Watercolour Juicy Fruits - Paint 9 Fruits & A Fun Pattern | Emily Wassell | Skillshare

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Watercolour Juicy Fruits - Paint 9 Fruits & A Fun Pattern

teacher avatar Emily Wassell, Watercolour Artist & Educator

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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

14 Lessons (1h 21m)
    • 1. Introduction

    • 2. Supplies

    • 3. Cherries

    • 4. Apples & Slices

    • 5. Strawberries

    • 6. Raspberries & Blackberries

    • 7. Blueberries

    • 8. Lemons & Limes

    • 9. Oranges & Segments

    • 10. Final Project Part 1

    • 11. Final Project Part 2

    • 12. Finishing Details Part 1

    • 13. Finishing Details Part 2

    • 14. Wrap Up & Top Tips

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About This Class

Learn to paint vibrant watercolour fruits with this masterclass. We’ll be painting delicious summer fruits, from apples and oranges to cherries and blueberries, and then combining them into a fresh, juicy scatter pattern.

This class will show you how to achieve a loose, expressive style with watercolour painting by simplifying shapes and colours. We’ll also look at colour mixing and using wet-on-wet technique to make the fruits three-dimensional. And finally, the class will have a focus on composition for the final project, looking at how to place the different elements for a coherent pattern.

Watercolour fruits in this class

We’ll be painting:

  • Cherries
  • Apples and apple slices
  • Strawberries and halves
  • Raspberries and blackberries
  • Blueberries
  • Lemons and limes
  • Oranges and segments

For the final project, we’ll combine all of these into a summer scatter pattern, adding elements throughout the page as we paint. We’ll focus on colour, composition and add final details that bring the piece together.

Paint along with me in real time as I talk you through my creative process and how I create compositions. This class is a beginner to intermediate level for anyone who wants to get creative, loose and expressive with watercolour.

If you’re looking for very-beginner classes, my loose florals class is a good place to learn basic brushstrokes.

Let’s get painting!

Meet Your Teacher

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Emily Wassell

Watercolour Artist & Educator


Hi guys! Welcome to my Skillshare profile.

I’m Emily Wassell, a watercolour artist and educator based in the UK. I fell in the love with the magic of watercolours a few years ago, and was instantly hooked! I bought a student kit and some cheap paper and painted every single day, sometimes losing hours at a time to the process.

I loved painting so much, I wanted to learn everything about this medium. And soon I began to put together tutorials and videos for Instagram to share what I’d learned and help others discover this magic.

They turned out to be pretty popular, so now I'm putting together more in-depth classes to help other people fall in love with watercolour!

If you want to keep learning, you can:

