Oil Pastels Blueberries: A Beginner-Friendly Oil Pastel Fruit Class

1. Welcome and Introduction : Hi, everyone. Welcome to my new class oil pastel blueberries, Abiner friendly oil pastel fruit class. In this class, you will learn how to paint vibrant, juicy and slightly realistic blueberries using oil paste. We'll be creating five different blueberries illustration, each focusing on a slightly different look and technique. This includes blueberries with leaves, sliced blueberries sewing the inner texture, and a few creative composition that help you understand form, color, and depth. We will begin the class with three sort tutorial slation where I'll show you how to sketch simple blueberry shapes, apply color and weld layers to make them look more realistic. I'll also cover essential oil pistil basics, including pressure control, blending, seeding, color mixing, and creating smooth gradient. We'll briefly explore how techniques like hatching and layering can be adapted for the oil pistils. This class is big net friendly. Most of the lesions are recorded in real time, so you can easily follow along, pause and paint at your own piece. Hi, everyone. My name is Vishal, and I'm an artist from India. On a skill sayer I teach classes in oil pastel, ink illustration, other big enough friendly art techniques. You can find more of my work on my Instagramma on YouTube. The five project we'll be creating in this class are cool blueberry sword. Then we have sets of blue, sliced and sweet blueberry, sunny blueberry, and blueberry portrait. I hope you will join me in this class, relax and enjoy painting this colorful and delicious blueberry illustration together. So let's get started. 2. Class Project : For your class project, you will create one on more blueberry illustration using eye pistols. You can follow along with all five projects from the class or choose just one that you enjoy the most. Feel free to experiment with different color combinations, backgrounds or compositions. You can also add your own elements like extra leaves or different lighting icon or make the artwork personal. Once your painting is complete, upload it to the project gallery, you are welcome to share your final artwork, close up details, or even your practice ts. I'd love to see your progress and how you have applied techniques from this class. 3. List of Supplies : For this class, you will need a pencil and reser to do the basic pencil sketching for the blueberries, masking tape to secure the paper, tissue paper, tissue paper to avoid smudging of the colors and also for blending some of the sections, Q tips, Q tips and the blending stem to do the blending. Mostly, you can do all the things using the Q tips, but if you have blending stem, the process will become bit more easier. Then I'm using this 160 GSM Mugs calories colored, all pastel paper. You can use any paper of more than 120 GSM and will do the work. I'll be using this Calories artist oil pastels as well as Brustos artist oil pistil. You can use whatever supplies, whatever oil pistel you have. Apart from this, I'll also be using colored pencil that I forgot to mention. So these are the simple supplies that you'll be needing for this class. 4. Sketches : Welcome to the first part of the tutorial. In here, I'll be showing you simple pencil sketches for the different blueberries in different perspective as well as a few examples of the leaves. Basically, we'll be creating very simple circular s for the blueberry. Simple circular se. To make it a little bit more easier, you can use intersecting horizontal and vertical lines to determine the length and the width of the blueberries. We'll also be trying to make the blueberries a little bit three dimensional. And at the top of the blueberries, we'll be creating the calx. I'll be creating simple seeps like this, somewhat of curve, star like see for the inside. And this is what I mean to say that I'll be trying to create I'll be trying to sew the blueberries are three dimensional by doing the seeding in such a manner by doing the coloring in such a man. So here we have got the blueberry. This will be the Calex and as you can see, we are creating very simple sees star like see for the inside of the cex. I'll be sewing you two different example of the blueberries cut in half. Simple circular see for the blueberry, and to make it a little bit three dimensional. So this will be the orientation of the blueberry the Calex is facing towards us. And this will be the bisected portion, the blueberry cut in half. So the seeds will be visible like this. Now for the second one, the sides of the blueberry, this blueberry is cut in horizontally, so the cex will be facing towards the top. So let me show you what I mean, starting with a simple circular see for the blueberry. Simple circular see for the blueberry. Most of the time, I'll be creating simple circular sees or a little bit of oval see for the blueberry. And as you can see the Calex is facing towards top, and this will be the bisected portion, the blueberry cut in half. So for two of the project, I'll be showing you insides of the blueberries, and here they are going to be quite interesting. So we have the calx. This will be the small seeds. This part will be the flesh of the blueberry. And in here, I wrote the wrong spelling of the calx. So let me rectify it. It's CALYX this is how we'll be creating very simple pencil eskeches or oil pastal eskeches for the blueberry. The seep in the sizes of the blueberry will vary a little bit. As for the leaves, I'll be creating very simplified version of the leaf. For only two of the projects, I'll be adding the leaves. You can vary the see sides and outlines for the leaves as you see fit. This one is a little bit broader. Here we have got an example of large leave. This one is a little bit broader. For the leaves, I'll be adding the mid drops and the veins for all the leaves for the insides of all the leaves. You can also create this kind of leave too. To make it a little bit more easier, we can start with a tear drop like C for the outline and then add this kind of outlining for the leaves. So these are some of the examples of the leaf. Now let's create a bit larger blueberry in here. So simple circular a And in here, I'm using the sakura micron fine liner to do the outline for it. I'll be trying to show you how I'll be making it a little bit three dimensional. So this is a simple oval seed. I'll be adding the calex on top or a little bit beside it, and we'll be adding the coloring in this manner. Consided that the blueberries divided into different sections, different, elongated, and curved sexon like this. Accordingly, we'll be adding that color. The addition the coloring of the blueberries will be a little bit different depending upon whether I'm creating vertical blueberry or horizontal one, but we'll be trying to make it look a little bit three dimensional, add a little bit more volume to it. Here's another example. This is a little bit different in sees. So this kind of blueberry, here too, we'll be trying to make it a little bit three dimensional by using this kind of simple lines. Let me show you one more example. In here, I'm just showing you a simple division of the different section of the blueberries and we'll be adding the colors in this manner. I'm making things a little bit confusing, but when we'll be doing the main project, I'll be explaining it and showing you what I mean in here. Now, one more important thing, the lights and the shadows. I'll also be creating a little bit of highlights and shadows for all the project. For this large blueberry, I'm considering that the light is falling from the top right, so the shadow will be on the lab. I'll be dividing the sados into two different sections. We'll be creating the highlights on the side of the light and a little bit of highlight on the other side too. Like in here, the light is falling from the top left corner. We have got highlights in here and a little bit of shadow on the other side. For this one, the light is falling from the top left. So we have got shadows on the right. For this one, we have got the light falling directly from the top. So I'll be creating very small shadow just underneath this blue berry. So this is how we'll be incorporating light and shadows for our blueberries. Here's one more example. Till now, I showed you the divisions of the blueberries in vertical way. In here, I'll be showing you how I'll be doing the coloring for the blueberries in a little bit of horizontal or you can see curd win. Adding a few more leaves here and there. To do coloring for this kind of blueberry in horizontal way, I'll be adding the colors in this manner. To so that the blueberry is three dimensional, I'll be coloring in this manner, for some of the blueberries. So these were some of the simple sketches for the blueberries and a little bit about lights and the shadows, a little bit about leaf and how we'll be doing the coloring for the blueberries using the oil pastel. And as for the leaves, we have got midribs and the veins. The simple straight line in the middle will be the mid rub, and the lines coming out of it will be the veins of the leaf. And yeah, that's all for this section. I'll be seeing the next section with the oil pistel basis. 5. Oil Pastel Basics : Come to the second part of the tutorial in here, I'll be showing you some of the oil pistol basics that we'll be using for some of the project in this class. Instead of starting with the oil pistel in here, I'm using the Sakura micron fine line to show you some of the example of different techniques that we'll be using with the oil pistol that are based upon pen and ink illustration. So these are some of the example of the simple hatching lines, hatching the sealing technique where you draw parallel lines close to each other. Ines usually go in one direction. But in our case for our project, we'll also be using a little bit of broken hatching lines, a little bit of curved hatching lines to give the blueberries a little bit of three dimensional. Next here, we have got the crosshatching. As you can see, crosshatching is created by drawing another layer of hatching lines that crosses each other. We'll be using this cross hatching technique to do a little bit of layering for some of the sections to make it a little bit more darker and to blend some of the colors. Next, we have stippling. So I won't be creating this kind of smaller dots for our project, but instead of it, we'll be creating a bit larger dots or or bit smaller strokes with the oil piston. Stippling basically uses small dots instead of the lines. The more the dots are darker the area and the fed dot. Feud dots, the lighter the area. We'll be using this to create a little bit of shadows and do a little bit of blending to get a bit of rough texture for one of the project. And next we have got scribbling, scribbling in just a loose sading method using free, circular or random lines. For one of the project, I'll be using a little bit of scribbling using the oil pastel. I'll be creating the lines with the oil pastel that will be overlapping and changing the direction to create a little bit of shadows and a little bit of lighter region to create a textured blueberry. So these are some of the techniques that are based on the ink and pin illustration that we'll be using in our project. Now, let's start with the oil pastel. The first thing is braisin. So presser is one of the most important things in oil pistil. In here, I'm starting with the light preser and as I'm moving up, I'm just increasing the presser. So starting with the light presser and then increasing the intensity a little bit. Here's second example, starting with a heavy present and decreasing the intensity a little bit. These are the simple strokes that I created using medium presser. These are with the heavy freezer and these are with the light preser. And now let me show you three examples of the simple circular seeds with a different presen. This is light present. This will be the medium. And the next one, the heavy one. Basically, light presser creates soft and pale nyers and medium presser builds color gradually. And with the heavy preser it gives bold and opaque areas. Mostly, I'll be using the medium presser for most of the project. Now in here, let me show you how I'll be using the different techniques that I showed you, hatching, grass hatching and a little bit of strippling to create blue berries. In here, I'm using this kind of bit curved hatching lines to add the three dimensional look to the blue berry. We'll be using different combinations of the blues and the blacks for the blueberries, but we'll be adding the colors in this manner. To give it a little bit of three dimensional look. Here's another one, same kind of lines. But instead of using hatching lines in here, I'm using cross hatching lines. Mostly, I'll be using this kind of hatching lines. I won't be using the cross hatching that