Paint Loose Foliage In Watercolour And Pen

1. Introduction: Hello and welcome to a very relaxing costs on painting foliage in watercolor and pen. It's a great way for you to enjoy using watercolor in a more relaxed way without feeling overwhelmed about the uncontrollable and unforgiving nature of watercolor, which poses a problem for many beginners. By using pen, you are able to feel more confident about watercolor washes and can come up with a very satisfying result on your projects. Right from the beginning, you would have seen a lot of urban illustrations in this style. Creating florals, foliage, and trees are a great way for you to warm up with this medium and gain more confidence. The style that you develop can be applied to other themes, such as urban sketching, landscapes and architecture. Creating illustrations with florals and foliage is a very enjoyable and very therapeutic due to the simple shapes and patterns that you create with a repetitive style. During this course, I will introduce the basic techniques of watercolor and pen and the process of combining the two we will also practice to keep our watercolor techniques quite loose and fresh this course as projects that lets you explore your unique brush strokes and lines that will eventually develop into your unique style. I hope you will enjoy this course and we'll be able to develop your own dial using the repetitive practice of techniques. I would love to see some of your work. So please make sure to upload your process and finished work in the Projects and Resources section. Happy painting. 2. Suggested Materials: So let's start off with watercolor paint. Here I have watercolor paint in a palette. I usually use watercolor paint from tubes. You can use watercolor paint in tubes as well as pants. Watercolor pans come as a set. Usually. You can also buy individual pans like this. If not, you can always use watercolor from tombs. They tend to be a little bit more moist and stays fresh for a little bit longer. It is completely your choice, what you personally prefer to use. Let's move on to our next material. That is the brushes. I have a collection of brushes here. You do not need all of these. You can use just one brush today. And it could be any of these. I normally tend to use a medium-sized brush, which is like a 12th or ten. You can even go down to size at eight depending on what you personally prefer, depending on the size of your paper as well. Another option is for you to use calligraphic Chinese brush. They are similar to these round brushes that I have. But I personally prefer these because of their very pointed tip. And I am able to make a lot of brushstrokes, different types of brushstrokes with these, I also have an angular brush here in case if you wanted to try out angular brush, they're quite versatile when it comes to brushstrokes. And it's a great idea to try out the different brushes that you to have with you. If you do not have the angular brush, you do not need to go out and buy them. This is just an option if you did want to try it. Now let's move on to our next material that is the pen in line and wash. We need pen. And I use fountain pen normally, especially because I like going outside to sketch. I love using fountain pen. My next go-to option would be a dip pen combined with some ink. And I usually make sure that the inks are waterproof, both in the ink bottle as well as the ones in the fountain pen. This is Indian ink is waterproof. You do get a non waterproof option as well. And this is sketch ink. This is really great for fountain pens. If you wanted to use waterproof ink in fountain pens. I would suggest not to use Indian ink in fountain pens as they tend to be a bit more thicker and can clog your fountain pens. So the best option would be to use these sketches. There are other ones in the market as well. If you are not keen on using fountain pens or dip pens, another best option would be for you to use a doodling pen or a sketching pen. And this one is my favorite castle, got different types of nibs as well. This one is a small nib which says S here. And they have a very fine tip. They are waterproof. And there are different options and different other brands as well that you can use. If not for that, you can always use a normal micro tip pen that we use for writing. You just need to make sure that they are waterproof. It just makes your sketches a little bit more versatile to work with. The most important material here is the paper. I usually use, watercolor paper. And this is by Saunders Waterford. I use it to as free loose sheets like this. Or you can also use watercolor blocks like these. They are actually paid bar but glued together. And once you've finished painting, you can just take them out of the block. This way it stays a little bit more neater and you can save time from tearing larger sheets of paper. There are other brands of watercolor paper as well that you can use. It all depends on how your personal style that will behave with the watercolor paper that you use. It might take a few trials before you come to a conclusion of what paper you personally prefer. If not for watercolor paper, you can also use mixed media paper. And other option that I wouldn't use is a mole skin sketchbook. I also have another sketch book here. This is a normal sketchbook. Width, rather plain sheets of paper, and it's not as heavy as the watercolor paper or the more skin sketchbook. So this one might behave a little bit different compared to the watercolor paper or the mole skins sketch books. But if you do have another normal sketchbook, you can always try it out and see if it works for your style. We also need to have a palette. Here I have a palette with a large area for mixing. Or if you're using watercolor pans from a set, you normally will have a mixing area on the pan. If not, you can also use a white plate for mixing, as well as these, we also need two jars of water so that you can mix your colors in and also wash the brush is completely clean when you have two jars of water. We also need some tissues to wipe out extra paint and also for the lifting technique. So these are all the materials that we need for this course. You do not need to go buy the exact same brands are the exact same paint you can ship and change according to your interests and according to your personal style, which we will discuss again as we go along in this course. 3. Introduction to Watercolour washes: Hi, In this video we're going to discuss the basic techniques in watercolors. If you're new to the medium. This is a great practice session for you to try out the median. I will go over all the techniques that you need to know during this session, as well as a little bit more about the watercolor medium in itself. So we'll first start off with the water and pigment ratios. So I have a jar of water here. I've got my watercolor paint. All the watercolor paint here is nice and moist now because I added a little bit of water into each and every pan. So it's nice and moist for me to start working. I'm going to start using a medium-sized brush. I'm going to start by using any color here. And I'm going to start by mixing the color onto the palette. I've got a large, large area here where I can mix my paints, going to grab some pigment. Here I'm using permanent rose. It's just a random color. You can use any color that you like. If you don't have permanent rose, you can use any color that he personally prefer. I'm going to grab some pigment onto the brush, bring it over to the mixing area, and just put it down on the palette. And you can see there's not a lot of water at this stage here. You can see it's not moving easily on the palette. So I'm going to go into the jar of water here, bring in some water that is watery enough for us to start experimenting. So let's start off. So this was a medium wash. Let's try that again. A quick brush movement, using the whole body of the brush just across the paper, just move it across the paper like that. And that is a medium wash. You can see that the pigment is quite saturated in here. And at the same time, you can still comfortably move the brush across the paper without any friction. And that means there's enough water and enough pigment in there. Let's try and add a little bit more water to hear. Mix that here a little bit away from what we have mixed. So that is a medium consistency that is going to be lighter, which means we have more water and less pigment. Let's try that on here. You can see how it's considerably more lighter than the three shapes that we made before. From here we can understand that the more water and less pigment you have in the mixture, the washes are going to be lighter. So here I added a little bit more water and you can see it lightening out again. Let's add a little bit more water. Let's try that here again. That's very light. And you can keep on adding more water to see how light it goes. Now for a more thicker consistency, we're going to wash our brush. We don't need any water for this mixture. We don't want to add any more water for this mixture here. That's the first mixture which is a medium consistency. So I'm going to take out all the water on my tissue going back into here. That again, Let's go back to the medium consistency. Let's try and add a little bit more pigment. So without dipping your brush in the jar, we're going to add a little bit more pigment from the pan into the mixture. Let's try doing that here right next to the medium consistency. You can see how it's gone a little bit darker compared to any of these. That is because we have more pigment and less water here. Without going back into the jar again, I'm going to add a little bit more of pigment onto the brush. You can move it to the mixing area here and see that the pigment is not moving as freely. It's more creamy, It's guessing slightly more thicker. And that's how it's going to look. It's very deep. It's got a lot of pigment in there. It's a very saturated wash. Now the wash or the color cannot get