Watercolor Basics: Practice Major Techniques & Paint Fun Donut Projects for Beginners | Yana Shvets | Skillshare

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Watercolor Basics: Practice Major Techniques & Paint Fun Donut Projects for Beginners

teacher avatar Yana Shvets, Paint.Travel.Take a risk

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

21 Lessons (1h 20m)
    • 1. Welcome to this course!

    • 2. What a donut is...in drawing

    • 3. Art materials overview

    • 4. How to achieve transparency

    • 5. Exercise: Transparency

    • 6. Paint a transparent donut

    • 7. Exercise: Washes

    • 8. Paint a donut in flat wash

    • 9. Exercise: Gradated wash

    • 10. Paint a donut in gradated wash

    • 11. Exercise: Mixed wash

    • 12. Paint a donut in mixed wash

    • 13. Exercise: Wet on wet technique

    • 14. Paint a donut in wet-on-wet technique

    • 15. Exercise: Volumes

    • 16. Paint a 3-dimensional donut

    • 17. Exercise: Glazing technique

    • 18. Paint a donut in glazing technique

    • 19. Donut & Perspective study

    • 20. Donut as an illustration

    • 21. Class Project: Realistic tower of donuts

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About This Class

If you are starting out with watercolors, not sure how to control water or paints, how to blend colors smoothly and just want to get a deeper understanding of watercolor techniques, this course is perfect for you!

Beginner artists’ myths about watercolor are busted, most common problems solved, and major techniques explained. The course is built the way that will help you put theoretical knowledge in practice right away.

Every class has its own independent topic, offers an exercise to train your hand and a small artwork to see how you can apply those skills in actual painting. Every step of the painting is explained and demonstrated, you can follow me or go ahead and paint by yourself.

This course is for complete beginners who want to start learning watercolor with foundations and understand how this medium works. To make education process fun all small painting projects are focused around donuts. So, you can practice new skill or technique in a simple painting yet discovering watercolor features in its full capacity.

I also offer an outline for each painting which you and print or trace directly on your watercolor paper. You don’t even need to worry about a sketch! Just pick a relevant outline for a painting you are working on and trace it. I offered outlines of different donut shapes depending on a class.


• Theory + Practice: every class is devoted to a specific watercolor feature or technique which includes a practical task and a small painting project where you can apply new knowledge right away.
- 10 artworks of donuts painted in different techniques or using specific watercolor feature.
- 7 short exercises to master watercolor.

• Watercolors basics covered:
- How to achieve transparency
- What is a wash and how to paint in flat, gradated and mixed washes.
- Wet on wet technique.
- Glazing technique.
- Volumes and 3-dimensional art.
- Understanding Perspective.
- Exploring illustration

• 5 downloadable outlines of donuts to print or trace (find them in "Class Project" section).

• Materials overview.

• Class project that includes all skills and knowledge you’ve gained during the course.


Meet Your Teacher

Teacher Profile Image

Yana Shvets

Paint.Travel.Take a risk


Born in Ukraine, raised in travel. 
I am a professional watercolor artist, full-time traveler and a salsa lover ;)
After a burnout in the office, I hit the road without any plan and since 2014 I've been travelling around the globe, visiting different countries & settling down for a few months (sometimes years) in different cities. My watercolors are inspired by places I've visited and people I've met.

You can follow my travel-inspired adventures on Instagram.


My original paintings and prints of those are available for sale if you appreciate art on your walls ;) 
I am open for commissions and happy to create an artwork that will inspire you, have an impact on your family or become a gift for beloved ones. Just hit me a message.

