Watercolor Cherries in a Glass Bowl | Linda Mullen | Skillshare

Watercolor Cherries in a Glass Bowl

Linda Mullen

Watercolor Cherries in a Glass Bowl

Linda Mullen

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10 Lessons (57m)
    • 1. 01 Cherries and Glass Intro

    • 2. 02 Cherries and Glass Begin the Cherries

    • 3. 03 Cherries and Glass Darken the Cherries

    • 4. 04 Cherries and Glass Glaze to Darken More

    • 5. 05 Cherries and Glass Begin the Glass

    • 6. 06 Cherries and Glass Paint the Stems

    • 7. 07 Cherries and Glass Fabric with Cast Shadows

    • 8. 08 Cherries and Glass Inset More Darks

    • 9. 09 Cherries and Glass Details on Glass

    • 10. 10 Cherries and Glass Final Touches

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About This Class

Painting glass can feel daunting, but can be really fun. In this one hour video lesson, Linda Mullen takes you step by step through the painting process from beginning to the end. You will learn how to use glazing to create form and discover how to make glass sparkle in a few simple steps. This class is best for the intermediate painter, but levels of artist can get practice and information from this lesson.


COLORS (If you don't have these colors, use what you have unless you want to spend the money to purchase)

Permanent Yellow Light

Permanent rose

Scarlet Lake

Permanent Alizarin Crimson

Cerulean Blue

Dioxazine Purple

Hookers Green Dark

Burnt Sienna



140 LB Arches Cold Press Paper (This is the best paper to use)

2H pencil/eraser

Paint Brushes

Super soft brush for blending (You can use make up brushes or any inexpensive super soft brush.)

