Paint Stunning Rustic Doors with Watercolours

1. Welcome Back!: Watercolors have the power to invoke your inner creativity and unleash the artist in you. Especially when you let go of control and let the paint flow freely in water. Hello everyone, My name is needed. I am a passionate watercolor artist spaced out of the UK. I am an aerospace engineer by profession and an artist on the creative side. I also conduct online and in-person workshops. I'm mostly known as California seek everywhere. And I'm also an ambassador to silver brush and White Nights, watercolors. Landscapes, cityscapes, and see scapes are always my favorite motifs to paint as they capture the essence of the nature around us. Welcome to this class on painting dose with watercolors. Whenever I have seen these rustic or outdoors during my travels to Europe, I have always been fascinated by the sheer beauty surrounding it and the way it can transport you into another reality. Some of these doors almost make you believe you are in a fantasy world. Today. In this class, I wanted to teach you how to let go of your worries about perfection with watercolors and adopt various techniques to depict stunning textures in watercolors. In the Skillshare class. To paint three standing rustic dose with watercolors, we will adopt several techniques to depict the rustic texture of the doors and portray the play of light and shadow on them without worrying about the perfection of the final outcome, right from the materials that you need to take this class, we will learn all the relevant techniques to depict the various textures both before the projects as well as within the lessons. This class is perfectly suited for beginners, as you will learn a lot of modern techniques and brush movements to let go of your fear of painting with watercolors. So are you ready to open drastic dose into world of watercolor fantasies? Then jump right into the glass. 2. Materials You Need: First of all, let us go through the materials that we will need to take up this class. For the class projects, I have used the paper that is 300 GSM, hundred percent cotton cold press paper, size ten by 7 " in the portrait format. So these are from a brand known as Archie's. And I absolutely love it because of the fact that it is 300 GSM or 140 pounds. It will be 100% cotton paper, and also it is called wrist. So I would highly recommend working with cold pressed or rough surface for this class. As we will be working with techniques that require a bit of texture on the paper, e.g. a lot of dry brush techniques would be covered in this class. Also, if the vapor has a minimum weight of 300 GSM, then it would be able to withstand the multiple layers that we want to add to the paintings. Watercolors, I will be using colors from my custom palette, which is composed of watercolor pigments from various brands, such as a white knight should make a DS, Hello, and Winsor and Newton, mostly White Nights. One thing I have learned from my experience and painting is that the colors that we use in our painting does not matter, so long as the tonal values and light and shadow are portrayed correctly in our paintings. Hence, you can follow along the glass with any colors that you own and create magical effects of your own. However, the colors used in each project will be mentioned at the beginning of each project. I will be using brushes from Silver Brush limited. Most importantly, you would need a pointed round brush, typically a size ten or a size eight, that this medium-sized brush, it is better if it can be a natural hair brush or a hair that mostly mimics the natural hair brush properties. You can also use a mop brush instead, e.g. this one is Silver Atelier squirrel blend quill brush. So these are more brushes. This is a size 30 and this is a size 00 brush. So you can use either of these that is either medium-sized, pointed round brush or a mop brush. You will need a flat brush, at least half an inch or three-quarter inch to create some of the effects that we do in the class project. It is much better if the flat brush you own is synthetic as the natural hair brush tend to be too soft. And Ben lot, however, I'm using both of these in the class project and you can see clearly the effects that I create. Then liner brush for small details, but you could also just use a good pointed tip of a small round brush. If you have one, then a large flat brush to apply water onto your paper. But I think you can get away with one of the other packages as well, a ruler, eraser and a pencil to make the sketches. Some shoes or upload to wipe off excess water from your brushes. And people. Do jars of water. One to constantly supply you with fresh clean water while painting and the other to wash off your brushes. Now that you've seen the materials that we use for the class project, let us go ahead and check out some of the techniques that we use in Egypt, the class projects. 3. Techniques: We will be painting each of our class projects in multiple layers. So this is why I highly recommend that you use a paper that can withstand the number of washers that we're going to do that as a minimum of 300 GSM. And also don't forget, rough surface paper would be the best. Let me just show you why. So some of the techniques that we need to know understand the basics which are the wet on wet wet on dry and dry brush technique. So I'm going to quickly show you each of these. So here I have my paper. And as you can see, it's completely dry. There is no water or anything. And simply applying a stroke of color on the paper without any water on the paper itself is known as the wet on dry method. That is because your paper is dry and using red paint on the top of that. So let me just pick up any color. I have just picked up a ringtone and you can see I am applying onto my paper. And since I'm applying my wet paint onto my dry paper, this is wet on dry method. So this is very simple as it is. Let us now have a look at wet on wet method. Wet on wet means you're applying wet paint onto the wet paper, which means you have to wet your paper. Here. I am just going to quickly wet region of my paper. So there I have wet that region of my paper to see how much the wetness is. Can you see that sheen of water? You can see that under light. So you need to observe your paper at an angle under the light to see how much of water there is. So you can see a water drop there which is unnecessary. So I'm just going to absorb that with my brush or just spread it around because all we need is a sheen of water like that, not a pool of water that is very important to understand. Now, onto this I am, we'll apply some paint. Let's take orange, e.g. and I'm just going to apply. So as soon as I touch my brush you can see my been spreading. This is because the paper is wet and so it spreads. So you can see this is how you would apply the wet on wet strokes. So that is one thing I want to show you. So here I'm just applying the wet on wet strokes. The wet on wet strokes are a bit more loose and uncontrolled and you get a better gradient with the water on the surface. Now, the wet-on-wet can also be on top of wet paint. This region here that we just applied is already wet. If you were to apply another color on the top of it, then that is also wet on wet, e.g. here I have some paint on my brush and I apply on the top and you can see that spreading as well. So this is also wet on wet because we are applying wet paint on top of it itself. I know that these are very basic. So if you are someone who has been painting with watercolors for long, then you know these techniques. The next one is very important for this class, which is known as the dry brush technique. For the dry brush technique, I am just going to simply take my dark Payne's gray color. And dry brush means that your brush needs to be dry. When I say try, it doesn't mean it's completely dry because if it's dry, your beans is not going to appear on the paper, but rather you could just dumping it. And that is where upload or a tissue comes into picture. If you have a cloth or tissue, then all you need to do is pick up the paint. So now your brush is loaded with the paint. You can see the belly of the brush bulging and it's got a lot of water. See. If you dab your brush on to up to load or the tissue and take off all that excess water. So all the water's gone. So now there's only pigment. And if you run your brush over, you should be able to get dry strokes like this. So this is known as the dry brush technique. So it takes a bit of practice to get this dry brush technique correctly. And very important is the texture of the paper. Let me show you what the dry brush is actually doing. So can you see the texture on the paper? I hope it's clear. So see that the texture on the paper. So this texture is what causes the dry brush technique. When you are running your brush on the door, your paint does not go into the grooves or the holes in the paper, but rather stays on that topmost layer. So then that is why you see it as different points and not as a whole. Whereas these ones, the paint has actually gone into the grooves of the paper. And that's why it's a simple wash. Whereas for dry brush technique, your paint stays in the topmost layer. So that's how you would do a dry brush technique. I've picked up a little bit more pink. I'm going to dry my brush and see that. So with the dry brush technique, It's okay to get some beginning strokes like that. In fact, there is a way to convert your wet on dry strokes to your dry brush technique. So here I've just dipped my brush in water. So you can see it's wet. I don't want it to be too wet. So C, that is the wet consistency. Now what I'm gonna do is I'm going to load my brush with the paint. And then I'm going to start, I'm going to hold my brush at an angle like this. See how I'm holding. You need to have loose effect of the brush on your hands. Don't hold it too close and also don't hold it too tight. Because if it's too tight, it means like you're writing something with the brush. You want it to flow freely. You want your hands to flow freely. You want your hand to do the magic and let it flow. So just hold it as loose as possible. So you see this is where I hold my brush. Right now. I'm holding it like that at halfway. Not exactly halfway, but to loser to that. And pulling at an angle like that so that I can run it off. Okay. So when I run my brush over, can you see I get my strokes as dry. So let me load a little bit more waters that I can show you what I mean. So now there's a lot of water on my brush. See that there's a lot of water on my brush. So you can convert your wet on dry strokes to your dry brush technique that is basically just keep going. So you see you started with a dry brush technique. Sorry. You started with a wet on dry technique. But then soon your brush has run out of the water in its belly and it's turned into a dry brush. So you can keep doing that. And eventually you start getting dry brush. Dry brush strokes. There. You see. And now it's all dry because I'm just picking up more paint. I am not picking up any more of my water, but just being so initially, you might get a blob like this and that's absolutely fine. But if you want to get only the dry brush technique, just go ahead and use a piece of scrap paper, them did on the paper first and make sure that you get oily dry brush strokes and then go over to a European thing. So then your strokes are completely dry. It's just like these ones. Now another thing I want to show you is splattering. Here. I'm just going to add a little bit of paint onto my paper so that that region is wet. Okay. So I've got some wet paint there. I just painted it so it's spread to before it dries, I am going to do something. So what I'm basically gonna do is I'm going to take a little bit of my green pigment and I'm going to splatter on the top. You can see as soon as I splattered on the top. So this is wet on wet splattering because I am splattering, it just falls haphazardly and randomly. You don't know where the pain is going to end up. But then you get these beautiful textures where it spreads on it on its own because it's wet paper. You can also do this instead. But the problem with that is do you see even though you control or even though you just go on lightly, you end up loading. A lot of been known to that matters. If you're doing the splattering method, only a small amount would fall onto the paper and just create a smaller one. So this is the reason why slashing is good, but obviously it is a disaster. If you end up slapping beans all over your surface, hand, your devices are Europeans, so just be careful and weary of this method. Then another thing that I want to show you is how you can move on to wet surface from a dry surface. So e.g. this region here that I just painted is still wet and I am probably going to take any pigment. Let me just go with the grid itself. So here I have my gray pigment and this region of the paper is dry because it's white. I have not applied any water. So what I'm gonna do is I am going to apply my gray and I want to come down and I want to touch the edge where there is water. So you see wherever I've touched, the water just allows the paint to flow. You see that these edges are dry and wet. I touch, my brain just blend along with the yellow and moves inwards. Can you see that? Especially if I give it an angle like that, paint is going to flow down into that water region. See that? This is how you can move from a dry surface to a wet surface. Keep this in mind because we're going to need this for all of the glass rejects. Then the last technique I want to show you is softening the edges, which is very important as well. So let me just quickly grab any pigment. So maybe I'll go with this time. So here I am applying bit of red pigment. And as you can see, it's got a harsh edge because there is no water. So if you do not have water on the paper or if you're not using the wet on wet method, then you're going to end up with harsh edges. But you can immediately get rid of those harsh edges by using a damp brush stamp brush means clean your brush in your water. So I'm just clean it up. So it's clean. Damp in your brush that is remove all the excess water, then just run along the edge. And you can soften that and repeat that process until you get a soft edge. C, now have a soft edge for that and there is no harsh edge. So all you need to basically do is let me show that to you once more. Maybe I'll show it on the top here. It doesn't matter. So here I've got some pigment and it's green. So I've applied the green pigment onto my paper. And now I want to soften this edge here. As you can see, it's a harsh edge and it's not adults often. So in order to soften that, I have cleaned my brush, I want to remove all the excess water. And then I'm going to run along the edge of my green again and watch it again and repeat the process. Now can you see the edge of that green is soft and out, okay? So this is basically how we can soften out. The edge here. It's different because I just wanted to show you that as well. If you're softening on top of another color, that color is going to blend out as well. So you can see some Payne's gray has lended alone. And this is very important. So this is the reason why I showed on the top of this. There will be times where you have to soften on top of another color and that color is also going to spit it out. So keep that in mind. So here I've got another harsh edge. So I'm just gonna quickly soften that. When you're softening on top of another color, you might create harsh edge on top of another on all the way through. So now to get rid of that harsh edge is to just run your brush along on to that color. Now, you can distinguish between the harsh edge of the Payne's gray, but rather the whole thing looks blended along with the underlying dry brush strokes that we did. I think basically that's it. I've covered all of the techniques as we do in the class project. Because this is designed to be a very simple and fun class so that you can engage in concentrating on your brush strokes and having fun with splatters and different techniques to portray the doors. I think now you're ready to go into the class projects. 