Learn to Paint Colourful Sweet Summer Treat Collection with Watercolours

1. Introduction: Hi, everyone. My name is Nia and today. I'm going to share with you how I paint this colorful sweet summer treat collection. I'm so excited to share this one with you guys since I had so much fun painting it and combining all the different bright colors together. Initially, I wanted this to be an ice cream collection, but along the way, I thought that including fresh fruits will increase the dynamic as well as the amount of different colors that I can include in this composition. So this is what I have come up with. I will be painting this whole composition without any references, but I will show you the process right from the very beginning of the ideation process. After this introduction, I'm going to show you the supplies as well as the colors that I used to complete this. And I'm going to show you how I created a small library of items that I can pick and choose to include in the final composition. I'm also going to show you how I create the thumbnail sketches and also sketching the final composition with color variation that I'm going to do digitally. Finally, I'm going to show you the final outline before painting all of the elements one by one. All this is shared with you and hope that you will gain the freedom to paint what you want. Instead of feeling the limitation of painting the composition that I share with you today in case you have any other ideas in mind. If drawing is not your strong suit, I will, of course, have the outline available for you guys to download in the projects and resources section. So that's also an option where you can get straight to painting. For this class, I will be painting in detail. So I would recommend for students to have Prior experience with watercolors. This includes things like brush control and understanding of the wet on wet and the wet on dry techniques. With this said, though, I will give you options along the way, and I will also share the technical aspects for repeated subject like the ice cream itself. So hopefully by the end of this, you have repeated the technique enough times for you to create your own favorite ice cream flavors for future paintings as well. So just to be on the safe side, I would recommend this painting for intermediate students. But you can also join in if you're a brief beginner and you're interested in giving this a go. Just as prior knowledge before painting along, if you've never taken any of my classes before. I will be skipping through parts of the painting if my hand is off the frame, just to get the class going, and it's easier to see the progression of the painting that way, but I will still be painting in real time despite the cuts. So just to get an understanding of the flow of things, I would recommend for you to watch the class or some lessons before painting along. This way, when you are ready to paint along, you know what to expect, and you can also pause in between each step so you can paint at your own pace without feeling rushed. So if this sounds like something, you guys are interested in trying, come join me in this class, and let's begin. 2. Supplies: In this lesson, I'm going to go over the supplies that I used to complete the painting. For the paper, I use these two sketchbooks. This small one is just for me to swatch my colors, but I'm going to be using my A five size bow hog sketchbook. This is 300 GSM cold press, which is a medium grain, and it's 100% cotton. This painting is, of course, still doable with hot press paper, which is what I usually use. However, the quality of the lines will be much cleaner and sharper if you paint on hot press compared to what I'm using here with the cold press. This is something that you want to paint and display, of course, you can also use a loose paper instead of painting on a sketchbook. Now, moving along to the brushes, I'm only going to be using these two. This first one or the green one is what I'm going to mainly use for most of the painting. This is by George or, and it's a size for synthetic round brush. As you can see since I don't use this brush very often, it comes to a very fine point, which makes it much easier for me to paint on the details. If yours is a little bit frayed, you can also use a size zero brush for the finer details. Also be using the smaller brush, which is a size one by tech. You can of course use any brands you have on hand. But I'm using the smaller brush not because of the fine point since I can achieve those delicate lines using my larger brush. But it's more for the short bristles to create rounder edges, which makes it much easier instead of using my larger one which can snap and create uneven edges when I try to create those round circles. Next, this is the palette that I'm going to be using. This is just a cheap plastic palette from die. When you're using a plastic palette, just make sure that you're using a light color, so it's easier to see the colors that you're mixing and be mindful that you can also beat up. Mine is fairly new, but I've used it a few times, so it's getting a little bit better with the way the paint sticks to my palette. You can also use a porcelain palette if this is something that bothers you because it might be a little bit difficult to control the load on your brush if the paint beats up. This is why you really need tissue right next to you. This is very important to have next to you at all times, is as important as your brush. This is what helps control the brush load, and even though sometimes my hand is off the frame, I'm usually dubbing off access paint almost every single time before I apply paint on paper. Next thing you'll need is, of course, a jar with clean water. You can use two jars or just one. Personally, I'd like to just use one and just change the water whenever it gets a bit too muddy. If you're using two jars, you can have one, which is for cleaning your brush, and the other one is for you to take paint. The color that you're mixing won't look too muddy with the dirty water. For the sketching portion, I'll just be using my usual pencil, which is by pentel sharplet and it's loaded with two B pencil. I'm also going to be using my pentel eraser. Lastly, I'm going to use my hair dryer to make the drying process much quicker, and this is optional, but I just can't be bothered most of the time to wait for certain areas to dry. So this is optional, but it's definitely a time saver. In one of the lessons I'm going to use procreate on my iPad to try different colors. Of course, this is not a requirement. You can always try colors manually with paint, but I'm just going to share my full thinking process as we go in case you would like to create your own composition, and using procreate does make the process a little bit easier to try colors. Speaking of colors here are the ones that I'm going to use for the painting. Firstly, this is compost blue by Holbein, followed with yellow Ochre by Holbein, CPA by Holbein, Crimson Lake by Holbein, vermilion by Holbein. Cobalt green by Holbein, Titanium gold ocher by Sminke Chinese white by Holbein, and the yellow light by Daniel Smith, and permanent yellow deep by Holbein. I'm also going to use a little bit of bleat proof white by doctor Page Martin or you can also use white guash. If you need, this is also the swatches that I've made using the colors as they are. You can take a screenshot of this or you can download it in the projects and resources section. Again, here's just a full list of all of the supplies, so you can get everything nice and organized before we start. Okay. 3. Ideation Library: Before I start painting these sort of compositions, I always like to do a little brainstorming to just figure out the items that I want to include in the painting. A lot of times I just have too many ideas in my head and sometimes it might not go with each other. So I'd like to just write down really quickly some of the items that I have in mind that I want to incorporate into this composition. Want this painting to have a really fun colorful summary and refreshing feeling. I've decided to include fruits and ice cream or popsicles into the composition. Since I find that I can play a little bit more with the shapes as well as include many different colors. Firstly, I just write down names of fruits that I have at the top of my head that has different colors which are fairly familiar for me to paint. Firstly, I always like to incorporate strawberries into my painting, of course, that's the first. Peaches are really easy and fun to paint. Since they're mostly just gradients. On the side of the writing, I'd like to just create a simplification of the shape for those fruits. It's much easier for me to visualize them later on. I'd like to also think about how I want to present these fruits, as a whole, as haves or as wedges or slices. I'm fairly happy with the choices that I have here, so I'm just going to leave it here for the fruits and move on to the popsicles and ice cream. But if you have more ideas that will help you with your ideation process, feel free to just write it down and draw out a simplification of the fruits. Next, let's add on the popsicles. This time, I'm going to go straight into the shapes. I'm just thinking of very simple shapes which will be easy to paint, but can include different colors. Of course, shapes of popsicles will greatly differ depending on where you're from. Feel free to maybe include a couple which might remind you of your childhood favorites. Drawing these out, I like to think about the colors if they're going to be gradients or have some sort of texture depending on the flavor they're going to be. You can also think about things like toppings, if they're going to be dipped in chocolate or have some peanut crumbles and so on. Since we can't include too many in the composition, I feel like four shapes are enough for the popsicles. Next, let's catch out some ideas for the ice cream. For this, I'd like to think about the scoops, if they're going to be scoops or soft serve. Personally, I want this to be fairly easy to paint, so I'm not going to bother with the form of the soft serve. So I'm just keeping this simple and just thinking about how the scoops are going to be presented. Is it going to be in a cup or is it going to be in a cone? And what type of cone I can incorporate into the composition? You can even think about homemade ice cream. It can be served in micin in a cup or in a small bowl. Some cones can also be dipped at the top or the bottom, and that's something that can also play around with as you're sketching out some ideas. You can also pile on the scoops of ice cream. As an example, this can be used as the focal point right in the middle or the center of your composition. You can have a tall ice cream with many colorful flavors. While I'm at it, I also like to think about the pattern of the cone or the cup because sometimes I just get a mental blank when I'm painting them straight away. For any of the ideation process, you can always look for references if you want some extra inspiration. Lastly, I'm also going to play around with the toppings, see what sort of shapes and fun sites I can include to enhance the presentation of the scoops of ice creams. Since I want this painting to be bright and colorful, the flavors will play a big role because that's going to influence the color choice. So I'm just writing down some ideas quickly before I start sketching the composition. 