How To Paint Fruit Tart In Great Detail

1. Introduction: hi guys leading steel and I would be your T shirt for today's class. For this class, we will be painting that's free talked and as you can see, I tried, including a variety of different types of fruits. And then I will go over them one by one in each of the lesson. So hopefully by the end of this class, you are able to take away each individual techniques, and maybe you can apply it to your very young composition. This class is billed as a paint along, and I will also have the image in the downloadable section ready. So if you want to make the very same composition, you are able to just that little the image and then trace it to your watercolor paper. Industry gets paid before we start. I'm just going to go through with the lessons that I'm going to do throughout this class. I tried dividing it into smaller lessons and portions, so hopefully the information it's easier for you guys to digest. Before we begin painting, I will take you through this place that I'll be using Next. I will show you how I trace my work from the downloadable image and which part off the outline to follow. After that movie ready to paint, there will be seven lessons for all the fruit paintings. And because the strawberry is quite complicated, I decided to divide that one fruit alone in 23 lessons. After we paint the fruits, then we're going to move along to the custard part off the time, and then we move along to the tart shell, which I will show you layer by layer. I will venture you how I bring the whole painting together by adding shadows for the whole image and also some highlights that we will be adding to the painting then. Last but not least, I added some extra does for accents, but this is optional to the painting, so that's it for the intro. Let's begin to paint. 2. Tracing: in this lesson, we will start tracing this. Here is the image that I have ready in the downloadable section for you so you can trace it , as you can see if included, some details on this image. However, we're just going to trace out the basic shapes off the paintings and then later used this image as reference as you layer the details within the paintings. So I'm just going to trace out the outline off each fruit except for the strawberries. I'm just going to add some off the seeds, so it's easier for you to painted later. As you can see, I've take my watercolor paper and my sketch that I've outlined, but I'm only securing one side. So if there are any details that I can't see or aren't too visible, you can take a peek behind your watercolor paper. Here. I'm using my light tablet to trace, but as usual, if you don't have this handy, there are also a couple of ways he countries without the tablet, and that's to trace through a window with the light shining from the back off the windows. You can tell you will only be able to do this when the sun is still out. Another option that I've also tried as to take the image study wants trace. And then you can use charcoal pencil or self graphite pencil like a six B or an A B to cover the back off the image. So you call her the whole thing, using the charcoal or the pencil, Then place it the right way up onto your watercolor paper, with the charcoal side facing the watercolor paper and the image facing you. Then use a pen or a pencil to trace over the outline, and this will transfer the charcoal or the graphite onto your watercolor paper. But as you can sell, this option can be a bit tedious if the image is large. But then again, if you don't have the light tablet available but you want to trace and the sun is not out. This as a good option for you. Once you're done tracing, keep the image study of printed because I will be referring to the details off the drawing again throughout the class 3. List of Supplies: Let's go over the supplies will be using for this class using my whole buying palette for this. So all of the colors that I'll be referring to are the colors that I have in my palette, So please suggest the colors, according Toa. Whatever brand off watercolor you'll be using, I'm going to use three types of brushes in this class. The green one on the left is my liner brush by, say, Kaido, and it's a size to the red brush I have. In the middle is bins. Air Newton's after gold size zero, and the one on the right is our media size to between the liner brush and the Windsor and Newton size, you're a brush. There isn't too much difference, but the liner brush does have longer bristles, so it's easier to make fine lives. But you can use either one off the smaller brushes. The next thing will need is a pellet for appellate. There's so much of things you can actually substitute this with. As an example, you can use a disposable plastic plate that you can still reuse more than once, or even a ceramic plates as long as you have a flat surface, and I would suggest the power to be wide, so it's easier to see the color. You also need watercolor paper. I'll be using the cancer in Excel 300 GSM, and I've caught mine down to the with all 14.5 centimeters and the length is 16 centimeters . But of course, you can adjust the size according to how you personally would like to frame the image. The next thing you'll need is a queen jar or any container for your water and then tissue to clean and dry your brush to trace. You'll meet a pencil and razor. I personally like to use a heart pencil like an HB so it's easier to your race and you can also hide the pencil mark behind your pain. I will be using my tracing tablet to trace, but you could also trace against the window or a computer screen or even tablet widescreen . If you don't have a light tablet on hand, I will also be using a white pen for the final highlights. Personally, I usually use my you nibble signal, but if you don't have it on, honey could also substitute with whitewash last but not least if you're impatient like I am . Sometimes I like to use the aid over here trying to speed up the drying process. 