Transcripts
1. Hello Hello!: Hey everyone, thank you for joining me again on this watercolor postcard series at this time, it's all about Christmas, and that's why I'm here to welcome you with this infinite encapsulates my daughters. But we're going to learn some pretty fun stuff in this one, we are refreshing all the basics via re-learning all the techniques that are needed to create these postcards. And then we're going to be ten beautiful postcards. Sack tried to cover a lot of elements that are related to Christmas. So we been some cute little berries at holly leaves, Christmas decorations and food. I'm really hoping back you're going to enjoy all the projects because the US super fun. I hope we still have enough time for you guys to try this out being these beautiful postcards and send it to your loved ones. So I'm really hoping that you'll enjoy this class. So let's get started and beans on beautiful Christmas postcards together.
2. Materials Needed: So for the materials of this class, we'll need some very basic stuff. Will need what developed people. So I'm using the bong 300 years, a 100% cotton paper. And I've got it down into these smaller postcard size sheets. You can go for any brand, but I highly recommend using a 100% cotton paper because it really helps with the techniques most of the times with watercolors, you used the wrong people and think that the technique is not working. But in reality, all you need is just the right peoples. So go for a 100% cotton paper, then you'll lead a masking tape to just fix all the sheets in place because we have some backgrounds to work on. And then you lead a palette maybe a little more cleaner than my minus quake missy. Then for watercolors, I'm going to be using the Daniel Smith artist grade watercolors. I'll be sharing the exact shapes that we're going to use for the projects. Now for the brushes and basically using the diamond cheek as an UC reads. So I'm using a few brushes, but mainly you'll need a flat brush for painting the washes. So since our paper is small, you can go with any small flat brush most of the work and actually be done with just a round brush. And I've also used this rigor brush a lot so rigorous. Have this then tip and quite appointed it so used in this feathering motion for creating the fuller lives and our projects. But if even if you don't have a rigor, that's fine, just use any small brush with a good point or even a round brush or the good point is fine. So that's all the material that you'll need for this class. So let's get started with the technique.
3. Color Palette: So in this section I'm going to be sharing in detail the color palette that we're going to be using for all our projects in this class. So mainly since this is all about Christmas, we're going to be trying out some Christmas tree colors. So I'm using this spiral red for a lot of berries and decorations, et cetera. You can go for any nice vibrant red, one litre shape like this one, and then another darker shades. So I'm actually using a Periclean maroon from Daniel Smith. But you can go for any darker red that you have, basically to add shadows and few details onto the lighter red. Next onto the greens. I'm using a couple of greens, so one of them being SAB green for all the holly leaves, et cetera, for the base. And then darker greens. So amazing upper limb dream but again gopher, any data green that will show up on the lighter one. So this is mainly for adding details and also for the four leaves that we're going to paint. So if, if you don't have a darker green like this, you can just add a little bit of indigo to the Sap Green to get a similar shape. But we need a darker green for all the four alleles. The, that will be in the foreground. Next, go into the blues. I'll be using a spirulina for fueled backgrounds. You can also go with any lighter blue. It's just that we need different shades of blue. And the next one being the ultramarine. Again, I'm using this in field, the night skies. And it's a beautiful color. And in most of the brands it's granulate in color, which is a property that I highly Like. And last we need an indigo or a dark blue that you have the darkest blue. I'm not using any black in any of my work, so I mainly using indigo for the darkest shade that I need in all my postcards. And next for the wooden textures that we're going to try out, we'll need a couple of browns and yellows. So for all the wooden surfaces will start with a very mild color like this, a yellow ochre or a very light brown that you have, a yellow brown mix kind of color. And next we'll be using burnt sienna, which is kind of a darker brown, a more vibrant Brown. And lastly, we'll need a burnt umber, which is the darkest brown. So this, again, if you don't have a bone timber or a very Doug Brown, just add indigo to burnt sienna To get a darker brown. I do use indigo, like some spice to spice up things. So I keep adding it to different colors to get some darker shades. But it's kind of my favorite when it comes to darker backgrounds or Netscape's etcetera. Also, for a few of the projects, will need a more vibrant yellow. So we already have the yellow ochre, but we need somewhat very bright warm yellow like this for lamps, et cetera. So that's it. That's all the color palette that we need. We need a nice bunch of reds and greens for the Christmas Eve things. We'll need a yellow for the light, browns for the word texture and blues for the backgrounds. So see you in the next section where we explore the techniques.
4. Basics and Techniques: Adding our techniques with the pine tree and I'll be sharing three different varieties using these three different brushes and small brush around brush and this inlaid liner which has quite a tip. So I'll start with the small one. So for smaller postcards or landscapes where the pine tree is a small element of the overall landscape or postcard. You can use the small versus a size 0 and just dab it like this with random strokes to create the tree. You can achieve similar results with a good round brush that has appointed tip. So even if you don't have a small-sized brush, a good round brush, we'll do the exact same thing for you. So you can see that I can more or less create the same kind of strokes with around brushes will. Now the inland China is kind of my favorite because it has got quite a variety of strokes within a stroke. So I'll just share this here. You can just dabbing and create a pine tree like this. It's as simple as that. So it's kind of my favorite, but I'm not using it a lot because I don't want this to be a roadblock in case you want to try out the pine trees. So we'll be exploring techniques with round brush as well. Now, the strokes are like this random strokes. So you could either draw the trunk first and then add the strokes like this. So again, I'm just stabbing the brush and not defining any strokes as such as making sure that I follow the shape of the tree. So you can do this at the trunk and then add the leaves later. Or you could just follow the overall shape which is like this and starts strokes directly without a trunk. We just painted like this. So this is what I do most of the times. I don't go for the crank, I just add the tree like this. But you can try either of these techniques, just random strokes and either add the trunk or leave it. And once you have added one round of color, you can add a slightly darker pigment on top to create the shadows like this. So in this case, since I'm already using indigo, I'm not sure if it's clean, very clearly visible on the cam. But you can use a darker shade of the same color and added like this. So that's all about the pine trees now, venue to layering them when you have a landscape where you have different layers of pine trees. So what we'll be doing is to paint the background ones in lighter sheets and the foreground ones in Dhaka tone. So this applies in general to anything. When you have layers like this, background trees like this, and then few in the foreground. The foreground ones will always be much darker because they are closer to you so you'll be able to see them better. So more detailing is needed as well as the need to be Dukkha, whereas the one at the back, they'll be lighter. So how we do this while painting is to use lighter values of the same color for the background trees, let it dry and then add the foreground ones with more detail and a darker color, darker value of the same color. So we've used this in few of our projects. Mainly the one where we have Santa Claus flying. In the sky with the moon in the backdrop and these binaries below. So here we have done the same thing. The foreground ones are darker with more detailing. The background ones are much lighter. Now for snow, you could either leave the white space like I did, or you could use white guage or the gel pen to add in the snow later. Either way, it's fine. Now, the next thing that I wanted to cover was light. In one of our projects, we'll be painting a glowing lamp. But in general, painting light is kinda my favorite. I do love creating the glow effect in watercolor. So let's try out a simple lamp here to understand the technique behind this. So we'll first be wetting the whole people. Now at the base here, we'll have our source of light and okay, I have very dirty water, so I need to clean this up. But our idea is to create a gradual flow of lights. So you'll have the source at the center, and as you go outwards, the light will become slightly darker to what we do is we leave the centre as it is, and we have a light yellow next, and then a slight darker yellow or orange at the edges. So this is how we'll create the blue. So that's the reason that I read the paper so that the blending happens on its own. So I left the base a little bit of peace as it is, without any colour. And added this yellow to the rest of the area in case you mess it up, just pick your color like this. And next we will add the darker yellow or orange at the edges like this. So this creates kind of a gradual glue or flow flight, which is what we are trying to achieve. So essentially that's the technique that we'll be using to create the glue and our projects. He beat the lamp or the moon. So for example, if I can show you this one. So after we left that area in the middle, a little white, then created a gradual glue and around the lamp as well we have a slight glue, same for this moon. So how we do this is we start with a lighter blue and then add in the indigo or a darker blue at the edges. So