Paint Realistic Citrus Fruits in Watercolors | Disha Sharma | Skillshare

Paint Realistic Citrus Fruits in Watercolors

Disha Sharma, Artist and Illustrator

Paint Realistic Citrus Fruits in Watercolors

Disha Sharma, Artist and Illustrator

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9 Lessons (54m)
    • 1. Introduction

      1:34
    • 2. Project Brief

      1:24
    • 3. Supplies

      1:49
    • 4. Sketching

      4:53
    • 5. Watercolor Techniques

      10:12
    • 6. Whole Fruit

      11:37
    • 7. Cut Slices - Top View

      12:24
    • 8. Cut Fruit(advanced)

      9:45
    • 9. Final Thoughts

      0:31
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About This Class

Paint Realistic Citrus Fruits with Watercolors

Hi everyone, and welcome to this class on how to paint realistic citrus fruits using watercolors !

Watercolor is a beautiful medium with amazing techniques and transparency which no other medium can give. This class is divided into step by step video lessons which will help you to easily understand the concept of sketching, light, highlights and shadows with watercolor paints. This is a class for everyone as I have divided this class into 3 paintings ranging from beginner to advanced level.

In this fun class, you will learn :

  • the concept of sketching and understanding the basics of still life 
  • basics of highlights,mid tones and shadows
  • basic techniques of using watercolors
  • what supplies to use
  • how to compose your painting and add depth to it
  • my tips for composition and how to add depth to your paintings

I hope you will enjoy this class and learn something new.

Please feel free to share your feedback and thoughts in the discussion section of this class. 

Happy Painting :)

Disha

Meet Your Teacher

Teacher Profile Image

Disha Sharma

Artist and Illustrator

Teacher

Hello Everyone !!

My name is Disha. I am an artist and illustrator who loves to dive deep into the world of watercolors and gouache. My work includes loose watercolor florals, Realistic botanical paintings and fun gouache illustrations. 

I love combining traditional and digital media and bring life to the illustrations for commercial design, patterns and product packaging. I teach classes on many subjects from traditional watercolors, gouache painting and digital tools including Procreate and Adobe Fresco. 

Here you will find classes by me taught on various subjects from watercolor paintings to tips of using different apps like Procreate, Adobe Fresco and Photoshop. 