4. Taping the Paper: So here's my masking tape. So I'm going to tape down my paper. I'm just showing you down the taping process because that's very, very important. If you do not want your paints to bleed out. I'm using this acral lick board, which is what I use normally now because it's so convenient. Again, lift and turn my paper around rather than sticking my paper onto my table. So I'm going to leave like half centimeter gap between the edge of my paper and the other half, obviously on to the board, that it sticks properly. Now, once I stick my paper, I usually go around, waved my ruler and just press along the edge because, you know, there's always a gap between the surface and the paper begins to be pretty slightly elevated on the surface. I press that down so that it doesn't hinder the sticking process. That is, you can see here this edge, I haven't gone over it yet. So there are air gaps. Can you see that this air gaps can become tricky and come off if you're using a hairdryer. And also while painting because there's a lot of gap there. So if you run your ruler along and make sure you get rid of those air gaps and make the paper stick properly, then it won't bleed too much. It depends upon the paper that you're using. Obviously. I'm using here arches. So any masking tape works on artists. I've tested myself so many masking tapes and never found a problem on Arches paper. So after that, I press my brush along like this, along the edge and that removes any extra air gap between the paper and the tape. All the four edges. You can actually see. Can you see a little air gap here? This is what I'm trying to get rid of. This was actually there in between these areas. So if I go all the way down, it'll take off all that extra air gap and none of my paints can flow out. See, I'm bringing that down all the way outside and it's gone. So now it's perfectly stuck. So I do this for all of the sides. And make sure that you remove any air gas from all the four edges because that's the place that is more likely to bleed, mainly because it's got two tapes there. I can go underneath. And so here I've taped down the edges. You can see how beautiful that is now. So let us get to the paintings. 5. Green Door Part I: Alright, let us sketch out the dough first. So I will mark out the center for the line of symmetry so that we can add in the door. So that's approximately at the center. So I'll draw that line very likely. So it's like a reference point for me to add into two halves of the door. Okay. So let's see. The one half somewhere around there. And then we have to measure it out the exact same to work the right side. So it's around this space after the ruler towards the symmetry line. So I'll do the same. Leave as much space on the right side, also. Draw a line. So that is going to be my door. Okay, maybe you can put the Dorians. I, but I think this is fine. I like the way it is. Now we need to add the dome towards the front. So it's just marking out the two sides of the door. Or with our help, get help using the symmetry line in the middle. Now from here, I'll start to carve out towards the top for my door. Okay. Yeah. Somewhere there. And we have to draw the dome shape towards the other side as well. So let's see if this is where I started the bend. Alright. I think it's slightly bend. Corrected on this side. That looks good, right. So that's the front area of the door. Now, let's mark out the sides. So here I'll draw another line, the same on the right side, same distance around that much. Then it will curve towards the top. Okay, so let's see how that goes in towards the top. But as it curves towards the top, it can extend little bit towards the top lot exactly panel. Can you see that line there? Same we on the right side. Alright. Then let's get the bottom part of the door as well. So I'll draw the line. That is the door. So we've just drawn the outside. Now. We need to this is like the center point. So what about the inside wall of the door? Okay. It's the inside wall of the door. Would mean that as a slide. So how do we depict that? I think we can depict that from here. That's the inside wall. Another insightful. So let me take it up to the top again. So here I've marked it was the top. Now we'll start to bend it. At the inside. It's going to go to somewhere there. Know that it's not connected. It needs to go all the way down. This is where the bend is, something of that sort. We've added that. So let me explain. This is the inside part of the door. Then it comes outside and maybe it'll have a wattage extending outward again. So you can have another section on the door again. All right. Oh, he can see it. How how did I end up having less space here and most vizier? That's because the door, the symmetry line is not exactly at the center. It's slightly towards the right. Okay, That's fine. Okay. It's not perfect. Bitly because they have all of these things here. I'm not able to draw it perfectly. Maybe I'll just turn it around a little bit so that I can get to the angle correctly. Okay. Is it needs to comment on here. Okay. How does it look now? Yeah, that's correct now. Alright. So on my door slightly shifted to the right. That's okay. So here is the inside bend. These two regions. Outside. The door is like slightly inside. So let's have a small base at the bottom, and then this is where the door is going to be. So the door is this whole thing. Okay. So we'll have them knock off the door. That's the log of the door. Then we'll have some kind of design on the door as well. So how's the design gonna be? The design is like this dome at the end and something like this. The seam on this side. Okay, So that's the design on the door. We have the center line. Then what? Now? We need to draw the lines for the brick structure. So remember that I said that this is the outside. So as it goes, as it goes inside, it will bend out. So that bend is what we will depict it as being towards the inside of the door. Okay. Okay. So let me explain how this inside of the door point is going to be such that it has a one-point perspective somewhere along the inside part. And all of these points needs to converge to that point in the middle, okay? That would be the angle, then this angle would be like that. Get, so you can use that one-point perspective to get that correct point towards the inside. So first let's mark out the point of the doors on the outside. So that'll be helpful. Then as it comes towards this side, it will be straight. Can you see that? Okay. Doesn't have to be exact, just I'm trying to a reference like approximate. Okay? Then, now these points needs to go towards the inside where the point where we have mocked that's there. This is what that will give the illusion that it's going towards the inside, okay. Okay. Can you already see how it looks as though the Brexit Carling towards the inside. Obviously, we need to add those outside lines that you can just Continue it. Okay? So I think we've mocked out most of the important things. The other things are not important. The door is what we needed to have, the markings and we're done. So let's go ahead and start painting this beautiful picture. Here. I am going to apply water to the whole of my painting. So I'm not bothered about any of my Strokes right now or my pencil sketch, we'll just apply to the whole because this is kind of like the background. And the reason that even though I may not paint the whole of the background, I apply water to the whole paper is because otherwise your people will not stretch correctly or, you know, it'll be unevenly bend. So this is the reason why we apply water on all the sides. If you can apply to all sides of the paper evenly, it'll be really helpful. Okay. Okay, Now that we have applied the water, let us start painting. So I'm gonna use my size double zero. It'll blend brush. And we're going to add in the background. I said for the background, I'll probably start with a nice yellow ocher shade. Okay. So here is the yellow ocher, as you can see, I'm diluting it nicely. So make sure you dilute your yellow ocher. So once you have diluted, your yellow ocher will start to paint. So what I'm gonna do is I am going to apply my paint onto my paper. But what I'll do is I'll use different kinds of brushstrokes to attain that. Okay? So e.g. I'm going to hold my brush like this. So can you see the way I'm holding it? So this is my brush and I'm going to use my two fingers to hold it like that and place it almost parallel to the paper like that. Not perpendicular or at any angle, but parallel to that. Okay. Like that. I like using brushstrokes like that. It gives a different appearance and also you get to expedience the font of such paintings. And especially it's good if you're, if you're making grieves as my yellow ocher and I'm going to place it on my paper like that. Yeah, So at an angle. And here I go. It's almost just using the tip of the brush, but then just having fun, you know, placing different panes in different angles. Okay. So we are adding the yellow ocher. You can see I'm adding and radius faces towards the right side as well now. So I've placed it almost parallel to the paper and applying my strokes, taking a bit more darker tone of yellow ocher. Now, this left side where I want it to be slightly more yellowish, that's it. So we got that initial yellow ocher layer. So let's add in some lavender. Now here I'm taking my lavender and as you can see, I am mixing my lavender with that yellow ocher that's there on my palette. The remaining yellow ocher. But include more of your lavender. Can you see you got like a gray tone and this gray tone. Now we're going to apply. So again, I'm holding my brush in the same way and I'm just going to place it onto my paper like that. Okay. Sim card. All right. So now hold it normally and I am when applied at the base. Okay. So let that blend together a little bit more yellow ocher and add to this left side. So you can see how that blends together and created a little gray tone there. So now that was the background. Let me see if there's anymore background details to be added or maybe we can take in the color and to the base of that door as well. Because you people respect the whole thing is going to spread towards the top. That's fine. Absolutely fine. Let it spread onto the door. We're not concerned about. It's spreading towards dorky. It doesn't really matter at all. So I guess that's it for the base. I think that painting part of this is actually quite easy. So now that we have applied task, maybe we can go ahead and add in some foliage onto the paper. So for adding the foliage, I am going to take my olive green. So here's my olive green. And taking a nice consistency of my olive green, it's the right side that we will add some nice foliage. So here I take my move green, and we're going to place it just at random places. We will drop in paint. This is just a base layer for the foliage. We will add more layers and details later on. Now I'll add some dark details on the top. So I'm gonna take my green, my dark green, digging it up nicely on my brush. And I am going to drop it on the top of my olive green. Not in all the places, but as you can see, it's like completely random. And remember I said that this is the base layer, so this is going to on lightened up quickly. So once we dry it up, it's going to lighten up and we're going to have to add more strokes, but this background stroke is going to provide more depth to your painting, you know, so that's why we are adding that. We'd also add some brush strokes which are going to be like in the background. So for that, I'm shifting to my size four brush and I'll take my brown shade. So they're taking my brown shade, but I'd like it to be darker. So I'm going to mix in a little amount of Payne's gray. You can use sepia directly if you have because APA is almost like this mixture that I'm making, that is the mix of proud, the Payne's gray and you can see the consistency of the paint. It is really dreamy, not at all. Watery or diluted again because you want your strokes to not spread out a lot. So use that and we're going to add in some branch like structures, okay, just using the tip of your brush. So now we need to use the perform brush and mock. Start from the bottom as well. From omni, these ones at the bottom are going to go off because we'll add some depth and details at the bottom, but then it's still worth it. Just adding. Okay, I think that's enough. So we're done with the background. What we have to do now is we'll probably wait for this whole thing to try out. Okay, here you go. It's completely dried out, as you can see. Now we'll go ahead and start painting the door and the bricks onto the image. So here I've switched to my blending size ten brush. Now, using that, we're going to paint the color that I'm going to use is our turquoise green sheet. So this is actually tailored turquoise D from Sennelier. So it's a very beautiful turquoise green sheet. You can mix this up by mixing your dog with blue and green together or with your green and blue together, but makes more of your green, that is your emerald green. If you have p D7, which is the emerald green, that is the best that you can use. Okay, So I want to add the door in multiple layers so you can see him How diluted my paint is, that is an order of water in my mixture here. And the reason why I take a lot of water is because otherwise you're going to create harsh edges. So in order to prevent those harsh edges, it is best if your paint is diluted at first and then you can add more onto the top. There. Now I've got like a very diluted consistency and I'm going to load my brush with the paint. Can you see I've loaded my brush with the paint. Then we're going to be in the door. No. So again, I am going to paint along the edge so that I covered up the edge carefully. Okay? So starting here, what I am going to