... See full profile

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1. Welcome to this course!: Hey, are you starting out with what? The colors but not sure with technique to use. How to blend colors. How to achieve smooth layers. There is no need to reinvent the wheel in this course. Travel carefully. Guy do through major watercolor techniques, you will learn what is awash. How do you achieve transparency in watercolor and create ingredient? How to paint three dimensional artworks and create volume. Explore wet on wet and glazing techniques and touch base with perspective. Every class has a short of theoretical part with an exercise where you can practice new skills, and right away we will apply those skills in an artwork to give things simple. Artworks will be around daughters, so you're focused on watercolor techniques. Instead of droning specifics, I also offer an outline off a donut, which you can download and trace for print on your watercolor paper so you don't need to worry about sketch at all. I have been hosting water cover workshops in different parts of the world, and I know how overwhelming watercolor can be if you jump right in without knowing the foundations. That is why I create this course where you can get familiar with the most important techniques, approaches styles and perform each of it in actual painting. Basically, after this course, you will be able to paint anything and watercolor because you will know how it works. Your project will be to paint a realistic set of donuts using all the knowledge you've got learned. In this course, transparency washes blazing perspective. All of it is going to be there. This course is a fun and is a way to start watercolor painting with confidence, and you better than be hungry. What color is not difficult when you know the foundations, Let's dive in. 2. What a donut is...in drawing: whoring guys. So first, I would like to talk about what it is. A dollar. So let's do a quick illustration off Donald. Technically, it's just the shape A circle shape means closed contour, two dimensional object. So it can be any geometric shape flick two circles. I just it or it could be a free form. Also, you can see some cream on the side, maybe something frosting. Also, with the good lighting, you will see a highlight over here and maybe somewhere over here, sometimes you will see the inside off the bun. Here we go. We have a basic shape off a doughnut. You can also see it in a different shape. Here is some I don't know, melted chocolate on the side. This is the texture off the bone. And here we go. We see it from a completely different angle. Is as if we take a donut young. We flip it like this so we don't see the inner circle. It couldn't be flipped on a different sign and, for example, we can see like this. This is some dough. Some frosting and the inner circle was gonna be over here if we want to show a three dimensional object. We're gonna work on the form, which means there will be some volume, some shadows and light, and it will look realistic. So this is exactly what we're going to learn in our next class is. But before we dive in into painting, I invite you to practice different circles so you can take a banner, pencil or marker and just draw circles freeform. And when you feel confident that you can do a nice circle, we can move to actual painting. You can also use a cup and just outline it if you're perfectionists and you would like to have the perfect cycle. Also, I attach a file that you can download with a outline off a done it, which you can print and trace on your watercolor paper to use in your future paintings. But remember your doughnuts. They don't have to be perfect. The drawings. They don't have to be perfect. It can be absolutely free form the way you want it. So before we jump into painting, let's talk about materials were going to use in this course 3. Art materials overview: This is a big intercourse, so we're going to use very simple materials that are not costea and not gonna hurt your budget, but will allow you to practice the most important watercolor techniques and learn its features. So let's start from paper. I'm using simple seller laws paper, which is a student quality paper called Press, which means that the picture is like the visible, comparing to hot breast, where the texture is absolutely smooth or rough, where the texture is very, very, very, very, very visible. This is like a middle ground between the three of them. Also have a second sheet, where I'm going to practice mixing colors and see how they look like and also do some exercises. So I said, just you to have two of them, just in case different brands available for student quality paper. It can be Kansan Fabbiano, renaissance than what a color said I'm using Here is called Netscape Elita White Nights. It's a Russian friend. It is a professional watercolor, which is pretty affordable in Eastern Europe. Here they're available in pens. They could be also in tubes, and you don't need this whole range of pigments for this beginner cause you can limit yourself to six colors, for example, and you will have just enough to try everything we're gonna do today. I also have a pencil and a razor. What's important is that you do not actually apart it too often in the painting because it's going to damage their texture off the paper, and the paper will not be able to absorb water their way. It should be so we will do our best to try to not use this thing. As for the precious, we're going to use only two of them. Both are synthetic around brushes, bigger size and smaller size. Both of them are have, like a very nice tips, so you can do small, delicate lines as well. If you use new brushes just from the store, and I still have this glue in the Bristol's and maybe even like a plastic cap what you should do, you have to put the brush into the water on and leave it for a few minutes 10 20 minutes to allow glue to take off. So then the Bristol's will be nice and soft. Also, we wouldn't need some tissue. Do rains water from the brush over. You can use it. You know, quote whatever you feel comfortable with and we're ready to start. 