Fizzy Red Currant: From Drawing to Painting with Watercolors | Eugenia Sudargo | Skillshare

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Fizzy Red Currant: From Drawing to Painting with Watercolors

teacher avatar Eugenia Sudargo, Watercolorist and Graphic Designer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

20 Lessons (1h 32m)
    • 1. INTRODUCTION

      3:54
    • 2. SUPPLIES

      4:07
    • 3. SKETCH: GLASS

      4:54
    • 4. SKETCH: DETAILS

      7:05
    • 5. DRINK BASE

      5:29
    • 6. RED CURRANTS GARNISH

      5:48
    • 7. RED CURRANTS IN DRINK

      3:04
    • 8. ICE

      3:17
    • 9. MINT: BASE COLOUR

      4:10
    • 10. MINT: SHADOW

      5:23
    • 11. MINT IN DRINK

      7:53
    • 12. LIME

      3:18
    • 13. STRAW

      5:45
    • 14. GLASS

      4:09
    • 15. CAST SHADOWS

      6:50
    • 16. HIGHLIGHTS: LIME AND MINT

      3:29
    • 17. HIGHLIGHTS AND SHADOWS FOR CURRANTS AND GLASS

      3:55
    • 18. FINAL DETAILS: FIZZ AND SPLATTERS

      4:41
    • 19. FINAL ADJUSTMENTS / FIXING MISTAKES

      3:35
    • 20. CLOSING AND CLASS PROJECT

      1:28
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About This Class

Today we’re going to be painting a Fizzy Red Currant drink. I haven’t painted drinks for a long time and I’ve forgotten how fun it is to paint them.

In this class, I’m going to show you the full process of how I made this painting, right from the steps of sketching until painting this finished drink. However, like usual, if you want to skip to painting straight away, I’ll also have the line art available for you to download from the resources section, and the line art is taken from my finished painting, including some elements that I may have painted freehand in this class.

I’ll be going over some really fun techniques to achieve certain textures and effects, and I will also include the mistakes that I made, so you know what to do when accidents do happen, which is a very common experience as you paint. And I feel that it’s always best to know how to troubleshoot when we make mistakes in our paintings.

This class is aimed for intermediate students who are comfortable with brush control and colour mixing as the mixes here have very subtle changes, but if you're a beginner of course you can also give this a go, just take your time to paint step by step and enjoy the process.

Like all my other classes I’ll be speeding or skipping through parts of the class where the steps might be repetitive or if my hand is off camera to get the class going, so if you decide to paint along, I’d suggest for you to watch either the full class, or lessons prior to painting along so you know what to expect. And when it’s time to paint, you can pause in between the steps, so you can always work and figure things out as you go in your own time, and move on to the next step when you’re ready.

I hope you guys enjoy this class and let's begin! :D

Meet Your Teacher

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Eugenia Sudargo

Watercolorist and Graphic Designer

Teacher

Hi, my name is Eugenia, and I go by Nia. I'm a graphic design graduate from Curtin University, Western Australia, who loves to paint with watercolours. In my final year, my teachers back in university noticed that most of my design works incorporate watercolours. So I guess I picked up the medium by accident, but now I'm totally in love with them. They're so versatile, flexible and wild at the same time. There are times you need to tame and control them, but there are also times you let the watercolour do its thing!

Mid 2017 I started a watercolor YouTube channel, nianiani and I was quite amazed at the response, I also realised how much I loved uploading videos and sharing tutorials. I started teaching art and watercolour end of last year to children and adults, as a part time jo... See full profile