Masking fluid/rubber cement pick up

Terry cloth towels

Blue painters tape

Any other supplies you have

Meet Your Teacher

Teacher Profile Image

Linda Mullen


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1. 01 Cherries and Glass Intro: Hi. This is Linda from lay flatter designs, and we're here today to paint some red Cherries in a clear glass dish in watercolor. On paper. During this lesson, you're going to learn how to create the roundness of the Cherries by using a technique that we call glazing in. Watercolor glazing is where you put one thin color down on top of another color that's been totally and completely dry. You'll also learn how to get that hard look of glass and what we can do to make it sparkle . Here is a list of all of the colors that I use and the other supplies that I use when I'm painting. Many of these colors can be substituted, so use whatever you have. But the most important supply that's on this list is 100 and £40 cold press arches paper. And here is the reference photo that we're gonna be working from. I've included a reference photo for you to download. You can get that printed right on your printer, or I like to go over and use Walmart. I get a nice eight by 10. The colors are good, and I like working from a larger photo. This is my set up. When I'm painting, I'm left handed, so everything's on the left. One of the things that I use is a super soft Kalinsky brush. I use thes for blending if you don't have a Kalinsky brush you can use. Actually, you can use a makeup brush, and sometimes I get them in the dollar store. The brush that I used to paint the painting is called the Silver Black Velvet. I have them in several sizes I use all round Russia's The largest I'll be using on here is probably an eight or a 10. This is the reference photo. I get my photos made at Wal Mart now. Usually I don't use masking fluid on my paintings, but in this one I did because I'm dealing with glass. The first thing I did was cover up all of the stems on the Cherries so I could just paint the Cherries without worrying about messing up those Stam's. And then I go to the glass and I look for all the white highlights, and I feel in all of those white highlights with my masking fluid on my paper. So when I'm all done, it looks something like this, and with everything set up, we're ready to start 2. 02 Cherries and Glass Begin the Cherries: we're going to start with permanent yellow light and we're gonna put a glaze or a layer, if you will, of permanent yellow light along the Cherries. I'm going to leave the highlighted areas white, and after I lay down the yellow, rinse out my brush, tap it a little dry and then soften the edges of the yellow. You'll notice that this video is going pretty quickly because when I paint, I'm very, very slow. And watching me paint can be like watching grass grow. So I'm moving this video along quicker so that you can see how it's done but not be bored. As you can see, some of the yellow is varied. Some of it is darker than others. It doesn't matter. We're just getting a glaze of yellow under all these Cherries. Now I'm pulling out permanent rose and I'm letting everything dry before I put on my next layer. And that's called glazing. So we're going to glaze the yellow with permanent rose going to start on the darker side of the cherry. We're gonna lay down some permanent rose that I'm gonna rinse out my brush. Tap it dry. Not all the way Dr but semi dry and then pick up a little yellow so that I can soften the edge of the permanent rose and have it blend right in with the yellow that was there previously. Now here's that super soft brush. As long as it's super soft and super dry, I can pull it over there and blend that hard edge so I don't have a hard edge between the pink and the yellow going to a cherry on the opposite side because I don't want a paint next to the wet pink that's down there already. I often turn my paper around so that I can pull the paint toward me As I'm painting, we're going to go through and paint all of these Cherries with permanent rose, leaving the white area the highlighted area blank and softening the pink around the highlighted area. If we get a hard edge, pick up that super soft, super dry brush and just blend it out and picking up yellow to soften the edge of the permanent rose, because it it'll make a nice transition from the rose to the yellow for the highlighted area. - I want you to notice that when you put down water color. It looks at first very vibrant. And then when it dries, it drives about 50% paler. Then when you first put it down, if I get next to a cherry that hasn't quite dried yet, you'll notice that I leave a little white space in between. And that way the colors will not run together. Sometimes I want colors to run together, but in this case, I don't want them to. They were done with the Cherries that are sticking outside of the bowl. Now we're gonna look at the inside of the bowl to see where those Cherries air peeking through the sides of the glass bowl. So I'm gonna pick up some permanent yellow light, and I'm going to paint it randomly along the side of the bowl that I'm gonna get some permanent rose and I'm gonna pain around that and let those colors blend. I'm gonna look for places in this glass bowl where the cherry color peeks through, but I'm also gonna pay attention to the shape of the bowl and where the bowl makes a turn with a hard edge. I'm gonna keep my Cherries very straight to define the hard edge. Now we'll let it dry and get ready for the next step. 3. 