much. I think for one of the project, I'll be using it. Next we have got a stippling. Instead of using a smaller dots to create the stippling, I'll be using a larger strokes with the oil pastel to do the stippling technique. Here's just a rough example of the stippling technique that I'm using to give a little bit of three dimensional look to the blueberry. We'll be creating a bit larger strokes with oil pistil to give it a little bit of three dimensional look and use it as the stippling technique for one of the project to give it a bit textured look to the bluebery. Next, we have gradient. For the blue berries, we'll be using different saints of blue, blacks, and white to create a little bit of gradient, a transition in between different sets of the color from light to dark. So as you can see, we'll be adding the colors in this manner, starting with a darker one. And as we progress, we'll be adding a bit lighter one. But I'll also be changing the order of the color, put some of the sanction instead of starting with a darker one, we'll be starting with the lighter one, then we'll have darker one in the middle and then once again, lighter one. So depending upon the area we are doing the coloring, whether the light is falling from the right or the left, we'll be creating different kind of gradient. Here's another example of varied gradient. I started with red and ended up with the yellow. For the leaves, we'll be using yellows in the greens and we'll also be creating gradient for that. A little bit of color mixing for the oil piston. For this example in here, I'll only be using the primary color, the red, yellow, and the blue. In here, I'm starting with the yellow and the red to create orange. The order of adding the colours also matter. For the first one, we overlaid the red on top of the yellow, and in here, as you can see, I'm overlaying the yellow on top of the red. So as you can see the middle region, the orange that we created is a little bit different depending upon which color is laid upon each other. So this will become a bit more apparent in here with the red and the blue to create a little bit of violet color, overlaying this red on top of the blue and you can see instead of the violet, we have gotten somewhat of burned channel light color or brownish color. And for this next one, here, I'll me overlaying this blue on top of the red. And you can see it's a little bit of grayish color. So we'll be keeping this into consideration and accordingly, add the colors and do the mixing of the colors. So here's another example of the blues and the yellows. So starting with a blue and in here, I'll be overlaying the yellow on top of it. So we have got somewhat of greenish color in this middle region. For another example in here, I'm overlaying the blue on top of it. Both the greens that we have created are somewhat different in sad. First one is a little bit of yellowy green, and this is somewhat of bluey green. Now here's an example using all the gradient and the color mixing, putting in reuse. So in here, I'm starting with a darker side of the blue. And now let's mix it with a lighter side of the blue. So this is cobalt blue. And to make it a little bit more lighter in here, I'm using this lighter side of the blue. Now to make it a little bit darker to sew a little bit of shadows, I'm using a little bit of black. So overlaying this black, particularly on the regions where we use darker side of the blue, we'll be making it a little bit more detail. But this is how mostly we'll be doing the coloring. I'll also be using a little bit of white to add highlights and a little bit of reflection. We have also created the shadows on the other side. Now here's another example. So we have got overlaying by overlaying what I mean, adding one color on top of the other. But in here, the main goal is not to blend that color, creating a little bit more details we'll be using two different kinds of overlying in here. For this example, I'm showing you the overlying in which we are not blending the color, but for most of the cases, we'll be overlaying the color to do the blending or mix the color. And as you can see, it's easier to do the overlaying on top of the lighter color and it's a bit harder to overlay the lighter color on top of the darker one. So that's all for this oil pistol basics. I'll be seeing in the next video with a little bit of more oil pistol that we'll be using our projects. 6. Blending colors : Welcome to the second part of the oil pistil basins. In here, I'll be showing you different tools that I'll be using to do the blending and mixing of the colors. In here, I'm creating three simple circular seeds using low, medium, and high preser and we'll be using the Qtip to blend the colors. Mostly, I'll be using Q tips to do most of the blendings. Apart from that, I'll also be using blending stem and a little bit of tissue paper for one of the project. To get a smooth and uniform blending, you'll have to appli it heavy preser. When you are blending in this circular menal you will get a bit more uniform and consistent blending. This is the result we will get on blending different kinds of preser the low medium and the heavy preser. Now here, I'll be showing you another way to do the blending of the colors. In here, we'll be doing the overlaying of the colors, one on top of other, and then do the blending of the colors or mixing of the colors. So I'm using a lighter and a bit darker side of the green. The first one, we just simply overlaid one top of the other, and in here for the second one, I'm applying a little bit of preset to do the blending. Now for this third one, we are using the medium preser and for the piece of the blending, we are applying heavy present to do the blending of the color, as well as we are overlaying another layer on top of it to get a bit of smooth transition. In here the transition is not that smooth since the two colors are a little bit different. For our project, we'll be using a little bit adjacent colors, so we'll be able to create beautiful gradient and transitions. And in here, for this example, we'll be using different tools to do the blending of the colors. I'm using light green and jet green. We have got two simple streaks of the colors. For the first one in here, I'm blending the greens, the jade green, and the light green using the Q tip. Mostly, I'll be using the Q tip to do the blending quite easy and it gives uniform and consistent results. Next we have got blending stem. For the smaller regions and to get a little bit of definite outlines, I'll be using it. This takes a little bit more time. But yeah, for some of the project we'll be using it to do the outlines. Then next, we have tissue paper, fold the tissue paper in this manner to get a bit of conical same. With this, we'll be getting this kind of a bit smooth blending. For the larger areas, I'll be using it. And lastly, we have got our finger, just apply freezer with your finger to get a smooth blending. Now here's another example of the gradient. In here, I'm just showing you an example of using rough texture to create a gradient. Mostly, I'll be using the blending tools to do the blending, but in here, if you want to create this kind of rough texture for the blueberries, you can use this. You'll have to apply two or three layers of the colour to blend the colors. Now, let's extend it a little bit more using a bit more lighter side of the bloom, overlaying one color on top of the other and to make it a bit more lighter, I'm using white. So overlaying white in here and then extending it a little bit. So you can also do the blending of the colors in this manner. Here's one more example, seem like the last one. For this gradient, I decided to start with the brown and end with the yellow. So here's how we are going to use it. For the blue berries, we'll be starting with a darker set at the bottom section to sow the sadous and a little bit of darker region on top of it, we'll be using darker sets of the blue, sapphire blue or prosen blue. On top of it, I'll be using a bit lighter set, cobalt blue or ultra marine blue. And then depending upon whether we are creating bit lighter version or a bit purples version, we'll be using light blue or light purple and to sow a little bit of more cads for other regions near the cex, we'll also be using a little bit of black. Now let me show what I mean. In here, I'm starting with the darker side of the blue to create the rough outlines, using these kind of bit hatching lines to show the bit darker region. Below it will be making it a bit more darker and Avat will be making it a bit lighter, a little bit of black near the Calex. Now for the lighter color for the lighter color in here, I'm using this light blue, extending the light blue a little bit more. Here I'm using the QTIP to do the blending, simply blending the color. In here, I'm using circular moson to do the blending. I'm extending the black from the bottom towards the upper section to make it a little bit more darker. To make it a bit lighter, you can just extend the blues to the black. In that manner, you can make it a little bit lighter. This is not that much detailed or defined, but for our main project, we'll be using a bit more colors and try to give it a little bit more three dimensional look, but this is just a simple example. Let's add a little bit of highlight using pale yellow in here, small streaks to sew a little bit of reflection or highlight. This is just a simple example of the blue berry, a little bit of the shadows on the other side. Let's blend the sados too. So for this one, the light is falling towards the left. If you want, you can also add a little bit of yellow to make it a bit yellow if the color of the light is yellow. Mostly, I'll be using white or a little bit of pale yellow for one of the project. So this is how we'll be doing the coloring for most of the blueberries. Here's another example of leaf, starting with the grass screen to create the outlines, now adding a little bit of lighter side of the green for the sign. Now, let's blend it. Simply blending the lighter and a darker side of the green. Here the contrast between the two courts are not that different, but for our vein project, we'll be using a bit lighter sets of the yellow stop to make it a little bit more lighter and create this kind of subtle gradient or subtle transition for the leaves as the base layer on top of it, we'll be using bit darker side of the green to create med drops and the veins. Using the dark green to create mid ribs and the veins, simple straight line for the midrib and simple lines coming out for the veins, and to subdue its intensity a little bit, blending it a little bit with a Q tip. You can also use the blending stem to get a bit more precise control. So this is how we'll be creating the leaf. It will be a little bit more detailed a bit more defined. We'll be using the blending stem to make the outline a bit more distinct. You can also use the oil pastel colour to do the outline, or you can use the colored pencil. Here I made a little bit of mistake, but I won't be doing it in our main project. So that's all for this video, and I'll be seeing you in the next video with the first project. 