Learn to Paint Realistic Strawberries Without Reference

1. INTRODUCTION: Hi, guys. Welcome back to another class. If you're new here, Welcome. My name is Nina, and I will be your teacher for today's class. Today I will be teaching you how to draw as well as paint strawberries. This is a request for my friend Tracy. And to tell you the truth, when I dressed robberies, I tend to just follow or copy reference images mindlessly without thinking off the actual form itself, because it is just one of those more complex subjects to paint. So I spent a lot of time trying to study the form and the structure off the strawberries itself. And by the end of it, I managed to figure out how to paint strawberries without using any reference images. And this is what I'm going to share with you today. So hopefully by the end of this class, you'll be able to do the same for this class. I will first give you the list off supplies as usual. Then I will teach you how to draw the shapes, form and structure of the strawberries and thinks like placement off the groups and the seeds off the strawberry, which will help enhance the volume off the subject instead of coming up with a thought two dimensional painting, then I will go over the colors on color mixes, then moving on to the step by step painting all these steps, you can basically use them as a form of exercise before painting your final piece so you can take your time to study it before you jump into your full composition. I have also made an exercise sheet which you can print on use as practice, and you can also trace it if you don't want to draw your own strawberry and you just want to learn how to paint it. I'm going to show you an example off my final painting, along with a voice over so you can still follow along if you decide to not draw your own composition. But since this class is aimed more towards teaching you how to paint your own strawberries , so then you would be able to incorporate it into your own paintings. It is recommended for you to paint your own composition, but if not, I will still include the outline off my final painting. In case you would want to follow along, I would say that this class is geared more towards intermediate to advanced students who has a fair experience enduring and painting with watercolors. Since that will help you better understand on visualized the three D form off the subject. There are a few things that you have to think about in a certain steps all at the same time . So if you're new to watercolors, thought might be a little bit tricky. Another thing that I would like to add is that the class will be sped up and some hearts because there parts like the groups and the seeds off the strawberries, which can get a little bit repetitive. So whenever you need to pause in between, you can go ahead and do that. I would actually recommend for you to skim through the lessons, though, so you know what to expect off the steps in that certain lesson, and you will be able to follow along easier that way and just pause whenever you need time to catch up. And I think that would make the paint a long experience much easier for you guys to follow with. All that said, I hope you guys enjoy and benefit from this class for me. I personally find strawberries much more pleasurable experience to paint and including my food illustrations, as it has taken a lot of pressure off after learning the basic form of it. So I hope you guys enjoy this and let's begin. 2. LIST OF SUPPLIES: in this lesson, I will go over the supplies I will be using for this cost. There's really nothing out of the ordinary here, so I'm just going to go over them quickly. And I will also give you a list at the end to clarify everything. So, first off, here are my drawing supplies. This is the pencil that I will be using at some mechanical pencil, and the lead is to be. And I also have my favorite razor, which is the boxy brand. It raises really clearly and easily, but you can use anything you're comfortable with for the paper. You will need paper to sketch. You can use any sketch paper. Also, a sketchbook or even cartridge paper really doesn't matter too much as long as you understand the method off painting. In the end, you can use any paper to draw on for the painting exercises. Though off course, I'd suggest for you to use watercolor paper for the final painting. I'll be using my usual camps and excel 300 GSM. But of course, any watercolor paper will be fine. I just suggest the weight off at least through 100. Yes, M. So the paper has a bit more body and it doesn't work as easily. You will also need scrap watercolor paper if you would like to switch the colors first before putting it down and European thing to make sure that you mix the right color. And for this you can use any way that you want. Mine here is 200 yes, M. But it really doesn't matter because we're only using this to swatch colors. Next, I'm going to go over my painting supplies, and for this you will need a pellet. You Kenis anything like a plastic plate or porcelain as long as the basis white. I find it a little bit easier for you to see the colors that you're mixing, and obviously you will also need water color paint. Here are the only colors that I'm going to be using, but I will go over them in detail in another lesson, and I will be using what wash to toe add final touch ups. I always have to shoot with me to get rid of excess paint or access water on my brush. You can also use a paper towel or a hand towel. Next. I have a clean jar of water, and these are the brushes that I'm going to be using. The 1st 1 is a size to brush by Ivy Tech. It's a cheap synthetic brush so you can use any brand that you want, like reefs or Lai Ra. And I'll also be using a says zero brush by Windsor uneaten. This is the SEPTA goal two. As an option, you can also use a hair dryer. But since I will be jumping around the steps toe wait for parts to dry. I actually didn't meet this, But if you're paint isn't drying as fast as he would like, this is always a good option. You might also want to use a tracing tablet if you will be painting with the same outline that I'm using. But of course, you can use any method off tracing. Or, of course, you can also paint your own composition, which I actually encouraged me to try. 3. DRAWING EXERCISE: Understanding Shapes: in this lesson, I will go over the basic shapes off the strawberries so you will be able to draw them out yourselves if you want to create your own final composition or to use it for other paintings. So first you want to start out with an oval. Either an oval or a circular shape is also fine. And at the bottom off the strawberry I created around a triangular shape. You can first start off by drying out the easiest angle, which is front on, then tried to twist it from side to side and draw the strawberries slightly, tilting either to the right or the left. Another thing is to keep in mind that if you want to change the perspective off, whether you're looking at it from the top beside or the bottom off the strawberry, you can alternate this by moving the centre off the leaf cap from the strawberry, which can be indicated as a small circle or a dot when you're comfortable with during it out. You can then try to draw out the shapes without the initial oval and see if you're comfortable with drying out the basic outline off the strawberries or not. I also want to add that the more uneven the lines, the more natural destroy breeze will actually look. I actually find that a bit off uneven, curvy lines for the outline will give the strawberries their own unique characters. Once you have the outline down, we can move on to the contours. As I have mentioned in my other food illustration classes. Contours are very important in giving the object full you instead of the subject looking flat. This is the key to giving an illusion off a three D shape. So let's go for the contour lines to get a better understanding of it. So contour lines are the lines which are supposed to follow the outer shape of an object. When you curve the lines and a certain way, it will give the illusion on round object. So here I'm going to show you one way off contouring, and in this 1st 1 I'm going to create curved lines until the bottom off the oval. And then I'm going to create a slightly curved quanta or below it, so less curve than the top, and you can see that this will show that the top part off the strawberry is bulging out and the bottom is a bit smoother for this next one I'm going to draw. You can see that because the dot off the leave cap is at the very tip. This means that we're looking at the strawberry from the side rather than from a higher angle. Like the 1st 1 I drew out where you can see a little bit off the back off the leaf cap or words supposed to be. And I'm going to create the same contour lines as before, with the top slightly bulging out so it looks really juicy. But because I'm looking at it from a different angle, the curvature of the oval at the bottom