Take part in my... See full profile

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1. Introduction: Hi everyone and welcome to this Skillshare class. I'm Emily wassup. I'm a watercolor artist and educator based in the UK. I specialize in painting natural and botanical subjects. So primarily florals and leaves, but also fruits and vegetables and other botanicals. You may have taken my other Skillshare classes on florals. But today we are going to be painting juicy watercolor fruits, which I am so excited about. So my style is very loose, it's very expressive. I use a lot of wet on wet technique and just really allowing the colors to blend and mix together. And I'm not focused on getting perfect details or realistic renderings as very much a kind of free, loose, relaxed style that I hope you're really going to enjoy painting with me today. And we're particularly going to be focused on bright colorful, juicy fresh fruits. So it's the summer here in the UK when I'm filming this. So the shelves and the markets are all full of delicious cherries and strawberries. And I'm just feeling really inspired by all the colors. So I thought we could come together and paint some delicious fruits together. So the way this class is going to work is that we're going to look at lots of different fruits individually first and look at how we could paint them. So we're going to look at them whole and maybe cut in half or into little slices. So you can see some different ways to paint the same fruit. And then at the end we're going to put them together into a project which is a big fruit composition, like a scattered pattern or a big fruit salad where it's going to be, the whole page is filled with different fruits all in a beautiful colorful pattern, which I'm really excited for Kuwait to get started. Please don't forget to share your work in the project section on Skillshare. At the end, I would love to see what you create and you can also post it on Instagram and tag me, it's at Emily voxel art. Not let's get started. 2. Supplies: All right guys, before we get started, let's have a quick chat about supplies. Now I'm going to show you what I'm going to be using, but you don't need these exact supplies. You can just paint with whatever you have to hand. So paints first, this is my watercolor palette. You can see it's absolutely filled it with old column mixes. I'm not very nice about it, so I just paint over the top of these mixed colors on top of these. But this is a cheap plastic palette that I think I bought off Amazon. It's filled up with Winsor and Newton professional watercolor paints. So I buy them in these tubes and then I squeezed them out into these wells and let them dry. And then I just come back in with a brush and we activate them and mix them in these wells. I've got warm colors down here and cool colors down here. And a few extra cool colors I didn't have space for. It's not a perfect system. But this is my what color palette? For brushes. I really like round brushes. So these have around federal metal but at the end and then they have a bristle with like a little pointy tip. So it works like a two in one. So you can press it really hard and get thick strokes or you can use just the tip and get really fine strokes. So really great for watercolor. So I have two types. I have the Princeton Aqua Elite range. So this has a really pointy tip. These are all synthetic brushes, so they're not made with real animal hair. And so they're like a nylon synthetic version. So this is a size eight. So I have a size six. And then I have my Princeton heritage 1450 round brushes to these, the ones with the red handle. And this has a size five, but it's essentially the same sort of brush. The range, I think just has a more pointy tip. And I quite like that detail. And then for paper, I am using legion papers, Stonehenge, Aqua cold press. So it's 300 GSM, a 140 pounds. So that just means it's a good thick weight. Um, and then it is cold press, so it has a little bit of texture. It's not smooth, but it doesn't have a rough texture either. A 100 percent cotton, which means it's more like a premium paper. And it's really good for painting watercolors because it keeps the water on the page for ages and then you've got loads of time to blend. But if you don't have cotton paper, you can paint with other types of watercolor paper. And these are my favorite ways to use paper is to buy them in blocks, which basically means that the sides are glued in place. It means I don't have to tape the paper down or worry about stretching it. I literally just pick up the pad, stopped painting and then when it's dry, I cut it off with a knife. And if you don't have a block, you can always tape your paper down. Yeah, that just works for me. It's a little more expensive, but I do find it more convenient. So I've got a 7 by 10, which is like a little mini size, and then a nine by 12 for the final piece, which is going to be it's like an A4 size for UK people who like classic paper sizes. The other supplies I have here, I have two water cups. So this is really common for watercolor because the water is so important to the mixture. So you're mixing your colors with your water. So if you want to get really dirty, then it won't. You'll get kind of dirty, muddy colors. So there are two ways you can do this. What I do is I have cool colors in here, so like blues and greens, and then warm colors in here. So your reds, oranges, yellows. And I just rinse off my brush and mix that color if it's all cool. Um, the other thing you can do is have a dirty cup and clean cups. So you have one for washing off your brush when it's dirty and then the other one for picking up clean water for mixing new colors so they don't get contaminated. If you can't do that or the system is just too complicated by all means use one cup but just changed the water regularly so it doesn't get dirty. And then I have a piece of kitchen towel or any kind of cotton cloth or whatever just to pick up some excess water and keep the brush nice and nice and clean and dry. So that's it there. The supplies that we're going to be using today? 3. Cherries: Alright, and so we're ready to paint our first fruits. So first of all, we are going to be painting cherry. So these are a nice, easy one to get us started with and gets all warmed up. So for this, I'm going to be mixing a red. I'm just going to move some of this color from my palate. Now I'm using as a base, Windsor Red Deep, which is like a really rich, cool kind of bloody ready magenta kind of color. It's a really great base for cherries. If you don't have a color this dark, you can use a brighter red and then just add in a bit of black or a bit of, a tiny bit of blue or purple just to bring it up to this kind of deep color. So we'll get quite a bit on the palate and then you want a lot of water on your brush. And we're going to do essentially a heart shape. So we'll outline the cherries first and then fill them in. So we're going to do a heart-shaped like that. But instead of coming down to a point, we're going to come down to a rounded bottom. So that's the shape we're aiming for. And then while we still have this mixed on our brush, we're going to pull out a little highlight. So it's just a little bit of whitespace and we're not going to paint in that, so we're going to fill in, but leave that clear. Now we're going to get some water on the brush and fill this in with a nice bit of water. Just get it all touching. It's such a nice column x this. Okay? And then you can go round and tweak any edges that you think that's not smooth as I would like, change the shape of it. So then we've got all of this nice fun shape to play with. So I'm going to do that again on the other side. And so we're going to come around. You can allow them to touch as well. Come around to a kind of heart shape, and then round out the bottom. And again with the highlight, try and put the highlight on the same side and both of them, so it looks like the light is coming from the same source. And then we'll fill this one in as well. Okay, and now