7. Shades of Blue: Welcome to sets of Blue Project. In here, we'll be creating three vibrant and colorful blueberries with two leaves, starting with the pencila sketch. Creating this kind of very simple version for the blueberry. Two of the blueberries, the upper part, the Calex will be visible. For the third one, I won't be adding it. If you want, you can add it or you can create the bottom section of the blueberry with a little bit of yellow color. So this will be the simplest sketch for three blueberries. Let's add the leaves, two leaves in the front. If you want to add few more blueberries or if you want to decrease the number, you can do that. You can also add few leaves in here if you want. I won't be doing the coloring for this, but if you want, you can proceed with it in the same manner that we'll be doing the coloring for the two leaves in here or as we have practiced. This is Opnal. So either you can do the coloring for two leaves at the top part or the two leaves in here. I'll be creating the callax for the blueberries at the top, in here. This will be the central part, and for this one in here. Creating a little bit of star like see for the callax Feel free to make changes and adjustment to the pencilskis that you have heated. I'll be adding the sadose in here, a little bit of sadose. In here, as I was mentioning, I won't be doing the coloring for the leaves, so erasing it. As for the coloring in here, I'll be using bottle green, yellow green, and lemon yellow for the leaves. And for the blueberries, I'll be using cruisin blue, cobalt blue, sky blue. I'll also be using a little bit of red oxide, a bit of black and stone gray. I have lightly erased removing the asisust. In here, I'm using Bustos artist oil pistil. You can use whatever oil pistil you have. For the blueberries, in here, I'm starting with the sky blue, going over the pencil outlines and redefining the outline, the circular see for the blueberries with it. Adding it a little bit for the central part, the galax. Let's do the same thing in here, a small circular dot like this, oval circular dot like this and encircling it. Now, let's make it a little bit darker. In here, I'm using comal blue. Like the earlier projects, we'll be creating this blueberries in multiple layers. And for this one in here, I've already started with the medium freezer with this cobalt blue. Try to create the circular seep or oval like sep for the blue baries and add the coloring in such manner. Following the canton, or you can see sphere of the blueberries and adding the colors in such manner so that it will look a little bit three dimensional or it will give it a little bit more volume. We are trying to give it a little bit of three dimensional look, so that's why I added this in such manner. For this region in here, I added a little bit more blue to make this a little bit darker to so the shadows cast by the other two blueberries. Now let's make it a bit more darker. In here, I'm using Blucenblue overlaying this Blucen blue on top of the cobalt blue that we used. I'm not covering the entire section, but mostly for the lower part. In here, for this one, making it a bit more darker so that the shadows that we'll be creating later on will become a little bit more darker in here. And for this one, too, making the regions a bit more darker for the sados. I'll be calling the top one the first one. And the second one will be the one beside it, and this one, the circular one will be the third one. And with this, we are done with the Prussian blue. In here, I'm going in with the black. Overlaying this black on top of both the other colors, the cobalt blue, and the Prussian blue and mainly adding it for the lower section. Adding it for this one, the second one. Now moving on to the first one. In here, I'm applying medium to high presser with it. We are done with the black. Now, once again, going back with the Prussian blue. I'll be using this Prussian blue and creating a detailed and defined outline for the calax like this. In here, I'm applying medium to high preser. With these, we are done with a simple calex. Let's do the same thing for the second one. Adding a little bit of it for the central part. Let's add it for this one, too. A little bit of brown in here. So this is red oxide, adding it for this one, too. Now, to make this region made lighter to sew a little bit of reflection, adding white just beside the calx. Let's do the same thing for the first one, a little bit of white for the upper part to sew the reflection, and a little bit of highlight for this one, the second one, adding it particularly beside the calex and overlaying a little bit of this on top of the sky blue. And with these, we are done with the basic coloring. Now, we'll have to do the blending in here. I'm using the QTIp to do the blending and I'll be blending in the same manner following the to the curved seep of the blueberry, and we'll be blending from bottom to top to make the blacks and the blues extend a little bit more. If you want to make it a bit more lighter, you can start from blending from top to bottom. In that manner, you'll be expanding a little bit of white in the sky blues and covering the blacks and Pusan bloom. In here, I'm just doing the opposite extending the blacks and the Pusan blue to overlay it on top of the sky blue and the white. S carefully blending the color in here just beside the Calex. So just by following the curved shape of this sphere like blue very, we are giving it a little bit more dimensional. We are giving it a little bit more volume and making it look a little bit more realistic and three dimensional. Apply heavy presser with it. And let's do a smooth and uniform blending for the entire blueberry. Hmm. For this region in here, apply a bit more press it to blend it with the blues, the white and the blues, and you'll have to bit caut us not to blend the protein blue that we used for the Calex we have gotten only a small region here to blend. Once again, following the curve sweep of the blueberries and blending it in such a manner. And with this, we are done with the first layer of blending. If required, we'll be doing a little bit of more blending later on, a little bit of blending for the inside of the calex, a little bit of more blending wherever you think it's required. With this, we have created both lights and shadows in here. The lower part is a bit darker, the region just beside the calax and the upper part is a bit lighter, and we have got a very smooth and beautiful tranucen in between. Blending the colors a little bit more in here to get a bit more smoother and a bit more uniform, consistent blending. This is how we'll be blending the remaining two blurris Let's do this first one, starting with the lower part. So extending the blacks and the protein blue to the sky blue and the whites. If you want to make it a bit lighter as menson you can start from blending from top to bottom. Here, too, I'm following the curved sweep of the blueberries and blending in that manner, extending the colors in this curved manner for the remaining section of this first blueberry. In here, we are applying heavy presser to blend it smoothly. For the outline section, if you want, you can use the white to do the outlining later on, you can use the colored pencil to do the outlining. Apart from that, you can also use the blending stemp to do the outlining. So just apply heavy pressure with the blending stemp for the outline section. And with this, we are mostly done with the first one. Let's extend it a little bit more. In here, this region was a little bit sketchy. So applying a little bit more pressure and making this region a bit more uniform and a bit more consistent. Here, too, as you can see, we have created a beautiful gradient in between the three colors and three or four colors that we choose, and the sados look realistic too. We are done with the first and the third one, a little bit of white for the upper part. I decided to add a little bit of white in here to sew a little bit of reflexion and make this region a bit more lighter. And we are done with the first one. Moving on to the second one, start blending from the bottom section, carefully doing a blending. We don't want the outline of this to mix with the third one. Here to follow the curd seep of the blueberry and do the blending in that manner so that we can get a little bit of three dimensional seep to it. Here fully blending in this region too. Here fully blending it here near the first blueberry. Following the sep of the cex that we have created and blending the whites and the sky blue. Now, let's blend the sky blues and the whites to the prosen blue and the blacks. Blending the colors for this smaller region. I decided to do a little bit more blending in here to make that distinction in between the first and the second blue berries a little bit. Also doing the blending for the calex for the insights of the calx. Let's make the calex a bit more distinct. So once again, using the Pusan blue to go over the outline that we created for the Calex. Doing the same thing for the third one. For the outline in here, I'm using colored pencil to make it a bit more distinct and a bit more sharper. This is ops. If you want, you can use the oil pastel, you can use blending stamp or you can just leave it as it is. You can also use the darker sets of the blues or bit lighter sets of the blue to do the outlining and then blend it with the remaining colors. And with this, we are done with the colored pencil to do the outlining. I was not satisfied with this section, so I decided to do a little bit of mon blending, extending the colours a little bit and following the curve shape of the blueberries to do the blending in this manner. If you are satisfied with your blending, you don't have to do this. And with these we are done with the blueberries. Now let's do the coloring for the leaves. In here, I'm starting with lemon yellow. Lemon yellow will be our primary or the base layer for the leaves, adding this lemon yellow in this manner, a little bit of lemon yellow for both the sides of the knee using a bit of medium raisin. And with this, we are done with the lemon yellow. Now going with the yellow green, overlaying this yellow green on top of the lemon yellow, a little bit of it, and adding it beside it and for the empty species, adding it for the second one. And let's add it a little bit more in here. And with these, we are done with the yellow green. Now for the darker side in here, I'm using the bottle green. So using this bottle green, you do the outlining first and adding it a little bit for the inside section. Doing the same in here for this one. Starting with the outlining and adding it a little bit for the midrib. Now, let's feel the remaining section. Overlaying this a little bit. Now let's do the blending to create a very smooth and beautiful gradient, or you can say transient mid greens for the leave. Here, too, I want to make it a little bit darker for the edges, so I'm extending the color from outside to inside. To make the leaves a little bit lighter, you can do the blending in reverse mentnd starting from blending from the insides to the outsides. Applying heavy presser with the Q tip to do the blending. And we have created a beautiful tran in between the different seeds of the green. Some of the regions where we used a bit more lemon yellow is a bit lighter. The other regions with a bit more bottle green and yellow greens and a bit darker. In here, we have created somewhat of realistic background or you can see coloring for the leave. If you want to make it a little bit more and lighter, you can add another layer of lemon yellow and yellow green. To make it a little bit darker, you can use a bit more bottle green. You can also use a bit of white to make it a bit more and lighter for some of the sections. So this is our first layering for the leaf. Now for the mid drips and the veins, in here, I'm once again using the bottle greens and creating this kind of mid drips and the ans, adding it for this leaf. If you don't want to add this and keep the leaves as it is, you can just leave it, adding the simple mid drops in the means and doing the outlining for this one. Now, once again, going back with the Qtup to do the blending I here and just reducing the intensity of the mortal green a little bit by applying a bit of medium pressure with the tube and blending it with the remaining colors of the leave. A little bit of medium pressure and just reducing its intensity so that it matches with the remaining coloring of the leaf. If you want to keep it a bit more bolder and darker, you can just leave it as it is, and to make it a little bit darker and to add a little bit more detailing to it, you can use the other sads of green, jet green or light green and overlay a little bit of highlights with it. You can also use white to do it. So going over the mid drops and the veins and adding a little bit of detailing. But I'll be leaving it as it is, and we attend with the leaves for the sados in here and using the stone gray, a medium sad of the grey, creating this kind of outline. Creating the outline of the sido for the third blue bearing. Here we are aiming to get a smooth and uniform blending for the sados. Now doing the same thing for this one. The leaf. Only a small sado is casted in here. Now let's do the blending. Going in with the Qu to get a smooth blending of the grain. We don't want the blues to mix with the green, so carefully doing the blending in here for this third blueberry sado. If you make a mistake, you don't have to worry about it. You can use the colored pencil, the white to do the outlining for the blueberry later on. Here we are aiming to get a smooth and uniform blending for the sados And with these, we are done with the shadows, the leaves and the blueberry. If you want to keep it as it is, you can just leave it or you can just follow along with me and create this kind of bit extravagant highlights, adding it a little bit for the cex too, creating this kind of curve exclamation mark as the highlights, or you can see a bit of reflection. This is optional. If you don't want to do this, you can just keep it as it is. Extending a little bit more. Now, adding small circular dots like this. So this will be the highlights or you can say reflection on the blueberries, adding it a little bit for the cex too. This is optional. If you don't want to do this, you can just keep it as it is. With this, we are done with the highlights for the blueberries. Let's do a little bit of moon blending wherever you think it's required. You can also use the colored pencil to make the outlines of the weaves a little bit more crisper, a bit more defined and detail. And with this, we are done with this project. I hope you enjoyed painting this. This was a lot of fun to paint, and it was quite easy. And yeah, I'll be seeing you in the next project, happy painting. 