the outlining later on. You can use a bit lighter seeds of the green. You can use lemon yellow, you can use white to create the mid ribs in the veins, or you can also use more darker sades of the green so that the mid ribs in the veins will be more clearly visible on top of the two layers of the greens that we use to create the leaf. Just simple plain mid dress with lots of veins on both the sides. Simple and plain, sometimes curved, sometimes intro mids for all the leaves and beside the meats on both the side, creating multiple veins. And yeah, with this, we are almost done with the ho green. Add a little bit of mon halo green wherever you think it's required. I mean, I mean. Money. Now in here, I'm going with a blending stem to do a little bit of mon blending for some of the section of the blueberry, particularly the white outlines that we created, a little bit of blending of this white colour to the remaining blues and the purples. If you are satisfied with your outlining, you don't have to do this, but I decided to subdue the intensity of the white a little bit, so just decreasing its intensity a little bit by blending it with the remaining section of the blueberry. In here, I'm applying medium to high press to do the blending. To blending it a little bit more smoothly, you can just use a little bit more of the royal purple and add it beside the white section and then do the blending of the two colors together, the white and the royal purple. And with these, I'm satisfied with it. Now. In here, once again, using white to create the small highlights and reflection. Simple cove lines like this to add the highlights, particularly on the left side. So for all the blueberries in here, just creating this kind of simple circular sap, simple, curved sap like this, adding it for in here. As usual, you have to apply heavy presser in here since we have got too many layers of the colors in here. And as I was mentioning, to create a little bit of more contrasting effect for the leaves in here, I'm using white and overlaying it on top of the halo green. So we'll be redoing some of the sections of the mid drops and the veins using this white. Apart from the white, if you want, you can also use the lemon yellow to do the same thing. In here, I'm applying medium presser and overlaying it on top of the tho green for the leaf. Now going over the outlines of the veins, I'm not going to go all the outlines of the wins that we have created. This is optional if you don't want to do this, you can just keep it as it is. And as I mentioned, you can also use lemon yellow to do this, or you can also use lighter seed of the green like pastel green or grass green to do this thing to do the mid upps and the wins in this manner. We have got a few more leaves at the top around eight or ten. Continuing on with going over the outlines of the mid ribs and the veins with this. After doing this, we'll also be doing the outlining for all the leaves. So I'll be making the outline a bit more crisper and a bit more detail. But if you are satisfied with the outlines that you have, you don't have to do this. Earlier, we used a QTIP to do the blending for the outlines of the leaf. So if you want to keep it as it is, you don't have to do this. Adding the mid drops and the vein for the remaining two leaves in here, and this is the final leaf in here, multiple veins like this. And this is the optimal part. Just going over the outline for the leaves in this manner. If you don't want to do this, you can just leave it as it is only with the mid drops and the veins with the wine, or you can just follow along with me and do the outlining for all the leaves in this manner. I'm making one side a little bit more lighter. So, particularly on the left side, I'm doing outlining and a little bit on the right side, too. P down just continuing on with doing the outlining, particularly for the left, a little bit of outlining for the one side of the stem in this manner. I decided to make the highlights a little bit more darker so a little bit more white in this manner for some of the blueberries. Now, add more white wherever you think it's required to do the outlining or add a little bit more midrift or the veins for some of the leaves. A little bit of color is must in here, using ser to remove it. I decided to do a little bit of more outlining for some of the leaves adding the outlining on the other side of the leaf, too. Once again, this is optional. If you are satisfied with your project, you don't have to do this. Carefully doing the outline in here and this beside the blueberry in the stem. Doing the same thing here, extending the lines on the right side to do the outlining for the leaf. You have got three or four more leaves in here. Outlining the leaf in here, the leaf that lies behind the blue berries. With this, we are done with the white for the outlining and the highlights. If you want to add a little bit more detailing or final touches, feel free to do that. But in here, I'm satisfied with it, how it turned out. A little bit of detailing for these leave and this is how this project turned out. I hope you enjoyed painting this one. It has lots of blueberries and lots of green, so a vibrant project, indeed. I'll be seeing you in the next project, happy painting. 17. Big Branch Berry : Welcome to Big Branch Project. Let's start with a simple pencil sketching. In here, I am using smooth light colored paper, and in order for the lines to be visible, I'm using white colored pencil to do the outlining a total of three large blueberries. This is going to be a first blueberry. Second one line behind this, another large circular see for the blueberry. And this is going to be the third and the final one. Apart from this, I won't be creating any more blueberries. But if you want to include more blueberries, if you want to increase or decrease the side or change the placement of the blueberries, feel free to do that. Connecting this third blueberry to the main stem. As for the leaf, I'll be creating a total of four large leaf. This is going to be the main stem. As we progress, I'll be increasing the width of the stem in this manner. Extending the remaining portion of the stem in here at the top. A total of three large leave in here, starting with creating the outline for the midrib of the leaf, doing the outlining for the remaining section. Simple seep like this for the outlining. This is going to be the second large one. Connecting it to the stem. Ones. And third one in here, a bit smaller one. I'll be creating one more in here, increasing the width a little bit like this in here. With this, we are done with a leaf at the top. Now for the leaf in here, starting with the midrib on this side, I'll be adding the leaf on the other side, so extending the midrib like this on the other side. So this leaf in here is a little bit band. So some portion lies on this side, the remaining portion on the other side. If you want to add few more leave, feel free to do that. Now, rough outlining for the calax of the blueberry. For this one, only a small portion is visible. And for the remaining two, we have got this kind of wet polygonal star like seam. This is going to be our simple pencil sketching. Let's do the coloring in here. I'm starting with the darker side of the color, so sin blue. Primarily adding the crosin blue for the lower sections of the blueberry, and add the coloring following the curved sip of the blueberry so that we can give it a little bit of more three dimensional look, adding it for the second one. As you can see, I'm not adding a lot of it. Only a small section of the blueberries are covered by this Russian blue. The third and the final one in here, following the curved trip of the blueberry and adding this color in this manner. Applying medium presser and creating small strokes. Particularly adding a little bit more on one side of the blueberry at the maze. With these, we are done with the Prussian blue four now. Going with a lighter side. So in here, I'm using fluorescent sapphire blue, overlaying a little bit of this fluorescent sapphire blue on top of the prosen blue and creating another layer and creating another layer in this manner. Adding it for the third one, creating small strokes with this while following the curve sip of the blueberry, overlaying a little bit of this fluorescent sapphire blue on top of the Prusian blue while following the curd ip of the blueberry. And with this, we had with the fluorescent sapphire blue for now. Now, going in with the white to make it a bit lighter, adding for the remaining section in here just beside the calex and besides the fluorescent sapphire blue that we used earlier. We have got the darker d as the Prussian blue, lighter side as the fluorescent sapphire blue, and this is the lightest one simple and plain white. Creating this kind of small random strokes with this white. So this will be the three coloring for our blue baries going back with the Prusine blue for the calec following the star like seep and adding the Pusan blue in that manner. Apart from the proinblue, I'll also be adding a little bit of black. For now continuing on with the fluorescent aphire blue for the cex a little bit in this manner. And now we are going to do the blending. Sure. Using the Q tip to do the blending in here, apply heavy places so that we can blending both the color, the protein blue, the sapphire blue, and the white. Do the blending by following the curd sip of the blueberries so that we will get a little bit of more three dimensional look. Continuing on doing the blending for all the three colors that we have in here while following the court scene, mixing the white with the fluorescent blue and the florescent blue and the flourescent blue with the Prusan blue. With these, we are done with the first one. We'll be doing the same thing for the second and the third one. To make it a little bit lighter, you can just start the blending from top to bottom. What I mean is that you can extend the white towards the sapphire blue and then sapreblue towards the Prusine blue. In that manner, you'll be making it a little bit lighter. And if you do the opposite thing, that is extending the Prusine blue on top of the fluorescent sapphire blue and fluorescent saphre blue on top of the white, then you can make it a little bit darker using the tissue paper so as to avoid the smudging of the color paper palm applying medium to heavy preset to do the blending for the third and the final one while following the curve sip of the blueberry. On top of it, I'll be adding a little bit of white to add the reflection and highlight later on, as well as doing the outlining for some of the sections so that the blueberries