The Autumn Escape: 2 Watercolor Autumn Scenes

1. Introduction: There is something truly magical about autumn. It's a season when nature slows down, trading lush greens for glowing shades of gold, orange, and crimson. The crisp air, the rusty leaves beneath our feet, and the warm sunlight through the trees creates a sense of peace around us. Hey, everyone. This is Duthie, a watercolor artist and an art educator. Welcome to my second class, the Autumn Escape. Autumn is one of my favorite seasons. Every year, I find myself reaching towards watercolor to capture those cozy feeling that comes with the season. The gorgeous yellows, the oranges, the brown that comes with the season really captures my mood. It makes me feel so, so amazing. Over the years, I have painted many autumn inspired paintings, each one teaching me something new, something unique. Not just by choosing the right colors, but also creating atmosphere, texture, light, and little details that brings a painting to life. In this class, we'll create two autumn inspired paintings together. We'll begin with a closer painting of colorful autumn leaves and then move on to a warm, atmospheric scene surrounded by autumn foliage. I'll take you through each painting step by step, sharing my favorite technique, color combinations, and little tips along the way. I will be guiding you through color choices, write paper and the brushes that you'll be needing to make a glowing watercolor autumn sm. This class is designed for intermediate watercolor artists. But if you are a beginner who enjoys a little challenge, don't let them stop you from joining. So take your time, experiment, and most importantly, enjoy the process. So grab your brushes and let's escape into the autumn together. See you in the class. Bye bye. 2. Classproject + Overview: Thank you so much for joining me in this class. This class we'll explore two different autumn inspired paintings. The first project is a beautiful composition of autumn leaves, where we will explore vibrant autumn colors, leaf shapes, fine details, and the effect of water droplet in a very simple way. The second project is a warm and cozy pumpkin scene where we'll focus on creating an atmospheric autumn background, painting different pumpkin textures and using light and shadows to bring the scene to life. You can choose both the paintings or choose the one that inspires you the most. This class is divided into several videos, each focusing on different aspects. In the resource section, I have also added the sketches of the paintings. Don't worry about making it perfect. I would love to see your own interpretation and creative choice. In the next video, I'll walk you through all the materials you will need for this class. See you there. 3. Materials Used: In this video, I'll be mentioning all the supplies that you'll be needing for this class. Since paper is the most important thing here, I'll start with it. I have used my favorite paper, Saunders Waterfood from St. Cuthbert's Mail. This is an amazing watercolor paper. This is of 100 person cotton having 300 asm. The size of the paper is 12 by 9 ". It has fine grain and is lightly textured and is also cold pressed. This paper pad is glued from all the four sides, but we are going to take it out and stick it on a board. You can go with any other watercolor paper of your choice, but make sure it's 100% cotton and 300 s. So that's all about the paper. I'm going to use this acrylic board to stick the paper over it. It's quite sturdy. And for sticking the paper, I'll be using a normal masking tape. I'll be taping the paper from all the four sides. Now, coming to the watercolors that I'm going to use, I have used watercolor tubes from art philosophy and white knights from NevskayaPaltro. I have also included a separate class on color palette, where I'll be explaining all the shades that I have used in this class and their pigment numbers. To mix the colors, you will need a palette. I have used here these two ceramic palettes. You can use any other palette you want, or just a kitchen plate would just be fine. Now, coming to the brushes, I've mostly used these three different brushes here throughout the class, but also kept another handy. The first brush here is my three quarter wash brush from Princeton brush Velvet series. I'll be using it for applying water onto the paper. You can use any bigger brush or a mob brush for the same. The second brush is a round brush in size eight from the same brand. I've mostly used this brush throughout my painting. Now, the size six round brush from the same series and brand for painting smaller areas. Now, coming to this brush, it's a half inch wash brush from Princeton brush Heritage Series. This is completely optional as I have used it only for once for a single painting. Now, the last brush is for applying masking fluid onto the paper. This is an old brush. Never use your fine brushes for applying masking fluid or else it will get ruined. Also, always put the brush into any dish soap before putting it into the masking fluid. The next important thing is white wash paint, to add some highlights. This one is from NewskaPatra. You can use any other brand you have. I have used masking fluid for the first painting here. This masking fluid is from NewskiaPatra. Again, you can use any other brand as well. Then we'll need two jars of water, one for scraping off the colors from the brushes, another one for when we need clean water. Okay, spray bottle for rewetting the areas. Cotton towel and tissue to wipe the excess water from the brushes. And that's all the materials for this class. In the next video, I'll be mentioning and talking about the pigments. So see you there. 