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Transcripts

1. INTRODUCTION: Everyone, many Miss Nina and I will be your teacher for today's class. Today I am going to be showing you how I painted this fizzy recurrent trick. I haven't Peter drinks for a long time, so I forgot how foreignness to paint them. So in this class I will show you the full process of how I sketch to how I finished the final recurrent drink. However, like usual, If you don't like to draw or you feel like you want to get right to painting. I will also have the liner available for you to download from the Resources section. I will take the line art from the final painting. So this will include some of the elements which I painted freehand. You can also use the line art to only trace parts which you don't want to draw it. So as an example, if you feel uncomfortable during the glass because it might be difficult to get the symmetry right. You can also trace out the glass, but draw out the rest freehand. And this class, I'm going to go over some really fun techniques to achieve certain effects and textures. And I will also include the mistakes that I've made, since those are common mistakes and accidents do happen. And I always feel that it's better to understand how to fix those mistakes. Then keep on going with a painting that you are dissatisfied with when there's an easy way to fix it. And before we begin, let me just go over the outline for you so you know what to expect of this class. After this introduction, I will show you the supplies including the colors that I'll be using for this class. Then we get right into tackling this painting by first sketching out the glass and the details of the filling, as well as the garnish. Once we're done with the sketch, then we get right into painting, starting with the base color of the drink. And while we wait for that to settle, I am going to pay the red current garnish and then followed with the red currants and the drink. Then we'll continue with the fun elements, which is the eyes and how to make it look transparent. Then onto the greens off emit, starting with the base color and the shadow, followed with the myths submerged in the drink. After that, we're going to add the additional details such as the line and the strong. Then we're going to clean up the shape of the glass followed with painting the cast shadow or function to create a slight glowing effect. And then finishing off with extra highlights for each of the element, and then adding the detail of the fifth and optionals platters. Lastly, we move on to the bonus lesson on how I fix some stakes. And we finish everything off with the closing and also the class project. This class is aimed for intermediate students who are comfortable with brush control and also water control. Since I will be including some wet on wet and wet on tracking techniques. So it would be better if you understand the speeches and between the dry and the wet surface and how the paint is going to react between those two stages. However, if you're a beginner and you would like to give this ago, just take your time and try to follow the lesson step-by-step and enjoy the process. Like all my other classes, I will be skipping through parts of the painting where my hand as either active or off-camera. But this is not really to sped up. So hopefully it's a good enough speed for you to follow. But if you do want to paint too long, and I understand that everyone works at a different pace. It would be best to always watch the lesson or the class prior to painting along so you know what to expect of the next step. And when you are ready to paint along, you can pause in between each step and then go through the painting again once you're ready. So there's nothing rushing you and you can just work at your own pace. So with all that said, let's begin and I hope you guys enjoy. 2. SUPPLIES: Before we start tackling this painting, I'm just going through us down the supplies I used as well as the options to paint the string. The paper that I'll be using today is by the brand Arches. It's 300 Its fine grain and I've taken it from this watercolor pad. Then I cut it down to the size 20 centimeters by 15 centimeters. But you can also adjust the size to scale the painting as you would like. You can make it either larger or smaller than what I've painted here from painting this on Canson as well as arches. I have gathered that the paper reacts very differently, especially when it comes to taking the color. The colors on artists are much more vibrant without having to apply to many layers. Whereas the paint tend to feed more as it dries on the Canson. So if you are using a different brand, you might need to adjust and add more layers to get the same vibrancy of colors. I wanted to just give you a heads up before starting this painting. On the side here, I also have the scrap watercolor paper in case I ever need to swatch certain colors. Ideally, it would be best to use the same runoff water clear papers so the paint reacts the same way as it does for the painting. For the brushes, there'll be using three types of brushes. The largest one here is a size six by Holbein. This is a natural hair brush and I feel like it can hold more water. So I use this for the base color of the glass. So I can work quickly without having to reload the brush constantly. And next one I have here is a synthetic brush by George urine. It's basically the same as any other synthetic brush, but this is just the one that I have. This as a size 0, but as you can see, is fairly large. So just be mindful of the brand and the size, because the size itself will vary between those brands. And just use the one according to the scale of your painting. The last one is my favorite fine detail brush, which is the Winsor Newton sub-threshold number two. And this is a size 0. So as you can see, even if they're the same size, the Winsor Newton is much smaller than the George yarn. So this is what I meant before by looking at the size of visually instead of just going with the numbers. So here's the set of paints that I'll be using, their mixture of different brands. This first one is lemony yellow by Holbein, hence the yellow by Daniel Smith. Quinn read by Daniel Smith, not flow, read by m gram, yellow ochre by Holbein, fermenting green and Richie by Holbein, viridian by Holbein, Manganese Blue by Winsor Newton, and last lease, IPR by Holbein. As far the pellet I'm using my usual deisel plastic pellet, but you can also opt for a porcelain plates. Anything with a water resistant surface that is whites, I think would be sufficient. I'll also be using whitewash. This is from my Hemingway HashSet. And I find that it has a medium level of opacity, but you can use any brand of gosh, you're used to like the Winsor Newton per minute White, which was my go-to. So basically any opaque white wash will work really well to paint the highlights with. You also need a clean jar to hold your water as well as tissue to clean up brush. I'll be including the sketching part of this painting. And this is the eraser and the pencil that I'll be using the eraser as bicycle era. And the pencil is a pentose sharp lit with HB filling. If you choose to not draw along and go straight to painting, you can also download the line art from the resources section of this course, which can be accessed through the scotia website on your desktop. And you can use that to trace on your watercolor paper and go straight to painting. And here are the list of suppliers, again, which you can Screenshot to get your supplies ready if you need to. 3. SKETCH: GLASS: In this lesson, I'm going to show you how I'm going to approach during the glass. So firstly, I want to have an idea of what the height of the glass is going to be and how I'm going to position it. Once I have that rough estimate and my mind, then I want to figure out where to please the rim or the oval on top of the glass. So it's tackle that. I like to create one horizontal line and one vertical line with the horizontal being longer than the vertical to create a cross. And with this, I'm trying to get the measurement as equal on both sides and from the top and bottom as possible. So I can use this as a guide to create my oval. If you're not too comfortable with drawing out street lines, you can also use a ruler for this. It is just how I break it down. And you can also add the curves on all of the ends first and before joining it