do is meet space. Okay? So this edge here, I am going to go along the top like that. They're just holding my brush. I go all the way to the top and then I bend my hand as well so they can paint it in one go. I like to do some strokes because it's actually a very good brush practice as well. Okay. Now, we can go ahead and add chained to the rest. So the reason why I said that, use a lot of water in your brush is mainly because of this. Because can you see the end here? If you hadn't used a lot of water and paint, then your brush stroke is going to try out before you can come back to it and add to the whole. So now, because when you're working slowly, it'll be fine because you can still cover up. And can you see I don't have any harsh edge at all at the end. Okay. So this is the reason why I use a lot of water in my mixture. When I'm adding the first initial stroke, make sure that you don't get. Any kind of harsh edge you can go around your brush stroke once more onto the top of your whole painting. It's absolutely fine. There. Now I'm going to cover up. We need to be careful as we reach towards the end just so I know that because this is such a dense pigment, your pencils sketch of the design and the door won't be visible and it's fine. No. That's the edge. No one just fill up inside. So there's also another reason why I wet my door and use wet paint. See I'm diluting my mixture again and again. I pick up water each time and I leave our diluted mixture in my palette so that my paper would be vector. This is equivalent to wetting the paper at first and adding the paint because you're using a lot of water along with your pigment. Okay. So I want that region. Whoops. I went outside. We have to save it. Quick talking and was not careful. Let me just pick that up and put on my brush and pick up. Okay, that's fine. So even if it goes up a little bit outside, it's fine actually, because when I add in the darker details on the top, I think it'll be fine. So I'm going to just rained and there so you can see my stroke. My daughter is kind of wet right now. So now we are going to show and depict the debt, okay? So to, to pick the depth in our dough, the top region needs to be darker because it seems like a new bird part along the dome at the top. So in order to depict that, we are going to pick paints gray. And here I am taking my Payne's gray, nice consistency of my Payne's gray and I will mix it up with my green shade. Okay. Can you see it's darker, it's turned darker. If you don't have Payne's gray, you can also use a black pigment. Basically had a black tone into your mix. And I will add that. You see. And now that is what I'm adding towards the top. And can you see I've added a dark depth towards the top region. So we need to cover it up more. Basically. Adding paint towards the top. We might have to add more on the top once this dries out, Let's see how it turns out and then we'll decide, Okay, So I think a bit more along the edges. So that's where the depth needs to show out. Okay. I'm washing off my brush and also I'll take out all the extra water from my brush. What am I doing? Just dropping water and pick it up, don't worry. I was showing you how I wash out the brush and the paint just spread, but it's fine. Just go over and adjusted and it's absolutely fine that my paint is spreading out. I will add dark details on the top and also we'll cover it up with foliage later on. So there I've just spread it out a bit. Again, this will be like the wet on wet effect. Yeah, that's good. So now let me absorb extra water from my paper. And you can see as I absorbed the water, it's getting lighter. So basically that means I need to add dense color without a lot of water onto my paper. Okay, so I'll take tens color. That would be screen. Okay, nice amount of Payne's gray. And as you can see, it's not watery as before. And this is what we will add. Okay. So yeah, that's much better. Like I said, we might need to add later on again. But for now, we can adjust this. Alright. Much. Did it spread out? Okay, always know how to correct your mistakes. So I know how I'm gonna deal with these, this and the one at the bottom as well. So I'll show that to you. Don't worry. Just adding more color. And as you can see, now I'll blend that towards the base of their blend, the Payne's gray all the way down. So it's just at the top. It looks darker. Okay, I think we might have to add more dense pigment at the top. We'll deal with that, don't worry. Now, let's go ahead and add in the details on the door. So for that, I will use my liner brush. So here's my liner brush. And using my liner brush, I'm gonna pick up paint gray, nice dark tents, Payne's gray. Can you see that? So make sure that there is no, Not a lot of water. European needs to be concentrated and in a creamy consistency. And this is what we are going to use to add the lines on the door. So basically, what we are going to do is I need more space. I'm going to draw a line in the center and other places. So this line in the center is from here. So this is the reason because we added it with a lot of water. That region of the door is still wet. So starting from there, I am going to add a line in the center that's slightly bent. I think so. So maybe we'll make that bigger. Okay. So that is the center line. The other lines make sure you don't bend it. Okay, so let's add that. So the other lines going to use the tip of my brush, again, that the liner brush. And I'm going to drop down. Let me see. Just a small, tiny battle and lines which will help out for being the inside part of the door there. So that's the inside part of the door done. Now, we will add more details. So you remember that design I said. So let's add that design. So it's basically somewhere around here, isn't it? And we're going to do it on baton wet itself because it gives out the appearance of trustee look because it's spread out. It's called a dirt accumulated, all of that. So that's why we do it with the wet-on-wet method. Okay, so somewhere here. First, I'll draw the line. Then that dome at the end. This gives a lot of brush control again, because you're trying to draw something with your brush itself. Okay, so how do we do that? What was that design? I think it was something like this and this. Yeah. So it's like a Neiman voted S Let me show you. Okay. So then bends towards the inside. That was the design. Yes. And the same on this side. So here again, that is going to be the line, then the dome at the end, and then the inverted S design. So okay, that's the design on the door. Let me just add some more detailing on the top because I feel that the paint from the tip has gone. So I'll just add I think that's good enough now. So the handle that's also there. Maybe the handle will add it with the wet on dry method. Okay, so let's move on to the next. So now I'm going to move on to my three-quarter inch flat brush to paint the bricks. Okay, so it's very fun to paint it this way because we use the whole length of the brush to paint the bricks. And it's, it's, it's really nice. It's a different kind of technique. Let's try to do that. So here I will take my indigo. We're going to use indigo and I'm going to mix it right here on my palette, even though there's a little bit of yellow ocher. Defined yet that let that yellow ocher be there because we are actually going to mix in a little bit of yellow ocher to that mixture. Okay. So here's the yellow ocher. I will mix it up so you can see it's slightly greenish, one more darker. So taking my indigo, maybe a little lavender, just trying to create perfect stroke thing. It turned out to be indigo in the end, isn't it? But there's that mixture because at the end, sometimes you paint will separate out two. It's good to have these mixture. Okay, that's it. Now, let's draw in the bricks. So it's going to be different process than what we have done until now. So we're going to use the whole length of the brush and make some strokes. Give me show that to you. Here I have scrap paper again. And we are going to use the whole length of our brush, place it at an angle like that and bring down. You're going to have the ys disturbing edges, but that's fine. Okay? So basically this is the stroke that we do. Try to place your bricks in a haphazard manner, that is in a zigzag manner because C don't align it in the exact same way, right? That's basically how you do it. And at times when you want it to be smaller, you can just slightly bend your brush a little so that only half side of the brush is touching and see that I made a smaller one, but just with the same flat brush, even towards the right side, you can do that. Okay. So these are the rocky breaks. So that's why it doesn't need to be perfect okay. When I see it, Okay, I didn't know these materials that they use. So let's just go ahead and add in those bricks right now. So here, taken my paint nicely on my brush and we're going to add in outbreaks. So I'm going to start at the top. Some of them because some of them smaller. So observe me. Then I'll come down. I'm going to make them slightly smaller. Okay. And you can obviously leave a lot of gap in-between. Can you see how beautiful it starting out? Now, this is the edge where I definitely need to just use half side the hair. Again, but it'll hop side and towards this edge as well. When you're painting towards the outside, I think it's absolutely fine because you can just go ahead and use the edge of the paper, right? So you understand the process now. So I'm just going to add the breaks all the way to the bottom. Again. I know that the paint has gone on the top of that. It's absolutely fine. Maybe some bigger ones now to watch the bottom. Okay. I'm going to stop there. Now. I'm going to add some towards the top as well. We'll go over to the right side. So this is why I say that even though it's the background, we'll have to add some bricks on the top to cover up and show the bricks that are there in behind those foliage. But don't worry, I won't add much. There are some metals. Teeny tiny amount here. I think we've covered the major chunk of it right now. I'm going to paint the dome around for painting that don't First we need it, we need to give it a nice light color first. So what I'm gonna do is I am going to mix up a little amount of Payne's gray. I'm mixing a little bit of yellow ocher to that, to my Payne's gray. Then I'm going to dilute it because I need a very diluted mixture while I'm adding there right behind is really diluted. You can see the amount of water the turf added, okay. And using this diluted mixture, I am going to paint the outside again. Really diluted. Remember that? Painting known the inside of that. Okay. So going to hold my brush at an angle like that so that I can go all the way to the top. Just like we painted the door we had towards the hole. So if your door is not dry at this point, some of the paint might seep out and it's fine. Don't panic. Because I believe that when it comes to watercolor paintings, I like such a teeny tiny amount of imperfections. Trust me, that's what I like. But obviously, if you want it to be that perfect, You can go ahead and wait for your door to completely dry out before you do the stresses. Okay. I am not gonna do it using my black paint. As in diluted pink. I will add in the line n-th. Okay. Okay. I need to bring it all the way into here at the bottom right. And also paint along the inside here. And what I'm gonna do is I'm going to paint the bottom part as well. And we'll have like a step in the front. Wife got to add this with the pencil sketch, but just follow along the angled line towards the middle and painted. Okay, but let's add some mossy areas on to that. So for that, I'm going to pick up sap green, little amount of sap green and add this sap green into that wet mixture. Remember you added some really diluted paint, but I'm adding some green on the top of that. The seam on to the door and the step as well. So it will practice the most. No. What else? Okay. Now what I'd like to darken up the inside part. So now is the point where you can go with a little amount of darker pigment. And we'll start adding this darker pigment. I am going to start from the top here because that's where I want it to be more dark. And I'm just going to use a single stroke. That way my paint won't spread out too much. See that? And you can see that some of my paint went inside my door and I did that on purpose because I want to blend in that together. Okay. So here this area where I had added to the door and blend that in with water towards the inside. So can you see now that area looks has a nice debts. The same thing you are going to do towards the right side. Maybe I'll drop in a little bit more dark. Now, Saudi, I'm turning my paper because that's what I'm comfortable with, you know, like I already told you. So again, no, on the right side doing the same and coming all the way down. So this is why I said that even if I if my paint has spread out a little, it's gonna be fine because they're I've already collected it. Right. So let me blend the inside part of the door. Basically blending in towards the middle to remove that spreading. So I'm just going around with my brush, softening those edges. Right? So you can see how the inside stand out. We can add more depth. I think I'll add more depth now. So I'm taking more dense Payne's gray see the mixture now, always look at the mixture that I'm using when I'm going around, you can see if it's watery, if it's creamy, milky consistency. There. Now take my Payne's gray and adding towards the top. So this inside part, I wanted to have more depth, but can you see as soon as I'm adding, there's that nice depth. And I blend it towards the outside such that it doesn't look weird. So I'm going to quickly dry this out to the tweak and add in the lines and add the final details. But also this foliage. 