Transcripts
1. Easy Gouache Fruit Tutorial: Hi, my name is Lindsey. I'm a self-taught watercolour
artists living in the UK. And in this tutorial, I'm going to show
you step-by-step how to paint some fruit. So we're going to have
lots of Fun with this. Is beginner friendly. So if you are beginner
to intermediate painter, definitely give this a
Gouache because these videos are broken down into
bite-sized chunks. So you can follow along
in your own pace. I'm going to be
giving you some ideas of fruit that you can paint. I'm also going to show
you how you can easily sketch them using
some simple shapes. I'll be talking you through
the colours that I use. I'm going to show you some
really interesting color mixes using some primary colors. In one of the classes
will be practicing our color mixing on
some scrap paper. I'm gonna be used in some
real fruit for this. So we're going to
have those objects right in front of me. And I do recommend this, but if you can't find any
real fruit, by all means, go on to places like
Pixabay, Pinterest, Google, and just have a
look at pictures of fruit. Or if you can take a photograph of some fruits and use that, that would be wonderful. I do maybe paint from
photographs normally. So this is gonna be
completely new to me. But I had a fruit
delivery last night. I thought what better
way than just to keep some of this fruit
and get Painting. And that's the motivation for this video was this
is going to be phon, completely narrated
because I'm going to be talking you through
the whole process. So grab those paint scraps and fruit are some pictures
of some fruits. And let's get stuck straight
into lesson number one
2. How To Use Gouache: I'm gonna go through
a few tips on how to use gouache
and mixing colors. We're going to start off with the consistency of the paint. So water to paint ratio. I think this is one of the
most important parts of learning how to paint with
gouache or watercolor. This is the gouache
really thick. It's got hardly any
water in it all. I've got a tiny bit
of water in my brush, but not much at all. And you can see that it's
skipping over the paper. So it's leaving parts of
the white showing and lots because there's not
much water in my brush, so it's not painting onto
the paper easily enough. Then I added a
little bit of water, not too much to get this
lovely creamy paint. And this is the paint that I
like painting with the most. So this becomes more
of a creamy texture, but nice and thick
and vibrant still. So you've got that lovely
opaque color going on. And if you don't know
what opaque means, it just means it's
not see-through. So it can cover as a colours and it can cover the
white of the paper. Then that was the
paint very diluted, so it had lots of
water mixed into it. And you can see that there's
visibly lighter in tone. So even though it's
the same paint, the more water you
add to your paint, it acts like watercolour. So the more water you add, the lighter your paints becomes. So you can see me using
my favorite color here, which is the cobalt
turquoise light. I love it. And it's working
in the same way. So I've got the first
one which is the thick that's got hardly
any water mixed into it, no water at all, To be honest. And then a little bit in
the middle with the water, little bit water mixed in. And that's more of
a creamy texture. And then quite a lot of water. So this is really
diluted and you can actually see the texture of
the paper underneath this. So now we'll learn how to
darken or lighten a color. So to start off with, if you add white, you can lighten your colors. I'm starting off with
my turquoise and I'm gradually adding
more and more white. You can see that this color is visibly becoming
lighter in tone. So you can add lots of
whites, your colours. So I got a beautiful pastel
color which I love doing. I love using white ink wash, such lovely fan thing to do. Then to darken up your colors, you can actually add black. I'm using that same
turquoise and I'm adding black to it
more gradually. You can see that it's
visibly becoming darker and darker the more
black that I add to it. Gouache works in the same
way that watercolour days, and that means you
can actually blends the colors while they're
wet on the paper. And I loved doing this. I'm taking my three
primary colors, my to primary care less. Sorry, I'm adding
the Permanent Rose and also a little bit of blue together and those two colors mixed together to create
a purple and the paper. And then taking my
Cobalt Turquoise. So I'm going to add that to the purple while it's still wet. And you'll see those
who colours mixing on the paper together actually
creates a new color. Then what I love to do with gouache and watercolor is to add some clean water droplets to purposely create these
beautiful bloom textures. You'll see that
with the turquoise, it did start drying so that color is not
bleeding out so much. You can also take
some clean water on your paint brush and drop it on. So you just tap the back
of the paint brush and it disperses little
water droplets. And I think you'll agree that this texture is so beautiful.