is slightly more flat compared to the 1st 1 I drew up. Here is another example where the lines are only slightly curved and it doesn't break at any point off the contour. Instead, it flows through the top to the bottom smoothly. This will give the impression that the surface off the strawberry is more even, so even with similar outlines, you can create different shapes and volumes with these contour lines when we paint the final painting there won't be any contour lines, however, We're going to use the lines as grits to indicate where the peak off the subject or the part that is protruding the most is and where the highlight would reflect from that object . The same goes for the shadows, which will most likely be on the opposite side when we're going to draw out the groups and the seeds off the strawberry. We're also going to use the Contour lines as indications off the curvature off the seeds. This is why understanding the volume off the subject your painting is very important with the strawberries that I've drawn out. I'm going to imagine which parts off the strawberry is protruding the most and therefore would get the most light reflection. And I'm also going to mark out the areas where it would be in shadow, which means that it's the area where would get less light, which means it would be the opposite off where the reflections are and try to draw this out with all of the drawings that you've worked out with the quote, your lines just to get a little bit of practice and understanding 4. DRAWING EXERCISE: Grooves and Seeds: As I've discussed in the previous lesson, the uneven surface and seeds off the strawberry should follow the contour lines as rough guides. We can first start out with the group's off the strawberries, and for that I'm going to draw on even oval shapes. They're not perfect oval, so you can draw any abstract shape with similar forms and try to draw this out following the curve off the contour lines. I'm also drawing them quite close together, and I also tried to draw the ovals in between each other. But this doesn't have to be perfect. I actually made an exercise sheet, which she can download and may be traced out for small, warm ups like this one. One off them requires you to paint those. So for that particular one you might want to trace on separate paper or else the ink from your printer will bleed everywhere. But as for the rest of the exercise, you can just trace it out as many times as you want are printed out as many times as you want to help you understand the form. So here I have turned out all of the groups throughout the fresh and sorry for those of you who asked her before we had. This is probably not the easiest thing to look at, but this will really help in the final texture anyway, getting back to the point as you get closer to the sides, the ovals should become thinner because off the curve and right at the side of the outline , the outline should also become uneven or wavy as it goes through some off the groups. The placing off the seeds will also play a part in creating the volume, and here are the points that you will need to remember. The seats would usually be placed in the middle off age groove and as it gets closer to the bottom of the strawberry because the contour lines are also coming close together. Sometimes the group's become smaller and closer together, and as it gets to the side of the strawberry to form the curvature off the fruit, the seed will slightly shift closer to one side off the oval because part off the group will be covering it up. The same goes for the other side off the strawberry as it gets closer to the left side. The position of the seed will slightly shift towards the right and right at the edge. The outline will become a little bit off for waving line from some off the groups, and by then most of the seeds are most likely hidden behind it. That's why you get the wavy outline. I'm going to draw a larger version off this so I can see better here, even without me during the outline off the strawberry, because I changed the shape off the oval to become thinner towards the side, and also by shifting the seeds or the positioning off the seeds to come closer to the middle. This texture that I drew out has a slight volume or curve toe here. I'm also going to draw the wavy outline, and as you can see, if there's a group in that area and you're looking at it from the side, it would curve inwards, and you might see a little bit off the seed when we're painting later. You don't have to be overly accurate about this because we're painting a small illustration . However, the larger that image, the more detailed you can incorporate and therefore the more accurate the form of stormy should be. But these air just any information to have while you're painting or to think about to get the overall understanding off the form. If this is a bit confusing for you can also look at pictures from Google images, and you can see here that this what I mean by the positioning off the seeds and the groups , as you can probably tell as you get closer to the left side off the strawberry. The seeds are more sunken inside, off the groups, and the groups are represented by the ovals that we were drying out earlier. And as it gets to the sides, the line become a bit wavy because you can see part of the outline as a bit sunken from the grooves, we can use images to study form instead of using them as reference to copy completely. This way, you can learn to break down the structure off objects, and you get to pick and adjust images to suit a particular idea that you might have in mind and put it down on paper. Even if a national foot off the composition does not exist by understanding the subject, you will also be able to just the shapes, and you will know what the limits are like, how the placing off the seed will very as an example, the strawberry has really sparse seeds compared to what we normally see, and you also get to see what shapes are possible to create or figure out what the idol shape is for you. I personally like mine to be closer to heart shapes. 5. DRAWING EXERCISE: LEAF CAPS: Let's go over the leaf caps now. The leaf caps are just basic leave shapes bunched up together in the middle. This is a fee from the top without any phones. The amount off leaves also, very so it doesn't really matter how many leaves you want to include in the leaf cap as long as it still makes sense, and it's not overly bushy or anything. The leaves sometimes can also have a few tips, so these are the variables that you can play around with when you're painting a leader, depending on the shapes off the stories, The leaf caps can have a slight curve when the top off the strawberry is a little bit sharp . So for this you'd have to incorporate folds as well as a curve to the leaves. However, if the top off the strawberries are more rounded, believe caps aren't usually as curved since they follow the shape off the upper part off the strawberry. Depending on which viewpoint you drove strawberries, this shape off the faults will also become a little the different. And that's the tricky thing about during strawberries. So one way I elect actually tackle this as by cutting out a piece of paper with a leaf shape. Or you can also do several different ones with more tips, like two or three tips. And with this, I would like to move it around and see what sort of shapes I can get by viewing it from different angles or by curving it in different ways. I like to move it side side and also see what the leaf would look like when it's foreshortened. And what happens if I view the same thing in a slightly different angle? You can also try this out with the different cattle off leave so you get see how the tip would differ in those angles. I've also drawn out a few individual basic folds that you might want to try out on the downloadable sheet. Just tried to learn these ones and copy it at the bottom. And for extra exercise, you can try making a cut out off leaf shape yourself and tried to drop different angles that isn't shown in the exercise sheet. Then, once you get a fair understanding, you can try to put it together and apply it to this bottom section off the exercise sheet, which would require you to draw the full leaf cap on top off the strawberries in different angles. 