6. Green Door Part II: Alright, here it is. What I'm gonna do is I'm gonna go around one more time alone, the stop because I want it to be more darker again because I feel it's kind of light and it's showing out. I want that area and my inside part to blend out using dry stroke now, I think it's fine even if you go for dry stroke there and decide, right? So for painting that side, let me actually turn my paper. I'm very comfortable in drawing my strokes in this direction. So that's why I keep doing that. Okay. Added that knowledge, fill it up here, feeling that. And like I said, I don't want to have a distinction between the door and the inside part. So you can see, I've added the paint, but doesn't it look weird? So we got to immediately soften it out and blend it towards the bottom before it dries out. So here I take my paint, my water, and just blending it. Use water and blend it towards the inside. When it dries out, it will make more sense. But at the moment, we don't want any harsh edge. So what we do is we just take water. I'm dipping my brush in water, blending it. Bring it all the way down, not all the way down, but until your paint strokes gets dry. So can you see now it looks like a single stroke right at the top. That's the darker. At the top. Now you can see how deep waves added. You can clearly see the debts at the top region. I added a bit more paint because I wanted it to be darker. So now I'll lend it towards the bottom. It's fine to have these dry brush strokes coming all the way onto the door because it's just going to act like, you know, the the texture on the door. Okay. Yeah, I think that's now much better. That's the way I want it. Now you see how the door has that inward debts that we have added. That's because this is actually the shadow of the dome. Okay, so now let's go ahead and add more details. So what I'm gonna do is I'm going to use my black paint to add in some dry brush strokes. Before that, let me draw out the door so that I don't accidentally touch that region. So let's add some dry brush strokes. For adding the dry brush strokes here, I am picking my black shade. Okay, so that's my black sheet, but obviously I need my strokes to be dry. So it makes sure that I dry my brush after picking up the paint. And I would also try it out on a piece of paper. It's dry, right? So that's how I want it. Yes. So these dry brush strokes, I am going to apply area that is the outside dome region. So remember, try brushstrokes, very important. And you might remember strokes on the top. You see how high my strokes are seen. So if you had to dip your brush in water and mixing it up again, always check it out on a different piece of paper before applying it directly onto your paper. So that way you'll be able to prevent if any wet strokes are coming and ensure that it is too dry strokes. Indeed. You can see how I'm making those dry strokes. All right. I added the dye strokes. I'm going to add some dry strokes onto the other areas of my wall as well. Okay. So especially here at the bottom. So this is basically the dot accumulated. Okay? So let's try brush stroke will act like that dotty region. You can see I'm adding more at the base. It's dry but also slightly wet so that I get a dark patch here at the bottom. Like an extremely dark patch there towards the other areas and randomly because obviously we don't want it the whole thing to be fixed trucks, right? The background needs to have an orange dot. Dark regions. It can be lesser. So that's fine. I'm just starting my brush over. And remember, vertically effect, maybe it doesn't matter if it's not vertical. And some places are just gave dark patches. Like here at the bottom thing I'm going to add like a dark patch here at the top as well. Okay. All right. That's good, isn't it? No. We are going to add in the lines on the door. So let's finish off that part. So here, switching to my size four brush, the smaller detailing brush that I use, I usually use I use a size four, but you can go for the size one or a zero if yours is not pointed in a, I'm going to use the pointed tip of this one. Okay. So what was it? Remember the lines that we sketched out? Don't make it too dark. Just lightly again. Remember those? Here it comes out. That lines will give the effect of depth. Okay. Can you see as soon as you added those lines, it this area looks bend inside. It's not, it's what we're trying to achieve here, okay? Right. The inside lines also need to add the top line. So can you see now as soon as you added that, you have that text in the painting. This one thing to do, there is a separation between this and that box adult. So let's add that. So for that, we are going to dilute our Payne's gray and we're going to add it. But remember, diluted. Okay. Because we just want to create a separation between those two areas here at the top. So I think that's there. Just at the top. Towards the bottom, you can basically blend it out. Seemed with. So when you add these red stroke on the top, again, it's going to look beautiful because he got these dry brush strokes which are kind of like an underlying layer, right? All right. I think that's good. Okay. That's a bit dark, so I'll lighten it up. Yeah. That's how it should be. I like coat stand out. What is left now, just the bottom parts and the glands in the picture and rest. All is done, isn't it? So now let's go ahead and add in the foliage and the final details in a painting. Can you already see how that area has kind of like the debt and the bend is also giving the debt. So basically, now we want to add the foliage towards the right side. And it would be better if it could be a little bit of soft, just like the background that we did. So what I am going to do is I'm going to use my flat brush. Any flat brush or any large size brush. If you have, let's go ahead and apply water on the top like that. But don't move around. The pigments do much because we really want to get soft edges, right? So just touching around, don't go scrubbing a lot. Just randomly touching on to the side of the door as well. Some onto the sides. Here. Especially the area where I did the mistake and you see the water actually. Okay. This is what I'm adding. Now before that area or that water dries out, I am going to add my paint. Here. I'm taking my brush and I'm going to add in. So I'm going to start with my green color. So he's not getting this was my olive green. I don't mind it getting mixed with the olive green. And now I'm going to add in, my God. Okay. So as you can see, I'm adding onto the top of my door as well. Okay. So that will be the darker tones. Because the door is darker on its own, it might not appear pop out, but that's fine. Okay. But this area here, the right side is what we want to cover. You can see just normally adding some strokes towards the right side. Alright, so I just touched a lot with my brush. That's what I did now. I'm going to take a little bit of olive green. And I am going to add that as well. Okay? So if you add olive green towards the end, then it will brighten up because olive green is a kind of like a light color. And obviously, if you relive green is not completely transparent. So the one I'm using is from White Nights and it's not completely transparent, so it kind of works. But trust me, if you don't have such olive green, which is opaque, you can go and use the paint from cadmium pigments as well to get your strokes to behave this way. Okay. Alright. Nice blend. On the right side. I'll add some more. What color can be used? Maybe we can use I'm going to add in a little bit of brown because I want to make it like a plant. And adding some brown strokes will give me that in my painting. Can you see already how it's looking so nice when you add in the brand. So in order to add more depth, Let's add in more dark green. So you can see I'm using my den Stan screen and I am adding that. And as I come towards the edges of my door, I actually go for like smaller dots and strokes. Again, those kinds of strokes keep adding. Okay, so now you see that even though we added some of those bricks there, but this layering is coming on the top of it. Now, like I said, I'm going to add in a little bit of cadmium yellow. Cadmium yellow is going to pop out on the top because it's opaque. So they're just using my cadmium yellow. You can mix your cadmium yellow with green and it'll give a very lighter green. What I'm doing here, so here is my green mixture and I'm mixing that up with my dark green. And that is going to help me with my strokes. On the top. Can you see how it's coming up later? This is because the cadmium yellow is opaque. So I know that I use this cadmium yellow a lot in my paintings. And you might be wondering that, you know where to get it. So this one is from Sennelier, the one that I'm using. And it's a very important color. I believe. If you want to achieve some effects like these and add your dark paints are lighter paints on top of Tokopedia. Okay, It's really, really helpful. Trust me. See how it's turning out a lot towards the edges. Now, see how dense and black that area is. Okay, but then my yellow and green mixture is simply coming on the top. That's because like I said, it's an opaque pigment and is really good to use for such purposes. Okay. There. Alright, I loved the way to stand out on the top. Now we can go ahead and add in some branches and also other detailing on the site. So for that, switching back to my size four brush and taking my cadmium yellow mixture again, I'm going to mix it up with my green so that I get a nice light green. Can you see the light green shade? It makes more of cadmium yellow. Obviously, if you want it to be opaque, an opaque color plus a transparent color will definitely give you some obesity on the color itself. So here I've mixed that color. We're going to add the details and other places. So let's say we add thing, I will add a bit more of my yellow onto that EBITDA dark and adopt steadily. But first let's, I use lighter colors. Here are using lighter colors, I am going to add like a fun or some grassy texture. Again, can you see that will get rid of any weird looking areas in your painting? Maybe we'll add some here as well in the front of the door. And maybe add a bushy area here. So I'm going to cover up that area and have like a bush joining. So I'm just filling it up. Basically will add darker colors. So let's add the dark colors on the top that I'm gonna take my green that on the top key. So you can see who created like a bushy exterior at the end. For that, let's also add in the branches. So here I'm taking my ground plane. I need to darken it up so I'm mixing it up with the Payne's gray that's already there on my palate. That's the Payne's gray. So it's like a sepia color. If you have CPI, you can use that directly. Okay. So the branches coming out from behind these and obviously let it go through the foliage that we have added. Random strokes through that area. Because our paper is wet from the paints that we already added. You will see it's spreading and that's absolutely fine. All right, now, let's have some branches sticking out as well. So for that, make sure you use the pointed tip of your brush. See some orange sticking out, not in all the places but the desert random cases we'll add back. That is going to add randomness. Okay? All right. Good luck the way to stand out. Now, let's keep adding into that bushy structure. So that is the end of the bushy structure. We can move beyond towards the end. To add some darker pigment towards the end. In order to make it more darker, you can actually mix in with a little amount of integral as well. So see indigo on the top will come as dark color. So C lambda way that is obviously not the whole place. I wanted to add in some lighter colors again. Pick up my yellow and drop in at random. Okay? Yeah, that now shows the depth. Right? Now, What else? Let's go ahead and mixing it up to make a green color. Okay, I think I'm gonna use my liner brush for this purpose. So here is my liner. And using my liner, I am going to add grass. Okay? I want to come up this edge here so that you don't see that diagonal line. What I'm trying to do, several grassy texture. You can have longer ones. That comes into the front of the door. Key. I think that's good enough. Now, let's finish off with the step and the end of the door and some detailing on the door. Okay. So let's see how we can do that. Just going to take up a little bit more of my yellow cadmium yellow and add because I can see that it's getting darker slightly. So just adding teeny-tiny amount to the areas that we had already added. That will give the effect of these lighter colors. Okay. Alright, now let's paint the end of the door that I am taking, Payne's gray here, getting back to Payne's gray end of the door. So because this is like the base and the door is like slightly elevated. So you remember the mistake I did at that bottom part. I am going to rectify it now. So here I pinged line. Now we add covered adopt. So you know, now you see what that has done. The door is already elevated, but what I'm gonna do is I'm going to create like a joined into each of those lines. Like let me show that to you closely. E.g. look at this one. Can you see that small curve that will make it look as though each of the parts of this door is actually wooden planks that are sticking together. So just make it curve not all of them but just randomly, but can you see and obviously this one has the split of the door. So I'm taking my paint lightly and just going over that split and join it there. Okay. Maybe that split we can add in a straight line in the center and follow along. Okay? Yeah, I think that's actually good to have that line there. Now. Where else? So just some more to keep my beans green. And this is the step region, right? That step region can also have an edge. And we'll add some beans, some mossy tone towards. So for that, I would take my sap green, is my sap green. And I would add that on the top. Basically, I'm just going to split it out and drop in some of my lighter tone. It lacked us the most in that region. Then we can go ahead and add some more branches or glassy texture. Yeah, I think that's good. It's blue light. Probably just going to take my green to it and add on dark, dark. Yeah, that's much better. So my green mixed with the yellow and I've got some nice glossy doing just okay. So we're almost done. The only thing at last a is some dot or some paint markings on the door. So I like to do that and that just more beauty to your painting. So we're going to add those paints markings with some vibrant color. For that, possibly we can use cadmium orange. Let me see that. So here's my cadmium orange. Yeah, I like it. So this is the color that I am going to use. It's cadmium orange, so it's opaque. Go for an opaque pigment, search for the opacity in your tube or a color label. It would be a filled square. That's what we need here. Taking my cadmium orange again. So we're going to take my cadmium orange. We can see here that is the paint. So I've loaded up my brush with the cadmium orange. So what I'm gonna do this, I, I'm gonna go and add in some strokes randomly vertically on the door. So observe my stroke. So it's basically just holding my brush at an angle and going to drop in the orange not be filled, it will have random looseness to it and it's all right. There. Can you see just random detailing on the door? This is because all of the don't fill up the paint on all of your brush just at random ideas. And then pull out the paint like that at random. See a random strokes. So I think that's enough. We've covered that if you want, you can also use cadmium red, I suppose I'll show you that as well on my painting. Here is cadmium red. You can also use that instead. So maybe actually one of the unions will you show your cadmium Dead Sea, even cadmium red is fine. I'm just going to add my cadmium red on the top. So it will be like a multicolored our direct effect. Okay. That's it. It's like paint marks on the door. So rusty door that has got all these different kinds of pain marks. Just maybe take a little bit of black and I want to add in some trials troops. So dry strokes at the bottom but I did not touch the grass area