4. Color Palette: Let's have a thorough look on the colors that I'm going to be using in this class. Let's start with the yellow first. So this is lemon yellow. This is from art philosophy. It's a cool, vibrant yellow. Okay. Now comes a beautiful golden yellow shade in the name of permanent yellow deep from art philosophy. The pigment number says PY 53 and PY 55. You can also use gambose yellow instead of this color or simply use a little orange mixing with lemon yellow. I have used this colour to create the leaves here in the foliage. The third color is a permanent yellow orange from art philosophy, and the pigment number is PY 53, PY 55 and PO 73. You can use any other orange you have. Our next shade is Naples yellow from the brand white knights watercolor. The pigment number is PY 42, PY 35, PO 20 and PW four. It's a mix of yellow ochre, cadmium yellow, cadmium orange and zinc white. Then comes red brown hematite. It's a granulating watercolor from white knights. The pigment number says PBR seven. It's a very warm, early brown. You can also use burnt umber for this. Now the next shade is Van ***** Brown. This is from white Knights as well. It's a dark brown, and the pigment number is PR one oh two and PBK eight. You can use any other dark brown which you have. Now comes permanent thread. This is from art philosophy. It's a reddish orange, and the pigment number is PR 112. You can use scarlet thread as well. Okay, the next shade is permanent brown from art philosophy, and the pigment number is PBR 25. It's a very rich, warm, mahogany color. You can also use bond Siena instead of this. Alright, now we begin with the greens. This is a greenish yellow from art philosophy, and the pigment number is PY 129 and PY 128. It's a bright, luminous yellow with greenish undertone. You can also use lemon yellow mixed with a little halo green. I have created this beautiful foliage by using the first wash of this color. The next green is green shadows from white knights. It's a granulating dark green. The pigment number is PBK 11 and PG seven. You can also mix a little paints gray in your halo green for a substitute shade. Okay, so we're also going to mix few colors. So this is a mix of greenish yellow and a little green shadow. This way, we get a mossecrem. We'll be kneading it during one of our paintings. This one is a mix of Van **** brown and green shadow. It gives an olive hue. So this is Pains gray from White Knight's watercolor. The pigment number is PBK seven, PB 15 and PV 23. This is a mix of pins gray and red brown hematite. This provides a very dark shade of brown. Now, this is a mix of naples yellow, and Vandyks brown. I have used this color mix a lot in the second painting. And the last mix is of a permanent brown and paints gray for adding some shadows. All right. That's all for the colors. See you in the next class. 5. Project-1 Autumn Leaves Part- I: Let's start our first project. I have pre sketched the maple leaves. I'm going to add the sketch in the resource section. I have taped all four sides of the paper on the acrylic boot. Now, time to add the masking fluid. We do not want the leaves to get drenched in colors of the background. I'm taking an old brush dipped in dish soap. I'm going to put the masking fluid on the edge of the leaves. Don't want to waste a lot of masking fluid here. Now, I'm gonna speed up this area as it's just the same. Oh. You see the masking fluid has already been dried up. And now we're gonna wet the paper here. I'm taking up my Princeton three quarter wash brush to wet the paper. Wet the paper evenly, leaving the leaves dry. I'm going to speed up this area as it's just the same. We wet the paper evenly two, three times and let the water soak in the paper. Now, it's time to paint the background. I'm going to use my size eight brush, dipping it into greenish yellow color. The consistency of this paint wouldn't be too watery, not too thick. A medium consistency would go for this. Now, dropping in the color on the wet paper here and there, leaving some white space in between. Leaving the white space in between makes it look more brighter. Make sure the colour doesn't go inside the leaves. Here, I'm adding a little thicker consistency of paints to add some depth into the foliage. I'm leaving the portion of the trunk of the tree untouched at the moment. Now, I'm