will be more clearly visible. Right now, it's not looking that much clearly distinct from the color of the paper, so I'll be doing that later on. A little bit of more blending in here. Going back with the protein to make some of the regions a bit more darker. So so the sado casted by the blueberries in the front. First blueberry on top of the second one and doing the same thing for this third blueberry, a little bit of the cado casted second one, applying a bit of heavy preset to overlay this on top of all the layer of the color. Also, making it a little bit more lighter in here, a little bit of white in this manner. You'll have to apply heavy press so that you can easily overlay it on top of the blending of the colors. Same thing in here. Just beside the Calex a little bit of white in this manner. A little bit of white in here for the third and the final one. Now we are going to redo the blending, starting with blending this white near the calx to make the region near the calx bit more lighter. Following the seep of the calx and doing the blending, doing the same thing in here for the second one, for the third and the final one, the same thing, blending the white while following the curve ship of the blueberry, extending the line towards the base. With these, we are done with the blending of the white for the regions near the Calex Okay. A little bit more blending of this white for this first blueberry. And with this, we are done with the blending. As for the Prussian blue that we added, I'll be doing the blending later on, but for now, continuing on with the black to create a clear distinction in between the calax and the remaining coloring of our blue berry. Redoing the outlining of the calax in this manner, adding a little bit for the inside too for the regions where we added more protein to make this more darker, adding a little bit of black in this manner, overlaying it on top of the Prussian blue. Once again, going back with the QTIP to do the blending in here, we are doing the blending of the black, the Prussian blue and the first layer of the blending that we did at the beginning, doing the same thing for this first one, blending the black and the Prussian blue with the remaining coloring in here. Card in the final one, same thing. Black, Prussian blue, and the remaining color of the blueberry that we have in here. Make this a bit more darker in here, extending the color a little bit like this. Now for the insides of the calx, a little bit of blending of the color, the black and the Prussian blue. We are not going to completely turn this into a black colour Calex but a little bit of blending in this manner. And with these we are done with the blending, put the calx for now. I'll be making the calx a little bit more lighter. So now going back with the fluorescent sapphire blue to add it inside the cex in this manner to make it a bit more lighter, redoing the blending for the inside to make the regions near the center part of the calx bit more lighter. Simply blending it in this manner. Add more colors and do more blending till you are satisfied till you are satisfied with your calx and the remaining portion is beside it for the blueberry. Is that there is a clear distinction between the calex and the remaining portion of the blueberry. We'll be doing the coloring for the leaf, starting with the pistil green. So this is going to be our first layering for the leaf. Using it to do the outlining and now we are going to feel the entire section with this pistle green. You don't have to use the same color that I'm using. Feel free to use other colors. Apart from the pistil green, I'll also be using hallow green, a little bit of bottle green and radiant green. As you can see, I'm applying medium pressure with this pastel green. Making the outline a bit more distinct. A small section of the stem in here like this. And I'll be making this kind of rough outlining for our leaves. So using this pastel green to do the outlining in this manner. If you want to keep the leaf plain and simple, you don't have to add this. A little bit more of the pastal green for the inside. Now, we'll be doing the same thing for the second and the third leaf that we have in here. For this project, I have divided into two sections. This is going to be the first part. In here, we'll be doing the coloring for the leaf, the blueberries and a little bit for the stem. And in the next section, we'll be adding more detailing for the leaves and full coloring for the stem so that can complete it. A. The whole video in real time, so you can always follow along with me. And with these we are done with this leaf. Let's do the same thing for the leaf at the top. Starting with a straight line for the midrib of our leave now, removing the masking tin so that I can create the outlining for our leaf properly. Doing the outlining with this pastel green for this leaf at the top. Now we are just going to completely add this pastel green for the inside, the outline section of the leaf that we have created, extending it in this manner towards the main stem. Now we are going to create the rough edge in this manner. Simple seep like this to create the rough edge like this. In here, since we'll be creating the rough edge for both the leaves on this side, so there will be a little bit of overlapping of the leaf. The smaller leaf we'll be covering a small section of this larger leaf or just deposit, the larger leaf we'll be covering a small section of the smaller leaf. We now continuing on with doing the outlining for this side. And with this we had done with a large leaf for the smaller leaf in here. As I was seeing, this leaf, a small portion of this leaf is overlaid on top of the larger leaf, or you can just do the opposite. Now creating the outlining in this manner for the other side like this. And with this we had done with three leaves at the top, doing the same thing for the large leave in here. We have did the outlining a little bit more outlining for the region near the blueberries so that we don't mistakenly add this pastel green on the blueberries. Now we are just going to feel the entire section like this, adding it carefully in here on the other side. Do the outlining near the blueberries and then feel the remaining section of the outlined region with the pastel green. And lastly, creating the outlining in this manner. For this section just underneath the blueberries, I'll be making the leaf a little bit more darker. So we'll be making some section of the leaf a bit more darker, especially near the stem. And the remaining section, the upper part of the one side will be keeping it a bit lighter. With these, we are done with all the three leaves in here with the pistle green. Now going with the second green. In here, we are using the viridian green. Overlaying this dent green on top of the pistle green in this manner. We are not going to cover the entire section, adding it particularly beside the midrm doing the same thing for this smaller leaf in here, a little bit of this radiant green just beside the mid drum, extending the color a little bit for this larger one, extending it towards the main stem, now for the third and the final a little bit of the viridian green in this manner. Now let's do the first layer of the blending for our leaf. Blending this viridian green with pristl green from earlier. This is our first layer of the blending for the leaf, we'll be doing more layering. We'll be doing more layering, two or three more layering. But for now continue on doing a bit of partial blending with pastel green and this viridian green. Do the blending carefully near the outlined region. We don't want it to make it smoother or bit blunt. Doing the blending carefully near the blueberry. And with this, we are done with the leaf at the base. Now for the three leaves in here, the same kind of simple blending of the color, the gradient green with a pastel green. To make this process bit faster, you can use your finger tip or you can use tissue paper. Continuing on doing the blending for the remaining section for this large leaf. Oh Now, let's do the blending for the remaining two leaves that we have in here, starting with the smaller one, landing the pastel green with a radiant green. If you want to add few more leaves, you can do that at the base. And with these, we are almost done with a smaller one, a little bit more blending near the outlined region. Adding it carefully near the blueberry. And finally, doing the blending for the large leaf in here. Starting with doing the blending near the outline region and extending the colours towards the midrib, doing the same thing on the other side, extending the colour towards the mid drip to do a bit of partial blending of the pistal green with the viridian green. We are not aiming for a smooth blending for now, just a bit of partial blending like this, as we'll be adding a few more colours on top of it and we'll be making it a bit more detailed and bit more defined. That's all. I'll only be covering up to here in this section of the project. And I'll sing in the next part of this project. Happy painting. 