You can have a look at my complete portfolio on my Website o... See full profile

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Transcripts

1. Introduction: Hi, everyone. My name is Alicia. I'm a freelance illustrator on a graphic designer based media. Welcome to my foreskin shirt class. In this class, I've been teaching you how you can paint realistic looking Citrus fruit was in water. I worked with different mediums to create at work ranging from traditional pains to digital . Does This class is divided into easy to understand small videos in which you will learn the basics of sketching, understanding light and shadow basics of watercolors and finally painting some symptoms Fruits. This class is appropriate for beginners, as I have divided this class into three paintings ranging from beginning to an advanced level. So your project for this class is to paint some Citrus fruits and mortar colors and upload in your project section. I would love to see your work and even also posed your work on Instagram and tag me using my instagram handle at the rate mark dish. So what are we waiting for? Let's get started 2. Project Brief: in this video, I'll talk about your project for this class. I've divided this class into three categories, ranging from easy to an advanced level. The four spending is a whole lemon in which I'll teach you how you can paint a whole fruit using wet on wet technique. The second painting is based on car slices off for Citrus fruit, in which I'll go to the steps that I used to paint juicy cut fruits. These two paintings are simple and composition, while the 3rd 1 is a bit complicated. In the third painting will paint are cut fruit, in which the slices air kept a different angles, having more highlights and shadows. I have also explained the process of sketching Citrus fruits in the fourth video, and in case you're not comfortable with sketching, I have provided the O. J pic files off the line drawings off these images in your project section. You can download and print them, and then you can trace them on your watercolor paper, and it's completely fine if you want to use any other images or a life example for your project. And now let's talk about the supplies that we need for this class. In the next video 3. Supplies: Let's talk about the supplies that we need for this class. So the first and foremost important supply for a watercolor painting s paper I'm using Cans and Excel paper. It is highly recommended to use a paper which is at least £140 or 300 GSM in weight. Apart from that, I'll be using a regular paper for sketching exercises to which pencil for sketching. You can use an HB pencil or any pencil that you have on the razor, not talking about the brushes. I've used a Princeton Neptune round brush size eight and a silver velvet fresh size six, and you can also use a size zero brush for detailing. Also, I have used a Unipol signal. Why gel pen for highlights in one of the paintings now talking about the pains for this class? I have used three brands when sitting Newton Cartman similiar and Cory watercolors. The shades that I've used in this class are canyon yellow, lemon yellow, deep yellow burns, you know, cadmium, orange, Chinese orange, brilliant red pains, great and saccharine. And it's completely fine if you want to use your choice of colors and apart from the main supplies would also need a palette, a job for water, a paper travel or a hand towel to clean our brushes. Now that we have all the supplies ready will jump over to our next lesson, which is about sketching. 4. Sketching: All right, let's do some sketching exercises. You can skip this video if you're not comfortable with sketching or you do not want to spend time on sketching. You can take the downloadable line drawings and traced ammonia watercolor paper. I'm using a regular paper for this exercise, and we're going to learn how we can add depth to our drawings by understanding the concept off light and shadow. I'm drawing a circle, which is a very basic shape, which is looking flat because I did not add any dimension to it. Now let's take an example off a ball kept in the ground and the light may be falling from the top right corner, so the top right side off the boat ball is going to be highlighted and the left side is going to have the shadow. So now I'm just using my pencil and doing some shading to understand the areas off highlights on shadows where the doctors mid tones on highlights are going to be. Not that we're done with the shading. You can see the difference between the two circles that we made. One is flat and another one is shaded, and how the shaded circle is looking so realistic on, we can do the same thing with watercolors, which you are going to do in our paintings today. Now we're going to do some sketching practice for making Citrus fruits on. We're going to start with a whole fruit and taking an example off whole lemon. I'm going to draw the outer shape off the lemon, which is like an oval having to gold sides. And now let's practice drawing some leaves in different angles. Some leaves maybe folded, some flat on in different directions. Now I'm drawing this. Leave with a little full in one off the sides like this on another one, lying in a different direction. You can practice as money leaves in different compositions if you want. Do now. Let's draw quick slice off a Citrus fruit. Let's suppose we're looking at the slice from the top, so the outer shape of the slice is a circle with some triangular segments are sections in it and just remember just to give it our organic look. We don't have to draw these segments perfectly equal in size and shape, and I'm going to sketch more, got fruits with different angles and compositions, which will help me in understanding that how I am going to compose my paintings and add more depth or highlights when I'm painting with watercolors, you can also practice the same if you want to, and you can take different examples online. Or you can take life examples, keep them in front of you and try to draw them. As you see, the last two slices I'm drawing are apart off the third painting off this class, the last slice is kept at an angle, and we can see the skin as well as the in a portion off the Citrus fruit. In this composition, this is the most