that's what we're going to try out here for a sample. Again, please excuse the discolored water. I'll just make sure that I get this cleaned up right after this part is done. So I bet the people I've met the area around the lamp. And then what we do is we drop in the blue at the edges so we don't do anything near the lamp. We let it blend on its own. So since the paper is wet, a little bit of blue will try to go inside. And that's fine. Just that we won't be adding any colour towards the lamp, will just be adding the color at the edges. And if you feel that the Blue is growing in quite a lot, just use a clean brush and create that glow flew towards the edges like this. Now, while this is still wet, will work on wet, on wet and add an A dark indigo color over here. So in case you are totally new to watercolors, you'll hear me saying wet on wet quite a lot. It basically means that your paint is wet already on the paper and we're adding another layer of wet paint onto it. So that's what we're doing here. We had the ultra marine on the paper, it was still wet and we added the indigo at the edge. So veteran rate helps with all the blending thing. And here you can see that we can create that blue from the lamb towards the sky. And if needed again, you can do a bit of blending with the clean version if required. But this is mainly the technique that we're going to use. And again, this was wet on wet. Most of it wet and dry is basically when you being directly onto the papal. So that's what we'll do for most of our detailing. And like in this case, the pine tree that we made, this was wet and dry. But basically that's it. Wet on wet is wet paint where people, but Andreas Whitby try people. Now moving on to the next technique which is about the wooden surfaces. So for anything wouldn't be, we'd start with a base layer of brown or yellow ocher. Anything that is like now my water is muddy, so this is kind of looking quite different, but use very light wash of burnt sienna or a yellow ochre burnt sienna mix for your base layer. And then we will simply let this trie, we added in quite an amount of texture just by doing wet on wet like this. And once this is dry, we will add in the remaining details. So I'm just going to use a hair dryer on this. And thanks to the hairdryer, I have that bloom at the edge. But OK. Once this is dry, we will add these simple lines which kind of create the separation between two wooden planks. Now once this is done, US a clean brush to just blend this and like this. Again, this is a technique that I use to create a wooden texture. There are many techniques that you can try out to create. The texture on. Word is just something that I do and I find it easier to try out. So I'm sharing this with you. So after this again, we let this layer Try. And once it cries, we add another round of detailing with a darker brown. So you could either make spawn CNR with a little bit of indigo or go directly for a burnt umber like this. And we added another line. Just where'd we had created that separation between planks. And then we'll add some simple wooden texture. So you could do some swirls like this. If you observe the wooden furniture in your house carefully, you'd be able to see this, these little swirls that are there. And then you have some simple straight lines like these. So that's what we're trying to do over here. We'll start with a lighter value of bonds here. And I like this and just add in some simple straight lines and soils on the word. And then for one last round of detailing the use, a darker burnt umber or the darkest brown that he can get. And adding another round of simple detailing, you could use a dry brush technique as well just to create texture. So that's what we're going to do for creating that wouldn't affect. We have a few projects will be using this technique. One of them being the stockings and presents projects like this one. So here the wooden background is kind of the USP of this project. So this is how we're going to create the wooden background. Now, one last thing that I'd like to share is about the Christmas decorations or the holly berries and leaves. So to create a four leaves, I'm going to use this rigor brush. So it's very simple feathering kind of motion. So you start with then line and then just let the brush go like this. So that's what we're going to do. I'm using a liner here, but you can definitely go for any round brush, small round brush to create this kind of promotion. And this is how we paint the four leaves. And we've used it in quite a few of our projects where we have the decorations like these. So we have the holly leaves and berries and these four leaves in the foreground. Now next for the berries, I just use a very simple technique. I start with my read the file and read or any vibrant red that he have. And leave this little highlight one of the ends. And then add in the shadows at the other end using a darker value of the same color, or maybe a darker color like Berlin maroon. So that's how we're going to paint the berries. And the last one, holly leaves. It's quite simple. We just follow the structure of the leaf like this and be entertained. So we start with a light wash of Sap Green. And then while it's still wet, will work wet on wet and add in a slightly darker value. So that's all the techniques that you need to know to get started with our projects. So let's get started with the first one.
5. Project 1 : Let it Snow!: Alright, so let's get started with our first project. Now for this one, I've chosen a snow globe, so I'll just put in that circle in here using my masking tape rule. You can use any circular object to just mark and overall circle for the globe. And that's it. And now Al just fixed the b's. So I'm not going to be adding a lot of detail into the b's, but just some very basic shades of brown to show some carving. That's it. So I'm just trying to make sure that it is in sync with the globe and not really getting out of proportion. Adding a little bit of carving over here. And now it does look a little off to me, The BCE. So maybe I'll just erase the bottom part a little so that we have a base that looks more or less in sync with the glue. And I feel it's much better now. And after this, I'm going to be adding few tidbits. Christmas he thinks that the bees, so we'd have some berries, some holly leaves, and later on with darker green paint, will directly add the four leaves. Now, I have always been fascinated by snow globes as a kid, we had this one net whom, which had a small house and center and then a lot of Tom cobalt, so many shake it will all go like, you know, snowy. And back then we didn't have Netflix. So this was kind of a source of entity mid to us. But honestly, I'm still as fascinated by snow globes as I was back then. And that's one of the reasons I went for this as a project. So yeah, just a little backstory to keep us going while we're just placing all these leaves at the base. And we are done. So and just mark the center as well of the tree or the snow globe. So I'll just draw the trunk and here, and that's it. So I'll start with a tree forest and mixing a nice screen. Hocus remixed where the hint of integral for this. And I'm using my round brush to draw the Christmas tree. Now notice that I'm leaving a lot of white space in here to show snow. You need not do this. You can directly be into Christmas tree and just add white on top of it using guage or white gel pens. That's fine as well, is just my way of painting the Christmas tree, that's it. So like you said, there are various ways to do to draw the Christmas trees are to be in the Christmas tree is just whichever you find comfortable. That's it. So I'm, I'm dropping in at little darker value of the green in here just to show some shadows. And they beat for this to dry. And just with the people outside the globe to add in some color through, we'll be adding a darker color inside the globe to show night and add some snow. But so just to match it and just to create a smooth transition, I am going to be adding a little bit of blue outside. So all the beach remaining page that is there apart from the Christmas tree leaves at the B's will be adding a nice light warships Cerulean Blue. So just make sure that your paper is nicely read so that we don't have an issue in blending the blue and then dropping an analyte value of several leaned over here. I start with the light value, then maybe dropping some hints of Docker's unruliness where later. But for now I'm just randomly adding in a little bit of several million here and there. And like it's can see that since we already wet the people, the blending is happening quite naturally. So you really don't have to do much of blending over here. Just drop the colouring. Move your brush a little here and there, and that's it. Alright, so now I'll add in a slightly darker value of sertraline. And again, I'm just dropping it in since our previously areas all revert, so I don't have to put in much effort to do the blending. It's kind of happening on its own, but it's also giving this nice variation in the background. So it's not like you're Bill. Blue, just a monotonous blew. This little bit of variation in the background, which is looking quite nice. And we let this dry. Alright, once the paper is cry, We start with the inside of the globe. So I marked a little bit of area over here for the snow. And we'll be painting all the remaining area on the top with a darker shade of indigo to just show some night. And also because it'll be fun adding snow to a darker background. Just being a little extra careful around the edges because I don't want to really mess up the shape, the circle. So around the edges, just be a little careful and then it's a free fall inside. You can just be it randomly. That's not a problem. Just around the edges. I am taking an extra precaution to not mess up the shape. Notice that here I left a little bit of white space again at the top of the tree for the snow. Again, something that I did but not really mandatory. You can add in the snow late Ron with kwashiorkor white children as well. Just making sure that there's enough highlight or snow on the tree while we're painting the background. All right, we're done with this and why let tries, let's get started with the holly leaves. For this, I'm using a nice SAM green And the bees just follow the shape of the leaf. And while the previous layer is still wet, ad in a slightly darker value for a little bit of texture and shadows. But that's