03 Cherries and Glass Darken the Cherries: Okay, We're gonna let everything dry really well, and then we're going to put another layer on, which is called glazing in water color. One glaze after another is what gives those rich deep colors and makes the painting look more real. So I'm pulling out some Eliza ring crimson and adding a little sea Pia to that. And then I'm pulling out some scarlet lake. I'm going to start with the dark side of a cherry with the dark mixture. Then I'm going to switch over to Scarlet Lake. It's a much warmer red, and it'll make that nice transition between the dark red and the yellow highlights. It's warming out the red toward the highlighted area, and I guess, keep turning my paper that I can pull the color in the direction that I need to. This time I'm going to start with the Scarlet Lake near the highlighted area and then a minute transition over to the darker pink cause. I'm finding that it's easier to blend if I start with the lighter color and go to the darker one. I definitely learn as I go along when I'm painting, and I can change up when I'm doing If I find something that works better and this time I'm starting with the yellow moving to the Scarlet Lake and then on to the lettering crimson. You can see how important it is to have those cherry stems masks out. It's a lot easier to paint that little cherry. Okay, we're gonna fast forward this, and I'm adding some dioxins in purple to the dark pink mixture to make it even darker and cooler. Here comes that brush. See how nice it blends? I wish I could paint this fast in real life, putting that little cloth down because I'm getting kind of messy and my background is white, so I want to make sure I have some of it covered. I tend to put my hand in paint and then smear it all over the background, and that's always a mess. Now, as I'm adding a little glaze of Scarlet Lake, ever actually made sure everything is dry underneath and she can see you can continue to put layer and layer of color over these Cherries too deep in the color and to make him look room or riel. At this point, I'm going to stop going to let everything get completely bone dry before I go to the next step 4. 04 Cherries and Glass Glaze to Darken More: get completely bone dry before I go to the next step, which is more glazing this time. I'm gonna put most of my color on the dark side of the cherry Said it looks like it's turning. I'm using a lizard in crimson with a little burnt sienna for a nice dark red, blending it with a brush And look how real that top Sherry is looking. - This is my first video, so there's probably gonna be lots of little snags and other little things. But in the end, I think you're gonna learn how to paint a cherry with this dark glaze. I'm not covering the whole cherry. I'm just covering those darkest areas. - All right, next step. 5. 05 Cherries and Glass Begin the Glass: going to go on the inside of the glass dish and begin to mold the shape of some of the Cherries in there and with glass. Things are misshapen, so we're not looking for perfection here. We just want to be able to help the viewer look at the painting and say, Oh, yeah, there's Cherries in that glass using a lizard crimson. That's my main color. I'm throwing this cloth down because once again, my hand has probably gotten into some pain. It also helps if something's damp on your paper to put a little cloth down, so that when you lean on your paper, you're not leaving your fingerprints in the paint. When you're working in glass, you can use some really interesting shapes, and they don't have to look realistic because it helps everyone know you're looking through glass. We look over to the right, and I see some reflections of the red over on that end, so that helps to find the inside of a glass dish by putting those little red strokes over there once again following the hard line of the dish over on the left. I'm just putting some little strokes of paint These are the things that make something look like it's glass. Now, this is a little cerulean blue. See Pia and Burnt Sienna and I'm going to be using those mixtures to put the greys in the glass bowl. I'm gonna look for those shapes and I'm going to dip my brush into different areas of those mixtures. And I'm going to be painting the shape that I see in the glass bowl. See how my brush just dips into all the different colors? Some strokes will be more leaning toward the blue. Some will be more leaning toward the sea. Pia, someone lean more toward the burnt Sienna. Now I'm going to take some blue tape and put that down along the edge of the bowl so that when I paint, I keep a really crisp straight edge. This is Blue Painter's tape. You just have to put it down. You have to press the edges. Okay, Now the side of my bowl is outlined, and I can go in there and start painting Cem shapes and not have to worry about messing up the hard line of the side of the bowl. What I'm doing is I'm looking at my photo. I'm looking for a shape. Doesn't have to be perfect because this is not a portrait. This is a glass dish. Some of the shapes will be tiny and dark. Some of them will be almost like a little wash inside. And forgive me for putting my hand in front of everything I'm doing. But like I said, this is my first video. And whoops. I need to figure out how to not have that happen next time. Look at those little lines down there. They're They're just like little straight lines. They're not connected to anything, but look it already. It's beginning to look like glass. When I paint glass, I think of a jigsaw puzzle, and a jigsaw puzzle is put together with little tiny shapes that hooked together. And so I look for the individual shapes and I just paid them. I vary the temperature in the color. Putting out all my colors on the palette and dipping into them in different places was gonna fill in that area with some blue. And as I'm painting, you can see the yellow of the masking fluid showing through it comes some green. This is hookers hooker's green dark and I'm eating a little burnt sienna to it, and I'm also dipping into a little Windsor blue, putting green down here for a couple of reasons. The stems will have green, and I want to bring that color green into different places. 