Transform Inspiration into Illustration with Imagination: 4 Watercolor Projects

1. Skillshare Intro: [MUSIC] In this world of abundance, there's no lack of inspiration. But do you still find yourself overwhelmed when it's actually the time to create? Today, let's get rid of that sense of overwhelm. Hi, my name is Garima Srivastava. I'm an artist and illustrator based in the Netherlands. After a busy corporate life in my late 20s, I suddenly found myself lonely and homesick in a foreign land and that's when I turned to my creativity for comfort. Over the years, navigating through life and art mediums, I've realized one thing that is to enjoy the creative process entirely without too many must do's in there. I love experimenting the supplies, subjects, textures, and paint every single day out of my home studio, where I create art for personal projects, but also for fashion, home decor, and stationery products. I love sharing my art process through my social media accounts and teach here on Skillshare. [MUSIC] I often get asked, how do I come up with the ideas for my paintings? While the answer that inspiration is all around you is theoretically correct, the truth is, for a beginner, it's hard to understand. While today, resources for inspiration are easy to find, it can still be a bit tricky to interpret and express that inspiration into your art, be it beautiful photographs on social media or print media, the world around you, or a still life right in front of you. The question remains, what do you paint? Especially when painting exactly as your reference is not what you want. To make this easier, I've created this class where I share with you my entire process of creating illustrations, which are based on snippets of inspiration and are built on imagination. [MUSIC] This class can be divided into two parts. The first one containing primary lessons, where you will learn my process of interpreting inspiration, using imagination to brainstorm ideas for conceptual sketches for your illustration, how to find color palettes for your projects, and plenty of tools and resources to help you with that. The second part of the class contains four individual projects with fruits and flowers as a common theme, where I take you from the very first step of the thought process to the very last painted detail. While the might look lengthy at first, please remember that you have a choice of four projects and you can pick any one of them. They all use same skill level and had been arranged by the time duration. For these four projects, you will learn how to take a rough idea and turn it into a detailed drawing with series of sketches. You will learn how to choose and work with a color palette and how I navigate to a watercolor painting while working in stages. By the end of this class, you'll feel more confident in adding your own imagination to your illustration and painting them in eye-catching colors. This class is best suited for those who have painted with watercolors before. But I do welcome all skill levels to this class. For a beginner the tips and the resources I've shared in this class will come really handy when you're starting with your watercolor illustration journey. If you are an experienced artist, I do hope that you enjoy watching my creative process just the way I like watching other artists. If you're ready to add more of you to your illustration and enjoy painting with watercolors, do join me in this class. [MUSIC] 2. About the Class & Project Overview: Hello, welcome to the class. Before we get started, let's have a quick look at how the class is framed. The first part of the class contains primer lessons where I talk about art supplies, watercolor techniques, inspiration interpretation, we will do exercises to brainstorm conceptual sketches for our illustrations, along with discussion about color palettes, and tools and resources to help you with that. [MUSIC] Following this are for individual projects arranged based on the time duration which you can follow at your own pace. While you can directly dive into the projects, but I recommend watching these primer videos first, because they will help you better understand how to incorporate your inspiration into your work, and use imagination to add something unique to your work. Each project contains five to seven parts with sketching, color mixing, and the entire painting process included. Your project for this class is to use the tips, tools, and exercises from this class and create an illustration. You can also follow along and paint any one of the four projects I have shared in this class. In the next lesson, let's look at the art supplies. 3. Supplies: Let's talk about the art supplies I'm using in this class. Let's first start with paper. So for all my rough sketches and concept developing, I use the simple printer paper. You can use it freely. Don't have to worry about wasting the paper. You can put the wastepaper into the recycle bin. After my sketch has been finalized, I like to use a tracing paper or vellum sheet to transfer my sketch on watercolor paper. You can also use your lightbox. Now, when it comes to watercolor paper, you have plenty of options. You can choose between hot press, cold press, or rough and textured paper. Cold press paper also comes in smooth and textured variants. For this class, I'll be using Fabriano's hot press watercolor paper, 300 GSM in weight, an 8 by 10 inch in size. Hot press paper, as the name suggests, goes through a hot roller which results into a really smooth surface to paint. It doesn't absorb water that easily, so you have plenty of time to modify your work, and it's also really smooth for any fine details. If you do not have easy access to hot press watercolor paper, you can use a cold press watercolor paper which is smooth. Canson XL is a good example of that. It is a cold press paper, so it's not entirely smooth. It has a bit of texture, but it is relatively smooth when compared to other textured cold press papers. Here's a quick comparison of how a wash looks on all of these different papers. You can decide which one you prefer. Now let's look at the colors. For watercolors, I'll be using my tube colors today. But you can also use little band sets like this. They're easy to carry and you can mix the colors right here. I've squeezed out these colors onto my color balance like this, and I'll be creating my color mixes in this tree. Let's look at the colors I've picked out for this class. For yellows, I've got Permanent Yellow Deep. Arlen, Quinacridone Gold. For pinks, I have Permanent Rose, Quinacridone Magenta. For reds, I have Alizarin crimson and Perylene Maroon. I have dioxazine violet here, sap green. For the blues, I have serene blue, cobalt blue, Taylor blue, indigo. I have a little bit of burnt umber here and although you do not need to have a black in your palette, I do find it handy to have it so that I can quickly make some of my favorite shades of green. I've got a little bit of lamp black here as well. Here's the entire list of colors and their brands. Now let's talk about the brushes. For color mixing, I'm using an old number 6 round brush. It's a damaged brush. I'll simply mix colors on my mixing tray like this. Now let's look at the brushes I'll be using for painting. So I'll be using for bigger areas to create a uniform vash, a number 8 flat synthetic brush. Let's look at the marks it makes. You can also tilt the brush to create finer lines. I will also be using number 4 round brushes. These are also synthetic brushes. You can also make fine lines with their tip. If you press the brush down, it makes a bit broader marks. For detail work, I've got a triple zero brush. It's also a synthetic brush. With this, you can make really fine lines. So with this brush, you can add fine details. Apart from my watercolors, I'll also be using a bleed-proof white. You can also use whitewash for little fine details. For sketching on my printer paper and for transferring the final sketch on my watercolor paper, I prefer to be pencil. I like its level of softness and darkness. You can make really dark marks. But if you want to make lighter marks, don't put pressure on the pencil. You can very easily erase these marks from your final sketch. For my rough sketches to be visible on camera today, I'll be using a watercolor black pencil. I will only be using this pencil on my printer paper for rough sketches, but not on my watercolor paper because it cannot be erased. For eraser. I like to use needing gum eraser like this, which I can gently press on my pencil lines and lift any excess graphite. This leaves me faint guidelines, but if you want to remove them completely, you can also use a dust-free eraser like this. I like to minimize my use of eraser on the watercolor paper because every time you vigorously erase something from the paper, it does damage the surface a little bit. Apart from these art supplies, you will also need a sharpener to sharpen your pencils, a spritz bottle to activate your colors, a ruler, a compass, some kitchen paper roll to soak up excess moisture from your brush, and let's not forget a jar of clear water to rinse your brushes. Here's the entire list of art supplies I've used in this class. You can find this list under the resources and download section of this class. 4. Watercolor Techniques : Now let's look at some of the watercolor basic concepts we'll be using in this class. For that let's make some color, I'm just picking some color from my palate, adding it to my mixing tray, always keep a kitchen paper towel with you to soak up excess moisture from your brush, and a piece of watercolor paper to test your color. Here's my color, if I want to make this color a bit lighter, I'll simply be adding more water, if I want to now darken up this mix, I'll add more color, either in a separate mix with little less water, or to this mix itself, a bit more color. Always test your color before you apply them on your final illustration. When it comes to application of watercolor, we'll mostly be using wet on dry technique, what that means is, I'll be applying wet color on a dry paper. It can be a first wash like this, or it can be another wash on top of a dried layer of color. This application of layer on top of each other is also called glazing. You are adding transparent layers of colors on top of each other. It can be used to deepen up the color, add some value to your color, or shift the color a little bit. I've got a little block of yellow here, I'll add a transparent wash, so quite a bit of water in it, of red on top of this yellow, so here you can see how it changes the color of my little block there. It was originally yellow here, and now with a little watery wash of red, I was able to create an orange here. We'll be using the wet-on-wet technique only at a few places in this class, what that means is you have a initial wet wash, say a flower shape here, and while this wash is still wet, I'll add another color right in here, and depending on the moisture and how the two pigments interact, these two colors will bleed and blend together. We'll also be adding lots of details, so on top of a dried layer of color, I'll be adding fine lines, so you can see how these lines are quite harsh, I have not tried to soften them up, but at a few places you will need to soften up the new spot of color that you'll add, so I'll add this color here, and now if I leave it to dry like this, it will create a hard edge, but now I'm going to rinse my brush better dry, and then quickly run it along the edge here, so this will create a much softer look here, it will not dry with hard edges. You can soften it further, rinse your brush, better dry. These were some of the basic watercolor techniques we'll be using in this class. 