Painting the Farmers Market with Ink and Watercolor | Amy Stewart | Skillshare

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Painting the Farmers Market with Ink and Watercolor

teacher avatar Amy Stewart, Writer & artist

Watch this class and thousands more

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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

12 Lessons (1h 14m)
    • 1. Introduction

    • 2. Supplies

    • 3. Ink Demonstration

    • 4. Pencil Sketch

    • 5. Drawing Basic Shapes

    • 6. Drawing the Fruit

    • 7. Drawing the Shadows

    • 8. Watercolor Background

    • 9. Watercolor Fruits

    • 10. Watercolor Greens

    • 11. Watercolor Final Touches

    • 12. Final Thoughts

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About This Class

A farmers’ market or a produce stand is an irresistible subject for an artist, with the variety of colors and shapes in all the fruits, vegetables, and flowers. It’s a great chance to experiment and make a lively, colorful sketch.

In this class, we’re going to do a little produce stand in a French village, and we’re going to do it in s bold, graphic style that uses a lot of wonderful ink lines in addition to all that color.

You’ll learn how to use a dip pen and India ink, but you can also take this class using fountain pens, or regular inexpensive drawing pens—your choice!

We’ll work on capturing the different shapes and details without fussing over them, and we’ll make sure that our drawings have a sense of depth and feel realistic.

By the end of this class, you’ll be ready to head out to the farmer’s market and do your own colorful, lively sketches of the season's bounty.

Meet Your Teacher

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Amy Stewart

Writer & artist



Welcome! For the last twenty years, I've devoted my life to making art and writing books. It gives me great joy to share what I've learned with you. 

I love talking to writers and artists, and bonding over the creative process. I started teaching so that I can  inspire others to take the leap. 

I believe that drawing, painting, and writing are all teachable skills. Forget about talent--it doesn't exist, and you don't need it. With some quality instruction and lots of practice, any of us can make meaningful, honest, and unique art and literature.

I'm the New York Times bestselling author of over a dozen books. When I'm not writing or traveling on book tour, I'm painting and drawing in ink, watercolor, gouache, and oil. Come f... See full profile