4. Lets Paint: Kiwi: the first fruit that we're going to paint is a que me I'm going to start with the base colors, which is the mixture off permanent green, lemon, yellow and permanent yellow deep. So I'm just going to activate the paint and put some colors down on my palette so it's easier to mix. Once you have these three colors on your palate, I'm going to take the rest off the yellow deep that I have with my brush. And it's going into the lemon yellow that I've stained with the permanent green, and I'm going to mix it until I get I'm green color, with some added warmth from the permanent yellow deep. We're going to use this color that we've mixed to paint the base off the key me and, as you know, the position of a key Meus ladder and color. So we're going to isolate that area, and we're just going to do a flat wash for the base color. This is quite a large section, and you can use a medium sized brush to cover the area foster. So this is an option, but I'm quite comfortably using this once. I'm just going to stick to my small brush way. Next thing we're going to paint are the lines off the kiwi. I'm going to add some sap green, so I'm just going to activate it and please some on my palette like we did before. And I'm going to take some off the sap green and mix it with the base color that we've previously mixed to make a slightly deeper green. I'm going to first paint the areas where the seats are, and I'm going to paint it as a fan shape, so make sure that the lines are facing outwards. The lines will be closer together in the middle and further apart as it gets to the outer areas. For this, you have to make sure that your base color is completely drying. No dampness at all, because we will be painting fine lines next to each other. If any of the areas of slightly wet, it will start bleeding into each other and you won't be able to have clean lines. If you accidentally made a mistake and lions bleed together, you can actually dab the area with a paper towel or tissue and then wait for the surface to dry again for adding more paint. What I'm doing now is I'm using a clean, damp brush, and I'm pulling the paint that we've previously placed one by one, and we're going to pull it to the edge of the QE, creating a slight gradation here. I'm using the same green, but in the latter consistency, which means more water than paint. So it looks lighter than the initial dark green that we previously painted. I'm going to basically line the top off the Q B to give veg a better dimension, and I'm also going to do lines along the top. And because this is another side of the Q me, make sure that your lines are facing the right angle, so you have a better dimension on volume off the Q me that the main surfaces completely dry . I'm going to layer the darker green on top again through defined the area now going to do the light midsection off the Q me. By creating an even warmer green. I'm going toe. Add a bit off stop green, more permanent yellow deep and a touch of sepia into the light green mixture that we used for the base color And because this area is almost white, we're going to add lots of water to make a very light consistency. Paint. If you're unsure about the color, you can try to paint and check the color on the scrap piece of watercolor paper. First, I'm going to add a bit of shadows alone, the side off the kiwi now, where it's hidden behind the peach by using a mixture off sap green and sepia. Notice how I take my time well, mixing the colors to ensure even distribution on my brush for the shadows. I'm going to repaint the lines, but this time thicker to cover a bit off the right part behind the peach. And as it slowly gets to the lighter area, I'm going to paint the lines shorter at dinner. What's that like the placement on the previous layer is fairly drying. I'm going to add the same color and a thicker consistency to her to find the shadows. This next color, mixing as optional in a sense that you can lose. He's black color, but I personally like to avoid using black. I find that if you mix your own darker colors, it looks richer, so I'm going to mix and varied and Hugh ultra marine blue at sepia until I get a rich, dark tone close to black. This is for the seeds, but if you can't be bothered finding the ride colors to mix, of course you can just stick with black. I'm going toe only paint the seeds in the area that we painted dark green along the mid section off the key way, and I'm distributing the seas differently with bigger and then smaller seeds. Some areas have to somehow one and so on. I don't want to make everything exactly the same, so it looks more natural that way. And I'm also using my lender brush for this to ensure full control on making really small shapes. I'm also going to add some seeds along the side of the Q me, but not us to find past the one in the main service. Remember the mixture that we use for the mid white section off the Q B. I use the same color with added sepia, and I use a light consistency but thicker than the first layer that we previously painted like usual. If you're unsure about the shade, you can try it out on scrap paper first, but I'm just going to use this color to line the area behind the blueberries to give it a bit off shadow. And then, using a clean, damp brush, I'm going to soften the harsh line. Last but not least, I'm going to add more off the darker green. You can just add some sap green with a mixture of permanent yellow deep tow, like them the midsection off the Q B. 5. Lets Paint: Peach: in this lesson, we will be painting the peach. This is the easiest double fruit, so it's a nice break. After painting one of the complicated ones like the Q B. The Peach consists off only two colors, which is permanent yellow, deep and vermillion. So we're going to activate both paints and place it on the palate. First, I'm going to now take that for 1,000,000 that it's left on my brush, and I'm going to mix it with some off the permanent yellow deep to create a nice orangey color. I'm going to clean off my brush and loaded with permanent yellow deep now and paint the base color off the peach. You want this to be a medium to thick consistency, to place as the base color. If for some reason you were a bit shy with the consistency, you can also layer the colors more after the first layer has dried off. When I'm painting the base color of this, I'm going to leave off small negative spaces here and there to create a bit of texture and shine to the beach. If, however, you are uncomfortable leaving any white parts, you can also create a full flat wash, and we can revisit the Shine leader with white gilpin or whitewash at the end off the painting. I'm also going to do things. That same thing was the other way. Notice that where the peach is touching each other. I'm leaving a very, very small negative space in between each object, because when I layer, I want to create a barrier so the paint doesn't lead into each other. Once you're done with the base color, you want to make sure that the layer is really dry, with no puddles or sheen to the wet paint. And I'm going to take the orange that we've mixed with the vermillion and the permanent yellow