together. That would also be much easier. The paper that I'm using, as I mentioned before in the supplies, arches on its fine grain. However, it is more texture than what I'm used to, which is the Canson XL. So to create those straight lines is actually quite hard. So just be mindful of this when you're drawing this out, it might be easier using a ruler. But if you are using, say, a hot press paper or something which has a finer texture, you can also try to practice if you want to challenge yourself to draw it out without a ruler. So as you can see, I'm just going to go back and forth to clean the lines as much as I can. And I'm not putting much pressure on my pencil at all because I don't want to damage the paper. Once I've finished the room now, I'm going to continue on with that vertical line and I'm trying to get this as straight as possible down the middle. You can again use a ruler for this, I am actually going to swap two using a ruler because it's much easier to measure it out to at this point. And I'm trying to get the bottom to be a bit wider than the top so I can round it off later on. Again, I measured both sides to be as equal as possible, and then I just connect all of those lines together. Now you can see that the sheep is a bit weird. So I am going to go up, a few centimeters up. And this depends on the measurement that you want to. You can customize this yourself. I'm just estimating it. And then I'm also going to section out the bottom just a couple of centimeters on both sides. You can again adjust the measurement of this, but I'm just going to do around 1.5 centimeters. However, you do want this equal because you want the glass to be symmetrical. And after that I'm just connecting those points together and I'm trying to get it as equal as possible. This is a little bit tricky, and I always recommend for you to hold your pencil a bit further away from the tip. That way your wrist as Memorial exposition where you can control the curves better, where it reaches the points at the bottom. I'd like to also permit slightly so it's not completely flat at the bottom. And then I just like to add a little bit for the base off the glass. For the bottom. I'm just eyeballing it, but you can also add those points to make it as even as possible if you need the extra guideline. So I think I'm fairly happy with the shape here, so I'm just going to erase all of the guidelines. And if I accidentally erased the outline while doing this, I'm just going to draw it out. And I tried to make the lines as thin and light as possible. 4. SKETCH: DETAILS: Now I'm going to be drawing up the contents of the string. You can follow along or even customize your own. And I will also have the outline of the finished painting in the resources section. So you can also do that if you don't want to draw your own. I'm starting out here by drawing out some mint leaves. And I'm going to draw a force them of them. And I want it to be quite dense. So I'm starting with the base layer where the leaves are the biggest. And as I add more on the top layers, I'm going to add smaller and younger leaves. I like to erase the lines that I go over so the lines from the glass does not distract the lines for the lease. For the smaller ones, I also wanted to look more natural, so I added some twists and a bit of folds to the leafs. But because my paper is quite rough, it's not so clear here. And I can also still paint on top of this and might not even turn out as how I've outlined it. But I like to just have a bit of guidance as a painting leader. Next to the mint leaves, I'm also going to add a slice of lime as garnish. You can also change this to other citrus fruits as you colorant leader on. For the citrus slice, I intentionally make it sort of facing sideways. And this is to show a bit more form for the slide, so it's not too flat for the composition. I feel like it would be nice to add a tall elements here on the right hand side. So I decided to use my ruler and add a thick straw. Just like the glass. I tried to meet the lines as clean as possible. So I keep on raising and realigning it until I get the accuracy that I'm looking for. On the left side, I'm going to add the red currants. And for this I'm just drawing out circles. But in terms of the composition, I do try to draw them in layers. So you can sort of see that they're piled up on top of each other. And this will make the composition look a bit more three-dimensional. And then to fill in the rest of the space, I'm going to add ice. As for the eyes, I'm actually drawing out random blobs. It's a little bit geometrical still in terms of shape. But if you tried to imagine, say, a block of ice cube that has been melting, it somehow transform into moreover random shape, but it still has some of those edges. I'd like to also add some red currants, some single red parents on top of the ice cube. And I feel like this added imperfection makes the composition look a bit more natural and realistic. And if the shape of the ice cube before wasn't to clear, this is how I like to farm them and the glass, I tend to place them near the top because the ice cubes tend to float up. Then on top of this, I also want to add a couple of mint leaves and also more red currents floating inside of the glass. You don't have to draw them with the same placement. In fact, this is where you can customize it or even add more elements on top of what I have shown you here. Just because this is what my outline looks like at the moment. It doesn't mean that I can't customize it further as I paint leader on. So it's also up to you whether you want to add on more red currents are not in the glass because it's actually quite easy to just add more of them on as we paint. So it's not going to be a problem. However, the main areas which I want to avoid painting street on are the Mendeleev's straw and also the ice cubes. For this drawing. I'm just going to add spirals for the design. But you can also customize this yourself. You can add polka dots are any other pattern you have in mind. This is optional, but I'm also going to add some red currants outside of the glass, just scattered around randomly. And last but not least, I also decided to draw out the placement of the shadows to make it a bit easier. As IPT leader. As I mentioned before, you can opt for the option of tracing from the outline that I have provided. However, if you do want to give the drawing a goal, but you're too scared of drinks, treats on your watercolour paper, because maybe you know that you're quite heavy handed and you might erase too much and you don't want to risk damaging the watercolor paper. You can also draw this out on another piece of paper. It can be print paper, any paper. And then align it with ink and then erase all the dirty lines so you get something that is clear for you on your watercolor paper. 5. DRINK BASE: In this lesson, I'm going to be painting the base color of the drink itself. And I want the colors for the drink to be as bright and as saturated as possible. So I'm going to first clean out the colors in the pan. And I'm just doing this by wetting my brush to take access paint off different colors that might be dirty being the paint that I have. So I just want to make sure that the color is as pure as possible when I take it later on. Once I've done that, I'm going to begin by wedding, the area that I'm going to paint with clean water. And I'm just using a clean brush for this to apply the water. I'm coloring the whole area in the glass except for the straw, the leaves, and also the ice cubes. But I'm going over the red currents, which are the circles with water because I'm going to be using the word on what technique later on to paint these. Just take your time while you're doing this because you don't want to accidentally get paint on where you don't want the paint to go and the water will just act as sort of a medium to move the paint along. So whatever surface is wet with water and the paint will travel easily to that area. So you do want to keep those specific elements try. I'm going to begin by activating the color lemony yellow. And I'm starting by leaving out some whitespace while it's still wet because I want to make a gradient from practically nothing to that really light lemon yellow. And then as we move forward, I'm going to be adding an orange color. And for that, I mix enough full red with hands-on yellow together with a bit more hands-on yellow