18. Large Berry Blending : Welcome to the second parts. Let's continue where we left off. A little bit of mound blending the colors we required with the co tip. If you're satisfied with your blending, you don't have to redo it. I'm just blending a little bit of this color near the outline region since the region just beside this outline region is a little bit more lighter. So that's why I decided to do a little bit of blending in this manner near the outline region, a bit of blending of the past ruin with a radiant green to get somewhat of same consistency of the color for the entire region of the leaf. For this stem, I'll be using raw an along with the red oxide. Here I'm going with the bottle green, creating the mid rib like this. Adding the mid for this one, too. And for the third and the final one at the top. Also making the region near the stem a little bit more darker. For the regions where you want to sow the cados or a little bit of dark or a little bit of region for the leaves, add a little bit of this bottle green. As you can see, I'm particularly adding it in one side of the leaf so that I can make it a bit more darker. In here, adding a little bit more, so as to sow the cados cast why the blueberries had made this region a bit more darker. Making the midrib a little bit more defined by adding more lines in this manner. Extending this bottle green towards the upper part like this. A little bit more near the blueberry in here. In here, I'm going with the halo green. You don't have to use the thalo green, you can continue with the bottle green. In here, I'm creating the veins coming out from the mid drops, numerous veins following the seep of the leaf in this manner, doing the same thing for the leaf in here. For the remaining two leave the same thing, creating the numerous veins coming out from the mid drops, using this tho green. And with this, we're done with the thalo green for now, I'll be using a little bit of more. I'll be using a little bit more of this bottle green. Overlaying a little bit of bottle green on top of some of the veins that we created with the halo green. Now let's do the coloring for the main stem. So in here, I'm starting with red oxide. Start with doing the outlining for the mainstem, and then we'll be filling the insides with this red oxide. We're not going to completely fill the inside, only a small portion of it. Later on, I'll also be using raw sienna for the inside, and to give it a little bit of greenish color. We'll also be using a little bit of green for now, connecting the blueberry to the main stem, doing the same thing in here, connecting the leaf to the mainstem with this red oxide. You don't have to use the same colour that I'm using. You can use the other shades of the browns and the green to create the stem. And with these, we are done with the red oxide for now, now going in with this raw iana, filling the remaining inside with this raw ana. Now for the upper part, too, a little bit of overlying of this raw iana on top of the red oxide and then filling the remaining section. Blending the two colors a little bit, the rawhiana, the red oxide, and the greens in here. Adding a little bit of green to make this stem a little bit greenish in color. And here as you can see, I'm applying very low pressure with the oil pastel. In here, as you can see, I'm applying very low pressure with the pistil so that only a thin layer of the green will be applied on top of the asiana and the red oxide, doing the same thing in here for the stem. For the stem that is connecting to the blueberry, a little bit of more color, extending the green from the leave towards the main stem in this manner. Now, we are going to do the blending. So once again using the Q tip to do the blending for all the three colors that we have in here, the red oxide, the asana, and the green, a little bit of partial bending of the color. We are aiming to preserve a little bit of a rough texture for the stem. But if you want to do a smooth blending, feel free to do that, too. Just extending the colors to do the blending, a bit of partial blending Now for the colors in here at the top, mixing the browns, the greens for this upper part of the blueberries, mixing the browns and the greens in here at the top. Now going with the darker side of the green, the bottle green. A little bit more of this bottle green on top of the tho green that we used earlier to create the veins. It's overlaying this on top of the tho green from the earlier, making the mid rips and the veins a bit more distinct and a bit more sharper. In here, as you can see, the hogreen did not do the work properly. The veins in the mid rips are not that quite visible. So that's why I decided to redo some section of the wind drips and the veins with this bottle green. And with this, we are done with this mottle green for now. Using a bit lighter so does the green once again to make it a bit more lighter for some of the sections, particularly in here for this one. Also, the system is looking quite dark so a little bit more of this raw sienna and mostly adding it near the outlined region. Adding a disc below the blueberry in here. If you want, you can also add a little bit for the upper part too. Now going with the red oxide to reduce intensity a little bit. A little bit of more blending of the color in here, the greens and the browns. Just do a partcel blending by applying low to medium presser in here in this manner. More greens near the blueberry. So for now, I'll mostly be doing more coloring and more blending wherever it's required. In here, I'm using white, removing the other colored pistils stick to the pistle here in this manner. Using white to create the reflection on the highlight for the blueberries. Simple exclamation marks like see Adding the highlight for this one, too. And finally in here for this one. Adding it just above the Calex. Also using it to do a little bit of outlining for the lower side of the blueberry with the white, doing the same thing for this one, the lower portion. We're using this white to create a clear distinction between the blueberries. A little bit of more blending of the colors wherever you think it's required, you can also blend a little bit of white to the remaining color of the blueberries. More of this prosin blue in here, just beside the white that we just used. As I mentioned, these are just additional retailing. If you're satisfied with your project, you don't have to you don't have to do it. But I just decided to do a little bit more detailing. In here, this time extending the colour to get a little bit of blurring effect for the beads stem, a more blending of the colors in here for the stem. Here, too, if you want to use a bit of white to do the outlining for some section, you can do that. You can also do the outlining for some of the leaves. On this side, we can create the remaining portion of the leaf. Extending the color in this manner for the leaf, the pointed edge, creating the pointed edge in this manner. If you're not satisfied with the outlining for the leaves, you can do a little bit more outlining and make the edges a bit more sharper. Blending the colors a little bit more the color that we just added right now. I decided to make this bit more darker, so a little bit more green for the leaf, particularly just beside the stem and just below the blueberries. As I mentioned earlier, if you are satisfied with your leaf and the project and the blue berries, you don't have to add more colors. I'm just adding a little bit of additional retailing for some of the section that I'm not satisfied with it. And with these, we get done with this project. I hope you enjoyed painting this, and I'll be seeing you in the next one. 19. Red Colored Paper: Hi and welcome to get another bonus project. In here, we'll be creating two colored blueberries, purple and blue ones, a little bit more detailed ones. In here, I've already started with a simple pencil sketch. There will be a single main branch and few smaller stems with lots of blueberries and we'll also be creating various leaves, a little bit different kind of leave. So just follow along with me and create this simple pencil sketching for the blueberries. You don't have to stick with the same pencil as sketch that I am making. Feel free to make changes in adjustment and add your own personal touches. In here, I'm using the pencil very lightly to do the sketching. I won't be erasing the pencil mark since the paper is dark colored and I'm applying light preacher. I'll directly be starting with the coloring. As for the colors in here, I'll be using mauve, violet, cobalt blue, Prussian blue, light purple, lemon yellow, olive, olive brown, lilac and yellow green, continuing on with creating more smaller and larger berries. Mostly, I'm keeping the sizes of the blue berries somewhat uniform. I'm just wearing a little bit, making it a little bit larger or a bit smaller. But overall, the sizes are somewhat same. Adding few more blueberries in here, simple circular see like this. You don't have to stick with the same colored paper that I am using in here. You can use other colored paper or you can just use plain and normal white colored paper to do the project. And here with these, we are done with a simple sketching. Earlier, I said that I won't be raising the pencil marks, but I decided, why not? Let's erase it a little bit since we'll be using a little bit lighter sades of the color. So that's why I decided to remove the pencil marks a little bit. Let's do the coloring. In here, I'm directly starting with a lighter sad of the color, light purple to do the outlining for all the blueberries. I won't be adding the colours for the inside. I'll only be doing the outlining going over the pencil marks for the oval seep or circular saves of the blueberries. Just do the outlining with the light purple. Instead of this light purple, you can use other seeds of the lighter color. You can use the gray, you can use the white or you can use sky blue. Some of the blueberries that I'll be creating in here will be lying behind the leaves. So only a small section or portion of it will be visible. In here at the top, we have got six blueberries. For the middle section in here, we have got six or seven blueberries once again. And for the bottom, I'll be only creating three or four. As usual, you don't have to stick with the pencil outline that you did earlier. Feel free to make changes in adjustment. You can add more blueberries. You can reduce the number of the blueberries. You can change your placement. You can play with the seeps and sides of the blueberries, feel free to add your own personal touches to it. At the bottom section, I decided to make the size of the blueberries a little bit larger. This is going to be the largest blueberry for this project. If you want, you can add few more. I decided to create one more in here. Only a small section will be visible. The other section, the majority of the section will be covered by the leaf. For this project, we mainly concentrated all the blueberries in the middle. Now in here, I'm using the brown. Using the brown to create the outline for the stem, as well as for the leaves. It's not brown. It's olive brown. So using this olive brown to create the outlining for the leaves first, and then later on, if required, we'll be using it to create the outlines for the stem and the branches. Otherwise, we'll be using the green, yellow green or the lemon yellow to create the outlines for our leave and the stems and the branches. So a little bit different kind of leaf like this. Once again, you don't have to create the same kind of leaf. You can create other variations of the leaf or other varieties. You can play with the seeps in the sies you can make it bit larger, smaller. You can also change the placement. One more blueberry in here. Now continue on with creating more leaves as well as a little bit of outlining for the main branch and the stems coming out of it. The whole video in real time, so you can always follow along with me. Put more larger leaf in here. Mostly in here, I'll be creating very simple leaf. My simple leaf, I mean, I won't be creating any detail or folded leaves. But if you want to create folded leaf or overlap leaf, feel free to do that. So this leaf covers