4. How to achieve transparency: decreed a transparent watercolor layer just in some water. The more water you have in your paint and on your brush, the more transparently irritable achieve and rivers. If you have not enough water on your brush or in your paint in your big meant evil, achieve very thick, concentrated and obey clear. This is very important to know and remember when you work with watercolor, a lot of people tends Teoh, a beat cop. Very, very thick pigment on their brunch like they would do, for example, with gua sha or acrylic and apply it on paper, which can cause a very different effect. And it's not really How would the color should be used Steps off? Achieving transparency in watercolor is very easy. I put my brush into water, I be cops in pigment, and I applied on paper. If I think that it's do concentrated, I dip it into water again and apply again, and you can see that I started with more concentrated yellow and moved to very, very transparent one. You can do reverse. First, you conduct some water on your paint, becomes the paint, put it into water. Reason. It's so it's not dropping paint and apply on paper and you see that you will achieve very nice and transparent layer. And now I would like us to do ah, simple exercise right next to our future doughnut to practice transparency. 5. Exercise: Transparency: I will draw an outline from Donut over here. So here's my circle on a tiny circle inside over here. This is gonna be then dunnit. Next, it I'm drawing a simple box where we're going to practice transparency here. I would like you to draw a very thick line with your pencil and less thick line down or zigzag whatever you feel like, and then taken up a very, very, very sick pigment, almost like if I would use glass. Sh And you see that the pencil line I draw before disappeared. I can't see it under the layer off my pink paint so it holder to create transparent layer. I'm going to dip the brush into water and tried to dilute it to create transparency. The more water I add, the more transparent mayor I receive after my layer got dry, even noticed. Two things first is that the color got much lighter than it waas when it was wet, and second that the pencil line that was going all the way down the box is now visible through the layer, which shows the transparency off our layer 6. Paint a transparent donut: now using the knowledge off, creating transparent layers. Let's paint. I were transparent doughnut. I always did my brush into water. So when I put the fresh into water, I make the layer less concentrated. And if, for instance, I got to concentrated pigment, I just diluted with my brush. And here we go. We have our first doughnut ready. If you want, you can add a little bit more concentrated pigment over here and somewhere on the bottom. The point here is to be able to control your brush and amount of water on it to create a transparent layer. Let's move to the next lesson. 7. Exercise: Washes: in this lesson, we will learn about washes. Well, she's technically just one layer off water call which can be performed in many different ways. And now we will explore how to create a flat wash. First, I'm going to draw another doughnut the same way we did the 1st 1 And also we're going to create a special section for small practice. I will. Don't. It is going to be green. So I will use a yellowish green pigment for this exercise. And here in this box, we're going Teoh, try to create a flat wash to be able to do so. You're Russia should be wet. You should have some pigment. UNAIDS, but not like a chunk of pigment, as we were discussing in a previous class. So the color will not be too concentrated. And now we will apply the first joke and we will try to keep this books with the same consistency off the color in order to do so. I play once joke Then I, deep in the water, I become paint again and then apply another stroke. Deep in the water planed it's joke. As you can see every next choke I try not over the previous one, but a kind of continued the line over here, the bottom line, trying to pick it up and kind of stretch it. So this way the wash looks flat. There's no change in the consistency off the pigment, uh, in concentration or in transparency. It's old, same every time. I'm just trying to continue the line, and I always do it from the very, very bottom. Just connecting this last stroke with my new stroke. It takes time to practice this. So take your time. Don't worry about it. It's something that happens from first attempt or from second or from third. So just be patient. Tried to call her a few boxes like this. Do you achieve a nice straight flat color? Sometimes you will get stamps like this or like this. This happens because you had too much water. And then when the water and the big man dries out, do you have a small Patton like this one 8. Paint a donut in flat wash: Now that we know how to create the flat wash, let's try to apply it, and I would done it. So water pigment done it to avoid a sharp line like this one. I'm diluting it with the semi wet brush, so there is a little bit off water on my brush. Not too much, not too little. All right, I think I achieved the goal. I created a dominant that is relatively ham platt. The flat washes here, the colors consistent everywhere. Make sure that when you adjust the layer, you don't have too much water on your brush. Because if you have too much water, it will drop into your layer and create something like this to create a very specific pattern that will kind of