4. Composition: Okay. An important thing that I always do before sketching out before I sketch out minial compositions is to know the paper size as well as the aspect ratio or dimension of the paper. This way, you can take framing into consideration. And since I'm going to be painting on this A five paper, this will be the aspect ratio that I use, even when I'm just sketching out something small at the beginning. I also want to take into consideration the binding, which will take up a little bit of space on top. With all the shapes that I sketched out earlier, I'm going to simplify it even further by not painting on or drawing on any of the patterns or little details. I'm essentially just drawing icons to represent certain items, and this is just a very quick way of putting things together in a very short period of time. I always like to start with whatever is at the center. And when I'm placing the items around it, I like to think about the space that I have and what sort of shapes will go well in those space. So think about if this space is long, wide, round, maybe a little bit square and so on. And what sort of items will complement the space that I have if I'm going to add another large item or just smaller fruit items. That's just a very small example on the left. I'm just going to quickly draw out another idea on the right. As you can see, since it takes very little time to do this, the possibilities are endless. You can try to incorporate different fruits within different thumbnail compositions, since it's fairly quick and see which one works best for you. I quite like the first one already, so I'm just going to draw out a slightly larger version. Again, taking care of the frame that is going to be in. And this time, I'm going to incorporate a little bit more detail. So I'm going to sketch out some toppings on top since. There's a little bit more space. I want to also take into consideration some of the pattern or detail work on the cone. The upright water melon on the small thumbnail sketch looks a little bit too static, so I'm going to add a little bit more dynamic into the composition by putting it on an angle and also adding some splashes of color on the side. This, of course, can still changes just a better view when it's at a slightly larger scale, seeing what sort of details I can add on to enhance the full composition, like the smaller items of the leaves and things like that. After adding on the details, I think I like it even more with the extra details, and that's also a good sign. So I'm just going to think about the flavors of these items. This way, I can avoid doubling up certain similar colors next to each other to make the composition look more lively and colorful. This is the composition that I sketched out beforehand as I was planning on this class, and the lines are drawn very loosely and thinly, so it's much easier to erase and move things around. I don't really put too much care into the details. Instead, I just want to drop down the shapes, making sure that everything is fairly balanced. Now I'm going to do the same thing with this new composition, and I'm just going to compare at the end to see which one I prefer. I'm just going to have the sketches right next to me at all times, so I can always refer back to it. When I sketch out this composition, I always like to begin at the center. This way, the main elements right in the middle and I can then divide up the rest of the elements surrounding it to frame the whole composition nicely. At this stage of the drawing, I always want to sketch out very loosely. You can see where I'm holding my pencil is quite far back. This way, I don't accidentally put on too much pressure. I also want to simplify as I'm drawing just like how I sketched them out before. I'm just thinking of the basic outlines for all these shapes. For the popsicle sticks is much easier to draw a guideline right at the center of those popsicles. This way, you can create a continuation of the line, making sure that they're the correct angle following those popsicles. I haven't fully made up my mind for the toppings, but here I just sketch them out really lightly as well, just to make sure I have enough spacing for anything that sticks out. On the left of the cone, there's a little bit of space, so I'm going to fill it in with the wrapping that sticks out to the left. Cup of ice cream disappear out of nowhere, but I'll be erasing it since it's not at the right placement or the right size. This is why it's very important to just draw things very quickly and lightly. This way of mistakes were made like what I did there, it wouldn't have taken too much time. I always think of how to simplify shape. For the peach slices, I created half circles and add smaller half circles in the middle with jagged lines for the areas of where the seeds previously were. After this, I'm just going to add the smaller fruits to fill in the rest of the space as well as some leaves and flowers. I'm sorry, I skipped the sketching process though because I did this on a very cloudy day and everything was over, but I'm sure you get the gist of it. 5. Colour Trials: In this lesson, I'm going to show you how I try to figure out the colors. You can do this manually with your paint on paper, but I find it much easier to do it digitally, so I can just layer on different colors to see what works best with each other. This is of course optional and you don't have to do this for your own paintings. But I just want to show you my full process in case you want to create something completely on your own or even outside of this project. What I did here was to take a flat lay picture of my really rough pencil drawing and I created the canvas according to the size of my paper. Then I just distort the shape of the paper to make sure that it fits correctly within the frame that I have created on Procreate. This one is made from my first sketch as my ideation process before I created this class. You can see that I've painted this like how I've sketched it out, which is very rough. The lines are not clean. I just want to quickly get down the colors and the flavors of the ice cream, making sure that they're balanced and it creates a nice flow within the composition. This is what I quickly painted with the composition that I sketched out with you guys in the previous lesson. At this point, I was still unsure which composition I like the most. I was just looking around to see which one has a better flow in my opinion, as you can see, I also created different layers with different colorings or different flavors of the ice cream. As an example, I really like cookies and cream as a flavor, but the gray color just didn't sit right with all the bright colors, so I decided to change it into this brownie ice cream with a caramel drizzle. Okay. Now, let's go back to the new composition. You can see that I basically use the same flavor since I already like the color combination and the textures. I also enjoy the flavors myself. This painting is still quite personal to me. This is why you can always customize it to your favorites. But since I've changed some of the elements in the composition, I just move those flavors around minus the chocolate ice cream since I don't have enough space for another scoop. Let's just take this as an example. I can still change things and move things around since nothing is set in stone at this point. But looking at this whole painting, I can already tell that I don't like the color of the cherry, since it's too dark compared to all the other bright colors. I personally like eating black cherries more, but it just sadly doesn't work with this composition. I changed it to this Vermillion to instead. I can see just from this small change, I like the flow of the composition or the colors better. When I paint later, I'm aware that I won't be able to get the exact same colors, especially for some of the pestels and the light vanilla color. I understand that certain pigments just won't be as bright. But this is just a rough guide for myself. As it helped me visualize the color as well as the value placement and how they interact with each other. Just because the dark cherries doesn't work with my composition, it doesn't mean that it won't work with yours. This will just depend on the rest of the elements and the relationship of colors that you decide to include in your very own composition. In this painting, I also added different elements for the toppings. I'm going to now go back to my sketch and add on those toppings according to how I've painted most of them. With the added toppings this time, though, it might take a little bit more space than anticipated or what I've drawn out earlier. As an example, because I want to add the waffle on the right hand side of this ice cream scoop, I will have less space for the peach slices. I'm just going to reposition them according to the space I now have. I want to also clean out some of the outlines, making sure that it has a clear enough volume for all of the elements that I've included in this painting. Looking back at my digital painting, I decided I didn't like the position of the cherries as well. So I decided to change it into oranges instead. Since I also felt like painting the orange skin texture. Here I felt like the focal point of the ice cream cone was a bit wonky, so we decided to redraw and reposition the whole ice cream. And this time, I also decided that I'm going to go for the toppings that I created on the painting. So I'm going to sketch it on this outline as well. After this, I'm going to go back to the digital painting again because I can see that compared to all of the other objects, this popsicle on the left looks empty, even though I added the texture. Here I made some changes and I added a chocolate dip on top with a little bit of texture from maybe nuts or some cookies. But the pink is still showing at the bottom, so I'm not losing the color and on the right, you can see that I just created an orange blob to see the interaction between the colors from the orange instead of the cherries. That's basically the final outline. I'm just going to clean it up in my own time, so the lines are not as scratchy. 