complex view off the composition out of the three paintings that were going to do in this class. And the best way to understand and make your drawings is starting over the basic shapes, the outer shapes and then go for detailing, adding more dimensions to them. And now that we're done with the sketching exercises, let's move on to our next lesson that this particular techniques 5. Watercolor Techniques: Welcome back. This video is all about watercolor. Basic techniques have drawn six rectangles on my watercolor paper. You can do the same thing on your watercolor paper and follow along as I go through each and every technique in detail. Before starting the process, I have activated two colors in my palette. Oneness, permanent truce on cabin yellow. You can take any colors. It doesn't matter. Just activate them. Will add some water to them before start the process. I'm starting with the first wash that is a flag wash in which I'm loading my brush with wet paint and spreading the paint all through all those office off forced rectangle. It's a very controlled way off painting. You can take your pain wherever you want to. It's totally under your control. After finishing the Flatbush, I'll move onto the next force, that is Grady Int. Grading is basically the change in tone from Doctor Light Life too dark, all from one color to another color. I've loaded my brush with the darkest own off the permanent truce, and I keep on adding some water by dipping my brush in water little by little so that it becomes transporting I was removed one, and I'll just keep on adding some water until I'm done with the whole rectangle. So we're done with that greedy and Bush, and now I'm going to move on to our next wash. That is a to don't radiant and which I'm going to use two colors and apply the same technique as we did in the Great in Wash. I started with the permanent rules from the top, and I'll switch over toe my cadmium yellow. After washing my brush completely and taking Karen yellow, I'll start from the bottom and pull it towards the center off the rectangle, moving the yellow color towards the center of this rectangle. These two colors will start blending with each other, giving a new color. This is the beauty of watercolors, which we hardly get to see with any of the media now moving on to the fourth technique that there's the negative painting. Negative painting is basically not painting the shape are they are subject. It's basically that you're painting the bathroom off your shape, whatever you have drawn. So here I have a leave. You can draw any shape off your choice and start painting with me, you can see that I'm just going to do the same flat voice that we did for the first technique on. I'm just avoiding painting the leaf over leaf on being very careful on the edges off the leaf so you can practice this with some intricate are some difficult shapes, like stars are any flower shape. This is a very good exercise for getting better at your brush control and improving your brush strokes. Now moving on to the fifth and one of the most important exercises that is went on their techniques. What number technique is that? Your surfaces wet and your paint is also so. I have applied a thin layer off water, and it has to be consistent over the surface. You can check it by tilting your paper towards light. No, on this Reds office. I'm going to add some droplets off permanent rules, and you can see how this color is taking its own shape. It's blending with water, and it's given beautiful effects. I'm going to add some blue color in this, and they will blend with each other, giving new effects and beautiful colors like for late purples in case you are a lot of water on your paper, and you want to get rid of that. What you can do was just use a Dr Rush and roll it over the bottle of water or excess amount off color. The brush will soak in the excess amount of water, giving you divide background again. This is called the Lifting Technique, which we will be using in our pain things to give the highlights to our Citrus fruits. Now the last technique is dry brush drivers. Technique is for giving textures on our paintings and to give the texture. I'm just using very Dr Rush and adding some color some wet color because for watercolors we have to add a little water to activate them. This way you can Axum textures to your paintings. I want to add one more technique that I forgot to mention before that it's gone, layering or glazing in this technique, we make layers of water colors, for example, I'll make a layer of yellow or shade on the rectangle and let it dry, and then I'll add another layer off any color over the forced later when it is completely dry. Now let's do some brush exercises to understand the behavior off your brush at different angles. I'm going to do this exercise with different brushes just to understand how my brushes behave in different angles. I'm using the tip off the brush to make vertical and horizontal lines. Then I'll make some waves and so one making some dots, some random strokes, using the size zero brush that I have. And now I'm going to switch over my brush. I'm using silver velvet size six brush and doing the same exercise with the same. And now I'm going to do the same exercises with my largest brush, which I'm going to use in this class. I wanted to add one more exercise just to understand how we can incorporate different techniques for that. Let's make two triangular shapes to represent the segments off a cut fruit on the first ship at a layer off water and then add some yellow are any other color. And on the other segment, let's make some random strokes, leaving white spaces in between. First layer of both segments are dry. I'm going to give another layer with some doctors sheet. I'm using cadmium yellow for the four segment on going to do the same exercise as I didn't off second segment making strokes, leaving some blank spaces in between. This will help us in getting the effect of having juicy bath in the Citrus fruits on. Give it a realistic look on. You can add more colors, toe, give some depth tudo segment. And similarly, I led the darker tone in the second segment, since I used canned meal or yellow in the second segment as the first layer. So I'm going to use another color with