6. BONUS DRAWING EXERCISE: Additional Elements and Rough Composition: I wasn't going to include this in the class because I wanted to be mostly focused on the strawberries. But I thought that this would be a good idea, as you will be able to pare the strawberries with other decorative elements. And that way you can create a botanical painting composition. And if you choose to not use the outline that I provided for this class, so here I'm drying out the Leafs. The leaves have quite different variables in a sense that they can grow in groups of threes or just individual leafs. Sometimes the shapes can also very greatly, so you can do additional research if you would like two and different varieties. But I'm describing to stick with one time, and that's sort of the rounded leaf shape with jagged edges around the sides. The veins on the strawberry leafs are also very distinct. They're quite textures, so I want to make sure to include that while I'm drawing and painting. And then I just tried to practice a few angles that might come in handy when I want to include them in the final composition. So these air the leaves. If you were to view the leaves front on, and in this next one, the leaf will be facing forward with a little bit off the back cut off from view. And that's why you are not able to see the tip off the back. Next, I'm going to draw the leave out from the side again, though. If you would like to include more angles or you would like to practice a little bit more, you can use the same method as how we've practiced for the leaf, capped by cutting out a piece of paper and moving it around in different angles as reference. Another element that I would like to include in the final painting are unripe or nostril race. What I find is that they're much smaller rounder, and the colors are mostly green that is slowly developing to one orangey rent tint as they grew a little bit larger. The leaf caps are also bigger, and it covers a large portion off the fruit itself. On top of that, as just a little additional detail. I like to include tiny hairs on the strawberries because in certain cases that I've searched for anyway, some off the seeds might germinate even if they're still on the fruit, which might create these really fine hairs that is not overly visible. But I personally find it charming, so I'm going to include the hairs and laid around in the final painting. But it's really up to you. It's also okay if you don't want at the fine hairs before I move onto painting. I'm also going to show you how I quickly dropped my thumbnails. Once I know the basic shapes off these elements, I just for a tiny square or rectangle according to the ratio off the paper. Then I like to draw different ideas that I have in my head. The process is fairly quick, and I can usually come up with a lot of ideas just to get it out of my head and see which one works best. So if you're interested in creating your own composition, I suggest you do this step right here before drying out anything big just yet, just so you don't waste any time and you get see the overall composition instead off focusing on tiny details. I'm just going to draw three here, but as he can tell, this can just go on and on, and I don't want to spend too much time on any of thes 7. COLOUR PALETTE: in this lesson, I'm going to show you a list off colors that I will be using its Ashley Quiet a limited palate. But I've chosen primary colors that will give you wide range off tones and colors. So I will also show you the basics off how I mix the colors, too, on the next listen. So for the strawberries, the colors that I'm going to be using are not fill. Read by M. Graham Quinn, read by Daniel Smith, has a yellow also by Daniel Smith. Prussian blue and ivory, backed by whole line. They're going to be some color repetition because some colors I'm going to also use to mix the greens and is much less complicated when you use less paint or less colors. On top of that, I find that it will create a more harmonious color palette for the final painting, as your color mixtures will produce similar tones. So for the leaves, I'm going to add olive green into the mix. The one I'm going to be using is for my whole mindset and the rest. I'm going to use pressure in blue to deepen and cool down the green. If I need two. Hands yellow to Brenda Green and give it more of a warmer temperature and ivory black to darken as well, less mute the colors for the seats. I'm also going to be using a mix off white Wash and either mix it with yellow goulash. Or you can also mix it with the hands a yellow to the what, gosh to create an open color Because the white itself is already very opaque. The brand that I'm going to be using for the quash is by Woods there, Newton Designer Wash. 8. COLOUR MIXTURES: So for the strawberries, their several ways you can go about this. The 1st 1 is putting down house yellow first and then cleaning or brush and then taking some duffel red and put it right next to it. And we're going to blend us because the paint are both wet and the pain can travel and mingle with each other and will create a really soft gradation. And the more you pull in the red to the yellow or vice versa, the more orange you're going to create because they're just going to mix with each other another way, which is to make more off a ripe strawberry. I start with an orange color at the bottom, and that's with a mix off hands and yellow and not full rent. And right on top of it, I'm going to put the natural red again. And because both the paint are wet, I'm just going to let the mingle with each other again and pull wherever you want them to go or travel. It really depends. You can really control this with your brush, but this also depends on the paint and papers. Sometimes the paint can travel faster than you anticipated, but I'm pretty sure you guys understand or know European already. But if not, it's always a good idea to switch it out first like this. Next, I'm going to make the UN robes strawberry. And for this, the strawberries tend to be a little bit yellowish green. So for the color, I used the mixture off olive green and hands a yellow together to create a really light warm green. You can change up the ratio, depending on how Rifa tous. So the more unripe, the more green, I would add, and the more ripe I would add a bit more hands yellow. You can add on to this again if you want to create 1/2 ripe story. And that's to take the warm green where I used more hands yellow than the olive green. And then we can add a little bit off the orange that we use for the bottom off the previous one so you can create a really nice mix off colors, and it's nice to just let them sit next to each other, and it creates a really nice characteristic to the strawberry. You can also add more red if you feel like the orange isn't pumping enough next to the cream. I'm also going to show you a final option, which I end up doing for the final painting and thus use the first option, which is the hanzee yellow. And then I'm going to put the net flow red on top again and while the paint is still wet, or you can also layer this when it's try to. But at the bottom, where there's the yellow, I'm going to add a green mix, which is the hands yellow mix with olive green, and this will create a three color gradation, which will look really nice. And this is for the strawberries that are not 100% ripe yet. And I like having this because it's really nice to see different hues combining with each other for the shadow off the strawberry. I'm going to create sort of like a burgundy mix, and I'm going to use a few different colors for this. So, firstly, I'd like to mix the dark burgundy color first, which is a mixture off Prussian blue, Ivory Black and Quinn red. Then to have a variety off ratio. I like to also mix, not feel red and Quinn red right next to it, and I can just pull it little by little and see how dark or how red I want the mixture to be. So because we're mixing a lot of different colors, you can create a variety of tones with this, and you can control it by adding more blue or more black to it, depending on how purple or how red you want the colors to be. I'm just going to switch a few different options here, and I'm also going to show you which part off the strawberry this is going to be put on. So as you can probably tell from before, I like mine to be a little bit more red. But you can experiment with this and just put the colors next to each other and see how dark you want the shadows to be. I personally like the reddish told more, because I don't want the shadow to look too overpowering, and I'm always going to paint the groups with this. So if I used to dark of a color, it might make the gruesome look more like holes and I don't want that. That's why I decided, or I chose the more reddish tone, moving a little to the scenes. Now there are also a few options, and I personally like just using hanzee yellow and white wash because I find that the like wash is opaque enough to stand against the really bright red. But you can also use yellow Wash with the whitewash. F you what, and it will do basically the same thing. I just like having a limited palette, so I don't have to think about other supplies now. As you can probably tell, the yellows are quite bright, and sometimes he might feel like you want to tone down the yellow, and I do that by mixing a little bit off, either not full red or the orange mix that I already have into of the whitewash on the hands of yellow. So where becomes more off a reddish or an orangey creamy color? But it will still look more like yellowish color when you put it on top off the really bright red color off the strawberry. Later on the