5. Inspiration: In today's world, our senses are constantly bombarded by sources of inspiration, whether it's the world around you or the beautifully curated feeds on social media. Let's not forget, print media continues to inspire us, so there's no lack when it comes to sources of inspiration. But let's be honest, do you find yourself taking lots of photographs, saving posts on Instagram and Pinterest or folding pages in magazines for future inspiration and still find yourself overwhelmed when it's actually time to create? In this lesson, let's take that sense of overwhelm out of our sources of inspiration. Before you start a project, you often have a thought or a theme in mind. It could be your own or a client might have provided it to you. You might have already researched some photographs or a client might have provided you with something called a mood board. For those of you who are new to the term mood board, let me explain a bit about it. It's a design term used to refer to either a physical or a digital board which contains sources of inspiration that define the theme of the design collection. In a mood board, you will find lots of photographs which might refer to a certain type of design. You will find some samples of fabric or photographs of it where you can see the textures. In some cases, you might find a font. Most of the time you will find a color palette already mentioned. All of these elements will define this theme that will bind your collection of illustration or designs. You're never meant to copy a design from a mood board or a reference photograph because of copyright reasons. But what are you supposed to do then? At this point, my suggestion is try to spend a little bit of time with the mood board or a single photograph. Start with a single photograph and ask yourself, what is it about this photograph that you are liking or noticing? Write down the answers that come up. Is the color palette that's appealing to you? Write a mental or a physical note about that. It could be a warm color palette. You can even mention the colors that are part of it. Are you noticing certain types of textures? [NOISE] What kind of design elements are you seeing? Are they geometric or floral? Write that down. [NOISE] What kind of floral designs are they? Are they tiny ditzy florals or big inky flowers? Write that down. By the end of this exercise, you would have picked up certain hints about your reference photographs that will help you define or complement the theme for your project. Now, let's do the same exercise with the photographs that have inspired me to create this class. Here's a beautiful photograph. What did I notice about it? I loved how that Queen Anne's lace was hanging over the fruits here. Lemon and lime in this case. You cannot help but notice the beautiful chinoiserie. You can very easily write those things down. Fruit and flowers. Do write down the little design elements that you see. You're never meant to copy them but you can write the term. [NOISE] What else do I notice about this photograph? I love how these grapes are hanging from the cup and how that lemon wedge is sitting right behind them. You can write those things down as well. [NOISE] Hanging grapes, lemon wedge. Let's look at some more photographs. What do I notice here? I notice a bowl full of grapes stacked up on these beautiful plates on something similar here but with flowers. You can make a note about it. Let's see some more. Here's a gorgeous print, and you can very easily get overwhelmed by so many elements here when you're searching for inspiration but try to concentrate. When I try to concentrate here, my attention goes to this little vase here with wild flowers. Now, let's have a look at this photograph and let's see what do you notice about it? If you had to make a mental note about it, what would you write? I would write that it's a hanging basket, rusty with a vintage floral design and some hydrangeas in it. Let's write those down. Vase with wildflowers, basket with vintage floral. Let's see another photograph. Here's another beautiful but overwhelmingly beautiful photograph. You can get lost here if you want to find an inspiration. But try to concentrate. What do you like about it? Again, based on certain things that you often like, your attention will go to that thing. For me, it's the vases with flowers in it, so my attention goes directly here. I will write down a rusty old vase with a beautiful collection of flowers in it. You can even make a mental note of what flowers are there. What do I like about this photograph? Apart from the gorgeous flower in the little teapot, I like how they have been arranged. How certain things are ahead of the teapot, and this other teapot is actually slightly behind it. You can make a mental note about a certain arrangement of elements. Here's the last photograph. Apart from it being utterly gorgeous, what I like about it is these beautiful flowers covering most of the teapot and this butterfly sitting inside a cup. You can make a mental note. Something about a tea set. You don't need to write too many details. Just write little things that you're picking out of these sources of inspiration. Tea sets, creamers with flowers, teapots, and overlapping composition. When I'm creating the illustration, I would know that instead of just placing things next to each other leaving gaps, I should create a composition where some things are ahead of something and a few are behind. Now that we have looked at some photographs and made some notes about them, it's time to put away my source of inspiration, and in the next lesson, we are going to let our imagination take the lead in this creative process. 6. Brainstorming Concepts: In the last lesson, we looked at some beautiful photographs that have inspired me to pick a theme for this class, and we wrote a few notes about them. For example, the beautiful chinoiserie on these ceramics here, so we wrote that down. At this point, we are going to close and put away our source of inspiration, and we are left with these few words that we're going to put aside and use them as a small reference later. But this is now the time to let our imagination take the lead and create a few conceptual sketches. For that, I will give you a tool. In the center, write your theme fruits and flowers. I will divide this into three sections. Here, you will write fruits, flowers. For fruits and flowers, you can add the ones you like to paint or you pick them out from your reference images. For flowers, I often like to paint quite generic flower shapes. But you can also write your favorite flowers, daisy, sunflower, poppy. It can go on as many flowers you want to add here. For fruits, the same exercise. Just add the fruits you can think of like to paint or you've seen them in the reference images. For example, grapes, you can add blueberries, apples, pear, and let's not forget the citrus fruit as we had seen a wage of lemon in one of our reference image. We can write citrus. Now in this section, try to write few things that you often like to draw. It is important to draw your favorite objects multiple times with different themes in them because then it becomes a part of your style and your work becomes quite cohesive. I often like to draw teapots, kitchen items. I love painting houses. I also love painting little cute animals, butterflies, bugs. Now you have this section with flowers, fruits, and some of your favorite objects that you like to paint. What you have to do is pick one item from each of these sections and create something together. Say, for example, I pick a daisy, from here, I pick blueberries, and from here I pick a teapot. I would like to create an illustration with the daisy, blueberries, and a teapot. But the question comes, how do I create that illustration? How do I make it unique? For that, it's important to know how two things interact with each other. We have an item A, which can be a flower or a fruit, and we have another item B. Let's make it another shape. B can be any of these objects. There are a few ways in which item A will interact with item B. Item A can be sitting on top of item B. Item A can be sitting ahead of item B. It can be hiding behind item B. It can be as a print on item B. It can also be inside item B. Item B can also be in the shape of item A. For example, a pair, empty pot. A teapot can also be in the shape of a pair. These are some of the ways in which two items interact with each other, and you can create some unique ideas, having these as a compositional reference. Before we get started with conceptual sketches, let's have a quick look at some of the ways in which you can present your illustrations. One of the way is using a list or a grid. This is a uniform grid where I have created few different patterns on similar sized strawberries, and I've placed them in a grid form. You can create a list which is not in a great form, so items are also different sizes. Some are painted quite large and some are smaller, and they have been placed a bit more randomly. You can create a decorative design like this, whether in a placement designed form or as a read or a semi-read. Here, I've tried to make sure that instead of placing items separately, I've put a few items behind the others and a few ahead. You can also create something from still life, whether it's imaginative or something from reference. In the next lesson, let's create a few rough conceptual sketches. 7. Thumbnail Sketches: Now let's use this tool to create some conceptual sketches. Let's put it here. We're going to pick one item from here, one from here, and one from here, and create a few sketches. For the first one, I would like to start with kitchen items. It can be cups, plates, mugs. Let's pick a bowl of fruit which can be any fruit. At this point, I will not pay too much attention what fruit I'm picking. Just some random fruit in a bowl. There can be a floral print here on the bowl. That's one sketch for you. We can start with a coffee mug. It can have a fruity and floral print on it, so say a strawberry with some flowers. You can even write some lettering. Now let's see what else can we create. I love painting coffee mugs and tea cups, so let's explore a few more designs. Something with flowers and then another one behind it with a citrus fruit wedge on the ring. We can create something with some patterns on it. Say for example, if you had written geometric pattern here, you would add some geometric pattern on the cup here, some flowers in here, and you could place a fruit here. I'm just creating quite a few quick sketches, keeping the three objects in mind. Some kitchen item, flower, and fruit. At this point, don't go into detail what flower, what fruit, just create some rough sketches. For this one, we can add some fruits here. Remember if we had added these hanging grapes, so we can add some hanging fruit here. We had seen in that same one a lemon or a lime wedge, so you can add something behind here. You can add some flowers here or around it. Some design on a cup. At this point, I will not go too much into detail what design, what shape of a cup. For me, this much is enough. You can keep on adding as many items you like, but for now, let's move on and create some more sketches. This time, let's pick a teapot as our object. I love painting all different teapots, so we've got a teapot shape. I love seeing flowers inside a teapot, so that's always one of my go-to designs. Some flowers in here. You can add some berries. Make this a bit more seasonal. Some pattern on the teapot. You can create a still life with the teapot, say pomegranate here, and some flowers placed right here. You can also create some reed and place flowers or any fruits in here. You can also add some code or some hand lettering in this design. Now, let's move on and create a few sketches with houses. We can right away start with a small house with some fruit sitting right behind it. Say an orange and some flowers around it. One thing that I always like to play around in my sketches and in my illustration is varying the size. For example, a thing that is in nature small, I like to enlarge it, and something that is large in size for example big trees, you can start making them tiny, shrink them a little bit. Flowers which are usually small, you can make them really big as if they are trees. Let's get a bit more creative and start with a watermelon slice here. We can put a little house on top, some trees. Try to create interest in your illustrations. If you'll just simply paint a house of flower and fruit next to it, it won't look interesting so try to bring a bit more interest and uniqueness in your rough sketches, and then later we'll refine them. Another way can be a house with some floral print and some fruit sitting right outside. A house can also be in the shape of a fruit. For example, let's make a pair and let's turn it into a house so a door and a few windows. Then we can surround it by flowers. Here you can keep on adding more designs but for now, this many are enough. Let's move on and create a few decorative designs with butterflies, bugs, or any kind of animals. For decorative designs, I will give you a small tip. Especially if you're creating a placement design is try to put your items in the shape of an S that are this way around or the mirror image of it. It gives a nice flow to your illustration and it becomes handy when you're placing it into some pattern. We can start with some fruit. Say pomegranate here, we can add some leaves. We can add a butterfly or a moth. You can also start with a strawberry twig. Add some flowers. You can add any kind of insect