Watercolor Doodles: Summer Snacks | Kolbie Blume | Skillshare

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Watercolor Doodles: Summer Snacks

teacher avatar Kolbie Blume, Artist

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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

17 Lessons (2h 21m)
    • 1. Intro

      1:13
    • 2. Materials

      5:07
    • 3. Warm Up

      5:49
    • 4. Practice: Popsicles, part 1

      8:53
    • 5. Practice: Popsicles, part 2

      5:37
    • 6. Practice: Watermelon

      9:21
    • 7. Practice: Strawberries

      14:27
    • 8. Practice: Kiwis

      14:27
    • 9. Practice: Blueberries

      7:08
    • 10. Practice: Raspberries & Blackberries

      7:53
    • 11. Practice: Leaves

      5:43
    • 12. Final Project: Part 1

      12:41
    • 13. Final Project: Part 2

      12:41
    • 14. Final Project: Part 3

      8:28
    • 15. Final Project: Part 4

      8:19
    • 16. Final Project: Part 5

      11:23
    • 17. Recap

      2:02
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About This Class

Learn to doodle with watercolor, summer style! Join Kolbie for a fun class learning how to paint loose watercolor summer fruit and popsicles, and then put your skills to the test by combining your doodles in a whimsical summer wreath! Perfect for all ages and skill levels.

Meet Your Teacher

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Kolbie Blume

Artist

Teacher

 

Yes, even you!

Don't believe me? 

I bet I can change your mind!

 

 

I'm a full-time artist, writer, and online educator -- but up until a few years ago, I was working a 9-5 desk job and thought my artistic ability maxed out at poorly-drawn stick figures. 

In my early 20s, I stumbled on mesmerizing Instagram videos with luminous watercolor paintings and flourishing calligraphy pieces, and my mindset slowly shifted from "I wish" to "Why not?"