dilute the first layer. And we don't want that. Another thing I could do. I could, um, make it more fun and just end some years. I mean, donuts can be different, right? Can be a cat donor and eyes, nose and whiskers. History cat and let's move to the next class, where we will discuss how to create segregated wash 9. Exercise: Gradated wash: Now we're going to practice. Correlated, flush. Same as always. I'm going to draw a circle for the doughnut. And this time I don't. It is going to be Kuala. I also prepare and books for practicing. And here we're going. Teoh, do some related wash exercises. Another decree. It aggravated washing to start from a very concentrated pigment. And then every new stroke should be a little bit less concentrated. How do you do this? We and water. So since quality is great, I'm gonna use black as the most concentrated version. I pick up the very concentrated pigment I could possibly become from my palate. It's very, very, very thick. Now, in order to create a little bit less concentrated stroke, I dip my brush into water. But I do not pick up a new pigment again, like I did in the previous exercise when we were doing flat wash. Okay, so then technique is this joke? Water stroke, water stroke? I do not pick up new pigment on my brush. I continue painting with what remains on the brush without any new color. This what makes a big difference between creating Flatbush? Angra data Bush, You can see how our color is great. Really changing from being very, very, very dark and consecrated to life and transparent. Here we go. Nice graded wash. 10. Paint a donut in gradated wash: I will start with the very dark pigment here in the bottom of my Qala, and I will try to make it great early, Lighter as a move towards decide very dark black pigment and now deep in the water. Try to have not too much water on your brush because if you have too much water, it will create patterns. Own your paper and it's not always look nice, and you can see every time I did my brush into water, it loses the intensity. And here I close our circle with almost transparent color. We're going to the same with the years I will become dark, concentrated scholar and with the clean brush, no pigment at all. I just deluded down over here the same with the other ears when we have nice credited wash and a few small details left, let's and some ice and nose off Gorda. So no matter how much you try, how hard you try, sometimes you will see that you still have those patterns I was talking about earlier, and this happens for two reasons. First, iss, the paper that you're using because this paper is cellulose paper, it kind of hold the paint on the surface of it. So when you mix the colors they mix on top, they do not go deep into the layers off the papers. So that's why, no matter how hard you try to create very nice and smooth wash, it still creates those patterns after it dries out and to compare it with the content paper . You can see that on the cotton paper, the washes They look very different because the way you mix the colors and the way they react on the paper, the cutting paper absorbs pigment, and it allows washes to dry longer and also makes the washes the way that they would not create the patterns on this. Second reason him for this to happen is because when you add the next layer, you had too much water on your brush and water dilutes the first layer and kind of push out the big month, creating patterns like this. All right now we're done with credited Wash and let's explore what is mixed Wash 11. Exercise: Mixed wash: So basically doing the mixed wash we're going to apply, um, every new stroke like we did in our previous credited washing fatwa. SH but we're going to change the colors. Doesn't matter what color is your using. I will start with the orange. I buy orange and then wash my brush and take bank and see. I continue the strokes and I allow colors to kind of connect and to blend a little bit. And I feel like it's not enough off my pink. So add more. Think on the next car will be, Let's say, blue. And here again I'm allowing those colors to connect. And sometimes they mix and create a new color. Like here they create Violet. I'm also leaving a tiny drop here at the bottom so that when I apply my next stroke, it's going to blend and connect much more smoothly because there is this hanging drop. Okay, I'm gonna take some brown. Don't worry if this doesn't happen from your first attempt, so they define it takes time to practice, just do practice. And the last car will be purple, some connecting my purple with the previous brown. I'm finished this books all right, So now we created mixed wish when she will be using really often when you're gonna paint big, complicated artworks because there's almost no painting where you would use just one related wash or just flat, where she always will have to mix and flow and see the colors collaborate with each other. So now let's apply this technique into our done it. 12. Paint a donut in mixed wash: don't let them going to create is going to have different colors. I don't know which colors yet, so I'm going to improvise and I will create some sort of a rainbow donut. So feel free to follow me or do whatever you please. This is really up to you. The most important part here is to make those colors connect nicely and smoothly. As you can see, I'm trying to keep colors relatively transparent. Would be practiced on our very first lesson that will finish with the same blue collar, are used in the beginning. And here we go. We have our mixed wash in a donut where we connected all the colors and they blended and mixed smoothly. Let's move to the next lesson. 