even more darker. That's just the nature of the colors. So if you wanted to make this darker, you would have to add another color. But if you wanted a little bit more thicker consistency, that is possible without having any water on your brush. So I'm going to take out all the water from my brush. I don't need any water right now because we're working with the same color and ready to go back into the pan of paint again, grab some paint and you can see how the brushes moving here. The pigment is quite thick, creamy. Okay, Let's get that. So there's absolutely no water, just pure pigment here. I'm going to drag it along and see how that works. So you can see here, even though there was pigment in there, because there wasn't any water, you try to drag it along. This is what happened. So this here with just a pigment and no water is not great for a wash. So because we are concentrating more on line and wash technique in this course, we will need a little bit of water. Although this technique here without any water and just pigment is called dry brush technique and it is great for creating texture. It might be one of the final touches that you can add on a new line and wash illustrations. So let's start by building a nice gradation. Now, I have enough pigment on my brush, but I don't have any water and you can see that it's rather rough. So I'm going to get a little bit water from the jar. Just activate enough pigment. Put it onto the palette. You can see it's nice and thick now. I can't really see the bottom of the palette, which means it's nice and thick. It's full of pigment. I'm going to use that. And I'm going to start a little swatch here. Just simply painting. That's nice and saturated, just like how we got here. Now I'm going to go back into my jar little bit, scrape it on the edge of the jar, bring that water in here. Let's try one more time. Dip. Bring some water into this mixture. And let's paint another one just below the pigment, just below the first swatch that we did. And you can see that the pigment has loosened out or the painters looted, loosened out a little bit more. You can feel it on your brush as you go along. Let's continue to add more water. You can see it's visibly lightening. Now. Let's add more water. Bring it over here. Okay, let's, let's just quickly wash our brush more water into the mixture and then drag it along. You can see how it's lightened out. I'm going to wash my brush now. Not going back into the pigment yet because we have enough pigment here on the paper and just using plain water. And then touching the edge of that swatch and gently dragging the paint along. And it's evidentially lightened. So now we have created degradation from dark to light. So that's the highest value of the pigment. That's the lowest value of the pigment. That here we have a lot more pigment and less water. As we came along, we added more water and we have less pigment. And that's how we end up with this shade or this value of the color here. So that's one way of adding washes into your sketches. Now let's try a flat wash. We can still use this pigment, or if you want, you can change your color as well. So I have a very medium consistency. I'm going to use that to make a little swatch here. A little box of color. Simply painting in. It's nice and wet at this stage. At this stage, if you want to create a little bit more texture and a little bit more deeper areas. In this area, you can add more pigment. One thing that we need to remember is that when we add more pigment, we do not need any more water. So I'm not going back into the jar. I'm actually taking out all the water on the tissue, going back into the pan of paint. I'm using that to gently drop in pigment onto the wet surface. We have the water here on the paper. I'm reusing pure pigment, thick consistency of paint to drop it in, into the wet area to create texture as well as value. So we can do a light and dark just by dropping in pigment into a wet surface. So we'll be using a lot of this technique of dropping in pigment into orbit surface. Let's try that with a wet paper. So this time we had some paint on the paper. Now, now we're going to just simply wet the surface of the paper. I don't need any more water, so I'm going to take out extra water. Even you can use the tissue to take out extra water. And then going back into the pigment, if you think it's too dry, you can just add a tiny bit of water. If not, just get some pigment straight from the pan. You can try and paint along like that. And you can see how the water and the pigment behaves on paper and how the pigment feathers out on a wet surface. And this is also a great way of doing your washes. There are other ways of starting a wash. I normally start with a quick bold brush mark. Then I can dip my brush straight into the water and then get them to dilute. This sort of brushstrokes and wash does create a little bit of unpainted areas in between as well. And that in turn will create a lot of interest in your wash. These are a few wash techniques that we can use in this course. 4. Watercolour Mistakes and Solutions: I would also like to show you a little watercolor mistake that we tend to do. And that is when we add more water into a wash. So to show that, let me start by doing a little swatch of color here. And let's say if we wanted to make this a little bit more darker in this corner, we would need extra pigment but no more water. But we have this accidental instinct of washing my brush all the time. So that will mean that our brush has more water. And now if we try to add little bit of pigment here, it's not going to work is just going to be more watery. When it dries, it's going to leave a very washed light effect. Let me show you something that I did earlier. This is what happens when you try to add more water into an already wet wash. You can see how the pigment is washed out and created this line which was really unwanted. The best way to avoid that is to not add a lot of water into the pigment or into a wash because you can see a huge pattern here. I'm going to take that pigment out. If that happens, the best thing to do is immediately get a tissue out. Take out the water on the tissue. Just drag your brush along and take out excess water. And this is called lifting out, a technique which is really helpful in case if we have huge puddles that wasn't really necessary in our illustrations. So once you have taken out on the water, you are left with a wet wash. And at this stage, without dipping your brush in the water, you can go back into the paint, gets some thick pigment. You can try to add that into the wet wash and that, and that way you're able to fix a little bit of your watercolor mistakes as well. If you do want to add more water to your washes, the best way to do is to add it to the side off the wash. So let's say if I added a wash here, the best way to add more water to this wash is to add more water to the side and getting them to dilute and flow into the wet area. So when you add more water to the side of a wash, you're able to get this pigment to flow from here to a wet area. Let's try touching the edge of this wash here and see if this pigment will flow into this wet area. This normally happen will work only when the wash is still wet. If it's dry, how much water you add it, you won't get a nice transition. Let's try it here. If you add some water, you will need to rub onto the paper a little bit more to activate the pigment. But you'll be left with an uneven shaped like that. These are a few techniques that we will need for today's class. It's a great idea to try and practice your washes and be confident with your wash before you move on to the illustration itself. 5. Watercolour Brush Strokes: Now let's work on a few watercolor brushstrokes. We won't need a lot of watercolor brushstrokes here because we are going to use a pen for line. But saying that sometimes it's a great way of creating texture in your illustration and that combined with line can give you a very beautiful effect as well. So let's choose a paint. Any paint, any color is fine too. I'm going to try and use a little bit of blue this time. This is ultramarine blue. You do not need to use the same color. You can use any color it, this is just a practice session. I'm going to create a medium consistency, so enough pigment and enough water making it quite flowy, but at the same time has enough color in it. So the first brush stroke is to use the whole body of the brush to drag it along the paper, like how we practiced in our washes. Now let's try using the tip of the brush to create lines. And for creating lines, you need the brush to be nice and pointed at the edge. So when you grew up, gather your paint from the palate. The best way to do it is to twist your brush slightly, drag it like that, and you get a nice pointed edge. And for making lines, the best way to do is to stand up. If or if you're not able to stand up. The next best thing is to sit at a height away from your table for more comfort. You can always have the little finger resting on the paper. And then we can just drag our brush along lightly. Creating these lines. If you press your brush down a little bit more, the lines get thicker, drag it along. You can maintain the same thickness. If you put it all the way down, it becomes more thick. And this is really great for creating leaf-like shapes. We can also do little dots. And this is called stippling. And you can even put the whole body of the brush down, and that's called stamping. So just a few brushstrokes for you to explore while doing your illustrations. Now, stippling can also be done lately, which means if this is stippling, lazy stippling would go like this. So just dragging that up off your brush along the paper, but not lifting it completely up. And this has got lazy stippling. It's a great way to create texture, especially with foliage. And apart from this, I also like to have a little bit of fun with illustration. I'd like to splatter. For splattering, the best way to hold your brush would be like this. And use your pointer finger to simply tap. And if your brush is completely loaded with paint, then the pigment or the paint will just splatter onto the paper. That's one way of splattering. It's more controllable that way. Another way is to hold your brush like this and use your other hand to tap it like this or like this. Another way which is a little bit more messy is to flick your brush and that way you get splatters in a particular direction. So let's say if I wanted to splatter in this direction, I would hold my brush like this. Here's my pointer finger to flick it. And that way you get splatters that go in a certain direction. Let's try that again. You get beautiful splatters that go in this direction. If you want the splatters to come from here, you'd have to flip from here. The best way to do is to turn your paper around and try and flip it again. These are a few brush strokes that we can use for a blind and wash illustrations. The only downside about splatter is that your table and your equipments can get a little bit messy with the paint splatters. So that will mean that a little bit more cleaning. 