about it. No rocket science here, simple leaves. Now the reason I drew this in Advances just to make sure that I have got the policemen right for these leaves. Quite a lot of times it happens that I'm not really sure when to stop and I keep adding a lot of extras or fillers in hill. So mocking these are just placing these with a pencil helps immensely in knowing what, where better I have to go when it comes to painting. So that's the reason you see that I've marked all the leaves in here. Now, the four leaves legacy said we can add it on top, Lee drawn with a liner brush or anything brush that you have. But for these leaves, just follow the same steps. Start with a light wash and add in a little darker value, Lee Tron. So I'll just add a little bit off to wash in fact, for the snow inside the shadows. So you can see that it's almost transparent. And then he get to adding the berries. Again, I'm starting with a nice poppy vibrant red. So I'm using a viral read over hill. And we'll add in a little bit of shadows to these various later on. But for now I'm just leaving some whitespace as highlights on these. And then I'll add a slightly darker red or maybe a darker value of the same read as shadows on the opposite side. So just playing with lights and shadows here, symbol ultra, simple stuff, but it really makes a difference to the overall painting. And we let us try before adding the four leaves. So in the meantime, I'm just finishing the bees of the snow globe, starting with a nice warm yellow. And we add in a hint of Brown to this later. But for the base wash, I'm just using a nice vibrant yellow. And then I'm dropping in a little bit of burnt sienna. Not a very dark value. Instead, light wash will add in a little bit of detail with burnt sienna later on, once this dries, but for now, I just want to create some texture at the base. That's it. So adding in a light wash of bonds Ghana helps to that extent. Okay, now that this is cry, and I'll start with the four leaves at the base. So I'm using a rigorous approach and vary. Slip motion, just feathering kind of motion. Start by pressing the brush a little and then just let it go. So the ends are almost like dry brush stroke. But this is fun and this is the easiest way to add the four leaves. So rigor pressures are really useful when you have to add details like these are really thin lines. But you can also do this with any ten brush that you have. So it's fine. Just use whatever brush you have and go for these thin little foil leaves because they do add a lot of character to the overall decorations that we are trying to get over here. And we're done with four leaves. Now let's go to the base of these non-local again. So I'm using burnt sienna to add this little patch, little stripe over hill. Now the one I had at home had something written on it. I guess it was home, sweet home or something, something to that effect. Now if you're making this card for somebody, maybe you can write a message over here, but I'm just leaving it blank for now. Maybe I'll add something later, but for now I'm just leaving it blank. Alright, we are done with all watercolor part. Now, we'll start with adding in the details with the pens. So I'm using this golden brush pen to add in a little bit of blame at the B's. Not sure if it shows up like this, but it's kind of metallic. And I'm just adding some random dots. And we'll also be adding a few dots to the background. Just to create a nice effect. Because since this background is already very light, the white dots may not really sure properly. But these definitely show up and they look pretty nice and shiny. So I'm just adding in a few dots here and there. So while you're adding these fillers or darts, etc, in the background, just pick a break in between and maybe just step back and look at how much you're filling it in. Sometimes it so happens that I fill up an area like for a densely and there's a lot of space left on the other side. So just make sure that you're filling it out evenly and that's it. So I guess I'm done here with the dots. So we'll start with the white one. Just using it to add the highlights on the berries. And also a little bit more snow on the Christmas tree itself. And then for the inside of the globe, I'm just adding these little dots as snow. In case you messed up that circle earlier. You can also use this opportunity to just use the white gel pen and fix the circle properly. Right? I think we're done here. And that's our first project, the snow glue. I hope you enjoyed it and we have nine more to go. So see you in the next one.
6. Project 2 : Ola Olaf!: Now that we've done with our first project, and we have done snow globe. Let's make a cute little snowman together. So I'm just drawing the head, the oral body shape of the snowman. Remember that this has got to be light because we're just going to have very faint outline of the snowman for restroom color. The background separately. Fat snowmen here. And that's a hill in India. It doesn't snow much and most of the places, so this is quite rare sight, but it's always fun to pin these. So I'm sure that wherever you are you'll enjoy being things from snowy scenes and store man together. So that's a scarf because snow man has to stay warm maybe. And we're putting in a little gap over here. We will add all the indeed deals on to these scarves and gaps later on with the paint. For now I'm just pleasing these to know what exactly to avoid painting when we're doing the background. And be done with this. Just fixing these a little bit. And that's it. So erase the pencil sketch that they've done to make it lighter. And we just reading the background, everything except for the snowman. And we add a faint background to this first and then work on the details of the snowman. While reading the paper, just take a little bit scared to be vetting it around the snowman. Also, we need to habit dripping wet. We just needed wet enough to blend in the colors that we're going to add, but not, it's not like we're going to have a full-blown background wash. So just wet it enough for the blending to happen. Right? So now I add my indigo. And again, since the paper is wet and just dropping it in and letting it blend on its own. So this is giving a nice snowy, wintry background for the snowman. And once we had the foreground and all the details, this will become as, become a nice addition to all the foreground details. Next we will let us try completely. Alright, now that this is dry, let's start working on scarf. So I'm starting with my green color. Just use Sap Green or any dark green value that you have. And we'll paint a nice pattern on the scarf using the Christmas colors, green and red. The top and p-hat. The snow man is wearing. A nice screen to this one. So we'd be adding little tidbits of widely drawn using the white gel pen. But for now I'm just in the gallery blocking fees, so to say. Now this part of the scarf is at the front. So just to represent that, we add a little bit of shadow to the background one liter. For now I'm just covering it with the same sheet. May be a little darker, and that's it. Adding a hint of dark green for the shadows. Now once this is dry, we'll start with the red. So again, I'm using a mice. Why print red? Red for the scarf, as red as the hat or the gap. I feel like the snowman is taking shape now it's looking kind of cued already. So once we add a few more details, it's going to look even cuter. So let's start with the hand. So I'm using my rigor branch and brown burnt sienna to add these hands or the twigs that represent the hands. Same on this side. Okay, it went a little scary here. Maybe I'm still in the Halloween mode, but I guess this looks OK. Now we'll add a little bit of snow Lee drawn with the white Japan. For now. We'll just leave it till the strikes as Hans. Next we try and add a little bit of shadows to the snowman. So to the school basically. So I'm using a very light Walsh of indigo. Just hearing they're dropping in to show some shadows. Don't color the whole snowman like this, we still need to show quite an amount of white. So this is just a very light wash of indigo added for shadows. Okay, I feel this is giving a good enough representation of the shadows. Seem for the face just a little bit. And then we let this dry. Alright, the snowman has dried. The paper has Right? So I start adding the details to the scarf and the cap. Now, I'm just using a darker value of the same color. So just add a lot more pigment and less water. And just tap the brush little bit to show some texture on the scarf as well as the gap. So like I said, just use less water and more pigment and just stab your brush like this. Now we do the same for green. I'm just adding a little more shadow over Hill for the part of the scarf that is in the background. And then we take a darker value of green. And at similar dabs, I'm just using a clean brush here too. Just blend in kind of a glazing technique. And then it has start with the details on the green part. So like you said, just like we did for the red one, we start adding simple dabs of beam on to the existing law. Just add a little bit of Docker. And it's just added, add separation or the part where the green and the red meat. Now onto the acute phase. So adding little buttons for the ice. Also add cute nose and a mouth. Again, use a thin brush, a small brush that you have to add in these deep deals if you're comfortable with your bigger prize and the dip is good, that maybe can continue with the same. I'm adding a few more buttons here. Now let's add that cute little nose and the mouth. So most of the work here is done at the top of the gap. And had a little bit of texture. So we can use a darker value of the same paint and just drop it, involve lending. And we are done. So the watercolor part is done now. So we'll start with the highlights with Japan. So use your right to open and start diving in like this randomly at the edges. So we want to have these little white flicks onto the scarf as well as the cap. So just adding it at the edges like this. And we'll also be adding it in between. So it's somehow giving a nice fluffy. Now a few highlights to the buttons as well. And we can add a little bit of snow onto these branches or the snowman. So just add snow slope. Next we add and also do the background. So once again, be careful not to fill in, but just enough to show some mediation in the background. And we have done. So. I hope you enjoyed this little cute snowman. Now, onto the next one.