13. Exercise: Wet on wet technique: What color is a water based medium? It have any depends on amount of water you're using both on your brush and in your paint. What on what technique is one of the most important techniques and watercolor, and this is how it works. So first we do exercise and in older to work in weapon with technique, we need to apply clean water on paper first. Now you have to pick up the pigment and apply it in the area where you just put water. You can watch how big mint is moving around by itself. You can even move your paper and observe how pigments are blending and mixing together in a very nice, smooth way. What a What technique allows you to create interesting washes in one attempt? Now that's apply this technique in our done it and create a galaxy. 14. Paint a donut in wet-on-wet technique: I apply water only in the place where I'm going to put paint later on. So here this circle inside. I'm not gonna put any water because I don't want to paint inside this area. If you have too much water like I have right now, I just lifted with the brush. So I allowed the brush to kind of absorb the excessive amount of water. It's totally up to you how you choose to paint your galaxy. But I prefer to just lead the colors, do what they want to do and observe. In some places, I feel like the color is a little bit too pale, so I'm at in more pigment. And just because we're using, I went in with technique. It allows us to create those beautiful, smooth transitions between pigments that we won't be able to achieve if we would be working on dry surface. And that's what we're gonna do in the next lesson. 15. Exercise: Volumes: hello there. Until this moment, our paintings looked pretty flat because we were painting shapes, two dimensional objects with Well, no volume. They don't look really realistic. Now we're going to create a three dimensional doughnut, which means we will work on the form in order for our shape, which is a circle to turn into a form a sphere. We need to create a feeling of the volume in our painting. And this is why I'm drove in a bowl right now, which is a three dimensional representation off a circle. Right now, I'm working on a local color off the bowl and I'm trying Teoh sketch very life thing. And over here will be the highlighted area. So the lightest spot on a boat because the source of light is coming from here. Usually when you see and you know where the source of light is coming from, it means that the opposite side is going to be in a shadow. So here I am, showing it on the sketch. Here in the bottom will be reflected light, which is going to be lighter than the shadow, but still not as light as they highlighted. Spot this part should be the lightest one. Then there will be a cast shadow because the source of what is here. So the object is dropping life driven shadow. The darkest part of the shadow will be in a place where you can see the object meeting with the four or with the surface, and it gets lighter as it goes away and wola. 16. Paint a 3-dimensional donut: Now we're going to acquire the knowledge we learned in practice. So here is gonna be our doughnut. It's going to be blueberry doughnut. This time. I'm going to show the the bun it's gonna go up a little bit. And Aziz usual. We're gonna have our little exercise, folks. The shadow is gonna be on this side if the light is coming from here and kind of from top as well. So the biggest shadow is gonna be over here. There's also gonna be shadow inside that will help us to understand that this shape is kind of bended like this. And, of course, we're gonna have a highlighted area over here. And also over here, there will be some sort of from reflected light here and a little bit of shadow to show the around it form off the dollars. And now we just need to employ this on the actual painting. I'm a blind first color, very light, okay. And now and more concentrated color. This way, I'm avoiding creation off sharp edges because I want to keep it nice and in light. However, I don't want my highlighted area to be super sharp, so I'm making more smooth with my semi wet brush. Also, I'm gonna add a little bit off reflected light over here using my ultramarine blue, and it's gonna turn into light version off Violet gonna and the same thing over here. Make sure you're if you do this, it's going to be very light and transparently or not brighter than the rest off the colors . Things should be the brightest color here. I'm making this part more concentrated and also take blue. I added to my bank to achieve a darker tone but don't get too much because we don't want to have a purple color Over here we want to have darker tone and because I will first layer is too wet. This new layer that I Medin doesn't create sharp edges looks nice and balanced. Here is we discussed before inside, I will make a darker tone as well. Here you can see that my highlighted area started to disappear so I take semi but brush and I lift the pigment and now you can see why it's paper shining through Now I take a tiny, tiny bit of black, and I added to my think to create a more much more doctor tone. I also add a little bit of the dark outline and the edges to give it a feeling off Krusty cream. And now we need to live it to dry, because the next thing I will add will be the bun. And if I added now, my big color is going to lick and bleed into my new, uh, color off the bun. Another one this to happen. So I need to wait until creating gets completely dry. Now that my donut his dry, I'll take light brown color in my case, raw sienna and I add it around my cream. Some places I take a little different type of brown than I have in my palette. I'm carefully go around the cream. I mix different Brown's. In some places, it's darker in some places. Lighter makes it look more natural, and final tiny details can be some frosting just with the Joe Pan. They all should be different shape and science. Otherwise, it would look a bit weird because essentially, it's