deep. If, however, you already have an orange color available, you can also offer that, and I'm going to color the center of the peach first. And if the first layer is already very dry and you have a harsh line for the orange, as usual, you can use a clean down brush to distribute the paint for better transition. If you feel like the middle is not contrasting with the rest off the peace, yet, you can add a bit more off the vermillion toe out a bit off contrast, I'm going to do the exact same thing with the second peach. So basically what I'm trying to do is make the back off the peach a lighter color, which is the permanent yellow deep. Then the surface where you can see the center of the peach, where I will be painting more orangey to reddish tones, also tried to build more of the orange color on the second peach, so you're separating the shapes and finding each individual peaches. If the back off your peach is looking a bit flat like I feel minus, I'm going to add a light touch off orange to create a bit of texture by leaving small negative spaces here and there so you can see a slight leering. I also want to make the bottom part off the peach a bit darker, so more orange to create a bit of shadow from where the strawberries are covering the peach and also to give the illusion that the back off the peach is curved instead off a flat surface 6. Lets Paint: Blueberry: Now we're going to paint the blueberries. First off, I'm going to show you how I mix my paint for the blueberries. I'm going to use a mixture of four colors. Not that the color mixture might be different, depending on the pellet that you own. Because my choice here is already different from the conman palette that I've painted with before. And I'm using here my whole buying pellet. I'm going to use a mixture off ultra marine, blue, Prussian blue and mineral violet mixed with a tiny bit off every black. Basically, the final outcome off the color I'm searching for is a bright navy blue color. So go ahead and activate all four paints or the pain that you're going to use. I personally like to spread mine across a large surface and by mixing three colors or more so the colors might very differently, which I find gifts a life to the painting because no one fruit is the exact same. If you're unsure about the color, make sure that you have on your pellet can try it on scrap paper first to see if the color that you beat is what you want. You can just adjust accordingly. Like if you want the blue to be brighter, you can add more ultra Marine if you want it to be more warm, he can add, but more off the violet or and you warm color. And if you want it to be muted, he can add ivory and so one for the blueberries. I'd like to start off with a light color first, so I'm using a light consistency off the blue, since the fruit usually has areas where it's covered with some white patches. So I'm making the first layer of light blue color. Noticed that I'm also painting the blueberries on either side first to wait for the paint to dry on each side. Then I'm going to revisit the one in the middle. The basic concept is the same. Missed the peach. I want to treat each fruit as individual objects, and I want to avoid colors running and bleeding at the wrong places. So I'm leaving a tiny bit off negative space where the blueberries are touching. In case your previous blueberries aren't completely dry yet. I'm also working very slowly here. As you can see, the color that I've placed isn't too flat because I want to actually build a bit of texture into the blueberries. More so than the previous fruit that we've painted. I want to be able to create those white patches on the blueberry skin. You want to also keep in mind where the midpoint off the blueberries are asked you notice from before I was placing the colors on the base started to dry authority. I'm creating these lines, which accentuates the contour line off the blueberries to give it a bit off roundness to the Berries. It is ideal to always have a visual ization off the contra. Shape off each fruit so it will come across as you paint. Um, if it's hard for you to paint with an idea off the volume offi truth, you can also practice and you're drying first. Or you can scribble on the downloadable sheet and try to figure out the volume by during out the contour lines or play some console shadings to see how you would approach it. If it were done with the medium that you're much familiar with, we're now going to paint the opening off the blueberries because that area is deeper than the rest off the fruit. I'm going to take a version off the base color that is starker. By adding more pressure in blue and a bit off ivory black. I'm also using a thicker consistency to build up the darker values to suggest which areas are covered in shadow. Now I'm going to use the same color and build up the roundness off the blueberries by adding the darker blue into the body. As I mentioned before, whenever I'm placing the darker colors, I like to keep in mind the contour and the volume of the fruit to help you create a rounder more three dimensional shape. As usual, after you roughly placed the shadows on the texture, you can soften it up by using a clean, damp brush to reactivate some off the edges and blending it into the base color. Keep building this up across all three blueberries, but be careful to not overworking or else you'll start losing some off the lighter based color that we previously placed. If, however, that occurs and you are not able to dab the excess paint after reactivating it and dabbing it with clean tissue paper, there is actually a trick you can do at the end by using your white gel pen or whitewash. If the technique off softening up the edges isn't too familiar for you, I actually have a class that I made on how to paint. Forget me, not flowers, which heavily uses this technique. The class also consists off a lot of technical exercises, so you can just do some of the exercises. If you don't want to pay the flowers to get more familiar with this technique off pulling and lending that way, after you're done with texture, I'm going to have to find the shadows. To do this, I want to make sure that the previous lier is completely dry. Then I'm going to mix and some ivory into the mixture that we use for the texture color, and I'm going to add the paint, allow the bottom off the blueberries and on the side where the blueberry is in the foreground, covering two behind. Then we're going to use the same technique to soften up the edges against so it can blend with the rest of fruit. Last but not least, I'm adding more ivory, black and to the mixture that we had to build up the shadows for the star shape where the flap is covering the open area. I'm going toe only add the darker color along the side to show that there is still some part which is still reflecting off some light. I'm going to repeat this for all three blueberries and then we're ready to move on to the next fruit. 