or a little bug here. I'll add a little moth. You can also create some great, so say a bird and some reed or a semi-reed around it with some fruits, flowers. You can carry on doing this exercise and create more sketches but for now, this many are enough. Now, out of all of these stuff sketches, let's pick a few based on which we are going to create the projects for this class. Later in the individual projects sections, we are going to refine these sketches. Out of these kitchen items sketches, I really like the idea of this one. A cup with fruits, some hanging fruits here, a lemonade because it uses some of the hints that we wrote down from my reference images. Among the teapots, I like the idea of the street. We can do quite a bit with the reed. We'll paint a teapot with some reed. Among the houses, it's quite a tough decision but let's be a bit more creative and unique, and pick this pair as our house. For decorative designs, let's pick the first one. We haven't finalized yet what fruit will be in there. We might add some other fruits. But for now, let's pick this simple decorative design. At this point, these sketches look very rough, but I want to show you that it takes quite a few iteration of sketches before you find the one that you will paint. Here I have some rough sketches that I did for an illustration. My main idea was to start with the blackboard that was a protected to a household. I've made it bigger than the house right from the start. The house is on an island with some flowers around it. From here onward, I move to a bit more detailed sketch. The bird is still bigger and behind the house, but I moved the flowers into was here. I've added trees, some flowers behind the bird as well. From this sketch, I modified it further so you can see the size of things is changing a little bit. Flowers have become much bigger. Some more change. You can see how I've added a pathway in here. I've changed the shape of the trees in here. Some flower shapes are getting a bit more refined. This led me to the final sketch. This is the one that I traced. Here is that final illustration. You can see how much difference is there from an initial sketch to the final illustration, but the concept is the same. In this lesson, we created a tool with which we were able to create few reference sketches using little hints from the words we wrote from our reference images. Before we move on to the projects, let's talk a bit about color palettes. 8. Color Palette Methods: When you've been painting for a while, you have some colors that you gravitate towards. It can be certain kinds of blues or greens or some other colors. Although you do change them from time to time, over time, people start to associate those colors with your work and it becomes a part of your style. But when you're a beginner, it can be a bit difficult to decide which colors to use. When you've been painting from reference, you already had some colors that you can directly pick. But what if you've added certain elements that were not there in your reference photograph, for example, a bus or a ribbon. It can be a bit difficult to decide what colors to use for these elements. For this, I have a few tips and a few resources to help you. Before we get started, let's have a quick look at the color wheel. You can get a simple color wheel like this from any art store. On the color wheel, you have your primary colors, red, blue, and yellow. When you combine two primary colors, you'll get a secondary color. Red and blue combined is violet. Red and yellow combined is orange. Blue and yellow combined is green. Violet, green, and orange are secondary colors. When you combine a secondary color, say violet, with a primary color, say red, you get a tertiary color, which is red-violet here. Red violet is one of the tertiary colors. You can rotate the wheel to see more tertiary colors. If you combine violet and blue, you will get another tertiary color, which is blue-violet. On the outermost part of the color wheel are your key colors. When you add white to the key color, you get tint. When you add gray, you get a different tone of that color. When you add a bit of black to the key color, you get different shades of that color. Let me explain a little bit about neutral colors. These are really muted colors that seem to lack color intensity and saturation in them and they don't really appear on the color wheel. They can be pure neutrals, which are black, brown, gray, and white, and they can also be near-neutral colors, which are created by mixing these pure neutral colors with a primary color that gives them a slight underlying hue. Some of the examples are ivory, porcelain, khaki, tan, or taupe. Now there are different ways in which you can pick harmonious colors through the color wheel. The first one is a monochromatic color scheme. What that means is you pick a key color and then pick a different tint, tone, and shade of that color. You can pick these three colors or even different colors from a gradient of red, different kinds of red, pinks would be in there. The second method is an analogous color scheme. What that means is you pick colors that are next to each other on the color wheel. You can pick from two all the way up to five colors that are next to each other. Say blue-green, green, and yellow-green, these three will look nice together. The next method is to use a complementary color scheme. What that means is you pick two colors that are opposite to each other on the color wheel, say red-violet and yellow-green. You can use this arrow to find different combinations based on complementary color scheme. Now let's look at split complementary. What that means is to start with one color, find its complementary color, and then two colors adjacent to the complementary. We started with red, complementary is green, but the two adjacent colors are blue-green and yellow-green. Red, blue-green, and yellow-green are part of a split complementary color scheme. You can rotate the wheel and pick another combination based on this. The next one is a triadic color scheme. What that means is it picks three colors that are at an equal distance from each other. It's an equilateral triangle here and it gives you three colors which are at equal distance from each other. Red-violet, blue-green, and yellow-orange will form a triadic color scheme. A tetrad color scheme uses two sets of complementary colors. Blue-violet, yellow-orange, is one set, the other side is blue-green and red-orange. These four colors together are part of a tetrad color scheme. Again, you can rotate the color wheel and pick another combination. When you turn this color wheel around, you are able to see that the colors have been divided into warm colors and then the other half is the cool colors. From violet, all the way to yellow-green are your cool colors and the warm colors are from yellow all the way to red-violet. You can make a color scheme based on all the warm colors. You can make one with all the cool colors. You can also make a combined one. It is a bit balanced color scheme where you have certain warm colors, but you try to balance it out by adding a cool color in there. This way, with the use of a color wheel, you can come up with a set of colors that look harmonious together. Now let's see a few ways you can pick colors. The first method is to go with the color scheme as it is in nature. Your blueberries will be blue, pomegranates will be red, and your leaves will be different shades of green. For the imaginative elements that are not there in your reference, you will have to use your intuition to pick a color. In the beginning, you might make mistakes and pick colors that actually clash. But over time, with the knowledge of the color wheel and some experience, you'll get better at this. It's an easy method and it helps build a color memory. I still use this method quite often. Another method is to pick two colors that are harmonious. It can be two analogous colors, two complementary colors. For example, analogous colors would be blue and blue-violet. I would start with those and make one lighter version of those colors and one darker version. Here, I started with this color first, made a lighter version, a darker version. I started with this one, made a lighter version. I did not make a darker version, but you can very easily do that. Then I add a neutral to this color palette, which can be a light neutral, but also a dark neutral. After this, if your color palette is too bland, it's missing a highlight excitement, you can add a popping color to it. Here was the scheme with blue and blue-violet. Similar way, I created another color palette with pink and orangish yellow colors. Added a lighter version, a darker version. For orange-yellow, I also added a lighter version, and then a few neutrals that will work. I tried to add a light neutral and a darker neutral, and then a popping color. With the understanding of the color wheel and some experience, you'll be able to come up with eye-catching color palettes yourself. In the next lesson, I will share with you some resources that can help you decide on a color palette for your project, especially when you do not have time to experiment. 9. Color Palette Resources : In this lesson, I want to share with you a few resources that I use to pick a color palette when I do not have the time to experiment. The first resource is this small book called A Dictionary of Color Combinations. At the beginning, you will find color schemes with two colors that are working really nicely together. Later, you will find color palettes with three colors in them, followed by a section where you will find four colors in a color palette. Towards the back of this book, you'll find the color palette index; it's based on all of these colors here. [NOISE] You can decide on one particular color, say pomegranate purple, and here, two color palettes that contain this color. So 220, you can go back. Here are the color palette numbers. Here's one color palette which contains that pomegranate purple. [NOISE] This little book comes really handy. When you are running out of time, need a color palette that's looking nice, you can simply pick one from this book. Another great source of color inspiration are magazines. Especially in home decor magazines, you'll often find a color palette that is associated with the collection they are showcasing. Here's a color palette; here's another one. But you can also simply go through the magazine and find the photographs that are visually appealing to you, especially in terms of colors. For example, in this photograph, I was really liking the combination of this pastel green, the charcoal black, and the shade of champagne in there. I've marked more pages like this; so here's another one. [NOISE] In this photograph, I really like the combination of this dusty pink with pastel brown, and this blue in there as well. Try to go through some of the magazines you already have and pick a few nice color palettes. There are lots of websites where you can search for trending or eye-catching color palettes. You can be quite specific video searches for color palettes. You can search for summer color palette, or a color palette with sage green, or one with purple and orange in it, and you will get plenty of results to pick from. One of my go to place is Pinterest, where you can find color palettes based on a photograph, or individual color palettes like this. [inaudible] often come with a color palette you can use, but there are plenty of websites that can help you generate color palettes based on a photograph. Some of these websites also have color palette generating tools. These tools use artificial intelligence and color theory as their logic in picking color palettes. The first one is Adobe Color. Here, you can decide on what color scheme you would like to choose, say for example, we pick complimentary, and it will give you a color scheme based on complimentary colors. You can pick split complimentary, and it will give you a color scheme based on split complementary. You can move these dots around and it will modify the color palette for you. You can pick the hex codes from here to use digitally. It also has a tool where you can add a photograph, and then it will pick a color palette out of that photograph for you. Another handy website is coolors.co, that is C-O-O-L-O-R-S.co, where you can explore trending palettes. Here you have lots of trending color palettes. You can pick one by clicking on these three dots; open it in the generator. Here is one of the trending color palettes we chose. You can see the hex codes here and also the name of the colors. If you want to add another color to this color palette, simply