taking up some dark green shadow here and mixing it with the greenish yellow. Also added a little pins gray as well, and a little water, but make sure it's not too watery. It needs to be thick. I'm adding a little reddish brown here. You can also add sepia, a little water. Alright. I start using it in the upper right corner. Give some really lighter strokes over here. Allow the colours to bleed and mingle naturally on the wet paper, rather than creating a perfectly smooth wash. It's okay if it's looking rough at this moment, but it'll look beautiful after it gets dried up. Mixing a little more darker green over here. And I'm using it over here around the leaves to make it look stand out. Make sure this area is a little darker. Since the paper is wet at the moment, let the colors just flow naturally. A adding some darker green here to make it look bolder around the leaves. Just dropping in the colors here and there. Now, I'm placing my masking tape under the boat, so it has an angle downwards so that the water flows to that direction. Taking some darker green here. Time to add some depth here. No taking up some red brown in the green to add some depth. You can also use sepia instead of reddish brown. And So more shadows here. Using tar green with a mix of paints gray here and putting it here in the bottom. Let the colors bleed into one another, creating a blurry effect. Have you noticed that I'm not adding any more water into the paints, B our paper is already wet, and now we need some thicker pigments to add the depth in the painting into the foliage. Adding some more shadows here. Look how beautiful it has started to look. Now, I wash my brush very well and adding some splatters of clean water onto the wet paints. This technique pushes away the colors and it creates texture. 6. Autumn Leaves Part- II: Now, it's time to paint the ground. I've taken my red brown hematite for it and diluted it with water. I'm wetting the paper here a bit. It has dried up a little. I've taken my heritage quarter brush for blending the color here. I'm tilting the board a little to let the colors flow towards the up, and now picked up some thicker paint. Now, mixing some paints gray with this. Make sure it's not too watery. This is going to be a darker brown now, adding it here, leaving some empty spaces between. Washing my brush or taking up some paints gray and mixing with the dark green. I need to add some depth to the foliage, putting the color down here where it touches the ground. The pigment here is quite thick. I'm taking direct the colors without using any water. Okay, I think I have to add some more colors here, so adding a little greenish yellow over here. I felt like it was empty. Now, taking up my red brown here and starting to add some texture in the ground. This is quite a thicker consistency that I'm using. Also, occasionally, using the darker brown here and there. Now, taking up some fresh paint of golden yellow and adding a tiny amount of water, giving some splatters here. Now, time to paint the trunk, wetting this area with my wash brush, putting a thinner consistency of paint screy using my water heritage wash brush. It's right. If the brown from the ground gets mixed up, it will make it look more natural. Now, mixing some red brown in this a little thicker consistency and putting above here. Mixing the red brown into the paint screen and putting it here. Don't paint the trunk as one flat brown shape, use broken brush strokes and irregular patches to create the appearance of a rough tree bark, wiping off the excess water that has been spreaded on this paper now. Now, with my size eight brush, I start building up layers. I'm adding the colors in an irregular manner here and there. See? I'm putting the thick pigment here and there. This is just pains gray Because a real tree trunk isn't made of flat colors, rather it has cracks, textures and mid tones and lighted exposed area. So I'm taking up some more raw paint scray here without using any water. Just some random strokes here and there. So I'm washing off my brush and taking some clean water to add some splatters on the tree trunk. This will create texture. Okay, so I think we can add some more colors here. I'm adding some golden yellow over here in the foliage, some more yellow. Now, taking up some greenish yellow over here to give a leafy finish. I'm not adding any more water here. Just colours here and there for a leafy finish. I'm going to lift up some colors from the trunk to give an uneven bark finish. Always clean your brush after every lift up and wipe it off with a tissue. Wait for the paper to get dried up. Once it's completely dried up, we will remove the masking fluid. I'm just using my fingers to remove it. The time to paint the leaves. I'm taking up some clean water and wetting the area of the leaf. Make sure that the water doesn't go outside of the outline. I'm using my same size H round brush over here. Now, I'm taking up some lemon yellow, diluted with water. Make sure to make it a little