just at the back there. That's it. Let's finish off by adding in law. Okay, So for that, I am going to take my Payne's gray. You can see it's a dense Payne's gray that I empty. And we said that we'd add in the lock on the top, right. So somewhere around the center. It's basically very simple, just a square like that. And then something like that. A line, a horizontal line. Okay? And then what I'm gonna do is I've washed my brush and I'm just going to run my brush on the top like that so that my paint spreads out a little. And can you see it's softer and it's like integrated into the door. So these are various ways. I know that this painting consists of a lot of strokes, a lot of different things that you could try out, different techniques, softening. Just this one. What I did right now was you're adding something on the top and then you just softening it out and attaching it onto the surface, right? So I hope that this class gives you a lot of endless possibilities and different thoughts and ideas to paint. So that's my aim with this glass to show you step out of your comfort zone. You don't need a perfect painting. You will need what you're trying to understand is learn different types of brushstrokes, how you can implement them in your paintings. Maybe for better camera angles as well. Okay. Done that. I think we're good to go. So let me completely dry this up so that we can remove the tape. I think this edge here might be still wet and I don't want it to bleed out so quickly dry it up. While I was drawing this out, I was actually thinking that you might have a question in your mind as to what is the difference between these and these, because it almost looks the same, right? But it's just different techniques to get the same result or not. It's actually if you're looking into my paper, in reality, these two are not as detailed as this one. This is soft, yes, but not as often as this one. So that is the difference that you can notice when you look at the painting. And that's what we wanted to bring in here. Maybe if we had added this in the wet on wet method, you'd have to wait for the paper to dry out a little bit longer to get this effect. So it's just various techniques that you can implement together. So now let's remove that day. Oh my God, and love the way it doesn't stand out, especially this foliage here at the bottom. It's so soft. That door, the depth on the door. All of this is this beautiful, isn't it? I hope you are painting is as beautiful as mine. So here is the final painting. I hope you really like it. 7. Rustic Old Door: Alright, let us start. So I'm just going to quickly sketch out the door in the middle. Okay? First of all, obviously let's draw a line of symmetry so that we can mark the center. I always mess this up. So I think roughly That's the center, right? Maybe it's better to measure. So you go mentioning it up, It's almost 16.8. So that would be 8.4 roughly? That I was correct. So anyways, that is roughly the center point. And marking that I am going to take down and draw. Straight lines vary roughly. Or you can say likely because you can see you can not see the line. That is why I said likely it is just for a reference to draw out the door. Okay. So now we need to add the door in the center, just like we did for the first lesson. So I'm going to have the door somewhere around here in the middle. It's going to be totally roughly, so don't have to use the ruler spreader to leave that element of roughness to this one there. And that is going to be the door. Now we'll have an outline around it, again, bricks or something. So again, another line, another line as well. And again for the dome area. Okay. Alright, so that's basically it. Now at the base, we need to pick some rocky area. So I'm just roughly, you know, just adding some lines. And then that's the base. Then we have the lines. So make it just some random lines, okay? Alright, then nothing on the top, because this one, I wanted to pick the texture a lot. Okay, So there you go. That's the pencil sketch. Let me show this too closely. Alright, since that's about it for the pencil sketch, let us go ahead. So what we're going to do is we're going to apply water to the whole of the paper first. Like I said, we're going to be painting this in layers. So let us start painting. What we're going to do is we're going to apply water or do the whole of the paper. We're going to be painting this in multiple layers. That is how we can depict the texture and also different possible what do you say? Effects onto the painting. So basically, I'm just using my flat brush and I'm going to apply water to the whole of my painting. Don't bother about the shape of the doors or anything. We're just going to add in the bag down layer right now. On to the whole. We just simply dropped in water as in cover the entire surface with water. Okay. Let's see. Does this wet on wet technique? Alright, so now that we have added water, let me just wipe off the excess water from the surrounding on my tape because that is our chance that this might seat back into the paper. And if it does, it's going to create blooms. In reality, I don't mind the blooms as well because they had Another technique or texture effects that is going to come onto our painting. So it's absolutely fine, you know? Alright, let's get to it. What we are going to do is I am going to take some paints, gray or black. So I've got my lunar black here, which is our granulating black toolbar. If you don't have granulating pigment, what you can do is you can use them sold or just go with any black paint and actually want begin to okay, so what I'm gonna do is on the wet paper, I am just going to apply my black paint along the edges. Can you see that and see where I'm holding the brush? Okay, That's very, very important because I want my strokes to be loose and. So not controlled and one might be into flow. So in order to do that, I'm holding my brush at the end. So when you hold it at the end, it means less control as you come closer towards the Brazil. So that means you are doing more controlled strokes. So now I want it to be loose. That's why I'm moving towards the edge here, right? So taking my paint and just dropping the pigment at random places like that. Taking the paint and dropping the pigment at random. Okay. Maybe a line towards the edge. This is totally out of my mind. Okay, So we can do anything. You don't have to draw a line, you can just spread it around. So this is what I said about granulation. The paint is a granulating pigment that despite the paint spreads out, I know that many of you may not have this black color, so it's absolutely fine. What you can do is after painting your black color, put some salt on it. So salt technique, this technique I have explained in my ultimate guide to watercolors class, you can refer to that, don't worry. A bit of black at random places. Now let's get back to adding. So I think I'll go with yellow ocher now. Here I am taking my yellow ocher. Again. I want to add on the top. So I want to add it on the dome like area. And I don't bother my being into spreading out there and all the yellow ocher paint along the outside area. And maybe a little towards the top. Again. It's basically having fun. That's what this is all about. You can paint freely and just enjoy add these random techniques. You can see I'm adding on top of the black paint as well. I don't mind what color is going to come out of it. I don't mind all of these things. You just you just just go ahead and do what you please. That's basically it. And maybe now go ahead and add some of the base. You can see how this thing turns out. Actually that is not even a reference for this painting. This is like totally out of my head. All I did was to draw our door. I think I'll fill the base. Yellow ocher. Yeah. I kind of like that. So that was yellow ocher. You can see I do not even follow any lines specific. Okay. So now what else can we do? I think we can go ahead and add multiple beautiful things to this. So what about we take a little bit of why lead, I guess so I'm going to take in little teeny tiny amount of violet and I'm gonna drop in in these left side. Okay, there's this. Again, like I said, I am just experiment like that touch of violet there. So I'm gonna do that touch of violet. You can see how diluted my paint is. It is like a milky consistency, naught naught adult creamy. So there's a lot of water in my mixture so that this white. And you can see the violet obviously mixes with the yellow ocher to create a brown shade. So that is also another reason why I thought I'll take violet. So when you paint a lot, you get this kind of intuition in your head. You know what colors are going to turn up with the already existing mixes. So like e.g. I. Knew that with mixing the yellow ocher and the violet, I am going to get a gauge sheet. So this all comes with practice. So don't worry that you don't stress out with practice. You all are gonna get it trust me. Now to do in hands maybe a little bit move pilot. So he's a bit more violet. What I'm gonna do is I'm going to add some splatters, like here at the bottom. Okay, that's enough. Maybe a little bit more. Alright. I think that's enough. No, I am going to go with some burnt sienna. So I have my burnt sienna here, the right side of my palette. This one. Okay, So that's been CNF for me, jello. It's a really vibrant kind of burnt sienna, so that's the reason why I use it. So I'm going to drop that as well just at random, you know. And maybe a little on the base as well on the top. So you can see. We just blending out that while it kind of texture, not a lot, some of it is still there. Then comes the burnt sienna again. And I think I'll drop some splatters here and do some splatters there. Like I said, we're trying to go for different textures. Okay. I think that's enough. I can't think of anything else. I think that's enough for the base layer. Maybe that's that for the base layer. So what we'll do is now we'll try this up so that we can add in the details on the top. Not the details, but the second layer on the top. Alright, so you can see how it's done. Doubt after drying, see the texture. There isn't much of analytics job. Only the splatters shows and see the wireless status as well. It's just spread out, but at least there is something there. So that's what we wanted to do just to give nice background touch. That was the first layer. So now let's go ahead and start painting the second layer. The second layer, we're going to start adding the door on the dough here. Let us make that door very vibrant door. So what I am going to do is I am going to pick up a turquoise blue shade. This is turquoise blue color. So we're going to dilute that. You can see my mixture, see that mixture on my palette. I'm using an order quarter and I'm diluting it. What color is a very vibrant green. So I'll just keep that aside. I mixed my turquoise blue with the band sienna on my palette. So first of all, it's just the turquoise blue there. Okay, so let's pick that up and I'm going to add it onto the door. There goes there it goes on to the door. And we'll paint the whole of the door with it. But this is why we needed a watery mixture. Because otherwise you're not going to get a single layer and your whole thing will just spread out. So in order to prevent that, we use a watery mixture so that when you make your next stroke, it's just continuous. Do you see that? That's how we achieve that. And see the inch. Okay. So I'm not going to solve them out that edge. I'm going to let it be having that rough edge. I am going to let it be there. So basically that's the edge of the door. So now done with that. Now, like I said, I am going to use that burnt sienna and the turquoise blue mixture. So I'm taking a bit more burnt sienna and I mixed it into that equus Lucy, Lucy, I get like a dark brown shade, but I don't need a lot of water, so I'm using my cloth to wipe off all the extra water and I am going to drop it in. Okay. So if you asked me why not use brown instead, the reason why I'm not using brown itself is because that mixture, if it contains that turquoise blue, then it's going to look more elegant. That's fine. So just using that, I am trying to add some lines. Maybe a fat line in the middle and thin line again on the right side. Okay. Then what maybe like, you know, some lines. Just dropping off dropping some lines on the paint. So I'm taking my dog was blue again and watch I am going to do is I am going to darken the top side, okay? So basically pick up my turquoise blue. I apply paint to the top. Can you see to the top? And dark and adults? So as you can see as I add paint to the top, the other regions of my people are starting to dry out so it creates a harsh edge. But obviously, all in, all I need to do is just to spread it outward on to the bottom by using a clean, damp brush again. And just make sure that the whole thing just blends out rather than creating any harsh edge. Okay. More roughness that is on your door. That's much better. Okay. So it doesn't need to be perfect. You keep getting half. Those are dry textures. Just make sure that it's not having any blooms. Or in fact maybe blooms are not bad as well. Okay. And I'm just going to run my brush edge of that brown green stroke. A little bit more pain. Yeah. Okay. So about it a depth to that region. I think I need to add more depth, so I'm going to take Payne's gray now. So a bit of Payne's gray. Payne's gray. I'm mixing my turquoise blue just so that there is a uniformity in the color. So they're more Payne's gray now and drop it. So this is the shadow guys. Whenever we do some stroke, we need to understand what we're doing and why we're doing. This is basically the shadow. So once we add in the shadow, it will look more beautiful. Right? So I need to go for densa color at the top. So I'm taking more Payne's gray and added. Do the top. Obviously need to blend that in to the rest of the door area. There. We might need to add some more color later on, but for now, let's leave it at that. So now we need to add the base and the region around. For that, I am going to switch to my flat brush again. This is golden natural from Zillow brush limited. So it's one of their 2008 series. That's what this is, golden natural. So the flat brush. So again, like I said, let's take the round. So that's the drown on the whole little bit of yellow ocher on one side. Now, let's see what happened. Okay. Yeah, that's what I was talking about. See the dwell color in there. So that's what we want to achieve. Okay, so let me show that to you clearly how you're gonna do that. So here is the burnt sienna. Let me just take up a lot of burnt sienna and mix it up on my palette because we need it. In fact. Okay. So there's my burnt sienna. And once you've got your burnt sienna, you're going to touch the edge, one edge into the yellow ocher. Like one edge into the yellow ocher. If you look at the brush closely, can you see it's gotten yellow ocher and the rest is burnt sienna. You can also do it the other way around