in the ratio. From here, hopefully you start to get an image of what I'm trying to do, which is to create a gradient from that really like yellow and two, pink as we get to the top. And the orange just acts as a transition color. As I built on the gradient, I just added more, not full red in the orange mixture. So as you can see, I'm just gradually adding more read until I get to the pink part. You may also notice that the water was running on my left side and its traveling off the lined area and accidents do happen. I might have accidentally touched that wet area or I maybe wasn't too careful as I was wetting the surface. But if things like that do happen, just make sure you catch it while it's still wet so it's easier to just take off with tissue so far from the yellow to orange to red and they look all very warm. So I want to add a cooler pink. And for this I used Quinn red. And I'm just going to add it right at the top of the gradient. And while the surface is still slightly damp, I'm just going to soft in the transition by moving the paint around. My paper at this point is fairly damp. It's not too wet, but it's not too dry either. And I feel like this is a good stage for me to add the red currants because I do want a slide leading into the color of the drink itself. But if your surface is too wet, then the color is going to run too quickly and it's just going to mess up that whole area. A good indication is that the paper should be slightly cold to the touch still. But you can't really see too much of a machine. For this, I'm using a mix of nuff, full red with a bit of hands-on yellow. And I'm using quite a light to medium consistency. You can see that the paint is starting to spread outwards. So when I do paint this, I do try to not paint to the edge of the pencil mark. Even then if the colors bleed more than I want them to. I'm just going to take the access off with a clean dry brush. And another point to notice is that I've placed some currents behind the ice cubes and where the current is passed those ice cubes, I avoid painting those areas because that's to be painted along as part of the ice cubes later in the class. 6. RED CURRANTS GARNISH: In this lesson, I'm going to be painting the red currants. And these are the individual bread currents which are not in the drinks. And for this I'm mixing hands-on yellow. Nafta will read and also Quinn read together. And I'm just mixing up the ratio. Of course it's going to be mostly read. But some can have a bit more hands, a yellow, and some bit more read. I like to also play around with the consistency. So some fruits might be lighter than the other. In terms of the application, if you haven't noticed, I also switch my brush to the smaller size one. You can use any brand that you have, but the size will vary. So just make sure the size of your brush is suited according to the size of your painting. While coloring this, I also like to leave out some white negative space for the highlights. This is optional. You can do this with whitewashed later on, but I just find that leaving the color of the paper white, mix the color pop more than a few words to add the whitewash. Of course, I'm also going to touch up a whitewash leader, but I think this adds a different type of brightness by leaving out the whitespace here. Since the currents are right on top or next to each other, I like to either wait for those individual currents to dry one by one or two, leave out a little bit of negative space in between each fruit. And this can be very small as long as those individual circles are separated. This is because of a group of them as wet and they are connected to each other. The paint will run through those surface, which will combine and then flatten the shapes. So to keep those individual shapes, I feel that it's very important to keep them as separate fruits. The shape of the highlight should also follow the roundness of those red currants to accentuate the forum. You'll probably notice I also left out a negative space for the rims so we don't lose the form of the glass that we worked hard on at the beginning. As for the colors, you might see me adding a darker red for the latter currents that I painted while the area is still wet. And this will give a bit more form to those individual 4B shapes. And I also feel that it creates more of a separation as the bottom part tend to be a bit darker than the top part of the current. As an extra tip, I like to always have a good point on my brush as I'm painting this. And I'm also making sure that I have a medium load, which means as not to dry that the Bristol start to separate and it's not too wet so the bristles are not collecting too much water. This will basically help the paints and glide easily as you paint without creating puddles on those individual tiny areas. You're trying to Pete. And just going to paint the rest after current surrounding the drink using the same method that I mentioned earlier. As you can see, there's a lot of repetition, but I see about us good practice. And it's also very relaxing to beat something simple, continuous space sometimes. So I'll get back to you at the next lesson where we'll move on to the next step, or feel free to paint along till the end of this lesson. Ok. 7. RED CURRANTS IN DRINK: In this lesson, I'm going to be painting the currents within the drink. We've painted this before, but I'm just going to define the shapes. So for the currents which are pleased, sort of more towards the front of the drink, I'm going to be using a darker consistency or a thicker consistency with a darker red. And as the currents move towards the back where the drink is covering at more or the liquid is covering more. I'm going to paint it with a lighter consistency. This way you are going to be able to see a little bit of depth in terms of the currents, so they don't look completely flat in the glass. For this, I'm using the same colors as they use previously, which are pansy yellow, red, and also Quinn red. And I adjust the ratio according to the type of bread that I want to paint when I apply the colors, I tried to also paint within the blurry lines that we painted earlier with the drink. This is so you can still see a slight transition between the shapes and the background without it being too sharp of an edge. So after the paint half settled here, I'm going in with a darker red with just some Musharraf enough fluoride and the Quinn red. And then painting in the middle of the circles that I initially painted while leaving a bit off the base color from before. So you can see a darker red in the middle of the circle. And because the color that I initially painted as still a little bit damp, It's just going to blur out nicely, creating a soft transition. So thus offer the darker and more defined currents. So now I'm going to add on the lighter ones. It's easier for me to paint with darker ones first. But if it's easier for you to imagine the placement, if you were to paint the lighter ones first, you can also change up the steps. So here I'm just placing more and between those areas. If I feel the need to fill in certain spaces to create a balanced composition. And for the colors. Because I want this to be a lighter red, I used more hands yellow and the ratio also use a lighter consistency. So it looks a bit more blurry and receipts toys the batch. 