final painting, I also added pinkish highlights because in the composition there to strawberries right next to each other, and I use this highlight to separate those two shapes. And for the highlights, I used a mixture off hanzee yellow, duffel red and also the white wash. But of course, this is optional because this will depend on your final composition. I forgot to also mention the seeds for the unwrap strawberries, and for that we just want to make a thicker consistency off the unripe strawberry color, but this time with a slightly higher ratio off the olive green so it can still stand against the base color. Next, I'm going to go over the green colors, and as we've watched before, this is made out off olive green oppression blue Hans, a yellow and also ivory black. So with all that different colors before, just like the burgundy mix, we can make a lot of different tones to get the base color off the leaf. I like mixing olive green and yellow, and this is the sort of color that you can come up with. However, if you want something that's a bit more darker and a little bit cooler and tone, you can add a little bit more off that Prussian blue and how I like to mix. It is the same as how I mix the burgundy mix and that's toe. Have the oppression blue next to the mix before and just add little by little. And you can come up with really different tones with this, depending on how much movie use. As you can probably tell, the colors are getting darker, and it's also going more to a cooler green instead of a warm green can. Try switching this more and more and see the duck a screen that you can create using this mixed with Prussian blue. However, if this color is not dark enough for you can also add a little bit off the ivory Black. What this does is stark in the color, but also mutes it down because the black will mute the hue off any color. And I'm just going to do the same with this by putting the ivory black separately and then I'm just going to mix up little by little, and you can see what sort of green you come up with. You can't probably see this too well, so I'm going to water it down so you can tell that the green now ISS much more dark and muted compared to the 14 which is going more towards the turquoise color since it has a lot of the Prussian blue. Now let's see what happens when we mix the first green mix, which is the olive green mixed with Hansa yellow with a little bit off every black, and see how this turns out and how it darkens the color differently compared to when we mix it with the Prussian blue. As you can tell, the color is slightly darker than what it is before, but the color is also still warm, and it's very muted. I'm going to show you another swatch off the same color, but with more ivory, black and this is the sort of color comes up with. It becomes more off the greenish grey instead, off the cool green that we had before. I'm going to show you a color of the highlight that I used similar to what I did with the story, and I'm just going to use a mix off the olive green and has a yellow first, and also add a little bit off white wash so it can stand on top off the dark color underneath to make more all the brighter highlight. Obviously, you can use the white wash by itself, and this won't look as subtle but rather much brighter and contrast compared to the background of its dark. And this is an option when you can also use any of thes green mixes and use white for any highlight. 9. PAINTING EXERCISE: Base Colour: way we're going to start painting now. And this lesson. I'm going to go over the base colors off the strawberries, and I'm going to show you how I blend a few colors to give the lastly vibrancy to painting . Depending on how arrived the strawberries are, the colors are going to very slightly. The really ripe strawberries are usually read all around, but some might have a slight yellow or a green bottom. Even I personally like having the gradation as I feel like it brings more life or interest to the painting, and that's what I'm going to create here. I've already drawn out the strawberries without the leaf caps, and I also marked out the area off the highlights just to make it easier for us to avoid the area when we're painting them. There are several ways you can go about this, and for the 1st 1 I used tens a yellow by itself, and I just get a thick consistency of this and you can use any primary yellow color. This has a yellow by. Daniel Smith is very rich and vibrant, and I really like the consistency. So even though I get a thick consistency. I can also add a lot of water because the color is very rich and I just applied it to the bottom off the strawberry around 1/4 to 1/5 off the way up. And I want to make sure that it's puddling. What so I can continue it on with the national read that I've painted on top of it. I've also left out a white bit off area here that is usually covered by the leaf caps and paint the top with a mix off whitewash and hands yellow because there's always a slight space at the top where the strawberries are not completely red. But most off this area is usually hidden under the leaf caps. Enough will read here is already a little bit dry, so I worked it with the paint that I already have on my brush, and with that slight bit off moisture, I can reactivate the paint to get a softer blend. Now I'm going to show you alternative ways off painting these, and I'm also going to go over some points that I haven't mentioned before for the 2nd 1 Instead of starting with the pure hands, a yellow I'm going to mix this yellow with a little bit off the ne ful red to create an orangey red, and I'm going to play this to the bottom off the strawberry. Same with hanzee alot. Before this will create more off a ripened strawberry look as the bottom is more red. Then, like before, I'm going to continue on with the nuptial red, and I'm going to avoid the main highlight, as well as leaving some random specs off white space on the strawberry to create tiny small highlights in random places. And I'm going to clean my brush from time to time in order to get a slightly uneven distribution off color to get the uneven distribution off color. Sometimes I like to place a thick consistency first, and then I clean my brush and continue on with a lighter consistency off paint, and this you can do quite randomly, and in certain areas it will create a darker part or a Richard Red and some parts. It will create a lighter red, and I find that this gives off a texture that is special to water colors. I'm going to show you a different way of painting the top, and that's just use a touch off hanzee alot to continue from the red and then blend the red off the top with clean water with whatever paint residue is left on the top off the strawberry. Instead, off using the wide wash mixed with hands yellow. This is slightly trickier because if your paint is still very weap or you have a lot of pigment, the paint might lead to much to the top of the strawberry. So peace. Be mindful off that as you're painting and make sure that top is slightly dry or isn't puddling. What so it doesn't travel too fast for the 3rd 1 Here I did something similar to what it did for the first painting with the hands yellow. But this time I've left out more yellow at the bottom because I want to make this one less ripe. Here at the bottom, I'm also going to add a slight touch off green by mixing in some Prussian blue with olive green to the hanzee low Tikrit, a slightly muted lime green color and apply it very lightly to the bottom off the strawberry. Obviously, the more unripe the strawberries are larger ratio off green you would want at. But for this one, I'm just going to make it nice and settle after you have the base color down, the next thing you can do as to fill in the base color off the highlights. And for this I'm going to create the grooves and that white area by creating tiny oval shapes and painting those shapes very closely together in the white space. So for this one there, too wide spaces for the highlights and you see the one at the top is surrounded by the NFL red. So for the oval, I'm going to use the same color as what surrounding it. Where is for the bottom? Because the color is getting slightly yellow with the hands yellow, and it's also going to slowly mix with the duffel red. I'm going to use the same color mixture, which is the hands yellow and not for red to paint the ovals for the highlight at the bottom. So these are the things that you want to be mindful of as you're painting the base colors. It is a lot of things to think about all at once, so you might also want to practice on the exercise sheets. You can trace out the strawberries that I've drawn out onto your watercolor paper and try to paint it several times until you get the hang of it. Or you can also draw your own strawberries to also get practice on drawing them. I'm also going to upload a YouTube video off this easier version off the finish troubles. It's on easier approach and less detail