6. Using Lines For Adding Value, Contours And Texture: Now let's look at the use of a line in line and wash technique. So we're going to use any pen at this stage. You don't have to use a fountain pen. You can use any pen that you personally prefer. The use of line is pretty straightforward. It's just like writing. And we're just going to keep our hand movement a little bit more fluid. And that's the only thing that is probably different from writing. When you write, you would probably hold your pen right near the nib verus for drawing. Most of the time, it is well away from the nib. You get that free movement of your hand. As I've explained before in the materials as well, lines are usually used in line and wash, mainly for contours, texture, and also for some initial sketches as well. So when it comes to initial sketches, it's kept very light. And it's mostly scribbling. You can see that the lines are very light. If I show this up to you, you can see that the lines are very light and you can even ship and change if there's any mistakes that happened. It's more of very loose scribble like pen strokes at this stage as well as this, we would also be using this for a little bit of contour drawing as well. So if you do not want to start like this, you can always start by you doing any sort of sketches with this. And let's try a little tree here. So starting off with the trunk, some branches, just going to give some foliage. And mostly Klein outline or contour drawing as you call it. Then from there you can build on it with more lines as well as some watercolor. So that's one way of doing it. Or you can start with even lighter pen marks. Or if not, you can always use a pen store instead of a pen as well. Let's practice the use of line. Some of the different types of lines that we can use, starting with very bold lines placed close to each other. And this is called rendering or hatching. You can also do the same with two types of lines going in opposite directions. So that's one direction. And then let's do that's in another direction. And that is what we call as crosshatching. That's another way of shading, are showing that light and dark in value. And as I said before, we can use the lines to do contours. Another thing that we could do is stippling. So just simple dots. And you can actually render or shade by just using these dots, as well as that, you can even use scribbled, depends on what your shading. Sometimes a scribble would give it a little bit more natural look and resonate more with the texture of whatever you're drawing. Sometimes these lines are better and it depends on what you're doing really with the lines. You can also do the thick and thin lines to create value or depth in your painting. So let's try placing one very light line. Let's try placing a little bit more darker line right next to it. There's immediately a sense of depth. In these two lines. You can see that this is the darker side and that's the lighter side. So the lines are really great for you to show depth as well. And you can vary your lines from very thick of them, very wide lines, too much lighter lines. So that when you want a thicker line or a hard line, press your nib down and then lift it back up to a very light line. You can even bring it down to a few dots that we're creating a sense of depth in this line. If you're using another pen, like a calligraphy pen or a dip pen, the nib tends to bend a little bit more as more flexible that way you're able to create a little bit more thicker lines. So let's have a look at how that works. I'm going to use some sketching Ink for this. So let's start with a very thin line and then we're press the pen down, creating a thicker line and then bringing it back up to almost a very thin line. So that's another way of creating lines. You're free to practice this until you feel you are confident with your lines. You don't need to use a fountain pen or a dip, but you can always use a micro tip pen or any other sketching pens. Even a brush pen could work really well when it comes to thick and thin lines. So if you do have them to give it a try. 7. Quick tree sketch: Combining Watercolour and Pen: Now let's try to combine watercolor brushstrokes or watercolor washes, as well as pen together. So let's start with pen. I'm going to do a very simple tree. There are different ways of using the pin as well as watercolor. One way, as I explained earlier, is to start with a very light pen mark. So I'm trying to do like a contour of a tree, just getting the shape of the foliage. And then the tree trunk. And see how I'm holding the pen as well away from the neighbor. So that's a very basic initial sketch and then you can do watercolors over it. So let's try another way of doing it. Let's try a little bit more harder lines this time. The lines that are a bit more dark color. You can clearly see them compared to the first version. I'm trying to do lots of scribbling to create texture for foliage. We can even do a little leaf-like shapes as well. Then with the tree trunk and the branches. So I'm going to go really hard with the pen lines. So when I want to go with bombed pen lines, I would hold it normally near to the nib. That way I get greater control of what I'm doing. So depends on what you are sketching really. And that will decide where to hold the pen as well. That's the tree trunk. I'm trying to still create depth, adding a darker side and probably leaving this to almost like dotted lines just to give me an idea. And then I can go ahead and do some rendering here as well. Just to make this side a little bit more in the shadow. And you can see, I'm using very rough lines. But at the same time, I know it's creating texture and it's creating depth. And maybe a little bit of depth here as well. Okay, So that tree looks a little bit more complete to the first wash in here. But these are two different ways of doing line and wash. You can either start off with watercolors or like a very, very initial light pen sketch, which has almost nothing. But everything will depend on how you put the watercolors down. Another version where you can start with a nice good pen line. Get the shape of the tree, and then you can move on to adding a quick wash over it. It's really great for you to do these types of sketches, especially if you are working outside as urban sketching or planar. And if you want us to do a very quick sketch, this technique is really good. So let's try using watercolor on this. So for this, I'm going to get a medium-size brush. I'm going to use size eight right now. It's not too small and it's not too big because my sketches tiny right now. I'm just going to keep to a smaller brush and we need a jar of water. Let's start off with applying some green. I've got some sap green here, which is quite moist because I have sprayed it with some water. I like that green to go a little bit dull. You do not have to do this. This is just because I personally like a dull green better than the bright sap green. If you do have another shade of green that you personally prefer, you can always use that. And we're going to mix it into a medium consistency. So you can see here there's enough pigment there, enough water. But at the same time it's not too creamy thick and it's not too watery either. It's somewhere in the middle. So that's a medium wash. Going to start off with this one here because I have the pen lines already doing a very quick wash only in the darker areas for now. And then I'm going to dip my brush into the jar, take out some pigment and then I'm going to dilute, wash the brush, just touch the areas where it's been painted with a wet brush and let the pigments just mix and bleed into the wet area. That was a very quick sketch of the foliage. And then four. For the tree trunk itself, I'm going to use some burnt sienna and some deep ultramarine blue because I like a deep shade for the tree trunk. Quick wash. And again, I'm going to wash my brush clean, take out excess water on the side of the jar, and then gently rub it on this side here, making the edges a bit more softer. And that way I also do get a very 3D look for the tree. Now, once we've got the first wash done, you can either leave it like this, which is like a quick sketch, or you can build on it with a few more deeper colors as well. So I'm just going to build on it with a little bit more deeper Carlo. Starting with the tree trunk, I like a bit more deep, ultramarine blue and burnt sienna and a little bit more deeper color. So far deeper color, less water, more pigment. And then I can just simply drop it in. And I can use the same ultramarine blue with a little bit of sap green or the green that I have been using for the tree gets a deeper color for shadows. And I can use that on the tree if I want any deeper areas. Again, because there's wash is still a little bit wet, it's a good idea to use more