8. ICE: So here I'm still going to be using the same colors as the drink, as well as the red currants. And I'm going to be using them to paint the ice cubes this time. The reason why I'm using the same colors as because the ice cubes are technically transparent. So the only thing you can see at the moment are just the currents and also the color of the drink. Firstly, before I forget, I like to add on the color is off the current and which are hidden behind the ice cubes. So I'm just connecting it to the currents which are visible and we've previously painted before. This is so I remember the police mint. So I'm just going to go ahead and do that for all of the ice cubes. And after I've placed the actual current itself, the rest off the ice cubes, I use the color of the background of the drink. So here you'll see me making a mistake. So I'm going to erase that bottom part since the back of that bottom part is supposed to be the light orange colored. So I'm going to repeat it. And this way, the ice cube will look more transparent. While doing all this, I like to leave out some white negative space. And I tried to imagine something that's a bit blocky and geometrical and shape, but it's still fairly random. So you don't really have to think up of a certain sheep that you're trying to create with the negative space. If you make a mistake or you feel like adding the colors this way as older but too tricky for you. You can also color in without any hesitation because we can always go back in with the white wash to fix certain things or paint the white outlines completely with Gosh, I just find that having the white of the paper gives more awful vibrant white compared to adding that white wash because it has the background color. So I tried to do that whenever I can. However, if that's a bit to advance, because it can be a bit tricky if you're not used to doing this. You can stick with just the whitewash. And you felt unlike the space and between the red currants and also the ice as a bit awkward because the eyes is supposed to float upwards. So I'm just adding more red to represent more off the red currents that is hidden at the back of the drink. Here, I felt like I needed to add more eyes for the composition, but I didn't plan on it. And therefore I did not leave out any white of the paper. So I'm going to use a slightly darker red and painted as they did for the previous i's. And this should look like this particular eyes is just placed slightly behind the other Since the color is not as contrasting and chart. 9. MINT: BASE COLOUR: We're going to move on to the greens now, which are the ment. And for this, I'm going to activate all of my colors that I'm going to be using first for easy access, the colors are permanent, green to yellow, ochre, pansy yellow, and also naphtha read. The permanent and green number two will act as the base green. Yellow ochre will mute the green, as well as lightened the green. Hence the yellow will brighten and turn the green and two more overland green color, while the nanofarads will give warmth to the green as well as new debt at the same time. So I'm just going to take any of these colors whenever I need to adjust the tone of the green. I want to start with a medium consistency of a light tone of green. So I'm starting with a permanent green as well as the yellow ochre while adding quite a bit of hands-on below and to the mixture. While painting beliefs, I like to leave out a little bit of white space like usual so it doesn't look too bulky. And while I'm painting this, I'm also trying to direct the paint and the brush strokes towards the direction of the veins. This way, if I leave out any white negative space, follow the direction of the veins. Some of the leafs that I've drawn out here is slightly curved. So if it is curved, I'm also going to follow that curvature while I'm painting it. This way, the negative space will also follow the movement, instead of it being an, an opposite position, which might then distract from the actual shape and movement of the leaves. You might see here that in green that I'm painting with at the moment is a bit different and that's okay. Like usual. I like to always vary the tone slightly, just like what I did with the red currants. This way, it will help create the separation between those sleeves and they won't all look the same. I'm just going to add an additional leave behind the one that I've already painted. And for this, I'm using a daikon green in a thicker consistency. This is positioned right under the light green leaf, so I wanted to be well separated with the other. And I feel like it also creates a distinctive layer underneath. As further smaller leaves. Again, I'm using the same technique as how I painted the red currants. And that's to leave out a bit off white negative space again and between each shape. So they don't all blend together creating a giant green silhouette. This way. It's also a good reminder for me to add the shadows and redefine the shapes and the next lesson. 10. MINT: SHADOW: I'm just going to build up the colors of the leaves and add a little bit more detail. I'm still using the same colors for the moment as the base. And I'm just going to use a fin to medium consistency on top of the dry base so you can still see the colours on top. And I'm doing this to paint the texture. I'm basically painting the leaves with the same directional strokes as I did in the previous lesson. But I'm just going to leave out more negative space in between those strokes. So now the pattern that you are creating from the base color as a bit more visible. On the left here I've left out a couple of leaves, so I'm just going to add the same base color as I did for the previous leaves and then go back to the leaves on the right, just so I have time to wait for the Swanson dry. Now, I'm going to start at the darker green. For this, I used a mixture of radian, which is a very vivid dark, cool green, with Serbia, which is a very dark muted Brown. I'm mixing these two so the green will be much more muted with a natural tone. And to also lower the value of the green, I like to add the previous screen with the yellow or the yellow ochre. You can adjust the tone of green as you see fit for this one. But for me, I personally work with a green that isn't too dark to begin with, and worked my way through to the darker tones as I built the leaders and also the details. I'd like to add more details for the veins and midrib, and also near the smaller leaves which are gathered together in the middle. I used this dark green to separate those shapes and to make them look more defined than what they currently are. I like to darken some of the bottom leaves while leaving the smaller younger leaves a lighter color. And I find that this creates a good separation. But I also tried to not overwork this so the dark green shouldn't overwhelm the younger and lighter green leafs. Depending on the paper you use. For me, I personally don't work with are just too much. But I have also found out while creating this, that the paper takes n colors so much better than the paper that I usually use, which is the Canson acts. This way. I don't need to add as many layers. However, depending on the paper that you are using, the colors might feed more than what it is doing. And my case. And if some of the base color that you've placed down have faded too much and feel free to just build as many layers as you feel the need to. With this type of illustration, there are really no set rules or certain steps that can't be broken. Apart from the basics and the fundamentals that I know. This is just a casual interpretation that I need to create this drink, which is also something that I imagined. So I didn't really use any reference for this. So it whenever you feel like you need to adjust more or add more layers. And even if you don't like the color mixtures that I've picked or the choices that I've made. You are always free to change it up and customize it to your taste. For some other folded leaves. I also tried to separate the colors by using either a light or a darker green depending on the color that I've pleased for the base. And that's pretty much it for these metal use. It is just a matter of adding texture for the midrib and also the veins, and then redefining to separate those shapes so they look like individual leaves. 