what we're gonna do is start adding some contrast. I'm going to get some more color and then just drop it in on the edges and let it bleed in. What we're after with these is some really rich color, but we don't want them all to be just one color because that looks really flat and a painting. So we want lots and lots of rich color. Just gonna tweak the shape of the other. I'm going to get even darker color. Maybe maybe go. If you want to make it even darker, you can use a tiny touch of purple into mixture, can see how that makes it more of a like a rich cherry color. And then I'm going to come back to the bottom edge. So what I'm doing is putting the darkest tones opposite the shadow. Forgive me, a Docker sense in the shadow opposite the highlight. And so what we're doing there is creating a bit of a consistency with the light. So the darkest tones are opposite this highlight up here. Okay, now we've got a cherries. We're going to let that kind of settle and dry. You can go back in and kind of pick anything up if it doesn't look how you wanted, governs much that around. But really when you're working with wet-in-wet watercolor, it helps to just leave it and let it dry naturally, it will do its own thing and dry pretty happily like that. I think it gives the best effects to avoid play around with it too much. Okay? Now for the stem, I'm just going to be using a bit of brown. I really like cherries that are impairs. I think it's quite iconic. So we're gonna do a little notch at the top and then join up little stems like that. You can allow them to touch and then they'll bleed into the cherries if you like that. And then we do our little stems like that. And then as a final touch, I'm going to add tiny little leaf to show that they are nice fresh cherries. So for this, I'm using sap green. And the brown was a burnt umber, but really any brown is good for that one. Now, you won't quite a light mix of the green because the cherries are such a dark red and you really want the green not to overpower that. So it needs to be perhaps even lighter than that little Faint Green. And I'm going to touch it to the stem there for a good lead. Okay. If I rinsed off and just dry off the brush or I can say is that the shadow is running up the side. So I'm just going to come back in and nudge that back into place. Maybe if it was that one as well. Okay. There we have our cherries, our first fruits. 4. Apples & Slices: All right, Then while those dry, we'll move on to apples. Now, we're essentially going to do this shape, but a bit bigger for an apple. And you can also use a brighter red. So I'm going to add some scarlet lake to my other mixture to just bring it into a more rich appellee red. You can also add a bit of orange as well. Just to lighten that up nicely. Okay. So we're going to do the same thing, but just on a bigger scale. So a sort of heart shape. And it might take a few strokes to get right, but that's okay. And we're going to have just a little notch at the bottom, which kind of pulled up that slightly flat bottomed apple shape. So it comes up like a little bump. And I'm going to do the same thing with the highlight. So I'm going to carve out little highlight. And then we're going to fill this in with a nice warm red color. Again, we're going to do the same thing with the shadow to the dock expose going to be opposite the highlight. And we're just going to fill this in at the moment. It's not about looking perfect out of the darkness along that line. We're just getting the shape and then we can add the details and the colors lighter. I quite want to dock. You can add loads of other colors. This you can add bits of orange, green, yellow. Apples are really flexible with the colors that you can add to them. So I've added a bit of orange into the center here, just to give it a bit difference, I'm going to add the darkest color again along this edge. And probably into that bottom bit. There we go. And we're going to let all of that blend as we did with the cherries. To finish off an apple, we are going to add a tiny little stem, the curves, so you need a blob at the end and then kurt little stem in like that. And then we add again a little leaf. Try not to let it touch the red. Otherwise that can blend in Omeka of sort of funny multicolor. We go. So that is a whole apple. You can also do an apple HA, which is a really nice way to do it. So what we're after for this is the inside flesh is a really light yellowy brown color. So I'm going to use some lemon yellow pigment along with a bit of maybe yellow ocher. And just to get this nice kind of fleshy, Apple, fleshy color, you can add a bit of red, a bit of maybe a bit of gray if you want to darken it up a bit until we get this apple flesh color. And then what I'm gonna do is paint the same shape essentially. So we will paint our heart-shaped. Use loads and loads of water with this column extra because you want it to be really faint. We go out a bit more yellow to that. I don't know how well this is going to show upon on camera because it's quite light, but trust me, the lighter is better, this is going to work. So we fill all of that in. And then what we're going to do is go back to our deep red color. And then we're going to add a line around the outside. And in some places we're going to touch the flesh just a little bit to allow it to bleed. Just around the edge and a few little spots where it touches and it will bleed in and look gorgeous. Helps to touch it at the top and then that bottom because that's where it would naturally be the darkest because at the apple flesh sort of comes in when you cut it in half, that's where it's really visible. You can go back in and make lines thicker or darker if you want. You can also do the same thing with the stem. So you can add a little half stem in there. Helps to make them really curvy and then just put like a little notch on the end. When that dries, then we can actually put some a pips in there and that can help show the unquote patient, I might get a hairdryer and speed up. And then finally, the other thing we can do with apples is apple slices. So it's the same technique, is the same flesh color mixture. You're essentially going to paint a semicircle. So a long line and then bring it out into a circle just on the brush. And then we're going to do the same thing just on the bottom edge with the apple skin like that. So you can do a slice like that or you can do a wedge, which involves doing your half as you did like that, and then leave a bit of a gap and then you essentially want another small half on the other side. So it's not as big. So you can see it's got a gap down the middle and then we've got a smaller half on that side. And this gives you like a, a quarter wedge. And then you want to choose one side to have, usually the bigger side to have the actual skin on, and then a bit under there as well. So that gives you more of a wedge. And then you can put your pips in here when it's dry. I'm gonna get a hairdryer to speed this up because I am so impatient. All right, I've used a hairdryer just on these these bits, the internal bits of the apple. If you want to use a hairdryer to speed up your watercolor drying, it. It's fine to do, but you need it on a low setting so you don't want to use a lot of force to be kind of pushing the water about. And you want to move it around the paper so it's not like spot drying and patches. And then you want to let the paper just cool down before you paint on it again. And we've done all of that. So I'm just going to get a little bit of burnt umber again. You can use a really small brush for this effect if that's easier for you. And then you essentially want to paint some teardrops shapes on top like that. So I'm going to do them on the apple half and on the wedge shape. But I'm going to leave the slice without any pips. Can also make this a bit darker. And they don't have to be entirely symmetrical. I'm also going to talk in a bit of that. Went to that pale, is it dried? And then we go, and that is how we paint apples. 