thin in consistency. Giving the first layer of color on the leaf with a very light stroke. Now I'm washing off my brush and wiping it, taking up some fresh lemon yellow, and mixing it with golden yellow over here. Adding it from the edge of the leaf. Make sure your leaf is still wet. I'm not using water this time, hence the pigment is quite thick. Adding the deeper shade at every corner of the leaf. Taking up some naples yellow over here and adding it over here in the bottom of the leaf to add some more depth over here. And it will also create a shadowy effect. Mixing some more naples yellow, along with lemon yellow and putting the thick pigment over the leaf here to add some more shadows here and there. Now, lifting up some colors over here. This helps to catch the light. Now, time to add the veins of the leaf. I have taken my size zero round brush, and I'm using reddish brown here. You can also use marsh brown or burnt umber for this. We're making the vein just here at the center first. The vents doesn't have to be all uniform in shape. It can be irregular, some thin, some thick. That is totally fine. It will make it look more natural. I see my leaf looks a little flat here, so I'm going to add some more naples yellow for some more depth here. I'm just marging it with my finger. I love the natural texture that it's providing. Okay, now we go to our second leaf. I'm wetting the second leaf with clean water and we'll be using the same sequence of colors. First, we're taking the lemon yellow and dropping in the color here. Now, building up the layer with a mixture of golden yellow and lemon yellow over here. Hopping the color from the edge of the leaf. And blending it in Now, lifting up some color from the crunches of the leaf and wiping it off on my tissue. Always use a damp brush for it. Now, adding some golden yellow from the edge again. This time, are thicker paint here. I'm building up the shadow over here. I've also mixed a little naples yellow here for adding some depth and the edges. Time to paint the veins using my size zero round brush over here and applying red brown just like the previous leaf. 7. Autumn Leaves Part- III: Now the third leaf wet the leaf. This is going to be an orange leaf, wetting the area of the leaf first. I'm adding golden yellow for the first layer. This is in a thinner consistency of pigment and adding some orange at the edges. Keep some portions lighter to suggest light passing through the leaves. The darker pigment around the veins and towards certain edges gives the leaves their characteristic autumn depth. Now, I start adding some medium consistency of orange in my wet leaf from the edges and start blending it in. Gradually building up layers over here and creating depth in the flat leaf. Oh Now, I'm taking some fresh paint from my permanent red tube. You can also use scarlet red over here and mix it with orange. Adding a little bit of water here. Adding a little more orange in the red. Okay, time to give the shadows here. From the outer corner of the leaves, I start pouring the color. D. I'm not covering the entire leaf so that the light color doesn't go off. This prevents the leaves from becoming overly flat and also gives them a slightly damaged autumn leaf appearance. I'm lifting up some colors from here so that we can show the highlights of the leaf. Now, time to add the veins here. Just similar technique. Oh Time to paint the last leaf. This is also going to be darker. So wetting the paper first around the leaf. Now, adding the golden yellow first. Now building it up with orange. See, from the outer corner, I start adding the oranges towards inside. I'm not adding water here because we need the thicker paint over here. I'm not adding water over here because we need the thicker paint here. Blending in the color. Okay. Now, we use the permanent red mix with orange to add the shadows and depth here and there. I'm using a little red brown over here, some spots here and there in the leaf to make it look more weathered in appearance. Now, time to add the veins, just like the other leaves. But this time I'm using a little pins gray mixed with red brown for the veins to make it look a bit darker. We also painted the branches with the seam, color red brown and a little paints gray mix. That's it. Now, I want to add some paint gray, some raw paints gray over the tree trunk to make it look uneven. Just smudging in the raw colours without using any water over here. Mixing a bit brown here with the paints gray. Taking a little water to blend in. That's it. Not too much. I see the water splatter has already created texture over the trunk. See, See, it looks so nice now. Okay. So we'll be adding the details in the next video then. 8. Autumn Leaves Part-IV: Now, time to add some details. I'll be taking some white guash paint using my size age round brush. Adding some strokes here on the tree trunk and smudging the color using just my fingers. It gives some natural textures. Just some raw white squash over the trunk of the tree. Okay, now