-- and the rest is history! ... See full profile

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Transcripts

1. Intro: Hi, My name is Colby, and I am so excited that you're joining me for my class today. All on loose summer watercolor doodles. So for this summer, doodles class were mostly focusing on fruits like strawberries and blueberries and raspberries and blackberries and kiwi and watermelon. And we're also going Teoh, learn how to paint some popsicles. And at the end of the class, when you've gone through all of the different modules toe learn the different subjects, we're gonna put them all together to paint a fun watercolor wreath that looks just like this one. I think one of my most favorite ways to practice doodling is to put them all together in a wreath because, honestly, you can put lots of different subjects together and slap some leaves on and a dis looks supercool. So if this sounds like a fun project to you, I would love for you to join me. Go ahead and watch the next video to gather all of your materials, and then I can't wait to see what you come up with at the end of the class. Thanks so much 2. Materials: before we get started. Let's take some time to gather our materials. First, I'm gonna talk about paintbrushes. So in this class I'm mostly going to be using a size six paintbrush and a size zero paintbrush. Um, both of them are round in shape, and both of these are professional grade paintbrushes. This is Princeton brand, and it's the velvet touch Siri's. It's synthetic sable hair, and it's a little bit stiffer than some other synthetic sable hair. This velvet touch Siri's is, but I I really enjoy this paintbrush, and I'm also going to be using sometimes this size zero paintbrush. It's you tricked brand Siri's 2 to 8 also synthetic sable hair. I prefer synthetic over riel hair on my paint brushes, and just because I think it allows for better water control, and it's also because it's synthetic. No animals were harmed in the making of these paintbrushes, so that's always a bonus on and important, Um, so I wouldn't go for for all of the paintings, the loose summer doodles that we're going to painting today. I am probably not going to be using a brush that's higher than a six, but if you do I wouldn't go much higher than a 10. A 10 I think, is probably for some of the bigger things were going to be painting like the watermelon or the Popsicles. You could use a 10 but I mostly gonna be using a zero and a six. So there's paintbrushes. I always like to have a pencil and eraser, especially for our final project. I always like to have some Q tips on hand, especially when we're doing um, when we're working mostly with the wet on wet technique, which is what we're going to practicing a lot today. And for paper, I like to always have both professional grade and student grade. I practice on student grade paper, so most of the tutorials in this class I will be using this far Mariano studio watercolor paper. It's cold press. It's £140 in weight. That means, Ah, whole rain, which is 500 sheets when they're all together, weighs £140. Regardless of if I'm using professional worst in great, I always like to use watercolor paper that's at least £140 then for our professional creep grade paper for our final project. I'm going to be using this legion paper, and it's also cold. Press that and £140 The biggest differences. This is made of 100% cotton, while with the student grade paper is made of only 25% cotton on a bunch of other, like wood pulp is what it's called, just a bunch of other materials that are cheaper. Take then using cotton. So that is paper. And then for paint. You can use whatever paint you have on hand. My only recommendation is that you have assorted colors. I'm gonna be using a lot of reds and pinks and yellows and greens and blues today for our bright, loose summer doodles. And all of this paint is professional grade paint, mostly Windsor and Newton and Daniel Smith, in case you're wondering. But you don't have to necessarily have to use professional grade paint in order to come up with beautiful wet on wet blends. You can use whatever you have on hand. Um, I just find professional grade is more vibrant, and it does tend to blend slightly better than student grade paint, but you can always create beautiful things is what you have on hand. Um, that about sums it up. I always have two cups of water on. Uh, what? That I used to rinse off my brush One I always keep clean as much as possible. And then, of course, a paper towel to rinse off in between things. Um, but those are I never feel the need to put those in the video because it seems kind of, um, implied. Either way, those air the materials I'm gonna be using all with the paint. I also like to have some kind of mixing palette. So I am just gonna be using my plastic pilot here today. But if you have because some of the colors that we want I don't necessarily have just in the purest pigment. I'm going to be doing some mixing and I'll show and I'll tell you what color's army mixing while we make. While we learned how to, um formed the doodles that we're gonna painting today. So now that sums it up, gather all your materials, and let's go ahead to the next video 3. Warm Up: all right, but let's do a little bit of warming up by discussing the major technique that we will be practicing in this class, and that is the wet on wet technique. If you have any experiences watercolor. You may have already heard of the wet on wet technique, but for those of you who haven't, I'm just going to do a quick overview in this video. So before we start on the wood on what technique, I'm gonna talk about the wet on dry technique and I'll demonstrate not to you Right now. The wet on dry technique is when you paint with watercolor and the paper is already is dry . It's not wet, and, um, that's the dry part of the wet on dry. So what is always the watercolor? Because watercolor is activated with water, right? But if the paper, or whatever surface you're painting on is dry, then it's called the wet on dry technique. And what most characterizes the wet on dry technique is the fact that the paint Onley goes where your brush tells it to go. And that's because watercolor is activated with water, as I just said. And so it's if because your paintbrush is the only thing that's putting water on the paper . Then the paint is going to follow where the water is, and that means following wherever your brush puts that water down. So the wet on dry technique we use to create really crisp defined lines, a lot of details and Blake precision work is what we use the wet on dry technique for. If you want to create a really structured shape, however, this class is mostly going to be focusing on the wet on wet technique, which, as you might have been able to surmise, is when you paint on a surface that is already wet. So we're going to be talking a lot about the wet on wet technique today. But just says this this brief overview I'll show you The wet on wet technique is characterized by the paint because the papers already wet the paint does not stay on Lee, where your paintbrush tells it to. It will. It wants to go wherever there's water. And so you get this really cool blooming effect now. The what on what technique can either be if the paper is wet with just water, or if the paper is already wet with paint, and that is what, um, the method we use to get some really cool blends. Ah, blending colors together really seamlessly so that they seem to just, like melt into each other or forum like thes thes cloudy kind of blends. If you want to practice along with me, that is, I'd recommend that getting your paper wet and practicing just putting different colors next to each other and seeing what happens again, we're going to be doing a lot of this. Ah, throughout the course of this class, as we learn how to paint different kinds of loose summer doodles. And as we paint these are subjects. We're going to learn more about how to control the wet on wet technique and how much water to use eso. For now, just know that this is the wet on wet technique when the paper is wet with either paint or just with water and you paint on top of the wet paper in order to create some kind of blend or some kind of loose image. Some, like, ah, softer layer of color. That's typically why we use the wet on wet technique so practice the wet on wet technique. Some things I would practice are what happens when you put down on Lee a little bit of water, like if you spread it out. So it seems like it's a thin layer. It's gonna dry pretty soon. What happens and you'll notice here, Really, what happens is that the paint doesn't spread very far, right? It looks like I'm just painting kind of fuzzy lines versus what happens when you put too much water on. And so I'm gonna put too much water on here. If you put so much water on that, it's forming a puddle like you can actually see the physical bump. That means you have too much water and let me show you what happens when you put the paint on there. It just kind of floats on the top. You see it doesn't stick to the paper, were blend onto the paper. It floats on top of the water. But that's why we have Q tips so that we can just mop up the excess water because occasionally, especially when we're doing big washes, you will accidentally put too much water on there. But it mopping up puddles is so salvageable, and I like to have Q tips on hand. You can also use a paper towel or anything like that. But you'll notice when I mopped up the Q tip when I mopped up the water, most of the pigment that I put on here went away as well. And that's because again, when you have too much water on the pain does not go down to the paper. It's just floats on top of the water and does not create the kind of smooth blends that we're looking for. So now that I've done this brief overview, practice the wet on wet technique, practice different kinds of water control, and then let's steam on ahead because this is not the last that you will see of the wet on wet technique. 4. Practice: Popsicles, part 1: to continue our warm up of the wet on wet technique, we're going to talk about how to paint one of the most fun and iconic summer doodles. I think there is out there and that is the Popsicles. So here, just a couple examples of quick popsicles that I painted before this class on, and we're going to learn how to using the wet on wet technique to paint those really cool blends thes loose kind of popsicle shapes. And while we're doing it, we're going to practise the techniques that we need for using the wet on wet technique for the other summer doodles that we're gonna paint in this class. So first things first, grab your paintbrush and put some clean water on it and outline in water. So, like you're painting with water outline in water, the shape, the general shape of a Popsicle, So just kind of like a around it top that kind of squares off of the bottom, and we're gonna fill that shape with clean water, and we want to try to maintain this. We want to try to keep this shape wet while we're painting, so you may have to come back and put different washes on. If you're using student grade papers, doing great paper dries quickly more quickly than professional grade. So, um, that's something to pay attention to. One way to know if your paper is still wet is if you bend over and see that the light is reflecting off of the paper. That means it's still wet. If it's not, that means part of it has dried and you may need to re wet it. Um, but first things first we are. So we outlined the shape of the Popsicle in water. So we have our wet surface. And now I want you to pick a color. I'm going to dio I'm gonna create like a strawberry lemonade popsicle. So I'm gonna do pink. This is, uh, this is Quinn Rose. Wait right here. Daniel Smith. And so new pink and yellow. And I'm going to pink first. And so grab your color. You want tohave for this first layer? Of what? On what you want it not to be super pigmented. So not like mostly pigment. You want to be a little bit wet, but not too wet. Um, so that you're gonna make puddles But if you do make a puddle, that's okay. That's why we have Q tips. So I have my paintbrush with this pink on it. And now I'm going to along the very edge of the Popsicle off the wet Popsicle. I'm just gonna guide my paintbrush along the edge so that my paint blends in with the water and notice that I'm not really doing anything right now except putting paint on the water. The paint is doing the assist, blending all on its own. All I'm doing is instead of putting pain just like randomly in the middle of the water and letting it do its thing, there is because I want to create like a kind of. My goal here is to create kind of like a lose Grady in where I want the outside to be darker than the inside. So, like the edges of this Popsicle, I want to be dark red on the inside, and I want the middle to be kind of to have some white spots to be contrast ing. I'm just painting along the edges because I know along the edges outside is dry right outside the confines of this Popsicle is dry, so the pain is not going to go to this side. It's on Lee going