5. Strawberries: All right, and I've taken the other painting off so we can start on another sheet. And this time we're going to be doing strawberries. So I'm going to use a little scarlet lake again. Helps to make this really vibrant if you want to mix in a red and a yellow. And then essentially we are going to be painting triangles with rounded ends. So like this, rounded corners, rounded little bottom. So we'll paint a couple. So you can have a little practice. I really like to paint loose fruit like this way, paint the shape and then you fill in because I just think it's much easier to get the outline first and then you can make any corrections before you want to fill it in. So I'm going to fill in with a kind of mid-tone color with plenty of water. And then we're going to, as usual, add a little wet-on-wet effect as my favorite technique with what's colored just, it's so unique to the medium. You know, you can't do it with oils or acrylics is really something that only works well with what color. And I'm just addicted to it. I love watching the paint move about. I never thought I'd be one of those people who said that they love watching paint dry, but kind of do. It's really enjoyable. So aplenty, There may be a little bit on the other corner. Okay. Now we're going to let this dry before we put the little seeds in. I'm just going to smudge around a bit. But what you can do at this point, as long as you are very careful, you can wait for it to dry if that's easier, but what you can do is add the little tops to the strawberries time. So for that you need a light green mixture. And you're going to pull little strung out like that. Try not to let it touch them red. Or if it does a little bit, that's okay. If it starts to blend too much, you can go in with a dry brush and pick that up and see you essentially want to press your brush and get a curve and then pull up to a tip. You can have poorer five little blobs of my pull another little one out. Okay. While that dries, I may need the hairdryer because his papers so Richard seems to last for ages. And I'm just gonna pick up excess paint there. While that dries, we're going to do a strawberry half. So this is a kind of inside of a strawberry. So the same thing with the shape of it. But this time you want to fill it in with just water and make it nice and light. So a nice light edge. And then we're going to use a really light color. And then essentially paint some of the detail inside. So that's essentially a little triangle that comes down from the top. And then we're going to let that blend out. And then just a little bit around the outline. That's how much darker that we go. And we're essentially going to leave that to dry. It'll dry it really nicely. You can also use a really dark mix just along an edge. Maybe give a bit of a shadow. Don't overdo it. It works better when it's a really light color that it blends are into. You can do the same thing with the little tops as well. Just to make it clear that it is a strawberry. And we are going to have to go back to the hairdryer for those ones. Okay. I realized that I should say actually, you don't have to use a hairdryer if you don't want. If you are more patient than me, you can just leave it to dry naturally. Go make yourself a cup of tea. Pause the video, come back. I'm just super impatient so I can wait for them. Now. For this, I'm going to use a little size two round brush. It's just got a tiny, little, tiny little set of bristles on the end. And what I'm gonna do is the burnt umber again. You can do these in black. Eyes seem to find the Brown bit more natural. And you essentially one, maybe not even that doc and just a few little marks, little strokes. Now try and not get them in a straight line. So you're trying to vary the height of them. And then as you get closer to the tip, you should point them in a little bit towards the tip like that. You don't want them to be going in complete lines. If you find you're doing that, you can just kind of make some of them a bit taller. And I'm going to avoid this context. It's not quite dry. One on the end. There we go. That's dried up, lovely. That's a really nice strawberry half. So that's my technique for painting strawberries. 6. Raspberries & Blackberries: All right guys, we are going to continue our very theme for raspberries and blackberries. Now these are essentially the same technique, but just slightly different colors and shapes. So we've got some red already, so let's use that for our raspberries. I'm, I'm going to add a little more Winsor red to that. Now you want this on a relatively pointy brush. You can also use a thinner brush for this. And essentially what we're going to do is make really tiny circles. So make a few little blobs like that, little tiny circles. And we're essentially going to continue this into a loose triangle shape for a raspberry. So it doesn't matter if some of the circles get filled in. Some of them are left as highlights. You essentially want to create something that is largely triangular in shape. And then we can go around and just neaten up some edges, maybe add any other little half circles that you think it needs. To get yourself a nice juicy raspberry shape. You can also use a slightly wet and mixture. It might be a bit looser. And I make this a little bit bigger. So what you can see as I'm painting these almost into halves, so that side and that side. And the best way to paint these, I find is really not to overthink it. It doesn't need to be perfect or symmetrical. Raspberries on tin real life. So we're just capturing the essence of it. So if you have a, a bigger list structure like that, and then you can come back in with a darker color and maybe touch into a few areas for shadows. So you can get those two techniques that's more with a kind of controlled brush stroke. And then this is more with a loose style. But they're really easy to get that whole kind of bubbly texture if you just keep making the circles. For the blackberries, we essentially want the same thing, but with more purple in it. So I'm going to get some Winsor red over here with some dioxazine purple to make it a nice juicy Blackberry color. And we're going to do the same thing now, blackberries, actually, they don't come into a point as much as slightly longer. That's a bit dark. I find that helps US quite a watery mix and then add the dark later. So these circles are a bit big, but that's okay. We can kind of cut them in half if you want to do that, and then it makes them a bit smaller. So you can see this is a nice ready purple color. And I'm gonna get some red light, speak up a bit more darkness and begin again. So if you can see that this is square, what we can do is kind of do some little half circle around the edges to make it the touch more triangular. I have a Blackberry. 7. Blueberries: So while there's a drawing up, we're going to fill up the rest of our paid varies with blueberries. Now, these are some of my favorite fruits to paint in the composition range do later because they're great for filling and they're great space fillers. So for this, I'm going to use a blue color. So this is Prussian blue, and I'm going to add a little cobalt as well. And for bevel, lighter tone. Essentially, these are really easy to paint. You just want a sort of round blob. You can paint them quite vague, are quite small, semi-crystalline circle. Don't worry about it being perfect. And then what we essentially want to do is change the value. So Admiral water make a lighter one and option together. And we're going to do is just allow all of these different colors and barriers to touch and bleed into each other. So then maybe you want one with a bit more Prussian blue, that's really nice and dark like that. And then we will let it bleed in. And you can fill up a whole page with these. I find them really kind of meditative to paint. You know, if you ever have a kind of blank piece of paper in front of you, you just don't know what you want to paint. These kind of things are amazing as little exercises. So I'm going to use some cobalt blue there. Maybe a little bit there as