6. 06 Cherries and Glass Paint the Stems: putting a noun, another piece of tape because that's the base of the glass dish, and I want to feel in the color there. But keep that straight line. What I'm doing glass. I pause a lot. I go back to the photo. I look for more shapes. I do not rush through glass. Hey, everything just got really dry on my palette. So I just took a little spritzer and spritzed all the wells. Don't take that tape off so they can paint the top. This glass dish has a little edge that turns, and so I'm leaving that white area to make it look like it's turning, ending some pink here because we're going to see some pink reflected in that glass from the Cherries. And once again, I am just looking for little shapes and painting them. And when you do, this years won't look exactly like mine. But yours will look like glass. And if I were to paint this painting again, I wouldn't make it look exactly like this, either. It's very difficult to completely duplicate these little shapes. You may see them differently next time, - can a little The tape is removed. We can see that it's already starting to look like glass, and so it's time to take off all that masking fluid. I use a little pickup. Some people can just roll it with their fingers and pull it up. I like to use a little pickup. Don't remove any of this masking fluid until everything is bone dry. As the masking comes off the glass dish, you can see that the white highlights already make the dish look a little sparkly. And what makes glass look like glass is having some really darks and some really lights and having hard edges. So I'm gonna start here by putting a yellow glaze on the stem and then mixing up a little dark green. That's hooker's green with a little burnt CNN in it. And while it's still damp, I'm putting a little bit of red at the edge and letting it bleed in. And then I'm doing the same thing with the green. I'm I'm running it ago along the dark side of the stamina along the bottom, and I do want it to bleed into the colors once again laying a foundation of yellow and doing it fairly quickly, planting it try a little bit going back over here and adding s'more yellow to that stem. And then while the other stems air still a little damp coming in and adding some darks with the dark green and also with the burnt Sienna. Okay, we've got some stems. 7. 07 Cherries and Glass Fabric with Cast Shadows: we're gonna work on that little fabric not going to do a lot of work on it because we just want the hint that there's fabric there, that it's sitting on a table, that there's some fabric. And I'm using cerulean blue with a little burnt sienna to make kind of a bluish gray. Put down a glaze of that color and then, while it's still wet, took some darker color, painted it along the bottom and let it bleed up into the first little blue glaze. I used some of the strokes, kind of like in a, um, a striped fashion to make the fabric look like it has little texture, and I'm doing the same thing on the back. Lay down some blue and then along the bottom, some of the darker color make some stripes and let it go. That's about all I want in the background. Putting a little dark underneath the base of this glass dish helps to ground it a little bit. Now I'm gonna do the shadow, and what I'm gonna do is take a wet brush and brush different shapes of where I want the highlights to be in the shadow. That I'm gonna pick up some of the color from that mixture of cerulean blue and see Pia burnt Sienna, and I'm going to begin to paint the shape of the shadow. And as I paint into the wet areas, the edge of that paint will bleed into the water and cause a softness. And that's what makes it look like the light is coming through the glass bowl. See, just paint right up to the water. And when you get to that area where the highlights are, it just paints, um, shapes. We're gonna dark in that shadow a little bit more later. But that's a good foundation. If you notice I forgot to put a shadow under that front cherry. So sometime later, I'm gonna figure that out, then fill it in now, while this is still wet. And, of course, you can't see it because my hand is right over everything. While it's still wet, I'm putting in some darks into the shadow and letting them believe as long as I have more paint on my brush. Then there is water on the paper. Paint will bleed into the water if you have paint on the paper and you put water on it, you get one of those blossoms that people don't like or they like depending on if they want it or not. And then I take my little Kalinsky brush and soften places I want to soften, and then I'm gonna let everything dry. Now I want to paint the cast shadow of that fabric Hominy. As much of the same colors lay down the edge and then blend it, and later we'll inset a little dark under that fold so that it looks like it turns. Now I'm gonna put some random strokes of water over the tabletop, and I'm going to go back with my colors and I'm gonna paint in some stripes, those stripes air going to blend and they're going to get softened, and they're going to mix with the water that's on the paper. All we're doing is giving the viewer a little idea that this dish is sitting on some kind of cloth that has texture 8. 