7. Lets Paint: Mandarin: we're going to paint the mandarins for the common times. I think that's what they call it in the States. So first off, I'm going to face some colors down on my pellet, and that's the exact same colors that we use for the peaches. We're going to use permanent yellow, deep and vermillion. We're also going to create an orange color by mixing both of the colors together for the base color off the hundreds orange. I'm going to use the permanent yellow deep only, and I'm painting it with a thin to medium consistency like the peach. I'm also going to leave small bits off white negative spaces here and there. Once you're done, you want to make sure that this layer is completely dry before you're going to leer on more details Leader. So you can either wait for it to drive. But since I'm impatient, I'm just going to use a hair's right while you're waiting for the base color to dry off. You can also do a small exercise to help you visualize thes mandarins, and I'm also going to show you how I'm going to draw or paint the texture for this route. You can draw a few off the shapes first. And like the blueberries, you can start off by contouring the shapes and see which contour lines would give this fruit the right dimension. Once you're happy with the contour, you'll realize that the midsection off this fruit fans out. So this is the direction of the texture that you want to paint the mandarins with. We're basically going to do different sizes off the exact same shape, which is like a raindrop shape, and we're going to repeat this throughout the main surface for the fruit. What is that? The pattern changes at the bottom off the mandarins, the shape are more randomized on a squish together. More. Please take care off the directions. You're painting this. That's why if you're unsure, I'd suggest you to draw this out first while using the printed image as a reference point. Once you have enough practice and you're well aware off how to put this down with your paintbrush and that the base color is completely dry, we can move on to painting the pattern off this fruit for the texture. I'm going to use the color that we mixed together to create a nice deep orange, and I'm going to make quite a bit off this mixture so I can just keep going back to it as I build the texture, slowly work on this. And yes, I did paint the teardrop shape one by one next to each other until I feel the surface area . And then I continue by working on the bottom part off the mandarins Take your time. Well, do like this because this texture really breaks interest to the whole painting. I forgot to mention that I also switched to my size zero brush to paint this detail to make the process much easier to handle. I'm going to double the speed off this because this part does get pretty repetitive. But remember to just work at your own pace. - I'm going to do this bottom part. Now this part. You can randomize the shapes more as long as you're following the direction off the contour off the Mandarin. This part will get quite repetitive, too, so I'm going to speed the rest off the step F. It's a bit hard for you to follow. You can use a non option to slow down the video and You can also use the principal image as reference and practice before putting the paint down on your actual piece of painting way. We're going to build on the third layer now, and we're going to work with the darker shade of orange by adding more over 1,000,000 to the orange mix. And we're also going to color the left side, where it's covered by the blueberries for some shadows, just on the areas where we've built up the texture or the pattern at first. And then as we progress, I'm going to just add the darker orange on the left side off the teardrop shapes, giving it a bit of plumpness and juiciness to those individual segments. I'm also going to paint the same thing for the Bonaparte, where it's been covered by the custard underneath. After you're done with the previous step, I'd like to decrease the contrast of it along the left side off the mandarins, and I'm going to use the same orange to cover up some of the areas which are contrasting a bit too much. This time, though, I'm using a lighter consistency so you can still see those small segments. But just not as defined as in the areas where it's supposed to be a touch darker, and then we're ready to wanted an expert. 8. Lets Paint: Strawberry skin: we're going to pay the strawberries now. I'm just going to do all the base colors off the strawberries in the beginning. But for this lesson, we're going to focus on strawberry skin for the base color and makes the been over a 1,000,000 a touch off an acrid own opera, which is this like pinkish color again. This color make sure are based on the colors that you have on your palate. So if you don't have the exact same colors and you have a red that isn't too orangey and tone, but its not too dark over ready can use that as your base color. Color's always depend on the brand and appellate that you own, so I'm sharing with you the color mixtures that I use. But of course, you have to adjust to the colors that you have available. I'm just going to paint the colors that I made lightly with a very thin consistency for the base colors off the strawberries. I'm also avoiding the seats that I previously trees in the beginning off this plus wait for the skin off the half strawberry. I'm going to use a thicker consistency because I feel like that area would be darker since at somewhat hidden. So I'm going to paint that part more red than the rest as the base colors with. I'm going to dry off the base colors now because I'm going to also be painting the base colors for the seeds. I'm going to use Arlen yellow or any other you have. But I want to make sure that any off the red color is completely dry or else the red is going to bleed and toothy yellow that go about to be. Now we're going to build up the layers for the strawberry skin. Firstly, I'm going to add some roast matter to the rent that we used for the base color. I'm also going to play. Some comes in Lake on the side, which is this really nice deep red color, and I'm going to use that later for the layer on top of