well. Kind of bridge that gap. And you can see I'm thinking about here the value, so the lightness and darkness. So some of these are really liked, some of them are very dark. And I'm trying to make sure that the colors are always a bit different. If we use a good cobalt there. That's nice. You kind of want a dark one over here. You can see all these are quite light. So let's get some Prussian blue and really get deep blue. Maybe I'm really light value over here. And submit a puddle the pick up, and then touch it together. And maybe another one that. So just have fun with it. Keep mixing up different blues. See what nice effects you can get. There. Really soothing to paint I find, um, and then when you've got a good amount, what we're gonna do is get them dried up. Again. You can leave them to dry or you can speed up with a hairdryer, which is what I'm gonna do. Okay, Then I love how this has dried. Now, one of my favorite watercolor effects is actually this kind of flooding or cauliflower effect. Some people really don't like these blooms, but I love them. So essentially this is where this slightly darker paint was a bit drier and then with a wet one there. And it's kind of the water there has flooded into their shape and kind of made these little rivers. I really like these effects. They sometimes look like little cauliflower Flores or little, yeah, rivers in a kind of desert effect. I really like them. If you don't like that, then you just need to make sure that when you put really wet paint down that it's not touching anything that's a bit drier. But I think they look really fun. So we're back to our little brush and then we're going to pick up more of a dark blue. So I'm going to use more of their Prussian blue this time. And then essentially we want to create almost a little five-point star. So a little Waco like that. So you can do it in the center of the blueberries. And this is like the little base of it, the little frilly that where you can do it to the side like that. Like a little scared. And we don't have to do this on all of the berries. But it's just a nice little way. Especially if you do it off the center like that. It's a nice little way to show that they are blueberries rather than just the circles. So I'm not overthinking, it is just a little squiggle. And it's not always in the center. You can leave a little gap pinna as well. That's put on there. And then one up here. It's important as well that you don't do one to the side and one on the top or it's not going to look It's not going to look right. And see I keep stopping and having a look at it and make sure that you're not going in a weird direction with it. It's really easy to get carried away and put them all over the place. You can also pull them out like a little skirt. That's easier. Okay. I'm not gonna do all of them. I'm not going to get carried away. Those are my blueberries. 8. Lemons & Limes: All right guys, We're on to our final page, which is going to be citrus. So I I've also changed my water so it was getting a bit red and so we can do some nice light yellow is for this. So first of all, we're going to do lemons and limes. I'm, so these are really similar in shape. I'm going to use a lemon yellow. The clue is in the name for that one. To start with. So as with all the other fruits with doing the outline. And first I'm going to do these as a kind of oval with a little blob on the top and oval and then blob on the bottom. And then you can kind of tweak the shape if you want that to be a bit rounder. Okay? And then we're going to fill in and we're going to get quite light on this corner, which is going to be the highlight corner. I'm not going to leave a highlight necessarily for this one because I think you can do it with the variations in color. And, but feel free to leave a highlight if you'd rather. I think to be honest, lemons are quite rough surfaces. They don't have a highlight in the same way that a really smooth cherry wood for example. Um, so I'm gonna fill that in. You can see I'm just going to leave a bit there that's not really go that much paint on it. Okay, and then I'm going to add some cadmium yellow to the mix, which is a much bolder yellow. And I'm just going to mix that in. Make sure to get a little bit at the top. And then down the shadow side as well. So opposite our highlight, Nepal little in there as well. Just around that top corner. You can see I'm leaving this highlight area now I'm not going to add any more paint to it. Just pick up a little bit of dust. I don't clean this pilot nearly often enough or ever really. Um, and then for the final bits, I'm just going to smooth that in to make sure that it's blending properly. And then for the final shadow, but I'm going to use a yellow ocher, which is like a brown yellow. I'm going to get quite a bit on the brush. And then I'm just gonna do a shadow that and let it blend out. So that is our lemon. You can also do them with stems and leaves if you want to do something a bit more botanical. So pull a stem and then a little bit for a leaf. And I'm just going to use some nice soft green for this. You can add a touch of lemon yellow to your sap green if you want it to make it a bit, blend in a bit more with the lemon. And then essentially we're gonna do some nice rough wiggle leaves. If you took my leaves class on Skillshare, you'll recognize these. I'm also going to let it touch that little side of that lemon. So it's going to bleed in yellow that way. I'm for lines, we're essentially doing the same thing but with the lemon yellow and sap green. So we want the green that we were just mixed up for the leaf. Essentially we're going to do this but it's more rounded and it has smaller little spots on the end. So for this, you can always paint more of an oval shape and then just add the little chunks on the end is also a bit smaller than a lemon. We're gonna do the same things I fill in with a light tone and then add more color on the shadow side. And then I'm going to use some neat sap green for more of a shadow. So you can go around and kind of blend this back-end if that's not working for you. And that's a nice textured line. Cold press paper can really help to bring this out and make it look much more effective. If you've got rough paper than even better for some of these. So that's quite a nice way to get some texture. I'm just going to darken that up again. Let's blend it out a bit far. There we go. And then we can do the same thing with the line as well with the little leaf. So pull up a little stem. These leaves can be a bit smoother. You can also, if you want to add a bit of contrast, you can also add maybe a bit of cobalt blue to get a more blue leaf. And then pull that down. I decide like that. I'm going to touch that again and my little bleeding going on. So this is how to do a lemon on a line from the outside when you cut them and you see the segments. We're going to look at that in the next lesson, which is going to be on oranges. 