to go inside the Popsicle and it's going Teoh, as long as the paper is wet, it's going to blend. And, um, by painting it this way by letting it blend inward, it creates kind of its own smooth, radiant. And after I have mostly done, I'm going to go in and manually blend some of this pain together with the middle. But instead of doing like big washes like this, like painting big strokes like that, I'm just gonna wash off my pigment and use what I like to call the tapping method. And using just water, I'm going to tap around where the pigment has landed so that it and every time and sometimes I might pick up more paint than I want when I top around. And so I'm gonna periodically wash off my paintbrush so that it just has clean water on it . I'm gonna tap around using this water and that will achieve two things. First it creates are really it helps enhance the cool water color texture going on here where so I show you more up close. You can see that. Um it looks like there some water splats to some, like water texture going on here and that I'm helping that along by using this tapping method. And that also helps to blend the color in with white while maintaining the white. So I can still have this contrast of colors in between. Okay, so we've put down the pink. Now, I'm just gonna make sure the bottom of my popsicle is still wet. I might extend it a little bit, and I'm if it's not still wet, I'm going to re wet it with clean water. That's again. Why? I like to have at least one cup of clean water with me all the time. And I'm going to do the same with yellow, but along the bottom so that yellow and pink can meet where I'm just putting this yellow along the bottom here, and the yellow and pink you're gonna meet to indicate that this popsicle is strawberry lemonade. Um, when you're creating loose summer doodles like this, especially like popsicles and just practicing your blending, you can either paint a popsicle you know exists. Or you can paint one that you wish existed, or just put a lot of different colors together and call it. Call it good. As long as you put it in the shape of a Popsicle, it's gonna look real cool. So I'm using the top topping method again to kind of blend some of this yellow up here and make sure it's blending smoothly. And then one last thing is, Once you've put down that first layer, you can go back again with even darker pigment as long as it's still wet. This is something we're going to practice more, uh, later on as long as it's still wet and put down another layer doing the same thing of just even darker pigment Onley going along the edges. And if you use ah higher concentration of pigment to water ratio like more pigment than the paint's not going to go as far, especially if it's not as wet as it was before. And so it's just going to create even mawr contrast even and even more of ingredient, which is going from one color to the next pretty smoothly, and so creating these kind of monochrome radiance in a wet on what shape? It's pretty fun and pretty simple. Once you know what to do, you know that the paint is going to move where the water is. And so if you move along, the outside edge is the outside edges air probably going to stay pretty dark. And then the remainder of that paint is going to move by itself inward. And there you go. There is our popsicle. Now, in the next video, I'm going to add on to this Popsicle after it's dry. Looks like I got a hair in here somewhere. That's okay. I'll pull that out in second. Um, after this is dry, I'm going to show you how to paint those little ridges that are often inside popsicles to make them look like they're indents and shadows. And that's using both the wet on wet and wet on dry techniques. But we need this to dry first, so either do that manually or wait for it to dry. But either way, I will see you in the next video 5. Practice: Popsicles, part 2: while our other Popsicle was drawing, I went ahead and painted a couple more in just a few different shapes that are pretty common. So I painted this square one that was probably more like a fruit sorbet, not square rectangle. And I feel like this in America anyway, This, like rocket shaped red, white and blue popsicles pretty popular. And hopefully especially with this one, knowing what we did here, you will be able to tell how I painted these blends together. So if following the instructions that we did last time basically, I did an outline of the rocket ship in ah, water and then I started with the red down here just going along the edges and the blue up here, going along the edges. But instead of going all the way, I left a little bit of white in the middle so that the blue could meet. Just the water on the red could meet just the water and leave some of this middle space that white, just icy space. So that's how I painted that Popsicle. And if you painted along with me in the last video, you have all the tools that you need But in this video, we're going Teoh really quickly go over how to paint those little ridges. And basically, once the Popsicle is dry, you take another layer of paint that's a bit darker, or rather not paint. First, we're using very similar techniques. First, you put down water on top of the dry paint. We don't want a very thick layer of water just pretty thin because if you have too much water, the paint is not gonna blend the way that we wanted to. But you put down like a pretty thin layer of water, and then you pick up some of this paint and do the same thing going along the edge on Lee just on this one side, we're gonna make this ridge a little darker on the one side so that it shows, or it tricks your mind into thinking that this is deeper on the other side. And so again, the trick here, too. Making this really look like an indent is to get one side that's darker than the other. And we're gonna do that using that Grady int trick we learned in the last class by using the wet on wet technique to create this seamless Grady int so that we have a nice shadow there, and so I'm gonna do the same thing. So I have two of these and I'm not really worried this these are loose summer doodles, so I'm not really worried about them looking super realistic. They don't have to perfectly straight. These were supposed to be fun. And I'm gonna do the same thing that I did before. We're taking this darker pigment. I'm gonna go along. The outside is marked a little bit better because I have a little less water. The more water I have, the more the paint is gonna go everywhere. And the less water I have more. The paint is only going to go a little bit. But it's tricky because if I don't have enough water than the paint isn't gonna go very far at all gonna have the kind of, uh, results. I want that way either. So that's why the wet on wet technique is tricky. It's important to practice, especially if you want to be a master at watercolor. Not that I'm saying I am, but, um, painting these popsicles is a really fun way to test out water control and to figure out how you could make the wet on wet technique work for you. So I'm going to go back just with even more darker pigment on this side. See if I can get that contrast I'm looking for. But otherwise I'm mostly gonna call that could, And that's how once that dries, that's how we're going to create those like ridges inside the Popsicle just by creating shadows within the's little rectangles that I painted inside the Popsicle. We're creating contrast, so that part of the rectangle is darker than the other part, and it tricks the brain into thinking that that's a shadow and you can see inside of it. So there's that, and your task now is to practice the wet on wet technique and blending colors and, um, practicing the wet on wet technique within specific kind of shapes. And I encourage you to paint as many Popsicles to your heart's content before we move on to the next summer doodle, So I will see you soon 6. Practice: Watermelon: next up, we are going to learn how to paint a loose watercolor, watermelon and the watermelon. The techniques we use are very similar to the techniques we used to create our popsicles. So let's get started now before we get started painting. I won't talk about color a little bit. I have some opera pink here from Daniel Smith and offer pink is a fun color if you want to use for watermelon. But for me, it's a little too right neon kind of pink. And so to get the kind of color that I really want I'm gonna mix offer pink with just a little bit of yellow Oakar Yellow Oakar Is this darker yellow color over here that I have. So I'm gonna makes just a little bit of yellow Oakar. And with one offer pink. I don't want to be to Coralie. I have mixed Probably a little bit too much. Yeah, it's a little too Corley, so I'm gonna makes a little more opera pink. I want to be like a nice Melanie kind of color. They're just like that. Perfect. So with some of these fruits, sometimes in order to get the exact color that I want. I have to makes do my own mixing, which is why I like to have these pallets and why I like to test my colors on scratch paper beforehand. So now I'm just basically creating a nice little bank of this color so I don't have to go back. That makes it together every time. Okay, so with watermelon, like I said, we're going to be using very similar technique as well as the Popsicle. So first I'm going to paint a watermelon like it's facing down like, what's a slice of watermelon that's facing down? So I should specify this particular water. This particular tutorial is just for a watermelon that's like a slice of watermelon that's facing down. So I'm going to paint this triangle because I feel like watermelon, often coming triangles. And I'm just using water. I'm not having a very sharp points to this strangle. It's pretty smooth. And just in general, this watermelon is not an exact triangle. Were painting. We're going for a loose styles here, loose doodles that are just fun ways to warm up and enjoy summer with your water color. So I'm making sure to get down a good layer of water here, and then I'm gonna take this melon color that I created and this so I don't know. I'm not trying to be as careful about going around the edges because it doesn't need to be super shaded. I'm just painting along. I still want to leave some white space just for that nice watercolor effect. And but But the key here is I'm not going to go up to the very top of this triangle just yet, And that's because we're going to paint in the outside the green part of the water color of the watermelon in just a second. But, um, the tricky part with painting watermelon is pink and green as colors do not blend well together. Um, let me show you what I mean after I finish shading this so I'm ah with my with my brush. I'm just using the tapping method again to add in some of this darker watermelon in some places and using the topping method to make sure that I don't have just like a straight wash. Because that's not what I'm looking for. When I paint thes loose doodles with water, water color, I want them to look like water color like they have this cool texture. OK, that looks pretty good. So I'm going to show you what happens when you mix pink and green together. First, I'm gonna create a little bit more of this melon color that I created before with offer pink and yellow Oakar. So here's my melon. And then I'm gonna take some of this hooker's green. When you mix pink with green, you kind of get this gross brown color, which is not advertising. And that's because red and green are complementary colors, which means they're opposite each other on the color wheel, which means they do not go well together. So because we know that about pink and green. But I still want to have, like, a nice blend because these air still loose watercolor doodles, right? I still want to have, like, a nice blend of colors in my in my doodle. Um, I'm just gonna leave a little bit a layer of clear, clean water at the top that's still wet. And now that I've painted most of the body of my watermelon, I'm gonna take some pretty watery hooker's green. Not like so watery that it's transparent, but just like pretty wet hooker's green And along the top, I'm only gonna have, like, the tip of my paintbrush, be skimming along the top and still be painting on the dry paper on top of that layer of wet. So it's like I want to leave that layer of white where you can see the paper. I want to leave that there. And so when I initially drew the triangle for the watermelon, it's like I didn't, uh, the water wasn't supposed to capture what the outside of the watermelon, the green part of the watermelon is supposed to be. I'm painting that on top so that the bottom of the green part is the top of the initial outline of the watermelon that we drew that we painted with water so that I still have this layer of white. And part of that is, if you look at watermelon, um, there is like a layer of colorless melon basically that connects this the green part of the watermelon with the actual fruit. And so in that way we're mimicking what is exists in real life. But in terms off what it means for us as artists were doing that also so that we try to avoid mixing green and pink as much as possible because we know that they do not mix well together. So after I've put down my layer of green, I'm just gonna go back and do the topping method again. Teoh, mix some of these together and create those cool water color blends that I really like. And the next step here is to add some seeds. So we're gonna wait for it to dry, and then we're gonna add some black seeds. Now that our watermelon is dry, I'm gonna take my size zero brush. And I was going to get some black paint if you don't have black paint, an alternative is if you have Ah, nice black pen. You could also draw on the seats that way. But I'm just going to draw in a few of these. See, Like, things in the watermelon. Not very many. I like to go in, um, odd numbers. So I'm probably gonna go for five, and we're just putting them randomly in different sizes scattered on the watermelon. Then maybe one tone here. Mm. Into seven. My light, sometimes I eyeball it and just decided if something might need a little bit more so again , this is a loose watermelon we're not really going for were mostly going for, like, cute, quirky illustration e kind of style here, and that's it. That's our watermelon. It was pretty simple with using the wet on wet technique to blend in these colors over here to get this kind of cool water color texture and then using the wet on dry technique to paint our seeds on top of it. So practice your watermelon and let's move on to our next doodle. 