3. Colours: I'm going to show you how I choose colors for my paintings. So let's start with some fresh and vibrant
primary colors, which are normally
my go-to colors. The reason for this is because
like I've got some really, really bright and
vibrant colours using fresh Primaries
are cool Primaries. The primary colours I have in the gouache set, all the rows. So this was Opera rose,
that was the Pink. I also had a Primary Yellow, which is a very vibrant yellow. I love lemon yellow by the way, for a vibrant mixes. They also had the primary blue. So the closest to a primary blue would be like a Cobalt blue. And then you can see me
mixing all these colors together to get these really
bright and fresh colours. So I mix the Pink and the yellow together to get a
very vibrant orange. I also mixed the blue and yellow together to
go vibrant greens. And then by adding white, I can also lighten my colours. And it's got lovely
pastel colours from that I left out in
white gouache to colours. And seeing the colors come out. I just loved them and that's my favorite part
of using gouache. Next, I'm going to use some
Dull and subdued colors. So these would be a
warm primary colours or you won't paint colours. So I've got a red, a blue, and the yellow here. These came with a starter
set with Jackson's Art. So I'm not completely sure if these colours
like I've got here, but they are laying on my table. I will actually do a
little list for you of the actual names of
these because they are different to
watercolour names. So you can see me here mixing the blue and yellow together. And could you see how
the green is quite dull and more of an olive color? And then I'm mixing the red, the yellow together
to get this orange. But it is more of a Dull or warmer orange
compared to this lovely, fresh, vibrant orange that I got using the cool primary colours. So I just wanted to
give you an idea of the difference
between cool and warm Primaries because you do get some different color mixes with the warm up primary colors. The primary colours, by the way, our red, yellow, and blue, you do get more dull
colors are warmer tones. So you can see me here
mixing some browns up by actually adding the three
bright primary colors together. By also mixing
complimentary colors, you can go browns
and grays as well. So here I'm mixing the three
primary colors together, adding a bit more
blue because I do like more of a blue-gray. But you can see
that I've mixed up a lovely gray color just by mixing up the street
primary colours together. It just goes to show
you don't have to have a massive range of colors. You can start with your
primary colours and get lots of color mixes just
from those three colors. Next, I'm going
to be showing you the supplies that I used
4. Art Supplies: I'll show you the
supplies that are used for honestly just use what you've got these Some
suggestions and ideas. I use a size eight flat brush. Then I love Philbrick
brushes with gouache. So I loved the flat soft end to fill bias and the
shape of them as well. I'll also be using
a smallest size four brush for smaller details. And this is a Princeton Neptune. I'll also be using a HB pencil. This is a fiber Castile
graphite acquirable and it's a water-soluble pencil. Those also showing you
my eraser there as well. That was a Mars plastic eraser. I've also got this
amazing palette that you've got
from Jackson's Art. And it is a much
Yellow palettes. I love these because
you can just take this area out here and
it's so easy to clean. I also loved about
the paint doesn't beat at all as it's got loads of wells and it's also airtight
as well or leak-proof. And then I love these
little ceramic palettes, and I got those from
Jackson's Art as well. But sometimes I use a plastic
palette with gouache. I don't really use
them with watercolors. But I also love this little palette that
I got from Jackson's. This is a little travel palette and it's the stay wet palette. So you open this part
up here and it's got some lovely
Deep little areas. But then you've got this
silicone top to it. So you pop the silicone top over it and it helps to keep
your paint nice and wet. So if you want to store them, keep them wet for
awhile, then you can, you just click this bit down and then it's got this sort of removable water container
which pops out like this, is our sheet quite large for
this small little container, I thought this was
gonna be reasonable, but it's actually a
really nice size. It's also got three
little holes for you to store your paint brushes. And it takes larger
paint brushes as well as I'm demonstrating here, this is a size 12 fresh. I think. I'm also going to use
a cloth and a paper towel. I do tend to use old rags
or funnels OR towels. I also use to clean
jars of water. And I do like to use
three, To be honest. And the reason for that is when to really rinse my brush off, to, to rinse it off a little bit extra on three to
pick up clean water. Then I've got Winsor and
Newton designers gouache, and I love this paint is the most beautiful
quality paints. I'll also be using some black on white and some lovely
primary colours. So I've got some
cool Primaries and also some warm
Primaries as well. I got this, I in a Beginner
sat from Jackson's Art, be using some lovely bright
colors in this uterus. Use what you've got like I said, but these are some of the