8. Blueberry portrait : Welcome to the Berry portrait. This is one of the most detailed and most vibrant blueberry. So in here, I'm directly starting with the sapphire blue to create the outline for it. This is going to be the biggest one, the biggest blueberry that we have created so far. Creating this kind of circular or you can see oval see for the blueberry. For this one, we'll be using sapphire blue, cobalt blue, prucin blue, light purple, ultra marine blue, black, brown and golden yellow. Apart from that, I'll also be using a little bit of why, creating the outline for the calx. For the large blueberry, we have got a large calx. And here, I'm using Mongo galleries oil paste. Starting with the Y, creating small strokes with the Y to create the lighter regions for the blueberry. So I'll be using this wide to create this kind of small patches for some of the sections of the blueberry. The regions that I want to make it a little bit lighter. In here, as you can see, I'm applying medium preserve with it, and for now, I'll just be surrounding the calex. For now, I'll just be surrounding the calex with this white for the section of the calexPicularly on the bottom left side, I added a little bit of more white. Now let's create small patches of white for the other sections. Small patches, these are comparatively bit more smaller as compared to what went for the central part, adding it on the other side too. Just simple random strokes with the y. Adding it near the outlined regions. Now going in with the lighter seats. So in here, I'm using cobelblue and creating the same kind of random strokes. I'll be overlaying a little bit of this cobel blue on top of the white, and mostly I'll be surrounding it, creating this kind of random strokes with the cobalt blue for the remaining section, the white section that we have. The white small patches that we created, surrounding it and overlaying a little bit of this cobalt blue for some of the white potson. So for this one, too, I'll be adding the colors and layers, and this is going to be multi layered and multi colored project. We'll also be making the insides the calx a bit more detail, a bit more defined by using gallows and aquas to make it a bit more darker, not darker, but more defined. Creating the petal like see for the inside of the calx using this cobalt plume. Now let's continue with the remaining section. Surrounding the white and overlaying a little bit of this cobalt blue on top of the white. And, with these, we are almost done with the blue. Now I'll be adding a little bit more blue for some of the regions just beside the white. Adding it in this random manner. So we have got lots of empty spaces in between the different blue and the white strokes. Now to make it a bit more darker here I'm using this ultramarine blue. Overlaying this ultramarine blue on top of the white, a little bit of white and mostly on top of the cobalt blue. This is a little bit darker as compared to the cobalt blue. This is optional, if you don't want to do this, you don't have to add this color. But for this one, to make it a little bit more defined and a bit more detail, I'll be using more sides of the blues to create a beautiful transition effect as well as different sections of the blue berry and making it a bit more defined and bit more detail. Now in here, I'm using a bit darker side of the blue. And yeah, overlying mostly on top of the cobalt blue and the ultramarine blue. So creating these kind of random strokes and continuing on with the remaining section. We are not going to cover the entire section, as you can see. I'm leaving some of the section, the ultra Marines and the cobalt blue that we used earlier untouched. Continuing on with this. Moving on to the upper part and doing the same thing, this kind of random small strokes. And you can consider it to be somewhat similar to the scribbling. Insides of the Calex a little bit just beside the outlined section that we did that we did with the cobalt blue. And with these, we are done with this. Now in here, I'm using the plaques. Now I'm using black and making this region a little bit darker. Just like we used white to create different patches, I'll be creating the same kind of patches with the black. The intensity of the black is a little bit less as compared to the white. And yeah, also use this to create a little bit of outlining. And here doing a little bit more detailing and a little bit more outlining for the inside of the galax. Creating this kind of petal like for the inside of the calax. Now for the remaining section of the calx, the outer part, using this black to do a little bit of outlining mid broken lines with the black to do the outlining. Encircling the calx. And with these we done with a black. Now, let's start with the blending. Here I'm using QTIP. It's the larger region. If you want to use the tissue paper, you can do that, but with the tissue paper, we won't be able to create different sections and add different kind of texture to it. My different kind of texture, I mean this kind of blending, a little bit of uneven blending for the different sections. So I would suggest you to use QTIP or blending stem to do the blending for this project. I'll be continuing on with this kind of uneven bending for the remaining section. This is going to be our first layer of the blending. I'll also be doing more layers of the blending later on. I'll also be doing more layers of blending later on. Mixing all the colors together, we have got sapphire blue, Prussian blue, ultra marine blue, cobal blue, and a little bit of black and white. Not a little bit of black and white. We have got lots of white. Continuing on with the upper part. So with this kind of blending, you can see the visibility of all the other colors that are lying beside it with the different seeds of the cobalt blue and the ultramarine blue. We have created a little bit of transition in between the two colors. It's not that apparent, but if you pay a little bit more attention to the painting, and if you are following along with me, you can see a little bit of transition in between the two seeds of the lighter set of the blon, the cobalt blue, the ultra marine blue. Continuing on with doing this kind of uneven blending for the remaining section of the blueberry. And for the darker tones, the Saphire blues, the Prussian blue and the black, we have created this kind of darker regions. Continuing on with doing this kind of uneven blending for the remaining section of the blueberry, making the outlines a little bit more defined. We have got only a small botin to do the blending. For this project, I won't be creating any kind of background or shadows. If you want, you can do that. You can also add larger leaves, but I won't be doing it. I'll only be creating this simple Mary portrait. We are almost done with this side. Now we have got only a small section in here, the white. We're doing uneven blending in here for this section. And with this, we are done with most of the section of the blueberry. Now moving onto the insides, the calec. In here, we'll be spreading the black with the blues to do a little bit of partial blending like this. Spreading the black on the side too. Now for the insides, spreading the darker sides of the colour towards the lighter side, the white. And we are doing the same kind of uneven blending in here, too. And with these, we are done with the first layer of the blending. Now let's make the outline a little bit more detail and define for the calax creating a little bit more defined outline using this gray. I I'm using light purple. You can use light purple. You can use pale yellow or white to do the outlining, but I decided to use this light purple, making the outline a little bit more defined. You'll have to apply a little bit of heavy preset to overlat on top of this many layers. Also creating this circular broken lines. Now for the remaining section in here, a little bit of this light purple to make the regions a little bit more lighter, the outline regions to sew a little bit of reflection. Now, subduing its intensity a little bit by doing another layer of uneven blending for this light purple, doing the same thing for the insides too, a little bit of partial blending of this light purple. We are not going to cover the entire light purple, but a little bit of subduing of its intensity a little bit to make it a little bit less lighter. Now for the center, I'm using ocher, creating this kind of simple ovals. Going with the golden yellow to make it a little bit more lighter, overlaying this on top of the ocher. Going back once again with the ocher to create small dot. We are done with the center part. Now we'll be doing a little bit more blending for some of the regions to make it a little bit more even. So for some of the section where there is a lot of gaps in between. So blending some of the regions with this Q tip. Once again, going in with the white, we'll be making some of the regions a bit more and lighter, mostly for those regions where we used white earlier. So creating this kind of small patches of the white for some of the section here I'm flying medium to heavy pacer to overlay it on top of the to overlay this on top of all the layers of the colors that we have done, adding it in here for this region. Small strokes with the white like this. Instead of this, you can also use light purple to make it a little bit purples in color. Now, once again, let's do a little bit of blending, partial blending, or you can see a little bit of uneven blending for the whites. Subling its intensity a little bit and blending it with the remaining colors. I see a little bit of the texture of the white so remain visible. So don't overdo the blending. Blending some of the light purple for the insides of the CalexKing little bit of more blending for some of the regions. Right now, the calx is not looking that much distinct from the rest of the blueberries, so we'll be making the calax a little bit more separate and a bit more darker. Continuing on with the blending for some of the sections. Now for the outline in here, I'm using white and creating a little bit of broader or bit thicker outlines. This is optional. If you don't want to do this, you can just leave it as it is. You can also use the darker sites of the oil pit to do the outlining. You can use blues or the black. You can use Pusan blue or saphte blue to do the outlining. You can also use the colored pencil. Carefully doing the outlining, we don't want the whites to mix with the blues. And as I was mentioning, I won't be doing any sados or the background, but if you want, you can create sados too. To add a little bit more detailing or add patterns to it, you can create multiple smaller and simple blue berries for the background. Let's make these lines a little bit more thicker for the upper part. Here, as you can see, I'm applying heavy preset with oil pastel to get somewhat smooth and uniform consistency of the color. Making it a little bit more thicker for the upper part since the lower part and the other parts are a bit more thicker. This is optional, and this is taking a little bit of time. So if you don't want to do this, you don't have to do this. And with this, we are done with the outlining, removing the excess oil pistol dust. Now for the Calex using a little bit of white to make the outlines a bit more defined and a bit detailed adding it in the same manner, bit of broken curved lines following following the seep of the Calex. And with these, we are done with the portrait of the blueberry. I hope you enjoyed this. This is one of the most detailed one. We want to make the calex bit more darker. You can do that. And I'll be seen in the next project, happy painting. 