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1. Introduction: Hi, I'm Amy Stewart. I'm a writer and an artist. One of the subjects that I'm always drawn to is produce stand or fruit stall at a farmer's market. I just love the variety of colors and shapes. And it just seems like I can't even walk past and open-air market without either stopping to sketch or taking a ton of pictures, but I can paint from later. So in this class, that's what we're going to do. We're going to paint a little produce stand that I saw in a French village one time. And we're gonna do this one in a bold graphic style that uses a lot of really wonderful, rich dark ink lines in addition to all that color. So I'm going to demonstrate this technique using a dip pen and India ink, but I'll also show you how you can take this class using a fountain pen or just a regular inexpensive drawing pens, whatever you want. Now, there's a lot going on in a fruit stand like this one. There's a lot of different shapes and little details. And of course you want to have a sense of depth and feel realistic even though it's just a quick drawing. So I'm going to show you how to do that. And I hope that by the end of this class you'll be ready to head out to the farmer's market and do your own really colorful, lively produce dance. Okay, let's get going. 2. Supplies: Supplies for this class are going to be pretty simple and honestly, I'd encourage you to use whatever art supplies you have on hand to do this class with me back, I'll show you what I'm going to be using. I've got my travel watercolor kit and I'll give you a list of colors. But any basic watercolor set will be fine. For brushes. I'm going to use these water filled these water brushes just because I like this fine tip and it's kinda helpful to have something with a small fine tip. But basically any kind of small watercolor brushes you have would work. This is a round brush in a 12, this is a filbert and a 10. Here's a round brush in a, for any assortment of small synthetic brushes are going to be fine for paper. Just make sure that it says watercolor on the paper because we are going to be putting some watercolor on. And I like to use hot press paper which has a smoother finish. But if yours says cold press, That's okay. I like these Canson watercolor, sketchbooks. It's good quality paper. It's quite affordable, great for practicing. So maybe you've got something like that. Of course you're going to need a pencil and an eraser to do the drawing. And let me explain about the options with ink and I'm going to demonstrate these in just a minute so you'll get a little bit more info, but let me just show you. You can take this class using ordinary inexpensive drawing pens, as long as they say that they are waterproof, you're going to be fine. So I'll show you a few options for these, but these only cost a few dollars each. And you can get them. You can get them at any kind of art supply store. I'm also going to show you a couple of fountain pens. These have a few day nib, which is a bent nib and you're going to see that in just a second. This one's called a sailor few day nib and this one's called a Duke feuding nib. And you put your own Incan these, so the EEG is this Platinum Carbon Inc. Now the thing that I want you to understand about working with EEG is that there's ink for fountain pens and ink for dip pens and they're different. So don't make some up because the wronging could clog up your pen, which is not the end of the world. You can clean it out. But I'm just telling you this Platinum Carbon Inc. Works wonderfully in these pins. And you'll see in just a second how that works. But what I'm going to demonstrate in the class is an old fashion dip pen. So I've just got a little jar of India ink here. I'm just going to dip into the ink and draw it. So this is, this is how Jane Austen wrote all her novels, right? Just dipping into the Incan. And for this, I'm going to be using waterproof India ink. So this dip pen ink is only for depends, it's not for fountain pens and it's very affordable. In fact, I buy large squeeze bottles of it and refill that little bottle whenever I use one up. There are a lot of fun to play around with. But again, I want to give you lots of options so you can do whatever feels most comfortable for you or just work with the art supplies you have. All right. Let's take a look at how that works. 3. Ink Demonstration: I wanted to show you a few different options for drawing pens for this class, the cheapest and easiest would be to just use these kind of drawing pins. So this one is an eight, it's pretty thick. You can get a good thick line and you can also lay it on its side and get a little bit of a thinner line. So that's a, that's a nice one. You can get brush tips. So again, you can get kind of a thin, thinner line and you can lay it down and get a really thick bold line. And this is a B on the end of it. But what it is is it's a chisel tip. I don't know why it's a B, but anyway, I guess for bold maybe so you have a little bit of variety, but again, good thick bold lines. Just make sure that they say that they're waterproof or permanent. And you can get these for just a few dollars at an art supply store. Another option would be a few day nib fountain pen. I love these pens and I'm going to show you two of them. This is the sailor. And let me just write with it. I'll just show you it has a little bit nib. So the nib comes out and it bends a little and I can turn it upside down and make very thin lines. I can turn it this way and still make pretty thin lines. Or I can lay it down and get very thick, wonderful rich lines. And I can have all of that variety in one line. Like I can start here and get thicker and get thinner. Again. This is so much fun. This one's called the Duke. It's wonderful Also, it's a little heavier, bigger pen. Sometimes people with very small hand say that it's a little too much for them to manage. But I had very small hands and I really enjoy it. I usually don't put the cap on it. But again, you can turn it over and get this wonderful thin line. You can come at it like this. And then the more you lay it down on its side, the thicker it gets. So both of these come with ink cartridges, and this is called a converter. It's like a little plunger. And so basically what you do is you get some ink. And I'm going to recommend this Platinum Carbon Inc, which is waterproof and flows beautifully in these pens. Platinum Carbon is the brand name. And in order to put ink in it, All you do is you dip this down in the bottle and you twirl the end and it puts, pushes the little plunger down, tutorial it again the other way and it pulls it up with ink in it. And then of course you wipe this off because it would have gotten totally covered in an ink during that process and put it all back together and you're ready to go. So same deal here. It comes with a cartridge. But again, you're going to need a converter. And these converters are usually specific to the type of pin, and they're easy to find online. And once again, you just dip it down into your bottle of ink and twirl the plunger, pushes the plunger down, twirl it back the other way, pulls a backup fully ink. Wipe this off real good and you're good to go. Okay, So I love both of these pens and they'd be great for the style of drawing we're going to do today, which is going to be very bold and inky kind of drawing. And these are also nice because they're portable. You can, you know, put one in your bag and take it with you and have some fun. But I also want to show you how depends work. And this is what I'm going to be doing. And I think this is such a fun way to draw. And I'm going to show you a couple of my favorite nibs. This is an inexpensive speed ball set that I just got it the art supply store. And I've used every single nib that comes with it. I'm just going to show you all of them, but I'm only going to demonstrate a couple of them. So it comes with a whole bunch of different sizes. And when I first got this, I got them all out and just played around with them just to figure out which one do I like the best? And I eventually figured out which ones I personally do like the best. So I'm just going to show you those. But you should definitely experiment and find the ones that you like the best. So it comes with as little plastic holder. It's very easy. You just pop this in and, and you're ready to go. I'm using waterproof India ink. Again, you want to make sure it says waterproof because we're going to be painting on top of it. So you can already see that this is a little messy, right? Like the minute I open the jar, there's bits of dried ink getting all over the place. I deliberately