and lose to what we're going to be painting for the final. But nonetheless, it's still very cute, and you can follow along to that to get a little bit off practice before moving on to this final painting, if you would like to. 10. PAINTING EXERCISE: 2nd Layer: So here I've painted a larger version off the strawberries just so you can see the details a little bit more clearly. And I've also drawn out the leave cap, so you're able to see the light color transition at the top peeking through the caps. I'm speeding this up because the base layer is what we basically did on the previous lesson , and I'm going to create this for both of the strawberries before we get to the next step. So picking up on the step where we left off, I'm going to add a second layer to this, which is for the shadow or the docker area off the strawberry. So, firstly, I'm going to mix the colors first, and that's going to be a mixture off Quinn. Red pressure in blue and ivory Black at first, and I'm going to create this very dark maroon or burgundy color. The darkness off the red can, very depending on your preference, because we are mixing quite a few different colors here, so the ratio will change from time to time. I like mind not be too dark, but enough to have a different station between the red and the darker red, and I don't want the groups to look too deep. So that's why I don't want the red to be too dark. But you can try different shades to see which color combination you prefer. As you can probably tell from before I like to separate my colors when I'm making the stark a red I had mixed in that dark burgundy color, and right next to it, I also have mixed off Quinn red and natural red, and I mixed those two color mixtures little by little until I get the color of the tone that I want. If you are unsure about the colors you've created, especially if you only change a little bit off the ratio, you can switch it on a scrap piece of paper first to make sure that the colors he made is what you want for the painting. With this color, I painted the area off the shadows by making tiny brush strokes and making sure that what I painted has a little bit often uneven texture, which will suggest an uneven surface off the strawberry. Once I'm done painting the shadows, I use the same color mixed to paint and the ovals where the lighter red off the strawberry is and remembering to always follow the contour lines as I paint the oval. So I follow the curvature off the strawberry. Aziz, we got to the top off the strawberry. I make sure that the top groups are placed on evenly, just like the rest off the overs on strawberry. So where the group stop, there won't be. Ah, harsh, distinct line to keep the whole painting looking natural towards the bottom. I'm going to make the ovals touch smaller and closer together. And because the color is lighter here, I'm going to add a little bit off hanzee yellow with the burgundy or dark red mix to suit the groups for this part off the strawberry. I'm going to do the same thing for this next one, and I'm just going to speed it up. But please remember to get the ovals according to the contour off the strawberries, so the top looks slightly curved, and as you paint the ovals towards the side, the ovals will get slightly thinner and closer together. I keep repeating this because this is what will give the volume off the strawberry and the thing that will keep the painting from looking flat 11. PAINTING EXERCISE: Highlights and Seeds: As you can see at this point, the white area seems a bit too glaring. So I'm going to tone down the white for the 1st 1 and I'm just going to take some water with clean brush, and I'm going to spread it lightly across the white area, even though the water is clean. When the bit of moisture touches some off the red paint from earlier, it's going to activate some of it. And I'm going to spread the excess paint lightly while still leaving a tiny bit off white. I'm also going to do the same thing for the bottom part, but I need to clean my brush first in order to get rid off the red. And this time I'm going to activate some off the orangey color and stuffed in the glitter. As you can probably tell while doing this, I want to also soft in the edges where there's a distinct frame off the white highlight. But I want to avoid the ovals as well as possible, so it's still have a good distinction between the highlights and the groups. So for this next one, I'm going to do something a little bit different Sometimes highlights are reflected from something else. As an example, if you take indoor pictures, the highlights can come from the indoor lights, which might have a slight blue tint. So for this one, I'm going to add another hue to the highlight. I'm going to create a light purple color by mixing Quinn red pressure in blue and a little bit off the whitewash. And I'm going to apply the paint very carefully near the edges off the highlight frame, just like before. I'm also going to use just the thin consistency off this because I don't want it to be too bright off Hugh. I still wanted to be subtle and blending with the rest off the strawberry like before. I don't want the brush to disturb the ovals too much, so the group still have a really nice distinct shape compared to the highlight. Personally, I find that adding another hue brings another character or another depth into the painting , but you can choose either one or even try this with a different you. If you're feeling experimental once all the paint is completely dry, I'm going to create the colors for the seeds. Like I said, before you can either use a mix off. Yellow wash and whitewash are just the white quash mixed with the hands. A yellow The white wash should be opaque enough in order to show up on top off the red based color. But if you think that yellow will be too bright against the deep reds that we use in the previously years, you can also soft in the contrast by adding some orange mix from the natural red and hands yellow from earlier. So it's up to you, which shade off yellow you want in the end. So for this I want to switch to my smallest brush. This is a size zero, and I'm going to place the seeds like how we've practiced before with the seeds in the middle off the group and shifting it to the side as we get closer to the side off the strawberries as I keep applying the paint and what in my brush, the paint becomes less and less opaque. But this is okay because he can either use this to your advantage to create a darker looking seat. But if you want to brighten up the seeds again, you can just layer more off the whitewash and yellow mix on top. I'm going to paint the seeds for the next one, but this time I'm only going to use a mix of hats yellow and white wash, and you will see that seed is just the slightest bit brighter than before. And I'm just going to speed this up until we can move on to the next step. Once I'm done with the seeds, I'm going to do some final touch ups to clean the edges, and I'm going to take a bit off the burgundy color and I suggest to use a reddish burgundy instead of something to dark. And I'm going to use this color tow line strawberries again, and I'm going to create wavy lines to suggest the site off the groups. But I'm keeping the shapes on, even so it looks more natural that way. And the clean edges here will create better definition for the strawberries. On top of that, I also mentioned before that while drawing, I like to include a little bit of fine hairs or for, and I'm going to use my tiny brush to add a tiny bit off hair in certain areas. I'm not going to go overboard with this. I'm just going to to really find strokes in random areas to add fine details and give a bit more character to the strawberries. 