that is pick up yellow ocher first and then the burnt sienna. It doesn't matter. If you're going to pick up the bumpy. And again, make sure that you touch the other side because it's needed. Now, I'm just going to basically go onto my paper. So here you go. And do that. See maybe a little bit more yellow ocher. I don't mind the shape because I want it to be like, you know, the concrete shape which is not actually perfect. So let it be bit more. Burnt sienna. We've exhausted. Maybe I'll mix in a little bit of yellow to that side. You see that dwell color, warm, loving it. I think the yellow is working much better. That that gives the dwell color. So let's keep going. A bit more yellow. I'm loving the dwell color that we're getting. Maybe a yellow ocher, brown on the other edge. Can you see how we get that color tone? Somewhere? Maybe you can use a whole of ground as well. You don't need to go with yellow ocher the whole time. Or even the yellow base somewhere. Go for the yellow base. See, it's like a mixture. So that's what we need to do. For this. Definitely you need a flat brush. But maybe I can try and show you another method as in how to do this width without a flat brush. Okay, let me try that. And I'm definitely show you that in case for those who don't have a flat brush and cannot do this, it might be helpful. Okay, So let's see. So I have got my round brush here. And how do we do that? So there is the burnt sienna. Need more water in my mixture. That is my buttons here now. In my brush. Again, a hold of my brush with the burnt sienna. Then maybe the I have dictating the cadmium yellow. Why did I keep seeing for this color was yellow, cadmium yellow, and this is yellow or gold. So now for painting that if you use the whole length of your brush and touch it and pull the surfaces to ward off that way. Let me try that again. Okay. Not bad. Okay. My surface is too rough. That's why it's not coming. But it can basically see it's not impossible that you get that right. So at the tip, different color, and using the whole length of your brush, you should be able to get it down and that is a different color. See, it's dwelt on. But I really think that the flat brush is gonna be best because can you see that texture on this one here? See this here. On this one, the dwell color, the dwelled colors on this one. So it's best with a flat brush, but if you don't have, it's okay. And even the simplest method actually want to do this. There. Yellow. Clean your brush, take a bit of ground and join it. So there you've got that dwell color there, right? So this is another way to do it. You can do it other ways or the other way as well. That is a bit of ground at first and a bit of yellow and join it. So there you see red color. So you can also use this method. I mean, you don't have to use the whole brush method if that's not working out. This is the simplest method to do it or less. You just have to go along the edge and do that box with the flat brush you saw how easy it was to do that, right? Okay. So we've covered the edges. Now what else? I'm just switching to my size. Then black velvet brush and we are going to add more texture with black paint. Any black paint, this doesn't have to be granulating. So here I am going with my lunar black itself because that's the black that is there on my palette. This is Payne's gray. It's too light. I know that I use Payne's gray for black sometimes, but this isn't the good, isn't it? There? And just go over the tall. And definitely your people need the texture if you're going to do this method, okay? And somewhere you can add dark spots. So C, basically, even if my pay, even if our brush is a little bit wet, I don't mind. Okay. See, it's a bit wet and I just continue on and it will eventually convert into a dry stroke. Okay. So that's absolutely fine. That's what I mean. Okay. As well. The lights the sunlight is with me. You can see there's a window here is the light keeps coming and going of close down the blinds, but it's still playing through that hoop. You don't light. Alright. Somewhere high, I'm going to drop some spots. Right? That's a fairly good texture, right? So now what? Oh no, we got to paint the base. So for painting the bi's, again, let's go ahead to what we're going to do is I'm going to use my brown here, my transplant and down. And I'm mixing it with the violet. Ok. So when you make your transplant down with violet, it just creates a more darker brown somewhat likes NPR. And I just want to be going to this. So basically, I think I'll go with a wet-on-wet method on this one. So what I'm gonna do is I'm going to read that bottom region. Okay? So just taking my flat brush and applying a symbol, god of water, That's it. Let that water flows, that it's not too much. And any axis I would write both at the bottom. Alright, so now we've got the water, the wet redness, and I'm just going to use my brush. If you're asking me why we do, why we didn't do this in the first layer that because it had a lot of splashes and all of it, and we wouldn't have caught this background texture if we had drawn the line in the first layer. So this is the reason why we're doing it right now. Okay? So just follow along the pencil sketch. Remember the perspective, very important. Now. Some horizontal lines to mark the pavement. Yeah, no, it makes sense. Right? So let's talk in some of the lines. Alright. So now what we need to add in a base for the door area. So here I am taking my black and going and adding to the bottom of the door. Maybe we will add some pigment like that touching the base. So you know, this portion is bad. So I'm adding some dry strokes towards the top. And as you can see, it spreads towards the bottom, but towards the top I get dry strokes. Okay? What I'll do the same here. So this is the point of separation between where I have applied the water and that's the top region. So if I go and touch there, you can see the bottom part is Brett. And towards the top I get dry strokes at some dry strokes to the base here as well. So again, it's like part of some rocky it here at the bottom. And that area at the bottom spread because as the water okay. I'm just dropping in our dry stroke in the areas in-between like that. Okay, so you can see it. This is basically, I know how difficult this looks. And you can see my strokes are not at all controlled. I just do what comes into my mind right now. I just thought this, I thought why not add it to the whole inode, just touching my brush at random and the lines are not even, even. We just trying to create a raster effect door and the wall. So basically just using my brush, I am touching in the areas in between. So z, that was completely random, okay. And maybe some more texture there. Okay, Now, that's good, isn't it? So you can see the door still looks flatter, so we need to give dimension. But since the bottom region is Brett, I'd like to go for some more detail. So here I'm taking my fancy enough and just going to go over some of the horizontal lines, okay. Maybe a little bit more on the top of the black lines or two or just some of them, you know. As you can see, because we did it on wet-on-wet, it might dry out. But now my paper is starting to dry, starting to dry. And I'm not drawing the entire line I just did at random places. And random places we will add in the ground as well. So see just random places. I like it so far. Now, what we'll do is we'll write up so we can go for the third layer. Alright, so it's dried up now, for the third layer, I am going to take in a bit of my yellow ocher and stop there. And I'm going to start at the top here. We need to give that edge to the door, as in the door is a bit inside, so there's a curve there on the board that we need to add. So I'm going to stop there and use my yellow ocher and add something like that on the left. Okay. To perfect. So maybe I'll just diluted it with a little bit of black there. Yeah, that's good. Alright. Seem towards the right side. But the right side is, it's going to fade out so that we see more of the left side and let it go on to the door as well. Okay, that's fine. Like I said, we're not looking for perfection here. Now we need to add back to the door. So obviously, using Payne's gray here, digging in watery mixture of beads, green, we're going to add it to the top. So we'll apply all of that towards the right side there. So that's dense scholar, we need to soften it out. So immediately dampen out your brush and soften out and blend it into the background. That's immediate, immediate that you have to do. Key here, lending it to the bottom. Now can you see this like a depth? It feels as though the door is a bit inside. So this is what we wanted to achieve. So I think at the base as well, I want to elevate the door bit when to add like a bass line. Maybe that's this central line. Yeah, now it's looking much better. Alright, so what else? Maybe we'll just finish off with some details on the door. So for that, I am going to just use my liner brush, my liner. And I'm going to directly just use Payne's gray for this purpose. Again, taking beans green. And let's just at the line. Okay. Alright. What else? We're going to just increase the middle line, the thickness of the middle line a bit more. Alright. I think that's enough. I like the way everything is at the moment, but I want to make the door a bit more drastic and D so for that, let us take some yellow ocher and add it onto the door. Okay. How about we add it like in a few lines just like we did for the first lesson. Holding my brush at an angle, side like that. And then I'm going to run it over. So any kind of texture that it forms, we happy. Yeah, that's much better. So that now gives it a more rustic look. And I'm running it over and you can see how some of it is not even filled. I get this dry and indo stroke and I'm going to let it happen. Last one maybe on this side. Yes. See the initial brown lines that we added, those are also there. So this gives like multiple layers of plastic effect on the doors. So that's why I added those at first. Maybe some more drastic effect towards the bottom using yellow ocher. More towards the base. I'm just adding I like that. That just gives it extra added depth, right? So all the base. Oh, I like that. It's giving that fiery loop. Okay. So another thing is this drastic effect that I just added the bottoms. It can not be that perfect. Because imagine the door at the bottom. It's so tidy, neat. We need to depict duct so that obviously go with black and do the same thing at the bottom. So here I'm taking my black, make sure that there isn't a lot, a lot of water on your brush. And I will add that on the top of the yellow ocher. So see, that's some DOD Not all the place. Maybe I'll just do it on the right side and take it a bit to the top as well. Give it like a mixture of both. Yellow ocher. Yeah, that is kind of good. So I added another layer, layer of yellow ocher on the top. So let me show that to closely see the effect. It's not bad, right? Base is fine. But if you want, you can give it a little bit of texture so that maybe we go with the brown. But obviously we need our stroke to be dry. So we're going to have to dry my brush, remove all the excess water, and let me try the one side here. Yeah, not bad. Okay. So just using my brush and adding a bit of extra because it was like to perfect. It cannot be too perfect into a dough. That's so drastic, right? You wonder surface to depict that. Not a lot, just a little bit of texture. So lots of dry brush strokes here. Basically that's all I can think of. I think we're done. You want to add something? No, I don't want to add anything in ruined. Maybe we'll add a lock to the door because it will look how you're going to open the door. So just taken some black and got something like a door or something. And I don't want it to be so dominant. So I've added the black, but I'm just going to absorb that with my just touched it and that's now feed it. Alright. This is looking good, isn't it? If you want, you can go ahead and add in some plants or some greenery. Should we add some greenery because we already have the cold and warm tones, we have the warm tones or downward we have the cool tones for the door. If you want, you can add some plans as well. Let's see how that goes. I'm just going to try it in a corner. So I'm just giving you more options how you can proceed to this. Like I said, there was no reference picture for this. This was like straight out of my head and I wanted to, wanted to tell you how you can do this. Two more ideas on your own. Here, just using olive green, some straw of grass. And I'll supplement that along with some cadmium yellow. So I'll probably mixed my cadmium yellow with a bit of green so that I get a lighter green. Yeah, I think that's it. I don't want to just stop with that. So there's that subtle green. But like I said, you can add a whole plant here on the top. Obviously you will need cadmium yellow to get that on the top. Okay. I am definitely happy with the witnesses to hunt out. Let's go ahead and view the date. Alright. So let's remove the tape. So before I forget, let us sign in the painting. My cadmium red at the bottom to sign my painting. And let's sign it. Sign yours too as well. Okay. Alright. So here is the finished picture. I hope you like it. So you just saw how in different ways you can add a lot of texture, drastic effect, drastic Luke, and all of that. I hope you enjoyed this. So that's it. 8. Handle & Lock on Door Part I: So I am going to draw a line in the center. So this line in the center spread the dose splits out. Okay, so that's the dual part and we'll be adding the lock and handling. Somewhere here at the center. I've just marked the center line and now we'll add in the handle and the lock. Okay. So let's add the hand and somewhere here around midway point. Split your paper into one by third, and then that would go into the midway point. So first, we'll start with a triangular shape. So it's a triangle with rounded edges. A beautiful, nice triangle. See the top as well. It's going to have rounded edges there. Now. The part where the handle is going to come down join along the edge of that triangle such that it forms like a slight li, like a quadrilateral. And obviously the handle is going to have a little bend to depict the event, but that bent will be mostly visible in the shadow. When you look at it from the front is just going to be a slight straight line, almost straight path, but this slight amount of bend that we just added onto there. And here at the end we will have like part of the handle. I think it's probably the lock sticking. It's like a tiny elliptical shape right there. Then at the bottom we'll have another part where this handle is being attached to that one. We will try to add it like a small square or a diamond shape. But again with rounded edges. There. I've added it with rounded edges and it's got to have a bend. We'll have the attachments. This attachment is basically where it's screwed into the door the same year. So this is a screw. Another