adding some teeny tiny details here on the leaves with the white guash paint. Do not use any water here. Just some white, small marks scattered across the leaves. These highlights make the leaves look more natural and slightly weathered, rather than perfectly flat. These highlights make the leaves look more natural and slightly weathered, rather than perfectly flat. Oh Once all the details are finished, I add a little simple raindrops using white wash. You don't have to paint complicated realistic droplets over here. These are just normal small raindrop shapes. Very simple. Nothing complicated here. I try to keep it simple. See, it looks so pretty. And we're done here. Time to remove the masking tape. Now that my painting is entirely dry, we'll peel off the tape. Always pull the tape that faces away from the paper. See, I'm pulling it away from the paper. Yes, just like that. Look how gorgeous it looks now. Okay. See you in the next class. 9. Project-2 Pumpkin Patch Part-I: Let's start our second painting. My paper is already tipped from all four sides. I have already pre sketched it, and also going to add the sketch in the resource section. Here I'm going to paint the pumpkins first there the focal point here. I'm going to wet the large pumpkin first using my three quarter brush. Taking up clean water to wet the pumpkin. Make sure it stays within the outline. Time for the first layer, I'm mixing a little golden yellow or permanent yellow deep, and a little naples yellow. Add some water, make it a thinner consistency. Now, adding a light wash here, leaving some white untouched. This creates a warm, luminous base and allows the lighter areas of the pumpkin to glow through the subsequent layers. I'm leaving the upper part of the pumpkin untouched to create an illusion of light coming from above. Now, taking up some thicker permanent yellow deep and adding a little water and start adding the second layer. Make sure the paper is still wet, leaving some lighter shade beneath to catch the glue. I see some watery paint has been scattered here. No worries. Wiping it off with a tissue. Now, I gradually build up the layers with orange, concentrating it in the curve section of the pumpkin. I'm not covering the entire base evenly because I want some of the golden yellow to remain visible from underneath. Washing my brush and adding a very thinner consistency of naples yellow here in the avove and lifting up some colors from here with a clean brush to bring out the highlights. M. Now, time for some deeper shadows. I'm going to use red brown hematite. You can use bond umber as well. The darker and warmer colors are useful in the groups of the pumpkin, as it gives the pumpkin a rounder and a fuller shape. So here I am adding the shadows to make it look a bit fuller. I have mixed a little orange with the red brown hematite and putting it here to add some depth. Removing the excess color from the top using a damp brush. Now, I'm making some curve lines on the upper region of the pumpkin to make the folds visible. The color here is a thin coat of red brown mixed with a bit of orange, building up some shadows here with the same color. And I chose a reddish brown rather than a neutral brown because I want the shadows to remain warm. So red brown hematite is a granulating shade. It has early texture rather than producing a perfectly smooth dark wash. So it helps in building up the texture on the pumpkin. I follow the natural curved section of the pumpkin rather than just applying the color randomly. The orange becomes stronger towards the sides and within some of the segments while the golden yellow remains visible in the lighter areas. This variation is important. So the center of each section catches more light while the areas between the sections are naturally darker. Putting some more thick pigment of orange over here to give it some texture. Now, here I have added a little van **** brown in the red brown hematite and putting it right here, this gives the pumpkin a more defined shape. I'm adding some clean water splatter over here on the pumpkin to give it a natural texture. Make sure that the paper was still wet or else it wouldn't push away the color. Adding some more details over here with Van ****'s brown. Just some brown here and there for adding some more texture. So it's done over here. We're going to paint the stem of the pumpkin in the next video. 