11. MINT IN DRINK: Well, I have these colors out already. I'm going to go ahead and paint the leaves in the drink. I've left out a couple of leaves with the white of the paper and I'm just going to paint the base color the same way as I did with a garnish, which is from a mixture of hands-on yellow, permanent and green number two, and also a little bit of yellow ochre. And painting it by using the same method, by following the direction of veins and also the midrib. I'm going to apply this to both of them and build up on the leaders later after this. I've also forgotten that I've left out one more leaf which is attached to the garnish. So I'm just going to paint it using the same light green colored. And I've also drawn out a leaf on the other side, which has just grown from the same stem, or for that one and painting it on the pink color. So the green will be a glazed on top of the pink color of the drink. I'm just going to add to the second layer now using the same colour mixtures as before. And I'm painting this on after the base color has already dried. Now I'm going back in with third layer and as you can see, I took a bit more from the darker green mixture and added it to the color that I used previously. And for this I'm just going to add the midrib. And with a thin consistency, I'm also going to add a vein slightly. I'm also going to work on the leaf at the top. And for this I use that darker green to separate the faults together so the inner fold is a little bit darker than the outer fault. Now I'm using the same green for the stems of the leaf to complete the shape. And I'm also going to add some of the veins for the outside fourths of the leaf on top. I'm also going to add a bit of detail for the leaf underneath the garnish. This is going to be attached to that top part of the leaf. So I'm going to build up the bottom. So it doesn't look as sparse as what it is at the moment. And now to attach those leaves together, I'm going to add the stems. And for this I'm using a mixture of quinn read Manganese Blue to make a proposal, and also Serbia. For a part of the stem which I'm going to hide behind the eyes. I'm going to only color in the spaces which has the red. So I'm still leaving out that white negative space for E outer shape of those ice cubes. And I'm going to use that color for the stem off beliefs as well. So this is the fun part. I really like painting additional freehand details to the painting because the sheep itself doesn't have to be clear. So I'm adding and spreading more mint leaves in the drink. Currently, I feel like the drink looks too warm in terms of temperature and read. So I like to add some after light greens from belief to balance out the composition with a nice opposite color as, except I'm imagining that there would be more leafs stuck between the ice. So I like to add some green behind the ice cubes, just like what I did with the stem by leaving out the negative space of the shape or the ice cubes. But I'm also going to mix it up a bit by painting some leaves which are placed in front of the eyes as well. So just have fun with this part of the painting. So at the moment, since we've only used one color for those added leaves, the shapes look pretty flat, so I'm just going to use a slightly darker green to add a little bit of details. It does not have to be specific or clean in any way. It just adds a little bit of dimension and detailed to your painting so it looks more balance and cohesive with the rest of the Middle East. For those larger leafs and the glass, I'm going to add a bit of colour of the drink may mixing Quinn red, yellow, red and hands-on yellow. And I'm just trying to find a similar tone to the color that is surrounding beliefs. I'm going to glaze some areas with mixtures, so parts of the leaf looks a bit clearer where some has that peachy glaze. And this will look like parts of those leaves looks submerged, F naught the bright green, right? Please. 12. LIME: While I have the green still on my palette, I'm going to work on the lime. And for this, I'm going to mix a lime green color. So I'm using the same mixture as the base color of the leaves, which is from permanent green number two, hands yellow and also yellow ochre. I'm going to make this a bit lighter than the color of the mint leaves. So those two elements doesn't blend together. So as you can see, the color here is a very light Lane Green with a higher ratio of hands-on yellow. And to give that rind a bit of texture, I'm applying the paint using the tip of my brush to create small brush strokes, which will leave small native species to suggest the small highlights for the texture of the rind. I also follow the roundness of the shape. And this will create a subtle cross contour off the fruit. Here, as you can see, parts of the rind is hidden behind the ice. So I'm just following the same method as before by leaving out the negative space that I've left out for the ice to keep the shape. And now using a darker green, I'm going to add onto the textures. So I'm adding that darker green to the bottom, especially because there's less liked there. And I'm just painting dots on top of the Rhine to give it that extra bumpy texture. This is not part of the line, but I seem to have left up a small part of the leaf which is peeking through the straw. So I'm just going to quickly color it in. The next color that I want to mix is a light muted green color. So I use permanent green number two with yellow ochre more than the hands-on yellow, because yellow ochre is a bit more muted. And I am just using the tip of my brush to paint the sections of the lime. I'm doing this very delicately because the lime itself is quite small. So I don't want the line of the sections to be too thick for the flesh of the line. I'm using a very light yellow green color again. So more hands yellow in the mixture. And I'm painting long dots or ovals following the direction towards the center and leaving out a lot of white negative space. I only painted the section part lead. Then I followed up using a cleaner brush with less paint so I can spread the paint which is already on the paper. And for this, ideally you want to wait for the section lines to be completely dry because they are very delicate marks and the tones are not too different. But I was impatient, so I had to redefine the shapes further. 13. STRAW: I'm going to be painting the straw now. I'm starting with a base color by mixing yellow ochre that's already on my palette with a little bit of Manganese Blue. And Manganese Blue here was a bit dirty from a bit of quinn read. So you might want to also add a touch of that if your paint is completely clean to create sort of like a greenish, yellow, green color. I'm using a very light consistency for this. And I'm going to paint the horse draw with this color very lightly to depict the white of the straw where the ice is placed in front of the star. I'm going to do the same thing by avoiding the outline off the ice. So it stays the king S3. For this worlds on the straw, I'm going to be using a mixture of hands, yellow and some nap for red. This is to create a deep yellow color that's similar or going towards an orange tone. I'm just going to paint the base color with this. For my trial. I actually painted purple on top of the yellow, and it looks really cute. I used the PESTLE purple, but I think other pastel colors would also work really well for the straw. So this is definitely something that you can customize and play around with. Generally as an overview for the color of this straw, I am trying to make the right side of this draw a little bit darker than the left. So you might see that I have a slightly darker value on the right hand side with the yellow and then I softer net with more water on the left side. But I am still going to layer this. So if this is a bit hard at the shadow by leering at later on. After I've placed the main colors, you can see that the straw looks a little bit out of place as if it's not submerged and the drink. And to do this, I'm going to add a light consistency of the drink polar on the straw and just do a slight glazed. I'm going to roughly follow the gradient of the drink. And as I get towards the bottom, I tried to do a lighter glazed, since I want the straw to be slightly tilting towards us as it gets to the bottom, which means the color of the straw should be more pure and clear at the bottom. So you can see I was working with more of a pinkish color. And as I move towards the bottom, I'm now adding more hands-on yellow. Here. I started just using the lemon yellow until I leave the bottom completely as the base color off the straw. And while the paint is still wet, you can add more colors. If you feel like the color that you put on was a bit too light over consistency to begin with. And I'm also going to blur the straw slightly to give it a bit more balanced with the blurry red currents as well. While I wait for the storage dry, I'm going to add a bit of detail for the stem of the red current garnish. And I'm using the same mixture as the stem of the mint leaves, which is a mixture of sedia, Manganese, Blue, and Quinn read, I'm sticking to this brush because it has point. But you can also switch to your smaller brush for more control. So here's where I start adding the shadows. I'm using the color from the stem, but this time I'm using a very thin consistency to paint this side of the straw. I'm just basically aligning the side very thinly and at the bottom, I also felt and the color of the straw using the same color mixture. At the top, I felt like it needs a bit more definition, so I used an even thinner consistency to paint the same color. And then I'm going to soft tenet using a clean, damp rush to create a soft transition towards the lighter color off the straw. Then I'm going to do the same with the yellow swirls as well. But if you do want the color to be a bit more vibrant, you can add a bit of Hangzhou yellow and not full red in the mixture to create more of an orangey brown. 