want this to be a messy demonstration so you have an idea of what this is like to work with in the real world. So I just did my pin. And before I put it right on the paper, I want to look at it for a minute. Like how much ink did I get on there? Is there a giant blob That's about to drip all over my page. So it's not a bad idea to just take a look at your pen. You might tap it lightly on the side to make sure you don't have an enormous ink blob. And then just try it out. I love the way it flows. This nib is more of a writing nib, so it pretty much just gives you one style of line. You can see that a little bit of blobby ink came out right here. And I'm just going to exaggerate that and you can see it. I believe that ink blobs are part of the magic and part of the process. So enjoy it and don't get mad when it happens. So even as simple nib like this, It's a pretty interesting little piece of construction. There's actually a very fine, there's no way you can see it on camera because I can barely see it myself, but there's a very fine little channel in this nib. So the water, the ink is held up here and it's held in this little keyhole shaped, this hole which is basically a reservoir and it flows out through capillary action. So it's actually a pretty cool and pretty nicely engineered that have equipment. It's how everybody wrote before we had ballpoint pins. This one is a bit MIB, similar to the, the sailor and the Duke. Few days that I showed you before. It's bent on the end and it gives you a lot of choices. It also has this bigger reservoir. So this metal tab on top holds a lot more ink. So once again, I'm going to just dip it in to my ink bottle. And I'm just going to take a second and look at it and let the ink kinda settle in C where it wants to go. And then I'm going to start drawing with it. So if I put this down, you can see I get a lot of very flowy thick ink at first. I can turn it over like I did the other one, I'll start to get finer ink. It always takes a minute for the ink to flow just right with these. So I definitely always have a piece of scratch paper next to me. And I play around with it and make sure I'm happy with the flow that I'm getting before I put it down on my drawing. So play around with that and find a nib that you like. Again, this one says B5 on it and you'll see that it holds quite a lot of ink like I can really draw for a while with the ink that I have in this, in this reservoir. And then eventually I'll dip back in when you're done with your nibs for the day or for that drawing session. Switched them around and some water and just clean them off that way. Just get some of the dried ink off. The other thing that I do want to mention about using a dip pen and ink is that if you spill this ink, ink is permanent and permanent means permanent. I have gotten ink on my clothes, I've spilled it on my floor. It it can be cleaned up and there's a brush soap that I like to use That's pretty good at getting this ink out of whatever you might spill it on. So I recommend getting some of that if you're worried about that, but just be very cautious with your ink, make sure you've got the lid on, they're tied. Really think about where you're putting it. Make sure you've covered your surface with a lot of paper. But I do want you to explore and enjoy the ink. And the last thing I want to show you, actually before I put this away, is I want to let you know that you can also, I'm going to put the jar right here on my paper just because I want you to be able to see everything I'm doing here. You can also use your ink with a brush. And so here's just a little number 2 paintbrush. And I just want to show you how beautiful it can be to pain. With ink. It's quite gorgeous. It's really lovely and you can water it down and get different tones. So I'm just dipping into water and that's already inky water because I just clean my nib off with it. And I can paint out some lighter grayer tones with this. And once it's dry, it's going to be permanent. So I if I re-wet it, it's not going anywhere. So I can continue to shade this out and get lighter and lighter tones by mixing more and more water in it. And you can really make some, some beautiful just black and white paintings just with ink. And of course it doesn't have to be black incomes and every color in the world. And I will warn you right now that if you get interested in using bottled ink and dip pens and brushes, there are so many gorgeous inks out there and you're going to have a lot of fun playing around with them. Okay? So I'm going to be mostly using depend with my B5 nib for this class. But you're welcome to try maybe one of these cool fountain pens if you have one. And if you're not sure about all this yet, then just get yourself some drawing pins. Get a good thick one like an O 0 or maybe an 05, and get yourself something that's got a, got a brush tip or a bold tip so that we can make really big bold marks like that. Doesn't really matter the brand as long as it does say that it's waterproof. 4. Pencil Sketch: The first step is going to be to do a quick pencil drawing. I have a five by seven area marked out on my page which matches the dimensions of the image. And I'm just going to sketch in these kind of larger areas where the, these bins are. Now I'm going to make some changes here. So what you see right, right in front of you on this picture, you don't have to be stuck with this. I'm going to change what produce is here and kind of what it all looks like. And I invite you to do the same if you want to. I'm just going to get this big box of leaks That's right in the middle. And I'm just making myself at first just a quick little grid for where all of these things go. There's another shelf here. And I can see, I like that these are kind of irregular, like the box of tomatoes is a little bit off center from what's above it. So I think that's good. And there's some carrots over here. This little blue been just has a few little things as salary in it. I think we can improve on that. And then I'm really just going to use my imagination and use what I can see here to put something else in, down in this lower area. I'm not going to leave this blank. I'm going to fill all this in with fruits and vegetables. Now for the background, this is kind of a tricky background, like I can see what it is. I see that it's a row of shops with some doors open, but it's just a little, you know, it's a little odd to kinda sketch all this and to have it make much sense. I do like the tree. I'm going to put the tree in. I can see that off in the distance. There's some little umbrellas. People are obviously sitting out in a, in a cafe. I like that. Again, just sort of make a few marks here. Terms of the building. There's an awning right here. I could definitely put that awning in. Let's see, I'm just kinda try to eyeball this angle. It's a little bit of a perspective trick here, but I think I can just sort of eyeball it and get that awning in. That's kinda nice. And then there's, you know, there's all these lines that kind of in a drawing just really aren't gonna make as much sense. So I'm just going to sort of suggest that there's some other buildings out here. I can see a little roof line that sort of comes out like this. And then maybe there's a little shop or actually I can see the word cafe right there. I don't think I'm going to leave that in the final drawing, but it's kinda fun to just put it in for the moment and just, just think about that. So this can all be left pretty loose. What's in the background? If you're not thrilled with getting into that, then the other thing you could do is you could also just put blue sky above it. That's fine too. Now with these individual boxes, I do want to real quick with pencil, just sketch in kind of the angle of the outer parts of the box, just so that I, when I go to draw, I'm pretty confident because I do want a little bit of a sense of perspective here and a little sense that this bog, these boxes have some depth to them. This one has that kinda edge on it over here and it also sort of dips down like that. This one, you can see the front of it right here. And then it comes up kinda like that. And I can see that inside of it. Like I can see the bottom of this. So I'm just sort of try and to look and notice and get a get a little bit more detail. I'm not at all concerned with putting the fruits and vegetables in. And here, again, this is going to be another place where I'm going to use my imagination a little bit to fill these up. We don't have to put two limp stocks, a celery, and he can do whatever we want to hear. So I'm just going around and I'm looking like the tomato box here comes like this. And