some of the sections of this blueberry like this. This project is also a little bit bigger, so I've divided into two sections. This is the first section in here. I'll only be doing the coloring for the blueberries. And in the next section, we'll be adding the final detailing as well as coloring our leaf. Continuing on with creating more leaves. For the blue colored blue berries, I'll be using Prussian blue and cobalt blue. For the purple ones, I'll be using the lilac mauve and light purple to do the coloring. I'll also be using a little bit of white to add the highlights. As for the leaf, we have got yellow green and lemon yellow, as well as olive brown. With these, we are mostly done with the leaves. I'll be adding a few more leaves as well as connecting some of the blueberries to the main stem. To avoid confusing, we have got a main branch, and from main branch, few smaller stems is coming out. Add few more details wherever you think it's required, you can add few more smaller stems. You can add few more leaves. In here, I decided to add one more leave just beside the blueberries covering small section of it like this. Another smaller leaf in here. And with these, we are done with the leaves and the stem. Now, let's do the coloring. So I'll be starting with the purple ones. In here, I'm starting with a mouth, a sad of the purple. Adding a little bit of this mob. I'm using a little bit of low to medium freezer and creating this kind of bit rougher texture for the upper sections of the blueberries and particularly on the top left side like this, a little bit mostly on the top, left side like this. We'll be making this region a little bit lighter and also we'll be adding highlights in here, a little bit more mauve like this. In here, I'm using the Prussian blue. For the darker blueberries or the bluest blueberries, we are going to add this prusin blue at the upper section. Once again, a little bit of low to medium placer and creating this kind of bitrher texture with this prussian blue. Adding it for all the remaining blueberries in here with this Prussian bloom. Add it carefully near the leaves and stems and the branches, adding it in here just beside the leaf. Add a little bit of more wherever you think it's required. And with these we are done with the mouth and the Prussian blue. Now in here, I'm going with the light purple. Adding a little bit of light purple just below the mouth. Instead of this light purple, you can also use the sky blue, the same color that we used earlier to do the outlining for the blueberries. You can use any of these two colors, but mostly I'll only be using this light purple, continuing on with the light purple, overlaying a little bit of this light purple on top of the mouth, as well as surrounding it in this manner. We are not going to cover the entire section. Leaving a little bit of empty species, mostly for the lower region like this. Yeah, continuing on with adding this light perform for the remaining blueberries in here. Overlaying a little bit of it on top of the move as well as adding it just beside it on top and below it like this. And with these, we are done with the light purple. Now, I decided to make it a little bit more lighter for the lower region. I'm adding a little bit of this sky blue at the bottom like this. Earlier, I mentioned that you can use either of the two colors. But then I decided the combination of these two colors will create a little bit more beautiful and subtle gradient in between the purples colors from light to darker scene. That's why I decided to use both the colors. Sky blue, the light purple and the mouth in here to create somewhat of gratin later on. Now for the other blueberries in here, I'm using violet, overlaying a little bit of violet on top of the Prusine blue, as well as adding it just pillow it. So for all the remaining blueberries, we are going to add this violet in this manner, add it carefully beside the leave and beside the stems and the branches. You don't have to use the same colour combination and same colored schemes. You can use other color combinations to create to create and do the coloring for your blue berries. For now, continuing on with the remaining blue berries with this violet, a little bit of overlaying of this on top of the Prusine blue and adding it just pillow it. And with these, we are mostly done with the violet. Now, in here, I'm going into the cobalt blue. So adding adding the cobalt blue just below the violet, overlaying a little bit of this cobelt blue on top of it, on top of the violet that we used earlier. Continuing on with the cobalt blue for the remaining blueberries, we have got four more. And the blueberries at the top, we have got stems and the leaves covering some sections of it. So add it carefully in there. And when these we are done with the covet view, now, going back once again with the mouth, we are using this mouth to make the upper region a little bit more darker, a little bit of mov for the upper section as well as overlaying a little bit on top of the light purple, as well as on top of the sky blue that we used earlier, adding it for the blueberries at the top, a little bit of this mov in this manner. And yeah, with these, we are done with the mouth. Now let's do a little bit of blending. In here, we are aiming for a little bit of smoother blending. I'm using the blending stem to do the blending. And since we are aiming for a little bit of smoother blending and we have small spaces in here, so I decided to use the blending stem. It will give me a little bit more pre season. Instead of it, you can also use instead of using the blending stem, you can also use the Q tip. But blending it with that tissue paper or the cotton swab will be a little bit trickier since we have got very small sections for the lberries. I'm spreading the colour from top to bottom and then doing a little bit of circular strokes to blend the colors a little bit more. Apart from blending it in this manner, I'm also blending a little bit from top to bottom while following the canton lines to give it a little bit more three dimens like this. We are going to do the blending for all the remaining blueberries in this manner. Only the purple is blueberries right now. And after doing this, we'll be moving on to the blue ones. Spread the colour from top to bottom. You can also do this opposite spreading the lighter colors towards the top. We have got four more blueberries in here. The same thing, apply somewhat of medium to heavy preset to do the blending of the colors in here. A little bit of circular strokes to do the blending, using the blending stem. And yeah, final three blueberries at the bottom. I'm also blending a little bit of the outlines, the sky blue that we used earlier. Only a small portion of it is being blended with the colors inside. The largest blueberry in here. Using circular motion to get a little bit more smoother and more uniform blending of the colors like this. A little bit blending of the outline color. And this is the last one. Circular mosen to do the blending, spreading the colors and mixing it, the mouth, the light purple, and the sky blue all together like this. We have got a little bit of darker region at the top. And for the middle, we have got a transient in between dark and the lighter shades. And with these, we are done with all the purple blue berries for now, we'll be adding a little bit of more detailing and colors later on. Now, we are going to do the blending for the blue ones, the same kind of thing, extending the colors a little bit. We have got Prussian blue. We have got Prussian blue. We have got violet as well as the cobalt blue. I'm also going to do a little bit of blending of all these colors together with the outline sky blue that we used earlier. For the regions near the leaves and the purple colored blueberries, do the blending carefully. We don't want the colours to mix. And since in here, we are using darker sets of the color overlaying other colors on top of it will become harder. So be cautious while adding the colors near the blueberries and the leave Once again, I'm using circular moson to do the blending of the colors. You have got a gradient in between the Busan blue, the violet, as well as the cobalt blue. So from dark to lighter set of the color in here. We have got three more blueberries. Continuing on with doing the blending in the same manner for the remaining three. Mostly for this section of the project, I'll only be covering up to here, the blending of the colors. And in the next part, we'll be doing the coloring for the leaves and the stem, as well as add a little bit more detailing, make the blueberries a little bit more darker, as well as add a little bit of highlights for some of the sections. Blending the coloring for the last one like this. That's all for this section of the project. I'll be seeing you in the next section where we'll be completing this project. 20. More Leaves and Stems: Continuing on where we left off. In here, let's start with the lemon yellow to do the coloring for our leave. This lemon yellow will act as the primary layer for our leave. I'm not going to cover the entire section. I'm just creating this kind of plain normal strokes or you can consider it to be somewhat of hatching lines on both sides of the leaf, just feel it like this while leaving a little bit of space in between. Instead of using this lemon yellow, if you want to make it a little bit different or use other seeds of the green, we free to do that. For all the leaves in here, I'll be using lemon, yellow, and yellow green as the primary layering. I'll also be using a little bit of this lemon yellow for the main branch as well as for the stents. And with these, we are done with these, we are done with the leaves with the lemon yellow color. Now we'll be switching on to the other color. For the remaining leaves in here, I decided to make it a little bit of different colours, so I'm using yellow green for those. Adding the yellow green in the same manner that we use the lemon yellow, leaving a little bit of space in between the strokes that we are creating in here. Carefully in between the blueberries. Remaining two leaves at the bottom. Adding this yellow green in here. If you want to create few more leaves, you can do that. Still, if you want to add few more leaves, you can do that. In here, I'm adding a little bit more of lemon yellow for some of the sections of the leaf. Now let's do a little bit of blending of the colors. In here, for the blending of the colours for the leave, I'll only be spreading the color. I'm using Q tip to spread the colouring starting with this yellow green, applying somewhat of medium to heavy preserve