the doctor doing and do the same exercise for that here. I'm adding some audience sheet on the first segment to give it some depth. As I told you before, this is basically a warm up exercise before we move on to the final painting and now last but not the least values, which is one of the most important studies and watercolors. Value study is going to help us a lot in giving definition to our fruits by giving highlights, understanding how we can add depth to our fruit. I'm taking pains grief for this exercise, starting with the darkest own off pain scream. I've taken this color in my palette and I'll add some water, making it a little transparent and making another rectangle below the 1st 1 And I'll keep on adding water, making rectangles until I reach to the lightest tone off pain scream you can see it's becoming almost transparent, closer to our right off the sheet. So now we're done with all the basic techniques or watercolors. Let's use those techniques and make our paintings. 6. Whole Fruit: Now let's start with our force painting for this class. In this video, we're going to paint the whole fruit. That is this lemon that you can see on the screen. I've drawn the sketch of this lemon on the watercolor paper using a tool which Benson. Now I'm going to take some off the lemon yellow shade in my palette on going to load my brush completely. Now that I have my paint ready in my palette, I'm going to spread clean water evenly toward the whole surface off the lemon. After the first wars with water, I'm going to drop in some lemon yellow on the red surface and gently rub it across the whole lemon, and you can see that I have intentionally left some of the white space on the top where the highlights are supposed to be. Now, after I am done with the first layer off lemon yellow, I'm going to add deep yellow from the bottom off the lemon and spread it gently where I see some dark tools in the reference image. And I'm doing this while though lemon yellow layer is still wet, it's not try while doing this process. I'm just keeping in mind that I need to leave a little lighter space on white space for the highlights, and I'm trying to cover the darker tones with this deep yellow. Now I'm going to wait for the lemon to dry. In the meanwhile, I can start painting the leaves. I'm taking Sabirin in my palette on before starting painting on the leaves. I'm going to remove the dark pants and marks. Now I'm going to paint the low early first, using wet on wet technique, giving a light wash of water and then add suffering on top of that, while the saccharine layer is still wet, I'll add more depth to the leaf on the right bottom corner off the leaf, which is dark due to the cast shadow off the lemon. For this, I've added a little bit off pains, great in suffering to get the doctor to. Now I live this leave to dry and start walking on the other leaf. Here I will use the same steps as I did in the forced leave, just keeping in mind about where I need to add light green and where I need to wear the dark values off Crete. After the first layer off suffering, I'm going to add dark green wherever required. Remember, I made this dog green by adding very less amount of pain so great in the sack cream. You can try different colors like blue, red bone, sienna or any art colors and create different shades of green and use them if you want to. And now that we're done with the force, layer off paint, we're going to add another layer and we'll start with the lemon Now. This time I'm going to use the wet on dry technique, taking deep yellow in my brush and spreading it over all around the lemon, not covering the highlighted areas. Now madding A little bit off 11 year Lou. Wherever I see that the lemon is not too dark on leaving the highlighted area like that only as the bottom of the lemon is quite dark as compared to the other parts of lemon. I'm going to ask Chinese Orange from San earlier, and I'm taking a very less amount of Chinese orange here, just dropping in wherever I see that, we need to add some depth and blending the colors properly so that we don't see any hard edges after the dry. Now I'll jump over to the leaves, loading my brush with sap green on, giving a layer off the sculler on top off the force layer, just being very careful at the edges, where the lemon and leaves are touching each other now, adding down creen again on the same corner as we did in the first player, now giving the second layer off submarine on the top leave as we did in the bottom one long going to add the veins off the leaves. I'm using sap ring, making a little darker, adding, by adding pain. Scream on just making one line in the center of the leave like this, you can add additional rain's going on the sides if you are comfortable with, or you can leave it like that. It's completely fine. Good here, um, adding a little shadow at the bottom off the top leave like we did in the lower leagues and just removing the hard edges. Using plain brush now coming over to the shadows for shadows. I'm going to just give a wash off water under though lemon, wherever required. As you can see, the lightest falling from top. So the shadow is going to be in the bottom, towards the left and under the leaf. For this painting, I'm going to use Payne's gray for the shadows. I just took a very less amount of pain. Screen the brush and dropping in where the water is closer to the edges off the lemon and leave, and then blending it very gently, just trying to avoid the hard edges. Now I'm just using my clean brush and spreading the water so that I can avoid getting hard edges when the water and the paint gets tried, adding a little more off pains. Great on the corners where I can see that the shadows are little bit darker and doing the same process again. It's so coming over to the final stages off our painting. I'm using the tip off the brush loaded with yellow shade to give a nice edge to the lemon, and you can use a zero size brush for this process. After making the outline of the lemon, I'm using a clean brush with some water in it and going to blend that outline towards the in a portion of the lemon and we're going to follow the same steps for the leaves as well. Now let's talk about highlights. This portion off this leaf is a little lighter on. I'm going