9. Oranges & Segments: All right then, so now we're on to oranges. So for the outside of the orange, we're going to do something similar to lemons and limes. So I'm just going to use an orange mix here. And it's just going to be more of a circle. It doesn't need to be a perfect circle. Then we're going to do the same thing. So pick a slightly lighter corner and fill it in with a lot of water. And then add more kind of rich orange colors. So we're aiming for a sphere shape here. So we want to have highlight that and then various kind of shutters as we come down here. So smudge around. And I'm going to add a more thick kind of yellow, orange even here to get us that lovely spherical shape. So you essentially want to have a kind of circle here that's lighter. And that's going to be a highlight. Nice thick orange color. And then finally we're going to use a little bit of scarlet lake and the shadow. Now, you don't want this right on the bottom edge of the darkest bit is actually just a bit above the bottom. And we're going to add that there. Unless it blend out. Because we'll probably do that quite nicely. But you can go in and smushed around with your brush if that's easier for you or she's not moving in the way you want it to. I've put quite a bit of orange down and it's not blending quite neatly. So I'm just going to go and smush them around. And you create a sort of crescent shape. Now, again, with the whole stems and leaves thing, you can do exactly the same for oranges. I'm going to use a little bit of lemon yellow in this just to get it nice and light. You can do rough ones or make them smooth. Artist's choice, I think that's smooth actually. So we'll put them up. Okay. I'm going to just give that Steno is destructively straight, straight lines in nature just don't work. They don't look right. There we go. Now, the trick for doing segments, so this works with lemons, limes, oranges, any citrus is to do an outline. So imagine that we've cut the orange in half. So we're gonna do an outline of the skin, so relatively dark orange. And then we're going to paint little triangles is the segments. So let's do one like that. So we're not going to touch the outside edge, but we're gonna seem to go from the middle and then paint a little segment out. And then next to it, we want a different color. So I'm going to add some more yellow and do the same. And then after that, I really dark orange. So let's do some neat cadmium orange. You can allow them to touch a little bit and lead, but try and keep plenty of spacing between them. And then we're going to add a bit of red to it and paint this one here. And more of a red, orange but a light value. So you can see we're changing up the colors of the segments as we go. Do a much more red one over there. And each of the points comes back to the middle. Again, a bit more of a yellow one, and then a nice orange color. So you can see that they're all different colors. They're all slightly separateness going to join up that gap. And then we want your same color as your outside ring. And then we're just gonna do some little dots in the center. You can also go back in and add any wet on wet detail. So you can add a document or maybe that corner. A touch of orange, maybe in this one. So you've got lots of nice color mixes going up. Maybe it will add a touch of yellow to that one. Go. You can also darken up the outside ring again. And finally, you can do this in segments. So similar to the Apple, but we're going to paint the outside first. Nice deep orange for that. And then we're going to do the same thing but in smaller triangles. So a little triangle like that. And then more of a yellow one. So we're essentially joining all of the triangles up at this top edge. Try and ram the Boston's out as well. It's a bit too resume. So they get round edges. And then a classic orange for the top. And then again, just add some wet on my details. Now you can do the same thing as that with green colors or yellow colors and you're going to have a lemon and lime segments. Not is how I paint citrus fruits. 10. Final Project Part 1: For I think guys, we are going to paint a fruit scattered pattern for our final project for this class. It's going to be a great way to use all their fruits that we've learned. And essentially by a scatter plot. And what we're going to imagine is that it's almost like a solid that's laid out on the paper. So there's all the different fruits all jumbled up. And we're going to be thinking carefully about composition and color for this one. Yeah, and it's just gonna be a lot of fun. So what I'm going to do is pick a corner to start in. So I like to start in this corner and work out because I'm right-handed. If you are left-handed, you might want to start in this corner and then work them. And, and to get us kicked off, we'll put a lemon in the top corner. So get Shapin first. Nice big round shape. What I want to do is create a consistent set of highlights on this one. So we're going to have this corner as the highlight and we're going to imagine that the light is coming in from this angle. So we'll fill that in with a slightly lighter tone. And then more yellow on that side. At our cadmium as we did. Just a bit of richness. I really like this color. It's like a summary, yellow. It's not technically a lemon color really, but I really enjoy it. And then our dark yellow ocher. Okay, so we've got our first through n and we are off. So next I'm going to add some cherries next to it. You'll get a nice deep red. So we've got a custom memory. Back to the first lesson I'm going to do these are the stem comes down here and then the fruits are kind of here. So we'll make our rounded heart shape a little highlight. And I filled, I think that could be a slightly better shape. There we go. Then I'm going to do the next one in a much lighter color. And that's it. So as before, we're going to add our shadow this time on this side, underneath. And then there. And then I'm going to use a smaller brush to do the stems. So notch at the top. And then stems down. Might come back and add a leaf to that. We'll see how you feel. Okay, next we're going to go onto a sunny orangey yellow. Orangey red is what I meant to say for the apple. So a nice rich kind of red color. So we're gonna do a whole apple for the moment. We might do some slices later and get ourselves a heart shape. And then remember the little notch on the bottom. So highlight on this side. For a nice shiny apple, a kind of Snow White type of poison apple. Get the all filled in. And then I'm going to add some of the same color for the cherries just on the shadow side here. Just for a bit of interests. Maybe a touch of orange that I like to smudge different colors into. Apple's. Got a lovely bleed going on there. I'm going to try and not touch up. Or then. So let's do some strawberries maybe here I want to bring this red color over here. So when we're thinking about composition, what we're trying to do is create the same color in different shapes across the page. So we don't want to have loads of the same red over here. So if you want to use a similar color, try going up to the other side of your paper. And so let's put some strawberry shapes in here. I'm going to do one whole one. And then I'm going to do a half facing the other way like that. So I'm just allowing them all to touch together. Lead our bit. Maybe that's a bit too much. We want to keep this coats one quite light. So that's what gives it the good effect. So I'm going to add a bit more red to where that yellows believe in a bit too far. What I really want an hour, some green. So what I think we might do is put a lime up here. So you can see all of these colors at the top are quite warm and red. So we're going to keep adding yellow to the green. That's going to keep it relatively wall. And we're going to paint a little lime. So because we've got the lemon going this way, we don't want to do the lime the same way. So I'm going to do that more standing up. So again with our bright side and then our shadow side, to get a little notches. Then we go and we're going to add some neat sap green for a nice shadow there. Okay, I think it's time for another bit of darkness. So maybe if we bring this kind of purpley color, but make it more purple. And we can add some blackberries. So we'll get our ready purple mixture up again. And then add a few little Blackberries in here. Yeah, Let not touch that Apple. I get quite a lot of messages, comments from people who always ask me questions about composition. Because I think sometimes we can make it seem much more difficult than it is. I'm essentially for this composition, all I'm thinking about is difference. So each new piece that I paint, I'm thinking about how to make it different from its neighbors. And that sounds really silly. But it's literally all it's about. It's about how can I make it a little bit so it doesn't look like it's the same as the other, so is its shape, is it color? And we've added some green in there for a bit of difference. We've got little delicate shapes and extra two big rounded shapes with doing things in threes because there's a few pairs of things that, and now we've got