pigment and less water. So make sure that you don't dip your brush into the jar, but take out excess water. And let's try mixing some deep green with some green and ultramarine blue. I've got a very nice deep green here. And I'm going to use that here in the wet area. All right. So that's deep enough. I think I'm going to stop pretty deep. Giving it a nice 3D look, and we're done with our tree sketch. Now let's try this tree here, which is pretty much nothing. Right now. Everything is done to the watercolor wash that we're going to place here right now. So starting off with the green, very watery to start with. And you can even mimic the same hand movement that you did with the pen as well. So just placing some color, trying to leave some white areas just for some interests to show some lighter and darker as well. Okay, so that's the first layer of green, very light at this stage. And now let's try and add a little bit more color here. This time I don't need any more water, so I'm going to scrape out all the water on the side of the jar. And I'm going to go back in with some more green. This time, more pigment and less water. Just dropping that in a few areas. Let's continue to do that here as well. And just doing all the little details at this stage on the edge of the foliage. Okay. So let's move on to the tree trunk. I did not really bother washing my brush because there wasn't a lot of pigment in it. Anyways, I went straight into brown, burnt sienna, and a little bit of ultramarine blue. I've got kind of muddy color, which is okay. We're only doing a quick sketch, so it doesn't really matter. I'm going to do this side of this tree trunk. Wash my brush clean, make the edges a bit more softer by just touching the edges of this wash. Let's add another branch here. So going back into the mixture of brown, Let's add another branch. Strip the same here as well. Okay, so now it's very light at this stage. We don't have any dark and light like how we have here. So I'm just going to quickly wash my brush. Take out all the water on the side of the jar. So there's brushes just wet. Now, I'm going to mix some green this time with a little bit of ultramarine blue. So it's nice and deep. And let's place that color here. If you think it's still a bit too watery, you can squeeze out all the paint or take it out on your tissue. Let's try again. So that way we are now to adding more water into this wash. You can even take some fresh color without mixing on loaded onto your brush and then just drop it into your wet area as well. That is also possible. And you can just paint with it. I can just mix on paper. You can hardly see the pen lines that you did initially. They would just stay as initial sketches. And this is just a wash. Just darkening this as well, adding more texture with the tip of my brush with little dots and dashes. Okay, so I'm going to leave that to dry for now. And then when it dries, I can decide if I want to add a little bit of pen as well. Now this tree is almost dry, so I'm going to strapped to add a little bit of lines over it, just to give it a little bit more details, just to contour the whole thing. So let's start with the tree trunk. Little detail on the branches. And you can see, I'm only doing these little dots and dashes to begin width. And as I go along, if I need bolder lines, I would do so. So for now, just little dots and dashes because we've done about 90% of the sketch with watercolor, we're only using the pen that to enhance your watercolors. Become might need a little bit of bold lines here with some dots and dashes. Again, I can add more details as I go along. So adding some little grass on the ground. And only starting off with the areas where I think I need a little bit more darker color. And also an impression of outline or contour. So just adding some little scribbles for the foliage. Let's walk our way up. Trying to add more scribbles, dots, dashes, little scribbles, anything that would work for you. You might even want to change the type of lines that you're using. And you might want to use these lines rendering with quick lines like that. If that is easier, that's more policing for you. That is also fine. I do a mixture of everything really and see what works for me. Let's add more lines here, more scribbles. Just making the scribbles a bit more bigger as I come here, giving it the impression of leaves as well. And some are darker area here, slowly taking shape right now. You can also bring your lines outside of the wash, giving it a little bit more interest here. I don t think I really need to do any sort of outline in this area. Because if I do any outline here, then I am going to block all the light that is coming through this way. So I need to be really careful and probably limit the type of lines that I use here. So again, if you want to do more lines, you can do that. And also I also tend to go back into watercolor at this stage. So once we've done the lines and I think if more lines would only make it heavier, I would normally go back into a watercolor for another layer of watercolor. So let's get up brush, get some more paint. The same ultramarine blue and green. Just an extra layer here and there, just to add some darker shadows. And I think that's okay for now. So I'm going to stop. That is two different ways of using line and watch for your sketches. Either starting off with a pen from set off pen lines and rendering and everything, and then adding a quick little wash, which is normally much easier. And probably the best way to sketch when you're outside. But when you're in the studio and you have the time to go back and forth. You can always try to start using the watercolors first or very light pencil sketch before adding watercolors. And you can keep going back and forth, depending on what is best for your illustration. 8. Suggested Watercolour Pigments for Projects: I'd like to introduce to you some of the colors or the pigments that we will be using today in our projects. It's not necessary that you need to have all of these colors. They are just a few suggestions and you're free to change your color selections as you please. Some of the main colors that we would be using would be permanent red, quinacridone red, and crimson red for the red flowers that we're doing. So starting with some permanent red, going to show you how that red ace, a nice bright red. I will also be using a little bit of alizarin crimson, which is more of a rose color. You can also get these two colors to mix together. Another option for you to use is quinacridone red. If you do not have alizarin crimson. You can also mix that a little bit with permanent red and see how that works for you. Another color that we will be using, especially for the terracotta planter, is venetian red. For a deeper terracotta color. You can either use in Dan, three blue, all French, ultramarine or ultramarine blue to get a deeper color, ultramarine blue is a warm blue and it's really great to show shadows. So let's try with ultramarine blue. And that is a sort of color you can use for shadows and for deeper color on your terracotta planters. Another option for you would be in depth are in blue, which is a very deep blue. It's a bit like Prussian blue, but it's not, but slightly more pure in color. And you can use this deep blue to mix width rate, or venetian red or permanent red to create nice shadow colors are deeper colors as well. And you can also mix the same width, a little bit of permanent red as well. To get a very nice shadow, purple. Avocados would be sap green. And I haven't used sap green asset is because most of my floral colors are right and they tend to be a little bit bright when used with sap green. So I have always toned it down with a little bit of permanent red and ultramarine as well. So that is permanent red with some sap green. And I'm going to add a tiny bit of ultramarine blue, very deep green. This green goes really well with red to create a very nice foliage color. Finally, a tiny bit of cadmium yellow for some brighter colors in foliage. If you do not have cadmium yellow, lemon yellow should work. But I do like the brightness of cadmium yellow. Mixed with a lot of water gives me a very pale, beautiful yellow. These are some of the main colors that I would be using. It's just a suggestion you can always use the colors that you personally prefer. But if you're using these colors, here are some of the suggestions of how you can mix them. 9. Project 1: Bougainvillea-Warm up sketches: Hello, we're going to look at our first project, which is this broken belly, a planter in a very loose watercolor and ink style. This illustration was inspired by the many urban sketches that I love to do. And bougainvillea over a door is something that I really love to paint because bougainvillea flowers are really great for very loose watercolor style, and I love combining that with ink as well. We're going to achieve this very loose style. As well as I will talk to you about how to illustrate these little planters in a very quick and easy style. So let's start off by doing a little rough work in one of our sketchbooks or in any rough piece of paper that you may have. You don't need to have watercolor paper because we're only going to try and sketch these pots right now. So I have a spare piece of paper, which is just the back of some practicing. And I'm going to use that for my rough sketches of the planters. So let's try and get the shape of the planters right after a little bit of practice, you can try it out on your nice sheet of paper. We're looking at this plant or you do not have to get the same shape of the planter. So let's try different shapes of the planters. We could have a very simple planter, which is something of this shape here. We're not too worried about perspective or anything here. So we're going to start with very rough lines. That's the top of the planter tapering down as it comes to the bottom. Just checking that they're on the same level, these two lines. And at the same level, I'm