7. Practice: Strawberries: next up, we're going toe. Learn how to paint loose strawberries, loose watercolor, strawberries. So we're using a lot of the same techniques we've already learned, Uh, the wet on wet technique and practicing water control with that. So first I'm gonna dio like the classic view of a strawberry. It's not cut. It's just, um, in the general strawberry shape. And But instead of starting out with, you could start out with the strawberry shape with water if you want, which is like a loose heart shape, or we can start out with some diluted read. So I'm going to start with some diluted read, which means I'm putting a lot of water in it. I don't want to be super pigment to just yet because I want to add. In general, it's a lot easier to make something darker and add contrast ing colors after. Then it is to take away colors. If you added too much. So I'm using some of this deluded read and I'm going to make I'm gonna make the first half of my strawberry, which is again, like this really loose, heart shaped kind of. It's not quite it doesn't have the angles that a heart does. But it still has this kind of pointed the end and dip in the middle. And now I'm just using water to finish off the shape. So that's my strawberries. And strawberries, as you know, probably can come in lots of different shapes. They can be a little more round or smaller or longer or bigger. But in general, this is the shape that I'm going for, like this kind of crooked heart shape. So once I have my read down my really light value red and that's diluted with water, I'm gonna take more and going along the edges again. I'm just gonna add some of this darker pigmented red toe, add some contrast into my strawberry and make it a little more water coloring and loose. I'm not gonna do it all the way. I want to leave some white space because we'll show you why, When we at the end of this tutorial, I'm doing the tapping technique. Teoh, blend this in a little bit Better make a little bit more of that water calorie texture that we love. And finally we need to add the leaves coming on top. So we know we learned in the watermelon tutorial that red and green are complementary colors, so we don't want them to makes too much. But, um, that said, I'm still gonna add some leaves on the top like this. So I am. I only want them to mix a little bit. I'm just gonna add some pointy leaves on the top. I'm not carrying again. This is like a loose strawberry. So I'm not carrying so much about how If my leaves look perfect, I want them to look a little messy. And then I'm gonna tap Justo blend that in just a little bit. But not too much, because if you talk too much, then we're going to get a lot of that brown watery mess we don't like. Okay, so that's my That's my loose strawberry. And as you can see, it's a very loose representation of a strawberry. It's basically me just painting in the basic shape, but I used the wet on wet technique to create some contrast here to give it a little bit of to give the strawberry a little bit off shape and texture time. I even add just a touch more in places and uh, used the tapping technique. Teoh. Blend that in even a little more and finally one of my favorite things to do with these loose watercolor strawberries because you know you can usually see seeds on the outside of strawberries, but they're often like a ah beige seed color, and so it's kind of hard to capture that page Seed color With We're small ping up some excess water here, some excess pigment. It's kind of hard to capture that seat color with Lou in this loose watercolor style, because it's hard to add lighter colors on top of darker colors. So one thing you can do is after you've already painted your strawberry to pick up with your paintbrush. Ah, some highly pigmented red. So it's gonna be dark and then just kind of gently tapped once or twice to splatter some paint on your strawberry and that add some funds splatters to the side, but also adds that dotted texture that is typically we see in strawberries. And if you want out a little bit more, if you want to manually add some of that dotted texture, then I would take your round zero brush. The small detailer And while it's still wet, just das, um of this heavy pigmented heavily pigmented. So not tons of water. Lots of lots of heavy pigmented paint. I'm just, like add some manually in after you've spotted after you splattered some, and that gives the kind of ah more loose effect of the seeds on the strawberry. And as a fun bonus, you get these funds splatters on the side of the strawberry, which is one of my favorite watercolor techniques when I'm doing like, ah, more abstract version. And another Option two is to get a little bit more watery to add a little bit, just to add some more texture onto the side and splatter again. So you get bigger, just some bigger splatters on the side. That could be a fun way to frame loose watercolor illustrations to do some splatters on the side. Um, OK, so that is the front facing view of the strawberry, and now we're going to Dio is if we had cut the strawberry and half, which is a little trickier but also very doable. So for this we are Instead of starting with paint, we are going to start just with water So I have my number six brush again, and I'm gonna I'm gonna, um, still do that same heart shape, loose kind of, um, off kilter heart shape and fill this with water. But the trick for for the cut strawberry is that we don't want too much water for sure on this one. Because if you have looked at a strawberry on the inside, it kind of has, like a heart shape or an oval shape. The fruit has contrast in colors on the inside, and so we're going to use the wet on wet technique to form that inside of the fruit. But in order for it to work, we need to use a little bit less water because we're trying to make this strawberry, um, thean side of the strawberry hold its shape. So keep that in mind, and if you use too much water, that's okay, can always start again, but we want So we have this a little bit of water laid down here and now because this is like a more detailed I'm picking up my zero brush, and I'm picking up some of the more diluted red first because again, so much easier to make something darker than to make something later and just in the middle off the strawberry that I made, I'm going to make another kind of loose strawberry heart shape using some of this diluted paint, and it's OK that it's going places. But because I don't have too much water, I don't want it to go all over. I still want the middle to mostly be white, a little bit of white, and I want outside around the edges to still be a little bit of white. So once I've put down that paint, I'm gonna do the topping technique to just blend in some of those tendrils a little bit better. And now I'm taking my number six brush, and I'm picking up some darker pigment that's not quite as watery and similar to how, When we painted the green around the watermelon, I'm gonna paint this red around the strawberry. So part of it part of this red around the strawberry is on the dry paper, and then the tip of it is blending in to the wetness. I don't want to blend in too much because I don't want it. Teoh completely get rid of that ring of white that we have. So I want the middle to be white and then this ring of red and then I still want this layer at least a little bit of this layer to you white. But while this is still wet, I'm gonna go in with my detailer brush and just with water and blend in the paint that I laid down on the outside with the wet inside. And I'm just doing that so it looks a little bit more naturally blended. And then once I'm done, I can go back and added more pigment as needed. So I want to maintain mostly these rings. And now I'm looking. It's a little bit off balance. Sonders gonna add a little bit more paint on this side with my detailer rush. So it's not too much this time. And then I'm gonna pick up a little bit more of this diluted paint, not my not my really pigmented paint, but some of the diluted paint that I hot on the temple on the palette. I'm just going to go back in and go over again while it's still wet, this ring in the middle to make it just a little bit darker and are the rest of this strawberry until we get to the leaves is basically going to be a dance between those two moves between. Once, I until I get to a place where I feel like yeah, that looks pretty good, which is I'm very close for me. I'm gonna go back and forth between adding a little bit of darker paint on the outside and blending it in versus carefully lending it in so that I still maintain the white space around it versus adding a little bit of the diluted paint around in the middle. And then I'm almost done. That looks pretty good. And finally, I'm going to add the leaves, which is going to be basically the same process as for the other strawberry. I'm going to start with a little bit of pressure and then come down and meet it. I'm basically just doing some of these spiky leaves coming out of a strawberry. I want the ends to be a little spiky, though, so if some of your leaves don't turn out that way, that's OK. Well, that's what the way that I'm home. Um, cool. So We can also do the splatter thing, and I could just kind of adds some texture and and add a little bit darker. Ring around the edge here that looks pretty good. Now that is a loose, cut open strawberry, and that concludes the strawberry tutorial. So we learned how to use the wet on wet technique to create a loose, uncut strawberry and a loose half cut strawberry. And so practice this practice using the word on what technique going back and forth between using your detailer brush and using your bigger brush so that you can get a little bit more control over where the paint goes while still maintaining this blend e kind of chaos, Um, and then once you have painted strawberries to your heart's content, let's move on. 8. Practice: Kiwis: Welcome back. Next up on our list, we have Kiwis. Kiwis are super fun and again use a lot of the same blending went on what techniques that we've used for most of the summer doodles in this class. So first, let's do a kiwi that is just like a slice on its own without any of the skin. And then we're going to do a kiwi that cut open, but it still has the skin on it, so it's like cutting half. Um, they're all very similar, just different angles. But let's get started. So I'm going to use some sap green for my kiwi stop green. This is Windsor Newton Sap green, which is just basically a little bit more of a yellow green. It's darker, so it's kind of like an olive, the kind of green. But I am also I I want to use a light color value of it, so I'm adding a lot of water to dilute it a little bit more similar to how we started off that first layer of the whole strawberry. We're gonna do a really similar thing with this Kiwi, so I have this very light green, and it's very watery. So it's not gonna dry immediately as soon as I paint it on here. And so I'm just gonna do the outside of the circle here, and I'm washing all of my pigment off and on Lee using water. I'm gonna bring some of the pigment toward the center. But the trick with Kiwis is I'm gonna leave part of the centre dry and like a Really, I don't want to leave it dry in a really symmetrical shape. I want to I want to leave the center really uneven in this kind of off kilter shape. But I'm leaving some of it dry, so the middle is not wet with water. It is dry and you can see the paper coming through. Okay, so next once we've done that, then I'm gonna take a little bit, um, heavier pigmented green, and you might be able to guess I'm going to go around the kiwi or just around