7. Project 3 : Cookies and Cuppa!: All this drawing and painting and Christmas, he, Things have really made me hungry. So I thought I'd start with a nice cup of sediment Lottie and some gingerbread cookies. So that's our next project. We are going to paint sweet little cup of sediment lattice here. And then we'll add some nice gingerbread cookies. So this here is the outline for the cup. Now, here's the little cinnamon stick. And for some reason the big joke from Pinterest that I took for reference had this blanket just under the cup. So it looked excellent in the flatly. But the mom and me, which is going like, oh god, it is going to spill the clarity, any diamond that blanket. So I am kind of not sure why would anyone put this on a blanket. But for the flatly purposes, it works just fine. So it was looking absolutely brilliant in the pig. So let's just try and recreate the same thing and not worry about the cup spilling over or putting the brush in that cup is as well. Because I have done that so many times, unknowingly, I'll just have a couple of D next to me during my benthic sessions and the pressure would just In reliably go into that cup. So I'm trying some nice start cookies. You can try different shapes. Was she cookies you like? And just try adding them here. I'll have one gingerbread man as well, but few small cookies just around them. Let me place the gingerbread man, he's not taking any exact measurements, just going up at random. Just like what I do with my original cookies. Sometimes I'm just reading random shapes. So we just going to place all the cookies that we're going to be in. Yes, we can add a few more cookies. There's a lot of space here. So let me add a nice big cookie over hill. So even though I did have a picture for reference, I'm trying to simplify it and not add as many elements as well as there were in that flatly. I'm just trying to pick up the key elements and just spin that much. So there's still a little bit of space left in the middle. So let's add a small cookie here as well. And I guess after this cookie we're done with the trying path. So now I'll just erase this a little. I'll set. Now let's start with the cookies. So I'm using a very light wash of burnt sienna for the B swash. And we'd be adding a little bit of darker values for some texture on these cookies. So let's start with bonds kNN for the base, like this. For the rest of the cookies. We'll be putting on a base wash of burnt sienna light value and then dropping in some darker values while it's still wet. So we work with wet on wet and let the blending happen on its own. Adding a little more darker value will hear. I guess it looks good now, remember that watercolors dry, much, much lighter. So what you see right now may look much bill later on once it dries. So just keep that in mind. Most of the watercolors will try much lighter than what the seam on people while they're still wet. Okay. Gingerbread man. Again, using the same techniques we are starting with B swash of 1cm light VCE wash. And then we'll just drop in the darker values onto these. And since we have to wait for the cookies to dry, I'm using the spine to the cup of coffee that's laying there. So I'm using the same color, brown Sienna to start with. So I am putting a light wash and then adding in a little bit of darker value for diction. And once this is done, we let this dry completely. All right, so let's start working on the blanket. The rank that is there just under the cup. And I'm using a nice vibrant red, red for the base. Just being careful around because I want that white. But otherwise just spin. And once we're done with this much, just the base of this rag, Vivek, let this dry completely and start working on the background. Might be able to write. So I'll start with the background. So for the background, I'm using a very dark shade of indigo. Just be careful around your cookies and the rug and faint in the gaps. I prefer integral as background color because it presents a nice contrast with anything that is there on the foreground. In this case, the cookies, the just pop up, the shore up much better on Indiegogo. For those towns. Let's see. A white batches. Make sure that you keep checking on the edges and just mundane or kindness flu. Now, while the background is drying, I'm just adding in some nice details onto the rug. So I'm using again the same indigo, but a much bigger rented value. And just adding these lines, simple lines on the rug. And let's start working on the details of the gingerbread man. So I'm using the read again onto the gingerbread man. For that to dry, we'll start building up the layers on the rug. So using a darker red, which can show up on a much bigger value and add these lines again. And we have done with this pattern or this design of the rag. Now we let this dry and then start with the white gel pen. So I'm just scraping some nice little patterns on the cookies. So use your imagination. If you want some more detailed Mandela cookies, maybe suggest add them here. For now, I'm just adding simple lines and dots on each of these cookies. And same for the gingerbread man meal. Just add some details over there. So I'm just adding the cinnamon stick now using burnt sienna and just drop in a little bit more brown on top. So we have a cinnamon stick ready? Now next, we will just add in a little bit of shadow to these cookies. So notice that I'm using a thin brush again. Just use a much darker value of indigo that will still show up on the background. So even though we used indigo father background, we haven't used its darkest value. So here for the shadows, we'd just have to do that. We'd have to use the darkest red knew of indigo. Or if you did another color in the background just used the darkest value of the same color. And we add these Liddy shadows to make these cookies ballpark. And for the last part, once the shadows are done, we will be adding some white dots. So I'm using my white gel pen Hill to add these little white dots. I really like how it just enhances the whole background. So I hope you enjoyed this project and it definitely made me a little bit hungry, so I'm gonna grab some cookies before the next one. So see you in the next project.
8. Project 4 : Ornamental: For our next project, you're going to paint some cute little ornaments for the Christmas tree. So I'm just marking the circles once again using my masking tape. And we'll be trying sound cute ornaments within these shapes. So I intend to make them like those wooden ornaments that you see. So I'm creating a very rough edge over here, just outside the circle that we have made will still follow the same shape. But it's not a perfect circle, just some rough edges, wouldn't edges. Now moving on to the cute illustrations on these ornaments. So for this one, I am drawing little penguin. And this one also has a scarf because it might be gold. So we're just making sure they're all well covered. So this one has a cute scarf over here. And that's just a little bit more detail. Right? So here we have the face, the eyes, and that little beak. And next we move on to the other one. So for this one, I'm just going to be drawing a cute little bear in sweaters, Christmas sweaters. So making sure that the outlines are all right. Not the sweater. That's it. All right. So I'm using light color for the background of the ornament. I'm just trying to choose some nice vibrant colors that were not already using because there's a lot of red, there's a lot of greens. So I just thought of adding in. Why did we read for this one to dry? I will just add in. The next one is with, so for that, I am mixing a nice vibrant yellow background is going to be beautiful. Yellow. I'm just doing this really slowly because I don't want to go in. So just take a little bit of doing these illustrations and the background specifically. We're done. So while these are still drying, since we have this little word that is going to separate it from the background, I'm starting with my background already. So I'm using integral to fill in the background. But once again, just be a little careful around those edges. And for the rest of the part of the background, you can, I guess, just add in the colors right away. And that's done. Now while this is still wet, I'd like to add a few shadows just around the ornaments. So I'm taking a daka, daka value and adding it to these edges. We do the same for this one. We could for the background and the shadows. So we let this dry. So our background is cried. I'm starting with the arguments and the details. So in this case for the penguin, I'm again using a very dark bad your affinity group and just being careful around these golf and the other details. So since these are smaller, the ornaments are going to be smaller. Try maybe a smaller brush. If you're not comfortable using the same brush for the background is red as the Daily. So go for a smaller brush and add in these details. And that's our penguin. Now we do the same for the bed on the other argument. So for that, I'll start with the sweater. So I'm taking up a nice red to start with for the sweater. A nice Christmas Eve read. And here we go. I'm going to give him an green color as well, making it as Christmas 0s as possible. Now while that cries, I am just adding a little bit of a very light value of indigo, just like what we did for the snowman. You're trying to create some texture on the fees, not keeping it exactly blank white. So just adding a few details here. Now this one is