click between the two colors, and now you have six colors in this color palette. If you want to modify this color palette, but want to keep one or two colors that you're liking, you can click on this "Lock" button, and it will lock that color. Say I like this color and this one, but I want to see what other combinations it comes up with; simply press this "Generate" button, and now you have another color palette, which also has the two colors you had locked. You can press it again, and it will do the whole calculation one more time and give you another combination. From the homepage, you can also start the generator by this button. It will give you a color palette that it has already come up with. If you want to see what logic it is using to come up with color palettes, you can click on these three dots, it will give you Generate Method option, where you can decide which color scheme you want to pick. Or if you want to leave that decision to their own algorithm, just simply pick Auto. If you want to pick monochromatic here, and press "Generate", it will give you a monochromatic color scheme. I usually leave it to auto. Another use of this color palette generator is when you already have one or two colors in mind, and you want to find a color scheme based on those colors. If you have a color in mind, you can simply click on one of the colors' hex code here, delete that hex code, and write the one you already have in mind, so say 43516D; press, and now the color is called independence. I'm going to lock that color and press "Generate", and it will give me a nice color scheme, which has that color in there. I'll press "Generate" again, and I get another color combination. You can do that by fixing multiple colors. This way, I'm able to come up with color palettes, starting with one color that is already on my mind. You can also find trending color palettes on places like Canva. They have quite a few trending color pallets which you can easily use. Apart from these websites, you can also use designing tools like Adobe Illustrator, Photoshop, or Procreate to come up with color palettes. I've got Procreate here, and it has got a nice color palette tool. If you're new to Procreate, there are plenty of online resources where you can learn the basics. In the color palette tool of Procreate, you can create a new color palette based on a photograph or something which you can right away click with a camera. I'll use the photograph option, New from photos, and I'll pick a photo from my library, and it right away gives me a color palette based on that photograph. It picks up very slight variation of colors as well, so there are plenty of colors which look almost the same so you can click on one of the colors and delete a duplicate color. This way, you'll be able to reduce the size of the color palette. You can also use the Harmony tool to decide on the logic behind the color scheme. You can pick complimentary, split complimentary, analogous, triadic, tetradic, and it will give you bubbles based on that particular logic. Let's say analogous, and it will give you three colors that are close to each other on the color wheel. You can move them around, you can change the brightness and the intensity of the color. With the help of Procreate, or even Photoshop, you can come up with a nice color palette. For each of the projects, I will individually share what color palette I have picked, and my reasoning behind picking certain colors. In this lesson, we have seen how, with a little bit of understanding of color wheel, you can create your own color palettes and use some of the resources if you are a bit short of time. 10. Project 1 Sketching : Let's get started with the first project. In this project, we are going to be creating an illustration based on this little rough sketch we created during the concept brainstorming session. During this process, we'll be modifying this sketch a couple of times before transferring the final one onto a watercolor paper and then later coloring it. Now for this rough sketch, the basic idea was of a coffee mug or a teacup with some fruits hanging over the edge and a slice of lemon in there. We'll also be adding some flowers. Now let's get started with the sketching. The first step is usually for me to draw a base. You can draw a delicate teacup or a sturdy coffee mug, it's entirely up to you. But before I draw anything above, I like to give a nice base to my composition. Now, instead of the hanging grapes that we had seen in the reference photograph, I would like to add a twig of berries. Hanging grapes would look much nicer with the more delicate, ornate teacup. But for a sturdy coffee mug that I am visualizing, I think blueberries will look nice, and that too on a twig. We also need to add a slice of lemon or orange. [MUSIC] At this point, I have to decide if I want a flower ahead of this orange slice or behind it. I think I'll keep the flower ahead. If I keep the flower behind the lemon slice or the orange slice, it will get hidden too much. This will be the flower shape. I can add a little one behind as well. Then maybe a few more leafy twigs. Now for the flower shapes, we have to decide what kind of flower we will add in here. We can add multi petal flower, something like a daisy, or a more generic shape like this with some center or we can also create something like a buttercup. It's up to you what kind of flower shape you want. I usually go for something generic like this. We can also add the flower from a side angle, so something that is standing up. Since you're looking from the front, you'll be seeing it at a side angle so a profile view of the flower. It's important to add flowers in different sizes so that they don't clash. This one will be slightly bigger and I'll see how big I want it to be. Then this little one will be a bit smaller. Now for the cup, let's see if we want to refine the sketch more. If you want, you can add a handle here. On the cup, you can decide to have patterns. Some kind of scruffy toe patterns or something a bit more delicate, with some floral design. [MUSIC] You can also add different kinds of textures, some circular lines all around the cup. I'm keeping these aside so that I can see them. You can also add some ribbons, say a bow in the center. [MUSIC] At this point, I'm only thinking about the bottom part and not too much about the top. I do have the idea what I will put up there and based on that, I'm deciding, but I don't need to sketch in every sketch of this mug, all of the elements. I'm just right now concentrating on this coffee mug. You can also create band. Then you can add a texture or simple base color on the cup. You can add some lace design here or you can leave it simply plain as a craft paper color, brown in color. Among all of the ideas here, I think I really liked the idea of combining this texture along with this band of craft paper. Now let's combine the two of them together. The band is wrapped around the cup. It will be slightly outside the edge of the cup. Then let's add the lines, the texture on the cup surface. [MUSIC] [MUSIC] This looks good. Give it a bit more depth, raising the height a little bit. Now I'm sketching the slice of the orange. Let's make a big flower here. Compared to the slice of orange, the flower should be slightly smaller. So I'll increase the size of the fruit slice. Then we can add twig of blueberries here in the corner. Another little flower here, some leaves. Or we can make this twig of leaves, and here we can add some berries that will balance out the berries here with the ones here. I'll sketch it one more time to refine it further. Every time I create this sketch, I'll keep the last one right next to me so that I can refer to it. At this point, I'll simply be redrawing this sketch so I'm slightly speeding this up, but feel free to change the playback speed from your viewing panel. This time, I will draw the flower first. [MUSIC] Maybe add another leaf here that is slightly ahead of the flower. Instead of adding elements all separate from each other, try to make sure that a part of one element is either ahead or behind the other. I think I should skip the berries because we want the attention to remain on the blueberries and the citrus slice here. I can add another twig of leaves. But first, let's add the second flower here. Always try to step back a little bit. Try to tilt your head around to see if you're liking the composition or not. [MUSIC] You can add a handle here, but I don't think I will. I think I prefer it as simply a mug without a handle here. We are getting closer and closer to something that we'll be able to trace. I will do one final sketch that we'll further trace onto our watercolor paper. So I'm just going to refine the lines, finalize the leaves, and then we'll trace it. I've got a piece of tracing paper or vellum paper here. You can also use your light box. But this is quite handy for me so I'll simply trace this final sketch. Now my trace is ready, and now I will put it on the watercolor paper. I've got my sheet of Fabriano hot pressed watercolor paper, and now I will carefully trace this almost in the center Of this paper. Now I have traced the sketch onto the watercolor paper. I will create the missing lines just in case if there are any. Now with the help of a kneading gum eraser, you can remove the extra graphite since we used a 2B pencil. In this lesson, we created a few rough sketches and transferred the final one onto a watercolor paper. Before we start coloring it in the next lesson, let's look at the colors we'll be using. 11. Project 1 Colors : Before we get started with the painting, let's decide what colors we'll be using for this project. I want to keep it simple and go by the color scheme as it is in nature. We have got blueberries and leaves, which will be blue and green. We've got a flower here. We can paint it pink. We have an orange slice here, which we'll paint with yellow and orange. Now, the remaining parts are this little cup and a band here. I wanted the band to look like kraft paper band, so we'll paint it with brown. Instead of introducing another color for the cup, I'm going to pick one of the colors. I think blue will look nice. I'll paint the cup with a variant of the blue that we'll use for the blueberries here. Now, let's make some of the colors. [MUSIC] For the blueberries, I'm sticking to indigo and adding a touch of Taylor blue to it. [MUSIC] This is indigo plus Taylor blue. I'll make another mix for the cup so I'm starting with Taylor blue. Adding some indigo to it. I want this mixture a bit lighter so adding more water. [MUSIC] It's a bit too light. I'll add a bit of indigo. [MUSIC] Now, let's pick the orange we need for the orange. I'll start with permanent yellow deep and add some permanent rose. Let's try it. We have a nice orange. [MUSIC] For pink, let's see how our individual pink looks. [MUSIC] Let's try magenta. Now, let's try combining the two. [MUSIC] I like this color so I'll combine my permanent rose with a touch of magenta for the flowers. [MUSIC] For the green leaves, I'll pick some sap green. Add a touch of alizarin crimson, some more sap green. [MUSIC] I like this green. Let's try another green. For that, I'll start with black and a touch of permanent yellow deep to this. It doesn't look very different so we'll stick with this mix of sap green and alizarin crimson. For the brown of the kraft paper, we'll pick some burnt umber. Add a touch of alizarin crimson. Test it out. Some permanent yellow in it. I've got burnt umber, alizarin crimson, and a touch of permanent yellow deep in this. These will be my colors. With these mixes, I have enough colors. But if I need, I can mix them again a little bit more. In the next lesson, let's get started with the painting. 