going to do the bottom of the planter as well. Now I can make these little changes here like adding a wider neck. And I've caught a planter. So you can use this plateau if you like, and then you can have foliage in it. So let's try and sketch a little bit of scribbles, leaf-like shapes, if you like. You can even try to darken them now to see how they look. You can also overlap your foliage at the neck of the planter as well. So quick scribbles, keep your lines really loose just to get a hang of how you go about with line. Let's try a plant or something like this, which is a little bit more bigger. So it's got a tape head and neck. So let's start with here and I'm going to try and do a central line. So my planter looks a little bit more balanced. So let's put a central line there. The two ends are going to be at equal distance from the central line. This bit here widens a little bit compared to the neck. So I'm going to do a wider line just about they're very light pen marks should be fine. Or pencil if that's more comfortable for you. And then as it comes down at the bottom, they taper down a little bit more. So narrow at the top, wider towards the center. And then it tapers down again. So let's get the shape of that planter. Very light pencil marks again or pen marks again. And then you can take it from there. So we've got the basic shape in a very light pen mark. Now let's add some details. So that's a thicker neck that I'm going to add first. The bottom cannot be flat. So I'm going to make it a bit more curved. We can give this little frame or the bracket where the planter is sitting. So I'm going to build that around this line. It is going to be curved because looking at the neck of the plantar and the bottom there on curving downwards. So I'm going to make the brackets also cover bit downwards like that. And I can give another bracket here. So we've got the planter, and now let's add some foliage. Quick lines are fine. We're not thinking about a lot of details. We're going to try and keep it rather loose. So we've got the foliage stare. At this stage. You can go in and darken your lines if you like. Or if we were to use watercolors, we would use it on here. And then you can always come back to H2, add more lines for a finishing touch. So that's just two different types of planters that I wanted to show you. If you do have other planters in mind, you're always welcome to change the illustration according to your liking. This is just for us to enjoy the loose watercolor style land. You can chip and change even the color if you'd like a little bit more brighter, rows are pink color or even any other color for that matter, you can change it, see how it works for you. 10. Initial sketches For Bougainvillea Planter: Okay, Let's start sketching. The planter is going to be at the bottom. And we have this very loose flowers just spreading across the paper. It doesn't have to look like this. You can have different branches if you like. So it's completely up to you how you'd like to chip in change. So let's start off with the planter. The plant is going to be somewhere about here. It's going to end about here. Maybe it can be this big. So let's do a central line. Very rough. If you do not like your pen lines to show. After your watercolor is done, you can always choose to use pencil if it's not really a problem for you to have initial sketches in the background. Then you can always use pen and see how it works for you. So let's do the top neck of the planter. It's going to be somewhere about there. I'm going to start off with straight lines are built the curvy lines on the straight lines. It's going to be a little bit more wider as it comes towards the center. Just making sure that the points where I end is at the same distance from the central line. And again, it's going to taper down again at the bottom. So I'm going to have another line here. Let's get the shape of the planter. Now looking at this, these lines and the market, the planter can be a bit more wider. If you don't like that, you can bring it down to a smaller size. I might bring it down to a smaller size. Just always checking that it's in the same distance so it doesn't look awkward. And then I'm going to taper it down, maybe bring this down a little bit more as well. Once you get one side done, it's always easy to get the other side. He goes. So I've got the planters shape. Let's do the neck. It's going to be a bit more curvy. The bracket in which the planter is sitting is going to be curvy as well. You can add that now. There's another bracket here. And the bottom of the planter with the foliage. I'd like to leave the foliage for now because I'd like to start adding watercolors. If you do not like that and you want to add some foliage, the best thing to do is make a very rough marking as to how much you want it to spread. Maybe in little dots and dashes. Just like that. We're going to just make it a little bit of a marking for your reference. Maybe I can let it spread here as well. And I know it's going to spread all the way up here as well. In the watercolor palette, I have made sure that all my pigments are nice and damp. So it's easy for me to work with. I usually do it a few minutes before I start painting. Let's get a medium-sized round brush. I'm going to use size 12 today. That is faced 12. Or if you'd like to use a Chinese calligraphic brush, that's also fine. Either one of these similar in size. It's about the size 12, round pointed or you can even go down to ten if you like. That's a good size as well. So the first thing we're going to do is prepare our paint. I've got two jars of water here. Going to start by preparing the red color. The red here is a mixture of permanent red and quinacridone. If you do have something like a Winsor red, that'll be a great choice as well. Or if you do not want to write, you can always change it to any color that you like. And I'm starting by preparing it to medium consistency and I'm going to leave that there for now. Wash my brush clean. Going to get some green. You can use any pre-made green that you have in your palette, or you can make something of your own. I do like mixing greens of my own. The green and round is a good contrast in combination. But looking at this bright red and I need to tone down the sap green, which is normally on the brighter side, or the wiper inside. I'm going to get some sap green and add a little bit of red, the same rate that we're using here. Permanent red should do good. Tone it down slightly. It goes to a little bit of brown. Sometimes you can add some Prussian blue or in-depth rainbow, I would say in-depth ring blue is a little bit more better than Prussian blue. Or any Deep Blue could work to have this very deep green and your palette. Let's try that out on our rough piece of paper. That as a sort of green I'm working with. And then I can add a little bit more red into that green to create more dull green as well, like this. If you add more blue, it becomes a bit more deeper. That's a deep blue that I added. Let's try our red. So washing my brush clean, just taking up excess water on your tissue because I don't want to add any more water to this mixture. Let's grab a little bit and try our red here. That's the color we're going to use for our washes. For the planter, you can use finishing read. If you have or Indian red, something that goes with pottery. I have vanishing right here, which is like a brick red color, which is what I'm going to use. And then to darken that, you can always use a little bit of in-depth are in blue. If you don't have in-depth green, blue, you can always try Prussian blue or even indigo. And you can darken them as well. For shadows. You can also use a little bit of ultramarine blue. It's a great combination with the, with the brick red color as well. So that's a little bit of ultramarine blue. So don't worry if you don't have in-depth marine blue, That's just a personal choice for me. You can always try and use a little bit of ultramarine blue and that should work really well. 11. Bougainvillea: Watercolour wash: Let's get back to our main illustration here. I've washed my brush completely clean, Just making sure it's clean in the second jar of water as well. And I'm going to get some fresh clean water. Let's start off by wetting the paper, placing the water or the wet brush. In areas where unlike the colors to be, I'm going to leave the central part without any water just over here. Because that needs a little bit more control with all the winds and the little bits of foliage. So I'm going to move to the top part, creating a wet surface here as well. At the top. And I'm trying to create a wet area at the top, making sure that it's not too wet. I don t need puddles of water. Evenly placed. Wet area should be fine. So now we've got the wet area. We've made our paints ready. We're going to start painting straight away. If your brush is too wet, Let's try and take out a little bit of water on the edge of the jar. And let's dive into our red. I like to start with little dots, dashes and splashes. You can try that as well if you like. So starting off very gently with a few dots, see how that works. See how the pigment feathers out on the wet surface. Has tried doing some here because the surface is quite wet and I don't want that surface to dry out. So I'm going to try and work a little bit quickly. And you can see that I'm only using the tip of the brush right now because I like to leave a little bit of white unpainted areas here as well. Let's continue dropping in the pigment. Here. It's going to be a little bit more deeper. But let's start by placing our first layer of paint. See how it beautifully feathers out. And it's really beautiful to watch as well. It's very therapeutic to just watch the whole process. And you do not need to rush your process. Take it in slowly and make sure that you enjoy the process. This area is a little bit dry, but I'm still going in with some little dots and dashes. If you remember how we do too lazy