6. Strawberry Popsicle: On the outline is nice and clean, I also added the extra chocolate topping on the strawberry popsicle. This is also where I'm going to start to paint. As for the main color, I'm going to use ermlion as my main red. Then I mix a little bit of Chinese white to turn it into a pastel tone, and I want the color to be a bit more rosy, so I added some crimson lake as well. Adding white pigments tend to make your paint on the thicker side. After I applied a little bit of paint on my paper, I decided to just clean my brush and use the water that's on my bristles to help move the rest of the pigment on the area. It also helps to paint around the edges first, so it's much easier to fill in the rest of the space. Once the paint is evenly distributed and the surface is still a little bit damp. I added more crimson lake into the previous mixture, so the pink becomes a little bit darker, and I'm placing this at the bottom, as well as underneath the chocolate drip. This will create a slight shadow. And because the surface is still a little bit damp, the paint will travel towards the center naturally, which I'm going to take off if it's a little bit too dark and it moves too much with a clean dry brush. At this point, I want the surface to just be a little bit damp and cold to the touch without it being shiny. This way is the right dryness for me to add on some textures. I added even more vermillion and crimson lik into the previous pink mixture to create a darker version of the color. And with this dark color, I just.in different sizes to create a slight texture. Just like before, if some areas are a little bit too dark, I'm going to take off the excess pigment using a clean dry brush. Once the surface is slightly more dry, I'm going to use the same color and this time, I'm using the tip of my brush to create smaller dots in random areas, and I'm going to clump them in some areas and leave certain areas empty, which will randomize the positions. Hopefully, you can see from the progression of when I painted the dots on the damp surface. The edges of my brush strokes are much softer compared to what I'm painting now, which is on a dry surface. The edges of the dots are much more defined and it's no longer spreading out. This is very important to understand, since this technique will create the illusion of depth through the layers for the texture, which I'm going to repeat for other ice cream flavors as well. But going back to the colors, I use crimson lake in a thick consistency for the dark red. Here I went back with the mid tone pink, which I mixed earlier. Again, I'm adding more textures on the dry surface. Even if I'm using the same color, you can see that it adds depth as I'm painting this on top of some of those softer textures. Lastly, using this mid to pink, I'm going to clean out the edges and add a light shadow underneath the chocolate drizzle. 7. Mint Choc Chip Ice Cream: Let's move on to the next item. I'm going to paint the Mint chock chip ice cream, and I'm going to use more or less the same technique as before. As for the color, I'm using cobalt green as the main color. Then of course, I'm going to add some Chinese white to turn this into a pestle tone. But since it's a little bit too bluish, I decided to add a touch of hands yellow light. But of course, you can always adjust the ratio of your paint according to how you want your jutive to look like. For the application, I'm using a medium to a light consistency, and I tried to make the surface look uneven since it is a hand scooped ice cream. To achieve this, I try to play around with the pressure of my brush, letting more pigment flow out of my bristles in certain areas than others. I also left out some white negative space or negative line, especially between the top part of the ice cream where it's round and the bottom word slightly sticking out and uneven. Sometimes I'd like to apply it this way as well, which is to apply a slightly thicker consistency, then cleaning your brush until you get rid of all of the pigments on your bristles. Then with a wet or damp brush, pick up the pigment that you've already placed on paper and drag it outwards depending on the area that you want to cover. This will create something uneven since certain areas have more pigments than others. Let's go back to the ice cream painting. I'm going to enhance this even further by painting on the damp surface using the same color but in a thicker consistency as slight shadow. I'm also going to apply this to the sides to redefine the form, as well as add some dots and random lines to add more texture. Since some areas are more damp than others, the color that I'm applying might have softer edges. Well, some lines have sharper edges when I paint on a dry area. But I'm just going to embrace this for the texture, and when I'm adding on the lines, I'm also following the curvature of the ice cream to help with the round form. Like the previous ice cream, I'm going to layer little by little, this time I added more cobalt green in the mix, and I'm wiggling my brush around creating different weights for the lines. Notice that when I'm painting, my bristles always have a sharp point and it's not puddling or overloaded. This is why I can layer on more colors without waiting too long in between, since I'm not using too much water to begin with. To do this, just take full advantage of your tissue to take the excess water off before applying your paint, making sure that your brush won't be overloaded. I'm going to keep layering on using an even darker green. This time, I didn't use any Chinese white in the mix, instead, I added some crimson la into the cobalt green with hands a yellow light. Now I'm going to start adding on some of the chocolate chip textures, and I'm using the same mix as before, but you can see that I'm using a thicker consistency this time. I also added more crimson lake into the ratio to make the color slightly darker. Just like before I'm using the tip of my brush to create different sizes for the dots and the textures. You can see that some of the edges are softer and some are sharper. Since we are using a fairly dark color compared to the base, though, you want to make sure that the base is only cold to the touch and not shiny or damp. If it is too shiny, it means that the surface is too wet and the dark paint is just going to travel too fast and it's going to make the whole ice cream look too muddy. You can see the circle on the right is more puddling wet. Even though I'm only creating really tiny dots with the tip of my brush, the paint travels quite far. I'm going to make another circle that's really dry and you will see the effect here. All the paint stays in place and the edges are nice and sharp, and I can also make really small dots since the paint won't travel. If you ever feel unsure about the dampness of the paper. I would suggest for you to paint on a completely dry surface instead using either a slightly lighter consistency. So it doesn't look too contrasted compared to the base color, or like my example here, you can also soften the blend using a clean damp brush after you've applied the darker colors. While I'm smudging this, please also take notice of the circle on the left. As the paint dries, you can see that it's traveling further and further. That's something that you want to avoid. But anyway, going back to the painting, for the darkest color of the chalk chips, I just use CPA in a thick consistency. Again, I'm just applying it by using the tip of my brush, creating different sizes. And this time, I did make sure that my surface is completely dry because it is too dark, and if it's going to spread out too much, it's just going to create a mess. So make sure to do the darkest color on a dry surface. And after that for a little bit of extra texture, I'm going to go back to the previous dark green color in a very light consistency to add on some more texture and lines. 8. Vanilla Ice Cream: Now, let's move on to the next ice cream. This time, I'm going to be painting vanilla. And as for the light color, I used a mix of titanium gold ocher with the tiniest bit of sepia just to mute the color slightly. And to lighten it even further, I added some Chinese white. I'm going to use a light consistency of this, so I added a lot of water into the mixture and just like the base color of the mint choi, I want to create an uneven surface. So take notice of how I'm applying the paint in some areas, I'm just using the tip of my brush, and some areas, I'm using a bit more pressure. So the area that's touching the back of my bristles doesn't get too much paint. Just like before, I'm going to follow this up by using a slightlythicker consistency of the same color mixture. In this time, I'm going to apply it two parts off the bottom and also the different texture between the round area of the ice cream and the rough bottom. Now I'm going to add the darker values using the same mixture, but it has added CPA. Here you don't add too much because we are painting vanilla and if we accidentally put too dark of a value, it's going to darken the overall look of the vanilla and it might start looking like coffee instead. Just be very careful with this. Use a really light consistency of the darker value. And try to place it very lightly in certain areas for the extra texture. Again, I'm painting this on a slightly damp surface, just cold to the touch without the surface being shiny or damp. You can see some lines are spreading out, creating a softer edge. On the dry area that I'm painting on right now, I use an even lighter consistency to add more texture painting using the sides of my brush to create the uneven surface. 