to use a very damp brush and going to lift off some of the paint from here. I'm going to do the same thing with the other leaf. Wherever we need to add some highlights, let's look at the reference image. You can see the highlighted area on the shadowed area, and some highlights on other highlights is the reflected light. You conceive some whiteness on the left hand side of the lemon. I'm going to talk about another option that you can use to get highlights, and that is a jump in. Or you can also use White wash whatever is available. I'm going to use this Univ. All signal gel pin and I'm going to. I had some dots with this gel pin on the highlighted Aereo's, and after I'm done with this, I'll use a plane brush with having some water in it and going to blend those darks so that we don't get really hard dogs at the end. This is an optional step. You can skip the step on. I usually don't use gel pens or any wash anything. Toe. Give highlight on my paintings. I just added this portion to give you an idea about how you can use other mediums to give your paintings more interesting look. So now we're done with the first painting. Let's move on to the second painting. 7. Cut Slices - Top View: Welcome back in this video, I'll be going through the steps on how you can paint cut slices off a Citrus fruit. The reference image that I'm using in this video is a top view off the slices kept on the table. So let's get started. And to make it easier, I'm just going to paint one slice and two or three leaves. Now, looking at this image, we can understand that the highlights on this image are slices are not very prominent and the shadows falling on the right inside, off the slice. I just made a sketch on the water. The paper with my pencil sketched a slice and added three leaves to make a nice composition . Now, before I paint, I'm going to swatch my paints on a scrap piece. Off paper, I will swatch, lemon, yellow, deep yellow and cadmium yellow, and we'll see which colors will meet the expectations off a painting. Now, looking at this watches, I think I'm gonna use lemon yellow and cadmium yellow for the slice in our painting. To start with this painting, I'm going to start with the segments. I will be painting each segment at a time with wet on dry technique. I've loaded my brush with a watery lemon yellow and started painting the four segment. After painting one segment, I leave the next segment just to award any blending and paid the alternate segments. While these signals air drying, I'll start with the right off the slice. For that, I'll take cadmium yellow in my brush. This time I'm taking more pigment than water and draw the circle around the slice. After making the circle, I'm going to take plain water in my brush and going to blend the circle towards the in a portion off the slice. This will help in avoiding the hardness off the right, and we'll give it our realistic look. And then I'm going toe paint the remaining segments off this fruit. Now, after the segments are completely dry, I'm going to use cadmium yellow and make random strokes on top of the forced layer exactly like we did in our particular practice exercise. Okay, you can see I'm leaving some spaces while making these drugs just to give it a realistic look. You, after I'm done with the second layer, I'm going to do the same process with a deeper Connor here I'm adding a little bit of orange to yellow to get a DPL. Oh, shit. Now I'm going to use the same technique as I did in the second layer, leaving some blank spaces on making random strokes. This will help me in getting a nice, juicy look in the slice and the last Later with another doctor, I'm going to make my yellow even darker than the third layer. I'm adding a bench off pains, great on a little bit of orange to make a darker. I'm using this color to make dark sports wherever I see in the reference image, adding, some sports near the Rhine and some dark sports are strokes in the segment to give them more debt. And then I'll just blend the spots with damp fresh with the clean brush to avoid the hardness off do sports. Now that we're done with the slice, let's will want to the lives on for the leaves. I'm going to take what really submarine in my brush, and he was wet on dry techniques, since the leaves are not very large in size, so I'm going to give a layer off sap green on all the leaves just being very careful at the edges where the leaf is touching the fruit so that I don't blend the two colors. Now let's move on to the second layer on the leaves. Make sure the first layer is completely dry, takes up green in my ballot, and I'm going to add a little bit off pains, greed to make it a little darker. I'm making a layer off the dark green tone on the left side of the leaf, which is darker as compared to the right inside. And I'm going to blend the hard edges, using a clean brush, having some water in it. I just added us little more dark tone on the left hand side just to make it a little darker and give it more dimension. Now I'm going to do the same thing for the other two leaves. As a position off. This leaf is different from the others. I'll add the dark tone on the top off the sleep, now, adding more dark green whenever I think it is required. I'm going to apply another layer off sap green on top off all the leaves. Once they're dry completely and now adding more doctor wherever I think it is required wherever I see the shadows or doctors off the leaves. So I'm going to do the same with all the leaves way. And now let's work on the shadow off the slice and the leaves. Looking at the reference image, I can see that the shadows falling on the right inside off the slice on will use the same principle for the leaves as well. Just to add some variation, I have used different shades to get the shadow I'm using ultra marine blue and burnt Sienna . I added both these colors to get a nice gray shade. You can still use Payne's grave for the same. Now I'm giving a wash of water on the right side, off the slice on going to drop in degree that I just made. This is the same process that we did in the first painting. The reason behind making three paintings for this class Waas Teoh make you familiar with the different compositions off fruits that we can make and how different views like front view, side view or top You can actually make a difference in our paintings. Now I'm going to do the same thing with the Leafs, adding a little shadow and finally coming over to the wanes. I'm going to use sap green. I'm taking more pigment and less water. It's a little concentrated form of suffering on going to make the center Wayne this simple lying like this. And finally, I'm going to make the smaller things which are branching out from the main sent away, just like we did in the first painting. On the last step, I'm going to give some final touches to my painting by making clean edges and lines whenever I feel it is required. And then we're done with the painting. So now let's move on to the final painting of this class. 