9. Sliced and Sweet Blueberry : Welcome to slice and sweet Mulberry. In here, I'm using white colored pencil to create the outline for the blueberry in here. We'll be creating a total of two blaryO will be whole, and other will be bisected. Starting with this covet blue to do the outlining, I decided to directly start with the oil pistil, but if you are not confident, you can start with the pencil sketch and then do the coloring. This will be the complete blueberry and this one, the second one that I'm creating a bit larger. This will be the bisected blueberry. So we'll be able to see the flash as well as the seeds for the blueberry. Making the outline a little bit larger. Let's create a rough outline for the cex of the blueberry. In here, I'm going with the light purple. Creating this kind of small strokes with the light purple on all the sides of the calex that we have created. Mostly adding it on the right side, a little bit on the left side, but the side is quite smaller. I also added a little bit for the inside. We are adding the light purple from inside out. So what I meant to say we are adding from scented towards the outline section. So in that manner, I'll be trying to create a little bit curb see appearance for the blue vary. So that's why I'm adding this in this manner to create a little bit of curb see for the blueberry. And now in here, I'm going in with the periwinkle blue overlaying a little bit of this periwinkle blue on top of the light purple that we just used. In here, I'm applying medium preserve with it, and with this, we add in with the light purple and the periwinkle blue. Now let's go in with darker sed. In here, I'm going in with the violet, overlaying this violet for some of the sections and adding it for the empty spaces in between both the light purple and the periwinkle blue that we have used. Adding it primarily just beside the outlined section with the cobalt blue. Adding it a little bit for the Calex in here and creating this kind of star like seen. Now let's continue with adding it on the other side, the right side, making it a little bit darker. So applying a heavy pressure with it. And with this, we are done with it. Now, let's add another layer of coloring on top of this. So in here, I'm using a little bit of lilac and adding it for the lower section. And finally, to make it a little bit darker, adding a little bit black. I'll be adding more black later on, but for now, let's add black for the inside. Going over the outline of the star like seem that we have created. Now extending it a little bit. For this lower section in here, overlaying this on top of all the colors that we have used, making this region, the left side a little bit more darker. Let's add a little bit more small strokes with this black. And I'm also using this black on top of the outline section. Now let's do the blending. In here, I'm using QTIP, starting with the alex. So blending the colors in here for the outline section of the alex, the lighter seats and the darker seats of the black, blending it together. Now let's blend the remaining section. So in here, I'll be blending from outside to inside. What I mean to say that I'll be spreading black towards the center region. If you want to make it a little bit lighter, you can just do the reverse. You can spread the lighter seeds of the colour towards the darker set, the light purple and the lilac towards the black and the blues. Apply medium and heavy pressure with the Q tip to do the blending. If you want to use the blending stem to do the blending, but with the tissue paper or the cloth, it will be a little bit difficult. We won't be able to create this kind of bit smooth transition in between the colors. Here I'm also trying to create a little bit of texture by blending in this manner. Blending it for the outlined section. Now, let's do the blending for the remaining section. Extending the blacks toward the central region and for the Calex in here. I was not satisfied with it, so I decided to make it a little bit more lighter towards the bottom right side, so adding a little bit of white in here, a little bit for the Calex too. So we'll be making this region a bit lighter. Doing a little bit of outlining for the calx and adding small random strokes for some of the section to show a little bit of reflection. Adding a little bit more on the side too. And now let's redo the blending once again. Applying heavy presser with us and doing a partial blending in here. For this section too, we are not going to blend the entire portion, but only the white that we just added, doing a little bit of partial blending with the QTIp to make these regions a little bit lighter, to create a little bit of lighter section for the different parts of the blueberry. Going over the outline section, the blue and the blacks, trying to blend it a little bit. Later on, we'll be using a little bit more black to create the bold and bit more defined outline, blending the insights and the outside of the alts. And with this, we are done with a second layer of blending. In here for the central part of this galax, I added a little bit of ocher, a little bit of golden yellow to make it a little bit lighter and blending it with this cher. So with this, we are done with the primary blending of the colors going back once again with the black to create a little bit more sados for the insides of the galax making the outlines a bit more crisper. Adding it a little bit more for this region, the outside of the calex and refining the outlines once again. Now for the outside region, creating outline like this, a little bit rougher outline to add another layer of texture for this blue many. Now, as I was mentioning, redoing the outline for the blueberry, overlaying this on top of the cobalt blue that we used earlier to do the outlining. In here, I'm going to cover the cobalt blue entirely with this black and then do a little bit of blending later on. This is how our first blueberry turned out. Let's do the coloring for the second one. So this one is cut in half, so we'll be able to see the inside, the flesh, and the seeds for the inside. Overlaying this on top of the cobalt blue, a little bit of it. Now, let's blend it a little bit. For this one, too, later on, I'll be using black to redo the outlining and making the outlines a bit more bolder, a bit more darker. Instead of doing it later on and decided, why not? Let's do it right now. So adding this black on top of the blues and the purple, ensure that you are using the tissue paper. Otherwise, you will get smudging all over your paper by your palm. Now for the side, let's start with the lighter seeds of the color. So in here, I'm starting with the olive yellow. Eating this kind of random strokes or you can see scribbling with this olive yellow and adding it just beside the outline section and a little bit for the middle, the central part. Now for the remaining section of the sign, going in with the pale yellow. And creating the same kind of random strokes to fill the most of the empty specs for the inside. To make it a little bit more lighter, now I'm adding a little bit of white, adding the white for the remaining section. Here, too, I'm applying medium pressure, overlaying a little bit of this on top of the green. Now let's do the blending of the color. For this section two, we'll be doing two or three layers of the blending. This is our first layer. So carefully blending it in here near the outline section. To get a smooth blending for this region, I am blending the color in circular manner. Since this is a large portion, if you want, you can use the tissue paper or the cloth to do the blending. I will save you a little bit of time. But in here, I'll be continuing on with the KATp to do the blending for the remaining section. We are also doing a little bit of blending for the purples and greens in here. Extending the purple and blending it with the lighter seats of the color for the middle part. By doing this, we have created this kind of transition in between the two colors. Now let's do the reverse extending the lighter seats of the colour towards the blues and the purple. And with this, we are done with blending for the insides. Now let's add a little bit more details for the inside, starting with this gray and creating this kind of simple and random dots for the inside. So in here, beside it, we'll be adding the seeds. Now going in with a little bit of lemon yellow to make this region a little bit different. Adding the kind of small strokes with it to make this region a little bit more lighten. In here, you have to apply heavy preset to overlay it on top of all the layers. Now let's create multiple seeds. In here, I'm using the golden yellow as the primary layering for the seeds and creating this kind of bit overland elliptical seaves for multiple seeds. Going with the ocher and adding a little bit of ocher for the point in edges of the seeds that we have created. Applying a little bit of heavy presser with it and overlaying it on top of the golden yellow. This is our second color. Now, using this burnt sienna and creating a little bit of outlining for the outer edges of the seeds. Here too, you'll have to apply heavy place to overlay it on top of all the layers of the colors. This is our third layer. And apart from this, I'll also be using a little bit of brown. We are done with this burnt sienna now going in with the brown, adding a little bit of brown, creating very small strokes with the brown and overlaying it on top of the yellows and the ocher that we used earlier. And with these, we are done with the seeds. If you want, you can use a little bit of white to add a little bit of highlights for the seed. Let's create the sados for the two blue berries in here. For this, I'm using this sky blue, and I created this kind of simple seeds. And now let's completely fill the entire region with this sky blue. With these we add sados for the first one, moving on to the second one and completely filling the insides with it. If you want to make it a little bit more defined and detailed, you can use a bit darker side of the gray and add it just beside the blue berries and then blend it with the sky blue that we just used. Now to make it look a little bit more realistic, I'm using this pale yellow and creating these kind of small dots to sow some of the reflection by the flush of the blueberry. Adding multiple small dots throughout the entire region. Instead of this, if you want, you can also use white. Now, we'll be doing the same thing in here. So small dots in here instead of adding the dots, when you for me, I'll be adding it in this manner, a cluster of dots for some of the regions. Small dots throughout the entire region in different section or different clusters. Here, too, if you want, you can use the white to create this kind of dots. This dots represent some of the reflection caused by the uneven surface of the lumery. Let's add a little bit of smaller dots with it. And with these, we are almost done with this. Now, as I was mentioning, going in with the black to make the outline a little bit more distinct. In here, I'm just going to make the outlines a little bit, broader, a bit more thicker, applying heavy presser with the black and making the outlines like this. This is optional, if you're satisfied with your project, you don't have to do this, but I decided to make it a little bit more bolder. So that's why I'm using black to redo to redefine the outline, doing the same thing for the second one. To make it a little bit more crisper outlines, you can use the colored pencil to make the outlines a bit more defined and bit more uniform. And with these, we are done with this project, adding a little bit more color for the side though. I hope you had fun painting this one, and I'll be seeing you in the next project, happy painting. 10. Cool Blueberry Swirl : Welcome to cool blueberries world. For this one, we'll be painting three different blueberries. One will be bisected. For one, the top will be visible, and for the last one, the bottom will be visible. For this one, we'll be using lots of color, lots of layering. And in here, I've already started with the white to do the sketching. I'm using blue colored paper to do the coloring. If you are using other colored paper, I would advise you to taste out your color on that paper. As different colours seems a little bit different depending upon the paper you are adding it on. So I would suggest you to try out the colour on a rough paper and then use it on your mean project. For the second one in here, I'm creating a circular seam. Now moving on to the third and the final one. For this one, we have got an oval seam. This will be our three blueberry. Let's do the coloring. In here, I'm using sapphire blue, starting with the sapphire blue for the upper part. The region just below the calx of the blueberry. Adding it a little bit for the outline section of the calx, the upper part of the blueberry. Extending it a little bit in here. So this part will be the calx of the blueberry. Now for the insights, I am feeling it in the sky blue. In here, I'm applying medium presser with sky blue and doing partial blending of the two colors. Later on, we'll be using the blending tools blending stem per Q tip to do the blending of the colors. O now just apply medium presser and feel nine sides of the calax with this. And with this, we are done with a sky blue phone now. Now going in with the black, we'll be doing the outlining, adding this white in here. To avoid smudging of the color from the palm, I'm using the tissue paper. Applying medium pressure with the black to do the outlining in here. Also doing outlining for the upper part just beside the calex that we created, making this a little bit thicker on the left side. Now in here, I'm using this light blue. Adding this light blue just beside the black, as well as doing a partial blending of the color by overlaying a little