9. Popsicles: Next, I'm going to paint the tropical fruit popsicles. For this, I'm starting with a lemon and lime flavor. For the lemon, I use a mix of hands yellow light with a touch of titanium gold ocher to warm the color slightly, and to lighten it, I also added some Chinese white. I'm using medium to thick consistency to paint this, being very careful around the edges, and I'm just going to paint this from the top but not all the way down since I'm going to switch to a light green color by using the same mixture as before with added cobalt green. I'm adding the green while the previous yellow was still damp. I didn't really leave any time in between. I just used the different colors create away. This way, the bottom will be completely green, and as it reaches upwards, there will be a mixture of those two colors creating a gradient from the green to the yellow. Well, the surface is still a little bit damp. I'm going to take off some paint on the right hand side, and I'm just going to soften the blend if there are any rough edges. This will create a slight highlight, but a soft one. For the next popsicle, I want it to be yellow and ermlion but I want to separate the yellow, so I'm using permanent yellow deep this time. I'm starting with a medium consistency. You can see that my load is fairly watery to cover the large space. And just like before, I'm not going to paint it right at the very top. Instead, I'm going to switch to Vermillion this time and using a medium consistency, being very careful with the edges and letting the vermillion flow downwards to the yellow. If the vermilion is not traveling as fast or as much as you would like it to, you can always help it move with your brush. I wanted the top to be a little bit more red, so I added a bit more pigment on the wet surface. Okay. 10. Brownie Ice Cream: Now let's move on to the next ice cream. I'm going to use a similar color as the vanilla. But this time for a slight variation, I added a touch of vermilion and also a little bit of titanium gold ocher. Just to recap, this has titanium gold ocher with the tiniest bit of sepia Chinese white, and a touch of vermilion. For this ice cream, I want it to be vanilla base, but I don't want to use the exact same color for a bit of variation, and later on, I'm going to add some textures for the brownie chunks. When you're painting on a really light color, make sure that you're using a really light consistency, and this time, I'm just adding on some color and then filling in the rest of the space that I left out white with just water to create a slightly textured surface. If you accidentally made the base color a little bit too dark, you can always take off the excess pigment using clean tissue, and it's best to do this while the surface is still damp, so the paint hasn't had much time to settle in the paper. Next, I'm going to add some of the textures. This time, I'm not using a darker version of the previous base color. Instead, I'm just using titanium gold ocher in a light consistency. Sometimes I like to change the hue slightly. And I also think that the previous color will be too dark if I use a darker version of it, since it is slightly muddy compared to the titanium gold ogre by itself. I also added a medium consistency underneath some of the caramel drizzles as a bit of shadow. Next, let's paint on some of the brownie chunks. I'm starting with a light consistency mixture of CPA and ermlion to create a reddish brown. This time, instead of creating smaller dots, I start by creating larger chunks for the brownies in some spaces. Then once I've distributed a few of them randomly, I'm going to add on smaller dots as well. Even after using a light consistency of this brown, I find that there's too much contrast for some of those brownie chunks. So I decided to soften some of them using a clean damp brush and just pulling some of the pigments to smudge parts. After this, I'm going to use the same color in a consistency and placing a darker color on some of the larger chunks. To add a bit more dimension to those chunks, I'm also going to add it around the edges as well. So it looks like some of the brownie bits are popping out. Lastly, I'm just going to enhance the shadow for the scoop of ice cream using titanium gold ocher again in a light consistency. 11. Cripsy Chocolate Coating: Since we've painted all of the flavors of the ice cream, let's add on the toppings. Let's start with the chocolate dip on the strawberry popsicle. For this, I'm using a mix of sepia and mliion. Since I want this to be milk chocolate, I'm not going to create too dark of a color, instead, I'm going to take a little bit of that titanium gold ocher mix with Chinese white and add it to the brown. I'm going to take a light but heavy load on my brush so I can cover this large area. I'm painting this carefully around the edges first to create a barrier. I decided to leave a bit of high light by leaving a bit of negative space following the curvature on the side, as well as the side of the drips. Again, I'm just outlining the outer portion first, so it's much easier to fill in the rest of the space. I feel like the white is a bit too rough. So I'm just going to smudge it using a clean dry brush. I'm going to create a darker brown now. I using the same mix, but I'm just going to add more man and sepia and while the surface is still damp. Again, not puddling wet, just a bit damp. I'm going to add on the darker brown at the bottom of the chocolate trips as well as the sides to find the shape. I'm also going to clean out the sides of the highlights that I left out and smudged, this is fine to do since the surface is still a little bit damp. The lines that I'm making won't be too harsh. If your paper is completely dry though, you can always soften the edges using a clean damp brush. After adding on the highlights on the chocolate, I felt like the ice cream itself looks too flat. I'm going to add a bit of dimension by creating this shadow on the side, using a little bit of the pink that I still have left on my palate and just layering the side as well as the corner at the bottom with a very thin consistency. Now with the same dark brown, but with more sepia and Vermillion, I'm going to add textures as if they are cookie crumbles or nuts underneath the chocolate. For this, I like to think of randomized blobs, but I'm only painting an outline on the bottom left corner of each of those blobs, so they look like unfinished outlines. While doing this, I want the shape and size to be randomized as well. You can see that the edges are also very sharp. That's because I'm painting this on a dry surface. Just like the brownie ice cream, I also want to add some textures on the sides as if we can see a bit of the texture peeking through. Okay. After I have a good amount of the larger blobs, I'm going to fill in the rest of the space with smaller ones. For the smaller ones, I don't exactly create an outline for every single blob, but some are just small dots. I have a fairly good distribution here, but since those shapes look a little bit too well defined, it looks like leopard print. I'm just going to smudge some of the larger shapes to make it a bit more subtle using a clean damp brush. My bristles are only slightly dampened and I'm only going to do this for some of them while leaving the smaller ones. Since I've smudged the larger ones a bit too much, I'm going to add more dots on top, using the same brown while the surface is slightly damp. But in some areas, those parts are too damp, so I'm just going to dry it off with a hair dryer and add on more of those tiny blobs, using a thinner consistency of the same brown. There's a lot of going back and forth here, and I'm only adding on thin layers on top of the previous textures, and this subtlety will create more depth in your painting. 12. Popsicle Sticks and Pocky Sticks: Next, I'm going to paint the popsicle sticks. For this, I'm going to take some yellow ocher and mix it into the titanium gold ocher that I already had on my palette and use a light consistency to paint the base color. Next, I'm going to create a darker version of this color, and I just picked up the dark brown that I used for the chocolate topping in the previous lesson and mix it into the base color. I place the darker color while the surface is slightly damp underneath the popsicle, as well as the side to create more dimension. I'm going to use the same base color to paint the popsicle sticks on the tropical popsicles as well. But this time since those popsicle sticks are fairly thin compared to the previous one we've painted, I'm only going to add the shadow right underneath and not worry too much about the side. While we're painting on the sticks, I'm going to also paint the poky sticks or the chocolate sticks on the mint ice cream. I just added a bit more yellow ochre into the previous dark brown mix, and I'm going to use this to paint the base color of the pretzel part of the chocolate sticks. Before adding on the chocolate, I want to make sure that the base color is completely dry for the pretzel sticks. This way, the dark brown won't bleed into the lighter brown. For the chocolate, I just use CPA in a medium consistency. Since the area is quite small to paint, you can switch to your small brush for this. As for me, I like to paint the edges to outline it and create a barrier and also leaving a bit of line on the side as highlights. Now I'm going to mix the dark brown and the yellow ochre together to create something in the middle. With this, I'm going to add little dots and little ovals for the texture of the Pressel sticks. Once I'm done, I'm going to soften the edges using a clean damp brush. 