8. Cut Fruit(advanced): all right, so let's move on to our last painting off this class. Looking closely at this image, you can see that the light is falling from the right. Inside on the left is dark for both the pieces, and we'll keep that in mind. While we're going to paint this blood orange, I have the sketch ready on watercolor paper before starting the painting. Let's watch some pains on a scrap piece of paper. I'm going to swatch, cadmium orange. Blood red can mean yellow and sap green. For this painting, I'll also be using pains great for the shadows on to get the darker shade of green, as we did in our last two paintings. After I'm done with this watchers, I'll start with the outer skin off the right piece off this orange. And before that, Havel raised the dark pants and months but should not be visible after painting it stop. I'm using wet on wet technique here, adding a layer off water, and then I will start adding cadmium orange on dog off that now that the left side off this piece is dark as compared to the right side, I'll add cadmium orange on the left and cadmium yellow on the right, just like we did in two tone wash and watercolor techniques. Now I'm adding real injury on the left inside and blend that with the orange. This will give us a talker told off orange. And now I'm going to repeat the same process on the other piece. First I added water. Now can we, um, orange from the left and then cadmium yellow on the right inside. Now I'm being brilliant, right on the left inside and let that blend with the orange to get the talker toe. We can use other colors for this, like a little bit off Payne's gray or some art colors to get dark orange shape. And I'm adding red wherever I think it is required. Now moving on to the segments, I'm going to paint them. Using the wet and dry technique I'm taking cadmium orange in my brush. On making random is drugs, leaving some white spaces in between. This will help us and getting the highlights and a realistic look off having juicy bars in this orange. I painted the alternate segments so as to avoid any blending. And while these sections are drying out pain sections off the other piece. Okay, Now I'll switch over to the first piece as those sections are dried completely. And I'll keep on doing this until I'm done with all the sections on both the pieces. Now that we're done with the first layer of the segments, I'm going to add some brillant right on top of that just to give it. Ah, look off blood orange. As you can see in the reference image, those segments are not completely orange in color. They have some dark reds. So I'm going to make similar strokes with the right color on the force layer. I'm keeping this doctor on more prominent on the left inside as compared to the right inside. And to give it more interesting. Look, I added a little bit off pains. Greater brillant rate. I'll use the shade to make some strokes toe adept to our painting. It just adding random dogs in the center of the fruit to get a three d look. And now I'm going to repeat the same process on the other piece, um, adding a little bit off your low. Wherever I think the highlights are becoming too prominent. And next I'll start with the rind off this fruit amusing can emulate on taking more pregnant than water in my brush, making a 10 outline using the tip off my brush. And then I use the damn brush to blend this outline towards the center, as we did in our previous painting. Now, to add some depth on the left. Inside, I've mixed cadmium, orange and red to get a darker shade of orange. I'm blanking evenly from the left toe. Worse the sender, and I'll use the damp brush with only water of it to blend any hard edges that may appear I'm going to follow the same steps for the second piece off this orange force, making the rind and pulling it towards the centre using damn fresh and after that, giving some depth, using the doctor off orange towards the left. Off this piece. After finishing the orange, I'll move onto the leaves al, apply a layer of sap green on the leaves, and then I'll add more layers for dealing. I left a little white space here for the distinction between the leaf and the food, and I'll cover it later. And now the top leaf is dry. I'll add another layer off sap green in the areas where the leaf is dark and I'll keep on adding the dark green wherever I think it is required. Applying another layer off sap green on this leave. I've covered that whitespace, which I left previously adding more depth using the dark green, which I made using some green and beings create. And I'm going to do this on both the leaves. And now I'm going to make the shadows using pains. Great, adding a layer of water to the left and going to add a little pains create, then spreading it with damp brush very gently. The reason why I divided this class into three paintings wants to make you more comfortable with the techniques. You might have noticed that this painting seemed to be difficult initially, but since we covered all the techniques in the simple paintings before, it became easier for us to make this painting. And finally I'll make some highlights using the lifting technique, and we're done with this painting 9. Final Thoughts: I'm really excited to see your projects cliches world in the last section of this class and also Claudia World on instagram and then using my instagram handle that spot. And it would be great if you can leave some feedback or suggestions for me in this class so that I can improve in the other last. Thank you and see you in minutes less.