stippling in our practice session, that's what I'm doing with the tip of the brush, just gently moving, moving it across the paper. We're coming into the wet area now. And you can see that the paint is feathering out a little bit compared to the paint here, which is okay, we can have a mixture of different textures here. Let's add a little bit of paint here as well. You can. And this little planter here, if you like, or you can leave it if you think that's not a good idea for you. I'll see how it goes and it can always be added later on. Let's get some more paint. If you like splattering like me. You can splatter paint right now. It is an uncontrollable way of creating a painting. But at the same time it lets you enjoy the fluid nature of watercolor as well. I'm going to move on to green. Washing your brush clean and getting out all the excess water from my brush. You can even wipe it across your tissue if you like. And let's get some green. I'm going to try and do the green, just like how we did red. Here. I can see that the paper here is drying out. So you can see the paint is not feathering out as I intended it to be. But because I've started to paint already, It's okay. Never mind. If it does. If yours has begun to dry the same way. Don't worry. You can always use ladies stippling to finish off your foliage. Little dots and dashes, even splatters if you prefer. We're going to try and do a little bit of foliage here in certain areas where I can have some green. So just dropping in the color for now, I'm not going to do any details as of now. Lazy stippling on the dry surfaces again. Let's try and add different shades of green here as well. So I'm going to add a tiny bit of ultramarine blue into my green just to make it darker and also to show some shadows. You do not need to wash your brush. For that, you can go straight into ultramarine blue, get some blue and mix it with the green that you already have in your palette. Let's do some green here as well. You can do stamping technique with your brush as well, or just lazy stippling. You can splatter any sort of brushstrokes that makes you feel free to work with your painting. Let's add some foliage here. It's going to go on top of the red, but it's okay. You can have them wet and wet and the red will just move up. We move away, creating space for the new pigment to sit there. So don't worry about mixing too much in getting our muddy. Look, I think I might need to add a little bit more green this time with less water there. Just to avoid that, I'm going to go back into some fresh green purpose, some fresh green without water this time. Let's add a little bit of ultramarine blue as well to make it deeper. Or you can even use in-depth are in blue. If you have that pigment, if not, you can go in with ultramarine blue. I'm going to drop that deeper pigment here. Again, just reminding you again that we're not working with water this time. Just enough dampness in our brush and we're just going to mix the paint. Because our surface here is wet already and we do not need more water here. I'm going to pull some lines down for showing vines. Quick movement with the tip of my brush. Just a few lines should be fine. Just going to add some foliage here. Suggestion of branches on this side as well. Okay, So now this surface here is beginning to try a slightly, I'd like it to dry a little bit more before I add my second layer of paint. While I'm waiting, I'm going to add some details. And also the color of the planter here. Washing my brush clean, making sure it's double clean by washing it in the second jar of water. That second jar of water can be your freshwater as well. So I'm just going to quickly show you my jars. One is quite muddy already. The other one is the second jar of water where I normally W clean my brushes and that you can use for fresh clean water as well. Let's go into Venetian red or Indian rail, or any terracotta color that you have. If you do not have these colors, you can always use burnt sienna with a little bit of red to create this bright terracotta color. I'm starting by using a medium wash. I haven't wet at the surface so I can start with a medium wash. So I've got enough pigment and enough water in there. It's not as thick as this one here. Starting off, I'd like to show a little bit of light falling on the planter. So I'm starting off with one side, just leaving a little bit of unpainted area on the brackets as well. Pulling the paint down slightly. Right. Let's get some more pigment. Drop it in here. I'm going to leave this area unpainted right now. Washing my brush clean. Taking up extra water on the edge of my jar and then I can just simply run my damp brush near to the wash that we just did to make the edges a bit more softer. And also you can leave some unpainted areas as well for light reflection. So that's the first layer of brown or terracotta color that we did. I don't need any more water here, so I'm going to take out the water on the brush and go into some blue, either in-depth green blue or ultramarine blue is fine. Let's use ultramarine blue. I'm going to mix it with the terracotta color. The vanishing rate that I have, I get a deep brown. We have to make sure it's not as watery as this first layer here. And simply going to drop in some paint. Mainly on the left side, where it's going to be darker. And little dots and dashes to create texture as well. We're going to leave that to dry. We're going to go back into our Bogan video now. Now, again, washing my brush clean, taking out extra water on the edge of the jar and on your tissue. Let's go back into the red mixture that we have. If your red mixture has run out. Let's try and create a little bit more using permanent red and quinacridone. Red. If you do have a personal choice of color or a better rate in your palate, then you're always welcome to use that. Again, if you can see here, there's not a lot of water here. When I move my brush into the mixture, you can see the mixture doesn't move so freely. Let's add a bit more pigment. Again, no water, just the pigment. Let's try that out here on the damp surface first before moving into the dry surfaces. So just placing the second layer of red. And this time because the paper is not as wet, they do not further out, they sit on top nicely. I'm going to use some lazy stippling to create the texture of flowers. And being very gentle with the brush, you can be very slow as well, enjoying the process. If you do have this little beautiful white areas of unpainted surfaces, then you can leave that like that, creating a beautiful contrast while you're working. Let's continue to do that on this side as well. This side is a little bit more wet, but I can still place the second layer and it's staying there beautifully. And every time you do a new brush stroke, It's a good idea to move back and look at your work, see how it looks from a distance. And that way you can judge your painting what is needed for your painting again. Also, another way of looking at your painting is to squint your eyes. All the details will go away and you can just see the colors. And you can decide what more needs to be done in your painting. So deep green with a little bit of ultramarine blue and a little bit of permanent red as well, adding few splashes of green here and there. So we're going to work in the same manner as we did with the red. Just adding extra deeper colors where it's necessary, or second layer where it's necessary. I'd like to finish off the frame of the planter as well. Or the bracket of the planter. I'm using same Venetian red and a little bit of ultramarine blue. This time, I don't have a lot of water, it's not so wet. Just quickly adding a little bit of deeper color here. I can always come back to it with finishing touches with watercolors. But just to place some color there, it's still quite wet and I like it to dry. Before I add any more details, add a little bit of shadow. Just here. So just wetting the surface. You can let your terracotta color mix into the background as well, which is completely fine. It's taking up the excess water from my brush. I'm going to get a little bit of ultramarine blue and paint outside the plant are just giving it a sense of shadow. I'm also going to add a few brush strokes here near to the foliage, giving a little bit of a sense of shadow there as well. Little bit at the bottom. And I think we're done. Like to soften the edges here as well. Before I finish, we're done with the watercolor bit. Now. We're going to leave it to dry completely and we're going to come back with some pen. And also for finishing touches, maybe a little bit of watercolor as well, depending on how it goes. 12. Bougainvillea: Enhancing Your Washes With Pen: Hello. Now this illustration is completely dry. We can now start working with our pen. While the illustration is drying, it is a good time for you to take a break from what you're painting. And when you come back, it's a great way for you to look at your painting and decide what needs to be done. Sometimes if you don't take breaks in between your creative practice, there can be situations where you, your eyes get really tired and you wouldn't probably able to, probably be able to produce the work that you intended to produce. So after a good break and after this has completely dried, I'm back with the pen. I would suggest that the ink is waterproof as if you would like to work over your pen lines, then it makes it easier as well. Now, the next step when I begin to use a pen, I can either use my fountain pen or I can use. Depends. So this is a dip pen that I have. And I'm going to use the same waterproof ink instead of an Indian ink. In the illustration that I had done previously, I have used another colored ink. So it is also an option for you to use a colored ink if you prefer. This is done in red color ink today I'm going to use a black one and see how it works. You can just use any pen that you like. So I'm starting off by dipping my pen in the ink. And let's start off with the