12. Project 1 Painting I: Now let's get started with the painting. I'll first start with the blueberries. I'm just adding one first layer. Now let's go over the flower here. I'll first erase the pencil and move on to this one here. At this point, I'm just adding that first layer. I'll wait a little bit before adding the color to orange here, else it will bleed into the flower here or here. I'll wait a little bit. For this orange here, orange slice, I need a little bit of yellow, so I'm just picking just a little bit of permanent yellow as well. A very watery mix. I'll use that to first paint the whole shape here. This is a flat number 8 brush. Now I'll wait for this to dry. In the meantime, the blueberries have dried so we can add the base coat for the leaves. Just be careful you don't touch the wet part here. Now we can add the base coat to the cup here. Just carefully around the line. The top edge. Don't worry too much about creating a very smooth wash because we'll be making texture marks or adding the lines we had decided. I'll leave this to dry, the bottom part. Now we will have to wait for this to dry. In the meantime, we can color the orange a bit more. We'll first start with the rind. Now, for the segments, I'll pick a finer brush, and with that same orange mix for the bulb, I'll create little dots. I might speed up this part because it's just repetitive brushstrokes. I'll add a few darker bits to the segments here to give it a bit of variation. Now, another layer to the right. I would like to darken up the blueberries a bit. I've got my mix here, but I will add a touch of indigo to it and add it to a corner and blend it out a bit. I'm not adding the new color all the way to blueberry shape, just do a little edge and then spreading it around. Now let's add the craft paper strip that we had added in our design. I'll mix a bit more mix of this burnt umber, Alizarin, Crimson, and permanent yellow and start with a very light mix. It's wrapped around the cup, so bring it out just a little bit outside the edge of the cup. Add a bit more color. This trip will not have too much texture on it, so adding a little color variation in the whole strip will help, else it will look too flat. In this lesson, we have added a base layer to most of the elements. In the next lesson, let's continue adding more colors and details. 13. Project 1 Painting II: Now that our first layer has dried, I'm going to add second layer to a few elements. For example, this flower here. [MUSIC] I'm trying to be a bit careful just around where it meets the other elements, like the cap here and the orange. [MUSIC] I'll do the same for this one. For this, you can also use your round brush. [MUSIC] Now let's add a little bit more color to the leaves. For that, we have our green mix, but I would like to add a touch more of green, so I'm just picking my sap green and let's see, layer it on one of the leaves just a little bit around the corner, and then blend it out. [MUSIC] The leaves were looking just a little too dull to me and this brightens it up. [MUSIC] I'll speed up this part. [MUSIC] Now while these leaves are drying, let's add some details to the blueberries. For that, I'm going to pick a little bit of indigo and create the little small flower shape, not complete. I'm trying to add it on the lighter part so that it's a bit more visible. [MUSIC] Now I'm going to add another layer to the cup here. Just a bit careful around the edge. [MUSIC] Now let's wait for this to dry. Let's add the little stem part to the leaves here, so I've got my triple zero brush and I'm using the same initial green mix to add the stem here. I'll be a bit careful around here because this area is still wet. [MUSIC] Now that this area has dried, I will start to add the stem part here, so same green mix. [MUSIC] You can make the stem a bit broader at the bottom. [MUSIC] Now with this same mix, I'm going to add a touch of indigo to it, to darken it up a bit, to draw the veins in the leaves. [MUSIC] I will speed up this part. [MUSIC] You can use a vellum sheet like this to put on top of your already painted part so that the moisture of your hand, you don't smudge any color. [MUSIC] I'll darken up the stem part a little bit more. [MUSIC] In the next lesson, let's add some final details. 14. Project 1 Painting III: Now that the leaves have been done, let's add a little bit more detail to the flowers. I'm thinking to add some radial lines coming out from the center. [NOISE] I'll make the same mix a bit thicker this time, less water, so permanent rose and quinacridone magenta. I'll start with my triple zero brush and from the center, pull out these radial lines. [MUSIC] I'll make them a bit more denser here. At this point, we're basically just adding texture marks on top of our first two layers. [MUSIC] I'll refine the flower a little bit more around the edge. [MUSIC] Add a little bit of color around here. Let's add a few darker bits to the orange slice. I'll add a touch of alizarin crimson to the orange mix and just add a few places, add these darker bits. [MUSIC] Let's not forget the lines for the little flower here. [MUSIC] If you're not careful, you'll end up making a thicker line. But that's okay. [MUSIC] Now let's add a little bit of shadow right here and then right underneath this strip of graph paper. After that, we'll add the details on that gap. [MUSIC] With my number 4 brush and the same mix, add a touch of indigo more just around here. Make it a little darker here and right underneath here. [MUSIC] I will add it just a little bit up on top as well but much more thinner than the bottom line here. After this, the lines that we had thought of adding, I want them to look as if a twine has been wrapped around the cup. We'll pick some pure indigo, mix it a little bit with the base color of the cup and start just a little outside the cup. [MUSIC] Try to make a few that have crossed over. [MUSIC] Try not to go too far from the cup. [MUSIC] I think this looks nice. Let's add a little bit more detail to the craft paper part. I'll add a little bit more color. [MUSIC] Let's also add some center so we can pick some indigo or you can also pick lamp black if you like, so a little bit of indigo [NOISE] mixed with burnt umber and quite a thick mix and add a few dots in the center. [MUSIC] To the top one as well. It's smaller, so keep the dots relatively smaller. [MUSIC] Now just add a few finishing touches. I'll use the pink that we used for the flower and mix it with that gravy created for the little centers here and just create a slide border around here. Just to give it a slight shadow and smoothen that out towards the inside. [MUSIC] I'll use that pink mix and simply add it to the veins again. This is our craft paper. If you want, you can add little details like crisscross marks. I'm just adding a few texture marks [MUSIC] with a burnt umber mix. [MUSIC] You can keep adding more details. If you want to add more texture or you can also leave it just like this. Once it dries, we're going to erase any pencil lines. I think our illustration is done. In this project, we started with the draft sketch and transformed it into this illustration. I hope you enjoyed this project. 15. Project 2 Sketching: Let's start the project. In this project, we are going to take this rough sketch of a teapot surrounded by flowers and fruits wreath and then create an illustration out of it. For that, we are going to re-draw this wreath and the teapot a couple of times to decide on the details and the positioning of elements before we finally either draw or transfer our final sketch onto the watercolor paper and then paint it. Now, let's start with the teapot shape. Teapots can be quite tall ones. They can have side handle like this. They can be round, a bit more rounded form, and it can also have a top handle like this. It can have a flat top like this, or curved one like this. You can look in your own kitchen cupboard to find some of your favorite teapot or tea kettles and use them as a reference to draw the teapot shape or look on Internet to find some interesting ones. You can draw quite delicate ones or even modern shapes like this one. This teapot is one of my favorites to draw. For a shape like this, you have to first draw and then paint to make sure you are evenly painting it, but for shape like this and this, you can very easily directly paint without a reference sketch. I'm happy with this sketch. Now let's think about the wreath. Let's redraw the teapot quickly. You can decide on what kind of spout you want, something longer and straighter like this, or little bit more curved like this one. Now for the wreath, right now I'm just drawing a rough circle just to decide what to add in it. You can use your tool here to decide on which fruits. Say for example, if you had added peaches here, and poppy then you could have added a wreath of poppy and peaches. But you can also look at the hints that you wrote out of your reference photographs. If you remember, there was this photograph of lemon lime with Queen Anne's Lace. I want to take that as a reference and create something which has Queen Anne's Lace and some lemons in there. Lemons are always a good idea to add near teapots. Let's start by adding a few lemons on this wreath. A few bigger flowers. Again, for flowers, you can decide on a particular flower or draw something generic like I am drawing right now. Some circular shapes or some very fixed shapes like this. But for now, let's first decide where the lemons will be. We can bring this one down a little bit. Now let's add some generic flowers first. This is just very rough placement. We'll refine it later. We can add some pattern on the teapot here. We can include the Queen Anne's Lace in the wreath itself. Or if the wreath is getting too busy, we can even add the pattern of Queen Anne's Lace on top of the teapot. Instead of a repeated print, we'll create a print of Queen Anne's Lace, because I think if we add generic flowers, Queen Anne's Lace, and also lemons in there, it might get too busy in there, so it's a good idea to move the Queen Anne's Lace here. That way we are using both the hints from our reference. Apart from these generic big flowers, we can also add tiny flowers, lemons own flowers. It gives a nice interest to your image if the flower shapes are varying a little bit, instead of simple, same size flowers all around the wreath if you have some smaller, some bigger. Now let's re-draw this one more time. Again, starting with the teapot, for simple illustrations like this, you do not need to trace every bit onto your watercolor paper. You can use simple sketch like this and trace only the parts you want to be very sure about. For example, the shape of the teapot. You can trace that onto watercolor paper and for the rest, you can finally draw directly on the watercolor paper. Let's draw a circle. Lemon here, one more here, and another one here, and a bigger flower here. Some smaller one closer to lemon, another bigger flower here. You can draw this wreath as many times you like to finalize the positioning of elements. You can even add little twigs of berries like this in here. For the pattern of Queen Anne's lace, I'm not going to draw it right now. I'm just creating some reference positions where I want the Queen Anne's lace pattern to be and that much is enough. If you want, you can add some lettering here, a small quote or something simple like tea time. I'll think about that later. But for now, we can either trace this with the tracing paper or directly drawn to our watercolor paper. I will use this little sheet of tracing paper to finalize the shape of the teapot. If you want, you can trace the positioning of the fruits and flowers like this. This is just very rough guide. Now, let's transfer all of these elements onto our watercolor paper. Now, let's trace the teapot first. I'll add the handle and a spout, and also add a base. Now, let's roughly trace the wreath, keeping the teapot in the center. You can simply draw the circle and a few important elements and for the rest, you can redraw it directly on the paper. I've just traced the positioning of the lemons, and I'll also trace the bigger flowers. Now, that I have transferred the final sketch onto the watercolor paper, I'm going to refine some of the lines and add a few filler leaves. Now, my drawing for the wreath is ready. I'll just press kneading gum onto the watercolor paper to remove any excess graphite. Now, our drawing is ready. In the next lesson, let's look at the colors we'll be using for this project. 16. Project 2 Colors: Now let's decide the colors we'll be using for this project. I'm referring to Pinterest this time to find the color palette for this project. I really like this one with yellow, orange, pink, a darker green, and a blue in there, and a similar one is here as well. Now I'm going to put this right in front of me and mix my colors similar to this. [MUSIC] I'm going to activate the colors using a spritz bottle. Now let's mix the colors. There is yellow in there so for that I'm picking Aureolin. Just test it can add a little bit of permanent yellow deep to it. I prefer this one better. It's a mix of permanent yellow deep and Aureolin. [NOISE] For the orange, let's pick permanent yellow deep and permanent rose. [NOISE] Add more water to this. It's a mix of permanent yellow deep and permanent rose. Now let's mix the pink. For that, we can probably use directly the permanent rose mix. This was the orange. Here's the pink. Now let's mix that dusty teal color. For that, I'll start with phthalo blue add some sap green. [NOISE] It's quite bright. Initial mix was quite bright so I'm adding a little bit of indigo to it. A little bit of phthalo blue, sap green and then add some indigo to it. Test it out. It's a bit too dark. Just take a little bit of it and test it out. Now, for the darker green, almost close to black, I'll take sap green, add some indigo to it. Test it out. I'll add a touch of Alizarin crimson to it. Yes, it's getting closer. Little bit more indigo. Here is that really dark green. It has sap green, indigo, and a touch of Alizarin crimson in it. Let's increase the mix a little bit more. [NOISE] Now the only color that is left is a white with a very slight hint of a blue in there. I'm just using some of my blue mixes, here is indigo and phthalo blue, and with lots of water I'm picking that mix and just testing it out. This will do. Now our colors are ready. In the next lesson, let's get started with the painting. 