just pieces off. Sure, 17. Exercise: Glazing technique: Now that we're moving to more complicated paintings is a good moment to explore grazing technique. Remember I mentioned with the colors transparent. When you apply multiple layers on top of each other, you can achieve a deeper tone. Make the area darker, or you can use this transparency to make first layer shine through the 2nd 1 in glazing. You're applying one there. Wait until it's dry and lay down the next layer over the 1st 1 and this is exactly what I'm doing now. I pick every color from my set and paint a vertical stroke. The line should be not to drive, but also not too watery, just enough to reply, and I situated stroke. This exercise is not only a great way to practice glazing, but also to test your watercolors for transparency and capacity features. Now, the second part off this exercise is to reapply exactly same colors in exactly the same order over the first greed. But for that I need to wait till my first layer. The first grade gets completely dry, so let's take a break. Now that your colors are fully dry, we can turn the page and do the same thing. He's in exactly the same colors one by one. Draw them again. In this simple exercise, you can see that in places were two colors overlap. The area is much darker and more interesting in terms of color and tone, and also some of the squares seem translucent where you can see the first color shining through the 2nd 1 so you can still basically seat. Try to do the same with your pains and see which colorists look good when overlap. 18. Paint a donut in glazing technique: now the don't we're going to work on this time is gonna be a special donut. It's gonna pay fruits. Done it. I mean, why not? We're going to use blazing technique in this painting, which means that we're going Teoh work in layers were going toe, apply first layer, wait until it gets dry upon next layer to make a color more concentrated and dark. I'm going to start from a strawberry. I big my cadmium red applied the first truck, and now I'm blending the color inside. So when they edged to be more bright and as the color goes inside the strawberry into the heart of it, the color gets more transparent. I'm gonna add just a little bit of color here in the center to show that it's gonna cut in half. And I'm gonna leave it just like that to drive that I'm gonna move to the grapes and I apply first layer on my grape. Now I can take my green and create the shadows. Remember, we talk about shadows to create three dimensional object. This is what I'm gonna do to create a three dimensional grape. My end this darker green in places were two grapes and touching each other, so they naturally create shadow. Some of the grapes are on the back, so they're gonna be even darker. I take green a little bit of brown and coloring. This is our just our first ah, layers. So we know we're gonna be back to make the colors. Um, deeper here is gonna go our means. And tiny Berries. I'm gonna do them. Um, not just read because I don't want the color to be the same as I was Strawberry. So I'm gonna mix with thing. You see how it looks like I don't color all the little balls I tried. Teoh leave some white space to make them look like they're shining for knowledge. Just looks like one big mass off nothingness. But later, when they will come back, we will add more shadows and separate those Berries from each other. For now, we're just creating the first layer, which is called Usually it's called under painting. I wanted to create cream, but it looks not very realistic being orange so and pink, and I'm gonna switch it into think engines and it around our object some some airy cream that That's why I'm doing this move decreed, feeding off like fluffy, um, creamy singing. You know, working here between it's going to be a little darker is naturally Oh, our fruits and varies the drop shadow. So in this place is where they touch each other is going to be Parker, and now we've got to leave it to drive, and we will be able to applying grease and technique to create deeper tones. First layer is dry, so now we can continue at in new layers, fighting darker red and create this picture off a strawberry. Try to avoid sharp edges. Doesn't look very nature. ALS closer. This line gets to the center off the shrubbery, the less concentrated inch armories. - Now we move towards grapes. I makes dark green color, and I ended in a place where should be the shadow I applied dark toe on, Then watch my brush and with a semi wet brush, I blend to the edge so it's not sharp to spark the painting. I end a little bit of orange, and the first layer is still shining through because of glazing technique. At the same time, I end a little bit of a darker tone. Now we're moving to Perry's, and we're going to separate some off the Berries with a darker tone. - And the final touch would be, too. And, of course, the bottom. I'm using very light brown color, which is raw sienna. You can use any light brown color you have in your palate and carefully. I'm going around my fruits and cream and and the bun right away at some other brown color, stated to make nice variations off tones and colors so it doesn't look boring. Also, try to not make it symmetrical. It will look much more realistic if your bond will be in a little bit of symmetrical. When I had the final touch just to show the outline off Howard doughnut and we're done, let's move to the next lesson. 