10. Pumpkin Patch Part-II: Now my pumpkin is dry, and we can see how the water splatter has created texture here. Time to paint the stem here. Now, wetting it with clean water with my round brush. I will be applying a very light wash of naples yellow here and now blending it with water. Now, I'm taking up some Van **** brown and start building up the layer. This is of a medium consistency, not too watery. Adding thin line from the edge of the stem and blending in with the tip of my brush. I'm painting the stem with carved directional strokes, which gives the stem a naturally rigged appearance. I'm washing off my brush, and with the damp brush, I'm just blending the color here. I'm mixing some Naples yellow with Van ***** brown and adding it in the end of the stem. With the tip of my brush, I'm drawing curve lines here with Van ***** brown. Now, adding some shadow here at the end of the stem with the same ground. But do not cover the entire portion as we do want the lighter shade underneath. So we let some of the naples yellow portion untouched. I'm just using raw van ***** brown here with a dry brush technique. My paper is completely dry now, and I'm just smudging the Vandyk brown here. But we are leaving some of the lighter portion untouched to capture the highlight. So our large pumpkin is done. Now time to paint the smaller one. We will wet the small pumpkin first. I'm using my size six round brush. First, I'm giving a very light wash of naples yellow. This is going to be a watery paint. Leaving some empty space in between to catch the highlight. For the smaller pumpkin, I wanted to create a cooler green contrast. Adding some more Naples over here. Just following the natural curve. Now, for the second layer, we are going to be using a thicker consistency of greenish yellow. For the smaller pumpkin, I wanted to create a cooler green contrast here against a warm orange pumpkin. This helps break down the warm colour palette and also makes a large pumpkin stand out as the main focal point. I start by adding it with simple strokes, leaving some lighter shades untouched. Once our base layer is established, I start adding green shadows in the green yellow and mix it well. This is quite a thicker consistency. Dropping in the color by the tip of my size six round brush, leaving some gap so that the light green remains visible. I follow the natural curve here rather than painting straight vertical lines. The darker green is used in the grooves between the lobes of the pumpkin, particularly because those areas naturally receive less light. Giving it a fuller shape by blending the color with a damp oh. Adding more green shadows over here for some texture. I'm sprinkling some water on the pumpkin. It has been dried up a bit. Adding the same dark green here for some depth. This gives the pumpkin a round form. Towards the lower part, I'm adding thick pigment of green shadows to add depth. Now, washing off my brush with the damp brush, I blend the color. Now washing off my brush, and with the damp brush, I'm blending the seam color. I'm lifting up some excess colors from you. I'm adding a little orange over here on the pumpkin, one or two areas for some textures. This paint is quite thick as I didn't add any water. Now for the stem, I just use the dry van ***** brown here. It's a tiny stem. Now, we are going to be painting the two dry leaves. They are very simple. First, we will wet the leaves with the same size six round brush. Now I'm going to apply a thin layer of naples yellow at first. Then from the edge, I start adding very thinner consistency of Van ****'s Brown for some shadows. I'm taking some more van ***** brown here and adding some shadows on the leaves. In the next video, we will be painting our foreground. 11. Pumpkin Patch Part-III: Time to paint the base, wetting the area first with clean water. I wanted to create a soft earthy surface. I introduced light wash of naples yellow across the area with my size H round brush. The consistency of the paint is very thin. Now, I mix some red brown hematite with the naples yellow and start building up shadows, but the paper is still wet. Taking some red brown and mixing a little water and building up shadows here. I allow these colors to spread and mingle naturally. Now, we need to add shadows underneath the pumpkins, especially in the lower edges. So I'm mixing a little van **** brown with my red brown. The pigment here is not too watery. Don't make the shadow a very hard outline. Instead, soften it outward so that it gradually disappears into the surrounding surface. Taking some raw van **** brown to deepen the shadow. Because that's where the light is most locked. As the shadow moves away, it becomes lighter. I add some shadow under the fallen leaves with the same color as well. Now, with some clean water, I add some splatters so that it gives some natural textures. Now, with a damp brush, I'm lifting up some colors to bring out some highlights. Adding the foreground edge now. At the bottom, I deepen the color with Vandyks brown. Make sure the paper is still wet and the paint is not too watery. Now, I'll mix some permanent brown and van ***** brown together with a slight amount of water. So the combination of red brown hematite and permanent brown are especially useful for this because it creates an earthly, slightly grainy appearance. Adding the dark fan ***** brown with a mix of permanent brown at the very bottom gives the painting a sense of structure. And it also creates a nice contrast with the lighter surface where the pumpkins are sitting. I'm adding some clean water splatter over here to get some texture. Adding