so there's a front to it. Also. There's a lot of cardboard boxes and plastic boxes here, but we can be a little bit more sentimental if you want and make them look more like wooden boxes like over here with the carrots, I can see that there's a, you know, a more of an old-fashioned kind of box with a wooden slats and that's pretty charming. So maybe we have more of those. Now along the bottom here. I'm just going to copy what I've done up above because there's not a lot sitting on this bottom shelf, but I do want to have the bottom shelf, so I'm trying to kind of let the sides angle just a bit. And maybe I'll have this one seem like it's a wooden box and there is no box here, so I'm completely faking it. I'm just looking at other, you know, other examples and just putting something in. And again, I'm not going to worry about the fruit. I'm going to do all this. I'm going to do all that free hand. There's no need to spend a lot of time on that in pencil. So I think this is enough to get going. If there's any little stray lines that you don't like at this point. You know, I tend to just draw over a wrong line with a little bit darker line, but you can go ahead and erase anything that seems to odd to you. And once you've got that done, it's time for the ink. 5. Drawing Basic Shapes: I'm going to be drawing with my dip pen here and that B5 nib that I demonstrated. As I said in the little demonstration video, It's always a good idea to just have a little piece of scrap paper so you can just test it out, see what it's looking like. And I will keep that next to me and probably do that now and again. So I'm just I've dipped it, I've tapped it a little bit to make sure that there's not a giant blob of ink. But when I get started, I like to start in a place where it wouldn't be so bad if a giant blob of ink dropped onto the page. And so, you know, maybe over here around the edge, there's a lot of ink coming off the pin right here at first, and I can always just write with it for a second if I want to get rid of some of the darkest ink. But I'm not worried about that because I am going to part of why I'm using this technique, why I'm showing this to you is to show you how you can just use a really bold Inky style and get a wonderful look from that. So I find that when I'm drawing with a dip pen, that my style changes a little bit for some reason. I like these very quick bold marks. I like the fact that I don't have a ton of control and I don't know exactly what's going to happen with the ink. One reason that I hold the pen differently is that I'm trying not to smear the ink. So it obviously helps to work left to right. If you're left-handed, go the opposite way. In my case, I started at the bottom and I'm working my way up, which means that I'm am having to be careful that I don't lay my hand down and and spill any ink if that seems super weird to you and you really like to lay your hand down on the paper, then you're just definitely, definitely going to work left to right. And first all I'm doing is I'm really just copying these lines that I put down. There's a shelf here and I want to draw that in, be sure I'm aware of that. There's a shelf here too. I just now kind of ran out of ink for the first time or even just got a little bit low on Inc.. Every time I go back and dip again, you know, I'm gonna get a very rich mixture of ink on this pen. And so the lines are going to come out really dark. Now I'm turning the nib upside down so that I can get a thinner line, which is also just a really fun thing to do. You can really vary your linework here for sure. And we're gonna need these thinner lines when we get into doing that, produce just a minute. So again, I'm really just kinda going around. I'm dealing with what I already drew in pencil. I am of course, looking at my drawing. I mean, looking at my photo to make sure that I understand what I'm doing here. There's a lot of ink on this page and it is going to need some time to dry. So just be aware, there's there are a few kinda big blobby. Bits of ink and I'm going to just show you, I'll show you in a second what I do about that. If I have if I just feel like I've got way too many blobs of ink on the page. I'll show you how I handle it, but let me just while I'm at this, let me just kinda finish it up. So let's see, there's this awning here. I've decided that I liked the awning and I'm going to keep it. I like this little roof line and I'm going to turn the nib over and just do a little line like this tiled roof. The way that is. I think I'm probably not going to put in that word Cafe just because I don't want people looking back there. The point is the fruit stand, that's really the focal point. So I think I'm probably not going to get into that. I'm making a little doorway right here and I'm coloring it in with ink. I just love these kind of big bold black inky spaces that you can make. I'll put a big inky shadow under there as well. Let's see, There's a tree back here. I'm just twirling the pen around and trying to get just interesting marks. You know, every time I draw with the dip pen, I don't know how it's going to look. I don't know how it's going to turn out. You really, you get less control. And there's a lot of surprises now so far I have not had any giant ink splatter type of surprises, but I just want to emphasize if that happens. Don't cry over spilled a. You just got to figure out ways to make it part of the drawing and kinda go, i, u, well, I meant to do that. So this is very lighthearted, simple kind of illustration type of work here. I better bring this tree trunk down more. I can see that there's something over here like a little fence, like maybe around the cafe. There's a little fence. Is there are tables and chairs under these little umbrellas, but that's just a lot more detail than I want to get into. I really want to keep this very, very, very simple. So i, and I think what I'm gonna do over here, I've just been putting off making a decision about how to handle this part of it. But I can see the angle of the window. And so I'm going to put that in like there's just a window right here, which there is. But I mean, I'm going to put that in, but I'm but there's also an open door in this area and it just gets confusing and I'm gonna do the same thing here. I'm just gonna kinda put in this little, little sense of a window right there. So we'll we'll have a sense that there are buildings with Windows. I can even put another little line right there. But, but not too much. It's just not going to be real obvious what's going on in the background. I'm going to keep it very, very loose. And like I say, if you'd rather just have blue sky are kind of some leaves from the trees and you don't want to have all these buildings, you can totally do that. That's another really good option. 6. Drawing the Fruit: I'm going to start by drawing these leaks because I really, I like the shape and I feel like I I understand the shape and I can kinda pull this off and I am going to do each leek individually. I really want to pay attention to it and make it not just make it a big jumble of lines, but really like I'm actually doing this leak. So I'm going to take my time here and really think about it. They overlap one another so that, so I don't always have an entire leaked to draw, but I can still just give this sense of it. I'm going to just change the shape just a bit. And also changed kinda where it starts to branch out. Some of them you can see the bottoms of the leaks. So I like that a lot. Put that in. Now, once the color goes on here, this is, we've got such a bold lines with the ink that once the color goes on its people are just going to start a glance at this and go, oh yeah, leaks like that's, you know, that's sort of all you need. You don't really you don't really need a ton more detail to make these leaks look realistic. It's it's it's definitely a particular kind of style that we're drawing in this very bold graphics door to style. And everyone's going to know what that is. So okay, there's our leaks. I really like these turnips and I want you to as you're doing and we don't have to do the color. We can do that with watercolors, so leave the color off, but notice what it looks like when a bunch of roundish things are all piled in together, see they kind of, they kind of overlap each other. So occasionally you'll see the entire, the entire shape of one, but a lot of times you're just see in half the shape or a little glimpse of it. And this is going to be useful when we start just imagining some of the things that are in these other bins. So I mean, these bends that are empty where we're just gonna have to use our imagination. It sort of helps