12. PAINTING EXERCISE: Leaf Caps: in this lesson, we're going to paint the leaf caps, and for this I want to mix the colors olive, green and hansa yellow. But as I was mixing it, I find that the color is just a touch too yellow, which would make the leaves look a bit unhealthy. I want to add a tiny bit of Prussian blue to create a cooler temperature of the green, and I'm going to use this mix to fill all of the base color off the leave caps. For the second layer, I'm going to add in some Prussian blue into the mix to create a deeper and darker green color. If the color becomes too blue or too dark, you can also add in more hands yellow or more olive green to adjust the color. I'm going to apply this darker color to where I feel the light isn't reflecting off from certain parts of the leaf caps, and we're going to continue to build on this. You can either add more Prussian blue, or you can also mix a little bit off ivory black in order to darken and mute the green. You will see me adding more off the lighter green here on the lighter area because as a dries, I felt like the green as a little bit too light for my liking. So I ended up adding the light green again and glazed that on top. I'm not too worried if the darker green paint is not completely dry yet, because I'm still going to leave Iran more details afterwards, as long as you don't add different color while the paint is still clearly puddling wet. Keep working on this until you're happy with the amount off contrast on the Leafs, you can keep building it up little by little, I'm going to wait for it to dry. And meanwhile, I'm going to add some shadows to separate the leaf caps and the strawberries. And for that, I'm going to use the colors that we've mixed on our palate, and that's to mix in some off the red mixture with the green, or to darken the brown color that you're going to create. You can mix and the green mixture with some off the burgundy. Whenever the pain starts to dry and you feel like the colors are not vivid enough, you can layer any off the colors on top like I feel that the shadow that I previously painted became very subtle. And so I'm going to layer more off the same color on top to redefine the shapes. And I'm just going to do the same thing for the next robbery. I'm also going to paint this them, using the same base green color, but as it gets closer to the leaf cap on going to add the Doctor green by adding more Prussian blue. I like adding different tones and one section off a painting, even if the area is already small, like the stem, because it keeps it from looking flat, even though in real life the area might just have the same color all around. This is where you, as an artist, can make decisions with your medium and express something that might not be there in real life or in your reference image. Once everything drives off, I'm going to take some whitewash with my size zero brush again, and I'm going to mix in this white wash with some off the colors off the leaf caps before to create a nice light pastel green color, and you can use this to separate more off the shapes if any of the areas have too much dark colors, and it's looking more like a silhouette instead of separate objects like the stem here Because I want this to pop against the dark colors off the leaf cap, I am going to add a tiny bit off the light green. Makes tow line the small area to give better definition and place it wherever you feel. Needs a little bit off definition like some parts of the Leafs. If the front part and the back part off the leave looks like one whole silhouette, is that off separation between the folds? You can also add the light green color there, and then that's pretty much it. That's the complete strawberry. But of course you may adjust this. If the colors are not as vibrant or does not have enough contrast as you want it to be, just keep working on it until you feel happy with the final painting 13. FINAL PAINTING: Strawberry Base: lessons onwards will be on the painting process off my final strawberry painting, and you can follow this if you want to use the outline that I've provided and then trace it onto your own watercolor paper. However, if you want to create your own composition, you may also go ahead and do that. Anyway. I'm going to begin by painting the base colors off the big strawberries first, since this is what the class is mostly about. For the 1st 1 I'm going to start with a light orange color mix at the bottom by mixing hanzee yellow with only a tiny bit off ruffle rent. Once I'm done painting about 1/4 to 1/5 off the way up, I'm continuing with just the pure, not full rent by avoiding the large highlighted area and also leaving wide specs and random places as extra highlights. Remember that towards the top you can either just use water if you're comfortable with that , or you can mix a little bit off the orange color with whitewash in order to create a light color off the strawberries. I'm going to do the same thing for the rest off the large strawberries but for the one on the right, I'm going to add a new addition off green towards the bottom. I'm just going to go over the steps quickly for this one, since it's basically the same as what I've painted earlier as the devil. As an extra tip, I like to also soften the frame off the strawberry highlight by adding half curved over the surrounding it so it blends more with the rest off the ovals that we're going to paint in that area after the step. I'm going to speed this up now, since I've already covered the steps earlier during the exercise. So if you are actually painting along, I would suggest that you watch the parts that you need to remind yourself off the steps and then paused to give yourself time to paint. Then you can start again whenever you feel like you've completed the step. I'm going to be doing this for the rest off the final painting, speeding up the steps if I've already covered it or I've explained it just to get the class going, and I hope you can still follow along to it. Once I'm done, I'm going to add the ovals on the white areas off the strawberries. And remember to follow the curves off the contour lines when you paint the ovals to give the rounded shape off the strawberries and if any off the bottom highlight off your strawberry is a different color. Remember to use the same color as what's surrounding it. I'm keeping the position off the oval. It's nice and close together, and I'm also making sure that some of the ovals go over the frame off the highlight so the frame doesn't look two distinct and out of place. I'm going to speed the rest of this again and come back to you to pay the smaller strawberries the way I want the colors to dry off now. So I'm going to move on toothy. Unwrap strawberries at the bottom. This one is starting to ripen a tiny bit, and the only difference is that I'm going to make the color using more often orangey mix, which means I'm going to add more hands alot to the ratio of it, and I'm going to continue on with the greenish yellow, which is made out of Hansa yellow and olive green towards the top off the strawberry. This one, I feel, is large enough for me to leave out the highlighted area. So I'm also going to avoid the highlighted frame like before and continue to paint upwards while leaving tiny specks of white and random places across the strawberries, just like we did for the larger strawberries. Next, I'm going to run to the even smaller strawberries, and for this I'm going to color the base with the greenish yellow mix. But for the slightly larger one at the top, while the green and still what I added like consistency off the orange mix, which is made out of the hands of yellow and muffle red. So the paint blend smoothly together, and the orangey color is nice and subtle, so, like right here by now, the paint off the larger ripen strawberry should be dry by now. So I start mixing my burgundy color, and I'm going to create small brush strokes to get the textured surface off the shadows. I don't want any part off the painting to look flat, so I'm painting it like I'm painting tiny ovals bunched together in the area off the shadow , and I'm going to continue this for the large strawberries. First, the steps here might look tiny bit different to what we've used earlier. That's because the steps may very as I'm painting, since I'm working according to how the paint dries, like certain areas, I want them to try. So I'm going to want to another part off the painting, and I like to also jump, depending on which brush I'm using. If I'm holding small brush and I have a lot off paint on that one, sometimes I like to move on across the painting that needs that same color and the same brush that I'm using. So and light very. But the method off layering still stays the same, so I hope this isn't too confusing for you. I'm going to go back to the small strawberry now and paint the same thing with the ovals. But of course I'm going to use the colors from the base off the strawberry, in which case this is the yellowish green with the light orange color. I'm also using my small brush, so it's a bit easier to control the water flow once I'm done with the ovals. I also added the shadow for this small strawberry, and I used a mix off yellow green with, ah, bit off the burgundy We used for the ripe strawberry shadows earlier. And I'm just going to apply it to the opposite side off the highlight. 