13. Caramel Drizzle: Now, let's paint the caramel drizzle for this. I want a brown that is somewhat in the mid tone and I want it to be quite bright and orangey brown, so it looks very appetizing. For the color, I use what's left on my palette from the CPA and the yellow ocher and I added more vermlion and a bit of crimson lake to brighten bring a bit more saturation and warmth to the brown. Since it's a bit too dark, I'm going to brighten it further by adding permanent yellow deep. I'm just going to swatch it and see if I like the color. I quite like the brightness and saturation of it, so I'm going to apply the paint as the base color. Just like the chocolate coating, I want this to look shiny and glossy. So I'm going to leave out some white negative space, especially on the long drizzles. It helps to draw out the outline around the edges and outline around the highlighted area. So it's much easier to avoid painting at the wrong places. I also like to do this a section at a time so it doesn't get too confusing. And while the surface is little bit damp, I'm going to follow this up with a slightly darker brown. It's basically the same mixture, but it just has more of the darker colors like crimson lake and touch more sepia. Since the areas that I'm painting are quite small, feel free to use your smaller brush if your large brush doesn't come to a fine point. Once I'm done with the base color and I left out a good amount of highlights. I'm going to follow this up with a slightly darker brown. Just like before, I added more sepia and also crimson lake, so the dark brown doesn't look too dull. With this dark brown, I want to very lightly place it around the sides as well as underneath some of the drizzles to act as enhancement for the drizzle as well as shadows. Here some of the edges of the highlights too harsh, so I decided to soften it using a clean dbrush. Here, I realized that I don't like the equal length of the drizzle, so I decided to extend the one in the middle downwards. 14. Additional Toppings: Now, let's add the toppings for the caramel drizzle. I'm going to start with the wafer stick on the right. For the base color. I just added some titanium gold ocher into the caramel mixture that I used earlier in a light consistency. Then while the surface is still damp, I use a slightly thicker consistency and apply it to the sides. I'm just going to dry off the base color because I want it to be completely dry before adding the chocolate swirl on top. For this, I just use a medium consistency of CPA and I added these diagonal lines following the roundness of the stick. I want the lines to be more or less equal lengths apart, and then I'm going to fill in with the dark brown alternatively. Next I'm going to paint the chocolate bolls, but I realize as I was painting it, it's maybe a little bit too small to see. I'm just going to show you a larger version here, close up, hopefully, it's a bit easier to see and you know how to apply the technique to the smaller ones. I start by painting the outline first. Just like the other objects, it's much easier to create a barrier at first and also leaving out some space following the curvature for the highlights. I'm doing this in a medium consistency. I know that this looks a little bit too light. But for the final one, I use the medium consistency first. Wait for it to dry before applying another layer using a thicker consistency. So there are essentially three tones, the highlight, which is the white of the paper, the mid tone from the medium consistency and the darkest tone from the thick consistency of the brown. You can also do this with other colors if you don't want the topping to be chocolate. I'm just going to show you another example with pink. I started with the medium consistency to paint the outer outline as well as leave out some space for the highlights. Then once it's dry, I follow it up using a thick consistency of the same color. Now let's apply it to the smaller balls. It's much harder to control the amount of water in my brush since it is very small. So you can of course use a smaller brush for this. The base color that I'm applying here might look a bit too dark, but I'm basically using a medium consistency, but because the surface is puddling wet, the wetness just creates a darker color, but it will dry a bit lighter. Once I'm done, I'm going to dry everything off with the hair dryer, so it's much easier to paint on the thicker consistency. As for the color, by the way, this is just CPA mixed with a bit of ermlion but you can see that the color is fairly dark, so it's mostly CPA in the ratio. 15. Sprinkles: Let's move back to the vanilla ice cream now and we're going to be painting the sprinkles. For the first color, I'm going to create red sprinkles, and I'm using Vermillion as the base color with a touch of crimson lake, and this also has a little bit of Chinese white. I've switched my smaller brush to paint and the sprinkle since the bristles are much shorter, so I won't accidentally take too much water and the tip also doesn't come to a fine point like my larger brush, so the edges or the two sides of my sprinkles won't be to pointy. I'm just creating lines that is slightly curved, and I like to play with the angle as well as the length. I want the sprinkles to be a bit closer together at the top of the ice cream and a bit more sparse and further apart as it gets towards the bottom. As I'm doing this, I want to create some spacing as well, not overdoing it with one color because I want to have multi colored sprinkles. Still using the same red, I added some permanent yellow deep to create this orange color, and I'm going to apply the sprinkles the same way as before. The orange looks kind of dark, so for the yellow, I want it to be light yellow instead. So I used a mix of titanium gold ocher with some Chinese white and has a yellow light. Let's move on to the green. For this, I'm using a mix of hands yellow light again with a bit of cobalt green and Chinese white. Those are the hues that I'm going to pick, but of course you can also add other hues as well. The sprinkles look a bit flat, so I'm just going to add touch of shadow on one side of the sprinkles according to its colors. I'm starting with the red, and for this, I use the same base red color with a touch more CPA in the mixture. For the yellow, I use permanent yellow deep, and just like the red, I'm placing this on the sides of some of the sprinkles. I'm going to avoid painting on every single one of them because I don't want the sprinkles to look to overwork. I'm only going to add shadows for those two colors. You can also add shadows for the other hues if you would like. But I'm going to move on to add some highlights for some of the sprinkles using bleedproof white. I want to show you if your brush doesn't come to a fine point. You can use a really light load on your brush and flatten your brush like this. So there's a sharp point to the tip of your brush that you can paint delicate lines with. Now, using the end of my brussels let I flatten, I'm going to paint on somethin lines for the highlight of the sprinkles. The white is fairly harsh, even though I'm not using a fully thick consistency, and to avoid this, you can try softening the edges of the white areas with a clean damp brush, but I feel like that's a bit too much work, so I'm just going to leave it like this and to avoid making this too overworked. I'm just going to paint on sp sprinkles and not every single one of them. 16. Spoon and Waffle Cone: In this lesson, I'm going to add the sporting elements or objects for the vanilla ice cream. I'm going to paint the spoon first, and for this, I want the color to be bright and fun. I use a mix of composed blue with crimson lake and Chinese white to create this light purple color. I'm going to use a medium consistency and cover the base. While I wait for this purple to completely dry, I'm going to move on to the next item, which will be this waffle cookie on the right. For the base color, I just kept it simple and just use titanium gold ocher and a medium to light consistency to cover the whole area. Then while the surface is still fairly damp, I'm going to add on a darker version of this color by adding some crimson lake and million into the previous mix or just the titanium gold ocher actually. I'm placing this around the outer edges, then I'm going to soften the blend using a clean damp brush. After this, I'm going to follow this up again with a slightly darker version of the color, which has a touch of sepia and a thicker consistency, and this time I'm placing it just right at the edge so it looks more cooked. Now, going back to the spoon, I use the same purple color but in a thicker consistency. I'm just going to create this outline inside or a little bit of decorative pvel. Now that the waffle is dry, I'm going to go back to it. This time, I'm going to use the same orange mix as before, but with added yellow ocher and I'm going to paint squares diagonally next to each other. I'm going to do this in a light to medium consistency, and I'm leaving out some negative space around each square, so you can still see the base color. Once I'm done covering the whole surface, I'm going to add on a bit of shadow straightaway using the darker version of the color, which has less yellow ocher in the mix, and I'm using a light consistency to paint the outer edges of those squares. Since I'm painting a bit of this golden brown, while the surface is still a bit tab of those squares, you can see that the lines are nice and soft. 17. Waffle Cone: Yes. Moving on to the next step, this time, I'm going to be painting the full waffle cone for the Min chokip ice cream. Here I'm just going to draw it out is basically the same idea as the previous waffle cookie that we painted. But this time the waffle cone is wrapping around each other. I want the other side to have a slightly different direction, so they stay separated. Either way, what we're going to do is still the same as the previous waffle cookie, which is to create those squares diagonally and leaving a bit of space in between, so it