14. GLASS: In this lesson, I'm just going to clean out the shape of the glass. And I'm going to start by painting the bottom part with just a light consistency of lemon yellow. And while the paint is still wet, I decided to use tissue to take off a little bit where the lightest part of the drink is. I'm going to add the details leader, but I'm going to wait for this to dry first. So I'm going to move on to the sides of the glass. For the sides, I'm going to use a slightly darker color than the drink. And since it's a gradient, I'm also going to paint the sides as gradient to make the top darker. I used a mixture of quinn red with a little bit of Manganese Blue. And I align the sides using the tip of my brush. You can also use the smallest brush you have. For this part. I'm basically just going to paint a thin outline to clean out the edges of the glass. And for the first color, I just painted the top portion. And as I move downwards, I'm going to go for the more pinkish tone with quinn read enough ORed with a tiny bit of hands-on yellow and then increasing the ratio of hands yellow in the mixtures as I get towards the bottom of the glass, each time I'm trying to blend the colors together. So the transition as nice and smooth between the colors for the outline as well as the drink. So here the lightest color is a thin consistency of yellow but still peachy color for the bottom of the glass. And I'm going to follow this through to the base of the glass. I'm first going to outline it with a slightly thicker consistency of the same color so the detail at the bottom is more visible. And I'm also going to add a broken line in the middle following the curvature of the glass for at a detail. Here, I also decided to add a send inconsistency of Manganese Blue to parts of the detail. And I feel like this mix, the detail look a bit more defined. For the rim of the glass, I decided to add a mixture of Mang geese flew with quinn random, which is the same color mixture as the top side of the glass to defend the flat surface of the rim. 15. CAST SHADOWS: Moving on to the shadow of the glass, this part is really fun to paint. I am basically trying to replicate the colour of the glass. So this is sort of both a reflection as well as shadow. I'm starting out by just wetting the surface with clean water. And here I'm just going to focus on the glass for the moment. And as I get towards the top of the shadow or reflection, I tried to create a soft transition for the water to travel through. So the color that travels through that part of the wet surface will also soft and creating a nice transition. Just like the color of a drink. I started out with lemon yellow. I started with a light consistency and then added a thicker consistency after I get a good gauge of how the color looks on the wet surface, I also left out a section where the light is shining through from behind the drink. So I also wanted to pick this for the reflection or the shadow Islam. Next to that lemon yellow, I added an orange, which is from a mixture of hands-on yellow and not full red. And I'm going to slowly build those up to the peachy color from the mixture of quinn read enough already and a little bit of hands-on yellow. I tried to get those colours surrounding the lemon yellow. And as I get towards the top of the reflection of the glass, I want to slowly transition and to the color of the paper itself by cleaning out my brush and reloading it with clean water to activate the paint and that area and then slowly softening the transition. I want to use a darker consistency of the same base color for the shadow closest to the bottom of the glass. And this will make the shadow pop out a little bit more. Since the light as the strongest coming from the back of the drink, I'm going to add a likelihood of manganese blue to the red current that is placed in front of that drink. And I'm going to place it at the bottom center while leaving the sides with the original base color. And I'm going to just add an even lighter consistency for the rest of the red currents as well. I'm placing it the same way. And for some, i also the shadow in a smaller area compared to the red parents which are placed in front of the drink. While I wait for the shadow of the glass to dry a little bit more, I want to add the individual shadows for the currents as well. For this, I want the glowing effect, so I'm going to use the same color as the currents. From a mixture of naphtha red, green, red, and attaining thereof hands a yellow for the middle part of the shadow. And as for the sides, I use a mixture of quinn red and Manganese Blue. And I'm going to let them mingle next to each other while they're still wet to create a nice transition as it naturally blends together. I would suggest to pay good attention to the load of your brush while you're doing this. Since we are painting on a small area, just be mindful that your brush isn't overly wet because if the colors are paddling the purple and the red of the currents will just blend completely in a short amount of time. So you want to keep the surface damp but not overly wet for these shadows. And I'm just going to repeat this for all of the right parents scattered around the drink. You'll notice I've forgotten about that one parent. I actually didn't realize this until I was editing the painting, but I'll get back to that at the end of the class, just so that one isn't floating by itself. Here I'm going to add a very thin consistency of the PQ color from the nozzle, Red, Queen red, and hence yellow to paint the strike, as well as some of the red currents and the reflection. The reason why I'm doing this now instead of when the people were still wet, it's because the lemon yellow is painted in a smart area already and I didn't want to lose that incase the color of the paint spread a bit too fast and too much. So I'm just going to use a very thin consistency to paint those elements on the reflection. It felt like the reflections still looks a bit bland. So I'm just going to add a final touch-up for that area. I'm going to use the same peachy color with a bit of manganese blue this time to paint the sides near the bottom of the glass again, and then softening the transition. 16. HIGHLIGHTS: LIME AND MINT: I'm going start painting the highlights with whitewashing this lesson. And since I've taken up most of the space on my palette, I'm just going to clean off a section for the whitewash. I take us most coop off white from the COP and place it on my palette for easy access without there being the rest of my paint. I added a little bit of water to dilute the Guassian, but I don't want to add too much water because I don't want the White to lose its opacity. And I just paint smart oval marks or the depth of my brush on the lime flesh, give it a little bit of highlight. And I also learned the sections very delicately with the tip of my brush to redefine those sections, since the value is quite close together. For the bottom part of the line, I decided to add another layer off the lime green mixture from the mixture of Hangzhou yellow and permanent green number two, since the bottom should be slightly darker in value compared to the top part of the Lyme since and has less light exposure in that area. And to finish off the lime, I added tiny dots with my small brush to depict the texture of the rind, as well as add a little bit of highlights. For the mint leaves. I'm going to do the same thing for all of them. And that's basically to line the midrib as well as the veins very lightly with whitewash. I prefer to use a slightly drier load, so I didn't add too much water in the guage paint. This way the pin glides off a bit roughly on paper creating light and disconnected lines, which I find make it look more delicate. And I'm just going to apply this to all of them and leaves. For some of the mint leaf garnish. I find that certain sections look a little bit too dark for my liking. This is optional to do, but I decided to a lime green color from Anansi yellower