right. So I guess we can start with the details on the scarf. So for Mr. penguin, I'm keeping it a simple white and red scarf for now. And we'll add in the details to his famously drawn. I really enjoy doing these cute little illustrations. The have a certain charm to show. And I did plan to do some Christmas ornaments to see is with but that's just one of the 100 things I planned. So a lot of things didn't really with the relays for me in 2020, but I am trying my best to keep afloat. And this class was definitely one of the things that didn't work out, so I'm happy about that. And back to ornaments. That's put in these cute little red stripes for the Penguin. Next, let's add the details on this. So I'm using the dark green for this one. And now we let us cry. Okay, so my paper is right, so let's start with the wooden part. So I'm starting with a very light war shall burnt sienna. And we'll add in the darker deep fields with a darker value of the same color, both sienna. Or you could go for a darker brown leg bone, Dumbo. The idea is to create that kind of fixture. Now, we'll drop in. So just make sure that you blended and there are no hard edges. Adding in those D. D is just like what we did for the snowman. Using the same green, a darker value. Maybe add a hint of and you get these nice shadows for sweater. I'll just add it in. Almost on to dealing part now. So let's add this little hole here for hanging these ornaments. I prefer the black nodes for this. Just adding. And I just love how. Now let's go to our cute little. Oh, I messed up a little. Becoming a little too much. And he's starting to resemble a panda rather than a polar bear. Let's see. We can fix this with White later on. For now, I'm just going to leave it like that. And let's add a little bit of light value of indigo for the years he'll definitely looking more panda than a bare parameters are q2. But no, we're not making a panda ornament. We definitely fix this with white. So I'll start with the blink part, adding the golden rim. So I'm just using language to do this. Don't get distracted from the fact that I have abandoned a sweater. So I'm going to grab that white gel pen and try to fix this immediately. Just adding a few dots in the background. And that's it for the background. Now, let's fix these eyes. Let's try and make him look more like a bear. Alright, it's shaping up. And yeah, I started to look like a bear. I guess. Yeah. So OK. So I'm not going to overdo this. Just leave it like this. And now let's add the mouth over here. And we'll add those little details using the right champion onto the sweater. And now onto Mr. penguins scarf. I'll also add some white dots to the background, just filling up some species that's left after the golden dot. So just adding the threads will be here for the ornaments so that we can hand them on the Christmas tree. And so I hope you enjoyed this project. See you in the next one.
9. Project 5 : Stockings and Presents!: Starting with our next project in this one, we're going to have a nice pair of stockings along with gifts in the backdrop of a wooden wall. So this is going to be the shelf where we will have all the gifts kept. And I'm just making some quick lines for the bourdon backdrop. We fill in the details later, just like what we did in the technique section. But for now I'm just keeping some placeholders. So these are the hooks and we'll have stockings right here. So nothing fancy. Simple stockings. We'll add all the fine details later on with right now, just adding in the overall shapes. Now let's back up some gift. I'll have one like this, and a couple more to the right. And of course, we need some Christmas HI holly leaves and Barry. So I'm just going to add those over here. This pleasing them as always to make sure that I don't overdo them later on. Once we are done, we erase this and get started with the painting part. Alright, so let's start with the stocking. I'm using, again, the CRISPR. See Carlos, I'm using the read over here for the bees, the stocking. And then later on we'll add some patterns or designs on top of this. This is going to be the base color. And the other one onto the next one with a nice Sap Green. Now, while the cry, let's start with the holly leaves. So by now, we already have tried this a few times, so simply adding the bees clear of sap green. And then before we add in a little more detail, or rather darker value of sap green, just drop it on so that it can blend in red on red. I guess in this case my paper is dried a bit, but that's why does where we'll add a different kind of texture. We blend it in a bit. And then we leave this layer to dry before we start working on the gift. So now I'm using a deal for this one. Just trying have fun deciding the patterns for the wrapping paper, but just trying to keep a mix-up, nice colors. And now while these dry, let's add in the details on the Stocking. So for this one, I'm using a darker green to paint little Christmas trees on this. So I'm using a much smaller brush for this. So you can go for any other pattern as well. Whatever you'd like for your stockings, or even simple polka dots, look really nice. So I just write to add in a touch of Christmas trees onto this. Guess we, good. Now for this one, again, I'm adding some berries, so I'm using a red directly. It's a little mixed up red, so it's not showing up as nicely as vibrant red like the other stocking. But I guess it we'll just touch it up later on. So I'm using another round of red for this one. Now moving on to the berries, we use the same technique. We used a smaller brush, leaves some highlights and then add in the shadows with the darker value later on. So I'm going to do just that. And just to ride this one out, just seeing if this red pops up in a better way on the stalking. And it kinda does. So I've just added a hint of this more opaque kind of red onto it. And getting back to the various now, we added in here. Okay, so now we start with the wooden background, which is kind of a USB for this project. So we'll be using the same techniques that I shared in the technique section. We start with a base wash of burnt sienna, and then we add in all the details later on on top of this. So in this case, since it is not just a wall and we have a lot of things in the foreground. Just pay a little bit of attention to the edges. And that's it. So once we are done with obese wash, we can start adding details with this one. Being extra careful around the edges of the stockings and leaves. Sing this mini-batch we left and now we let this dry. Okay, now that the base layer is stripe, we'll start with the next round of detailing for the wall. So we'll start with a simple line like this. So I'm using burnt sienna. And this is why I've drawn those lines at the beginning just to make sure that we have a reference later on. And we are using a burnt sienna. So this is, these are the ridges between the wooden planks. So we're going to add a lot more detail to this later on. But for now, we just make sure that we cover all the lines properly. I just realized that we have left to pad just above this docking. That was not at all. So we'll fix this in some time while this is still wet, I just want to blend in the colour like this. So use a clean brush and just blend it in. So if you're trying to create a shadow next to these ridges, it also gives a nice texture to the word. And later on, when we add in more details will be kind of more pronounced. Now this shelf we'll paint it with a darker brown. So I'm using a bond number for this. You can also just mix the hint of indigo to burn sienna, just any darker color. This Bach's still unpainted, so let me just fix this batch first. Again, redoing the steps of the base wash of burnt sienna, then adding in a little bit for texture. And just wait for that to dry up. While continuing with this one, the darker brown for the shelf. Ok, so this one, we need to redo the step. So I'm just continuing the line over here, the rich. And then we complete the shelf with the darker brown. And now we'll start with the details on the word. So just like what I explained in the technique section, we create these nice wooden patterns. Some simple lines and curves and circles, some swirls. To show the wooden texture. The first round I am doing it with a light burnt sienna. Now to enhance this texture further, I am just going to add to these ridges just a simple line enhancing this. And I guess we should stop. Added enough details on. And it's looking quite nice. Now once this dries, we'll start with a little more detail to the berries using the darker red. And then next we add some four leaves, again using the same motion and a darker green color. Simple feathering motion is all you need to create that leafy texture, the four leaf texture. So for this one I'm just seem simple. On this one, I'm just making some dots for the pattern. Ok. Now we start with the highlights using the right Japan. So I'm making some patterns onto the stocking using digital pins, simple dots. And same on the green one as well. And then we add texture to stockings using the same technique that we used. Simple streaks of light. And that's it. We also had some dots here onto this. Use a golden pen to simply create these lines. And now since I have taken it out and just add in a little bit of adding, a few dots are just adding and adding the string here. Ties to stockings, white. That's it. That's another project, Dan. I hope you liked it and see you in the next one.