the one we're going to make. Now, let's look at the downloadable image again. This time you can see that on the whole strawberry. There's this area that I've singled out. This is because I want to separate this part as highlight, so I'm going to paint around the seeds and avoid painting that area. And then I'm just going to do a basic flat wash for the rest of the skin way, the way I feel like at the stage. I want to Richard Red color. So I'm going to layer a thick consistency on top off the red that we've previously painted . But if you're happy with how yours, or do you look like in terms off richness, off color, you can skip this layer with now going to pile on more off the Crimson lake and also a touch off ivory black to dark in the red color even more. This is to layer on top off the previous layer to start creating the roundness off the strawberries. I'm going to add the stark red tone where the blueberries are covering apart off the strawberries and also along the bottom sides. Here I'm taking a lighter mix off the red, which is the Crimson lake without the mix off the ivory black, and I'm going to keep building the roundness around the top area. But avoiding the midsection off the strawberries and also softening the transition way way edges where we isolated the highlight by using a clean, damp brush and reactivating the paint on paper to blend with the rest of the painting a bit more. We're going to build up the colors off the next robbery skin now, and I'm going to use the same steps. So, firstly, I'm going to build up the richness off the red by using some Crimson Lake and I'm going to paint around seats. Then I'm going to add some off the darker red, which is a mixture off Crimson Lake and ivory black along the bottom part off the strawberry to create the roundness. If you feel like the top off the strawberry isn't rich enough, you can add another layer off the brighter red color to make the color pop. Okay, we're almost done with this painting on the couple more steps until we can move on to the next lesson. I'm going to take the dark red mixture, and I'm using my size era brush again, and I'm going to paint alone the bottom off each seeds to paint some shadows. I'm going to do this for both of the stories also going to land the sides off the off strawberries separated from the other one by using the same dark red mixture that we used for the shadows. Now I'm going to paint the seeds. I'm mixing a light, orangey yellow color, and I'm going to paint around the seeds for some off the seas. I'm leaving a white negative space as an indication off my life. So going to build up more off the definition for each seed by adding a thicker consistency off Orlin yellow? No, we're going to do the exact same thing for the other Strawberry now and then We're done with this. Listen. 9. Lets Paint: Strawberry flesh: wear now going to do the strawberry flesh. This might seem quite confusing, but if you take advantage off the reference image, it will really help you out in defining the areas. So to start off, I'm just going to mix my reds. I'm going to take my vermillion red and makes it into the roast matter that I already have on my palette. And I'm going to take a very, very thick consistency and line along the edge off one side of the strawberry first. Once you find it, look at the areas where there are some seeds growing on the side off this rubbery skin, and what you want to do is paint the red color in between those areas that are connected with seeds. Once you're done, we're going to do the same pulling technique that have been doing by using a clean, damp brush to pull those areas that we've painted in between the seats and at the same time , I'm isolating the veins off the strawberry. This technique will give you nice gradation from the 15th that repainted as we lined the strawberry to the areas where we just placed clean water. So some of the paint can travel and spread across. You want to do this until you reach the area where there's a center off the strawberry, which are sometimes a bit hollow, depending on how right but us don't go too overboard by pulling too much ID like toe work slowly so I can see where each vein line is directed towards. And so I don't accidentally paint until I passed the line where I need to stop, as you can see, because we've been pulling the paint where left with edges getting lighter than it needs to be. So I'm going to take the same mixture that we previously used, and I'm going to add more color to accentuate degradation. And, as usual, after you put on the paint, you want to smooth out any off the hard edges wear now going to do the exact same thing on the other side. I forgot to also mention, but please be mindful off where the strawberries are facing and the direction it has in the composition way . Now that we're done with the side of the flesh, we're going to paint the center now and again. If you are unsure about the shape that we're going to paint. It's always a good idea to check the reference image again. This step is quest, straightforward. We're just going to use the same mixture added with a touch off Crimson Lake, and we're going to make a thinner consistency to paint the inside of the strawberry. We're also going toe. Isolate a line in the middle with a flat wash, so just pain slowly and work on each individual side. Once you're done, I'm going to layer a touch off vermillion red, and I'm going to make a smooth transition from the bottom to the top off the strawberry center to create some dimension. 10. Lets Paint: Strawberry leaves: we're finally finishing off the strawberries with the leaves. I'm going to do a few layers for this. I first off start with some sap green, and I'm going to mix in a bit off the warm green that we use for the Kiwi. But if you don't have any off that left, you can just use stop green. And this is more open to color, by the way, so you can do any type of green that you want, but make sure it's not too dark because we're going to build up the shadows. Later, after I'm done painting this base color, I actually ended up clearing this with the darker shade all over to make up the new base color so you can paint up to the same value off the second layer. And then we're going to build up on some shadows and veins for the leafs, done with the base color. After leaves, you can move along to the stem and paint it the same green. I decided to add some variety into the tips off the leaf, so there's a nice transition between warm green to cool green for the leaves and then, like usual were also going to smooth this