and permanent b, number two and I added white to add a little bit of opacity and the color mixture. And I just painted on top of certain areas on the Middle East. 17. HIGHLIGHTS AND SHADOWS FOR CURRANTS AND GLASS: Next I'm going to follow up with the highlights. And this time for the currents i's and also the glass. Firstly, I'm going to add dots to the currents. Personally, I tend to go overboard with my whitewash though. So I tend to take some off the whitewash off in the end after realizing too late. So just add wherever you feel the need to add more highlights for the currents. If not, you can leave it be if you feel like the white negative space that you've left as you paint it as enough for the highlights. As for the eyes, I decided to realign some of the lines where I've accidentally painted over as an example where the straw is covering the isupper too much. So I'm just going to use the white quash here to clean out some of the lines or even add more ice on top of the ones that I've already painted. Next, glass, I like to line inside of the dark outline we made previously. And just ever so lightly create an outline with whitewash for more definition of the glass. I also like to add thick lines for extra highlights as reflection the glass. So here I'm using a very thick consistency, something that's almost even close to a dry brush to make sure that the opacity is really strong. On top of the details that I've put on inside of the glass. And I'm just going to create this thick line on the side and on the right-hand side, I'm also going to add some squiggly lines to give a little bit of movement to the reflection. Here I also add a slightly uneven, jagged line to mark off where the liquid ends and the glass. And then I'm also going to add white to clean the rim of the glass. Lastly, I'm going to add a very thin consistency of a mixture between Manganese Blue and a touch of Queen ran for the shadow of the red currents. This is just to add consistency for the color of the garnish, as well as the red current surrounding the glass. I still want the garnish to be right and vibrant low. So I'm only doing a very like please. And I'm putting the shadow at the bottom of each of the fruit. 18. FINAL DETAILS: FIZZ AND SPLATTERS: Further details of the painting, I'm going to add a small art for each of the currents, frisbee. And I'm only going to use the color sepia, but I've realized that it would be better to make some of the red currants color with snappier because I find that the sepia on top of the red looks a bit too strong for my liking. So I actually took some off towards the end, but it's better to just at now before it's added. So I would definitely suggest to add a bit of red, too soft and the set B are a little bit. This is especially true for the currents and the drink. For that I actually used a very thin consistency compared to what I used for the currents on the outside of the glass because the currents themselves does not have much definition in the drink. So this is where I realized I've added too much highlights for the red current. So I ended up taking some off, reactivating the white and taking off the access paint with tissue and then adding more red to cover the highlight. Next, I'm going to be painting the fears. This next part is very fun to paint. But again, because of that, I tend to go a bit crazy with the whitewash. So just be mindful of this when you're painting the fears to paint it. I'm just using a very thick consistency of the white wash and paint. A bunch of small dots, pleased, close together. And I like to make a wavy trail upwards. As the soda travels up. There should be more fears, slightly at the top than the bottom. But I got too excited and added way too much. This is also because of the easy application. So after painting a few trails, I would definitely suggest to stuff. And then look at the whole painting from a distance to make a decision or whether you would want to add more or stop there. I ended up fixing this and I'll show you how to do that at the extra lesson after this one in case he made the same mistakes as I did. Bottom, I also ended up adding the colour of the drink itself to add more fears since the White as not visible. But again, I don't think this is necessary at this stage. It's all about making your own decision, whether you want to ask certain things, since these are just additional details. Lastly, I'm going to add a bit of colour and splitter for decoration. Again, this is optional. And actuality. This painting is quite detailed as it is, but I still wanted to add a splash of color. So I used a thin consistency of yellow to add different size circles. And after that, I also splattered some of the red current mixture it randomly on the page tapping toothbrushes together. The brush with a peak load should have quite a heavy load for the paint to easily spatter. Well, the spiders are still, but you can also use tissue to take some off if you've dropped some in places where you don't want them to. And of course, I also added small dots with whitewash on the mint leaf varnish. And again, these are optional. It does add more dynamic to the composition. But looking back at it again, the painting with others flutters or do you look finish as it is? So just make your call depending on your taste. 19. FINAL ADJUSTMENTS / FIXING MISTAKES: So welcome to the bonus lesson that S done after I finished the painting off, I even signed it off before realizing that I left out a shadow for the red currants. And that I wanted to get rid of some of the fears after taking a step back for a couple of these to look at the beating again. So first b here, I just wanted to add the shadow for that one current that I left the same way as I did with the orange and red mixture and purple from the Quinn red and Manganese Blue surrounding the red on the shadow or the oval shape. And for the fears I like to reactivate the white wash with water. And once it's reactive needed, I took some of the paint off with tissue and just two over it with the color that is right under the White to cover that bit off highlight or that middle fears. It's basically the same way as how I fix the highlights for the red parents. But this time since it is covering a larger and covering more elements, you do need to add the color according to what is right under the white. So as an example, if I want to get rid of the fares on top of the yellow part of the straw. I reactivate the paint taken off with tissue and cover the rest with that same yellow mixture. If you are using acrylic wash though you won't be able to react to VDD. It sends a world try permanently. So I would suggest to just fix it by painting right on top of it. And I'm just going to make the final adjustments after that. I'm going to call this finished. This would all depend on the current state to offer your painting. So adjusted according to what you feel needs a few adjustments. 20. CLOSING AND CLASS PROJECT: Congratulations for making it to the ends of the class. I hope you guys enjoyed watching the process of how a sketch and painted the fizzy drink. And hopefully those steps are useful and understandable for you to follow along to, for the class project. I would love for you to draw and paint along or just go straight into painting this fizzy drink. But if you want to challenge yourself even further, I would also love to see if he can create your very own trick using the techniques that I've shown in this class. And like usual, once you're done with this project, you can post it in the project section so you can share it with me and other students as well. I can't wait to see what you guys come up with and your different interpretation of the strings. If you enjoy this class and you would like to see more tutorials by nu, you can also follow me on my YouTube channel, neon, neon you where I post weekly watercolor tutorials or any art related videos. And if you would like to see more, maybe you can also follow me on my Instagram at IT underscore neon Yani. And if you guys enjoyed painting the subject matter, please let me know by looking at a review so I can probably postmarked this subject matter and the futures since it is really fun to paints at, I will do so. This class is well received Anyway. Thank you so much for watching. So the end of this class, I hope you guys learned something new from this happy painting, and I'll see you again in the next class. Bye.