17. Project 2 Painting I: Now, let's start painting the teapot and the wreath. The first thing I will paint is this teapot, so I've got my flat number 8. [MUSIC] We'll start with that darker teal color. [MUSIC] I'll start with a light wash first. [MUSIC] For this you can also use a round brush if you feel comfortable with that. For now I'm just blocking the shapes with a solid wash here, very light. Now, we'll wait for this wash to dry. In the meantime we can start coloring the lemons. For that, I'll pick my round number 4. Just have to make sure that the teapot is dry. Now, while these are drying, let's give some color to the flowers. For the flowers, I want some of them pink but some of them orange. Just picking that pink mix. [MUSIC] Now, let's color this one here. [MUSIC] At this point we're just adding the base layer. Now, for the little flowers here, although lemons flowers are white, so you can color these with a very light blue color that we mixed. But to create some interest I'm going to use this orange and color these little flowers in this orange mix. [MUSIC] Now let's use that really dark green mix and color the leaves. I'll start with a lighter wash. [MUSIC] I'll use the same mix to add little visible tweaks. [MUSIC] Just step back and look around if you think a few more are needed at a couple of places, just add them. [MUSIC] Our first layer is done, when it dries you can erase the pencil lines. In the next lesson we are going to add more colors and details. 18. Project 2 Painting II : Now let's continue. Now that our first layer is almost dry, I'm just using an eraser to gently erase the pencil lines. Now before we add another layer to the teapot, let's add some more color to the writhe here. I'm, again, starting with that same mix of pink and giving a little bit more color to the petals here. Just glazing the color on top. While the center is still wet, I'm going to pick that yellow and just drop it in there and let it blend. I'll do the same for the rest of them. If you like your flowers to be really light, you can leave them like this. I forgot to add some yellow. Little bit more yellow in the center. Let's add another layer on top of the lemons. But I'm going to pick a touch of permanent yellow deep and then add the layer. Just make sure you don't smudge any wet part. Let's pick that orange mix, darken up the flowers, the little ones here. Now I'm going to create a mix from permanent rose and permanent yellow deep, a deeper orangish color. I'll use this color to add little lines on the petal here. A little bit wavy from the center. I'll speed up this part, it's just repetitive brushstrokes. I move between the different parts of the painting based on what parts are drying so that I don't accidentally smudge them. Now let's add a little bit of centers to the orange flowers here. For that, I'm going to take that really dark green mix and maybe also a little bit more indigo to it and just create little dots. They are really small flowers. I don't want to add too many details to them. I'll just leave them simple like this with a few dots in the center. Now with our number 4 brush, I'm going to take that dark mix again and just add a few darker spots on the leaves. I'm intentionally not blending it out. I want some harsher lines. I'll do the same with the little stems that are visible. The circular twine. Now, let's add the center to the bigger flowers. Our really dark green mix. Just another layer of details. I will speed up this part, but if you would like to see it at a slower speed, please adjust the speed from your viewing window. Now that we have added almost final layers on all other elements, let's add some more color to our teapot. I'll shift to my number 4 brush for the second layer to the top. We'll wait for this to dry now. In the next lesson, let's add some final details. 19. Project 2 Painting III: Now let's add some finishing touches. [MUSIC] Now that the base layer has dried, I'm going to take my Number 4 brush and just add a few darker spots. For example, I'm darkening up the base a little bit just around the curve here. Rinsing my brush, drying it a little bit, just softening the edges. [MUSIC] Also adding a bit of shadow right underneath the lid here. Darkening the lid a little bit. I'll shift to my Number 000 brush and darken this little border bit more where the top meets rest of the teapot. [MUSIC] I want to refine the shape of spout a little bit so I'm just using my 000 brush, and just refining the shape just a little bit. Now, at this point, for the Queen Anne's lace that we were going to draw on top of the teapot, you have two options for it. One is to use a darker variant of this color or indigo, a deeper color to draw them, or use something like white gouache or bleed proof white to draw or you can even combine the two. I'm going to use the last option that is to combine the two. I'm going to start with some indigo. So I've picked some pure indigo. With that, I'm going to draw a few Queen Anne's lace motifs. [MUSIC] A few leaves. I'll refine the top a little bit more. Now with my bleed-proof white, I'm going to use my Number 000 brush and with quite a thick mix, instead of drawing the full shapes of flowers, I'm just going to add little dots to represent the Queen Anne's lace flowers. You can also use white gouache for this. I'll add a few more white dots. To the top, a simple design like this. While I have my white out, I'll add some more to the center of this flower here, to this one as well, a little bit to this one, and few dots on the lemons here. With these little white dots, I think we are done adding details to the project. Here's the complete painting, a bit more closer. We've reached the end of this project. In this project, we started with a rough idea of a wreath and a teapot, we sketched it a couple of times, transferred the final sketch onto our watercolor paper and then colored it in these beautiful colors. I hope you enjoyed the project. 20. Project 3 sketching : In this project, we are going to take this rough sketch and create a decorative illustration out of it. In this rough sketch, I have a pomegranates here, some leaves, flowers, and our little moth. You can use the tool we had created earlier to decide on what kind of fruits, flowers to add. [MUSIC] You can also use some of the hints from the reference photographs that we had written down. Now we're going to modify this sketch a couple of times before we reach the final sketch that we will later transfer on our watercolor paper and then later color it. Now let's get started. For a decorative design like this you have lots of options. You can try to paint your motifs in folk art style, which can be symmetric or non-symmetric. You can create a design here and then replicate it on the other side, either manually or digitally. You can create your flowers and leaves quite stylized or you can create the design quite organically. For that kind of decorative style, I like to start by drawing a guideline for myself in the shape of this little wave here. It just gives a nice flow. Now let's add the pomegranate. Our fruit is pomegranate here. We'll add one here. For flowers, instead of adding some other flowers, I'm going to be painting pomegranates on flowers. Let's add one here. [MUSIC] Right now I'm drawing just by my memory, but you can find reference photographs online to help you draw fruits, flowers, and leaves. Let's add another pomegranate. This time, to bring some interest, let's paint one that has been cut open so you'll be able to see the seeds. Let's add one more flower up here. [MUSIC] We already have two flowers here, but I would like to add another one because odd number of things look much more interesting than even number of things. Let's add one flower here hiding behind this fruit. For an illustration like this, you can pick any fruit of your choice. You can add peaches or apples. It's all up to you. You can also decide on adding different flowers. We're also supposed to add a moth here. Right now I haven't decided what kind of moth it will be. I will look at some reference photographs to define the shape of the wings and the pattern on them. Let's add some more leaves. I'm pretty happy with the design here. I would like to redraw it one more time and finalize the design on this moth. Also I would like to add few special touches to this pomegranate here. We can look at some of the reference photograph hints that we had written. One of them was this basket with vintage floral print on it. I'm thinking I would also add some design on the pomegranate here. It doesn't have to be vintage, but some solid design here. At this point, I will not finalize this design here. I would like to directly paint it at the very end. Now let's catch it one more time and finalize the pattern on our moth. [MUSIC] Now let's think about the moth that we have to paint. On this Pinterest board, I pin images of butterflies, moths, and bugs to use as a reference for my illustration work. Among all of these moths, I really like this one and this one here. So it has two sets of wings. First one has black marks or a darker color marks on it and the bottom one is a different color with some more darker marks. So we'll be sketching this one. No need to finalize the pattern right away. We can add a few more leaves. At this point, try to step back, tilt your head around a little bit to see where you would like to add a few more leaves or any other extra touches. Let's not forget the floral design we want to add here. But that's just to remind me I'm not sketching it or finalizing it here. I'm pretty happy with this design. At this point you can directly redraw it on your watercolor paper. But I like to trace the final design just so that the positioning is right and I do not have to use the eraser too many times on the watercolor paper. Here is my sheet of tracing paper or vellum. You can also use your light box to trace this design. For circular shapes like this and the flowers here, you need the trace just to decide on their position. You can redraw them on the watercolor paper directly. I've got a sheet of Fabriano Hot Press watercolor paper here and now let's trace this little design. Now let's refine some of the lines. I'm happy with the design. So I'm going to use my kneading gum eraser and just pick excess graphite so that I'm left with just faint lines. Now our sketch is ready. In this lesson, we took our rough concept sketch and then transformed it into a final drawing that we have transferred onto a watercolor paper. In the next lesson, let's look at the colors we'll be using. 