out, using the same technique by pulling. Once this layer dries off, I'm going to mix a darker green by using radiant sepia and sap green. And you want to think consistency for this to paint the shadows where there's a fold in the leaf and for the leaves that are sitting at the back mixing and either a bit off black or the mixture that we previously made for the key me seeds into the variety and Hugh that we use for the shadows. And then we're going to take a thick consistency. I'm going to use my size zero brush to paint some veins for the Leafs for the leaf names. I'm just going to paint a line at the center of the leaf first. Then I'm going to paint some very thin branches along the side of that line. Make sure that the previous layer is completely dry all around the Leafs that you painted or else the detail won't show up to finish off. I'm just going to paint a layer off radiant green and permanent green with a mixture off lemon yellow at the top off the sun for a nice variation of color, and we're finally done with the strawberries 11. Lets Paint: Custard: for this. Listen, we're going to paint the custard feeling this is going to take a lot off, building up and layering, but I hope you can still follow along to start off. I'm going to use my permanent yellow deep, and I'm adding a lot of water to create a really like deep yellow for the base color of the customer. This is only a small area that we're going to build up, so you're going to be using your hair dryer quite a bit in order to add on layers without worrying about the colors bleeding up. But of course, you can also wait for each layer to dry off for the small section, um, using a mixture of four million and the deep yellow. The reason why I'm working in such thin layers is because the custard itself is very light and color. Which and watercolor means that that's the color of the paper, and it's much easier to build and layer than to take off paint. So rather than making the mistake off making muddy looking or dirty looking custard, this is how I go about working with lighter subjects. I'm using the color that we used to create the shadows along where the custard is touching on the rub jets after you smooth out the previous the year, you can add on vermillion to the mixture to color the custard and near the nooks and crannies off each fruit. Now I'm going to add a little bit off the key me colors that we have left on our palate, and I'm also going to mix and some sepia only a touch. You can put some colors on your palate to use later, but I'm just going to use a little bit. And I'm going to paint the shadows where the kiwi is covering the custard. The idea for this as taking the initial color off the fruit and then mixing it with either gray or brownish sepia along with the custard mixture, and then layering it on because I want the shadow to still have a here relation between the fruits. So, like this one, I'm taking some off the blueberry color mixture that we previously made, and I'm adding some off the custard color, and I'm going to layer where the custard is covered bythe again. We're going to do the same thing with the orange. I'm taking some off the orange, and I'm putting it as a light reflection from the Mandarin to the custard. Here. I'm actually going to spread out some off the orangey color to build up the volume off the custard, making a look like it's coming up a little bit more. I'm going to keep adding color slowly. I'm still adding some dark orange colors, but basically we're pretty much placed most of the colors down already. All you're doing now is just balancing all the values and the saturation of the Hughes. This really depends on what stage you're layering out. If some colors seem more saturation or more shadows, he can. Just at those particular colors he wants at the idea is still the same. I'm just going to reflect some off the colors, from the actual fruit to the custard where is touching. So I'm just going to build with mostly the same colors to increase the William off the custard. Except for a small part where the custard is speaking between the story and the Mandarin. Because it's such a tight space, I'm just going to add some warmer shadows by using purple 12. Lets Paint: Tart Shell: in this lesson, we're going to be painting the pastry. First off, I'm going to take some yellow car and I'm mixing it into the orange color that we previously mixed from the vermillion and the permanent yellow deep. And I'm just going to do a flat wash all over the area off the pastry. I think this part off the class will be the longest lesson because I will be doing a lot off layer building. But you can adjust to this however you want, because the layer and will never be exactly the same as mine. I'm doing really thin layers upon layers off thin consistency paint. So if you use a thicker consistency than your building up much more color, so you don't have to do as many layers as me. Previously, you probably saw me wiping off some of my base color. That's because I felt like the color was a bit too dark as a base color, and I decided to take some paint off and spread the rest of the paint that I have left on my paper For this layer. I added a touch over 1,000,000 into the mix that I used and I'm working from the sides. I'm working in a very thin consistency still, and you will see that in this lesson I kind of followed this etching movement that I used with my brush to create sort of over off pastries extra. I'm also going to do the same thing on the other side. You're not really building up the color as much as I am building up the texture at this point, but because I want the middle of the pastry to be lighter than the sides. I'm going to avoid working too much at that area. So, as you will see, I always paint from the corners towards the centre, and I'm only placing the paint down around the edges and then using the pulling technique to bring it to the center of the pastry. Let me show you what I meant when I said before about the etching texture that I'm making with my brush. I'm basically pulling the paint all sorts of direction and intentionally making uneven marks and leaving some white spaces behind. In some areas, it's mostly random hatching movements, and hopefully this movement is visible enough for you to see what I'm doing. it with the pencil because this is basically the technique that I'm going to be continuously applying for this lesson to build up the texture off the pastry. Now I'm mixing some burnt sienna into the same extra that reused, and I'm going to place this at the bottom of the pastry. And