to do this and kinda go, Oh yeah, I see how, you know, you, you don't see all of it. You just kind of see part of them and make them really irregular to definitely draw them not as perfectly round shapes and also not all as the same size. You know, they're on these on these turnips. There is kind of a little brown area at them. What would you call it at the root zone. I'm not drawn those in either. I'm going to all of that's going to happen with color for the moment. I'm just going around and getting in, getting in these bigger shapes. I like the cabbage. I'm a fan of the cabbage. Put that in. You notice like I already made a line for that box now I'm just drawing right over the line. It's fine. Nobody's going to notice. I'm not drawing anything for the cabbage leaves. I'm going to let that, I'm going to let the paint do all of that. Notice I haven't dipped back into my ink again. This it really lasts a long time. And I love the unevenness of these lines. I like how in some areas it's ink ear than others depending on how you turn it. I am going to be going back in and adding some more shading. But for the moment, we just put these in. These cucumbers are very symmetrical. So I'll do those. I'm just, I'm not going to do these are packages of mushrooms or something right here and I'm not going to put mushrooms there. What I'm going to do is I'm just going to fake some little artichokes. So if you're not feeling super sure about what an artichoke looks like, you're welcome to go online and gathered together some pictures that would be not just for artichokes but for anything else that we might do. But I kind of feel like I have just a sense in my mind of how, how artichokes work with the leaves. Let's just see how I do. They're kind of they're kinda like that. And an air again, you don't need much. I mean, I know this is a little bit of a cartoony sort of representation of an artichoke. But I think everybody's going to get what these are. Some of them I can actually maybe leave the stem on a little bit, which will help just to reinforce the artichoke nature of this. And I can try to do one where I'm looking straight down at it. I'm having to really think now like what is an artichoke look like when you're looking straight down, but it's kinda like that. And I can maybe even have one that's underneath right here or I can't see much of it at all, but it's underneath all the other ones. We're going to come back and do the shading in a minute. So I'm not worried about adding in shadows just yet. I'm going to do the tomatoes that are in the middle here. And again, this is just another exercise in like thinking about how a bunch of round things all fit together and how you don't see the complete circle. Very often. Occasionally you'll see the entire shape, but usually you just see part of it because it's hiding behind another one. And so I'm just trying to really look at that and make sure that I feel like I understand how that works. Again, I don't want these to be perfectly round. I mean, these are just like an atom. I mean, they are pretty round tomatoes, but a lot of tomatoes or not. So do what you want here. Put one more back in there that looks pretty good. I do like the carrots over here, so I'm going to leave the carrots as they are. Unlike those cucumbers that we're just kinda lined up in a row like little soldiers. These carrots are all different sizes and shapes and they're sort of laying at different angles. So that's fun. That's kind of a cool thing to play around with. I'm also going to make a more pointy on one end. I'm just going to exaggerate that so that it's, I mean, they're going to be orange, so everybody's going to know it's a carrot, but I think it's just kinda fun to make a note of that shape and just kind of, you know, acknowledged like these are carrots. Okay, that looks pretty good. Let's see. The other thing that's, that's real that we're going to do. I don't know what these are down here at the bottom. I don't know. Maybe they're apples, but you could choose to make them something else. You could make them limits or oranges. All kinds of options. So I'm once again just being mindful of like don't draw a whole bunch of circles because they're overlapping each other and they should all look different. All right, so that's pretty good. So another thing that I thought would be cool to include that isn't here would be some eggplants. So i'm I'm trying to you guys, I don't have a picture of eggplants in front of me. I'm just winging it. I don't know how great these egg plants are going to turn out. Maybe one that I see from underneath. I'm just trying to kind of picture there's a certain kind of sort of smaller eggplant, but I have in mind here I don't know if you know what I'm talking about, but some of them are more globe shaped and so that's what I'm picturing here. All right, mostly we're going to be persuading people that those are egg plants based on the, based on the color. So what else can we do? I'm gonna do another sort of rounded. I'm going to think about lemons. So they're not going to be so round. You're going to be more like that, right? So I'm drawing a few of them at full size just to try to get it right in my head. Definitely don't feel like you have to do these out of your head. You could absolutely have like a little Pinterest board with some some fruit or vegetables in it to refer to. You do not have to do what I'm doing here. I wasn't happy with the shape of this one, so I put a lot of black around it. We are going to be coming in and adding some more darker shading in just a few minutes. So that is, that is coming. And then I wonder if I could pull off a squash like a crow connect squash. So I'm doing a few whole ones just to see if I can. So I'm thinking of like yellow summer squash here. That's my vision. Whether anyone else is going to agree with me on that. I don't know that that's what they look like, but I am trying. You might also think about fall squashes like beautiful gourds you could be doing. So I'm just trying to make these elongated shapes with this longer thin. You could also put bananas in here like bunches of bananas. That's a pretty recognizable thing. I think these are sort of fun and be sure again, don't always draw the whole shape of it because there will there needs to be some that are underneath the other ones. Okay, so now we have all of our basic shapes in, and the next thing we're gonna do is put in some shadows. 7. Drawing the Shadows: The shadow areas that I want to put in now are the spaces between the boxes. If you're using ink, you're just going to love how your pin is. So happy to accommodate these kind of wider brush strokes and just get these in. If you're using more like a pigment liner or a drawing pin, this is the time to get out the brush tip and just really lay it down pretty thick. You can, of course, also do this with paint. But I think it's fun to really get these dark, dark areas in with ink and it just makes the whole thing seem so bold and assertive. I love that. I'm just making a thicker black line around the shelf and I have a lot of lines in the middle of it. I'm not going to make that completely black, but I think that the fact that there are lines in the middle of this shelf actually look kinda cool because it looks a little bit like wood grain to me. So I will be painting that kind of a dark wood color. But again, these are just shadowy areas in between. Have fun with this. I'm also going to, in the back of some of these boxes, you don't have to do this with every single box. But it can also be kind of fun. I'm definitely gonna do it over here because I had that one lemon where I didn't like the shape and I just put a black background behind it. So I'm just going to kind of fill in. There's a lot of ink on the paper here and I want to show you a little trick while we're doing this, I'm just going to show you a little trick. If you take a piece of paper towel and you tear it and you put the torn side down, you can wick up a lot of that ink. It'll just help it to dry faster because you don't need a pond of ink. So that's just a little trick if you do end up with a ton of ink sitting on your paper and you want to get some of it up? Let's see. I didn't hear and I really am just putting down a lot of AIG. I'm not being at all measured or careful with it, but I love these lines and I even like that. There's little gaps in the lines that kinda reminds me of how a woodcut lux and I'm a huge fan of woodcuts. And you get these little sort of, they almost look like little carved out bits. I just decided to go around the cucumbers and make that pretty dark. You don't have to I mean, you can sort of have some variety