bottom here. Where I need a little bit more lines and little bit more details would be the place where there is lot of shadow or the darker areas. The areas where it's a little bit more lighter would be worked later only if it's necessary. So let's start with the area where I think needs a little bit more details. And I'm again, just like how we used the brush. I'm starting off with little dots, dashes, very fine lines. And then once I'm really sure, I can start with deeper lines. So that's one side done. I'm going to add some details of the foliage here. At this stage, you can add little leaf-like shapes if you prefer, or little dots and dashes. Anything that you think would go well with your illustration. And each, and every line would be very unique, depending on your hand movement as well. That the lines are, the brushstrokes is not something that you can mimic from another person. So don't worry if it doesn't look exactly like mine, because each and every artwork is unique and which is why it is really important to embrace your unique style. And as I'm coming to this side, I'm trying to add some lines outside the painted area as well, just creating an interest here and also creating that lighter area as well. Let's continue with little dots dashes. The impression of leaves. Over here where there's a little bit more darker color. I can add more lines, creating more texture. You can also add little short lines like that, which is called hatching metal creator of what? A large area of darker area, if it's necessary. And now let's move on to drawing a few stems or lines here. And also add some lines for foliage. You do not need to, don't feel compelled to add lines in each and every area of your painted surface. You can just restrict it to just one area and leave the rest as watercolors as well. And it depends on how you want your illustration to look at. Eventually. For me, I'm going to try and do just the areas where I think the focus should go and everything else can be really nice and loose, just like how it is right now. So starting off with little scribbles. Just depicting the foliage, adding little dots and dashes. Taking the whole thing really gently and very slowly. It's very important to stop and have a look at your work. Actually, at each and every step. Let me complete that wine there. You can also add extra vines with your pen if that looks good on your illustration. So there's no hard and fast rule as to where to add your pen or where to add your watercolor. You can keep on adding variable you think is necessary. So I'm adding an extra vine here just with the pen. And see how that works. Let me add a few more here. Maybe add some foliage here as I go along. And it really depends on where you want the focus to be. And that's where I normally give all the details and everything else is just a splash of color. So right now, I'm thinking that the focus has to be somewhere here in this area. And that's why I'm concentrating or placing all my lines in that area. I would probably leave these areas or cities. This area is quite dark enough, so I need to be a little bit more careful about doing the lines. I'm trying to go around it slightly, trying to create a little bit of contour. At the same time leaving some white areas as well. This area could do with a little bit of details, maybe a little bit of scribbles, dots and dashes. Let's continue doing a few more of those lines over here. And also if you think you need more control, you can always hold your pen closer to the nib. Otherwise, it's a great way to create very fluid lines holding the pen away from the neighbor. Let's try and add a little bit of details just over here. Okay, coming back to this area, just going to add some more details on the planter. That's the bracket in which the planter is sitting. So I'm going to make a darker line. Just they're just showing a little bit of shadow or a darker area there. Now I'm just going to add a little bit of rendering here, as well as just to show darker areas, some texture. You can even add little dots and dashes depict or create the impression of an uneven surface on the terracotta planter. That again, it's all very unique, depends on how you want it to look or your idea about to terracotta planter as well. Then little texture here as well. So we're nearly done with this illustration. Don't need to add a lot of lines here. If you think it's enough for your illustration, you can stop. If you are the best way to do it is to stop for now and then always come back to it after a few minutes and see if you if you need to add any more lines or any more of washes as well. So for me, I feel that this is enough. I'm going to stop now. So that'll be our illustration of the broken belief in a planter. I really hope you enjoyed it. 13. Project 2: Foliage In Can Planters/ Watercolour Sketch: Next illustration is quite simple and a quick one. It's not as elaborate as the one that we did earlier on. So we're going to do these little cans of plants. And we're only going to try and do three of them. From here. You can pick anything that you like from here, or you can even chip and change your ideas with the color of the camera as well. So we're going to start with just like how we did with the first illustration, a quick line sketch. And I'm going to try and do three. I'm not going to do all the details right now is just to know where I'm going to place the cans. That's going to be one can. And I can add or it can just be a nice rectangle for now and then you can add all the details later on. Let's try doing the next one about here, trying to keep it in a similar size. This is the reason why I started off with a pen first. That's another one here. And the last one is going to be somewhere about here. Trying to keep the similar size and similar spacing. If you think you didn't get the spacing right here, I think it's a bit more wider. You can always move your can to this side view, like when you do your watercolors. I've got the three cans placed evenly. Now let's start off with some quick watercolors. So just keeping these as the reference, you don't need to go buy any of the any of the cans that are here is just purely for reference. You can be as free as you like. In fact, it's not necessarily that you need to have this reference picture at all. You can just think about how the cans look and have a little bit of foliage in there. So let's start off with some watercolors. And I'm going to start off with a medium-sized brush. Again, I'm using the saint as same size, size number 12, I feel that it's a good size for me to work with personally. I'm going to get two jars of water here. Let's start off with the shape of the can. Again, just feeling really free to use any color that you like. I'm going to start off with a very basic ultramarine blue, starting off with the width, an alkaline to begin with. And then I can add these little lines just to show the lines on the canvas texture on the can. And then I can add these little quick scribbly, squiggly lines just to depict the shape or the outline of the can. I wasn't very quick wash. I'm not too worried about the neck of the can because there's going to be foliage here anyway. The bottom, I'm just going to curve the bottom edge. We've got the first column in a very light wash. Just to begin your illustration width. Now, let's get some green. You don't really need to wash your brush at this stage because there's only very light wash of blue in your brush and you're going straight into green. And the transition between blue and green is actually really beautiful to see. So that way, you do not need to worry too much about washing your brush. Again, this is going to be rather than light wash just to place the colors. And you can, you can build on it later on as well. You can let your green blend or bleed into your blue as well. Creating that beautiful color bleeds in watercolor. And using the tip of your brush you can create the impression of leaves. So I've got green and now I'd like to wash my brush now. And then it gets a little bit of color. Let's say this time it's going to be nice, bright rose color. For some flowers. Again, I can only give little squiggles of brushstrokes to show the impression. Nothing more. The best way to do it is to keep it rather simple. You don't have to worry too much about how it looks. We're just enjoying the brushstrokes at this stage. If you like, you can also do a little bit of splatter. So that's the first wash. Now let's wash our brush clean, take up extra water on the neck of the jar. And let's go back to some ultramarine blue. Now, darkening. This time we don't have a lot of water, we have more pigment on my brush and we're just darkening certain areas. Okay, so now let's move on to some green. I'm using sap green with this time. I'd like a little bit more deeper green. So I'm using a little bit of red to create that deeper color of green. And also it tones it down slightly, creating more off. More of a softer green, not too bright. So it goes really well with the rose color. Flowers as well. There has been a color bleed with the rows and the green here already. So I'm going to try and work around it because I like to preserve these color bleeds. So making sure I'm not overworking, I'm adding the second layer of green. We don't need a lot of pigment at this stage because we're working on a very small illustration. Now. Let's add a few more green foliage here. And just making sure that I'm leaving a lot of whitespace is in-between, just getting a nice contrast between the leaves and the flowers as well. Okay, Let's wash our brush clean and take up excess water on the side of the jar. You can even wipe your brush across your tissue for a bit. Going back into that rose color. This time you don't need a lot of water, which is why I wiped it off on the tissue. Getting a little bit of pigment straight from the pan, just dropping in tiny bits. If we do this only if your first wash was a little bit dull. And you think you wanted a bit