with the tip to spread the colour to get somewhat of even and uniform spreading of the color. Also try to preserve the rough texture of the outline section of the leave. On top of this, we'll be adding another layer of the colour to recreate the midribs and the veins for our leave. So we are going to do the same thing for all the leaves in here, both the yellow green leaves and the lemon yellow leaves. In here, apart from this, if you want to depict lights and shadows, you can use lighter and darker shades of the greens, a little bit more coloring to do that. In here, some of the sections became a little bit lighter, so I decided to add a little bit more greens in here using the yellow greens in this manner, overlaying it for some of the sections to make it bit more lighter. This is optional. If you are satisfied with your coloring, you don't have to do this. Continue on with spreading the colour to get a little bit of somewhat of uniform consistency for the base layer for the leaves. We'll be doing the same thing for the lemon yellow leaves later on. For now, let's continue on doing the same thing. Because while spreading the colours near the blue berries. We don't want the blues and greens to mix. Spreading the colors in here. As for the blueberries that we have created in here and we'll be adding a little bit of highlights, and for some of the blueberries, we'll be redefining it sees, making it a little bit more circular. Continuing on blending the leave. And this is the last one. So spreading the color in here. And with this, we are done with the last leaf for the yellow green color. Now going back once again with the lemon yellow, adding a little bit more of this lemon yellow for some of the leaves. Filling the outlined section for the insides of the leaf in this manner with this Once again, we are going to do the same thing, spreading the color to get a little bit of uniform consistency for the base layer. Since we use a little bit of low to medium preserve, when we are spreading the color, the intensity of the color is decreasing. So for those region or for those leaves, add a little bit more coloring. Instead of spreading the color, you can do another thing. You can just apply a little bit more presser with the color, the lemon yellow in this case to get a little bit more smoother and bit more richer color for the primary layer for the leaves. Or you can just follow along with me and spread the color for the remaining leaves in here. We have got four leaves in here at the top, spreading the color. While spreading the color, I'm also blending a little bit of this to the olive that we used earlier to do the outlining for the leaf. We did the same thing for the earlier leaves with the yellow green, Londed a little bit of the yellow green with the olive. Spreading the color in here for this leaf blending it a little bit with the olive color. Now we have got two more leaves at the top. In total, we have created one, two, three, four, five, six, seven, eight, a total of eight leaves with this lemon yellow colour. Let me know how many leaves you have created with the lemon yellow colour and how many leaves with the other colour the yellow green. You have got two more leaves in here at the bottom. Same thing, spreading the color in this manner. And we are done with this one, moving on to the final one, spreading the color. I'm applying medium to heavy presa to spread the color in this manner. Also blending a little bit of this lemon yellow with the olive color. As you can see in here by spreading the color, we have reduced it richness. So the intensity has decreased a little bit. In here, I'm going back once again with the olive color to recreate the midribs and the veins, as well as redefine the seeps of the leave a little bit. So for all the two colored leaves, the lemon yellow and the yellow green leaves will be doing the same thing, using the same colours to recreate the midrib and the veins for the leaf as well as using it to redefine the s for the leave. Instead of using the same color, if you want, you can use other color for the other color leaf. You can use dark green for the lemon yellow leaves and you can use other sat of green for the yellow green leaf. I would suggest you to do a little bit of experimentation. Continuing on with creating the mid drips and the veins, as well as redefining the seeds of some of the leaves in this manner. As for the mean branch and the stems coming out of it, we'll also be adding a little bit of greens to make it a little bit of greenish color. For now, let's continue on with adding the mid drops and the veins for the remaining leave that we have. I'm adding comparatively more veins. If you want to decrease the number of the ans, you can do that. And to make the seeds of the leaf a little bit more crisp and bit more detail, you can always use the colored pencil to redo the seeds a little bit later on. And adding it for the last leaf in here and the middle. And yeah, with these we had done with the olive Using a little bit of more purple for some of the sections to make some of the regions of the blueberries a little bit darker and also creating the calx, using it to create the calx in this manner. A little bit somewhat of this kind of circular see for the calex for the blueberry. For some of the sections, I'm creating this kind of pointed edges. Lowest blueberries, I'm using Prusine blue to create the alex in this manner. So for all the blueberries in here, add the calx in this manner. Instead of this darker seed, you can also use lighter seed or you can also use black colour to create the calex And with this, we are done with the Calex creation. Now going in with the olive once again and connecting it to the blueberries in a little bit more definite manner like this so that it would become more clear that the blueberries are connected to the stems of the branch. Now going with the tip to blending the colors, blending a little bit of the colors from the blueberries to the colors of the stems in this manner to get a little bit of transitional effect in between the blues and the browns and the purple and the browns in this manner. Also, I'm extending the colors a little bit, not extending spreading the colours to make the branch a little bit more thicker. And as I was mentioning, going in with the lemon yellow and adding it on top of the olive colour to give the branch and the stems a little bit of greenish color. Remove the oil pastel dust if it's accumulating since we used lots of colour and applied layers and layers of the colour. Now going with the landing stem to do a little bit of blending for the cex in here. I made a little bit of mistakes, so using the lighter seed of the color to rectify it to make this region a bit more lighter. And now subduing the intensity of the lighter sends using the Q tip. Just spreading the color a little bit and blending it with the remaining section. Do the same thing for all the calec that we have created, spread the color a little bit to mix it with the remaining section. Just make the outlines a little bit more subtle. In here, as I was mentioning, I'm using the colored pencil to make the outlines of the leaves a little bit more defined. Here making the outlines of the leaves a little bit more crisper and a bit more defined with a colored pencil. If you are satisfied with your leaf, you don't have to use this. Or instead of using this colored pencil, you can directly use the oil pastel to make the leaves a little bit more crisper and bit more detail. You'll have to bit causes and create bit smaller strokes with the oil pastel to create bit crisper and bit more detailed outline. In here, I'm using the sad of the green for the greener leaves that we created. I'm also spreading a little bit of olive using this green colored pencil. Now for the yellow leaves, I'm using this sad of the colour. Give it a little bit more crisper outlines and make it a little bit more detail. You are creating a little bit of sharper edges, as well as we are also extending the colors a little bit using this colored pencil. This is spreading the color a little bit of this olive color using this colored pencil. Once again, I would like to remind you this is optimal. If you're satisfied with your project, you don't have to do this. So far, we have not used the colored pencil for any of the project. So if you want to avoid it, you don't have to do this. Removing the oil pieces dust. A little bit of more blending for some of the regions where you are not satisfied with. Some of the blues and the purples blue berries, I'm spreading the colors a little bit for some of them particularly. I'm also subduing the intensity of the sky blue that we used earlier to create the outlines. You can also use the colored pencil to do the outlining for the blueberries in here. For the purple ones, you can use the purple colored pencil and for the blue one, you can use blue colored pencil. Or you can also use white or black colour to do the outlining. I'm making the Calex a little bit more darker for some of the blue berries like this, mixing it with the remaining color like this, using the tip. Adding a little bit more detailing for some of the calec using this purple, darker side of the purple. Now using the tissue paper underneath my palm to avoid smudging of the color. And I'm going to subdue the intensity of the olive color for some of the leaves leaves that are looking a little bit more darker. So just subduing it intensity by mixing it or blending it with the remaining the colors of the background like this. Since the intensity of the olives were looking quite darker, it was quite bold, so that's why I decided to do it. This was a mistake on my part. So if you are satisfied with your project, you don't have to follow along with me in here. Mostly, I'll be doing it for the yellow green leaves. Blending the colors in here for this one. We have got two more leaves at the bottom. Doing the same thing, blending the two colors together a little bit like this. I'm not doing the complete blending, as you can clearly see the little bit of visibility of the mid drops in the veins we created earlier. Now going back once again with lemon yellow and recreating the midrib in the veins using it. Since the background has become a little bit of muddier tone, so that's why the lemon yellow in here will become more clearly visible will become more apparent and more visible, creating a little bit of lighter tone. We have created the mid ribs for all the leaf. Now let's create multiple veins coming out of it, as compared to the veins that we created with the olive in here, I have decreased the number of the veins. So we are creating comparatively fewer veins