colors that I'll be using. In the next lesson, we will sketch the fruit
5. The Sketches: Now we're going to
sketch the fruit and this is so simple, please give it a try. Honestly, it's not
as hard as it looks. It all depends on how you
want to draw the apple. So I've a play rooms with tuning your upper limb
around and decide which angle you want
your Apple to be. And I liked the angle from the Apple with the yellow facing forward and
the red on the side. So I wanted me the yellow
and the red showing. So you can see the other side of the Apple was mainly red. I decided I want
those to colours. And we're just looking at the
outside shape of the Apple. Never think of an apple as being a complete rounded shape
or a complete oval shape. And alcohol is actually
really irregular shaped. So just draw what you see. And you can see me
holding my Apple here, but if you find it
easier to pop it down onto a plate
or Chopping boards, then just do that. But I was holding my
Apple just to show you. And you can see that the
bottom of the apple is actually like a bumpy shape. And then it dips in and becomes narrower as you move further towards the bottom of the apple. You've also got this
dipped in parts of the apple and the stock as well. I'm just popping
in and the stock was kind of a straw shape. I'm not going to draw
in these markings here. I am just going to paint them
in a little bit later on because I don't want any of my pencil marks to be showing. Have a look at the orange. There's lots of texture
on this orange. And I'm gonna show you how
I designed my light source. So it all depends
on where your light is shining to where that
shadows going to be. So you can see me moving around my little lamp that
I've got over me. And the shadow is actually
moving around depending on where the light was facing. Again, I'm concentrating on the outside shape of the orange, ignoring all the texture
and color in the middle, just having a look at
that outside shape, I do find it much
easier when I'm drawing objects or animals to just look at the outside shape first, I'm going to pop this little
stock area in as well. And that reminded me
a little bit like a PIP shape or a seed shape. I'm going to assault drew
in my orange segments. Now, this is a quoted orange. I'm just figuring out what angle I want this
to be drawn from. I decided to draw
it completely from the sides just to keep
it Beginner Friendly. Because I thought
if I start drawing the two sides of that
orange segments, it's gonna be a bit
more confusing. So you can see that
my segment is not exactly like it is on the real
fruit, but doesn't matter. This is a drawing
and this is Art. You can use your
creative or license. It doesn't have to completely
mimic that real fruit. So please try to
have FUN with this and don't worry
about the outcome. Just have FUN. I honestly wasn't worried
about the outcome. I wasn't trying to mimic the real fruits
completely as this is not a realistic or photo
realistic Painting in It's all about
having FUN unlearning. I decided to draw
the half orange. Now, you can see that half Oranges and Company E, a circle, which I would have thought
that it would be To be honest, but it's a very irregular
shape, isn't it? I'm just drawing the
outside shape and then I'm going to get this inner area so that any area
is going to have that darker orange
around the outside. And then we're
also going to have a shape inside that again. And that's gonna be the lighter yellow color where we're going to add a bit of gouache to lighten that up a
little bit later on. I'm going to also add this thicker part at
the bottom because this is not irregular
shape. On the outside. It does become thinner and then a little bit thicker in areas. You'll see me just
drove in this little lighter shaping as well. So this is the lighter yellow. Then you've got that
white area in the middle. I absolutely loved this. And I wanted to get
it in because I want to remember
to paint that in. This kind of reminded me
of a plant or some flames. So I'm drawing in and also just finishing off that
lighter in a path there. This kind of reminded
me of something and I can't figure
out what anyway, that's painting the Lemon. And I'm just concentrating on
these green areas because I do want these green areas
to be in my painting. I love them. So we're lemon isn't
completely Yellow. It does sometimes have
these green areas. And I'm looking at the
outside shape again. So it starts off with this
sort of bulbous egg to it. It does remind me
again of a seed shape. So it's got these
little lens to it. And then it's more of a oval. Shapes are more flattened, circle or an egg shape. And then I'm going to
paint, not painting. I'm going to draw in
this little end piece as well just to remind me to put the little separation there. But later on, I wanted
to show you what I've done for my
patreon tutorial. So I find it very useful to cut out the fruit and
lay it down like this so I can have a good
play around with the positioning of where
my fruit is gonna go. This is my transfer paper on
my regular printer paper. I'm just moving those
objects around. And then I will
transfer them onto my watercolor paper a little bit later on with
a mechanical pencil. But you can see this gives me a good idea of where I
can place the fruits. Now for the fence stuff, let's apply the first
Layers of the Painting.