some details here on the leaves, adding some details here on the leaves. I've mixed some orange with naples yellow here and a very little amount of water. Now, adding some andykes brown here to show the folds of the leaf. The paint consistency is thick here. Adding a mix of andykes brown with naples yellow here at the edge of the leaf and adding some small details. I'm adding a little more shadow here with a thinner consistency of Andyk'prown. And now we let it to dry. Time to paint the background. We need to wet the background first with clean water. I'm using my wash brush to wet the background. I do this two, three times. I'm speeding up this part of bit. I'm taking naples yellow, mixed some water, and making it thin, but not too watery. Now, with my size H round brush, I start dropping the color here and there. Leaving some white gaps between. Oh. Niples yellow is particularly important here because it gives the background a warm, muted golden atmosphere. Blending the colors here somewhere deep, somewhere light. Adding a little water into the paint. Now, I mix some orange with maples halo and a little water and start dropping in the colors. The springs in those warm golden patches that suggest sunlit autumn foliage in the distance. But keep some areas lighter. Make sure your paper is still wet. Now, washing my brush and taking some van dice brown, diluted some water in it. And I start dropping it here and there. These are subtle shadows between the trees. Now, taking some thicker paint or Van **** brown and we need to paint the tree trunk and branches. I apply it with loose, slightly irregular strokes, allowing some areas to remain lighter and softer. Oh Adding some more orange here. I'm taking some red brown hematite, diluted with water and adding some patches here. Oh Now, time to add some branches. But the tip of my size eight brush. I'm using van ***** brown. I start by adding the branches. Some branches remains visible while some fade into the background. I'm adding some leafy texture here with thick Vandykes brown. Adding some more branches here? Now, washing my brush. I need to sprinkle some water here on the background. It seemed to have dried up. Adding some more naples yellow here. Be careful. The colour shouldn't sip onto the pumpkin. Adding some van **** brown here, diluted with water. All right. In the next video, we will be adding the rest of the details. I 12. Pumpkin Patch Part-IV: Okay. Time to add some more details here. I'm adding some orange platters here. Some more platters over here, but this time, it's Van **** brown, diluted with water. Okay, I'm adding some more shadows with Van **** brown, diluted with water. Add a little brown and naples yellow mix here. And now smoging it. Adding a little bit of orange over here. Okay. Let's add some more bronches. I'm adding bronches here with Van **** brown. This time, I didn't take much water. It's a very thick paint. Adding a little detail over here. Just some golden yellow and orange mixed, diluted with water. It's a very loose kind of leaf over here. My paper is almost dry. Adding some more red brown hematite and Van ****'s brown mix over here. Just some details a little bit. You can also skip this part if you do not want to add more details. Some more branches. I'm going to add some loose leaves here and there with the orange. Don't dilute too much water in it. Now, taking some thick pigment of Van **** prawn, and I'm going to add some details on the stem of the large pumpkin. Adding just a little more detail over here in this pumpkin and a little on the leaves with Vandykes brown. I'm taking some naples yellow, and Vandykes brown and mixing with water and adding a very tiny leaf here. Just one tiny leaf. Adding some teeny tiny idles here on the pumpkin. A little watery paint on the pumpkin to give some shadows over here. Don't do it too much or else it would ruin the white highlights. I'm using some fresh paint from the tube. This is Van ****'s Brown. And it's done here. Time to remove the tape. Always remember to remove the tape away from the paper. If you have enjoyed the process, do give it a try. Thank you so much for joining me. Bye bye. 13. Thank You For Joining!: And its aa. Congratulations on finishing this class. I'm so happy to see you joining all in my journey. I hope you enjoyed bringing these two autumn scenes to life. Throughout this class, we explore how to create that beautiful feeling of autumn from building warm glowing colors and creating depth with soft foliage to adding texture to tree, trunks, pumpkins, and autumn leaves. I hope these paintings have also encouraged you to experiment with your own autumn color palettes and compositions. You can take these techniques and use them to create an entirely different autumn scene. Would love to see your finished paintings. If you enjoyed this class, please don't forget to live a review. It helps our students to find my class and also helps me as a teacher. Until then, happy paintings, see you in the next class. Bye bye.