for the leaf using this lemon yellow. We have got three or four more leaves. So let's continue doing the same thing, creating fewer veins with lemon yellow for the remaining leaf. Now we have got two more leaves, creating multiple veins like this for the leaf at the top. And finally, adding a little bit more of this lemon yellow for some of the sections of the branches and the stems. And finally, moving on to the last leaf in here, adding fewer veins like this. Adding a little bit of it for some of the section of the branches and the stems. Remove the excess oil pastel dust. If you want to do the same thing for this kind of leaves, you can do it, but I decided not to do it. I'm just spreading the colors a little bit in here for the bottom section or the edges of the veins that we have created, blending it with the greens, a little bit of blending like this. Just blending the edges of the veins with the greens. And, yeah, when these we are done with all the leaves, the veins, and the branches, going in with the white to add the highlights, creating this kind of curve line for the highlights on the upper side. I'm considering that the light is falling from the top left side, so the upper left side of the blue baries will be a bit lighter. Just create this kind of simple curved lines so you can create exclamation mark line signs to create the highlight. So for all the blueberries in here, we are going to create the highlights in this manner. You'll have to apply a little bit of heavy freezer with the oil pastel to overlay it on top of all the layers of the oil pastel that we have used to create the blueberries. If you want, you can also add a little bit of white to add a little bit of reflection for some of the section of the branches and the stems, and you can also add it for some of the leaves too. A little bit of color must in here, so using the erases to remove it. If only a little bit of color is present, you can easily erase it with the eraser. And with these, we are done with this project. This was a little bit tricker when I made a little bit of mistakes with this one. Let's remove the masking team. I hope you enjoyed painting this. This was a lot of fun, and, yeah, I'll be seeing you in the next video. 21. Rainbow blueberries : Welcome to Rainbow blueberries project. This is yet another bonus project. For this project, we'll be creating most number of blueberries. Let's start with a simple pencil sketching. In here, I've created this kind of curve line for the main branch now. In here, I'll be creating a few more branches that is coming out from the main branch. You can create three to five additional branch coming out from the main branch. And now let's create multiple blueberries. Try to vary the sizes of the blueberries a little bit. Simple circular seep or oval see for the blueberries. For some of the sections, I'll be creating two or three blueberries for other sections, I'll be creating cluster of the blueberries and for some of the section, only a single blueberries. So depending upon the branch, I'll be wearing the number of the blueberries. You don't have to stick with the same number of the blueberries at the same exact position. Feel free to make changes and adjustment and add your own personal touches in here, we have created numerous blow berries of various sizes. Now let's create simple. So somewhat of this kind of elliptical saves for the leaf. Sizes of the leaf in here are quite medium. I'm creating very medium sized. If you want to make it a little bit larger, feel free to do that. I decided to do the outlining of the sketches for the leaf later on. For now, let's lightly erase the pencil marks. And then later on, I'll be directly using the colour to do the coloring for the leaf or I'll be starting with the pencil sketch and then proceed on. Removing the erasus dust. Now let's directly start with the coloring. So in here, I'm starting with a blue color. We have got cobalt blue. Mostly, I'll be using two or three different seeds of the coloring to create our blueberries. This is a little bit of medium seed color. So we are going to use cobalt blue and seuen blue for this kind of blueberries. Simple circular seed, as well as a little bit of circular seed for the inside for the calax of the blueberries. I'm not outlining all the blueberries in a cluster. I'm only outlining some of the blueberries. If you want to make the cluster of same color, you can do that. But in here, I decided to vary the colors for the blueberries in different cluster in different or same clusters. And I'm satisfied with the number of the blueberries with this column. Now, to make it a little bit darker in here, I'm going with a Pusan blue, and we are going to fill the insides with the Pusan blue a little bit for the Calex too, applying somewhat of medium to heavy preset to feel the sins. I'm not trying to cover the cobalt blue that I used earlier, so carefully adding this in this manner. Going back once again with the cobalt blue to redefine the sea, as well as doing the outlining, overlaying it on top of the calx. To avoid smudging of the colors in here, I'm using tissue paper underneath my palm. So for all the blue baries that we have created in here, we are going to do the same thing carefully adding this producing blue for the inside. And if required, we'll be going back once again with the cobalt blue to redo the outline for some of the sections. Apart from this, to make it a little bit lighter, I'll be using a little bit of lighter seeds of the color, white or sky blue or some other lighter seeds of the blue colour. As for the blueberries, mostly I'll be using two or three shades of the colour to do the coloring and the colors that I'll be using are Ovalic blue, cerulean blue, sky blue, royal purple, amethyst, and Prussian blue. As for the leaves, I'll be using bud green, mint green, pastel green, and for the branch, I'll be using mendike brown. You don't have to use the same color, feel free to use any color you want. As I mentioned earlier, instead of this, if you want, you can use other color combinations for your blueberries, carefully filling it for the larger blueberries in here. And with these, we are done with all the blueberries. Now going back once again with the cobalt blue to redefine the outlining and overlaying a little bit of this comte blue on top of the Brucin blue. So basically, we are redefining the oval seafood and blue berries, as well as a little bit of more definition to the Calex by overlaying this cobalt blue on top of the prucinblue. And with this, we are done with the first set of the blue marries. Now, we are going to do a little bit of partial blending. So the outlines that we created with the cobalt blue and the Prusine blue for the insides, a bit of partial blending using this blending stem. Instead of the blending stem, if you want, you can also use the Q tip to do the blending. But with the blending stem in here, I will get a little bit more precision, it will be a little bit difficult to do the blending with the tissue paper or the cotton or the finger. So that's why I would recommend you to either use the Q tip or the blending stem, or if you want to leave it as it does, you don't have to do the blending. Carefully and cautiously blending on the colors a little bit of partial blending. I would like to remind you that the whole video g in real time. So if you want to join along with me, feel free to do that. Since we are going to create numerous blueberries and leave, this project is going to take a lot of time around 35 to 40 minutes. I have divided this project into two sections. This is the first section. In here, mostly we'll be doing the blueberries. And in the next section, we'll be adding the finer details as well as doing the coloring for the stems and the leaf. To avoid smoothing of the color, always use the tissue paper underneath your palm. If you're satisfied with your blending, you don't need to overdo it. I'm satisfied with it, how it turned out. Now we are going to choose another set of colour for the blueberries, a bit lighter side of the color. So going in with the sky blue, creating oval see like this for the Calac In here, I'm making it a little bit different. So instead of using the sky blue to create the outlining, I'm only creating the calx, and later on, I'll be using the other seeds of the color to do the outlining. Mostly, I'll be using Cerulian blue to do that. For now, just create the cex for the blueberries, circular oval sees for the calx. For the insides of the cex, we'll be overlaying a little bit of cerliant blue on top of it. Now going in the Cerlean blue. So we are going to create the rough outlining for the see of the blueberries with it. And later on, once again, we'll be using the sky blue to create top outlining for the blueberries. Carefully using this serle blue and creating a rough outlining for the blueberries, surrounding the sky blue with this ceruan blue. For all the lighter states of the blueberries, I'll be doing the same thing, using the cerulan blue and surrounding the sky blue that we used earlier to give it a little bit of s for the blueberries. And later on, once again, we'll be going back with the sky blue to redefine and give a roper seed to the blueberries, roper oval see, so continuing on with using the Cerulean blue to do the same thing for the remaining spots. But for this blueberry two, we'll be doing a little bit of partial blending of the colors. And with this, we are done with all the blue berries with the cerulean blue. As I mentioned, going back once again with the sky blue and using it to redefine the seed, not redefine, but using it to define the outline, the oval see put the blueberries with it. I'm also overlaying a little bit of sky blue on top of the cerulean blue so that we can do the blending partial blending a little bit easier later on. We have got three or four more blue baries and then once again, we'll be using the blending stem. Doing the outtning for the last blueberry. And with this, we are done with the sky view. We are going to do a bit of partial blending, the same kind of blending that made it earlier. So applying a little bit of medium to heavy blazer with a blending stem to blend serelan blue with the sky e. We are also doing a little bit of partial blending of this galax with the cerlblue Also, I forgot to mention it. Earlier when I was using the cerlen blue, I also laid a little bit of this serlan blue on top of the sky blue for the calx, a small tiny dots on top of the calx. Adjusting the tissue paper to avoid smudging of the colour. Since we are using somewhat of medium and heavy presser, there is a lot of chances. The colours will get smrged try to