10. Project 6 : Christmas Glow!: So in our next project, we're going to paint a glowing lamp of some Christmas decorations at the base and the backdrop of dark night sky. So we'll be using all the techniques that I shared in the technique section for creating the glow in with the lamp. And also for the background wash that we're going to have for the night that the dark blue wash. So I'm hoping that you'll enjoy this project because I personally enjoy creating light in watercolor. I do have a separate class exploring various techniques of creating light in watercolor. And then again, for this particular class of this particular project, I will already covered the techniques that are needed to create that glow, create that light, and will be revising them again during this project as well. So everything is covered, Don't worry, and will be creating a beautiful glowing lab by the end of this project. Creating an outline for the leaves here. And add in pleased them here so that we can, and we're done. So I'll just erase this. And let's get started with the lab. So we start with simple plain wash of water. And then we know that the source of light is at the center. So we add a very light yellow just next to it. And we leave the center. We are not painting anything at the center at all. And then towards the edges where it gets a little darker, we add a darker shade of yellow or an orange, just like this. And since it's all just letting the blending lead for the bees to dry a bit. But I guess we can start with the ribbon. So for that I'm using. To start with the base so that you get a little more time. That's fine. Just lifting some color. Let us try. Right now that start with the leaf part. So I'm using to create some fun Greek leaves like this. Not exactly the four leaves like I'm not doing the same motion and just dabbing the brush and little to create this kind of a baton. This outline. Notice that as soon as we add these fields, it actually looks like to be working on a few more details on this later on, but for now, I think the good just some outlines here. And next. We let us try. And in the meantime we'll work on the ribbon again. So I'm using a darker red now to create some shadows and some variation in this Reuben. And now I'm just going to be adding a trend like this. Let us start with the background. Time to add the blue. So I am going to use the ultramarine blue for this, just dropping it in at the edges. So since we want to show the blue, we do not want to go too close to the land. So that part is left as I'm not doing anything. Maybe we'll blend in a little bit later. But for now I'm just adding B, ultramarine add the edges. And now I am using a clean brush to blended in near the lamp, making sure that it is still pretty wide so that the effect of bluest and dead. And since my people still read and go for another round of ultramarine at the edges. Now you can see that the effect is taking shape. So for the next round, we just add a bit of indigo. Ok, I've put in some paint on these ribbons, just lifted with the clean birth. And now adding the integral just at the edges. And then we use a clean brush too. This site. And now we start with some be dealing on the ribbon. So I'm using my small brush and much more details. Adding a little bit more. This is, I'm just adding these little streaks of now using dark indigo random here. Just adding some a final round of dealing onto the land. For this, I'm using a smaller brush, burnt sienna, a dark value. Just a few more details onto the lamp, that's it. And after this, we'll start with adding the highlights and the snow. Okay, I've got the lamppost, so just adding that over a hill. And then now starting with this new, I'm just adding a few patches over here at the top of the lamp. I am also using it for the highlighted part. So just adding a few streets here, et cetera. And now we'll add some background snow. So simple dots. Just what we've been doing in the projects to show that there's a little bit of snowfall. And that's it. I hope you enjoy. The next one.
11. Project 7 : Hey Lil Birdie!: For our next project, we are going to pay into Qt bird house. Once again, I have the center of the paper mugged and some lines drawn for the base and the roof. So I'm just going to be sketching a very simple bird house. So we have the poll over hill and then the main structure. So I am just joining these in. So the reason I marked the center of the paper is to just make sure that I have some symmetry and the sketches in proportion. And we mount the roof similarly. Okay, and next, we'll add some berries and holly leaves at the bees. Like always we just placing them here so that we know exactly how many to be. Just mocking some nice Christmases stuff here at the base. Next door to the bird house. Christmas trees on the, drawn me something a little more detail here. And just placing the overall circle for the read so that we can paint them directly and we are done. So I'll just release this. Now starting with the bird house B's. So for few of the portions like this one and the pool, I'm going to be using a darker color as compared to the main structure. So here I'm using a bone Sienna, but a slightly darker value. And we'll just print the bees. Now while it's still wet, I will just drop in a little more augmented bonds here now for some texture. After this, we'll wait for this layer to dry before moving on to the main structure. So that once we, once it says try for the base structure, I'm going to be using a lighter value of bones here now and kind of a yellow ochre mix. So mainly I want to show this as lighter than the other parts that we just painted. So use that is maybe a shade or lighter than the other one. You can just simply mix. And violet still read, let's add in a little pigment and value creating. Let us try. In the meantime, let's work on the holy leaves. So now we are experts at this. We simply just being a light wash of Sap Green and then add in some darker pigment and color for texture. Same Sap Green, but a slightly darker value. Adding these holly leaves and berries adds so much to the overall composition of the postcard. I'm really liking how this is going with the wooden texture of the bird house. We still have a lot more detail to add to the word house. But for that we need the layer to be completely dry. And I like to work in battle. And if we have a part of the painting that is untouched by the wet layers and you can just walk on it. I really feel that it saves a lot of time. Also, when you dry it with a hair dryer, sometimes the pigment gets unsettled and it doesn't dry evenly. So I usually let the painting dry as it is. Now this is dry it so I'm just adding in the details to the Boathouse now. And for the door, I think before we begin the doer, we should start with the reads. So I'm taking my smaller inlaid triggered Lima and adding the green leaves over here for the read. Next we'll drop in a little bit of red for the various. We'll again let this dry because we need this to be dry before we start with the door. So let's get started with the berries and the main banks. Adding lighter wash and then adding in the shadows later on. As always, we'll be adding the four leaves later on. Once everything is dry for now, let's just build up the Christmas tree part of this, adding in the trees and the leaves for right, the door is right. So I'll start with the darker brown. So I'm using a burnt umber, tried to paint around the reed. The alternative to doing this would have been to mask the Savior and then later on painted separately. But I did not want it to be a blocker for you in case you did not have masking fluid. So the reason we are painting around it and being this extra careful is that we did not mask it. But if you want, if you want an easier way out, you can simply mask the read that is there on the door and paint over the doors completely. And later on remote them asking and just added the details. Alright, next we move on to painting the background. So this time I'm using a saline. Now I did not wet the paper this time. I am just putting in truly indirectly because I want a slightly darker color as compared to what we've had so far. So when we read the background, the blending that happens also the color gets diluted a lot. So I wanted a slightly darker pigment color just like this. So I'm directly putting it on the paper wet and dry. And once we have this whole white area covered. Dropping the slightly being rented. Right now we can drop in the pigment its ruling, not following any specific pattern. I'm just dropping the color in to create some mediation in the background. And since the previously it is still wet, there's not much of blending that you need to do is just happens on its own. Let us try adding more details on this. Now for the main area, I am drawing some blanks so we can add in the details on this one just like we discussed in the techniques class, or maybe not good that detail because this is a simple Boathouse. So let's see. Let's just start with separating the planks like this. Now we use a darker, burnt umber kind of color and adding a few more details and shadows. So essentially we work in multiple layers to get the right texture of the world. And these lines that I drew. And I'm going to be adding a lot of wooden patterns and here because these are really small. So am just darkening that separation a bit between two planks. Now, adding the details to the berries at the bottom. Since we just add some using once again. And just making all the outlines clearer. How we add some leaves with that feathering stroke. So I'm using my brush for this simple strokes to add in these leaves. And you can see that it totally changes the look of the base decorations. And now we add the highlights using the right gel. So again, you can use squashes. Well, if that's what you find easier. Since these are smaller cards, I am I don't have a lot of area to cover the white gel pen itself. So we'll add snow at all these little places. I'm also using the white highlights and some final adding some snow that got stuck. Now let's add some dots. And the snow to the background. The blue that is there in this one. It's quite different from the other postcards that we've done. So just adding a few more highlights to the berries. And so I hope you enjoyed this project and the skewed little bird house. See you in the next one.