looks like there are outlines from the base color. After painting on the squares, I'm going to paint the shadow on one side, and this will create more or less the same effect as the waffle cookie that we painted before, which is to create that embossed waffle texture. Now let's start to paint. I'm going to use the same color as before. This is a thin consistency of titanium gold ocher. I also added a touch of yellow ochre, but it's optional, and I'm only going to paint one side of the cone first. This way, whatever I'm painting on the side won't bleed into the other side. After painting on a thin layer, I'm going to use a thicker consistency of the same mix to paint around the edges. Then with a clean damp brush, I'm going to pull the paint a little bit further down this time. There's a nice soft gradation. Then of course, I'm going to follow it up with an even darker brown by adding vermillion crimson lake, yellow ochre and the tiniest bit of CPA. I'm only going to paint this around the curve off the top or the edge of the waffle cone itself and not the side. I felt like the lighter part of the waffle cone looks a bit too light. So while the surface is still damp, I decided to do in more of the darker brown as well, just very subtly. Next, I'm going to paint the other side. You can also wait for the left side to completely dry if you're scared of the colors merging together, and the colors doesn't have to be completely the same. A little bit of variation of the brown tone is quite nice as well. After this, I'm going to paint on the pattern of the waffle cone. But before doing this, I want to dry it off completely. This way, when I'm painting on the pattern or the squares, they won't end up bleeding into each other. As for the color, I'm using the browns that I already premix on my palette, but I added a lot of water for a very thin consistency. But I'm using a light load on my brush, so it's much easier to control the water flow. For the other side, I try to make the angle slightly different as I mentioned before, and I'm just using the same color in the same light consistency. You can see how I've laid out my color on my palate. Some tones are a bit darker than others, and for the sides or the shadow of the emboss, I'm just going to pick up some of the darker browns that I already had on my palate. This is basically made out of the same mix as before, but it just has a slightly different ratio. I'm placing the darker shadow on one side of the squares, and I'm also going to add on another layer with the dark brown around the side of the cone for extra contrast in the value. You can choose any hue you would like for the wrapping of the cone. For me, I'm going to use a mix of crimson lake with a bit of sepia to darken it slightly, and I'm going to turn this into a softer pastel with a bit of Chinese white. Since this has many sides or different parts, I want to keep them separated from each other, so I'm going to paint one area at a time. I'm starting with the base color, and I'm just going to paint it evenly around the sides being very careful with the edges. While the surface is still damp, I'm going to pick up a darker version of this color, which has less Chinese white, and I'm going to place it around the sides. Once I'm done, I'm going to dry it off completely with a hair dryer. Then once it's completely dry, I'm going to move onto the other areas. This way, the paint won't bleed into each other. You can see how that slight gradation from the darker version of the same red helps to keep those areas separate. I do. I do. While the surface of these two areas are still damp, I'm going to add on the darker version of the same red as well. The connection between the cone and the wrapping looks a little bit too flat. I'm just going to add a bit more shadow using the color of the cone before in a light consistency for a Suttle shadow. I'm also going to do this for the cone behind as well. Then for a bit more definition for the wrapping, I used a little bit of bled proof white to paint the top edges. Okay. 18. Wafer Cone: Yes. In this lesson, we're going to paint in the small wafer cone. I'm going to use more or less the same technique as the waffle coats, but this one has a different pattern. Let me just draw it out first and hopefully it'll be easier for you guys to understand and apply it to the painting. There are going to be two separate sections for this, the top and the bottom. For the top part, I'm just creating these time in shapes. Just like the previous waffle cones, I'm going to add some shadows to those shapes. The shadows will add more dimension to these shapes. Some areas look like it's protruding outwards while others look like it's bust inwards. For the area at the bottom, I'm going to create a border at the top and at the bottom, and I'm going to divide up the rest of the space with some rectangles. Be mindful that we are going to paint on a cylindrical shape, and when I'm drawing out the rectangles, I want those rectangles to skew upwards ever so slightly following the curvature of the cylinder. Here I'm going to show you the simplified version without leaving out the negative space in between the rectangles and once you get a better idea, you can then try to draw out the individual rectangles while leaving out the negative space. Now, let's try to apply everything to the painting. You don't have to paint this free hand. By the way, you can always throw it out beforehand. The pattern will also be included in the outline that you can download, so you can pick and choose the option. You can trace it if you would like. I'm going to paint this per section. I'm using a thin consistency of titanium gold ocher with probably a little bit of the previous brown that I still had on my palette. I'm using a thin consistency here, and while the surface is still damp, I'm going to follow it up with a bit of the golden brown from the previous waffle cone. Just a recap, this has a tiny bit of CPA vermilion and crimson lake mix into the titanium gold ocher. I also added a thicker consistency of the titanium gold ocher on the sides to help enhance the round cylindrical form. After that, I want to make sure that the base color is dry. Then I'm going to paint the pattern with a golden brown color. I use the very tip of my brush to create the lines following the curvature of the cylinder, and you can also do this with your small brush. Just a reminder, make sure that the load on your brush is very light, so your bristles can come to a very fine point and the paint won't travel too quickly out of your bristles. The line at the top is a little bit messy, so I'm just going to soften it using a clean damp brush. After this, I'm still using the same color this time and a much thinner consistency. I'm painting on the diamonds one by one and also filling the color. I'd like to start with the diamond in the middle and then adding more towards the outer parts. As I get more towards the sides, I try to make the shape of the diamonds look more narrow to suggest some foreshortening. I know the shapes are not even here, but it's okay since it's hand painted. I quite like that is imperfect sometimes. After this, I'm just going to fill in the rest of the space in between while leaving out the negative space or the lines. So it looks like there's a light outline from the base color. Since the pattern is quite intricate, I'm going to dry it off before painting on the shadows. This is a slightly different approach, and this is something that you can also do to your waffle cones as well if you want a little bit more control. I'm using a slightly darker version of the color and a slightly thicker consistency as well. This just has a bit more crimson lake meli and CPA in the mix. Once I'm done, I'm also going to enhance the other forms as well by adding shadows, just lining the edges very lightly using the tip of my bristles. Now, let's paint the second section, starting with titanium gold ocher in a very thin consistency in painting it evenly to dampen the surface, and while the surface is still damp, I added a slightlythicker consistency of yellow ocher with the titanium gold ocher at the top and the bottom for some slight shadow. After this, I want to enhance the shadow from the top part of the cone. This is from the previous golden mix, but I added more vermilion and CPA. The line looks too sharp at the bottom, so I'm just going to soften the bottom part of the line with a clean damp brush. I added a bit too much water here, so I'm going to take off the excess with tissue and dry it off. Then I'm going to start painting on the lines and the pattern. Since the browns on my pale were a bit too dark, I added more titanium gold ocher, and then I adjusted the value by adding some of the reddish brown and the dark brown. I'm using a medium consistency to paint on the lines. So the lines are cleaner and a bit more sharp. And I'm going to use a consistency to paint on the rectangles while leaving the negative lines showing the base color. You can see that I didn't divide this evenly again, but it's okay. I'm just going to keep going, painting and skewing the rectangles upwards ever so slightly as I add more towards the sides. M. Once I've covered the whole cone, I'm going to use a thick consistency of the darker brown and paint on the shadows around the top part and a little bit of the sides as if I'm outlining those areas. While doing this, I'm also using a really light load again, so it's much easier to control the water flow. After painting the shadow at the top, then I'm going to paint on the shadows on the left side, only for the rectangles on the left side, and I'm also going to add shadows on the right side for the rectangles on the right hand side. I'm quite happy with the form, but I feel like some lines are a little bit too sharp. So I just such parts of the cone, using a clean damp brush and taking off the aces with tissue. In some areas where I've taken off too much, I can always go back in and redefine it further using a thin consistency. And to help enhance the cylindrical form, I want to add shadows on the left and the right side as well. So I'm using a really light consistency of the base color almost like tinted water, and