the edges with this more heavily pigmented green stop green to add some contrast, just around the edges of the kiwi tryingto show, you move my hands, you can see and it's okay if it's a little rough. If you're circles. Not perfect, because guess what? Kiwis are in nature, which means they are not perfect. Okay, So once I have that down, you can either leave it as it is or if you think it needs a manual blending, use the tapping technique just with water to tap some of the paint into each other so that it blends just a little bit nicer. So we're making just kind of like this rough kind of radiant, kind of like when we practiced with the popsicles around the edges and then with your detailer brush with your size zero brush, Pick up some more of this, um, of more pigmented heavy side of the green. And then we're gonna do the same thing that we did around the edges. But instead of around the edges of the big circle, we're gonna do it just a little bit around the edges of the middle of the kiwi. Just a little. And then I'm washing off all of the pigment, so I just have water. Just have water now on my detailer brush and using the topping method to blend in that pigment that I just laid down. So we want some of the middle to be a little bit dark and some of on the edge to be a little bit dark. And then with with my detailer brush and clean water, I'm just going to make that white dry middle just a little bit smaller. Okay, so now we have most of the key we done. We just need the black seats, right? And the black seeds go in like two layers all the way around this middle part. So we can either wait for this to dry and draw in the black seeds once it's dry. Or if there's if it's not too watery, which it doesn't look like it is, then we can just kind of Dawson black seeds right on there and embrace the whole loose effect by knowing if I got some black on here, it's going to blend it right because this is still a little bit wet, so it's not going to be completely dry. It's going to they're, um, the doctor going to be a little bit fuzzy, but I kind of like that effect with these loose kiwis, and so I think we're going to go with that. But then I'll also show you what it looks like when you would do it after it's dry. So I'm just going to do a slightly different angle so that you can see the dots a little bit better. Okay, so here we have are still slightly wet kiwi, and I'm taking my detailer brush and picking up some black paint. And just around the circle, I'm going to do little rows of dots just around the middle. And I don't want them to be to symmetrical because this is real life in nature. And also we're doing some kind of loose fruits, and so it doesn't have to be exactly perfect. You can get some of them in the middle. Mostly I'm staying around the edge and leaving the white, the middle, white. And there you go that you notice how, because the fruit is still a little bit wet, that the dots are just a little bit blurry, and that can be kind of a cool effect. Um, because it still kind of looks like almost just like you can see the seeds underneath the fruit, or if we're just going for, you know, loose watercolor. Look, that is really in line. with that look. But if you decide you want to dio more detailed, um, seeds that aren't the arm fuzzy like this, Then I just quickly painted another kiwi over here and it's dry. Then you can still paint the seeds along the outside kind of dotting long outside like this once it's dry, and that can look really cool, too. So it's up to you how you want to do it. Either way, we're painting these seeds and a few layers around the center of the kiwi, and that wraps up our seeds. And now we're going to learn how to paint the kiwi as a whole as if it were cut in half. And you can still see like the husk, the skin on the outside. To wrap up this tutorial. I'm just gonna quickly show you how to paint the kiwi as if we were looking at it like it was cut in half. And so you can still see the husk part so similarly used before, but with a little bit less water. We don't want to be super watery because we're not gonna paint the same surface area. We're gonna paint like a more skinny kind of oval that's going to represent the part of the fruit kiwi that we can see without diluted water and then just using more water to paint the middle. And then we're gonna take our heavily pigmented stop green to go around the middle, the edges again like that. Ah, this is very similar to what? Or it's exactly the same, actually, the same technique as when we painted the Kiwis before, except in a cirque except and sediment a circle. We're doing this oval shape to show the perspective of looking at it from its side. And then I'm just using the topping method with clean water and a clean brush to blend in some of this paint here. And then I'm gonna wait to put the dots in for just a little bit. But to paint the outside husk, the husk of a kiwi definitely has some brown to it, but it's not quite, it's. Sometimes it looks almost dark green ish brown, and so I'm gonna take some burnt umber and just put it in my green pallet over here and add just a touch of South Green to this burned number to give it that slightly green tent, and it's OK if we want to have a more diluted, watery version. So we're gonna take this Seth Green tinted burnt umber over here and using my six brush, I'm going to form just this kind of half circle ish shape and using water. That's one of my favorite techniques to control painting. T control the wet on what technique is to instead of using paint the whole time to once you've laid down part of the pigment to use water to spread it. So we're gonna use water to spread it. And we just wanted to barely touch the outside of this kiwi so that the husks still kind of blends in, and then we're gonna add more. Once we have that wet foundation like we've learned, we can add more of the color that we want a little bit darker so that we can control it a little bit better. So I like to do it like just on the side around the top, and then, ah, some of this is escaping into the Kiwis. Owner's gonna mop it up with my Q tip a little bit and go back in and blend some of that green in and then also use the tapping technique to blend in some of this burnt umber over here. And some of my paint, it looks like, has washed out. So if that happens, if you add too much like diluted paint and it looks like some of its really washed out, you can always go back in. I'm going to go back in with a little bit more. Stop green just around the edges just to make that color shine a little bit more shine is and be a little more vibrant. And then I'm gonna just a little bit more straight for in number. This isn't the deluded with sap green anymore. Just a little bit of that regular burnt number at the top and blending it in using the topping with it. And now I'm going to use my detailer brush toe. Add in a few seeds just like that. And there you go. That is a kiwi from its side. It still has its husk on it. So we practiced a lot of fine and detail work with the wet on wet technique with a detailer brush and the, um so I would definitely recommend you practice kiwis a lot and see if you can get to a place where you can really get thes contrast ing monochrome blends here and getting the water control nice enough so that you can still get some blends but also maintained some kind of semblance of shape. Um, with the blinds that you're creating, that's what we did with que ese. And now we're going to move on to our final doodle before we practice and learn all the steps for our final project. So practices que ese and I will see you soon. 9. Practice: Blueberries: last but not least, we're going Teoh. Learn some quick moves. Teoh paint loose blueberries and also loose raspberries and blackberries, and these have a lot less to do with the wet on wet technique. They're still. We're still using some very wet paint. Um, but these are for our final project. We're going to paint a wreath of all of the things that we've learned. So a wreath with the popsicles in the fruit and the blueberries and raspberries and blackberries, they're going to act as like filler spots, basically, because there are a lot smaller. So for blueberry, I'm going to pick up some Windsor Newton indigo, and I'm going to mix with it just a little bit of Prussian blue to make it a little less in the winter noon. Indigo can be a little bit much, but mostly indigo, just with a little bit of pressure in blue. And so basically, there are two ways to do a blueberry. There's, you know, blueberries have that little ridge on the top if you look at them from the side, and if you don't look at them from a side, you can't really see the ridge. So blueberries you can paint like you're just painting a circle if you want, um, so you can fill them all the way in like that on maybe even little little leave a little highlight space like that, and that highlight space is something that's important, Um, for these loose blueberries. When I paint circles when I playing blue blueberry circles, I usually like to leave just a little bit of white space, especially when I'm doing those these loose blueberries to show that they have some like shine or texture, whatever to them. And they don't have to be perfect circles. When you paint these blueberries, it's probably better if they're not perfect circles makes him look cooler more, uh, more natural and realistic. And I'm also going to give you a side angle shot of these blueberries because I think it's easier with the smaller Berries to see that site angle shot. So here it iss okay, one more time. I'm gonna paint these blueberries thes loose blueberries without the little ridge on them from the side, just so you can get a little better view, then that bird's eye view that I usually have with my videos. So I picked up some of my blue and I'm forming a circle and I like to form the whole circle and then fill it in, leaving just a little bit of white space. So one more time I'm gonna form the whole circle with my paint like that and then fill it in, leaving just a little bit of white space randomly around one of the Berries just to show that there's some texture. Might be some shine on that blueberry. Okay, so that's the site angle shot up. That's the angle, as if we're not looking at the ridge. And now, if you look at, um, if we're gonna paint that little ridge of a blueberry, it's basically gonna be the same. Except instead of painting the whole circle, we're gonna paint on Li like 3/4 of it. So I'm going to start making a little just a little lime like that with my paintbrush and a little line over here. We don't want them to be super parallel. We want them to pointed out just a little bit, and then I'm going to make a circle that meets those little lines like that, and then I'm going to fill it in and leave a little bit of white space right there and paint a little a couple other lines to form the ridges that we're trying to create, like the folds on top of that blueberry. So it's very loose. It's not a very realistic blueberry, and painting blueberries like that with those ridges might even be easier with the smaller detailer brush. So let's try it with that. So I'm picking up my zero brush, and I am painting my little ridges as guidelines, knowing I'm gonna put in more after I finished the circle and then with more paint, I'm gonna paint around and then using my brush, I'm gonna finish this little fold that we have up here and add some details and then just fill in the blueberry, leaving just that little bit of white space so that you can see this ridge on top. One way that I completed that Ridge is once I had these two parallel lines, you might have noticed me going with the with the flat end of my brush. I put some pressure down and just kind of made little waves with my fine detailer brush and then added some more little ridges on the side and then filled in a circle just like this, leaving a little bit of white space, making that ridge just a little higher. This ridges on this blueberry is a bit much. So if that happens, I think the blueberry might be you need to be a little bigger. And so I just widened that a little bit. And that looks pretty good now that I've done that. So, um, blueberry in two different ways. The circle or with the ridge and blueberries make great filler buries for our wreath. So practice your blueberries. And then, um, I decided to make the raspberries and blackberries to have their own video just so you can watch these invite size pieces. So practice your blueberries and remember to be embraced. The chaos embraced the loose nature of this watercolor technique that we're practicing, and let's move on to blackberries and raspberries. 