bit of this light blue on top of the black. Overlaying this light blue on top of the black in here, too, the insights will be using lots of colours, lemon yellow, moss green, olive yellow, pal, yellow, and yellow along with ochre. So I'm starting with a moss green. Adding this moss green just beside the sky blue that we just use. No, not the sky blue, the light blue that we just used. Now using this lemon yellow. Overlaying a little bit of this lemon yellow on top of the moss green and adding it in this manner, extending this middle person a little bit with this moss green. Now, once again, going back with this lemon yellow. So we are done with two colors for the insides. Now going back with a Saphireblue to add a little bit more detailing for the insides. And now, once again, using this lemon yellow for the insides, a little bit of it. And with this, we are done with the lemon yellow for now. Now I'm going with this pale yellow, pale yellow that I used, the pale yellow that I used for the outlining. Oling a little bit of this pale yellow on top of the lemon yellow that we used earlier as well as adding it beside the moss green that we used. So with this, we add with the pale yellow for the inside of this blueberry. Now let's do the blending. In here, I'm starting with the darker side of the colour. To get a smooth and consistent blending. I'm doing the blending in this manner. Let's make the outline bit bolder and more darker with this black. Apply medium to heavy presser with this QTIP to do the blending. Instead of this TIP, you can also use the blending stem to do the blending. We'll be doing the blending of the sides for the blueberry indifferent layer. We are done with the first section of the blending for the colors. Now in here, I'm extending the blues and the black and mixing it with the moss green to do the blending of the color. Extend these two colors a little bit to mix it with the moss green to do partial blending of the colours, doing it for the lower section, the bottom part of this blue berry. Now, changing the side of the tub and let's blend the lighter colors. Now for this section, instead of extending the blues and the blacks and the moss green to meet the inside, I'm extending the lighter seats of the color that we use, the lemon yellow and the pee yellow and extending it to meet with the moss green to do a blending of the colors. So extending the lights colour to mix with the darker seats of the color for the flairs of our blueberry. Slowly and gradually, we are moving towards the center of the blueberry. We'll also be doing a little bit of blending for the sapphire blue that we added for the inside for the central part of this blueberry. In here, you can see we have created a beautiful gradient for the flares of the blueberry. Blending it a little bit more to get a smooth consistency of the color, to get somewhat of uniform consistency throughout the entire section for the inside of this blueberries flush. I was not satisfied with the consistency in here, so I decided to make it a little bit more lighter. In here, I'm using a little bit more pale yellow. Adding this pale yellow on both the sides and a little bit further bottom section. Let's add a little bit more detailing. So in here, I'm using this yellow color, applying medium to heavy presser with this yellow to overlay it on top of all these layers of the color. Now, once again, we'll be doing a bit of partial blending in here, applying medium preserve with it to blend the yellows with this pale yellow. Blending it to the rest of the colours to make this region a little bit more lighter and a little bit yellow is. Moving on to the other side, doing the same thing, first blending the pale yellow with the yellow and then and then yellow with the remaining section. Finally, doing the blending in here for this lower section. Now, just do a little bit of more blending to get a little bit of smoother consistency for the inside, the flair of the blue berry. And with this, we are done with blending for the insides. Now moving on to the upper section, the cex of the blue berry and doing the blending in here, the lighter side of the blue that we used along with the sapphire blue, doing the blending for the upper part of the Calex too. Now going with the black to make the outline, the upper part of this calex a little bit more darker. Let's redo the blending in here, blending the black with other lighter sides of the blues and sapphire blue with this black. So blending this black with the remaining coloring. Applying medium to heavy freezer. And we are not going to cover the entire section, doing a partial blending for the upper part of this blueberries Calex. And with these we with the blending for this side, pull most of the section for this small section in here, adding a little bit of sky blue. Making it a little bit darker with the darker side of the blue. Now let's do the blending. Applying heavy pressure with the Q tip to do the blending for this smaller region. I'm also blending a little bit of the pale yellow of the outline. Now for this region in here, doing a little bit more blending just beside the sapphire blue that we use for the inside. And with this, we are done with this now. Let's start a little bit more detail for the insides of this now let's create the seeds for the blueberry. In here, I'm using Ochre and creating this kind of simple tear drop like C for the blueberries. Ted drop like C for the seeds of the blueberry. I'll be creating 12 to 14 seeds on both the sides. If you want, you can increase or decrease the number of the seeds a little bit, adding few seeds for the insides too. Now adding a little bit of lemon yellow for one side of the seeds that we created on top of this ocher. With these we are done with the lighted seeds of the colored food that seed. Now going with a little bit of brown to make it a little bit darker on one side. Here you have to apply a little bit of more presser with the oil piststi to overlay on top of this many layers of the colors. Adding a very small amount of brown for all the seeds that we have created in here. I'm also using this brown to redefine the seep of the seeds a little bit, adding a little bit more for some of the seens. Now let's make it a little bit more lighter. So on the other sides, I'm using a little bit of yellow. So overlaying this yellow on top of the ocher and a little bit on top of the brown, too. Let's add a little bit more detailing for the flairs of the blueberry. Adding the details for the inside of the blueberry in this manner. Simple lines, simple curved lines like this for the inside of the blueberry. Adding a little bit more in here. So in here we are trying to create a little bit of veins like structure for the insides of the bluebafuls. Now let's do the coloring for this one. I'm starting with the sky blue for the center. In here, we'll be adding the cex. Let's make it a little bit more lighter. So overlaying a little bit of white on top of this, making this circular region a little bit more larger. Now for the side two, adding a little bit of white. Now going back once again with the sky blue to make this region a little bit blues overlaying a little bit of sky blue for this region two. We'll be creating the reflection of this blueberry on this side, so that's why I added blues and the white in here to make this region a little bit lighter. And for this middle region, as I was saying, I'll be adding the galaxy in here. So that's why I decided to add a little bit of lighter seed in here, making this region a little bit more lighter, adding a little bit of white on the other side to make that region a bit more lighter. Going in with this darker side of the blue, sapphire blue, I added a little bit of blue for the outline sexon, so making the outline a little bit more bolder. Now continuing on with the sapphire blue, filling the rest of the empty spaces in here that we have created. Filling the rest of the empty spaces with sapphire blue for the entire section of this blueberry. For the lower region in here, I'm leaving a little bit of space in between so that I can use a little bit of darker side of the colour to make that region bit more darker. Now, let's do the blending. Starting with the middle. I'll be extending the slighted side of the blues and the white to mix it with the sapphire blue. Now, let's do the blending of the colour for the remaining section, blending this sapphire blue with the sky blue and the white. In here, as you can clearly see, we have created a beautiful gradient in between different sides of the blue. The lighter regions in here will be representing the reflections and the darker regions will be sewing the shadows, and in between them, we have created a gradient of sky blues and the sapphire blue. Doing the blending on this side, doing the blending on this side, and making this region a little bit more darker. Apply a little bit of more pressure to do the blending, extending the sapphire blue a little bit on top of the lighter sets of the colon that we have used. To make the darker region bit more darker, overlaying a little bit of black on top of the sapphire blue that we just used. I'm not adding the black on all the portion, but some of the section. Only for those section that I want to sew a little bit of darkness or you can see a little bit of sadosG back with the QTIP to do the blending once again. We are particularly blending this black with the sapphire blue. I'm not going to extend this black a lot to mix it with the lighter treat of the sky blue and the white that we used earlier. And with these, we are done with parcel blending of the black. Now let's create the calx, starting with this sapphire blue to create the see for the Calex Creating petals like sea for the Calex Apart from the sapphire blue, we'll also be using black. Adding a little bit of sky blue for some of the section, the middle section of this cx. Now feeling the remaining section of this petal like of the calex with this sapphire blue, making it a little bit darker, so overlaying a little bit of black on top of the sapphire blue for some of the regions, but it car on the lower right side, adding it on here too on the other side. Adding a little bit more black for the insides. We are not going to blend the colors in here, but we'll be keeping it, but we'll be keeping it as it is to sow the rough texture of the blueberries Calex and with these, we are done with the second blueberry. Now let's do the third and the final one. So for this one, the bottom section will be visible. And in here, I'm using white to create the central region, the bottom section of the blueberry. Now, using the cobalt blue, encircling the white that we just used with this cobalt blue, going with the sky blue and doing a partial blending of the color and encircling the cobalt blue that we just used. Extending the sky blue a little bit on this side and creating this kind of grease and same. To make this region a little bit more lighter, adding a little bit of white surrounding this sky blue. Adding a little bit more covet blue for this region. And we are done with the cobalt blue for this region now going in with the sapphire blue. Creating this kind of random strokes with the sapphire blue, adding it for this crescent seen, creating this kind of rough strokes with this. Now adding a little bit of this sapphire blue for the middle region, the central part, and overlaying it a little bit on top of the white. And with this, we are done with the primary coloring. Now going in with the tip to do the blending here we'll be blending all the colors together, applying medium to heavy pressure with the tip to blend all these colors. So in here too, we'll be creating the same kind of landing that we did for the second one. We are doing blending and adding color in this manner to so that the blueberries are a little bit three dimensional in seep and also to depict the curved seep of the blueberries and to give it a little bit of more volume. Let's do a little bit of more blending, following this crescent seep and doing the blending in this manner. And with these, we are done with the first layer of the blending. Now let's make some of the regions a little bit more darker. Adding a little bit of black in here, adding a little bit more black in here to make this region a bit more darker. Now, once again, going back with the black to do the blending, extending the black a little bit. Doing the blending for this region in here, extending the black in here to mix it with the cobalt blue and the lighter side of the blue. This region was a little bit more darker, so I decided to make it a bit lighter, adding a little bit of sky blue in here. Now going back with the QTube to do the blending once again. Blending the sky blue with the black to reduce the intensity of the black a little bit. Doing a little bit more blending in here to get a smooth transicent in wet winter colors. And with these, we are done with the blending of the colours for the third blueberry. Now for this bottom section, adding a little bit of moss green in this manner, overlaying it on top of the white, and creating this small circular C for the inside. With these, we are done with this section. Now let's make the outline a little bit more defined. So using this pale yellow to redo the outlining. So this is option if you don't want to do this, you can just leave it as it is. I use this wheel to do the outlining in here since I am using this blue colored paper, otherwise, it was not required for me to do the outlining. But since the cobalt blue and the light blues are what seemed to the color of the paper, that's why I'm using it. I'm not going to add any shadows or background, but if you want, you can proceed with that, too. Now, let's add a little bit of reflection for the scene. So using a little bit of pale yellow and creating small dots for the seeds, adding it a little bit on top of the sapphire blue in here, too, blending it a little bit to subdue it. And, with these, we are done for the insides. Adding a little bit more to make some of the regions a little bit more distinct, the outline regions. And with these, we are done with this project. I hope you enjoyed this, and I'll be seeing you in the next project. Happy painting. 