6. First Layers: Let's have some FUN now with painting the first
Layers of The Apple, the Oranges, and also the lemon. I'm Art in some Permanent Rose and lemon yellow together
to get this beautiful, bright and vibrant orange color. I then it, It's a little bit of lemon yellow to the one end. That's because I want a darker orange and
a lighter orange. So we were more yellow orange. And I'm applying that
whole yellow orange, which does the lighter color
to the whole of this orange. I did dilute this a little bit, but you can still see
it's very vibrant. Then I'm using the
lemon yellow mixed with a little bit of
the primary blue. I'm going to make this
beautiful, vibrant green. So this is going
to be pops down on the lemon a little bit later on. They did add a little bit more blue because they
wanted that to be more of a green color
and not a yellow color. I'm starting off with
quite a diluted wash of the lemon yellow. This is straight lemon yellow. And you can see that
I'm leaving some of the white paper in the middle. And that's because
I want a lovely, bright white highlight in the
middle to meet that Yellow, lemon look very
rounded and juicy. And I'm just using my
filbert brush for this. But use whatever
brush you've got rounds brushes work
really nicely. I just didn't want
to use some of my nicest watercolor brushes. I've got quite expensive
watercolor brushes, so I don't want to ruin them. But I have actually ordered some special brushes that
you can use with gouache. And I really love
Philbrick brushes. Now taking some of
the white gouache, I was just blending out
that middle highlight area. And now I've got light
green and I'm just dropping that in while
the paint is still wet. So those two colors
blend into when what I love about gouache is
when you work wet into wet, the colors don't sort
of spread out really too far with watercolor. When you work right into what? You got this bloom with color. But with gouache, it
stays where it's put, which is what I
love about gouache. I'm just using a slightly
darker yellow at the top here. So this was my Hansa yellow. You could use a more warm
yellow like a cadmium yellow or maybe an
Indian yellow for this, maybe add a little bit of violets to get a
darker shade of yellow because a purple and yellow are complementary colors and they help to tell each other down. So I'm just going to add that darker yellow
into a few areas. But I'm not covering the whole
of the lemon because I do want that Yellow to
be lovely and Bright. And then I'm just using
the lighter yellow again to blend out
this edge here. I did feel like the
green was a bit harsh. I've got some lovely
bright white gouache, which is really thick
on my brush now. And imagine that to
the highlighted area. I think you'll agree
that this really brings out the lemon quite a lot. And then I wish decides in
a little bit of the yellow just to blend out the edge
so it's not so harsh. This part of the gouache
was quite diluted. Just one of those two
little highlights at yens. So you've got lots
of very bright thick paint in the middle and then the slightly diluted
white on the outer edges. I'm going to mix up some
paint for The Apple. Now. I've got alizarin crimson
and Hansa yellow, mixing those two
colors together to get this bright orange
where it's more of a warm orange really, because the Hansa yellow is a bit warmer than
the lemon yellow. I'm going to use this very
diluted to start with. So this is the first
layer of the Apple. First very diluted Hansa yellow. If you haven't got Hansa yellow, you could always
use cadmium yellow, or it may be a Naples Yellow. Lemon yellow would always
work nicely as well. Just a nice bright yellow. I was using a slightly
warmer yellow one because I thought it was
nicer for The Apple. And the difference
between the bright yellow for the lemon and the warm yellow for the Apple really made
those fruits stand out. I've got some thicker
Hansa yellow now and I'm just going to apply
that to this area here. If The Apple, this you can
see is going wet into wet, I'm going to leave parts as that lighter undertone
wash showing you through. And that's because
that's going to create some lovely highlights
within the Apple. I'm just painting a lot
thicker Hansa yellow. So the areas using
my filbert brush, again, taking that orange that we got from mixing the Alizarin crimson and
the Hansa yellow together. I'm going to paint
down this one end. And you can see that I'm not
painting it over the whole of that side of the Apple. I was one painting