10. Practice: Raspberries & Blackberries: All right. Welcome to our video on raspberries and blackberries. I'm leaving it in this side angle shot, because with these smaller Berries, I think it's a lot easier to see. And raspberries and blackberries are probably the easiest over the lot. Um, second only to blue, where blueberries or second only to them. Because of that little ridge thing that we have to do for the blueberries. Um, but raspberries and blackberries, they're also gonna make a great filler berry for our fruity wreath. And so for raspberries, you can do read or, ah, darker ride. Sometimes I like to do read mixed with a little bit of purple. So it's more like a red violet or something like that. I'm mostly gonna pick up some red for my raspberries. I'm using my fine detailer brush, not my number six brush. And the thing to remember when we form u form raspberries and blackberries and basically the same way. Typically, raspberries are a little smaller than blackberries, so I'm gonna paint those first. But I picked up some red, and we're just gonna paint little circles, making sure, like sometimes the circles can touch each other. But we want to leave some white space in between these air loose raspberries. Remember, we want to leave some white space in between. So we're not just painting a big blob of paint, right? Um and we're basically gonna form kind of the shape of a triangle. But we don't want it to be super and symmetrical or even or anything like that, because once again, nature So I'm just painting a bunch of these loose kind of circular motions, leaving a bunch of white space and having, uh, forming the basic shape of a raspberry just like that. And that is one of my raspberries. I'm gonna call that good if you want. You can also add some green on the top. Ah, with your detailer brush similar to how we out of with strawberries. She's gonna do a little tuft of green like that and that is going to form our raspberry. Now, I'm gonna do the raspberry one more time, and then we'll do a bigger version slightly bigger for the blackberry. So once again, here's the raspberry. I'm just forming off to the side. Heroes all show you with the I'm just forming a very imperfectly circles. But I don't want them to be super watery. I don't want to see that. It's like a raised a raised doctor because, uh, that can just be a lot harder to maneuver on the paper. So I don't want too much water, but I don't want to Little water either. Um, and my raspberries don't have to be always be the same size that can be little like that, or I can make them be a little bit bigger. Regardless, I'm just putting a bunch of these circles together and making sure to leave white space in some areas so that you can still see the outside of some of the circles, the shape of some of the circles. Because that is what indicates to anybody looking at our art that these are raspberries and not just blobs of red. So there's my raspberry. And now, with my detailer brush, I'm adding just Cem tuft of green. I don't want it to blend in too much with the red because red and green or complementary colors and won't look very good together. But there are our raspberries, and now blackberries are about the same except slightly different color. So I'm going to add some purple. One of my favorite purples to do for blackberries is Caroline. Violet. Um Then you can get I like Windsor and Newton a lot for apparently in Violet. The blackberries are like a really dark purple, so you can add peril in violet and then even just like a touch of indigo to that Caroline, Violet as well to get I like this color for blackberries and the like a deep violet. Okay. And, um, remember, blackberries air just a little bit bigger, usually then raspberries. So I'm taking that into account when I form my loose, uneven circles and they don't all have to, like, go in a row either. I sometimes to paint, not in a pattern. I have to force my mind to do that and to, like, purposefully not go where my brain is telling it to go. So that's something to keep in mind. Um, and I'm gonna call that good from my restaurant for my blackberry. So honestly, painting raspberries and blackberries is a really good warm up, I think because it's a lot of fine motor skills that you are using with your paintbrush and also forces you to leave white space and to embrace this kind of loose style that we're going for. So you're still getting the shape of whatever fruit we want, but it's not perfect. So if I were to do even an even bigger one using putting more pressure on my brush, leaving whitespace so that you can still see that's an even more kind of blend the one. And now I'm gonna do the same with the raspberries and Adam, just like a little crown of green right on top, there and my friends. That is how you paint loose raspberries and blackberries, and I know this video might have seemed a little easy. Um, but it's not, I think, that learning how to control your brush and learning to get this white space in the middle so that you still so that you have that abstract loose look where some of the doctor touching each other and some of them armed. But you still have enough white space so that you can see the outline of a lot of the dots . It can be tricky, and so that's why it's a good warm up, because it helps focus your hands and um focuses your mind on keeping track of where that white space is, So practice your raspberries and blackberries and let's move on ahead. 11. Practice: Leaves: Like I said, we're going to be painting a summer doodle wreath with all of these fund fruity things that we learned the Popsicles and also the fruit. And so really quick before that under is going to do a quick tutorial on how to paint basic leaves. If you've never taken any of my florals classes, then this will hopefully be helpful for you. So two former basic Leaf it's important to know, um, the strokes. So one of my favorite strokes I like to use for leaves is called the Crescent Stroke, where I start like below on a paper putting, very not a very much not very much pressure and then starting off of little pressure and going thick and then letting off and going thin and making I call it the Crescent Stroke. Because you're basically making in crescent toe like that. And they don't all have to look exactly like a crescent like that. One does. It's just the basic shape and in fact, with leaves. Mostly they should look a little off kilter, Um, but with leaves on wreaths, especially, we want the the leaves to help form the shape of the wreath and so keeping that in mind that some of your crescent strokes can have definitely have a little bit of unique shape to them is going to make our wreath look even better. And, um so that's the crescent stroke. And then the way that we formally of sometimes you can form leaves just by doing the crescent stroke like that to make them look bendy. But the typical leaves that we're going to form start off with a stem. So I'm going to paint a thin stem, putting very little pressure on my with my paintbrush and then on one side of stem, I'm gonna form one present stroke starting from the stem. It's always important. Whenever I paint leaves, I always start from the stem just because it's a lot easier to get that nice point at the top. It's also a lot easier to maintain this white space. I'm going to talk about loose floral leaves. We're not gonna paint in any of the like details and of the veins or whatever that believes usually have. Instead, we're gonna leave just this little sliver of white space, uh, to indicate that that's where the vein goes, and then I'm gonna do another crescent stroke that is going up to meet the 1st 12 finish forming the leaf and that is how we painted leave. So I'm going to do another one where I'm gonna paint the stem and I'm going to paint a crescent stroke and then leaving a little bit of white space. Just a sliver. Gonna finish off that press of stroke. And sometimes we can. The point can be just like one singular point or it can be a little bit looser. Honestly, when I do these crescent strokes for leaves, I don't. I try not to pay too much attention to making all the leaves look perfect. I just kind of tilt my hand and create movement, even if it means leaving some of the leaves a little bit wonky at the top, as long as it comes to kind of a point. That's what I'm looking for. Even if it has some, like rips and tears up here, that's OK, because some leaves do right, and, um, we just want our leaves to look natural and we want them, and that means giving them some shaped like they're bending in the wind so I would practice if I were you. Lots of leaves and I would also practice the leaves and Bunches. So if you've painted one leave, try painting another one next to it. And remember that because these air loose leaves we can always It's okay if you're not exactly sure where the next leave came from. Like if this leaf is just coming out of these two in Bunches, like these leaves or in Bunches, and that's totally fine. And when leaves kind of cascade down in Bunches like this, that's when they look the most realistic. And they look the most realistic in reads So leaves. And for my part, if you've taken any, my florals classes have always been really tricky for me. Notoriously hard. And so I I don't know why that is, but because of that, I like to practice them a lot. I like to warm up with leaves a lot, and, um so those are the basic techniques as a, uh, reminder. I would not, um, I almost always start my leaf from the stem, so I never started from the top and go down, and I usually do it in those in those two strokes with the two Crescent strokes, meeting at the top and starting at the stem like that. So those were just some basic leaves and practice those until you feel a little bit comfortable and then let's move on to our final project. 12. Final Project: Part 1: all right, we have learned how to paint so many fun summer loose summer doodles And now we're gonna put them all together to be a fun, fruity, summer themed wreath. And the most important thing when we paint wreaths is to think about placement and where everything is supposed to go. So if you are somebody who likes to sketch things beforehand, please, I encourage you to do so. I typically just kind of eyeball where things go and make things up as I go along, because that helps me to be loose and not care so much about being perfect, which is something that I love so much about watercolor. So but it's up to you. The most important thing that we're going to remember because I do like to have some sort of system is that one Lee place elements on wreaths. We go from large to small, big to small because it's a lot harder to put bigger things on top of smaller things when they're already there and so, like our priorities, me to the most important or most the biggest things first, and then we use the smaller items to fill in the space around them. So in our case, we're going Teoh drop paints and popsicles first, I'm gonna put the Popsicles down here a the bottom to be kind of like the, um the crux of our wreath, I guess. And then everything else is go is going to go in a circle around the Popsicles. So popsicles first, then watermelon, then kiwi, then strawberry and then the Berries, which are all about the same and then leaves. So that's the order in which we're going to paint all of our fund doodles. You can paint all of the doodles that we learned, or you can only paint some of them totally up to you. But I'm going to attempt to paint all of them to be one mega summer floral wreath. All right, so first things first is I always like to have some kind of guide. And so I like to pull these pallets thes round pallets out to act is like a circular guide . And then I just like toe lightly in pencil, draw around, um, lightly in pencil, draw a circle, and it doesn't matter if I get the whole circle as long as I get the gist of it. That's the most important thing because I'm not really keeping track exactly of the circle . I just want the circle toe act as kind of a loose guide to my placement to where I put all of my fruit. And one other thing I like to do when I draw in pencil with these reeds is if your pencil marking is a little, ah, heavy. I like to take a kneaded eraser and just pick up some of the leads so that the pencil is as light as it can be, because when we paint on top of pencil, if the paint is still transparent so that we can see the pencil Ah, it's harder to It's really hard to erase. So I, as did the kneaded eraser, to get rid of some of the heaviness. Um, and now first things first, I'm going to paint three popsicles. In fact, I'm going to paint the three popsicles that we painted earlier, and if you this is a great time to pull out all of your practice sheets, all of your reference sheets. So these were the three popsicles that I painted, and I'm going to paint them again on this reef a little bit smaller, but see how nicely that, um, the inside of this one turned out to be all shaded. That's perfect. So I'm gonna put this shaded one in the middle, and then I'm gonna put these two blended ones on the outside, and I'm also gonna put them at, like, a little bit of an angle. So knowing that I'm gonna put them at the bottom and I'm going to draw a little. I'm also gonna draw a little, um, Popsicle handles on their popsicle sticks in some light brown. I don't want this to go off of the paper, so I want to leave a little bit of room at the edge of the paper here, so I'm gonna mostly paint these kind of in the middle of the wreath. So I'm going to start with my middle one, and