I'm applying a very light layer just for the left side and the right side. 19. Ramekin: Yes. Let's move along and paint the ramekin. The color that I've chosen is pink. It's up to you what hue you want to paint this with though. As for the pink, I use vermilion and Chinese white, and I mix this with the maroon I had on my palette to mute the color slightly. If you don't have any of that color left, you can just add a touch of crimson lake and the tiniest bit of CPA. For the base color, I'm using a really light consistency. To do this, I place a light consistency already on my paper, then I lighten it further by adding more water and just spreading the paint across the whole area. Well, the surface is still wet. I'm going to start adding on the shadows, using a thicker consistency of the same color and first placing it underneath the ice cream. I'm doing this quite thickly because I want the shadow to move further down, and I'm going to start adding the texture of the Rmican still using the same consistency by adding lines following the shape of the micin that I've drawn out. While doing this though, I felt like the lines were too far apart, so I decided to double up the lines. After this, I want to quickly dry everything off. And as you can see, because the base was still really damp. The lines blur a little bit too much. So I'm going to define it again. This time, I want to add a rim though. So I added a line on top, then I'm going to follow it downwards with the vertical lines. You can see that the lines are much sharper now since I am painting on a completely dry surface, and as for the color, I added a little bit more Chinese white, so the pink is more pastel. Still painting on the dry surface and using the same color mixture. I'm going to add shadows directly underneath the ice cream, as well as the bottom, and I'm going to use a clean damp brush to smudge some of the lines, especially the ones on the side, the form looks more three dimensional. Now I'm going back to the first color mixture, which has a bit more of that maroon mix into it. With this darker value, I'm going to add shadows to some of the lines, especially along the sides, as well as the bottom of those lines. 20. Strawberry: In this lesson, I'm going to show you how to paint the strawberry. But since I haven't painted strawberries for a while, I did make a few mistakes that I ended up fixing in this lesson as well, and I will also show you the correct way of painting a simplified version of the strawberries. Anyway, for the color, I'm using a mix of vermilion and crimson lake and I'm going to outline very lightly the area of the highlights, then paint on the dots for the texture of the strawberries. These dots are more like ovals and the first mistake that I made was to make it too large of an oval, and I didn't really follow the curvature of the strawberry. So at the top here, I needed to make the oval a little bit more diagonal to follow the curve of the strawberry a bit more, and this will help the form. After that, I'm going to fill in the rest of the strawberry at the bottom with this color. Another mistake that I made was not to leave enough highlights or negative space. However, that's fairly easy to fix with bleed proof white later on. Okay. For the top area, I want to change to an orange color. For this, I just added a touch of hansa yellow light. At the bottom, while the surface is still damp, I added more crimson lake, so the bottom is a richer red. I'm going to dry this off and add more of those textures and because I've already made the ovals too large. The other ovals that I made has to fill the same size of the previous ovals, and I'm using the dark red here from a mix of crimson lake with a touch of spa to fill in the rest of the strawberries with this dark red. I also added a little bit of the dark red inside of the larger light ovals because I felt like it'll help. Then as I continue upwards, I use a slightly lighter red as the base color is slightly more orange. I also felt like the highlights were a bit too far apart, so I ended up using a light consistency of firms and lake to paint really thin lines in between just to make the highlight less glaring. I'm going to build on the values adding the richer red at the bottom side of the strawberries. Here I decided to add more dots, but this time a little bit smaller in between the ones that I've already painted to lessen the empty spaces. Now, moving on to the leaves, I'm going to create a green from cobalt green and yellow ocher. Then I decided to add some crimson lake to mute the color. This will create a brown. So I'm going to bring up the saturation again by adding more cobalt green, and this time, I added permanent yellow deep for brighter yellow. Here, I'm using a thick consistency, and I just want to paint the leaves according to the outline. Now, for the seeds, I'm going to use a mixture of bleed proof white, so the color is now opaque, and I added a little bit of titanium gold ocher. I'm just going to use the very tip of my brush to add on those tiny little seeds. At this point, I still wasn't happy with the strawberry, so I decided to go over the larger ovals again using bleedproof white and try to reposition and resize these dots. You don't have to do this. So after this, I'm going to show you the correct way of painting it, which will make the strawberry less complicated than this. I decided to include this mistake in case you accidentally made the same mistake as well, which can happen, and this will be a way of correcting it. So you can see that I've basically erased the previous large ovals using bleed proof white, and I just repainted it with the vermilion or the base color again, but I made them smaller this time. So here's a simplified way of painting the strawberries and it will look slightly different compared to the one that we painted earlier. This is a looser way as well. I'm going to begin by outlining the area of the highlights just like I did before. In terms of the color, you can just use the exact same color as I've mentioned earlier, and this time, I'm going to make the ovals much smaller. I'm filling in the area of the highlight, and I'm also thinking about the position of those dots trying to follow the curvature of the strawberry. After that, I'm going to fill in the base color using the vermillion mix, as you can see, this time, I'm being a bit more careful and leaving little negative spaces in some areas. This time, I'm also not going to paint all the way down. Instead, I'm going to connect it later with the richer red. However, this doesn't matter too much. You can also use the wet on wet technique by dotting in the darker red at the bottom while the surface is still damp. So for this one, another option is just to connect the darker red at the bottom, using the crimson lake. While the surface is still damp, I also decided to.in a bit of the crimson lake in some of the damp places, especially at the bottom of the strawberry, where there should be a bit of shadow. Now, for the top part, I'm going to continue it upwards with a mix of Vermillion and hands a yellow light. After this, I'm going to try everything off so I can start to layer on more textures. I'm going to use a dark red. This is from a mix of crimson lake with a little bit of spa just like in the previous strawberry, and I'm going to add more dots. I'm using this dark red, especially for the area at the bottom where the base color is slightly. While doing this though, I'm still thinking about the position of those dots and I wanted to wrap around the strawberry. As for the dots on top of the lighter base, I'm just using crimson lake or you can also use a thick consistency of vermilion, so there isn't too much of a stark contrast between the light base and the dark value of those seeds. And that's it. You can leave it as is. You can add a bit more darker value at the bottom, and you can also add on the light seeds with the bleed proof white and titanium gold ocher on top if you would like. If however you like the look of the previous strawberry, you have the option to choose either one. 21. Oranges: Next in the list are the oranges. I'm going to clean out a section of my palette first, so I can easily mix my orange. For this, I use a mixture of vermilion and permanent yellow deep and you can adjust the tone by adding more yellow if you want a lighter orange and more vermilion if you want the orange to be richer and a bit more dark. Apply the base color, this time, I don't want to create an even base instead, I want to look a bit textured. I like to apply the paint in random areas and then just smudge it with a clean damp brush. Some parts are a bit darker than others. While doing this, I also left out some white negative space, especially on the right hand side. The shapes are fairly randomized is just to create textured highlights. Okay. As for the darker areas, I want to place them on the left side and also a little bit at the bottom. I also want to darken the dimple on top of the oranges. What I'm doing for the second one is applying a thick to medium consistency on the darker parts of the orange like the left behind the previous orange and on top of the dimple. Then I'm going to use a clean damp brush to pick up the excess pigment and spread it to the rest of the oranges while leaving out those negative spaces like before. While the surface is still damp. If I need extra pigment, I will just.it in those random areas and let the paint travel by itself. Not that I'm done with a base color, I'm going to enhance the darker values, especially for the orange at the back. I just used the same mixture with more vermlion in the mix, and I'm also placing this inside the dimple as well. As I'm painting with the darker value with whatever is left on my bristles, I'm going to use it to paint on extra texture on the right hand side with the lighter base color. I'm just creating the dots following the curvature of the orange to enhance the form, and I also want to place some dots near the darker values. Now I'm going to mix an even more vermillion for an even darker value on the bottom and the left side of the oranges. I'm fairly happy with the texture, so I'm going to dry it off completely, then