three. So maybe is a number that's different. And so we're always thinking about how to make this a little bit different as we go. And it just becomes a thing that you do naturally after awhile. Okay, I think I want some lightness over here, so I'm gonna do some apple slices. So each part that I finished, essentially, I am thinking about, okay, what do I need to do this different? Where does some of it look very similar? And then I'm thinking about, okay, that can be different this time. So we'll put some nice apple slices. And what I might also do while that's still a bit wet is go back in and post some strawberry leaves on here. Just so that I don't accidentally fill that space. I actually quite like how that looks. I'm going to leave it. I always give a blend a little bit of a moment to decide if I really love it on up. Change my mind about that as I was talking. Okay. Now we've got most of our fruits. What I think we're probably missing here is an orange. So what I'm going to do is put the orange in here. Now the reason for that is the orange and purple clash that opposites. So we're going to create a bit of contrast and draw them over here with an orange Hoff. Um, so I'm gonna do my circle of the outer kind of peel. I'm going to do the segments in this one. So again with our little triangles, and then we're just going to mix up some different colors. More of a yellowy orange there, maybe a bit of red here, just all pointing back to the center. So it's really nice and varied. So this is a really great way to practice composition and color as well, because it forces you to really think about where pieces are going to go. Via. My honest advice is to not overthink it. Just take a step back, look at your paper and say, Okay, what do I have here? That's the same, that could be different. And that's all we're really aiming for. Okay, Let's do the edges of our apples, apple slices. And they look great. Nice little blend going on. Okay, what I'm thinking about here is putting some more cherries maybe down here, filling this in with some blueberries. Okay, so put some cherries in here. I've used a bit more of a purple mixture for this, but I actually quite like it. So we'll make them more red one. And then we'll put a little stem in that. Okay, I'm going to guess I want some more green in here. I'm going to put another line and I'm not gonna make it too big. Because the social I've read going on here. So again, another little Lyman. This smaller this time. Yeah, that green works really nicely. Okay, and then I can see what we're missing here is some more bold yellow for a lemon. So I'm going to put maybe one going this way. I might actually bring it up here as I'm talking. Because what I'm after is not having whole line of citrus down there. So let's get ourselves a nice big lemon. So this is pointing in the other way and to the previous lemon. And also it's not creating the same line as that lime. So we're changing up the direction as well as the fruit type and the color. Really thinking about the composition as we got. Okay, let's add our cadmium like we do. What I'm going to do is just come back, pick up some of this water because they're really dark parts of the Lima now being lost in the math. So if I pick that up and then we'll add our deep sap green back in. And then we go, I'm going to leave that for a minute to dry up a bit as well. Okay. What I want is some more tiny fruits, raspberries, blackberries. So let's do some raspberries over here, grab it more red in this area. It's a bit too much paint. Maybe one underneath as well. So with three Blackberry, So we're just gonna do to raspberries. Again, just thinking about how we're making it just a touch different. Berlin. And what I might do is repeat this shape over here. So sometimes for composition it helps every time you do one thing, then you look for somewhere else to put the same thing so that that item is not really isolated and on its own. Just going to put the one raspberry and there. Okay, every so often, stop, put your brush down and have a look at what you've got going on. 11. Final Project Part 2: Okay, so I can see I've forgotten to do the dark shadow in this. Let me just add that in before it dries. Okay. So now we're going to stop and say, what do we have on his own? So I can see there's a single apple up here. So maybe an apple is going to come down here. There's an orange there, so we definitely need an orange over here. Some apple slices that I haven't repeated, and also the strawberries. So we've got a few elements that we want to get in. So let's add an apple slice monies to be a bit more red apple slice in that fill that gap. Okay? And then we probably going to do an orange here and then an apple underneath it. Now the reason is that I don't want to put an apple here because that's all really red. Orange. So orange shape in. And then we do our segments. So there's loads of stuff going on here. You know, it's, it's a really busy pattern. There's lots of things happening with lots of colors and shapes. But it's working all in one. Because we're really thinking about how with putting it together as we go. These are the sorts of things that when I started painting, I was really daunted by because there's just so much happening and I just felt really overwhelmed by it. But the trick is just to do it. Sections, keep stopping, having a look. What doesn't seem to be working. And we will eventually build ourselves up to a whole page composition. So let's go four, pull in. Nice big 12 here. That's a bit too dark. So we've got a little knot at the bottom. And then a highlight on this side. I'm gonna make that a bit longer. And then we come to the fun bit of filling it in, neaten up the edge, and then we filled in and ready to have some fund. So another bit of orange and add a bit of a nice rich red. And then I'm just going to leave those to smush together. Okay, So we've got another apple in here, do the base of that apple slice there. What I wanna do is maybe put another couple of slices in here so they are repeated, not just in the middle. So let's do one more. And then maybe another one. Let's go up near the way. Okay. Give those a minute to dry off. Just going to neaten the edge is bothering me. Okay. I really, really want to get another little line in here to bring that green down. So let's do that first. Let's get ourselves a nice yellowy green color. And do a little line here. So you can see again, I'm changing the direction. So this apple is tilted that way, so this one is going to go further. I'm also not touching these because of the green and the red they combine to make a really horrible muddy brown color. So I'm being careful not to touch these as I paint. Some colors blend really well, but opposites on the color wheel. So your greens in your reds just really don't work together. So we'll add our deep sap green is going to be the shattered their clean off really well, pick up some warm and then we're going to add our apple skins before that dries too much. Okay. Now one of the things we were missing from a diverse the strawberries. I'm going to put maybe one here. Stops a nice little spot. I'll just make that a bit darker. So that's a nice one. And then we're going to do a little pair of them over here. So we'll do them in the gap width, this lemon. So just touch a little bit, round off that bottom. And then I'm going to do the inside one. So the coat strawberry story, half. Little bit more darkness in there. Okay, Amazing. So while I want to fill in this gap is some cherries, I can see that that's, we've got two cherries there, but we need some cherries here. So what I'm gonna do is put these ones upside down and bit tricky to paint upside down, but we'll manage. There we go. A bit more of the red down to make them different from the apple. And then another one like that. I'm going to actually bring them out and let it touch the apple for the bleed because those rights work really well together. And then let's do our cherry stem. You will probably notice the more eagle-eyed among you that one of the things