I know it's rectangular, and I'm just kind of going for it here. The's air super loose. All of these doodles were supposed to be, honestly, that you could use them for, like, warm ups, Or if you're just looking for a fun afternoon of no pressure painting, that's my goal for this class for these particular subjects that we're learning to paint because what better time than summertime to kind of just, like let lives and paint some fun doodles? So there's one Popsicle. Now I'm dosing the topping method with water to just add a little bit more of that cool water color texture in there. And now I'm going to paint on this side my raspberry lemonade, and I'm gonna have it overlap just a little bit that popsicle because I really like having my watercolor elements overlap sometimes so that some of this painters just kind of blending in a little bit, be pretty fun and a cool effect. We don't want to blend it. Blend in a time so I might take a Q tip and mop up some of this up here. I'm putting down my water first, like we talked about. And then I'm going to take some of my Quinn rose and blend in this Popsicle blend in some colors here to make my strawberry lemonade flavored themed Popsicle, and I'm gonna take some yellow and do the same at the bottom here, being careful because I know that purple and yellow are complementary colors And so if they blend too much, it's not gonna look super awesome. But it looks like the yellow is kind of overpowering the purple. So it's not looking too terrible either. And then adding a little bit more just around the edges here to add some higher contrast. And now I'm gonna have just a little more yellow down here before I go in with the topping method to manually blend manually, create just a few more blurts. All right, I am going to call that good for that one. And now for the other one similar thing. Similar deal. I'm gonna put this one out a little bit of an angle to start with the top of the rocket. I'm painting this in water. Have it meet just casually bump into that other Popsicle. Because we like that loose wet on wet watercolor look. And at the bottom, I'm gonna do read so that red is gonna blend in with this Popsicle, okay? And then using the tapping method, just quickly blend in. Blend some of that in right there. We don't want the red to go too far up, because, remember, we want to have a little bit of white space in the middle right here. So I'm gonna take my Q tip and mop it up just a little and then takes my water and push it down a bit as well so that it stays right there. And then I'm going to make that edge, Not quite so much of a corner coming. And now I'm gonna take some Prussian blue and just on Lee put it around the top. And after I put the pigment down, I'm going to use the topping method to bring it even further and just watches. It kind of blends in and does its thing, but I don't want to go too far because I also want to maintain that white space in the middle. So I'm gonna take some water and use the topping method to blend fist down so that it's dark on top in around the edges and then gets lighter, but also just has this, like cloudy water color kind of texture to it. There you go that those are our popsicles. And finally, last but not least, I'm gonna take some burnt umber and mix it with yellow Oakar to create to paint just little Popsicle sticks underneath here. Those are optional. You don't want to paint Popsicle sticks. That's okay. But I thought that they would just be a fun little ad. All right, so we've done our popsicles. I'm gonna like I mentioned. I'm going to keep my popsicles contained down here. I might have some leaves and tendrils coming out at the end, but I'm gonna keep my Popsicles down here to be toe actors like the crest. The bottom crest, I guess of the wreath. Ah, we're like showcasing these popsicles. As for our fruity for a fruity wreath. And so next we're gonna paint, um, our larger fruit. So in the next video, we're gonna paint the watermelon and the kiwis. Ah, and maybe if we have time to strawberries before the next video onto this fruit so haunted this fruit onto this wreath, so stay tuned 13. Final Project: Part 2: Okay, so we've painted are Popsicles, and now we're going to paint the larger fruit. And if we refer back to our list here, um, Popsicles first, then watermelon, kiwi and strawberry. So I'm gonna paint water, melon and kiwi in this video. And if we have time, a few strawberries, but with watermelon, especially watermelon are pretty big, right? And so I might with the others with the kiwi and strawberry and Berries, I think I'm going to do them kind of, um, sporadically around. But with the watermelon, I'm thinking I might just have one or two around the Popsicles because they're our, uh, second biggest. There are second largest summer doodle that we're doing, so make sure you have some of our melon color prepared again if you forgot, or it's been a while since you watched the watermelon video. Uh, I liked to do that opera pink with just a little bit of yellow Oakar to create a melon color. And so I'm gonna do that Mellon over here, and I think I'm gonna have it kind of peeking behind this popsicle. So I'm gonna for my triangle, like it's gonna go behind this Popsicle, right? here and paint that in the Popsicle is in the front, important to note, and I'm painting in water my shape of my melon. And now I'm picking up my melon color that I just made more of making a little more because it turned out a little more Coralie than I intended. And painting this melon color next to my strawberry lemonade Popsicle, diluting it with water sometimes and leaving that little bit of white space for when we paint the green. Remember, we want to leave a little bit of white space at the top for women, paint the green on the top. So I'm just gonna add a little bit more of the melon color kind of around, using the dotting effect to the dotting technique to create some water color texture here, maybe adding a little bit darker pigment around the edges just for, you know, contrast. What have you. These are loose watermelon, so we don't necessarily need them to look exactly perfect. And now I'm going to take my green and paint above and just barely touching the wet part of that layer so that it's still blends in. But it doesn't blend in so much so that we get a gross color and also maintains that little space in the watermelon that indicates, like, where the green part turns into fruit, all watermelon have, like, that clear Melanie spot. And so that's what that line of water is for. Someone was gonna kind of manually blend in some things here, okay? And I think I am going Teoh, do one more melon. No, that's good. I'm gonna call that good. I'm gonna paint in the seeds a little bit later. But right now it looks like this Popsicle is dried enough so that I can paint in the ridges on the inside, the inserts on the inside. So first, we're gonna use our paintbrush, just toe, have water. And then I used the wet on wet technique to add depths so that this prop sickle looks like it has thes ridges on the inside, like a lot of popsicles do. All right, there's one. And now we're gonna do the same thing over here. It doesn't really matter if there even this is a loose Popsicle style. Most important part is to make sure that the shadow stays on one side so that at least one side. It is somewhat darker than the other because that shadow is what tricks our eyes into thinking There's depth in here that contrast between the light part of this rectangle in the dark part. All right, there we go. And no, I'm going to paint our que ese So for the rest of the fruit for the watermelon and the popsicles, like the big stuff, I put them all like in this same spot right here. But for the rest of the fruit, I'm gonna put them mostly sporadically around now, knowing that I want to fill in this spot with, like, something that kind of offsets the watermelon. I'm gonna put two kiwis right here, but then I'm gonna put another kiwi somewhere up here. So first with the Kiwis, I'm getting some diluted soft green, and I'm going to have one of the Kiwis be hidden behind here, leaving the ah little bit of white space in the middle. I don't want to paint over the top of the popsicles. I'm going to be pretty careful not to and then paint around the edge just like that. I'm gonna blend in some of this green. So it doesn't look quite so much like a line and get some green again and just put a little bit on the edges this way. So there is some contrast in colors going on in here, and I'm gonna let that dry a little bit. I'm still going to paint my seeds like there while it's wet, but I'm gonna let it dry a little bit longer while I paint my other kiwis. So I'm going to because I want this to dry a little bit. First, I'm gonna pay my other one. That's up here. So I'm gonna while this is drying a little bit, I'm gonna paint this kiwi up here, and then I'm gonna paint this one down here and because you know exactly how that looks, I'm going to fast forward to when those air finished. So is to shorten your watch time. Okay, so I've finished thes two kiwis, and now I'm just going to do one more. I'm not gonna put any que ese with the husk this time on this particular wreath. Just because I don't only think the brown goes with the color scheme, but another here nor there. So I am going to have these Kiwis overlapping a little bit. Maybe I'll make this slice a little bit bigger. Still going behind. It's okay if I overlap on the other kiwi a little bit because the green is fine, But for the Popsicle, I'm gonna be careful, not toe touch most of the water to the other Popsicle, leaving some white space and then adding the green around it, blending it in and adding some green around this edge a little bit. And then finally, I'm gonna add some of the black for the seeds. Okay, so those are are loose que ese for this wreath and looks like this is just a might have been a little too. This is very wet, so the dots didn't really stay dots, But that's OK. It kind of looks cool. I think so. And it definitely looks like Ah, loose, watercolor kiwi, which is what we're going for. So here's to embracing chaos and imperfection and moving full steam ahead. As you can see, the ridges here dried really nicely. It looks like so that's perfect. Next, we're going to paint our strawberries 14. Final Project: Part 3: Okay. So, back to our fruity summer wreath we've painted Popsicles and our watermelon and a few kiwis , and now we're going to paint our strawberries, and I'm going to do a combination of the whole strawberries and then a couple of our cut in half strawberries, so I'm probably gonna do like Like I said, I like to go in odd numbers. So I'm thinking for strawberries because there are last kind of bigger fruit I'm going to do probably five, so I'll probably do three whole ones and to cut in half ones. So I'm just going to kind of put them around sporadically and have them be different sizes , because strawberries can be small, but it can also be really big if they have grown out grown in a weird way. So I'm painting this like loose heart shape we talked about, and I put the pigment down first and then just kind of spreader spread it around using water. And now I'm going to add in some darker pigmented red to add some shading here and using my topping technique to blend in those colors. A lot of the techniques we learned in this class we used in all of these fruit, which is important to know. And I am gonna do just a little splatter just like that. And that's OK if it gets all over the wreath because this is a loose watercolor wreath, and that's what I'm going for. So I'm gonna paint the leaves after I've already painted all the strawberries. So I'm gonna do another strawberry down here, and I'm going to make this one a little more around and shape added a lot of kind of dense pigment there. So, no, I'm just using water to move it around. And I'm gonna have this strawberry be behind the watermelon. No, like that because I already added kind of, I used having a pigment already. There's a lot of there's already a lot of good contrasts and blending here for the strawberry, so that works out nicely. And then I'm gonna do one more hole. Strawberry, I think next to this Kiwi and have it overlaps a kiwi a little bit like that. This would be a little fatter and blend in with the water and then to try to cover up this green. It's OK if it's not completely covered up actually, kind of looks cool when it's not so maybe I won't completely cover it up over there. Ah, that's called watercolor glazing. By the way, when you use professional watercolor, too, paint dried layers on top of each other and you can see the layer underneath it. That's called glazing, and that's a really cool technique. So I'm just going to kind of shape this strawberry a little bit more and then maybe dio a little splatter on both of these and call that good for the strawberries for the whole strawberries. And now I'm going to go back and due to open strawberries. So I'm gonna do one open strawberry here and have it be a little smaller. And remember, I'm gonna go in with some diluted red to do the center to dot some of this in the red centre and then go along the outside along the edge so it's barely touching the edge. And then I'm going to use water to blend in to blend those in, and that is going to form my very loose, my loosely shaped cut open strawberry just like that. So I'm gonna paint another one here and then I'm going to paint the leaves and finish off this layer of strawberries. Okay, so I have painted the rest of my strawberries, and I actually at the last minute decided to add just a couple more kiwis to fill in the wreath before we add in our Berries and are leaves. And now I'm going to finish off the strawberries. Um, just by adding the leaves on top. So I'm using this time I'm using my detailer pen, my my detailer brush. I mean, and I want the tops to just be crazy pointed on these leaves. I'm not really caring much where they're coming from it just kind of making sure that the tops air pointed. This one is upside down, and a lot of these have already dried when I'm painting these, and that's totally cool, too. That's a good way. It's not a bad way to paint these leaves on top just because we know what happens with red and green, okay? And some of these strawberries, Actually, it looks like even though we did that splatter technique, some of the splatters have melted in so, or they you can't see them very well, so I'm actually gonna take my detailer brush and just do another tap top top top to get you on more splatters on here. And I don't care if they go on to the other fruit because this is a loose watercolor wreath , and I think it looks cool. Okay. And while we're at it, let's just add the seeds to this watermelon that has dried. So I'm gonna add some seeds. Not all going the same way. Maybe one is coming out from underneath this Popsicle There. They're my seeds, and that finishes off our strawberries layer. Next, let's talk about let's paint in our other Berries. 