use a dark value to clean up some of the edges. Next, I'm going to paint the stem of the orange. I just use sepia and I pick up some of the pink that I had on my palette because it has some vermilion and crimson lake mix in it as well. With the same brown, I use the thin consistency to paint inside the dimple as well to darken it further. I want to dry it off and just paint the leaves. I'm sorry for painting outside of my frame here. But for the green, I used a mix of composed blue with permanent yellow deep. If with that mixture, you don't like how bright the green is you can always neutralize or make the color look a bit more natural by adding a little bit of brown or red. Okay. 22. Peach Slices: Yes. Moving on to the peach slices. This is probably the easiest part of the whole painting. I'm going to use the same orange mixture as before. This time, I'm going to spread it fairly evenly, but I'm also going to leave out some white negative space. I want those negative shapes to be a little bit more sharp and geometric in shape because I wanted to represent some gloss on the peach slices. While the surface is still damp, I'm going to add more vermilion into the mixture for a richer orange. Then I'm going to keep building it up while the surface is still damp with a thicker consistency and just vermillion by itself. I'm only applying the Vermillion on the tip, and I'm making this slightly texture I creating the starting movement with the tip of my bh. Then I'm going to pull some of the vermilion outwards using a clean damp brush following the radial shape of the peach wedges. I'm going to repeat the same thing on this one as well. Now, moving on to the peach skin, I want this to be a deep red, so I used a mix of crimson lake, a little bit of CPA and vermilion. I'm using a medium to thick consistency, and I'm just going to paint the area of the skin that we can see. Just like the peach flesh, I also left out some white negative space following the curvature of the wedge. For the droplets at the top, I'm going to use the same orange as the base color, but I also want to leave out white negative space. You can leave just a tiny dot for a bit of highlight to make it look shiny. 23. Watermelon: Okay. Onto the next fruit, we're going to paint the watermelon. This is probably my favorite fruit on this painting. I'm going to start with the light consistency of just vermillion to paint the side face of the watermelon. I'm going to take this around three quarters of the way down, and then I'm going to switch colors by adding a bit of a yellow light that I mix on the side of my palette here and I'm going to bring it downwards continuing from the vermilion and soften the end with a clean damp brush. After this, I took some crimson and place it at the top. Then I clean my brush so I can pull the rest of the pigment downwards. So the color of the red becomes much lighter at the bottom. The surface is quite wet, so I'm just going to dry it off. Next, I'm going to paint the front face using a medium consistency of ermlion I'm placing the color first at the top. When I pull downwards, I'm running out of pigment, so the bottom is slightly lighter. I'm also going to leave out some white negative space as I did for the peach slices. The watermelon looks juicy and shiny. I'm going to stop here and while the surface is still damp, I added a thick consistency of vermillion just right at the top. As for the bottom, I used the mix of ermlion with a bit of hands yellow light in a really light consistency, then softening the edges at the bottom. Next, I'm creating this darker red by adding crimson lake into the vermlion still working on the damp surface here, I added the darker red at the top, and as I reach towards the bottom, I create something that looks a bit more textured by adding dots and then using my clean damp brush to pull some of the paint downwards, but I don't want it to reach all the way down. If some parts look too flat, I like to dab off the excess paint with tissue. Once I reach closer to the bottom, I just use a clean damp brush again to soften everything, and this is to also dampen the surface so I can start adding the green. For the green, I use permanent yellow deep with cobalt green and I just place it at the bottom, and since I am painting this on the damp surface, the edge words touching the dam surface will soften on its own. I'm going to follow this up by using a slightly thicker consistency right at the bottom. Since the surface is quite wet, I'm going to dry it off before moving on to the side. For the slide, I'm going to apply the same thing. I'm going to dampen the surface and pull some of the light color downwards. Then I'm going to place the light yellow green. Then I'm going to soften the edge with a clean damp brush since this area was small, and if there are any excess, I just take it off with a bit of tissue. For the darker green, I want to make this one slightly darker, so I added a touch of CPA. After this, I want to make sure everything is completely dry so I can paint on the seeds. For the seeds, I use CPA mixed into the dark red that I already had on my palette. So the tone of brown is consistent with the red of the watermelon. To paint the seats, it might be easier to paint with a smaller brush. Or another easier option is to use a pen or colored pencil, but you won't be able to customize the color. 24. Leaves and Flowers: Now, let's add the finishing touches and the decorative elements like the leaves, flowers, and also the juice droplets. I'm going to mix up my green first. This is from a mix of compose blue and permanent yellow deep. Since that mixture creates a really bright green, I'm going to mute slightly with a touch of sepia. After this, I'm going to go ahead and paint the leaves. Since those areas are quite small, you do need a light load on your brush. Mine was a bit too wet here so you can see the colors puddling up a bit too much. I decided to just take off the axis with tissue. But be mindful of this, especially if you're painting on the right hand side with a dark color, you might accidentally smudge it with the side of your hand. After you're painting on the leaves, I'd like to continue it down with CPA to paint the stems. You can switch to a smaller brush to paint the stems or you can also use pen or colored pencil. There's a lack of blue in this painting, so I want to make the small flowers all blue. And for this, I use a mix of cops blue with a touch off crimson lake and Chinese white. So it turns into this pastel blue. I'm going to paint all of the flowers fully without leaving any space or anything like that for now. H. Okay. Since I've scattered all the blue, I don't want to accidentally smudge it, so I'm going to try it off completely before painting on the leaves. For the leaves, I use the same color for every single one of them, which is the previous color mixture of composed blue, permanent yellow deep, and a little bit of CPA. Now I'm going to go back to the flowers again. I'm going to use a medium consistency of bleed proof white and just paint circles at the center. The blue proof white was just to create a white base that I can paint on and I'm going to fill it in with titanium gold op. While I wait for the yellow to dry, I'm going to paint the rest of the droplets, and I'm just going to follow the color of the item that's closest to these droplets. I'm going to paint them the same way by leaving a bit of white space, but if it's a little bit difficult to control, you can also paint the whole thing flat, then use ble proof white to add on the highlights. Lastly, I'm going to add the center for the flowers, and for this, I'm going to use a mix of crimson lake with CPA. 25. Cleaning and Highlights: All that's left is to clean out the extra outlines that you can see. I'm going to do some finishing touches like cleaning out some of the edges and also add highlights in this lesson. The sides of my popsicles were a bit messy, so I decided to just mix a similar color. It doesn't have to be from the exact same color mixture, and I'm just going to fill in those messy edges. The final adjustments will greatly depend on the condition of your final painting and your adjustments might not be the same as mine. Have a final look around in your painting and decide which areas you want to clean up or adjust. I feel like the only adjustment that I need to do is just a popsicles. For the rest, I just use bleed proof white to add some extra textures as well as highlights. Since I've already left out a lot of negative space, I don't want to overdo this. I'm just fixing up certain areas, and also adding tiny little textures like on the orange skin, the gloss of the chocolate dip, the little chocolate topping, as well as parts of the ramkin here. I also want to add some tiny leaves next to some of the flowers, and that's basically it. We're done. 26. Closing and Class Project: Congratulations for completing this class. I hope you guys enjoyed watching the process right from the beginning to the end, and hopefully you guys learned something new along the way. For the class project, I would love for you to paint along to the either exact composition or you can also create your own customized version as well. Once you're done with your paintings, please don't forget to post it in the project section. This way, other students will have access to it, including myself. So I can look at the different variations and customizations you made or even just the different styles you decided to use to create this painting. If this is a class that you enjoy, please don't forget to leave a review. It's always nice to hear feedback from you guys. And it also helps me and encourages me to grow further to create the content that you like. If you want to see more tutorials by me, I do have a YouTube channel called Nian where I post weekly watercolor tutorials. Or if you would like to see more art by me, you can also follow me on my Instagram at IG underscore Nani. If you guys are still here, thank you so much for staying right to the very end of this video. I wish you the best of luck for your projects. I can't wait to see it in the project section, and I'll hopefully see you in a brand new class soon. Hi.