it over the top half really is because my Apple has lot red color
over the top half. So obviously you, Apple is gonna be completely different to mine. And if you're following
along with this Apple, just follow what I'm doing. So you've got a
really good idea of how to paint an apple. I found it really useful
to follow tutorial. So this Even if I didn't have my face, I pull it in front of me. And To be honest, this is a first time
I fainted real fruit. So if I can do it, you can definitely do it. So, yeah, I found this really good learning
opportunity, To be honest. I discovered that I love
painting from real objects. Now, it's only from doing
this tutorial for you. So it's always best to just try things out,
to try new things. I was always a bit
worried about Painting from real life because I just, I just don't know. I just felt quite
scared about it. But I really, it
really did bring my confidence is
having a goal of this. You can see I'm blending out, sit in areas with a damp brush. So nice and clean brush, blending out those
edges and then taking some Hansa yellow mixed
with a little bit of white, I'm gonna just adds
more of that white actually because I wanted
it to be quite bright. And because I'm
painting on the Yellow, it wasn't coming out
as wide as I hoped. I was adding more and more white to really brighten it up. And I was just sizing
a few highlights. They're taking the alizarin
crimson straights. Now, I'm going to use my
filbert brush again and just painting down
parts of the Apple, smoothing out that color and
it is going wet into wet. So that first layer is wet. And I love gouache
for painting wet into wet because obviously
with traditional gouache, it is a wettable. And blend able is, has the most beautiful blend
of all creamy texture to it. I just love it. I'm using the very edge of my
brush here, actually. Just surround areas. What I love about a fill, fill the fill it. But I love about a
filbert brushes. You've got that lovely
thick belly of the brush, but then you've also got
that flutter and Sukkot, both of both foot, best of both worlds really. So you've got a flat brush
and a printed round brush. In one kind of I've got some of the Hansa
yellow on my brush now, I'm going to use that to
blend out some of this red because I don't want
that red to reseal harsh. And you can see that when I'm mixing the yellow and
the red together, it's becoming more of an orange. There really wasn't
worried about that. I actually loved that effect. You get a range of tones and
colors by using this now. So by blending different
colors together, you can look at a range
of different colors, which I think is so interesting. And I love how blend double
this paint is so beautiful. Also taken a bit more
for Hansa yellow. So this is a slightly
darker Hansa Yellow? No, because it's
mixing with the red, it's becoming naturally
more of an orange, um, but you could just
always, usually yellow. I'm painting that arounds the
bottom half of that Apple. And also around the one edge. I'm gonna make that
highlights in the middle a little bit smaller because I
felt like it was a bit big. So I'm just using my filbert
brush to blend out areas. And you'll see me making
that highlights a bit smaller and then taking some
very concentrated gouache. So this is white, this is permanent white, actually very bright,
Permanent white. I'm just using my brush
there to blend out the edge. So this is my flat brush, nice and clean, just
no paint on it at all. Just blend out the areas. And it's taking a little bit of the alizarin crimson and
I mean a tiny amount, adding it to the green
dot at bright green, so it's going to make that
green more of a brown. I'm just going to paint
in this area here. I love using complementary
colors together instead of using paint straight
from the tube sometimes. Because if you use in a certain colours
within your painting, it helps to keep up
paint and really harmonious because
you're obviously using the same colours
in that one painting. It just makes up Painting all tied together
and I just love it. You do learn a lot by mixing
your own colors, I believe. Next, continuing The Apple
and painting the Oranges
7. Continuing The Apple, Oranges and Lemon: Continuing The Apple and
Painting Oranges and Lemon. I can add some white
gouache to the Hansa, yellow to lighten it up. I'm going to add this
layer here at the top. So this is going to create a lovely highlight around
that top dipped in purse. As I was also using it on a few areas without
highlighters, but that was just optional. Then using the