08 Cherries and Glass Inset More Darks: Now we're going to go back in, and we're gonna put in some some more darks into the Cherries to make them pop going around the base of the stem. And I'm using very little water with this mixture, mostly Eliza in crimson burnt sienna and a little of that purple using little strokes, softening the edges of them so that things look like they turn. I'm also adding the cast shadows the's stems. Cast a shadow onto the Cherries. Just putting in these little cash shadows really brings thes Cherries toe life, and it helps to find their shape. Notice that on the cast shadows, the edges of the shadow are very hard, putting in a little dark here to define the oval opening of the dish. It's these little additions that really make the painting. Most of the work is done upfront with all the glazing, and now these little things that were going to do make this painting pop. We're using some really darks to help to find the shapes and make the Cherries look round and riel going into the crevices here and adding some really darks to separate the Cherries , just adding that drop shadow over that little cherry in the front really brought him to life. We don't want all the Cherries looking exactly the same. Notice that some of them have a brighter red than the others. And we want that variation because it adds more interest to the painting. Now I'm going in and adding some darks to the stems to define them, give them a little bit more shape and drop some shadows on them. 9. 09 Cherries and Glass Details on Glass: Now it's time to go back to the glass bowl, and this time we're going back with some some very dark darks. I mixed up some CPO, some burnt sienna, and I'm going in with little tiny, dark, hard edged shapes. These are the shapes. They're gonna make the glass really sparkle. I'm gonna leave the white highlights that were revealed when we took off the masking fluid and paint around them. And I'm Anita's different colors. Use all the colors from the palette. - Once again, I'm just referring to my reference photo and looking for little tiny dark shapes that I can add to this glass, paying attention to that little edge that turns the glass. And I'm putting some darks along that edge that connect with the Cherries inside. It's going around adding some darks. I'm putting down these two pieces of tape because I want to add a dark to the bottom of this glass dish, and I wanted to be in a straight line, so this really helps me to get the straight line that I'm looking for. I only noticed there's a problem with the edge of that one side of the glass. It's not straight. So I'm gonna pull out my handy dandy see through Ruler, and I'm gonna straighten out the line so that it's parallel to the other line. Mark it with a pencil, put down my blue tape and fix that line better. Now we're going to do even more darks, looking for shapes, making them really dark, putting some real darks next to the white highlights. This is what makes glass look like glass, the really dark darks next to this really sparkling highlights. It gives that look of the sparkle of the glass as I go through. I'm really just looking for little tiny shapes. If I can connect them with something that's next to it, I do that. But I'm just randomly going around the outside of the glass, putting in some little shapes. Now I'm darkening some of the Cherries that air inside the glass to start to give them form , and even while doing that, I'm still looking for a little dark shapes in that glass. I'm moving this cloth over because I have a habit of putting my hand in what paint and then smearing it around my painting. Sometimes when I'm painting my most of my painting is covered with towels, and I'm only working on the, uh, one area that's exposed as you continue to move around the glass and other little places. Putting in those darks, the process consume a little tedious. But don't give up. Just keep going. You might have to take a little break in between and re look at all your shapes and go back in again and start again. I'm putting in some extra darks down here on those friend Cherries. I'm just moving around and seeing any other places that I can put in some darks to help define the shapes, getting some darks to the stems down there. It's not a lot of water with these little darks that I'm putting in. No, it looks pretty good onto the next step. 10. 10 Cherries and Glass Final Touches: I'm going back into the shadows there in a meeting, some more darks mixing up a dark green. And what I do with the dark green as I go around and I tuck it into the little crevice Starks between the Cherries, you can almost not even see it just all the places where the one cherry meets another. I took a little triangle of dark green, and I had some darks along the edge of that cut glass. No notice. I'm putting a little bit of red at the bottom of that curl, and it helped tuck it in, cleaning things up here, connecting the dots, so to speak, - putting some darks underneath the Cherries and adding a little pink to those colors because the Cherries would be reflecting their color into the shadow. Now what I'm doing here is I am removing all the splashes from the background with a Mr Clean Magic eraser. If you dip it into crystal clear water, you can erase a lot of mistakes. I'm dipping into some blue, and I'm putting in a little texture into the cloth, not too much. I just want this suggestion that there's cloth there and now What I'm gonna do is take a very stiff brush and pull out highlights on the Cherries. Dip it in water, scrub tap clips, mess clean up, tell new cloth. But as you can see, scrubbing off some of that color really does bring in some of those highlights. - And I think it looks like we're done. I hope you enjoyed doing these Cherries with the glass. And I hope you come again for my next video. Thanks for watching.