be cautious and careful to avoid smudging of the color. After this, we'll be using the purple colours to create remaining blueberries. With the purple colours, I'll be creating somewhat of larger seeds for the blueberries. For now continuing on doing the partial blending for the remaining blueberries. If you're satisfied with your blending, you don't have to overdo it for some of the section where I'm not satisfied with it. I'm doing a little bit more blending. You can also use the blending stem to redefine the seeds to give it a little bit more smoother fins to the oval seep of the bluemrries That's what I'm doing right now, applying somewhat of medium to heavy creasin and giving it a little bit of proper smoother seam. And with these, we are done with a lighter seed of the blueberries. Now in here, we are going to use the purples. So mostly, I'll be using royal purple and amethyst. In here, I'm using the royal purple to create the alex for our blueberries. The blueberries that we'll be creating with the purple will be somewhat larger, comparatively larger than. Do the same thing that we did earlier with the sky blue, create multiple ales. The sides of the calex in here are accordingly a bit larger since the sides of the blueberries will be quite larger. And, with these, we are done with a royal purple. Now in here I'm using amethyst, surrounding the calex the royal purple that we used earlier and using this amethyst to give it a little bit of rougher oval seed. Basically, I'm just surrounding the calix that we created earlier with the royal purple using this amethyst, as well as giving it a little bit of proper oval seem for the Blumarin. Later on, once again, we'll be going back with the royal purple and redefine and give it a little bit of proper oval seem to the blueberries, the same kind of thing that we did with the lighter side of the blueberries. So continuing on We have got three or four more blueberries here fully surrounding the cex and giving it a little bit of ovals with this amethyst. Apart from the three different seeds of the colors that I used to create the blueberries, if you want to use other seeds of the colour to create more blueberries, feel free to do that. You have got two more blueberries, so continuing on with the amethyst, surrounding the calix with it as well as giving it a little bit of proper ovals for the blueberry. Uh carefully surrounding the royal purple and giving it a little bit of ovals. And with this, we are done with the amethyst. Once again, going back with the royal purple and giving it a little bit of propers. As usal, I'm also overlaying a little bit of this royal purple on top of the amethyst so that the blending so that the partial blending of the two colors will become a little bit more easier and more smoother. In total, we have got one, two, three, four, five, six, and seven. A total of seven purple is blueberries. Surrounding the blueberry in here just beside the darker one and the last two continuing on with the royal purple. And as you can see, the sizes of these blueberries are comparatively larger as compared to the darker seats of the blues and the lighter seats of the blues. And with these, we are done with the royal purple. Now, once again, using the blending stem to do a bit of partial blending the amethyst, along with the royal purple. If you want to do a little bit of more blending, you can just extend the colour from the outside to the inside. What I mean is that you can extend the royal purple towards the center of the blueberry. Extending the colour to do the partial blending. Since the sizes of the blueberries in here are quite large, comparatively larger. This is taking a little bit of more thyme. We have got four more blueberries, so continuing on doing the partial blending of the two colours, amethyst, and the royal purple. And as I mentioned earlier, to give it a little bit of highlight and reflection, later on, I'll be using white or lighter seats of the blues. If you want to give it a little bit more darker seeds, you can also use a little bit of black or more darker sets of the blue like Prussian blue and add it on the opposite sides of the highlighted sections and do a bit of partial brding. Only a small amount of black or the darker seeds of the blue will do the work. And with these, we are done with the second last one. This is the final one, a bit of partial blending in between the amethyst and the royal purple. And with these, we are done with all the blueberries, all the purple blueberries. If you are not satisfied with it, you can do a little bit of more blending, but I'm satisfied with the blending of the colors in here. Now. In here, I decided to create a few more blueberries. For the blue berries, I decided to make it a little bit different. So instead of using the seeds of the blue in here and starting with the pastel green. So using the pastel green to create the calex for the blueberries. One more in here. You can also create few more blueberries. Let's add one more for the upper section, one more in here. And with these, we are done with the pistil green for the blueberries, the Calex of the blueberries. In here, I'm using the cobalt blue. This is somewhat similar to the Calen blue. Earlier, I was getting confused with the cereal blue and the cobalt blue, Croper cobalt blue. So we are doing the same thing using this co belt blue and surrounding the pistol green that we used earlier for the ax. In total, we have created one, two, three, four, five, six, seven, total of seven blue berries with a combination of the pistle green and the cobelt blue. To avoid smudging the colors, we causes and use the tissue paper or something underneath your palm to avoid the colors smudging. Now for the remaining three surrounding the calex and using this cobintblue to give it a propers for the blueberries. And finally, moving on to the last two. Adding it carefully in here and between the two other blueberries. Finally, moving on to the last one surrounding the Calex the pistle green with this cobalt bume And with these, we are done with the cobalt bum. Now, once again, going back with the pistle green to give it a little bit of proper see surrounding the cobalt blue that we used earlier. Also overlaying a little bit of this pastel green on top of the cobalt blue. Using it to give it a proper see as well as a little bit of overlying of the color so that the blending will become a little bit more easier and smoother later on. For this section of the project, I'll only be covering up to here. And in the next section of this project, we'll be creating the leaves and the branches and add more final touches as well as highlights and do a little bit more changes if required, and I'll be seeing you in the next part. 22. Changing Colors : Continue on where we left off. We did the coloring with the pastel green and the cobalt blue. Now, once again, I'm using the blending stem to do the blending in between these two colors, the pastel green and the cobalt blue. A bit of partial blending for the outline section and the same goes for the middle section, the Calac we created with the pastel green, along with the cobalt blue. After doing this, we'll be moving on to adding the coloring for the branch and the leaf. The coloring. I'll be using bird green, mint green, perhaps a little bit of pastel green for the stem or the branch, I'll be using Vandy brown. If you want to add more blueberries, you can do that. I won't be doing it since I have already created numerous blueberries in here. Continuing on doing the partial blending between these two colors. We have got three more to do the blending, applying medium to heavy presser with the blending stem to do the blending in this manner. Subduing the intensity of the pastel green a little bit. Now for the remaining two, partial blending for the outlined region of this pastel green with a cobalt plume. Doing the blending carefully in here in between the other blueberries. And with these, we are done with the second last. Now moving on to the final one. As for the branch in the stems, there will be one main branch, and from that branch, I'll be adding four or five stems coming out of it. And as for the leaves, we'll be wearing the seeds in the siges and creating numerous leaves. And with this, we are done with the coloring as well as blending of the colour for all the blueberries. Now for the stems in the branch, this is going to be the main branch. And in here, I'm using wendige down. Just go over the pencil outlines that you have created. Or you can just create the branch in a free flow manner. A little bit of curved organic seep like this for the main branch. Creating stems coming out of it accordingly to the number of the blueberries we have created, like in here. I created two smaller branches, like in here. Since we have got a lot of blueberries, I grated two stems. For this region, only one will do the work. So accordingly, create the stem. You can vary the number of the stems, so feel free to add your own personal touches. You can increase or decrease the number of the stems. So this is a simple guideline for the main branch. We'll be making it a little bit more thicker, and the same goes for the stems. We'll be increasing its width a little bit. Before doing it, let's create a rough guideline for the leaf. So in here for the leaf, I'm starting with the mint green. Simple elliptical seep like this, or even consider it to be lame. As I mentioned, I'll be wearing the sides of the leaf. So wearing the s and the sizes a little bit. For the regions near the main branch or the start of the stem, we'll be making it quite larger. And as we progress, we'll be decreasing the sizes a little bit. Like in here for the top, we create in very small ones. For the lower section or for the main branch, we are making the sine of the leaf quite larger, comparatively larger. You don't have to use the same color combinations for the leaf. Feel free to use other colors as you see fit. A few more leaves in here. You can also add numerous leaves in between the blueberries, the leaves that lies behind it, here too, creating smaller ones, smaller leaves for the top. A few more leaves in here at the bottom section, making it a little bit more leafier And you can add few more leaves if you want, but I think we are done with it. A smaller leaf at the top. Yeah, I'm satisfied with the number of the leaf. If required, I'll be adding few more. Now, using this mindrem and applying medium brazil and filling the insides with it. So this is going to be our primary layering for the color. So this is going to be our primary layer for the leaf. Apply low to medium pressure with the men ring to feel in sines. To