again you will see me using the exact same technique as I'm pulling the paint to gradually create a nice gradation. But while I'm pulling with my clean brush, I keep the same etching motion so that every layer you add on will always be textured. If this is a bit hard for you to grasp, you should probably try it out and a scrap piece of paper. First, Just move your brush in different directions and see what kind of texture you will make. Make sure each time you add on a new layer that whatever you put on is balance with the rest off the pastry. This is why I find it a lot safer to do relief in paint coats and layers so that it's easier to balance. If you're not used to watercolors and you put heavy pain straight away, you might already take a lot off the white away from the painting, and it will make your painting look muddy or go. This is why I personally find it much safer to paint thinner layers because you can always build up the leaders to balance the whole painting while leaving some areas white. If you tried to move too fast and put too thick off the consistency of paint, you might take the opportunity a way to build up texture and also highlights. When this happened. It's always harder to take away paint because even if you dab the wet paint on your paper with some tissue, it won't be completely wide again. And if you do this too often, you might accidentally scrub off some of the paper than you might end up damaging the paper , too. So there's really no rush to this. Keep building it up until you are satisfied. But if at a certain point you were textures established and you know specifically where you want to place certain colors and you're confident with the decision off making saturated leaders, then of course you should follow your instinct. This really depends on your level of confidence and knowing how you yourself would approach executing a certain painting. I know that I've established most off the texture for the bottom part off the pastry. I'm going to start doing the top now, and I'm doing the same thing. I'm adding thin layers at a time and just trying to establish which parts I want to be under shadow and which part I want it to be. As highlight. The shadow that I'm placing right now under the blueberries follow the same concept off what we did for the custard. And that's to take some colors from the blueberries into the pastry color. And I'm translating it into the shadow because I want the shadow to also relate with whatever it's cost it from. So the same thing applies with strawberries and the q e. I took some off this drug re colors for the shadow off the story, and I also took some off the colors from the cue me for the shadow of the Key Me. Now that I'm happy with how I've placed on the colors and also the textures, I move on to a bit off a thicker consistency paint now because I now want to focus on the color and the vibrancy of the color. For the one on the right side, I used a bit more off burnt sienna, and on the left I use sepia and a bit off the blueberry color because I want the shadow from the left to be cooler than the shadow on the right, which is warmer. Putting down those colors will also make the pastry look more cooked. And for me personally, I find it that it looks more appetizing when it has a bit more color. And as you've probably noticed, I'm applying the colors that I've pleased at the bottom part off the pastry to the top. Now this is because I want everything to look balance, as I mentioned before and here. As I'm applying another layer to this area off the pastry, I will also translate that to the other areas off the pastry, like the left side and the top side. As I'm progressing with the layers Now, you might also notice that I'm not pulling it across as far anymore. That's because I like the color that I created in the middle already, and I just want to build it around the sides to redefine everything else. That way, the etching also looks much more visible with a darker color, and I'm also placing small dots and small scratches around the middle. Be careful to not go overboard with placing the dots and the scratches, though, because it might end up looking a bit messy. But if you put the right amount, it will give your pastry a nice character, as I've added some texture throughout the rest. Off the pastry, I find that the middle is looking a bit flat. So I ended up adding a thin layer of paint and just still doing the itching movement in the middle to give it a bit of color and texture. This is what I meant by going back and forth in certain areas. You're just trying to balance it out, and this comes down to personal taste. In the end, I personally, like my pastry toe, look a bit cooked, sometimes a little bit overdone, but this is completely up to you. 13. FInishing: Shadows: in this lesson, we're going to be painting the shadows. Essentially, we're not doing anything new in this. Listen, But as we've gone over this before, since we have finished all the subjects within the painting, we're just going to bring it all together and make sure everything is well balanced. For the q B. I use the colors that we previously made in the Key Me lesson, which is a mixture off permanent yellow, deep and permanent green. But as we want to make a darker tone, I added radiant and separate into the mix for the middle of the q E. I also used the exact same colors, but just in a thinner consistency than on the green part off, making me Now moving along to the peaches, I use the same color mixture as the base color, which is a mixture off vermillion and permanent yellow deep. But like the cue me, I also added a touch off sepia to make it more off a brownish tone for the shadows for the shadows off the peach. Considering it's on a smooth surface and it's also curved, you want to make sure that the shadows are nice. Has moved. So to do that, we're just going to do the exact same technique, which is pulling the paint with your clean, damp brush to create a nicer with their transition for the strawberries. I use roast matter, and I also mix in the color that I use for the curie seeds. But if you don't have that on hand or you didn't end up making that, you can just use up yet into the mix. I also use some off the orangey coded that I used for the shadow off the peach so the shadow off the strawberry can have a little bit off the orange color that is costed from the Mandarin. So by now, I hope you guys realize how I go about painting my shadows, which is always to take the color off whatever is costing from it, like here and doing the shows off the Mandarin