in terms of how much of a, of a shadow type of area you want to have in each of these let me see. That's the leaks. That's pretty dark. I could do this darker bit here, maybe. Optional. Exactly how much of this you do, how much inking in you want to have is up to you. I mean, I don't want too much because this is sort of a light happy, colorful scene. I am going to go put some darker areas. I'm just going to look for little areas here that I could darken up that suggest kinda the bottom of the bin. That's always a neat thing to do that can make things stand out and, and I don't wanna do that everywhere. But maybe, maybe it would be cool to do that around the artichokes. Like there's a certain number of artichokes in here and where there's not an artichoke, I can make it dark, like there's a shadow behind it. I also want to suggest that these are wood. So I'm putting like little nails. That's just a small thing, but I think it makes a difference. And of course they don't all have to be wood, but some of them look more. I mean, we have a couple of real wood ones here. And some of them seem to just kinda lend themselves to that. But I don't, I don't wanna do it for all of them. They can they can be a little different. They don't have to all be exactly the same. I think I am gonna go ahead and add a little more shading around some of these. I just loved the sense of drama this gives and that I'm being careful to leave little, little hints of whitespace so that you can see kinda where the box ends and the shelf begins. But I just love the way this looks and I love the way you can kinda drop in little bits of shadow areas around some of the fruit. I think that looks really cool. I'll do a little bit of that over here, just sort of suggesting that the bottom of the box and kinda where the shadows fall, there may be some around these squash as well. Again, I'm leaving a little bit of white area along the back of that box so that it does look like a box. And I'm trying to suggest like the gaps in between the squashes. I think that helps. I think it helps make him stand out a little bit. Maybe a little bit of dark areas in here in between some of those apples or whatever we've decided they are. It's just kinda nice to drop that in and just a few places don't overdo it. Or go ahead and overdo it. Have fun. Okay. I like the way this looks. All right. 8. Watercolor Background: The ink is dry and now we can erase. If you're not sure, if you're not completely sure that your ink is dry, hold it up to the light and make sure you don't see any shiny little reflection. And just touch it and just brush your hand over it. Make sure you don't get any ink on your hands or any more ink than you already have? I already have. I always get a little ego my hands, it just happens. And then go in and erase and I'm going to, I'm going to erase the little outline I did around the edge as well, but I'm going to leave it just barely visible for me so that I can just kinda remember what the outer boundaries of this image are. It doesn't matter so much unless you're going to maybe give it as at present to someone and you want them to be able to frame it. Five by seven is just such an easy frame bubble size. So I like to, I like to make things a dimension that ready-made frames come in if I think somebody's going to want to put it in a frame. Okay, so That's good. Everything is erased and we're gonna get started painting. What I'm gonna do first is I'm going to go ahead and just focus on the background just a bit real quick. I want to put in a little bit of a sky. I always do the sky first. If there is any sky, I do it first. And the reason is that my water is nice and clean and I can just get good, good, clean, clear color down. Now there's a tree over here, so I don't really, there's not really that much sky area to do, as it turns out. But I'll just put a little wash that in just in a few places. That's plenty. That's going to dry. I think I'll get I'm going to, I'm going to use a smaller brush just to get a little more detail. I'm using Hilbert's right now, but there's no reason for that. That's just what I grabbed. So, you know, just any kind of small brush but I'll just let you get in there. I'm going to take some Naples yellow. And I'm just going to put down kind of as an idea for him, just like a base coating on these walls. I'm just going to put down some Naples yellow. The idea is just that we're kinda just looking out. It's in little shops that are in the background. So I'll get that down so that can start to dry. And I might even just put, for the moment a little bit of Naples yellow over here in the background underneath these umbrellas. And for the tree, I've got some Hansa yellow. You might also have just any bright yellow and lemon yellow and AZO yellow, whatever you got. I'm going to just make sure the sky is reasonably dry. It's reasonably dry. I'm going to put in some really bright yellow and then drop the green into it. Wanted to be kind of a wet mixture. So this will work. And then I'll get some sap green and just kinda drop it in and let it move around on its own. Which just looks sort of natural and organic and also just kinda blurry, like a little bit out of focus and This is supposed to be the background. We really don't need people concentrating on this too much. So I'll just drop that in and let it be kinda abstract and let it do what it wants to do. The awning, I think I will do this awning in that dark red. I like that. Make sure that skies, it's pretty dry. I'm taking a little bit of a chance. It feels like it's ever so slightly damp, but I think I can pull this off, so I've got some pyrrole red and I'm just going to mix some Alizarin into it and just darken it a bit. Yeah, like that. That dry just drop in the sense of this red awning. It's okay that there's little bits of white showing through. I actually like that. I like that. Sometimes watercolor artists call that sparkle. When you just let a little bit of paper show through, kinda brightens it up. I can see it has run into my sky just a little bit because I said that I thought that sky was not quite dry and I was right. I've mixed up some yellow ocher and some red oxide here. Transparent red just for our roof. That's all I'm gonna do with the background for now. I'm going to come back and mess with it more, but that's just to get something down that's drying. So now let's go around and just look at all the boxes. So I'm gonna take I'm going to use yellow ocher and also Naples yellow. And you notice I'm using this blue side over here and I'm doing that for a reason because running a little bit of blue into it, we'll just kind of send it a little bit towards gray every now and then. So i 1 variety in these, I don't want these boxes to look like a match set. So I'm going to mix them with different things. Like I have a lot of neutrals appear in the lid of my paint set. So if I mix it with some of this neutral tint, Daniel Smith neutral tint, which is just really dark, then it'll push it a little bit more towards brown. So I'm really just using a lot of yellow ochres and browns to go around and do some of these boxes. Put a little on the back and the sides as well where I can see him. No, I don't want them all to be wood. So I'm being kinda selective here. I'll do this leak box because I let little bits of white show through. When I drop this in, I can get little, little bit of color which is nice. Maybe I'll do that. Cabbages really light with Naples yellow. Now it looks good though. And you know, some of these are just cardboard boxes, so those can also be brown. But kinda want some variety that's too much. I was like, Could I just mix a little bit of red in, get a redder? Me just see. Yeah, that's nice. So that's just a brown that's got a little more red in it. So I'm just looking for opportunities for that kind of variety. Some of them can be a color like so we can actually let them be cardboard boxes, which is what they are. So I'm just gonna, I'm gonna take a little phthalo turquoise and mix it into this blue just to get a different color. You absolutely don't have to use this color. But just something that'll kinda stand out. Just suggesting that that's like a blue box. This one I could do in some kind of color. I don't want it don't want it to be red because I've got red or I think I'm going to put red fruit in there. Of course, I could change my mind about what color that fruit is. Maybe I want more of an ultramarine blue. That's nice. So you kinda have this sense of it being a hodgepodge of different colors. But I think I'm going to do wood for the rest of them. Obviously, the point of this is not to look at the boxes. So anytime you have something that you don't really want people looking at too closely, you know, don't make it stand out. So I don't want these to stand out. I want them to be just the boxes that the producers in. There's no need to, for people to spend a lot of time really looking closely at them. So that's in and then I did want to make these shelves look like wood. So I'm going to take my transparent red earth and that's a good, pretty good wood color, but I'm going to blend a little blue into it, which is going to hopefully gray it down and push it a little bit more away from red and into brown and give me a pretty good dark brown. Now I want to make sure these are not too wet. Nice. You could also make these black, like I'm tempted to actually make them a little darker. So let me just see what that looks like. Get some neutral tint on there. Come in with a darker. That's nice. Okay, so we've got a lot of background stuff in and we've got the boxes in. We're gonna give that just a second to dry and go ahead and get into the fruit itself. 