hole here. There, another screw here. And obviously other marks on the door. Okay. Then there are lots of perforations and are on the road on the door. Maybe we'll add some ring shapes here. So this is basically like it's a rusty door, so it's got several nail holes and screws sticking out. So that's what this is. Okay. Then maybe we'll have a large hole here. I'm just marking out the position so that it's easy for us to add with our beans later on. Then here we have the lock. So that starts my lock. And the lock is going to have like an hook shape at the top. Let me move that slightly more to the left side. There. Another handle, that lock bar can come all the way around here. This point, let's mark it should be the end of the handle. So that means if we're going to add that Tokyo so it can come until around that point. So let's bring that down. And I'm going to slightly bend it towards the door. Middle point. Now let's follow along. Now let's add the hook so that hook is going to be, let's have like a turning. So go up there. So take your time to do the sketch because that's really important in these kinds of paintings. Because these are elements which cannot change their position and it cannot be bend or distorted. So that's very important. So this is the reason why I take my time to sketch these things. Added that as well. Now the only thing remaining is to add in the shadow. So let us understand the concept of the shadow first. When we're adding in the shadow, we need to understand where the light source is coming from. So in this picture, let's assume that the light source is the sun, which is creating the shadow on to the door itself. The sun, Let's assume E is somewhere on the left side, outside of the vapor, of course, in the sky far away that fought off sun is casting the light onto these objects from this side, and hence the shadows are going to be in the exact opposite direction. Okay? So let's choose this angle such that we get those shadows. Okay? So starting with this one here, let's assume that this is the direction of the shadow, where I am now going to just draw a straight line. This is the handle, okay, so that's the shadow of the handle that we're deploying. Know it needs join somewhere here. So we back up, can use a ruler if you can get it perfectly straight. Just an approximate, okay, that's it there. So I drew it lightly with the ruler and then now I'm just adding with my hand. Okay, So that is the first line. Now, let's add the rest of the shadow. Since you have these forms in place, then you only need to do is follow the shapes. Here. It's going to be thicker. That end of the shadow. I think that's too thin here. It is supposed to be thin but not as much as I did. Okay. Alright. So you see, I have added that shadow. Now we need to add the shadow of this object as well. So let's take that to remember to look at the angle to it all facing downward. That's the shadow of this one. So now this thing here, which I said is probably like the lock, the key sticking out. So we need to add the shadow of thought as well. So that will be from here. You can see there's a slight gap between the two shadows that's pointed. Let me remove the point. Okay. So now let me explain. Can you see this shadow here that is part of lock or whatever that is sticking out. And it's just this much, but it's casting a shadow. This loan. So which means that it's the evening sun, which is casting the shadow, the longer shadow because the sun is probably a bit more down towards the horizon, and hence the shadow is long. And also this length. By this length, it's just x belongs to this much of the lock, right? That means you can understand why the hat and less caught us such a long shadow. The bend of the handle is just very less. But then it casts a long shadow. You can see it in comparison to these objects and you'll understand, okay. Now let's add four V's. Everything needs to have a shadow, right? So this object, this line will have a shadow. Here. So the end point of the shadow point is going to be here. It's putting that under there. Then this one's going to be until they're mocked at first. There is the Ben. I leave the reference image for you in the resources section. Reference images in the sketch image which you can refer. Okay. So that's the shadow of this one. That's the shadow of that one. Basically, this is it for the sketch. Let me show it too closely. Also, this sketch image is there in the resources section. Now let's get to the painting part. So for painting next, we're going to paint with the wet-on-wet first. Okay. So I am going to apply water to my paper. I'll apply water to the whole of my people. Right now. We don't need to bother about a knee off the shapes. We're just going to paint the background layer, which is the door fist. So we just apply water to the whole of the paper. It doesn't involve a lot of wet on wet strokes. So we don't need to do the paper stretching method, which I had shown in my aqua class. So if you're a student of the aqua class, you know what I'm talking about? We stretch the paper and work because it has a lot of wet on wet strokes involved. But since this doesn't have a lot of federal grants strokes and it's easy to cover up the background with simple wet on wet stroke like this one. So that's why we're not going for the stretching method. Alright? So I'm gonna start with a beautiful transparent orange. So I'm gonna take my orange in a nice dark, creamy consistency on my paper, on my palette. So I'm going to start on the right side here. I'm going to start applying the paint. So basically we are going to do vertical strokes with this one because our door structure needs to be vertically. Because those structure needs to be vertical. Can see applying vertical strokes. Don't bother about any of the shapes that we've added right now. It's absolutely fine. We're just going to add on top of all of it. You can still see your pencil sketch because it's a transparent orange that we're using, right? Covering up the whole area. With the orange. You can see how beautiful it has turned out. Remember, vertical strokes only. And also your watercolors are going to try one shade lighter. So hence make sure they do apply a dark tone always. Okay? So now that we've applied the orange tone, what we are going to do is we're going to add. Some pink tones on the top. So pink as n, we're going to add some red tools in order to make my red tone. What I'm gonna do is I'm going to mix my queen room was weight to my orange. And you can see the bright red shade that I have caught on my palette here. So this bright red, you can also use red directly. But I'm just mixing up my red here by mixing into a pink shade. And this is what we're going to add on the top. So always remember what a consistency. Now you can see the consistency of the water to paint ratio here on my palette. Because our paper is now soon going to dry out. So we need to make sure that the strokes that we apply blend into the paper. Just basically adding these strokes again. What to go? Strokes again, always in this one we are going to keep at vertical strokes again and blend along the vertical strokes. Not on all the places, just some random places such that we get reddish hue to the door. Just in some areas, that's what we're trying to do. Okay. Okay. Now, along the middle, I want it to be slightly darker. So I'm going to pick up my red orange mixture if it is two rows orange mixture, that is that at sheet. And I'm going to add it towards the center. There, right at the center. I've added probably add a bit from the bottom as well. So that is the part where the door is going to be. And then I'll just try and blend some kindness. Now I'm not going to mix anymore. I just use the existing colors that I have on my brush and on my palette. And just try to blend alone, can see what I'm doing. You need to have that orange visible. So that's why I'm not adding any more. Now what we'll do is we'll before it dries out, we'll add some marks on the door. So for adding some marks and the dark lines on the door first we'll add them with some wet on wet and then later on we'll add more details with wet on dry method. So for that, we need to mix up a slightly darker red sheet here and take my rose again. Added into that mixture. I liked the mixture that the rows creates with orange. So that's why I'm going with that. Okay, so there's the orange, the rules. Now, I'll take up the rows. Why am I saying the colors room? I took up rows and orange and you can see the bright red shade that I have got. But now I'm going to slightly darken it up. So what I'm gonna do is I'm gonna pick up a little amount of brown. They're mixed that Dan, can you see? We've got a slightly darker shade now. You can also add a little bit of green, actually because the opposite color of the red is cleaned. That is, the complimentary color is green, so it will desaturate the red. I wanted it to be slightly darker, so I prefer to add the ground instead. So taking my brown and what I'm gonna do is I need to make sure that my brush doesn't have a lot of water because you can see this makes sure to slightly watery. Might be progress probably started to dry, so I need to be careful. I'm going to use my clothes, absorb the extra water there, and then I will add in the center, you remember the line that we added? So I'm going to go along that line, okay. And the dark tone there. Then we'll also add some darker tones at random places. Possibly. The marks on the door. I feel like a mock here. Some there. Some details and some marks there. Okay. So this moment we're just adding our Dodge and the trustworthiness to the door. You can add them as lines as well. Okay, I think that's enough. I don t want to add a lot more. So now we just wait for this whole thing to dry. Alright, so our paper, it has now completely dried. Let us go ahead and paint this handled first. So for that, we need to create golden shade, which we can add on the top along with the other highlights. So for creating the golden shade, I am going to mix my cadmium yellow deep. So this cadmium yellow deep is from center here. You can see it's bright yellow color. So taking my cadmium yellow deep and that I am slightly going to mix in a little bit of brown. So this crown here is my burnt sienna and mixing it with like cadmium yellow deep. And you can see how it's turned into a nice golden kind of shade. Let's take up more of the cadmium yellow, maybe a little bit of the cadmium yellow light as well. Okay, So that's turned into a nice golden shade. So we are going to add it and create a nice handle. This is the handle you can see the pencil sketch and we're going to add it on the top. Using a single stroke. I've covered the entire length of the handle. We need to add in highlights as well. So first let's bring in the colors. So that's why I'm adding also this p bar is also in a slight golden shade. And take more of like cadmium yellow. Okay. Now to this mixture, we need to add in the shadows and the highlights. So like I said, the suddenness. So which means the right side is where it's going to have the shadow. Here. When I'm talking about the shadow, it is a form shadow that is the shadow on the object itself, the darker side. This here is the cast shadow. So I'm mixing up a little bit of plan. This is transparent problem. And I'm going to add that onto the top so that transparent brown is going to mix up with the cadmium yellow mixture. Okay. The right side is for everyone the shadows. So pick up your brown and add it to the right side. You can also mix in a little amount of Payne's gray maybe. Or if you have sepia, you can use that as well. Make sure to wash your brush each time because the cadmium yellow is of big and it will get back into your brush and mix with the brown, not allowed to create our darker mixture. But then you can resolve it by washing your brush each time. So here I've taken beans green and I'm going to add on the top so you can see now it's darker. But once you go over it with multiple strokes, your brush gets tainted with the cadmium yellow. So here you can see I tried to create a mixture. Now we get around to adding the highlights. So for adding the highlights, I am going to use my whitewash beat. Okay? You can also use your white watercolors. So here I'm taking my whitewash. Let us add that. The highlight is going to be at the top here from where the angle of the sun is. So that point is where you get the most white light. So adding my white paint on the top and you can see that you might need to add it multiple times because as soon as you are adding, you can see that it turns into mixture of the cadmium yellow and white. So make sure to add it multiple times. That part is where it's supposed to be. White. White highlight. Okay. Then this part of the lock can have an edge if white like that. And another edge there. Okay, so we've added that. Now you can see how it's already looking like a handle, which you can hold, right? So we can add more colors later on if it doesn't make any sense. But for now I think this is looking good enough. Now. Let's add more dealings. So we'll add this part. So this part, again, it's got a slight bend. The attachment is slightly bent. And hence that bar means to have a highlight. We're adding right now. There. Then gums the shadow. For the shadow. Here, I'm taking my brown, but also I'll mix in a little bit of red. So here are the mixture. Mix it with this brown. You can make statically your pink shade as well, okay? And this is what I will add in order to give it extra line we added here, we need to edit later on again, because this is going to the shadow that we, the cast shadow that we add will mask it out. So some notes here, some lines there. Right? Now, the top as well. What we can do is we can paint that top portion with a lighter tone of orange on the top so that it pops out. Okay, so here you can see I'm digging a very diluted consistency of my orange. We're going to add it and you can see I'm adding it on the top, but it's very diluted. But even though it's diluted, it will pop out because it's paints that we're adding on the top. Again, we do the same for the bottom one as well, I guess. Just orange paint that I've added on the top there. And that will make it pop out. Okay. So now we need to create a joined to the bottom. So I'm taking my brown adding the base. Okay. Yeah, that looks much better. Probably taken a little bit of Payne's gray and add as well. So before we move on to the shadow, Let's paint this one as well. So for painting that one, I am going to take my red shade. So this time here I am going to take my Alizarin crimson, which is my crimson red sheet. It says slightly pink shade to mix in a little amount of orange so that I get up dried bright red shade. Okay, So here there's the red shade and I'm going to add to this here. This is the lock. So first what I'll do is helping the whole thing after that Aladdin dark lines for the highlights. Okay, So this one is going to have a lot of paint that has come off from it