11. Two leaves: Welcome to Sunny blueberries. Let's start with a simple pencili sketch. For this one, we'll be creating two blueberries. This one will be the larger one, and the other behind this will be a bit smaller one. I'll also be adding two leaves just beside the second blueberry. This project is divided into two parts. This is the first part in here, we'll be painting up to the leaves. And in the second part of this project, we'll be doing the coloring for the blueberries. But This is yet another simpler one. As for the colors for the blueberries, I'll be using prucan blue, stone gray. I'll be using the stone grave to create the sados. Then I'll be using fluorescent sapire blue, a little bit of royal purple, a little bit of an dike crown, and a little bit of black Atrment for the leaves, I'll be using fluorescent yellow green, viridian green, as well as a little bit of cadmium yellow. Creating these kind of very simple versons for the leaf. Instead of this, if you want to create other kinds of leave or change the placement of the leaves, you can do that. If you want to make chines and adjustment, feel free to do that. I'll be adding the sado for the bluery in here, for this larger one, for this smaller one, I'll be adding the sado in here, just beside it. And this is going to be our simple pencil sketch for the two blaries. In here, I'm using this yellow pastel paper to do the coloring. Instead of this, you can use any other color that you have to do the coloring. Now, let's start with the coloring. So in here, I'm starting with this cadmium yellow, a little bit of this cadmium yellow following the seep of the leave, adding it on both the sides of the midrim. This is our first layer for the leaf now going with a little bit lighter seed of the green. So here I'm using fluorescent yellow green. Overlaying this a little bit on top of the cadmium yellow, as well as adding it just beside it like this. I also added it for the I also added it in the middle region for the midrum moving on to the second one, doing the same theme. Here I'm applying low pressure with it to overlay a little bit of it on top of the cadmium yellow. Using this green to define the seep of the leaf a little bit. Thing the same thing in here for this leaf, defining a seep, a little bit with this fluorescent yellow green. And with these, we add the yellow green. Finally, going with this viridian. For most of the empty spaces in here, just beside the outline section that we have created, adding this viridian green, adding it a little bit for the middle section for the midrib. Now doing the same thing for this one, adding it just beside the outline section, applying medium presser with it, now adding it for the middle section, adding it carefully in here, just beside the blueberries. Let's make the outlines a bit more darker, adding it for the mid drops, creating simple and straight mid drops for the middle section of the leaf. And with this we turn with a aridian green. Now let's do the blending. Blending stump in here. I'm using this Q tip to do the blending. And I'll be spreading the colors from the middle section. So spreading this aridian green from the mid drips. The goal in here is to spread the viridian green from the center, as well as from the outline section towards the middle section. Creating a little bit of trangesen in between the dark shades of the green and the yellow from outside to inside. Let's do the same thing on this side. Spreading the Viridian green from the outside regions towards the inside, as well as spreading this viridian green of the inside, the midrib that we created towards the outside. It will be meeting at somewhat of middle section of the remaining part of the leaf. Since mostly we use low presser and the medium presser, so the intensity of the color in here is not that dark. That's what I was aiming for to get this kind of subtle gradient and subtle trangent in between the greens. If you want to make it a bit more darker, you can apply a little bit more presser and add another layer of green on top of this. Put this one and decided to make it a little bit more lighter, so added a little bit more floors and yellow green, making this side a bit more darker using radiant green to so a little bit of shadows casted by the other leaf. Now, let's do the blending in the same manner, reading the radiant green from the outline section as well as the radiant green of the mid drops that we just used. Instead of this, you can also use the blending step to do the blending. With the blending step, you will get a little bit of mold preseason and you can apply and you can apply a little bit more pressure with it as compared to the cutipblending the remaining section of this leaf, this side of the leaf. Moving onto the other side, doing the same thing, spreading the Vina and green from the outline section as well as from the midrib section. To make it a little bit lighter, you can just do the opposite. You can spread the lighter color, the yellows from the middle portion of the leaf towards the outlined section and towards the mid drop. Now we have got a small section in here where we added a bit more radiant green, so spreading the colors in here. And since we added a little bit more idiant green in here, so this region a bit darker. Now, we spread the colours a little bit more to get a smooth consistency and uniform blending of the colors. With these, we are done with a blending for the leaf. Now going with the blending system to make the edges of the leaf a little bit more sharper and a little bit more defined. Instead of this, you can always use the colored pencil to make the outlines a bit more defined and bit more crisper. You can also use the oil pastel to do the blending later on. Now, once again, I'm using this radiant green to create the mid drops and the veins. If you want to keep the simple acts, you can just leave it aus. You don't have to add the midribs and the veins. With these we are done with the first one. Let's do the same thing for this one, adding the mid drops and now adding the veins, multiple veins. And with these, we are done with a radiant green. Now, once again, going back with the blending stem in here, I'll be subduing the intensity of this radiant green a little bit, applying heavy pressure with this blending stem and blending a little bit of this radiant green with the remaining section of the leaf, the background. This is optional to if you want to make this a little bit sour, you can just leave it as it is. You don't have to do the blending with the Qtip or the blending stemp in here. And apart from this, if you want to make it a little bit more lighter and add a little bit of reflection on highlights, you can go in with the lighter seats of the yellows or pale yellow or white and go over the mid drops and the veins, some section of it to add those kind of reflections and a little bit of highlights, doing the same thing for this leave in here, the second leaf we have. Just going over the mid drops and the veins, we have created twice or thrice to subdue its intensity a little bit and blending it with the background color. Just subdue its intensity in a little bit of blending till you're satisfied with the result. So for this video, I'll only be continuing up to here, and in the next video, you'll be coloring our blueberries. Here, as I mentioned, if you want to you can always use the colored pencil to do the outlining. Right now, I'm just using this blending stem to make the outlines a little bit more defined blending the colors a little bit more for some of the sections. And with these, we had done with two leaves for our blueberries. I'll be seeing you in the next part. 12. Sunny Blueberry : Let's continue where we left off. We have already created the leaves. Let's start with the blueberry. In here, I'm using van **** brown to start with the calax of the blueberry, a little bit of van **** brown. Now going a bit darker side of the blue. So in here, I'm using Crucian blue and adding it a little bit just beside the brown and overlaying a little bit of it. Put the calx of the blueberry. These are the other colors that I'll be using to do the coloring for the blueberry, starting with a bit lighter state of the blue. So here I'm using fluorescent sapphire blue. And mostly in here, I'll be using medium to low pressure to create different layerings of the blueberry and then use the blending stem or the Qip to do the blending later on. Applying low to medium presser with this and adding it just beside the Calex for the remaining section. Here, too, I'm adding this in different sections so as to sew and create a little bit of curbs for the blue bearing. Following the curb see or the contour of the blueberry and adding this fluorescent blue for the remaining section. To make it a little bit easier for you, you can just do the outline first and then add the colors later on. In here, I was not able to record the remaining section, but I'll be showing you what I did with the different colors. So we use Brucin blue, fluorescent sapire blue, a little bit of royal purple to do the coloring. As usual, as I showed you, I started with the brown to do the calx, use a little bit of this Prussian blue to create a little bit more detailing for our calx. Then started with this fluorescent sapphire blue, applying light presser with it and creating this kind of lines following the curve sweep of the blueberries and mostly adding it for the upper section and a little bit for the lower sections. So I use this color in this manner to add it for most of the region of this blueberry. You can say that I added it for most of the sections. As you can see, I applied medium to low pressure with it as the first layer for this blueberry. I also added a little bit more for the other side. I went with this purple. So in here, I'm using royal purple from the Brusto and adding another layer on top of this fluoct sapphire blue, particularly on the lower side. And I'm also creating some larger strokes for some of the section for the middle section like this, particularly adding it for the lower section. So this is how I use the royal purple as the second layer. Now for the third layer to make it a little bit more darker, here, I'm using the sapphire blue, not the sapphire blue, but the Prussian blue that we used earlier for the Calex. A little bit of it overlaying on top of the other two colors, the royal purple as well as the fluorescent sapphire blue. And to make it a little bit more darker, and to sew the sado, I added a little bit of black in here like this. So overlaying this black on top of all the remaining colors. And this is how it turned out, so you can clearly see just by using different color of the paper, the result looks a bit different. And let's continue with the remaining section. And here, I'm using Kotip and let's do the blending of the color. Here to make it a little bit darker, I'll be spreading the colours from bottoms towards the top. To make it a bit lighter, as I said earlier, you can just spread the color in opposite manner, starting with blending the colors from the top just beside the calax and spreading it towards the bottom section. Here for the blending, too, I'll be spreading the colors following the curve sweep of the blueberry to add a little bit more depth and give it a little bit more volume to it so that it's a little bit three dimensional. So this process is going to take a little bit of time to make this process a bit faster, you can use the tissue paper. With the Q tips and blending stem, because of their small size, we are able to create a little bit more texture