9. Watercolor Fruits: That's all dry and I'm ready to get started on the Froude. So this is really the fun part. And what I'm gonna do is I'm going to start with some of the basic primary colors that I'm going to be using and then I'll work into mixing. I'm like, I think I had decided that I wanted these to be lemons. So as long as I've got a nice clean, I'm using hansa yellow, but any kind of bright hello? I'm just going to drop that in and you notice, I'm not really doing a lot of subtle variations in the colors here. I'm actually going to just let these kind of be really bright, bold graphic colors at first. And I can always decide to come back in and mess with them a little bit more as I go. But I'm just going to leave it at that for now. Now for the carrots, I can't use this crazy bright orange that is way too much. So I'm just going to dip into sort of this brown mixture and just, I just need to dirty him up a little bit. So you could add a little bit of brown or a little bit of some kind of blue that would just push it towards brown. And then just drop that in and see what you think. We can always come back and bring in a little bit more of a lighter or a darker color. Once this is dry, so don't over painted. Leave lots of leave lots of white areas at first. And you might even want to get down, I'm probably going to get down to a smaller brush in just a minute. I'm just gonna kinda have that out and ready to go. Let's see. I want to go ahead. I think I'm gonna go ahead and do the eggplant. So eggplant, It's kind of, I'm going to get out some Alizarin crimson. Get out some ultra marine. Make a nice combination that's pretty close to what I would call egg plant. I feel like that reads pretty well as where my eggplants here they are. Yeah. I think this works pretty well as an eggplant color. Now I'm being kind of careful because I want the tops of the egg plants to be green or that kind of greenish purply color that they get. And here again, I like leaving a lot of whitespace. I like being able to see where one leaves off and another one begins. So I can always come back in later. But for now, I'm going to let there be little bits of white space around each of these. I like the look of that. Alright, I'll come back and do the green on that in just a minute. I'm just sort of holding off on everything that's green. Why don't I go ahead and figure out as long as I'm doing some things with purple, why don't I go ahead and figure out the turnips. That's a very distinctive color. It's different from the eggplant color. It's a little redder. So I'm pulling in some quinacridone rose and just mixing it and just kinda, kinda looking at it. I almost want to maybe bring a little orange into the mixture. I'm not that's way too much. I knew that was going to be too much. These are just sort of things that you play around with and go back and forth on. So quinacridone rose, some of the purple from the egg plant, maybe a tiny bit of that orange. I'm not sure. I mean, just see how this looks. I think it needs a I think it needs a little more blue in it. Not that much blue. I also don't mind experimenting on these and having them be slightly different colors. Yeah, that's better. I think that's maybe a little closer and of course, it's only the bottom half or it's only half of each one, right? I don't wanna say bottom half because they're turned in all kinds of different directions. But it's only half of it. And that is something I really want to emphasize because that is what I think makes him look like. Turnips. That looks really good, right? We'll let that dry. See what we think about it after it's had a little time to dry. Have these yellow squash down here. I kinda wish I hadn't put lemons right next to him because I have two yellow things right next to one another. So in order to make these different, I'm going to try and mixing in this bright lemon yellow with a little yellow ocher and just get a darker, richer color. I mean, I think, you know, summer squash like this can kind of have that color variety in it. Oh yeah, that actually looks really cool. So you could also try mixing in a little bit of orange. Maybe you have something like quinacridone, gold or new gamboge, which I have as well. I could have mixed some of that in, but I like that. And even though there are two yellows right next to each other, I think they look good and I definitely left lots of whitespace here is if, you know, just kinda like to suggest a little highlights or something. What else? Let's go ahead and do these apples. So get into my red. And I'm going to be pretty basic here. I'm just like or are they tomato? I'm sorry, tomatoes. So I've just got to read. It. Didn't mix in a little bit with that orange, which I think is a good thing. You notice how I do each one individually. Like I'm not just washing over the whole thing with one color because I want them to look like they were each individually considered. And I could come back in and I have a little bit of, I don't so much care about having a lot of variation within each individual fruit, but just being able to see some variety so that they're not all identical. So I'm just that lets me just kinda mix it up a little bit. Okay. So that's good. I'm kinda holding off on the greens because I've got a bunch of different things to do in greens. And for these little guys over here, I could make them like, well, they could be like a green apple. They could be oranges are tangerines or even peaches. I mean, you notice I'm not even agonizing too much over like what did I intend this to be originally? I'm just sort of go on, well, it's kinda believable as some kind of fruits. So I've just mix some orange and some red together, just dropping that in. I mean, those could be a lot of different things. They could be, they could be apples, they could be tomatoes. They could just be whatever. Continuing to just leave some whitespace. Knowing that I can always come back and cover some of it up, so better to leave too much and come back later. And in fact, now that the carrots or dry, I can see that I do want to come back into those carrots and add just a touch of a darker tone. So it's nice that I have these lighter. Do you see how you can kind of just enhance them a little bit? Make him pop, make them a little bit more three-dimensional. Don't overdo it. Still leave, still leave lots of white space. Still give yourself the opportunity to maybe come back later. Just a few little marks there. And the idea is that we just, you know, we're doing this kind of bold graphic style and that's what we want. So now I've got a bunch of green things but I need to do, but before I do, while I have this reddish purple color on my palette, I want to suggest it in the artichokes because you know how artichokes, they're green but sometimes they have a little purple down at the base. So I just dropped it in a little bit. I'll kinda cover it up with the green. But that just gives me kind of a starting point with that. 10. Watercolor Greens: For the greens, the leaks will be really fun to do. Let me get rid of some of this orange, but leave this yellow here. Okay, good. So my bright yellow, That's my Hansa Medium. And I'm going to take, this is my fellow green, so it's a very bright, crazy kind of light green. And so I want that for this kind of middle area and the leaks. That's where you see it. And I want some variety and where that green shows up and how far it goes. And then as it gets darker, the interesting thing about leaks is that they're kind of blue. So I've got my sap green. And I'm going to take some Prussian blue, which is a greenish blue, and mix those together and I