I haven't done implementing any blueberries in, what I'm gonna do is fill this in at the end in any gaps. So let's do our strawberry tops. And then what I want is maybe just to fill in with a couple of blackberries and where we don't have any, I think we're pretty close to being done here and then we can just add our blueberries. So I'm gonna touch this again to the red quite happily, but just not the green. Because that's going to blend up and give a horrible, horrible brown, muddy color. I might put another little librarian here in these apple slices. Okay, and finish. That's got blueberries in. 12. Finishing Details Part 1: So we want cobalt and Prussian blue to make a nice thick blue we mix. Okay, so we've got our blue mixture and then we're basically just going to go to anywhere that there's a gap. So this whitespace in here. So let's fill in with some blues. Just keep the circles nice and small and fill up that space. Where else have we got? We've got a little gap down here. These are, this is why blueberries is such a good little filler. Try not to touch any of the red, but these you can't touch to the green of the limes if you've got space, no lime. And if your painting this with me at home, it may be that your space is don't line up to my spaces. Don't worry about copying mine exactly. Pain and follow what your composition is telling you. If it's telling you you've got a gap in a different spot, then by all means, fill that in and it's much easier to just follow what the patient is telling you then try and make it. Even if I painted this again, I wouldn't manage to put everything in exactly the same place. So don't try and force if it doesn't work for you. Where else you could do a bit here. Try not to put my hand in any of the wet bits, which I'm a devil full and I'm painting some nice blues, maybe a little along this bottom edge actually end. I love the contrast and the blue is good as well. It can really bring out things like oranges. And I really want to fill in this corner. The blues and the yellow is what really, well. Now one of my favorite things to do with these little blob compositions is to try and paint in 3s or 5s are odd numbers. I don't mind a pair, but if you paint them all as pairs, they can look a bit forced for some reason there just seems to be better balance in competition with threes. And so it's worth bearing in mind if you can squeeze three blueberries in, or if you're painting florals and you're doing berries on flowers or leaves. And for some reason, three seems to be a much, much better combination. I'm sure there's a science to it. I'm sure someone will tell me in the comments. Okay, we are making great progress with these. Try not to fill every single space and it can be really tempting. But it does look a bit weird if you do that. It looks bit forced, so yeah, resist the temptation to fill every single spot with labours. Okay, I think I'm going to stop here. So what I'm gonna do is let this dry and come back into some of the final details. 13. Finishing Details Part 2: All right, then we are just going to add some more details. Now this is more or less dry, but I'm just going to be careful not to touch any of the bits that are still wet. But there are a few more tiny details that we need to add it. So there's a strawberry that it didn't get his little top. And add that in. Also going to add a couple of stems to the apples. So one up here. And this one, I'm just going to add the stem too, but I'm going to put a leaf on that one for a bit of green. I'm just really that leaf. And then we simply have to do our blueberries and our strawberry seeds. So for the strawberry seeds, I'm going to use yellow ocher rather than burnt umber. Just because these strawberries are quite light, might actually put a tiny bit of burnt umber in, just a bit more visible. Yeah, that's perfect. A bit tricky to do upside down. You can always turn your paper around if you want. Below one in that gap there. Let's do our other strawberries while we're here. Such as soothing process to just do the little strokes. We go. Okay. I'm not gonna do any seeds in the APA slices, but you can do that if you want it. And then I'm just going to wrap up with the little blueberry details. So they have nice thick layer onto some of these are still wet, so I'm going to avoid those ones. And do our little stars and skirts. Got some really good details in that I'm going to attempt not to smudge. I might let that bleed if I can. This is my favorite by just adding those tiny little details that just seem to make such a difference. Still a bit wet and dry. I don't think any of those are dry. We'll add some skips to you. Instead. We go. You could get the hairdryer out or where that longer but I have like patients have about two minutes and then I just can't bear anymore. So I just have to keep going. I'm always painting on top of wet paint for this goes it doesn't matter if they blend in a little bit. I'm also, I don't think skirts is a technical term, but it's one that I'm going to continue to use because it's a lot of fun to imagine giving them little like 22 or something. Let's do some as those with a nice little tops on. What I've done is I've done this the wrong way. I should have started in the top corner because I'm right-handed. But nevermind narcolepsy like lift over the other wet paint. I sometimes use my little thing at a prop my brush up. A farmer. If I've been a bit disorganized, lit up. Okay. That's it. That is all of the details on, and that is our finished fruit composition. It looks amazing. 14. Wrap Up & Top Tips: All right guys, we are done. I'm so happy with how the composition has come up. It looks amazing. It's so vibrant and colorful and there's so many different fruits in there. I had so much fun painting this and I hope you did too. So first things first, please don't forget to share your work in the project section on Skillshare. I'd love to see it. See what you've created. You guys are so talented and I love seeing your work, so please do post it there. You can also post it on Instagram and tag me at Emily fossil art. I would love to see it. I love to show it in my stories as well. And I hope that this is really just of your whole fruit painting time. I hope you can pick up other fruits when you're out in the supermarket and bring them home and paint them in that loose style. The trick to it is just really capturing the shape or the essence. Don't focus on the details, but just try and get maybe a few basic forms and colors. And it really does start to look like what it is. You know, you just have to stick with it. And my top tip for any of you who are beginners at this and just starting out in watercolor is please just keep practicing. So there's no magic trick. There's no kind of secret skill that people are born with where they can paint or they are artists. If you're painting, then you're an artist and you will get. So just keep practicing. You know, the only difference between you and a professional artist is that they've practiced a lot and you haven't yet. But you can definitely do that too. No one is born and artists with a skill to paint, it's something we have to learn. So please just keep practicing. Keep copies of your old work as well so you can compare it against your previous work instead of trying to compare yourself against other people, especially on social media. And I know I do this as well. But it's really hard sometimes when you're starting out and you see someone who's really good, you have to remember that when they started out, their pictures look just like yours to my early pictures looked exactly like you're at the pictures, I promise. So keep your early work. Look back at it so you can see how far you've progressed and stop comparing yourself to other people. Thank you so much for taking this class. Please let me know if you'd like to in the reviews or if you didn't, I'm always open to hearing your feedback in what you thought about it, so yeah. Please just tell me in the comments or the reviews. Yeah. And I will see you in the next one.