and add a and add a little bit more volume to the painting. So in here for the lower sexon I have just started with the tip, but for the later sexon I'll be using the tissue paper to do the blending for the remaining part. Ater on, I decided to do the blending for the remaining section with this tissue paper, as I have not used tissue paper to do the coloring for any of the project. So I decided that it would be a good example to do the blending with this tissue paper. If you want to continue with the blending stump or the QTIP, you can continue on. Applying heavy pizzer with the tissue paper to do the blending. Instead of this tissue paper, you can also use small cotton cloth to do the blending. It will make the result a little bit more better. With the tissue paper, you will have to be careful. Otherwise, you will get a little bit of smudging or colors coming out from the outline section, and we don't want that. Changing the side of the tissue paper and continuing on with the remaining section. Carefully doing the outline the upper part near the Calex, spreading the color a little bit near this outline section. Once again, changing the side of the tissue paper to do the blending. Carefully doing the blending on the other side too. Now, apply more prexer with it and do the blending for the remaining section. In here for this upper part since we use low to medium preser with the oil pistil so this region is a little bit lighter. We are done with the tissue paper for the blending. Let's add a little bit more detailing for the upper part, the calx. In here, I'm using fluxin blue and creating this kind of s, the star petal like s for the Calex Now, let's make this outline sexon a little bit more darker. You can also use a little bit of black. I'll be using black later on. Now to do a little bit more blending near this region, I'm using QTIP. This will be a little bit challenging using the tissue paper since the age a little bit smaller. Spreading the color a little bit near this outline section for the Calex. Carefully doing the blending on the other side too. Now for the region in here, the browns and the prosen blue that we used earlier. Just apply medium preserve and do the blending. Go in the black to add a little bit of more darkness to the calx. I I spreading the color a little bit, mixing the blacks with a Putianblue. And with these, we are done with the primary coloring for our blue being first blue bearing. Now in here, I'm using this blending stem to make the outline cell a little bit more defined. So just going over the outline section and applying heavy preset to get bit sharper and bit more defined curve see for the blue bearing, doing it for the remaining section in here. Instead of this, you can always use the darker set or bit lighter seats of the colour to make the outline with the oil piston. You can also use the colored pence to do the outlining. Using this blending stem carefully near the screen part, we don't want these two colors to mix. And now let's make some of the regions a little bit lighter, applying heavy presser with the white and adding it a little bit on top of the blues and the black for the Calex. I'll also be making some of the regions of this blueberry a little bit lighter with the white. For now, I'm using this white to create kind of this kind of seep to sow a little bit of highlight and reflection. A little bit of exclamation marks like see. Adding a little bit more on this side to sow a little bit of more highlight. Now using the blending stump once again to subdue the white a little bit, blending a little bit of this white with the remaining section of the blueberries. Doing a little bit more blending near the upper part near the calax Now, later on, I'll be coming back with the white and add a little bit of more texture and detailing for some of the section of this blueberry. Before doing that, let's do the coloring for the second one. In here, we have started with the brown for the Calex creating this kind of s for the cex of the blueberry, now continuing on with the fluorescent sapphire blue. We'll be doing the coloring in a little bit same men that waited for the first blue berry. Using this fluorescent, sapreblue as the primary layering for the blue berry. Instead of this, if you want to make it a little bit more darker as this is a little bit behind the first one, you can use darker sides of the blue. Instead of this fluorescent, a file blue, you can use the cobel blue and then proceed with the Prussian blue and a little bit of dark blue to make this blue berry a bit more darker, adding it for the remaining section. Making this right section a bit more darker. And with this we add in with the sapphire blue now to make it a little bit purple in color. So using this royal purple and adding it particularly for the lower section and making some of the streaks of this purple a bit larger for the upper part like this, We had done with the purple and now going with the Prussian blue. Adding it carefully near the outline section of the first blue bearing, making this right section a bit more darker and fun black. Adding a little bit more black in here to make the sados bit more darker later on. Also adding it in here for the sadose casted by the leaf. Carefully adding it in this curved magnet do the outlining for the blue varying. And with these, we add with the coloring for the blueberries. Now, once again, going in with the tissue paper to do the blending. Instead of this for the smaller region, if you want, you can use the QTIp or the blending step, and you can just continue with me and use this tissue paper to do the blending. Apart from this tissue paper, you can also use a small cotton cloth to do the blending. It will make the result a little bit more better. Tinuing on with the remaining section, spreading the color from bottom to top to make it a little bit more darker. To make it a bit lighter, you can just spread the color from top to bottom instead of spreading it from bottom to top, spreading the colors carefully near the upper part, near the Calex. And with these, we add her with the primary layering for the blueberries. Now going with the white, as I said, for the blueberries, some of the section I'll be making it a bit lighter, adding a little bit of white in here, moving on to the second blueberry, adding a little bit more white in here, comparatively more white. Adding it for the outline section in here. Let's subdue the intensity and create a smaller streaks of white for the sides of the blueberry using this blending stem to subdue the white a little bit and blending it with the remaining colors for the blueberry. So just by doing this, we are creating small streaks of white throughout the entire section of the blueberry. And as you can see, I have added the white following the curve shape of the blueberries to sow a little bit more roundness of the blueberry making the regions near the calec a little bit more lighter, so using a little bit more white. Now, once again, let's do the blending, subduing its intensity a little bit and mixing it with the remaining colors of the blueberry, carefully doing the blending near the Calex. I'll also be adding a little bit of white for the other side. For now, I'll just do the blending for the remaining section of the white. You can also use the Q tip to the blending with the tissue paper. It will be a little bit difficult to do the blending for the smaller sections. Applying heavy pressure with this blending stem to do the blending. Now moving on to the second one, carefully doing a blending near the leaf. Now let's do the blending with the remaining section of the white. In here, since this is a little bit smaller as compared to the first one, I did not add it in the white in a definite way, but following the curve b of the blueberry, spreading the colors a little bit the white and subduing its intensity by blending it with the remaining colours of the blueberry. Blending the white in here on the side. Making the seep of the blueberry a little bit more defined with this blending stem. Now let's do the remaining section, the white. You have what in here. And with these, we are almost done with the whites in here. I'll be adding another layer of white for some of the section and creating the kind of exclamation mark for this one, too. Blending the browns and the blues in here for the upper part, the Calex, threading the colors a little bit and mixing it or blending it with the white, defining the see of the calx with this blending stem. Once again, making the seep bit more defined and bit more detailed. Now, once again, going back with the white other side of the calex in here a little bit of more wine just beside the leaves and the second blueberry, carefully adding it, creating small strokes with a oil pistil. Once again, using the blending step to blend this white with the remaining colors, carefully blending the colour on the other side. For the exclamation mark like highlight that I have created, I'll also be subduing its intensity a little bit by blending it with the remaining color. I won't be touching the insides of the exclamation mark, but outside the outline regions, I'll be doing a little bit of blending like this. Applying a little bit of present and blending a little bit of it, the outline section of the exclamation mark that we created. If you want to blend it a little bit more, you can do that. And with these we are done with our first blueberry. For the second blueberry, making the regions a little bit more blended. So applying bit more praser with the Qtip to blend the whites and the darker sets of the blues, making the outlines a bit more defined. Adding the same kind of exclamation mark, not the same kind. This is a little bit different. I added this smaller section up here. For the first one, I added the small portion at the bottom section, but in here, I added it at the top. Now like the first one, we'll be doing the same thing, blending the outside region of this exclamation mark like highlight to the remaining colors. With these, we are done with the highlights and the coloring for the blueberries. Now I'll be doing a little bit more blending for some of the regions where I am not satisfied with it. If you're satisfied with how your paintings stand out, you don't have to do more blendings. But if you're not satisfied, you can add a little bit more colors. To make it a bit more darker, you can use the blacks and the blues to make it a little bit lighter. You can use the whites, and to make it a little bit more purple and color you can use purples and sky blues. After doing this, I'll be going with the stone a bit darker side of the gray to create the shadows. And I'm satisfied with how it turned out. Let's do the sados using stone grey and creating the outline for the sao. Doing it in here, too. Making the region near the blueberry a little bit lighter, adding a little bit of wine, adding it for this larger one, too. Now for the remaining section of the outline portion, adding this stone gray Now, once again, using this blending stem to do the blending, making the outline a little bit defined, and then we'll be doing the blending for the remaining section. Moving on to the insides, blending the grease with the white. In here, I'm blending in this manner, circular manner to get a little bit more uniform and consistent blending for the sados spreading the whites to mix it with the gray and create a subtle gradient. And with these, we are done with the sados for the larger one, moving on to the second one, blending the white with the grease and let's define the seep, making it a little bit more crisper and bit more outline. And yeah, with this, we are done with the cytos for both the blueberries. Doing a little bit of mown blending for this one, spreading the colors the white a little bit. Tiding it carefully near the outlined section of the blueberry. So this was fun to pent. And this was one of the largest project of this class. After finishing this, I decided to make the cex a bit more defined. So using a little bit of more blues for some of the sections. You can also use black to make it a little bit more darken and blend the insides. And yeah, this time we are done with this project. I'll be seeing you in the next project, happy painting. 13. Conclusion : Congratulations on completing the class and painting your Blueberry illustration. I hope this class helped you feel more confident using oil pastel and gave you a better stranding of layering, blending, seeding, and color mixing. This same techniques can be applied to many other fruits and subjects as well. If you enjoy this class, please consider leaving a review. It really helps other students find the class and supports my work as a teacher. Don't forget to upload your project to the gallery and feel free to explore my other classes here on the Skillshare. Thank you so much for painting with me, and I'll see you in the next class.