19. Donut & Perspective study: time to move our doughnut and see how it looks like from a different angle, which means we're going to explore perspective. Perspective is a pretty complicated topic in art and and painting, and basically this is bringing the real world the three dimensional objects on the painting on a two dimensional surfaces. And this will cause some deformation of proportions eso that we're able to create to create a sense of depth in space. We're not going to go deep into exploring perspective because this is definitely a whole different independent course. But today we will try to draw a done it from an angle where you will see some sort off change and deformation in its shape. So we're gonna need Teoh deform, the circle that people usually painted in order to show the perspective. Now I'm not going to do the exercise. I'm just going to draw right away, and I'm drawing a circle off incorrect shape and to make it even more interesting little, it's make it look like it's bidden going to erase the lines I don't need. Remember. The more you erase, the more you damage the paper, so try to avoid it. If you can this time I'm going to use wet on wet technique. I'm only implying water on the area where it will be my cream. And I'm not touching, um, bon taking pink color. I feel like we're using its a lot. So let's mix it up with orange to have a different different tone. And because before I applied water first, the edges over here don't look sharp, and this allows me to mix collar more smoothly. I would also lift some of the pigment with the semi wet brush to create the feeling off highlighted area. What I'm gonna do So here, a swell to show that it's kind of bending over here. It will be highlighted here. A swell now, a mixing a bit darker tone. And I had added right away over here and here inside to show the shadows. I'm here. I'm just showing this inside off the doughnut. You don't see it very well. We don't see the actual whole, but we see the shadow, so we're gonna show it as well. All right, so now I think it's more safe to leave it to drive and come back and continue adding layers now that the mayor is completely dry. We can see that the coward got much more pale and not so brute juicy, and riders it waas. So it's a good opportunity to reapply darker tones just to play with tones. I'm adding a little bit off balloon as we go closer to the center. I'm changing a little bit. The tone continue. Build it on the tone by and in a second layer, I can add a little bit of blue reflection Here is well, since I already started playing with flu reflections and now we have pretty yummy bright doughnut here in the boys were somebody by the, um, is going to be kind of more crispy and sharp, so I'm trying to show it as well, maybe some crack. I'm gonna leave it to dry again so I can continue working on the bun without destroying my beautiful layer. Time to paint abundant. I'm taking light brown color right away at a little bit different brown trying to replicate the picture off off a bread off the bun. I'm working weapon with technique, so I'm applying my wet pigment on top off the wet surface. Notice how we're mixing up all the techniques and knowledge that I gained during our previous lessons here. We use glazing. We also use our knowledge about volumes in order to greet readily stick shapes. And now we're it in perspective. If you want, we can. Also, as some chocolate were not here, it's important to follow the shape off our doughnut. If you're just draw a straight line, it will make our donot look absolutely flat. So if you want to show that the donut is rounded, you want to follow the form of it. This will add even more realistic, I feel to the painting. I think it looks pretty good, realistic, three dimensional and in perspective, let's move to the next lesson. 20. Donut as an illustration: one created watercolor painting. You're not limited to just watercolor, even though many artists prefer to keep a traditional approach more and more now, this mix and play with additional materials such as pen and pencil, marker, bank and other stuff. I have a few things that were here, too, so we're going to try illustration. I'm sketching an outline directly with the Joe Open and not concerned about the proportions or the realism off my drawing. I wanted to be fun can playful. - It is a mignon, so I will use a condom. Yellow is a base color and pain shadows the same way as we did in the lesson about Williams and three dimensional art. - Even when you change a color like I'm from yellow to blue, think of the volume and where the shadows should be located and the let the different color affect your judgment. So go ahead and apply the colors on the done up, and we will see how it looks like I'll just finish up the bone as usual. Some light brown over here might be a little confusing, because the color is very similar to the color off mignon you can use a little darker, brown for this case and finish in up and in some final details. I'm gonna work on the eyes. You remember painting all this? Keep in mind that this is still food. So this part I'm working on right now is basically chocolate. So you want to make it look more animalistic? The way how chalker This looks like chocolate cream. And now it's time to move our to our final project is going to be your class project. And we're going Teoh paint a realistic set off donuts. 