12. Project 8 : Christmas Tree is home!: So for our next project, we're going to draw another Christmas traditional postcard. So I'm painting a nice red little car that is going to carry the Christmas tree back home. So just meet these lines to mark the center and a few to mark the bees and the top part of the car. Just for reference, mainly we will be drawing it like this. So I'm falling an overall shape of the car based on the reference picture I got. And we're going to have a Christmas tree on top. Now, what will make this card beautiful is the way we pin this car, the bright red and all the little light and shadow details that we're going to add. So I'm just adding in these little details in our sketch. Now, let's add the number plate here and we just write down x months on it later. Now, let's work on the top part. Now the reason I drew these grid lines was basically to have kind of proportionate view for the car. Otherwise, you can also go free hand. I like I said, I just MET center of the paper and drew a couple of lines to make sure that we have the car in proportion. Now, as you can see, it's not like a very in-depth sketch. I'm keeping the details here to bare minimum. Our focus would be to paint this one beautifully with the red colour, marking the light and shadows, and then adding that Christmas tree on the top. So a lot of the details that are there on the car may not really be necessary. So just adding the last few bits, couple of tiles here, and we'd be done. So all we need to make sure is that God is symmetrical in proportion, and that's it. I wouldn't really bother with a lot of details because like I said, the focus would be on the red color and the way we've been delighted this one. So we're done with the sketch and I'll just read this a bit before we start with the big thing. Alright, so in this one, I'm going to start with the background. Just wet the people around the car. And we add a little bit of blue surround the car. Nothing very dark will be just adding a little bit of sertraline and that's it. All right, so dropping these ruling, starting with very light value, most of the blending here will happen but on wet, so while it's still wet, will just add in a little bit of dockers or Boolean due to add some variation in the background. And that's it. So just drop it in like this and let it blend on its own. And we're done with the background. So we let this dry. The background is dry. So I start with the first layer for my car. So I'm using a nice wide and we'll be using just one color for the car. Mainly. All the red would be the same shade that we're going to vary the values so that we can depict the light and shadows. But apart from this, we are just going to use a dark indigo or if you want black for the remaining parts, like the tyre, complete, et cetera. But mostly we're going to just use this one red color. So I'm starting with the lighter wash like this. And next I'll just drop in some augmented values right on top of this so that the blending happens wet on wet. So make sure that you leave the top part and just the way it is, not add a lot of pigmented rate at top. We want to show the lights or the highlights of this car over here. So the base would be having the shadows, whereas we will be having the top part as much lighter. So if you end up somehow mixing they're darker. Here. Just use a clean brush and try lifting some paint out like this. But leave the top part much lighter than the bass part. And then we let this dry. Once this crisis will start with the slightly darker portion here. So for this, I'm using the same grid, but a much big vented value. And I'm painting around the real window. Just make sure that you don't put the red onto the glass pane. So be a little careful around the edges. And that's it. Just that we're using augmented red over here, the same color, red, but a pigment that value. Making sure that the edges are fine. Now this area near the number plate is going to be much darker. So we going to use red for this area. In case you're using a read that does not have much of value range. Try going for adding a little bit of darker red or maroon, or maybe just a hint of blue to make it slightly darker. Blue or brown. Just making sure the highlight. Fill in the details. You can use black. Maybe you fill up all the details. Now we will just fill it up with black and then write the x must. Being a little careful here to not mess up the red part right now onto the tires. And we'll use the same just lifting a little bit from these parts later. But mainly we're using the same color. Just use a clean lift this up. Right? Okay, now, do this. But not a lot. I'm just dropping in a little bit of a hint of green here because we have the Christmas tree on top. And while that prize, and as you can see, it's actually shaping up now. And I'm just adding a little bit of shadow here using indigo. But I really like how the red is looking right now. Just to add in a little more detail. So you can see that gradually adding these layers, we are building up on the highlights and shadows. And get good. All right, now we'll add ADP lamps. So amusing. And indigo to being these, we leave a little bit of white or rather little bit of highlight on the labs. But you can just skip this part and add this directly later on with white gel pen as well. I'm just leaving a little bit of white and vote the day lamps. Or does it really look like this car has a face right now? Is looking so cute. Alright, so now I'll add the Christmas tree on top. So I'm using the inlaid liner brush so that it gives these variety of strokes in just one group. But you can basically use any round brush for that matter. Just add these leaves and we're good. While it still just dropping in Santa Ana. And just add a little bit more, little bit more detailing around the tree. And I guess then we're done with the tree. Now, I'm moving on to the highlights and the detailing using the right job. And so in this case, instead of using it for snow and mainly using it to add some details at some highlights onto the car. So the x must number plate is here. Now we add the details to the bay lamps. Having a nice the white details are definitely adding a nice Bob to discard. It really like how it is shaping up. And this is quite traditional Lake. This is one of the most common picks that you'd see on Pinterest. If you just type Christmas Christmas tree, a red car, or getting the Christmas tree home is like the most common picture. Just the so pretty now I'm just fixing another Christmas. So I hope to see you in the next one.
13. Project 9 : Letters to Santa!: Onto the next one. And this one's a little special. So as kids, we all must have written letters to Santa telling him how good we are be in throughout the year and what we want for Christmas. So when I was just searching through Pinterest for some nice Christmas images, this one popped up and it kind of filled me with nostalgia. So I just thought I'll add this two projects. This is all about writing some cute little letters to center. So they're all address to Santa Claus dot pool. And it's really sweet. I just found them to be really sweet. So I thought I'll add it here. So I'm just gonna write it here in kind of make edition draping. Let's start by real in writing by the way, but since these letters are written by kids, so I'm just adding it here, like Santa Claus, not boom. As a kid, I always used to wonder like, how does Santa know who wants what like which kid gets what precedent? And how does he just manage this inventory of all the gifts that need to go to all the kids. And I remember being really worried about writing the right spellings because we had this at school as well. So we had kind of a box where you could just drop in what you wanted from Santa. And I'm pretty sure that the letters which is passed on back to parents, but it was fun and it was something which gave us a lot of hope. And but I had to make sure that whatever I was writing was the exact correct spelling that needs to go in there. And we're talking about a ij when I couldn't really Google that. So it's just bringing back a lot of fun memories. I added a few simple Christmas ie things at the top. Now I'm just going to raise it a bit and let's get started with the painting. So I'm adding a very light wash off yellow ochre and burnt sienna. It's kind of a mix, but you can go for either of these colors just we need that, a light yellowish brown for the base layer. And then we'd be adding a lot of details on top of this. But for now, we just need that base wash for the letters. Don't worry if it is not a very even wash at this point because like I said, we're going to add a lot more detail on top of this. Also, we are going to add some more darker value onto this to make it blend wet on wet. So this is just the base wash. And now I'll just pick up some pigment. It burnt umber, and we first drop it. And the areas where the letters are overlapping. So just to show some shadows like this. And Once that is done, once we have enough of the shadow effect, we'll just drop in a little extra onto the letters themselves. Now, let's start with the simple Christmas. He thinks that the dog, including the holly leaves and the Berries, will also be adding a little bit of leaves later on with the record brush. Right now. I'm just doing the same thing that we did earlier. Just following the holy leaves, added a light to start with and then add texture. Now, I'll drop in darker green now. To get the texture, it's almost drying up, so I may need to blend it in a little. That's fine. 3d. It's still not be working with on dry. It's still a little wet. Just maybe some of the leaves may need a little bit of blending, but that's fine. Alright, well let us crying. Let's start with the shadows in the spot of the envelope. So I'm just taking a doc Dhaka value, slightly darker value of the bond Sienna, and adding it again in the places where the letters overlap. And once you've done this, use a clean brush and just blend it in a little bit like this so that it's not a very harsh, hard edge of the shadow. Mu, just making sure that it's blended in. So just use clean, fresh with this. Same for the letter of the bag. B, add in a little bit of burnt sienna, and then use a clean brush and blended in. And while we're at it, I'll just add a little bit of texture to this one at the front, this letter at the front. It was looking too monotonous. So I am just reading it a bit and then dropping in a little bit of burn CMA. Now start with the background. So for this I'm using a light wash of indigo. So again V, V using just to create this simple background to the letters. So I'm not gonna go very dark on this one. And using a very light value. And let us try now. Okay, so now that start with the batteries. So just doing these simple berries with a little bit of highlight. And as always, we'd be adding the shadows later on with the slightly darker value of the same color. And I'll add some details to these holly leaves. So using my thin brush and just adding some simple details. The leaves and very dry and in the meantime, start working on the details on the letters. So we do have some stamps, so I'm planning to make a few red ones and the Screen1 really add in some details on the stampede drawn. But for now, just float and double stamp. This one, the one at the back. And again, I'm going to add a red stamp to this one. Now that my colleagues have tried, I'll just start with the simple leaves. So use it then to create these four leaves. I really loved the character they add to these. And it leaves, just by adding the four leaves, it changes everything so much. So just giving some finishing touches. Now, let's add some details to the berries. So I'm just adding shadows using the darker color, darker value of the same color. Back to the shadows on these letters. So I'm adding a little bit of burnt sienna using a very thin brush. The bees. And also for this one at the back. Next we write that address and whom we want to send this letter to. So I am using a thin brush and this indigo color to do it. You can also try it out with Ben if you do not want to write it down with a brush, just use a marker pen to write this down. The address needs repo effect. It has to be Sandec gloss on the North Pole. So make sure that you do the same for the other letters. Now. Now there's another set of stamps, stamping from Apple Store offers from wherever you are sending it. So I'm just adding that value of Sienna. Then with the painting part. Now it's time to add the highlights, or rather the details for the red stamps. I'm just creating these little ornaments in Christmas ornaments in white. And for the green one, let's draw a cute little Christmas tree ornaments for the red one. And just adding a few dots and lines here and there. And add the edges where v created those shadows. Just a few dots or lines of white. That's it. We're done. And that's it. I hope you enjoyed the letters to San Dao project and whether you've been good or bad to see it, I guess we all deserve gifts. So here's hoping for some good gifts from Santa. See you in the next one.