21. Project 3 Colors : Now, let's talk about the colors we'll be using for this project. Like I showed you earlier in the color palette lessons, I want to start with two colors that work nicely together. The first one is this rich orangeish red and the second one is this dark, a dirty or teal color. Now, we're going to start with these two colors and then add a lighter version of them and a darker version of them. To start with the red first, I'm picking some alizarin crimson. We need quite a bit of this color. I think it would look nice on the pomegranate. Some alizarin crimson and then some Quinacridone Gold in it. Let's try it out. A little bit more alizarin crimson. [MUSIC] Let's make a swatch. [MUSIC] Now, let's mix a darker version of this color. For that, I'll start with alizarin crimson. [MUSIC] Then to darken it up, I'm going to pick a little bit of burnt umber. [MUSIC] You can also use a direct color like Perylene maroon. I'll add a little bit more of burnt umber to it. Now, for the lighter version of this color, I can add water to this mix, make it simply a bit more watery mix, but I would like to add some interests so I'm picking some permanent rose and then add some of it here. [MUSIC] Now, let's mix that teal color, the darker version of teal. I'll start with Phthalo blue, add a touch of sap green to it and then some indigo. [MUSIC] I can add a darker version and a lighter version of this color, but I will just use this main color first. After that, let's darken up this mix, so I'll add a bit more indigo to this original mix. Indigo, Phthalo Blue, and sap green, just a bit more indigo. Now for the lighter version of this color, I'll just pick this color and add a little bit of water to it so we have a lighter version, the original and a bit darker one. Now, to all of this, we need to add one neutral color so you can pick any of the lighter or darker neutrals. We need a grayish shade for our moth. For that, let's mix a gray. You can also use binds gray if you already have it. I'm picking some cobalt blue. To mix any grays, just pick your primary colors so blue, red, and yellow. For yellow, I'm picking some permanent yellow deep. Keep testing your color. Let's try this. Here's our gray. To this, I want to add a popping color. For that, I will mix a bright orange so some permanent yellow deep and then a touch of alizarin crimson. We'll also be needing a darker color for the moth. I've added a spot of lamp black, but you can also use indigo or burnt umber for this. This completes my color palette. I started with these two colors, this red and this blue, added a lighter and darker version, a neutral, a color pop here and this lamp black extra that we'll be using just for the details on the moth. Now, our colors are ready. In the next lesson, let's get started with the painting. 22. Project 3 Painting I: Now let's start the painting process. I'll first start with the red mix in my number 4 round brush. I'll just add it, on this pomegranates. [MUSIC] Now I'll pick some of this orange color, add lots of water to it. [MUSIC] I'll use this watery orangish mix, and uncolor this pomegranates in here. [MUSIC] I do not want to leave the inside part of pomegranates just white. I'm just adding this little orangish watery mix. [MUSIC] I'll wait for this to dry. In the meantime, I'll add some color to the leaves. I'll start with that very light blue mix. [MUSIC] We have a leaf here, but I'll wait with it because it might bleed into the area which might still be a little bit wet. [MUSIC] I'll now add this leaf. [MUSIC] I'll pick that same initial red mix and add a little border around this pomegranate. [MUSIC] This leaf is still wet, I'm being a bit cautious. Now with that same red mix, I'm going to add some seeds. [MUSIC] I'm just adding some dots, and some circular shapes with some center left in them. I'm painting this quite loosely, but you can take your time and paint them in detail. [MUSIC] While all of this seeds are still wet, I'll pick some of these orange mix, and just drop it at a few places. Now we'll leave it alone and let it dry. In the meantime, let's color the base of these flowers. I've picked that same red mix. [MUSIC] Let's pick that gray. I'm watering it down quite a bit, and color the wings, of this moth here. [MUSIC] I'll let that dry. Now we'll pick some of that pink color, and then we'll create some petals here. [MUSIC] I'll pick a little bit of orange in between. Then, back to pink. [MUSIC] I'll drop a little bit of orange in the center here. Let this dry. [MUSIC] Now, let's add the petals here. I'll do the same. Start with pink. [MUSIC] Add a little bit of that orange. Just changing them mix at a few places. [MUSIC] Now we'll wait for this to dry. [MUSIC] We can pick that same orange mix, and add it to the bottom set of wings. [MUSIC] While all of this is still dry, I will add another layer to the leaves here. I'll start with the original Blue-mix. [MUSIC] I'll just add another glaze. Just not on the whole leaf in one corner and then just soften the edges. [MUSIC] I'll speed up this part. [MUSIC] I smudge this color a little bit, but I'll leave it right now. I won't touch it. [MUSIC] Now our base layer is done. In the next lesson, let's add some more color and some details. 23. Project 3 Painting II: Let's add some more colors and details. I'm picking that initial red mix, and I'll just add some color over the edge here. [MUSIC] Now, let's add this same color at a few places on this flower as well. [MUSIC] I'll add some more color to the outer edge of the pomegranate here. [MUSIC] Now, let's pick the darker red color and with my number 4 brush itself, I'm just adding it at a few places at the base of the flowers, just softening the edges. Instead of coloring the whole bottom part of the flower, I'm just adding the color at a few places, [NOISE] rinsing my brush, patting it dry a little bit, and then softening this edge right here. [MUSIC] Now, with our triple 0 brush, I'm going to pick some lamp black and let's work on the moth. First, I will paint the top fuzzy part. [MUSIC] Now, let's create some marks on the wing. I create one mark and then replicate it on the other side. If you want to be very precise, you can obviously draw them and then use tracing paper to trace the other side. [MUSIC] [NOISE] Now, with our red I'm just going to create a little shadow here. [MUSIC] Now, with some red, I'm just creating the center, the body of moth, going back to the black, adding a few spots on these bottom wings. [MUSIC] Now, let's add the center stem. I'm picking that darker blue mix, and with my number 4 brush, I'm painting the stem. [MUSIC]. I'll have to be a bit careful around here. The matte is still red. [MUSIC]. Now, with the same mix, this darker blue mix, I'm going to add the veins. I'll speed up this part. [MUSIC]. Now, we're going to pick that darker red mix, and I'm going to create those seeds again, just at a few places. Just some dots and some circular shape with a little bit of center left in them. Not everywhere. Just at a few places. Now, with that same initial red mix, I'll add a touch of orange to it, and with this color, let's add some lines. These radial lines from the flower flower. [MUSIC]. I'm varying my mixture between the original red and sometimes adding a little bit of orange to it. [MUSIC]. I'll add a little bit more red in the center here. In this lesson, we added some more color and some details on top of the first layer. In the next lesson, let's add some final details. 24. Project 3 Painting III: Now let's add the final round of details. I'll create the same mix one more time. Some Alizarin Crimson [NOISE] and some quinacridone gold tested quickly. I'll use this mix to add another layer to this one. [MUSIC] Now we can continue on these flowers while this pomegranate dries. [MUSIC] Instead of drawing straight lines, I'm just making them a little wavy. If you've been following the rest of the projects, you might notice I'm trying to keep the flowers almost similar, and also the leaves. To stay consistent with this style. I'm picking some of that darker red color, and just adding at a few places so that we can see a bit of demarcation. [MUSIC] I'll add this darker color, just add a few more places. Now I'm going to take my number 4 brush with a touch of that orange. Then I'm going to just add it on top of the seeds. Rinse my brush dry, and then spread it just a little bit onto the outer part. [MUSIC] Just touching with my wet brush to let the color bleed a little bit. I'll pick some of that darker red color, and just adding it at a few places on this pomegranate. [MUSIC] I want to add a few ampers. Now with my darker red mix, I've just added some ampers to this pomegranate and the one here. [MUSIC] Now for the design that we wanted to add in here, I'm going to pick my number 4 brush. Pick this really dark red mix, and create some floral shapes here. [MUSIC] Create a few leaves. [MUSIC] I do not want it to attract too much attention so I'm not going to put any white in there. Just a subtle design. [NOISE] Now I'm going to pick some of my bleed-proof white, and add some yellow to it, some permanent yellow deep, and then add it in the center of this flower. Also to the enter dots here. [NOISE] I'll mix that darker red mix one more time. The design isn't coming out very evenly. I'll just add another layer on top. [MUSIC] I'm pretty much done with the painting. At this point just step back, and try to tilt your head around to see if you need to add some details anywhere else. [MUSIC] With this, the project is finished. In this project, we started with this rough sketch, and transformed it into this rich illustration. I hope you enjoyed this project. 25. Project 4 Sketching : Let's start another project. In this project, we are going to create an illustration out of this rough sketch that we had created during the earlier concept brainstorming session. During this process, we'll be modifying this sketch a couple of times before we'll transfer the final sketch onto our watercolor paper to later color it. This concept of houses in the shapes of fruits and vegetables is quite common. But what can you add to it to make it unique and a little bit different? This is when your reference photographs and the little hints that you wrote will come handy. Have another look at your list and see what stands out to you. For me it's the blue chinoiserie on the ceramic and stacks of plates or bowls, something about a tea set are some of the hints that I want to somehow incorporate into our illustration. Now let's get started with the sketching part. Before we get started with the sketching, have a quick look at the tool you have made and decide on the fruits and flowers you will use in your illustration. Now let's get started. First thing is I will draw a pear, so here's a pear shape. We can create leaves like this so that they look like the roof of the house. This can be the little stem up on top, can be the chimney. Now let's think how can we incorporate some of the hints from our reference photographs. We can create a little tea set behind it. Turn it into a creamer or a tea pot with some flowers. Some flowers here. We can add the blue chinoiserie designs on the cups here or we can even add it on the house itself. Let's think a bit more differently this time. I'll again start with the pear shape and this time, let's put it in a stack of plates and bowls. Then, we can add some flowers here and maybe we will include the blue chinoiserie on one of the plates or the bowls here. You can decide between the two of them. I will go for this one, so now let's sketch it in a bit more detail this time. Now let's first start with the stack of plates or bowls. To add a bit of interest, we can tilt this one a little bit, and now, let's add the pear house on top. Let's add a few windows. These are the leaves that also look like the roof, and then the chimney or the stem. We can add some flowers on the sides. At this point I have to decide on flowers. I would like to paint some cone flowers. So here are some echinacea. you can add your favorite flowers here. I want something behind this house that looks like a tree. But instead of a tree, I want it actually to be a flower. You can either paint a giant one flower here or paint something like hydrangea in here that can look like a little tree in itself. Add some more leaves. I also want to add little flowers here. But I want the flowers to be a little bit smaller in size so let's go for a little chamomile. I also want to include the Queen Anne's lace, but I think that would make this a little too busy. Let's also add little doors to these bowls. I'm really liking how this is looking, but I would like to modify where the windows are placed. Now let's sketch it one more time. I'm pretty happy with this sketch, but I'm not going to finalize the shape of the flowers here or the designs on these stacked up bowls because I want to draw the directly on our watercolor paper. Now I'm using my tracing paper or vellum and I'm going to trace this design. You can also use your lightbox. I'm not going to trace too many details. For example, for this hydrangea here, I will just trace the rough shape. Even for these little flowers, I will not trace them. I will draw them directly. Now I will transfer this sketch onto my watercolor paper. Here's my sheet of Fabriano hot press watercolor paper. I'm going to trace this drawing here. You can also draw directly on the watercolor paper but to minimize the use of eraser, I like to trace my drawing. I'm going to take my 2B pencil and refine some of the lost lines. I'm also adding a few details that I had not traced like these little chamomile flowers here. I'll be painting this hydrangea quite loosely so I'm not going to draw every little flower in here. I'm quite happy with this now. I'm going to take my kneading gum eraser and gently press it on the drawing here to take the excess graphite off. Now we have transferred that drawing onto our watercolor paper. In the next lesson, let's look at the colors. 