15. Final Project: Part 4: may have noticed that before I ended that last video, I didn't put the leaves on these strawberries. But I have now remedy that. And now let's draw some filler Berries. So first, I'm going to do blueberries. And so I'm gonna get my blues over here, okay? And I'm gonna put some blueberries over. Just I'm just Honestly, I'm just going to kind of put them everywhere, some of them in a clump, like a cluster together like that. And I'm leaving some white space as you'll notice some of them gonna have overlaps. Is kiwi right here and even some other fruit If you do clumps again, my rule is I like to do odd numbers just because I think they're a little bit more pleasing to the eye. For whatever reason, I'm sure there's science behind it, but I not gonna expound on that right now. Um, that I'm gonna put blueberry here, blueberry here and blueberry here and blueberry here. And maybe I'll just do a little clump of three right here. I'm not really focusing on the kind of blueberries with the fold at the top that we practiced. Um, because I'm kind of not feeling at this time, but notice I am twisting my brush to be in a circle that's leaving some brushstrokes that leave thes cool like streaks on the outside of the blueberry. And I think that looks super cool with the watercolor. So I'm leaving it like that. Um, Next, let's take our detailer brush and paints, um, Blackberrys. So I'm just going Teoh paint a few, I think. Probably. Let's see. Probably maybe five blackberries and three raspberries We can get in here. What's Trey? So one and I am not really carrying As long as I have enough white space in between these Berries to see. So that's going. I'm gonna call that one of my smaller BlackBerries. Maybe we'll do a bigger one next to it. Right here. Just like that. And mm, again, my balling it, which can be a fun thing, can be a stressful thing. It's kind of up to you. Um, gonna put one right here, I think. And one over here, we're gonna have this one be going, like, upside down like that. So you have 1234 You will have, like a clump of raspberries here. So 12345 Two more six. Maybe just one nestled down there would look kind of cool. I think I had a little bit more pigment to that one, since it's overlapping these guys there. So there are blackberries and now let's add our raspberry. So I did seven blackberries. Now I think I'm gonna do five raspberries, but we'll see. High goes. So I said I wanted to do a clump over here, one to have you facing this way. I'm just putting these dots and, like, random places just in the general shape of a raspberry. I feel this one out a little bit more and then we'll have number three. Go right here. 123 Then put one right here and maybe just one over here. There there are our blackberries and raspberries. We added just around the middle, and now I'm going to add some leaves just at the top. Just I painted some just some little leaves on top of the some of the raspberries and blackberries. Not all just some. And now we're going to finish off our summer wreath by adding some leaves, and I don't make it look a little bit more full on and make it look more like just ah, fun. Mixed wreath. So last painting video coming up. 16. Final Project: Part 5: okay. The very last step. Toe any wreath that you paint, whether it's florals or dress leaves or whatever is too. Paint the leaves. And so that's what we're going to do, um, using the basic leaf techniques that we learned earlier. So basically, I'm just going Teoh paint leaves wherever I see a spot that could use some extra filling. And I'm going to do it on the both on the outside and on the inside of this wreath. So just in general, for a rule of thumb when you're painting leaves, if they go in some kind of general direction and follow the laws of gravity, then that makes them look a little more realistic. So I'm having all of my leaves mostly go this way. Um, if that helps, So I'm start. I'm just kind of this is one of the reason was why I think painting war, my believes is good. Uh, just to kind of get you used to hinting leaves on wreaths. Um, because I think the hardest part about leaves for me is knowing where to place the leaves, and I will Honestly, whenever I paint thes, I try to just not worried too much about where the leaves are. And as long as they're kind of all falling and cascading and one in the same general direction, even if they are, some of them are pointing in opposite ways. That's okay. Um, that is the look that we're going for. So I'm doing these in remembering that I don't want I don't want my leaves to look really straight. I want them to look like they have some kind of curve to them, some kind of natural curve. I'm like some of these. I'm gonna skip the Popsicles for now and maybe not put leaves in between them. But, um, we're using this, like, to stroke method that we talked about in the leaf section and some of these I want to be pointing down because of gravity. Some of them can be pointing up, but when you paint in, clumps is generally when they should be going in the same general direction. And for the most part, we want our leaves to be going in this direction up here because we're going to say that's the direction that the wreath was initially formed. So I'm painting some leaves and clumps up here, Some of them I'm having fall cascade down, and not all of the greenery coming out of them have to be leave. So, like I can have just some, like little blades of grass be coming out of here to that can look kind of cool. Usually I do that after I paint all the leaves. But I just wanted to mention that having this little weights of grass coming out of the, um out of here like loose shapes like that and I am letting my hand just kind of gently form these leaves. And sometimes they look like they're, like, perfect and sometimes they don't. And that's okay. We are just letting the responsibility go and painting the general shape of leaves for our wreath. Because if you focus too much on having things look exactly perfect for loose watercolor style, it's no good for anybody. It just you feel inadequate. You feel like everything. Your painting is terrible, and it kind of shows in your painting that you spent way too much time focusing on the details when the magic of loose watercolor is that it's it looks kind of abstract, right? At least that's the way that I think about it. Okay, so we're nearing the top. At this point, I'm gonna flip, so it's easier for me to paint knowing that generally, we're trying to go in this direction, but some of the leaves were going different directions. Just add some diversity, always starting from the stem. That's just generally the way that I can get my leaves the way that I like them. I always start from the stem. - Okay , Just about done here. And you can go a second round to put toe layer some leaves on top of each other. That can be fun. So, like if I put just these leaves air dry right here. So if I put just like another lit little layer of leaves on some of the clumps that have dried that can add some nice of fun textures Well, me, um, good to have that some of those layers. And so that's what I'm doing now. I'm just going around and adding like a second layer, not as many leaves in this second layer, but to the leaves. I have already dried. If I put just a few on top than adding more layers on Lee adds more depth, and then, after I add the second layer, is usually when I go back and add blades of grass that are like peeking out. So now I'm gonna go and just add a few wisps here and there, just like that, and I'm moving my hand just a little bit so they can. So the grass isn't always straight. It has a little bit of shape and movement to it, because that's what makes it look more realistic and more like it belongs in a wreath, I think, and they're for the most part, I think that's it. And I'm gonna leave the Popsicles leave free. I think it kind of looks cooler like that. And there is our wreath, our summer wreath. Just in general, you don't have to. This recipe for wreaths is how you build reads always with that. How I build loose floral reads always is having the subjects I want that I put them on biggest to smallest. And then I add leaves and filler things last, and I think that this looks really cool and I'm so excited to see all of your final projects. So if you loved what Ubaid, then I would love to see it. How? Please feel free to post on instagram and tag me. My handle is this writing desk and also please post it on the project gallery, especially if you want feedback. If you have a question, then I can give you the answer to that question or what I think about your piece in the project gallery. That's probably the best place to come if you have a question about any of the elements of this class or any of the Allens of your final project. And, um, also posting to the project gallery helps other people to see it. The more projects that are posted on the project Gallery, the more people confined this class. So I encourage you to do that if you loved this class. Also, if you loved this class, please leave her of you, even if it's just really quick. It really helps to for the class to gain traction so the other people can enjoy this fund. Summer classes Well, um, and I always love to hear your feedback and thoughts so that I can make all my classes even better. Um, I'm gonna talk a little bit more about this in the recap. But for now, you did an awesome job. I can't wait to see all of your projects. And thank you so much for taking this glass. 17. Recap: Thank you so much again for joining me for my class on the loose watercolor summer doodles . Hopefully you learn something about painting different subjects the Berries on the fruit and the leaves and the popsicles. But more than that, I hope that you came up with a result that you really loved in our province. Here's my wreath again just for you to look at. Um, I honestly, it came out even better than I expected it would. I think it looks really cool. And I can't wait to see all of yours. I would love for you to post your projects in the project gallery. That way I can give me some feedback if you have any questions. And also, me and the other students can show you some love and, um, give you all the compliments for what I'm sure are awesome projects. If you also want to post your project on Instagram, please tag me. My name is this writing desk or my handle on instagram. Is this writing dusk? I do features, um, once every week or a couple of weeks for all my skill shared classes. So if you tag me, there's a very good chance that you'll be featured in my instagram stories. Um, and the last thing is, if you really loved this class and you want other people to be able to take this class and other classes, the best thing that you can do for me is to leave her of you, um, leaving her view one skill share. The more of use I have, the more people are able to see it based on the way that classes are organized. So I would really love to hear your honest thoughts, your honest feedback. Um And I appreciate all of the time you given me for this class, and I really hope that you came away with something that you loved. So thank you again for joining me and see you next time.