Hansa yellow again, I'm going to cover the
whole of the orange. So I'm just using my
filbert brush again, but you just use whatever
brush you've got. And I'm just adding
those two colors together and creating
more of a darker orange. So this was the orange, but we used earlier on, we had thought range
of Oranges, didn't we? With the Apple, we had the darker orange and
the light yellow. I'm just taking a
mid-range orange and just painting on most
of the orange there. I wanted the front parts of the orange to be
a lighter color. So I decided to add a bit of white to this to really
lighten up, but Yellow. And you can see that I decided that color wasn't
lighten F Actually, I'm adding a bit more white. Sometimes with gouache,
you really need to add quite a lot of white if you're
working on a darker color. Because I was working on
quite a darker orange. I needed to add quite a
lot of white to this. I'm going to use the
darker orange now around certain parts
of the orange. So you can see I'm
just smoothing it out. I'm creating this
irregular shapes, so I'm just painting it around the back end of the orange, leaving the friends of the
orange lovely and Light. I'm just blending it out. You can see that because
gouache is really wettable, it blends really well
and it does sort of pick up the colors
from underneath. So you do have to
practice with gouache. I'm still learning to be honest. I'm not completely
there with gouache, but I'm having lots of Fen
along the way and I love it. Adding a little bit more of the alizarin crimson on
the Hansa yellow together, a tiny bit of blue. So that was just
Ultramarine blue to media app and make it darker. I'm going to apply
this shadow area. So that makes more
of a brown color. Again, you could just use your
room colours if you've got already mix brown water
it down a little bit, but it's completely up to
you if you want to mix your own colors or just use
them straight from the tube, I'm using a bright orange again. So this is the bright
orange like we used for the orange are the RAM. I'm adding a bit more
of a yellow tone here. So working wet into wet. I just added quite
a bit of yellow, that bright yellow
to this area here. So this is Hansa yellow and Alizarin crimson mixed together. I'm gonna make that
more yellow at the top. And then using some gouache, you can see that's
going to mix in with the yellow because
it is still wet. And I wanted that to happen because I want a range of tones. So a little bit later
on we're going to work wet onto dry. So we're going to
take some wet gouache really thick and
concentrated on, so that's dry paint. But I did want those colours
to mix in and you can see it's created a lovely
subtle highlight there. And then I've got a
darker orange and I'm going to paint that
over the bottom part of the orange because
you'll see that the bottom of that orange
is noticeably darker. And it's actually dark on one side where it's
creating a shadow. We're not going to
paint in the whole of that bottom segments. I am going to leave
a little bit of a lighter color in
the middle day. And then just using
a damp brush, I'm going to blend the edge
out to keep it nice and soft. Take it a little bit of
the light yellow again. So this was the Gouache
mixed with the Hansa yellow. I'm going in for on a
nice bright yellow. Now I'm going to paint in this darker outer edge
of this orange segments. Then we're also
going to paint in the white areas as well. So I'm adding lots of white to my orange to really liked in it. Feel free to use
gouache watered down. Oh, use a lighter
yellow or if you want to add gouache to bright yellow, just to have a really
bright and light color That's going to work on
the orange color anyway, just have a practice and you'll see me using
my smaller brush and making this really
irregular shape in the middle part. And then I'm going to paint
in these little stock Bates. I don't really know what
to call them and they called the pith of the orange. It looks a little bit
like a tree, doesn't it? Or plants coming up anyway. I'm going to paint
in these areas here, then making it thicker
at the bottom and then just using the
tip of my brush with hardly any pressure to
make it taper out and a bit thinner on the
bottom, on the edges. I mean, then using the
gouache really concentrated, so it's lovely and
bright and white. And then not just add that
to a few different areas. Where to my eye it looks very bright whites
on the orange. So if you have
look at my orange, there are certain parts
of the orange one on this area where to look up