avoid smudging of the colours, once again, I'm placing this piece of paper underneath my palm. So for all the leaves that we have created, I'll be filling the insides with this pastel green. After doing this, I'll be going in with the bud green or if required, peatel green to add more detail for our leaf and also do a little bit of partial blending if required. Adding it carefully in the blueberries. Okay. Instead of using this mint green in this manner, if you want, you can apply heavy presser with it and completely feel the inside with it. By doing that, you can make it a little bit more smoother and give it a little bit of glossier appearance. Adding the green for this larger leaf just beside the larger blueberry. And the final leaf in here, feeling the color inside with this mint green. And with these, we are done with a mint green. As I mentioned, if you want to add more leaf, you can do that. In here, I'm using bud green and creating mid ribs and the veins. So Mid drips divide the leaves into two section and the veins, the veins coming out from the midrib. I'm not going to do any kind of partil blending or blending of the color. But if you want, you can do a little bit of blending of the colors too. You can use a little bit of medium seed of the greens and overlay a little bit of it for the top and middle sections and do a bit of parcel blending. Overlaying this bud green on top of this mint green to do the coloring. For all the leaves, I'll be creating a single midrib and a set of three or four veins coming out of it. For the smaller ones, I'll only be creating two or three veins for the larger ones, a little bit more veins, a set of two or three veins. Later on, I'll be using a little bit more green to subdue its intensity a little bit and do a bit of partial blending. Moving on to the upper sections. Adding the mid robes and the veins for our remaining leaves. Gritting the leaf in this manner is comparatively easier. You have got three more, smaller leaves at the top. Turning the mid drops and the veins for the smaller leaves in here at the top, and the remaining four leaves in here, the same thing, midribs and the veins, adding it for the smaller one. And with these we are done with a but green for the leaf. Now, as I was mentioning, they I'll be doing a bit of partial blending. So just subduing the intensity of this bad green that we used and doing a bit of partial blending. So what I'm doing in here, I'm blending the edges of the budgreen with the mint green that we used earlier. Blending in this manner, not going to cover the entire mid drops and the veins, but subduing in intensity and mixing it with the background color, the mint green. This process is going to take a little bit of time since we have created lots of ins and the mid drops and we have lots of leave. Instead of this, if you want, you can do the same thing. Using the mid green, you can just overlay a little bit of mint green on top of the bud green to do the partial blending in that manner. Or you can just stick with me and do the blending in this manner, bit of partial blending, using the blending stem. Let's count the number of the leaves that we have created. For my project in here, I have one, two, three, four, five, six, seven, eight, nine, ten, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, total of 37 leaves. Let me know how many leaves you have created for your project. Doing the blending carefully in here and between the blue and the purple less blue berries we created. This is going to be a bit time consuming process continuing on with doing partial blending for the remaining leaves. We have a bit of partial blending of this bird green with the mindreen of the background. And with this, we are done with this set of two leaves. Adjusting the tissue paper to avoid smudging of the color in this manner. This is our second last project. After this, I'll also be plotting one more project, a bonus project. Continuing on doing a partial blending for the remaining leaves in here. We are halfway there. Most of the leaves at the top are quite smaller, comparatively smaller. After this, we'll be doing the coloring for a mean branch and the stems coming out of it using the n **** brown. I'll also be giving it a little bit of greenish color. So I'll also be using a little bit of greens on the sides and do a bit of partial blending of the color. For this product, as you can see, we mostly did partial blending of the colors, continuing on with the remaining leaves for the upper section. Okay. For the smaller leaves in here, I only created a single mid rib and two or three veins coming out of it to keep it quite easier and quite smaller. Doing the blending for this leaf in here, just below the darkest blue lumery. We don't have that many leaves in here, so only seven or eight more leaves to do the partial blending coloring. No. Continue on doing the blending for the remaining. This is quite time consuming process because of the smaller and finer details as well as the large number of the midrbs and the veins. In here, I use Brusts artist oil pistel color. We know which oil pastel colors you have used and the color of your paper. And continuing on the remaining leaves at the top. The same thing, partial blending of this bud green with the mint green, the mint green that we used earlier for the mint cream that we used earlier as the primary layering for the leave, the leaves at the top. And yeah, with this, we are mostly done with the blending of the colors. If you are not satisfied, you can do a little bit of more blending. And as I was mentioning that we'll be giving it a little bit of greenness color so overlaying a little bit of this bud green on top of the van **** brown for the stem. Here I'm applying medium to low pressure to do the blending, not blending. I'm just overlaying a little bit of this butdcrem on top of the wendy cream, Also creating a few more additional systems to connect it to the few bluebries that are not connected. Like in here, this blueberry was not connected. Same goes for here, connecting the blueberries in this manner with the main stem. Now, once again, continuing on with the bad green, overlaying a little bit of this bad green on top of the dye green. Be cautious and avoid smudging of the color by your palm, use the tisu paper or any cloth or paper underneath your palm. And with this, we are done with the bud green and the pen **** brown. Once again, we are going to do the partial blending of these two colors, the bud green and the red dye green for the main stem. Or you can say the main branch and the stems that are coming out of it. Using this to spread the color a little bit and doing the blending of the colors in a bit of rough or maton in a bit rough manner so that we'll have a little bit of grainier texture for the main stem and the main branch. So continue on doing the blending for all the stems that we created as well as the main branch. Blending stem to extend the side a little bit. You can make the stems and the branch is a little bit more thicker just by spreading the color a little bit. You'll have to wit cases while doing the blending of the current, the blue berries. We don't want the blues and the browns to mix with each other. For the thinner sections of the stems, try to avoid extending it or making it a bit broader. As for the sections near the main branch and the near the start of the stem, make it quite thicker, comparatively thicker. Doing a partial blending of the color in here, making it a little bit thicker in here for this larger blueberry, doing the same thing for the upper part of the branch. And finally, at the top, doing the same thing, blending it partially, the Vandyke brown and the butter green that we use. Now, do the blending wherever you think it's required till you're satisfied. And for now, I'm satisfied with the mean stem and the leaves. So I'll be going with the white to add the highlights for the blueberries. A little bit more blending for this region. I was not satisfied with it, making it a bit more thicker and a little bit more organized. No more blending wherever you think it's required for the leaf or the blueberries or the stem or the branch, using a little bit more of this mint green to extend the sizes of the leaf a little bit. So these are all the final touches. Add more color wherever you think. It's more blending wherever you think it's required. And finally, going with the Y to add a little bit of highlight, I'm considering that the light is falling from the top left corner. So the highlights will be on the top left side, small exclamation mark like see or you can just create small curved seep like this on the upper section of the blueberries on the top left corner, not the cornet on the top left side like this. You'll have to apply a little bit of heavy place to overlay it on top of the blues and the purple since we used two or three layerings of the colour to do the coloring earlier. Add it for all the blueberries that we have created. You can also use a little bit of white to add a little bit of highlight for some sections of the leaf and for some sections of the branch. Adding it for the blueberries at the top. If you want, you can also use a little bit of darker sad of the blue or a little bit of brown or black to add a little bit of sados on the other side. I won't be doing it. And yeah, with these, we are done with the highlights for all the blueberries, a little bit more finer touches or adjustment wherever you think it's required. You can also use the colored pencil to give it a little bit more saper and a bit more detailed outlines for some of the sections or for all the sections. And yeah, with these, we are done with this project. This was quite longer project, but I hope you enjoyed painting this, and I'll be seeing you in the next project. 23. Thanks and Conclusion : Congratulations on completing this class and finishing your blueberry illustrations. I hope you enjoyed the seven day challenge and learned how to create beautiful lumery branches using oil pistol. We covered a lot from mesic sketching and shapes to technique like blending, layering, color mixing, and pressure control. If you have not already, don't forget to upload your projects in the class gallery. I'd love to see your work and how you added your own creative touches to these illustrations, keep practicing, keep experimenting with colors and texture, and most importantly, enjoy the process of creating you can also check out my other classes on oil pistols, watercolor and ink illustration for more projects and practice. Once again, thank you so much for joining me in this class, and I'll be seeing you in my next class. Happy painting.