and a lot of highlights as well. But first, let's add with our paint. Right? Okay. But have it in the dark lock, but obviously we need to add in the shadows and the highlights. Go with my brown, again, my dog. And I'm going to drop some dark accents here. To the edge, to the right side. That's where we will have most shadow, right here on the right side as well. And here it will be at the bottom because there's a lot of things joining together. Okay. Now we'll add with our white paint again. Here. I'm taking my white paint. Sure to take it in a nice consistency, nice amount. You can see how long. I go around and take that paint, my brush. So starting at the bottom, I will add in, you know, you have to add multiple times because your head is too wet and it's just going to blend with the red. You can see the red. Lending alone. You'll have to add multiple times, but that's fine, okay. If you want to add the perfect highlight, this is the way to do it. For this part, I believe the most of it is going to be in under highlight and also the paint has come off. So we'll add the whole thing with red, with white, but we'll add with red later. Okay, let's get back to that golden shade that we mixed. Because this part of the handle is golden. Okay. It's cool. But now, can you see how it's sold wrong? You have to add in a lot of shadows to make it look more real. So here I'm taking my bike down. I will add it at the base and also at the point where it's joining. So as soon as I added that Brown, can you see it makes more sense. These kinds of mean things. This is the thing. It looks simple, but then there's a lot of tiny detailing in Volt which you need to add in order to make it look originally. Okay, can you see I've painted that gap between the hook and it's area and covered the ad. Who back to my cadmium yellow and add just like a line. Now. Now I think it makes more sense because it has started rounded edge will add shadow, then it'll make more sense. We can. For now, let's keep going. Sticky my fight once more. We're going to add it on the top. We need to add the white probably multiple times. Because otherwise it'll just go on mixing with the red. Okay. As long as it's wet thing, we will add it when it's dry. 9. Handle & Lock on Door Part II: So let's move on to the shadows then. Okay. Alright, so how do we paint the shadows? So the whole door you can see is with a warm tone. It's very warm. We've used orange, browns and reds, which are the warm colors, which is the warm end of the color wheel. So we need to bring in some cool tones. And shadow means the cooler side, right? That is the absence of light are or where the object is casting a shadow because the light does not return to that place. So if we add the shadows with cooler color, it makes more sense. That's how in paintings you can make it look more attractive and beautiful. So what we're going to do now is we're going to use Indian green-blue. Do not use bright blue or teal blue. Because the bright blue we'll mix with the orange to form a green tone. But I guess it's alright if you'd rather add a blue tone as well. So here I'm taking my inventory. Blue. I think I'll probably mixing a little amount of bright blue to it so that I get like a beautiful Prussian blue kind of shade. Okay. So just a teeny tiny amount. It's a mixture of blue and green, blue. And this is what I'm going to use for painting my shadow. So here, picking up the color nicely on my brush, I'm going to add in the shadow. So we'll start with the bottom part here, because that's what's dry. And we'll paint. Okay. Alright, so digging my color, I just go along the length of the shadow that we have added. It's blue. So it's probably mixed with the orange to form a great one. Okay. Remember to create perfect sheets, okay. There you can see how I've joined the shadows and you can already see it looks so next isn't it? Using a blue tone, but it creates a gray tone on its own. And some areas where your paint is going to get lighter and you'll see the blue tone as well. Okay? So that's the beauty of adding shadow with a cooler color, such as blue. Okay. We have another line again. Before that. This shadow, this one. Then that Lockhart. All right, That is looking nice, isn't it? But now that is something that we need to do. The shadow here at the end, it's kind of like far off from the object. So the cast shadow needs to soften out. So what we're going to do is we're just going to use our brush. And we're going to run along the edge. Just running along the edge. Alright, so that the paint spreads and you don't get a harsh line. So this is called the softening method, where you're softening the edge stroke. Again. We'll soften this edge as well. Can pick up blue if you are removing paint from the inside. I love the way it how does often not. Now, let's go ahead and paint the dark part. Shadow again. Remember, the shadows always needs to connect to the object. I'm just actually tracing along the fence and sketch that does it. It's very, very simple. Actually adding the shadow part is the most simple part. We add shadow of everything. Remember that? Then? This one, who you can see how that's turned out, It's looking good, isn't it? Okay, this Spark needs to extend because you know that the shadow has an angle of light. Okay. So we've added, all of the shadows, add a little bit more paint here because after it's softened, it got lighter. But can you see the softness at the bottom that we need to achieve? And we've managed to get the perfect shadow. So now let's go with a little bit more of our white and start adding the details on this one. Try it. So picking up a dense amount of white and bad, well, the dog, once it's dried, it will come out more because white bean doesn't have the red underneath. The red is already dry. It won't mix up. Now we're going to mark the areas of the highlight. Okay, So we've already added the white paint, but that was the part of the log. Now we'll add in the lightest areas to mark the highlights. Okay? So we'll have a highlight there. You have a highlight there at the end. This is an area where the paint has come off. Another highlight, the hair. Obviously, like I said, this edge is the lightest. Heel will add more areas where the paint has come off. Being does come off in those regions. So just using my brush to blend along the edge of that white. Yeah, that looks much better. Now, I'll take some brown and add those spots, some dark spots. All right. Maybe a bit of cadmium red to give a nice very light red shade. Can you see how the red pops out when you add with the cadmium? Cadmium red. Then some weight on the golden idea here. But that needs to be blended like this one. Okay? So digging my golden shade might have to add all of these detailing multiple times only then you will get it correctly. Can you see now that looks like a hook, right? Because I added some white. That's the highlight and there's also the color popping out. So that choose to highlight, there's a highlight line there. And now that looks like a hook, right? I'm loving the way this has turned out. Now. What else can we add more details? Okay, so now we'll go ahead and start adding holes and lines on the doors. Okay, so here I'm mixing a brown shade. Probably mix it with this one because I want it to be like in a little shade of red as well. So I've mixed a brown to the existing paint there. Remember we said that there's a hole here. Let's go ahead and add that hole. Okay. So just added some paint than what? Maybe a line like that. And just random detailing. That's what I'm doing here. Also, we need to add in the split of the door, right? So what I'm gonna do is I'm just going to turn it slightly because to draw the line, my hand gets it only when I turn my paper like that, I am able to draw a perfect line. So I've mixed more brown or dark brown. Look at where your line is. That is where the line is. Okay. Before I add the line, I believe we should add the shadow of the split between the door for adding the split. Let's go ahead and add a shadow first. So here I take my blue, but I need it in a very lighter tone. So when I'm mixing a lot of water there, that is a nice consistency. I'm going to add to the door. Okay. So there's the duper adding to the this side of the door. Okay. So can you see how that line now made sense because it's actually the shadow of the door itself. Okay. So let me draw some more blue because it's just really light. Light the same. Okay? That what I am going to do is It's going to make sure that this shadow is on the top. So I've just blended with my brush and draw some line towards the side. Once it dries, it won't make much difference. But you'll be able to see the line on the top. So this is the reason why I'm making it this way. Okay. Yeah. So we added this way, then the shadow will definitely be along that side. No, that's the split of the door done. Now, obviously, we'd have to wait for that to dry. So by that, Let's draw in the nails. The screws, screw here. Then what multiple screws on this one. You know, just add random dots and detailing on to that one. And remember I said that we'd have to add in more shadow here. Now I'm going to take my Payne's gray and add depth to the edge. So when you add that death, it pops out. Let me show it too closely. Can you see it pops out. Added a shadow for that knee last row. So for every object, if you add in a shadow, it pops out. And remember the direction of the shadow. There. I added a shadow for that name. And you can see it looks like it's sticking out. So maybe a little bit more depth to the hole here. Yeah, Now that tool has depth because we've added some Payne's gray inside. Bit of Payne's gray here for the dark edges. Queen, back to my phone, if you remember, we added several hooks and details. Let's add that. I'm just marking. It's my brush. Just seven. Okay. I think we can add a lot of dry brush strokes now. So for that, I am going to take my brown mix it here in this area and you can see how I'm making it dry so that I get some dry brush strokes and also want to make sure that they absorb all the extra water. And then I'm going to add try brushstrokes on the dog. You see the strokes are dry, but then you get these extra which acts as the perforations on the door, beginning of dry paint and not even using any water. Okay. So before we proceed in more detail, so we made that whole, there may be no central brush strokes then send out here underneath. Okay. It's just the basically the dot accumulated there at the bottom. Then you can add in several places. This is the part where you can go with just, just go crazy and add a nice kind of detail. Because it really doesn't matter what you are adding. It's the last bits. Maybe you can add some dry brush strokes with Payne's gray as well. Okay. I like it now. You can see the dry brush strokes, how it stand out. Now, what else? This is tri, so we'll draw the line for the split between the door Picking dense paints gray and that split. So that would be at the other edge of that shadow. So you might think we're done now, but there are some slight details that if you add, will make your painting look up, pop out. So that is again, some highlights basically. Okay. So let me get that. This region, I wanted it to have a nice white highlight petals. So if you add a highlight to this, see how that now looks like a hole because it's got the light acting on it. Okay. So this is what I'm saying. Always highlights and shadow is what we paint in a painting. Rather than objects. It's always the shadows and the highlights where these things are not dry yet. So that's why I'm having difficulty because I always end up touching my paper and having paint on here. By adding, again, that gives it a nice highlight. Remember we said there's an object here. If I add in a small amount of white here, but that one I need to blend. So let me blend that in words. You may take this color. Okay, so see now those two things look like hooks. So this is what I'm seeing all ways when you add highlights, it adds beauty to your paintings. Remember I said that this is kind of like line. So it's, what is a line? It's like a scratch on the door. So the scratch also needs to have a highlight. If you add a tiny line along the edge that scratched pops out. When I say pop-out, it means that it looks three-dimensional. Always the shadows and highlights. That is what makes the painting look three-dimensional. And lastly, maybe we can also add some strokes with our white. I need to get it to dry completely. Some dry brush strokes. Not a lot, but a little amount of dry brush strokes with the white as well, especially on the areas that you've already added. So we'll make those things looks like holes in the door. Okay. So I'm going to finish off by adding teeny-tiny amount of details. So here, taking some Payne's gray and heading to the edge of that hook there. Some lines. These are like dirt and other stuff on the door. So they will be in the areas where the shadow is as well. Okay. Maybe some lines for adding the lines, like I said, who bend my paper? When I use the tip of my brush, you can use a liner brush if you want. I just wanted to not use more crushes. That's why little amount of white for the nail, which needs to have a highlight. Here. You can see how when I'm adding each of these highlights, the object looks three-dimensional. E.g. this one is my favorite. It actually looks like a hole in the door, right key. We done yet. I know that I keep looking at my painting and I try and find out where things are missing. Like e.g. I think I am going to add in a nice highlight on that area, and I like the color there. Okay. That's much backed up. Okay. I won't waste your time anymore. I think we can start, so we'll wait for this to completely dry and then we can remove the tape. They you go, it's completely dried. So let us remove. So here is the final painting. I hope you like it. Oh, and I forgot one thing. I need to sign my painting. This is something that I started very recently. To sign my paintings. I do it for all of my paintings regardless of what size it is because it makes you soaked out that you've painted something and it belongs to you, it's your work. Even though you follow the teacher. That particular painting is something that you've done yourself. So that is why I signed my paintings. Don't forget to sign yours is well, it's just that we need to work ethically and not sell those paintings that you've learned. By following a teacher. I am going to take my cadmium yellow because I love to sell my paintings with colors that pop out on my painting. So here I'm going to take cadmium yellow. You can actually sign with another color such as a darkened up because it would look great on this. But I'm gonna go for, you know, because they want to make it softer, as well as pop-out. Cadmium, yellow, cadmium yellow light. The other one that we use for the class was getting really deep. So when do it on the left side here? Can you see subtle, but yet they're so there you go. Here's the finished painting.