that is costing from the blueberries. So I decided to take a bit off the blue from the blueberry mix, and I also added some warmth by using some sepia. I find that if we only use one color for shadows by using just sepia or just black, the painting will end up looking dull or monotone. So this is how I personally keep the vibrancy off my paintings. But this is just my style of painting. I also like to change it up here and there. But yeah, this is just the basic concept of it. So I think by now we've pretty much covered the whole painting. Before I make the final shadow, which is costed from the pastry. I just want to have one more little look see to balance everything else one more time. But if you are already satisfied with your painting at this point, you can move along to the final shadow, which we will paint loathe for the blueberries. I ended up adding some more black into the ultra Marine under oppression blue mix because I felt that the blue off the blueberry was about to vibrant, and I wanted to create more off a muted blue and also more distinct shadow. Okay, so last but not least, I took some colors that I mixed for the strawberries, and I makes it into the dark blue berry color to create nice, muted purple color. And I'm going to be using this as the base shadow off the pastry. So, firstly, I'm just going to run this along the base to create a really nice fine line. And then after that, we're going to stretch it lower, and we're going to add more water to create a nice gradation off the shadow, so it's not too harsh. 14. Finishing: Highlights: We're not going to paint the highlights to bring the whole painting together. There are several ways you can approach this. If you have several supplies, you can just try different ones for the 1st 1 here, I tried using my white water color that I have on my pell. It turns out that it's not as opaque as I wanted it to be, so I'm just going to use my normal white pin. This is a universal signal light pen. You can also technically use squash paints, too, but I find the application off. Using a pen is much easier, however, though, because if you're using wash, you're going to apply it with a brush and brush. Strokes tend to be nicer because they're much more flexible than pens for the highlights. I'm just imagining which parts would have light reflected on it, or if the fruit is a shiny top of fruit or every. It's more velvety in terms of texture. So, like for the peach I wanted surf me like the can pH. That always has a nice glaze. So I added a bit off white. If however, you feel like the white that you please is a bit too harsh. This university open is actually water soluble, so you can take your brush and actually smooth it out as if it's watercolor. And you can use the exact same technique that we've been using this whole time, which is to smooth out using just a clean brush. This way, if you overdo your highlight, you can also reactivated again and use a clean tissue paper or paper towel to take off the paint or, in this case, the white gel pen, and it would work out the same ass water color for the blueberries. I actually ended up using the wet gel pen so I can create more texture to the blueberries and at the same time creating highlight. But it's still in the same texture that I want the blueberries to be, which is not too glossy or like if words having please for the Mandarin I want to play. The highlights within each segment off the mandarin toe still accentuate the texture off. Last but not least, for the surgeries, I'm going to add some white around the seats and also on the fish. I ended up over doing this, but I took some off with my brush. It is the most exciting step for some people because it really brings out the glossy nous in your painting. But it's also really over work sometimes because the white is also very easy to find it satisfying to look at. So just be mindful when you're applying highlights to not overwork it. 15. Optional Accent: Dots: through this part off the class is completely optional, but I wanted to add some dots around the fruits just to bring a happier and more fun character instead of painting. So I took some of the colors from the fruits. As an example, you see me using the green color from the Q B. And then I also used the orange color from the beach and the red off the strawberries. And then I placed those thoughts near the same color and near the fruit. So as an example, I play some green dots above the Q E. And then I plays orange dots near the peach and also the same thing with strawberries. And then after that, I also plays the colors randomly across just to bring them all together. In the end, I think, though, I ended up putting a bit too many dots around my painting. So remember to stop and take a look at your overall painting once in a while to make sure you like what you see. In the end, though, I still think that the dots bring out more fun to the painting, and I personally think it looks a little bit like Skittles. But as I said, this part is completely optional. I think the rest of this lesson is quite self explanatory. Just have fun with this. There's really no rules, no techniques. Is just putting dots here and there just for some added fun, so I'll just leave you guys to it way. 16. Closing: and you're done with this class. I'd like to congratulate you in completing all the lessons. And hopefully by the end of this you also have a beautiful painting off retired that you can share the Project gallery. If you were intermediate to a fats watercolorist, I'd like to challenge you to create your very own composition using one or more of the fruits that we went over in this class. And after he finished, I also would like you to post it in the particulary so you can share with me and your fellow classmates. I hope you thoroughly enjoyed this class on Also learned a bunch of new tricks when it comes to fruit painting. If you like this class, it would be really great if you could leave a free back on a rating. So I can't see the kind of things that you like to paint If he would like to see more, I've really thinks by me. I also have you to channel called me and anywhere I post once a week on it mostly consists off easy watercolor tutorials. And if you're just interested in seeing more paintings by me, I also have an instagram account, which you can follow at a I G. Underscoring Janjalani. You can also tag me on your paintings that you do in either this class or any off the YouTube tutorials that I do. I love seeing what you guys think. Thank you again for watching, and we'll see the next one.