14. Project 10 : Santa is here!: Okay, now that we have posted our letters, Santa is on his way to deliver all the beautiful gifts. So we're going to paint a little light scape with Santa and his ranges. So this outline that I made is for the moon. And we just draw a nice silhouette for the Santa. And all this ranges along with the sleigh. Now I zoom this in a bit so that you could see it a little more clearly. We're going to paint this in a very darker shade of indigo. So synthesis night scene, we are not going to add a lot of detailing on this. It's going to be more of a silhouette because we have the bright moon in the background. So all we're going to do is to just paint this whole thing in integral or black, whichever way you want. And we'll have a nice dark blue sky in the backdrop. So that's the last ranges. And notice how I'm trying their legs basically just add an angle so that the just seem to be in motion carrying Santa around the town. So that's it. That's all the drawing we need for this one now we read the background, tried to not wet the moon, just avoid the area. So just read the sky around it because we want to show a little bit of blue near the moon. And for that, I'll share a quick tip of how to get that loop. But we need to leave the moon dry. So I'm just taking a little bit care around the edges of the moon. And for the rest of the weekend, just randomly add water. Just make sure that your paper is wet evenly and that's it. So for this guy, I'm going to be using a nice dark ultra marine mix. So I'll just share the color here. This is the current that I am going to be using for the sky. So we'll start with this one, slightly lighter blue, and then add in indigo at the edges. So notice that I have not been getting near the moon, I'm just leaving the area there and letting the colors blending since we've met the people first. So we're just letting the colors blend in, not by themselves. And later on, if you feel that it's too close to the edge. We'll just lift the colors a bit. But for now, just take care that you don't be too close to the moon. Just leave that little white ring around the moon and paying the rest of the people. So I've added my first wash up, ultramarine. Now I'll add a slightly more pigment color. Again, same color, but the value is much darker. And we just drop it in like this. Mean the at the edges so you don't want to get too close to the moon. We just dropping this at the edges and around the moon. So this will help you show a gradual glue or flow of light from the Moon. So I'm just making sure that towards the edges of the people, we have a slightly darker value of the color. And now we'll add indigo. So again, we'd only do this at the edges and since our paper is already wet, so there's not much of blending that needs to be done. Most of it will happen wet on wet. So all we need to do is to add the darker color at the edge. So you can use another combination, any other combination for the sky as well. So like here I've gone, gone for a combination of blue, ultra marine and indigo. But if you prefer different kind of sky or the combination, just go for it, the technique remains the same. Start with the lighter one. Leave some area around the moon and then add in the darker one at the edges. That's it. I think we should stop now I am using a clean brush to lift some paint around the moon and we let it dry. Now my paper is dried, so we'll start with the tree's first, we'll start with the background layer. I'm going to be using indigo for all my, both the layers of the trees, but for the background layer will be using a slightly lighter value. So even though this looks dark in comparison to that background, it's still a much water down, kind of Gallo for indigo. So we use the same technique for painting the Christmas tree. Painting the pine trees. We just add in the tree random strokes like this and follow the overall shape of the tree. That's it. I sometimes just draw the trunk first and then add in the strokes. And sometimes I just go in like this ad in the random strokes to signify the tree. Also, this, these trees are going to be in the background. So we're going to have another layer of trees on top of this one, which is going to be much darker. So. You don't need to add a lot of detail in here. Just to show that they are further behind the foreground trees. And once they are DR, we add the next layer which is going to be slightly darker. And I'm using the same technique and I'm adding the next set of trees. So you can see that this value that I'm using as much darker than the one that I used previously. So it shows that these trees are closer to you. Whereas the ones that I've already tried, the slightly far away. So just use that same principle whenever you want to draw or beam objects that are closer to you or further away, the ones that are closer to you would be much darker in the color and the ones that are farther away will get lighter. So that's what we have tried to do here. And once again, I'm leaving space between the strokes so that we can put in some snow here. But as it is, I'm going to use a whiter panel guage later on to add the snow. So even if you don't do that, it's fine. But I'm just leaving a space like this. Yes. We are almost done with the tree. So once again, once this layer is drawn, we are going to let this dry before moving on to the next part, which is going to be the moon and the silhouette of Santa. And the range is. All right, so we move on to the moon. So what I'm doing here is just wetting it up like this with the slightly not so clean water. So I water is turning bluish, but it's okay. I'm just going to add this very light value of integral like this. And leave it like that so that we have a certain shade of the moon. And once it's dry, we'll start with the silhouette. So I'm using a slightly smaller brush, appointed brush to work on the silhouette. We will just fill in the indigo or black into the outline that we made earlier. I really love how we have this background and this looks nice as well. It must be quite some mu. Now, if you take a brush, brush, brush, brush, it's fine, needs to be binded enough to fill in these details. Now I'm using my wife. Just fix these edges of the moon in case any of the pencil Marx's was Boot Hill. Some just fixing that with my gel pen. Or even if you feel that the Blue has crept in a lot towards the moon, you can just add in a little bit of white here and fix that. And once this is done, we will start with the trees. So we're going to add the snow on top of them. You can use a white garage as well for this, just at some random strokes like these two signified that this norm, these trees. Let's add some snow. And so I'm just going to be adding it simply like this again. I think we have enough dots over here. So I'm going to just dive in a little more random dots and we are done. So I hope Santa finds you, finds your address and gets you all the gifts that you wanted. And that's it. This is our last project. I hope you enjoyed it. See you in the next section.
15. Adios!: And it's a wrap. I love creating this class because it had such a beautiful festive vibe to it. And I really hope that you enjoyed it as well. And you'd be trying out these projects and maybe sending it to your loved ones. Now, if you do share it on social media, and there is that crazy dude LA on Instagram, Facebook, and Pinterest. So you can find me on any of these platforms. Also, I have some cool boots on Pinterest with all the Christmas he stuffs in case you need any more inspiration. So do check it out. And if you have any feedback about this class or any of my other classes, please do reach out to me. I'd love to know about your feedback because it helps me create better classes. And with that, I take your leaf. This is going to be my last class for 2020. I really hope to see you more in 2021. And here's hoping that it's much better and brighter year for all of us. See you next time. Bye bye.
Vinita, That Crazy Doodler