14. FINAL PAINTING: Strawberry Details: moving along to the groups and seats. Now I'm going to start adding the group's first for the small, unripe strawberries. And for this tiny green one, I'm going to use a thicker consistency off the same yellow green for the base color. But I'm also going to add a little bit off the olive green in terms off ratio, and I'm just going to apply this toothy, other unripe strawberries to using the same small brush so it's easier to control. I'm going to go back to the ripe strawberries again now, and I'm going to switch back to my size to brush for this. Because the groups off the ovals are larger and using this larger brush, it would make the process a little bit foster. I use the same dark burgundy mix as I used for the shadows, and I'm going to paint the ovals on the red area off the strawberry, still following the curvature off the strawberries and painting the ovals closer together and thinner and size as we get to the side off the strawberries. And just like in the demo, I'm also going to switch to a more orangey mixed by adding a little bit off hands, a yellow to the color off the ovals where the body off the strawberry asked the lighter, orangey color opposed to the bright not from red. I'm also going to do the same thing for the slightly ripe strawberry at the bottom. And for the top part, I'm going to use a similar mix to the yellow green from the hands of yellow and olive green . But this time I'm going to add the slightest bit off red to make the color a touch orangey . Basically, you want the same color as the body, but just slightly darker. And I'm going to switch to a dark of region off the orange color for the bottom off the strawberry to bait the groups. 15. FINAL PAINTING: Highlights and Seeds: Now I'm going to go ahead and paint the seats, and I'm just using the hands of yellow with white wash mix. And I'm going to place the seats in the middle of the groups and shifting it to the side off the oval near the edge off the strawberry, just like before. And I'm just going to speed this up, since the steps are fairly self explanatory, just like what we did earlier. For the rest of this most robberies, I'm going to use the green mix to paint the seeds, so I'm going to use a mix off olive green and hands yellow. And I want this to be slightly darker than the color off the ovals or the groups, so you can use a figure consistency off this. However, if the groups that you've painted looks too dark already can add a touch off ivory black to dark in the seat colors slightly before applying it to the smaller strawberries. Next, I'm going to paint the highlights, and as I mentioned, I prefer having a slightly different you for the highlights. So I'm going to make the light purple color mix by using Quinn, Red, Prussian, blue and a little bit off wide wash and make a thin consistency off the color. And then I'm going to apply it lightly around the frame off the highlight first and smoothing out the harsh line to blend together slightly and create a nice blend with a subtle highlight. But like before, I'm also going to keep a touch off white, so it still looks like it's the brightest area off the strawberry, and I'm going to apply this to all the highlighted areas off the strawberries, including the small one of the bottom. Now I'm going to redefine the edges off the strawberries, and I'm going to use my small brush for this. I'm adding uneven, wavy lines on some of the parts off the sides off the strawberries to give it some extra definition and a clean line. And the color that I use is the burkini mix. But I want the color to not be too dark off a burgundy, so it's sort of still blends with the strawberry rather than having a next ra highlight. To do this, I just added a bit more enough will read into the mix, and I'm going to do the same thing for all of fillers. Shore breeze in the area where the large strawberries are touching each other. I want to separate those two shapes. And to do that I'm going to create a light pink color by mixing Quinn red, tiny but auf hansa yellow and white wash. I want a fairly thick consistency off this so that the paint is opaque enough to show through against the red base. And I'm going to use this mix to paint the outline off the strawberry on the right, where the fruits are touching and I'm also creating a wavy line just like before. And I also added tiny bits off highlights near the side off the strawberry. Buy paintings, full strokes around the groups, and you can also add some of this and other strawberries if you feel like you need touch for highlight 16. FINAL PAINTING: Leaf Caps and Leaves: e think I'm quite happy with stage off the strawberries for the moment, so I'm going to want to believe caps on the Leafs for this. I want to mix the same green based color as before, so I'm just going to mix an olive green and hansa yellow. But I want my to be a little bit deeper. So I added a touch off Prussian blue. But I wanted to still be nice and light because it's still the base color, and I'm just going to apply this as a flat color all over the leaf caps. Then, once I'm done with the base color, I'm going to add more oppression blue in the mix to create a deeper green. Then I'm going to imagine where the light is hitting the leaf caps, and I'm going to avoid those areas and paint parts where I feel would be in shadow. And I'm just going to do this layer by layer. As I create more layers, I either add more oppression blue to the mix. But if the green becomes too vibrant, even after adding the olive green, you can add a touch of ivory black, the darker tones off green should define and separate the shapes, but more. I'm not going to go overly detailed for the lead caps because I still want the focal point to be on the strawberries rather than the leaf caps. - Next , I'm going to paint beliefs, and for this I want to very how I paint it, just so the leaves look slightly different from each other. I find that when you don't vary the techniques you use and everything looks, but to uniform, the painting will look less life Lee. So you will see me painting with a wet on wet technique. But I will also paint parts off the leaf and ah what Andre technique for the base of the Leafs. I used the same color as the leaf caps because I want the tones of green to be quite uniform, so the painting still looks good as a whole, and when the paint is still wet here, I added a touch off pressure blew to the mix, and I colored in thick lines, going where the veins off the leaves are. While I'm painting the thick lines from the center out, I want to also avoid the paint from touching each other too much. So a little bit off the light green color from the base is still peeking through. And that will actually be the leaf veins and also the center off the mid rib off the Leafs . At this point, you don't have to worry if the tips are a little bit messy if instead of them being sharp, some of them look a little bit rounded because you can always school back to that later on , and I just find it easier to focus on small parts one at a time. So this is where my leaf is out. It's at a point where everything was pretty rounded and it's not following the tip. So what I do while the paint is still wet? I just added more with the tip of my brush, and I also fixed the other edges near the mid rip off the leaf, and that should needn it out. It's easier this way because you don't have to think about all these other details while painting, so I like to just paint around it line first, and then I add the fine tips and the edges. Afterwards, I'm going to do the same thing for this leave, too. But since I've painted the base color before, it's much drier now, so you can probably see that the lines here are a little bit more clear than the previous leaf that we just painted. Personally, I like mixing these two ways of painting. However, if you have a preferred way off a technique, if you greatly like the went on what or the what on dry more. You can choose either one, but I would still suggest for you to add maybe different shades and textures as we layer on more details, just to very the texture of the Leafs. I'm going to move on toothy other leaves now to you can also very the base color by mixing the light green and placing a slightly darker green right next to it and let the different tones off color mingle with each other. And that way you can create a nice gradation between those two colors, and I'm just going to go ahead and paint the rest off the veins for the Leafs. And after this, I'm going to run to the next lesson where we will be adding further details for the rest of the painting. I'm going to just leave this section at two times the speed, just so this lesson doesn't take too long, but I don't want to speed it up too much, since the leaves are somewhat of a bonus to the painting off the stories tutorial and I haven't really made an end up step by step drawing to painting. So I thought leaving an ad two times The speed is enough for you to still be able to see the strokes and things. But if you feel like two times the speed is still too fast, you can actually slow it down through the setting at the bottom of the screen if you need to. As you can tell here, I'm doing a few years to redefine the light colored veins because I feel like the bottom layer is blending too much with each other so you can adjust and fix this part off the painting yourself or the leaves that doesn't have a specific step by step according to your taste. Even though this is set as a paint with me, I still want this class to give flexibility for you guys following through to paint and express your own artistic individuality for the fold off the leave. Here, I want to separate the colors from the inside or the right facing leaf, so I used the darker green to paint that part. 17. FINAL PAINTING: Leaf Details / Final Details: I'm going to do the final layer off detail in this lesson and wrap up the whole painting. So, firstly, I'm going to pay the runners off the strawberries and leafs. I used my size to brush for this, but later I kind of thought that it would probably look nicer if it was done in the smaller , um, weight off line so the stuff can look more delicate. But either way I found a way off, tricking the eyes to make the vines look thinner than how I originally painted it. But as you're painting this, you can try to make the thinner lines and see how you like it first, because it's always easier to add on and take away just like how we practice before. I also like to add a darker green, where this them as connected to the leaf caps, and this will just add a bit more interest to your painting rather than just having a flat color. And as you can tell, I've already switched to my smaller brush now, and I also added a new layer where I use a really dark green and I use the small brush to make outlines and also paint some off the mid rib off the leaf just for extra detail. And I'm just going to do the same thing for the others. I'm not going to outline every single leaf cap. I'm just looking out for shapes that are maybe looking a little bit more like a silhouette rather than individual shapes. And I'm just going to use the outline to redefine it, and I'm making sure that the lines are still very thin, or else it might look a little bit two dimensional. Instead, I also use this dark green to rely in some off the runners that I previously painted and where I painted a little bit too thick. I painted a thinner line using the start color to redefine it, as well as tricking the eye to think that the shape itself is thinner than what it actually is. You can think of it like if we wear striped shirts on and it gives the illusion off our bodies being elongated or being slimmer than what it actually is. And this is basically the same trick. If I make the runners look a little bit too thick, I can use more lines in the middle of the runners to give a better definition or highlight , as when you see a rounded metal rod. And it has those reflections. Those lies will suggest that the runners are rounded lines rather than flat dimensional lines. So at this point, I'm just going to continue on what I've been doing. And that's just to redefine some off the leaf caps again by outlining and adding a darker tone or adding the mid rib on the leaf cap. And the key at this point is just to think about how much contrast you need to make for the leaf caps and the rest off the painting to compare to the detail that is already on the strawberry. So it balance out as a whole instead, off one part off the painting. Looking unfinished. - After this, I decided to add the tiny hairs on the strawberries. Remember that this as an optional step, but I like to include little delicate details and my paintings, and I use the same color as the strawberries for the hairs. So on the unwrap stories, I used the yellow green mix and for the larger strawberries, I used a little bit off Burgundy with more natural red so it doesn't look too dark and still bends with the rest off the body of the strawberry. When I paint this, I leave out a lot of space in between certain areas, and I want the distribution to look uneven and natural. So don't go too overboard or else the fruit might become on appetizing if you add too many hairs next. I also added more layers on the leaves just to redefine some textures. And I paint this using the same dark green as I used for the leaf caps. As I'm redefining the veins and the mid rips, I tried to randomize my line so I don't pay the same areas in all of the leaves, so there's slight difference in the variety off textures. In some parts, I want a larger part off the leaf to be dark, and in some I want to just add a tiny bit off definition, maybe just on the lines, and this is all up to you as you paint. You might want to create the texture of the leaves differently to mind to, I like to work with one color first for all of the Leafs. And then when I at the darker tone on top, I'm going toe also distribute them again. I find that this way you're working on one layer at a time, and while you're painting the other leaves, the first leaf that you painted ISS most probably dry. Therefore, you can leer on more colors easily. However, if you want to create a gradation, I would recommend to do the wet on wet technique where you joined the two tones off color next to each other when they're both still what. But at this point, I like adding my details in on what on dry technique, so the lines look a little bit more clean. So on top of this layer, I'm going to continue on and add more details with an even darker green by adding more ivory black in the mix. And I want to use that to clean off self the lines if they're looking a little bit unclear for the Leafs. I used the dark green to give a very lightweight outline and certain areas if they're a little bit blurry, but I don't want to create thick outlines as it will make the painting look more two dimensional. When outlines are a little bit too distinct, it's up to you whether you want to use a darker color for the outline or not. In certain cases like this one, I used the similar color to what the leaf color Ashley is, but just slightly darker, so it looks less subtle, and it works to just clean the lines instead of it acting as an outline. I'm going to ask smaller details now, and for this one, you can either use, like wash or the light green mix, as we've discussed in the previous lesson with the colors. And with this, I use my small brush and I use it separate some folds that needs separating like, um, the sleep right here. And I'm also going to apply this white wash to some off the Leafs, the mid ribs. I also added lines in the middle off the runners again, just like we did with the darker colors and also tiny small veins on some parts off the leaves just add a little bit off detail, but I don't want to overtake the focal point off the strawberries, so I'm just keeping it very simple. I'm not going toe over. Work it, and I'm just going to apply this to certain parts of the leaves, and I'm not going to do every single one. I want this to be very limited. I'm also going to mix up the colors using darker tones or the whitewash or the light green mix. It's really up to you at this point whether you want to include the veins or not. I just like the little details. But I also don't want the colors to be popping out, so I tried to keep it at a medium toe like consistency. The lines. I also tried to make it as random as possible, so everything stays as natural as possible. I'm going to move down to the strawberries again, and I'm going to apply a little white details on the leaf caps just to separate some of the folds and also read of finding some off the runners again in case some off the dark colors off, the runners look to flat against the dark leaf color. So after the step, I think I'm pretty much done. I think I'm quite happy to call this painting finished and I'll see you at the next lesson where I will be discussing the class project 18. Closing and Class Project: congratulations and completing this class, I hope everything will absolutely for you. For the cost project. I would like you to study and practice that structure off the strawberries and use the template that I've given you in the downloadable section for extra practice. Unless you understand what we're aiming for and you've got a good grasp off the concept off the structure and form, I would like you to create your own final painting with a personal composition. However, if you are interested and painting along to my final painting, I'll also provide the outline in the downloadable section. And once you finished with your project, including the exercises that you've drawn and painted, I would love to see it posted and the project sections so you can share it with your fellow students and we can take a look at your beautiful works. If you enjoyed this class, please don't forget to leave alike and a review because I read those reviews and I'm really open to feedback and suggestions so I can keep on learning along with you guys and provide the classes that you guys are interested in. I know that I don't post that many classes because the classes do take me a really long time to produce. So if you're interested in other contents of mine, you can also follow me on my YouTube channel, Janjalani, where I provide smaller projects off beginner watercolors that IHS more easy and fun basic water colors that you can follow along to. And if you would like to see more works by me, you can also follow me on my instagram at my gender scoring Janjalani where I post more all the semi realistic food illustrations. So with that said, I hope you guys enjoyed this class and learn something. You for it. Thank you so much for sticking till the end. And I will see you at the next one by