feel like this is a pretty good leak sorted. Oh yeah, this is great. Again, I'm doing each one individually. Like that's, I think what really makes this look right, even though it's such a loose quick style, is that you take just a minute to kinda do each one of these and let him have some variety. Don't make them too much exactly the same. We want to go really, really dark in a few places. Yeah. Because they're going to be casting shadows on each other as well. So that's cool. And then real quick, while I'm, while I'm here, I'm going to grab a tiny little bit of yellow ocher, just mix it up with some of my brown and just hit the bottoms of these leaks because we all know there's like little bits of root there. Okay. That's it for the leaks. For the artichokes. Artichokes are also kind of a funny green. And I feel like they too have a blueish cast to them, but maybe, maybe not quite so much. Let me try work and some more yellow into this mixture I already have. Oh yeah, I like this. So I just worked some yellow n and I get this kind of olive drab color that looks to me like artichokes. It's only just now occurring to me as I'm doing this, that's something else we could have put in here would be some bundles of asparagus that would be fun. And very French. Considering this as a French little market stall. I'm just dropping this in, letting it kinda sit on top of that purple that I put down. I think that looks pretty natural. May be dropped in a couple of little darker areas here and there. I don't know. Probably not necessary, but I'll do that. And then the cucumber also. So I'm going to get my actually I'm going to, I'm going to start over here with this bright almost candy colored green and yellow. So this is the phthalo green and the Hansa yellow. And I'm going to put down. Oh, I love this color reminds me. It's it's kind of I mean, we're doing cucumbers and it's got this kind of pickled sort of color to it, this acid green. I'm going to leave that and then come put some darker colors on top of it. So where else do I need green, I need the tops of these eggplant. Now if I had a photo of some eggplant in front of me, I could be a little more clear on exactly what shade of green I think that is, but I'm just gonna go with a light, a pretty light green, and there's only three little tops that are even showing. So I don't have much of a job to do like that's pretty much it. Okay. So these cabbages, I wanted to try something different with the cabbages. I'm going to pull out my secret weapon, which is buff titanium. I don't keep it on my palette because I just don't use it a lot, but it can be kinda great for certain things that you wanna do that are sort of light and neutral. And I use it a lot with food and I'm not even squeezing it out on my palette. I'm just dipping my brush into it. I think getting a tiny little bit. This tube is going to last me the rest of my life at this rate. And so I'm going to take, you could also use Naples yellow for this. And in fact, I should have demonstrated that because I have it right here. I'll put some of that down too. So if I take some of this green and I just mix it with that buff titanium, I get a very light green color. That kind of reminds me of cabbage, you know how cabbages. So it gets almost white. Now that looked a little bit dark when I put it down. One of the wonderful things about watercolors, if you don't like something, you can pick it right back up. So I'm going to pick that right backup. Hmm. Just trying to get to exactly that right color. And now maybe if I'm take this light green and I mix it with just a little bit of Naples yellow. It would also work to mix it with a little bit of that buff titanium. Well, I think if I just put this down really thinly, it will dry and it'll look about right. I just want kind of a light wash of a neutral color and then the green can sit on top of it. Another thing that, that would be cool to do on a produce stand like this would be some melons, that would be another very French thing you could add. So here's some sap green. I want a light color for the cabbage, but I don't want it to be that super glowy green. I want more of a neutral green color. I think this is about right. I'm going to actually let that dry for a second. It's still mine is still wet, so I'm going to let that dry before I put anything else on it. While I'm waiting for it to dry, I'll come back in with some sap green and just see if I want to kinda come over these cucumbers just a bit. Just give a sense that there is light on them. So they've got a little variation is not essential, It's just a small touch. And if there's anything else on here that I wanted to touch up now would be the time to do it. There's really not that was reaching for purple and I picked up the wrong color. I could take a little bit more of a purple color into these artichokes and make them just a little bit darker. It's not necessary. I'm just kinda messing around while I'm waiting for the cabbage to dry. I think he's actually all look pretty good. There's not much I really want to change here. Okay? So now still using this tiny brush and get a little bit bigger brush. So I mixed my Naples yellow into this light line green mixture just to neutralize it a little bit. And I'm just dropping it in. I'm going to put some under here to, to suggest that there's another cabbage under there. So there's some variety here. It's kind of a natural transition. It's not a real big obvious mark between the lighter areas and the darker areas. And you can always come in and dab some up and play with that a little bit, but I don't want to do too much. The point is there cabbages, they're kinda light in color. I don't really need much to happen right there. Maybe just a little more. I think that's even too much green. I don't think I even want that much. I'm just going to leave that. And this is really pretty much done. I'm going to just let all this dry and we'll come back and look at our background and that'll be it. 11. Watercolor Final Touches: Now how you want to handle your background is up to you. And one of the reasons that I don't do too much on the background at the very beginning is that I eat, I really want everyone looking at this. So I don't want to do too much back here that's going to detract. So just a few little things that I'll do, I'll drop in a little bit of color into the trunk of this tree. Not too much, just a little mixture of just a brown. In this case, it's this transparent earth red and a little bit of neutral tent there. I think I've decided to go ahead and do these umbrellas in red to match this awning as if it's sort of a complex like a little shopping area. And I'm going to work a little of that brown into it just so that it's not a crazy screaming fire engine red. And I'm not gonna do much. Just going to barely suggest that. And I also think I'll put in a shadow color along here to suggest that under the awning it's in shadow. So I'm going to just dip into my shadow violet. You can always mix a shadow color. It's really just a mixture of all your colors. So it's like if you have a red, a blue, and a yellow, you can mix a good gray, which is a wonderful shadow color. But I have Daniel Smith's shadow violet here. And I was going to work just a touch more purple into it. And instead it's like I put all the purple in the world right there. Let me try that again. Just a little tiny bit of extra purple. And I'm just going to come down here and just put some of this in shadow. Just to suggest like the awning is casting a shadow over part of this complex and maybe back here too. Again, this is all super loose and I don't want anyone like looking at it too much or really asking themselves what it is or focusing on it. So I'm just going to let it go at that. I could have like there's a lot more that could have happened right here, but I really want people looking here at the fruit. And I think we've accomplished that. So there's our fruit stand. 12. Final Thoughts: Okay, that's it. I hope you enjoyed this little venture into dip pens or whatever kind of ink pen you decided to use in this class. Please post your projects. I'd love to see what you're working on and if you have any questions, just put them in the discussion area. I'll be happy to pop in and answer. Also, I teach a lot of other classes that will let you explore E ink and watercolor, and a lot of other kinds of art supplies. So please do check those out and stay in touch. You know, I'm easy to find on social media. I have a website, I sent out a really fun newsletter. I'm on Instagram, whatever I would love to connect with you in any of those ways. So please come and find me and thank you very much.