more pigment in there, especially here where all the splatters have been mined look a little bit too pale. And just adding more pigment, we don't need a lot of water at this stage. I think I'm done with the first Can leaving that to dry. I'm going to move on to the next one. Let's start with a very pale wash. You can use any sort of gray that you have or a neutral color. I'm using Payne's gray, which is very neutral. And I'm using a very, very light. So it's just to create like a little backdrop for this Can. The same way as we did here. It's quite a repetitive pattern. Then just doing these little lines to create the impression of the texture of can. I've got this very light gray and little squiggly lines on this side to show the texture or the shape of the cam. Let's move on to doing some foliage. Let's start with green again. Or you can even stumped with another flower color. I'm going to start with some deep red this time, like more like a maroon color. So I have some Alizarin crimson. Crimson, red with a little bit of deep blue. Like endeavoring blue or indigo, just a tiny bit should be fine and you'll get those very deep maroon color. So still preserving that redness, just a little bit of blue to create the maroon color. And then you can create a little brushstrokes if you'd like at this stage, that's completely up to you. I'm trying to create like a little flower here. Let's try another one's sideways, and maybe less. Another one here. You can let them bleed into the canon as well, like how we did here. And then I'm going to dip my brush slightly into the jar. They kept some pigment from my brush and then do a very light wash, leaving a little bit of white as well. So it's not like a huge puddle. While it's still wet. I'm going to wash my brush clean and grab some green. Wash my brush clean. I need to take out the extra water from my brush. Let's move into green. Sound a little bit of red to make that green a bit more deeper. And also a little bit of ultramarine blue. To get a very nice deep green. Let's Plays a few lines here. Just to show some green foliage. Few lines in between those flowers, you can let them bleed into each other. That's absolutely fine. You shouldn't be worried about letting the colors bleed into the canon as well. My brush clean. Like to take the water again from my brush and just briefly going into some fresh yellow if it's nice and damp, you can just get it from the pan and then just place a little bit in the center of these flowers just to show some yellow in the center. Now, moving on to the camp, like to add some pattern onto the can. Or maybe let's just go back into the yellow and then add like large yellow petals like shapes. Washing that off. Let's get some blue and the blue is fine. We're just trying to create a pattern. Then create this large petal shapes around it. Again, this is just my idea. You can create any sort of pattern you like here. Okay, so that's looking good enough for the final can. Start using some nice warm red, well that can peach color. So it into the right and I'm going to add a little bit of yellow, very tiny bit of yellow to just make it nice and peachy. Let's do that. For the can. Just like a base color, you can always come back to it with another color. And then again, repeating the same steps as we did for the other two cans, creating this texture of the can. I'm just going to wash my brush clean. Take up excess water on my tissue. And let's get a little bit of more of or any color. I'm just going to do some dots in there trying to do this cam here. Let's do like a big circle here. See how that works. And then you can just randomly place some circles. And then when you're here, you can leave some white on painted areas just to show light reflections. And the same with here as well. Okay, so let's move on to the foliage now. Washing my brush clean and moving into some green. Always make sure that you don't have a lot of water on your brush. A little bit of water is fine for you to activate the paint. I'm using a little bit of ultramarine blue into my green and maybe a little bit of red. Again. So the deep green again. This time, if you like, you can create the shape of the leaf. If that works for you, Not necessarily you do. Okay, I've got some leaves, wash it off. Maybe get some nice color for the foliage. You can leave your phone, it should be white as well. Do like a little outlined or pretend outline for the foliage here are the flowers here. And then when we use our pen, we can add details of flowers there as well. Just to show some white pants, I'm going to use a little bit of deep purples. So if you have leftover marooned from this flower, you can add a little bit more deep blue to make it nice, deep purple. And then do a little bit of it in the center here and the rest you can do with your pen when it dries me, making sure to leave a lot of white area because we are creating white flowers. I'm done with the three cans in watercolor. Just going to wait for this to dry. And when it's completely dry, we can come back to it with some quick lines. 14. Enhancing Your Sketch Using Pen: The watercolor is completely dry. I'm going to start using my pen. I'm going to use my fountain pen now. You can, if you're using dip pen that is also fine, or any salt of waterproof pen is completely fine. So let's start with just like how we did with our previous project. We're going to start with the darker areas and trying to create lines and texture with listened lines first and then you can work your way up from there. So little dotted lines, little squiggly lines. At this stage. We're going to do a line here for the bottom of the can. And might. Just trying to add large lines, squiggly lines to show some darker area. And then maybe quick lines for the flowers. Can be any flower, can be a flower from your imagination as well. Don't worry too much about how your flowers look can be very sketchy if you prefer that. There's a lot of texture with just watercolor in this area. So I don't think I need to add a lot with the pen. I'm going to go into areas where it's quite flat, just like a wash. And then I can add some texture in there. Let's try adding some texture of the can now. Just starting off with a dark line and then just tapering it off as I come towards the lighter area. Starting dark, lightening your line as you come here. Just adding a little bit of shadow here probably from the phone AJ. Just adding some darker areas here, just for some contrast. A bit more contrasting black lines or shapes in this side. Okay, we're done with the first one. Now let's move on to the next. Can. Again, we're going to repeat our process of creating this beautiful texture for the can. Here where there's a lot of color bleeds. You can add lines for foliage to depict some foliage here. It's just creating the impression of flowers. Let's go on and add some more lines. Just creating contrast with deep color, with deep pen lines as well. You can vary the pressure on your lines. You can have very light lines and then just build it up with some darker lines. If you think it needs a little bit more texture and a little bit more contrast in your illustration. And let's just continue doing the same thing as we did for the scan here. Okay, just adding some more darker color here for contrast. Just to bring out the flowers that are there. Few more contrasting colors here. And I think we can, I can leave it like that now. That's looking all right. Now, just finishing off the can, maybe a few lines for texture on the can. If you'd like, you can darken the areas that you think needs to be a bit more darker. If not, you can leave it like that. Until we are done with this scan. Let's move on to the next one. The next one we have an extra job of remembering that it is going to be white flowers, so you can add the impression of white just here right now. You don't have to because you can make it up. Something else if you prefer. But that again, is completely your choice. You can scribble a little bit for some contrast, just add lines for your details. And we're going to finish it in a similar way as we have done the other two cans. Just to impression of parentheses with a nice purple in the middle. The best way to bring out a white flower is to add contrast in colors or lines around the white flower, leaving the white flower without any paint or asset is, I am trying to do a lot of scribbles around this flower, just bringing that flower out, making sure it looks white. Let's add some contrast here as well. So that way I can bring the flower out. Bring this flower out, because it's right now. It's hiding in-between all the foliage. Add some more contrasting lines. Over here, is finishing it off at the neck of the can. And let's finish off the can itself. No. That looks good. I'm going to stop using the pen. Final touches. You can always go back into your watercolor if you think that's better. I'm going to go back into my watercolor to add some deep green in a few areas, especially on this can just getting some green. Make it deeper using little bit of red and blue. Maybe adding a little bit here, just around the flower, making the flower stand out. And it's also a good way for me to splatter paint now. Or even just leave some dots and dashes, creating texture, creating more interests in your illustration. You can do the same here for this one as well. Just some darker color or purple color here for the flowers. So the purple that I'm using now is the same color that I used for the center of these fancies. Just got a little bit leftover from my palette to add some deeper shadows here. And we are done. We're finished with our three cans are quick. Watercolor and ink sketch. A great way to relax because there's not a lot of things that we need to remember here. And also it is a repetition, which means it is a great way for you to relax and to work without thinking too much just yet. And that is also a great way of creating your own lines in your own unique style in your illustration as well.