very, very bright white. So I'm not adding
that to the whole of it because I wanted a
range of the tones. If you don't know what
tones, it just means the lightness and
darkness are for color I'm going to also
just use the tip of my brush off my size four brush. Get in these little
highlighted areas. And Light is the juicy parts
or the skin of the orange. So you've got light
gleaming off the skin. Now I've got some darker orange. I add is a little bit of
blue to this, to darken it. But you could add
a little bit of dark rides to darken it up for a bit of burnt sienna with work really nice old
burnt sienna in its own, adding the tiniest
amount of primary blue and a bit of alizarin crimson
together to the orange. You've got the three
primary colors in there that created a brown that I can paint at the bottom
of the orange. Now I'm going to add the
darker areas of the lemon. I'm adding some primary blue to the green that we use to Yeah. And lots going to
darken that cleanup. And I'm going to add
a few little strokes of that green just
here in there. I'm not going to add too
much of this darker color because most of my lemon
is that lighter green, but there are
certain parts where you've got that lovely
dark green color, especially on the
end area here I noticed I'm just using a size. Full brush is smaller brush and I'm just going to
add a few details. Then using a clean, damp brush with no paint on it, I'm going to blend
out the edges. So I'm just carefully blending those that just to
make them nice and soft. And because the Lemon
is completely dry, I not picking up but lemon paint and the green is not
mixing in with the lemon, which is really handy. Add in some Alizarin
crimson to the green. Now complimentary colors, again, red and green are
complementary colors. I just created more
of a brown color. I'm going to use that
on the end here. I'm just painting
in this little tip and then using the tip of my brush to add a
few little details. And then I'm just
adding some more of the Alizarin crimson to create
more of a reddish brown. I'm just painting that
on one little area. Now taking the green. I'm going to paint
on this area here. So this was the lighter green. I decided to paint that
around the one end. And then using the
whitish yellow, I'm going to blend out that
edge with the whitish yellow, but you could just use
a clean, damp brush. You can see here we've got a bit more
of the darker green, but I'm not going
to pop that in. And I'm just going
to get that sort of fairy lights highlight at the bottom of the
lemon, I just noticed. So at the bottom of my lemon
is a highlight and I just added the whites
of the yellow to make a really nice bright
yellowy white color. I just painted that on. And actually this
really brought out the lemon just using a brush. Now, I'm just blending
that edge out. So all I do is rub
my damp brush along the edge and it softens
the liner notes. Taken a bit if the green and adding it to the
alizarin crimson, that darken up the
Alizarin crimson. And I'm going to add that
to the top of the apple. So if you've got a dark red, maybe a scarlet red, or maybe you could use a bit of burnt sienna mixed
in with your red or a bit of burnt umber mixed in with your rights
to darken it up. You can get a nice
dark red light that you could also add a
tiny bit of blue or purple. Just have a good play around
with the color mixes. This is how I loons color mixing was by learning the
complimentary colors, color theory and by
just playing around, To be honest, I'm just adding that darker
color here and there. Just in a few little areas
using my small brush. Now, I'm adding some
Alizarin crimson to my green again to
darken that cleaner. If you've got a blue,
add a bit of blue. If you've got any reds, add some red to green
to darken it up a bit pain screen won't work as well to darken that color up. I'm just going to
paint in the stock. So this is nice, thick paint. Going on is creamy texture, so I've got a bit of
water mixed into it, but it's lovely and dark. And I'm going to paint
that over the SOC area. Then what I'm gonna do is add a bit more Alizarin crimson
to make a darker green. I'm just blending that up to the one end Sugata range of the darker green
on the outside, on the lighter green
on one side as well. Next we'll be adding the details
8. Adding Details: Let's add a little bit of
detail to the fruit now. So I'm going to start off by
using the green and darken it up using the complimentary
color, which is red. And I just added a tiny bit of red to the green
to darken it up. And then going to use