26. Project 4 Colors: Let's talk about the colors for this project. I want the bear house to be in this recognizable light green color. So I search on Pinterest for color palettes with some light green in them. I really like this one with quite a few different kinds of greens and some oranges and yellows in there and this one, which has a bit light plum and some lavender in there as well. Keeping my project drawing in mind, I'm going to combine these two color palettes together and mix some similar colors for our project. Now let's mix these colors. I've got two little rough sketch here just to test out the colors. I'm first starting to mix the pear green color, so for that, I'm starting with some sap green. I'll add some quinacridone gold to it. Let's test it. We also need a darker green, so for that, I'll start with some sap green again. Add some indigo to it. We also need even darker color than this, almost close to black. For that, I'll start with some indigo and I'll mix some burnt umber to it. Since we already know that we want to add some of the ablutions as re-design on one of these stacked-up bolts. I'm going to make some tailor blue. Now let's make some orange. I'll start with some Alizarin crimson. Add some quinacridone gold to it, will also be needing yellow, so for that, I'm picking permanent yellow deep. Now let's mix the colors for hydrangea. We'll start with that light plum color, so for that, I'll pick some permanent rose. Add a little bit of Taylor blue to it. Since I already know that I'll be using this light plum color to create this hydrangea here, I need a darker version of this color or any similar color but in a bit darker shade to give a bit more depth to the hydrangea. For that, I'll start with Dioxazine violet. I'll add some permanent rose to it. I'll be wearing this mix by adding a little bit more blue, or a little bit more pink from time to time. But for now, this mix is enough. Let's also add the swatch of our Taylor blue. You can mix a little bit of indigo in it. For addition as redesign will mostly be using Taylor blue but from time to time, I will add a little bit of indigo to it, or sometimes cobalt blue. Now our colors are ready. We can get started with the painting process. 27. Project 4 Painting I: Now let's get started with the painting. I've got my number 8 flat brush. With that, I'm going to add color to the house. You can also do this part with a round brush if you're more comfortable with that. Just a bit carefully around the edges. I will let this dry. In the meantime, I will mix a little bit more of this same color. While this is drying, we can get started with the little starter balls here. For the bottom-most one, I'm going to pick a lighter version of this light plum. I let this dry now. In the meantime, we can add some color to the leaves here. I've picked my number 4 round brush. I'll pick that really dark green mix. Let's give some color to this gap. I'll pick that orange, add some water to it. I'll let this dry now. Coming back with my number four round brush, I'll take just a tiny bit of that really dark, close to black color, add a bit more water to it. With this color I'm drawing this stem up on top here. I'll take some yellow in my brush and add some to this echinacea here, the cornflowers. I'll again pick that darker, really dark color, close to black. But I'll add lots of water to it. With this really watery mix, I'm going to paint this middle bowl. We want this bowl to look like a white ball with blue ocean [inaudible] design on it. So instead of leaving it completely paper white, we are adding this watery mix which barely has any color in it. Now we'll wait for this to dry. In the meantime, we can start working on the hydrangea here. I'll be painting the hydrangea quite loosely. I'll first start with the light plum color and I'll make a four petaled flower. I'll add a few more. Trying to leave a little center in them. I'm intentionally leaving some gaps between them. As I'm coming close to the outer guideline I had created for myself, I'm just making little petal shapes, so little dams. While some of these flowers are still wet I'm going to use some of our lighter green mix and add it to the centers. The little center that we had left and some of the flowers. Now I will let this dry a little bit. In the meantime, I'm going to take some of that orange color and add some color to the petals here. I'll pick the darker green mix, add it to the leaf here. I'll also pick that same color for the leaves here. Now my first layer of color is done on most of the elements. I'm going to wait for them to dry before I add any more color. 28. Project 4 Painting II: Now, let's continue. Now that the hydrangea has almost dried, I'm going to take that darker purple color in my brush, and I'm going to add this color in between the flowers we have already painted. I'm being a bit careful around the house here. If you want, you can vary. Just mix a little bit you can sometimes add a little bit more blue to it. I'm pretty happy with how the hydrangea is looking, so I'll leave it to this for now. Now, let's add some color to the windows and the doors here. For that, I'm going to pick that really dark close to black color in my triple zero brush, and add some color to the little windows here. I'll use the same mix to add to the door here. I'll shift to my number 4 brush. I'll let this dry. In the meantime, let's add another layer to the bowls here. Let's add some color to the stem here. I'll pick that really dark close to black color. While this area is still drying, I'll paint these little chamomiles. For that, I'll pick some yellow, add to the centers. Now for the petals, I'm picking tiny bit of cobalt blue and mixing it with that really watery mix I used for this middle bowl. I'll continue with the windows now. I have to be a bit careful because here the colors are still wet so I'll wait a bit. In the meantime, let's add some blue shinasri design on this bowl. I'm picking some of that paler blue we had mixed, and I'll create some floral motifs. For a design like this, you can look at some references online. Try not to copy any particular design. If you want to go quite simple, you can just create one motif and then repeat it all over or you can create simple, delicate floral motifs like I'm creating right now. I'll leave it to that. In the next lesson, let's continue adding more details. 29. Painting 4 Painting III: Let's continue. Now let's add some more color to this little bowl here. [MUSIC] I'll pick my triple zero brush, and that lighter green we used for the pear and add some color to some of the leaves here for the chamomile. [MUSIC] Now I'll continue with rest of the windows. [MUSIC] Now that the windows have been colored, let's add some color to the little stems here. [MUSIC] I'll add another coat to this leaf here, so some of that darker green color; adding it at just one spot, rinsing my brush and then spreading that color a little bit. [MUSIC] Let's add the stems here. I'm picking that almost black color mix. [MUSIC] I have to be a bit careful because the windows are still wet here. So I'll wait just a little bit longer. [MUSIC] Now that the base layer has almost dried everywhere, I'm going to start adding some details right from the top. In my triple zero brush, I'm going to pick that really dark, almost close to black mix and just add some marks on this little stem here. [MUSIC] I'll pick some of that really dark, almost close to black mix and create some veins on these leaves. [MUSIC] I'll mix a little bit more of this color. Burnt umber, and then indigo. [MUSIC] I'll add the stem here. With some of that orange color I'm going to add a touch of red to it, Alizarin crimson to it, and create some fine lines on the petals. [MUSIC] You can leave these flowers as it is, but I'm trying to add these marks to keep the star consistent throughout the project of this class. Now let's pick that really dark color mix and add some veins to the leaf here. [MUSIC] Let's add some buttons to the bolts in the next lesson. 30. Project 4 Painting IV: Let's continue. Now, let's move on to these two cups and add some patterns on them. The first one, I'm just creating little border here. I'll just add these dots to it. [MUSIC] You can add any pattern to these or you can even leave them simply plain. For the bottom one, I want to create fine lines, but not straight. [MUSIC] For this middle one, I do not want to add any color to it, but I'll just pick some of that really light watery mix that we used for the base coat and I'll just go over the edges a little bit. It will make that should not really the bleed a little bit. But that's the effect I want it softens the design a little bit. [MUSIC] I'll continue adding some more details. Some more of that darker green color. [MUSIC] I'll pick some of the darker color close to black adding just a little detail around the center of this chamomile. Now, I'm using that same dark color mix and adding these little dots to the echinacea heads here. You can leave them completely plain, but this adds a nice touch to it. [MUSIC] We'll wait for this to dry before I start adding details to the pair. 31. Project 4 Painting V: Let's add some finishing touches to this project. I'm picking that really dark color mix, almost close to black, adding a little bit of water to it. With that dark color, I'm going to create just a little line here. [MUSIC] With some of that red orangish mix, I'll create a similar line here. Now, let's add some shadow to the windows here. With that really dark green mix, I'm going to go around the border of the windows. [MUSIC] With my triple zero brush, I'm going to pick that reddish-orange color and create some vertical lines for this door here. [MUSIC] Back with my number 4 brush [MUSIC] I'll pick that original green mix that we used for the pair and add a touch of this darker color. [MUSIC] Now with that orange-red mix, we're going to create little spots like this to show bricks, so some smaller, some bigger. [MUSIC] With that darker close to black color mix, I'll add a little bit of shadow right underneath the leaves here. [MUSIC] I had initially decided to add some doors to these little boats here, but I think I'm going to leave them like this. I'm taking some of my pale green mix, and I'm just redefining some of the centers of the florets here. [MUSIC] We are almost close to the end here. I'll just add a few more darker spots to this chamomile here. It's the same watery mix. [MUSIC] I'm almost done with the project. I do want to soften up the rest of the design here on this bowl as well. [MUSIC] I'm having another look just to see if there's anything I would like to add or change. I will take some of that really dark, almost close to black color, and add it to the edge here just to demarcate the two bowls properly. [MUSIC] I'll do the same for this top edge here. [MUSIC] Now, I'll take that orangish-red color and I'll just add it to the edge here right where the two bowls meet. I'll pick a tiny bit of indigo in my brush, mix it with the Taylor blue mixture and just add it at a couple of places. [MUSIC] With this, I'm now finished with this project. In this project, we started with this rough concept, and with the help of some of the hints that we had written from our reference photographs, we were able to add more details to our sketch, sketched to it a couple of times. After that, we transferred this final sketch onto our watercolor paper, and then we painted it. I really hope you enjoyed this project. 32. Recap and Closing: We've almost reached the end of this class. Please make sure to upload your projects under the project section of this class, and if you have any questions, please feel free to post them under the discussion tab. You can also tag me on Instagram to share your work. Let's recap what we learned in this class. We looked at the art supplies and watercolor techniques I've used in this class. We saw how to get the essence out of your inspiration and how to build a tool to brainstorm ideas for your illustration. We generated quite a few rough sketches. I talked about color veil, and we looked at a few methods, tools, and resources to help you paint color palettes for your projects. Following this, where for individual projects, where we started with a very rough sketch and converted into detailed drawing, we picked the color palettes and mixed the colors for these projects, and then painted them. I really hope you enjoyed this class. I can't wait to see what you create. Thank you so much for watching. Until next time, stay creative.