21. Class Project: Realistic tower of donuts: baked In our final project, we will need to include all the knowledge we've learned in the scores about washes, colors mixing blending colors, perspective and create and realistic three dimensional painting. In this one class project, the most important thing I would like to keep in mind is too well first to make it realistic and second to consider composition. So when you work on a painting, you need to know how to locate your main objects and where is the main focus? So if this is your paper sheet, there are main focus should be the object that you want to attract the most attention to people looking at your painting should look at that one particular thing. And of course, if we're painting just a donor, it's gonna be the focal point. But also, we would like I would like to make it more interesting in show. I will move it from being just in the centre to be in somewhere on this side off my paper shit. So I'm going to locate um, Donald's over here, and I also make it look like a tower off donuts so we can use our knowledge of perspective in this painting as well. Remember that when you locate your objects on your paper, you don't want Teoh. Place them exactly in the center. You want Teoh, Think of it as a square. And, um, your object should be anywhere in any part off the square, but not in the center. That would make your paint and look much more harmonious. And I please in then, if your object is right in the heart right now, I'm going to start sketching. When the sketches ready, I will start preparing my main colors. I'll take commemorate is a base at some orange or golden in my case, and to make the color look more mate, I will add a little bit of white wash just to calm down my mix. So this is going to be my go to color. I will apply Walter first, as we do. You know what my technique. You can see that because of edit white wash, the color looks more mate and more bail. I also keep in mind all the highlighted spots that might be on my donut on the creamy part of it. This is going to be cream and freeing up some space from pigment Teoh have white paper underneath. I also tried to deepen the color and and more clean red. For now, I just locate light areas and darker areas, and I would like to mix us letting Barca tone off red and moving to the next minute at this point is, uh, more safe to leave this first layer to dry and come back to it later. - Since our tower means that one donut is laying on top of another one, naturally they will drop shadow on top of each other. So that's what I'm going to show for now. I m dark. It own right on my first wet layer. This will allow the color to blend and the smoke to the 3rd 1 Sometimes you need to adjust your sketch, and that's totally fine. Don't be afraid of it. Don't worry. That thinks needs to be erased and changed and edit. It's better to do it and make a better artwork rather than skip it and then regret that you're painting didn't turn out as well as you would want to. And we're doing the usual here at a some shadows right on top off our first still wet layer , which will allow the colors to blend smoothly without creating sharp edges. And if they do, that's totally fine as well. I'm switching here to a smaller brush and with a semi wet small brush on just smoothing out , blending out those sharp edges so they look more natural and realistic. So while this layer is getting joy, we could move back to your 1st 1 and deepen some of the tones. So here we're using glazing technique in older to achieve and deeper tone on our painting. - I moved from one donor to another, working on shadows and, as you know, after colors got dry the lost intensity. So in some places I would need to restore the shadows and maybe even restore some highlighted areas if the color bleed into those white spots. - Since I'm working on a tower, it's important to remember that each, um, object drop shadow on the one that's below. So we need to remember to show that working on donuts on the on bonds off Don it's amusing light brown color like raw sienna, and I also makes him playin and different colors different tones off brown, such as burnt sienna or red okra or Mars brown just to have interested Righty off colorists inside one bun. Also, I remember about the shadows that cream drop on the bun and I show it with a darker, much darker tone almost down black. And it also can be some sort of flake on pieces of chocolate. Then, of course, important part is to work on it cause shuttle, remember in the class about the volumes and three dimensional art. I was talking about the cast shadow and ah, here I am applying it, uh, and you see that my colors from the bottom, uh, donut blended into the shadow. This happened because the layer was still wet and they added, Next color and they kind of mixed all together. And it doesn't bother me because I'm going to wait until this whole thing gets dry and I'm gonna add new colors and new layers to specify the shape off the bottom doughnut. So I kind of like the idea off brown color from the donut, mixing up with the shadow. It looks more nature on organic. So now just let it dry and come back and final details, and this is the final moment. I'm going to correct a few little things and fix the color off the bun. Create more shadow. So it looks more realistic, Like the donut is lying on top of each other and they don't look flat but more in perspective. And I'm gonna do the same for the one in the middle, so it looks like it's a little bit X question. I'm trying to achieve the realistic feel as much as possible. So I'm avoiding, um, some superficial highlighted spots, which we would do, for example, on illustration. Ah, and I want to keep it more like that. Time to the earth and the colors and more made less glossy. And I do this on purpose. But if you want to make a painting look more like a glossy, shiny and yeah, me and kind of flag illustration looking, you would like to put accent more So you would like to have more contrast between super white highlights and dark shadows. This will make it pop, and it will look less like in real life. But more like, uh, magazine administration. - With the one squash, I am add in a few final moments, I want to separate the inner side, inner part off the donut and the front part with the white outline. Also put some Paxon's where I see the highlighted areas and finally with the white Joe Pan, I'm going to add final touch. You don't have to do it if you feel like you're a painting is finished and doesn't get any at dawn. And, well, I think I'm done with my painting, and I'm looking forward to see your project.