this darker color around the top and only
parts of the Apple. So you can see I'm just allowing that underneath layer
to shine through, but I'm just adding it here in there just to darken
up a few areas. Because if you have
a look at an apple, they're all different
tones of rights or greens. So you've got lighter
shades and darker shades. And then I'm just taking a damp brush and
blending out the edges. I darken up that green
again with a little bit of blue and a tiny bit of red. Then using the same color, I'm going to add a
few little detail in this area here because if
you have a look at an apple, you get that sort of dipped in look at the top of an apple. And I'm going to use
this very tip of my brush and add a
few tiny little dots. So you got that lovely, sparkling texture on an apple, which I absolutely love. He is The Apple finished. Then for the orange, I wanted to get in a few of
these highlights. So if you have a look at
the side peel of an orange, if the light is shining
directly on it, you got that lovely speckled
highlights texture. I'm just using some really
thick wash for that. So using my size force, Princeton Neptune brush
on the tip of my brush, you can see I'm very
in the speckles a lot. There are bigger splatters, so I'm using more pressure
with my brush to get bigger splotches
of paint and then using less pressure
up on its tip. So you'll get teeny tiny
little dots with that, adding the tiniest amount
of blue to the orange. Now, because blue and orange
are complimentary colors, I'm going to add a little bit of that color to this
area here to get that lovely little bit of the stock bit going on,
whatever you call it. Thus the bill on my
daughter wanted to paint, then I'm just adding more blue to that's really darken it up. And I did add some red as well. So those three primary colors, you've got a lovely dark. Then I'm going to use
some really thick gouache on the Oranges and the paint. The bit that I'm
painting here is that really bright white
highlight within the orange. And I loved painting this, but I don't know
why I just got I got so excited using
white gouache. Does anyone else feel like that? Because I just love what using white gouache
for some reason. I'm just using my tiny brush. Again, this is a size four. I'm using it up
on it to its tip, but you can see that I'm making that white, very
irregular shaped. It's gonna be a bit blobby and New Year's very non-uniform. And then I'm going to also
use the tip of my brush. So I got in these lovely
sort of highlights. So you got that lovely, wet, moist look to the orange. I was just muddy and up
that orange again with a tiny bit of blue so
we get a darker color. I'm gonna run that darker color on the bottom of the orange. And then I was just taking
that mid mid-range orange. Then you can see it's visibly darker
than that first layer. And I'm just going to
use a damp brush now. Blend in that edge out
with a damp brush. There's not much more
through my brush tool, but you can see that
lot blends out. Lovely. I love
gouache for blending. Next thing they share some
of my thoughts with you.
9. Extra Thoughts: I hope you had Fen painting
these fruits today, well done for taking this
class and getting to be. And I hope now that you've got some useful skills that you can use to paint
your own fruits. What I want you to do
with your own projects now is to go ahead and
paint your own fruits. Please remember to post
them in the projects and resources area
of this class. It really helps
other students to get to know how to
paint these fruit. So it gives them other ideas as well because everyone's got their own Art silent and
that own style of painting. So it doesn't matter if you're a beginner or if you're
a more advanced painter, please share those
paintings with us, I guess so excited when you do on the sea and it
literally makes my day. I'll give you feedback as
well if you ask for it, remember to take your
time and to Tasha colours up before
you start as well. Have lots of firms
because that's all that this is about is just
something lots of PFK-1. I purposely chose some really
easy subjects to paint because I want this to be Beginner Friendly and also
lots of phone as well. So have a play around, use some texture, splatter, some paint on us. So much friend with this. And remember, share your
paintings with us so we can enjoy them as much as you're enjoying
your own paintings. Have a lovely rest of your day. Happy painting, and get in contact with me if
you need any help. By
Lindsey Dawn Art, Watercolour Artist
