Lemon Acrylic Painting: A Multi-Medium Study, Class #3 of 3 | Daniela Mellen | Skillshare

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Lemon Acrylic Painting: A Multi-Medium Study, Class #3 of 3

teacher avatar Daniela Mellen, Artist & Author

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      1 Class Intro


    • 2.

      Class Supplies


    • 3.

      Canvas Alternatives


    • 4.

      Painting the Background


    • 5.

      Transferring Sketch to Canvas


    • 6.

      Painting the Branch


    • 7.

      Painting the Leaves


    • 8.

      Painting the Lemons


    • 9.

      Painting the Final Details


    • 10.

      Class Wrap Up


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About This Class

Acrylic Paints are medium that is lends itself to all levels of creators, from beginners through master artists. Since acrylic paints are water based, they don’t require solvent cleanup, making it easy to keep tools and surfaces clean. They are readily available from craft paints to artist grade pigments, in an assortment of finishes from matte to high gloss.

In today’s class, we will explore blending and shading techniques, using acrylic paint and element of our lemon illustration. We will paint the leaves, lemons, and branch as individual chapters, carefully treating each image to capture their unique shading. From the twisted and multicolored leaves, to the brilliantly colored lemons, and the rough bark of the branch, we will capture it all with blending techniques.

This is the last of three classes that takes a closer look at the lemon illustration, We will use the same template for all three classes, but dive further into each medium.

Watercolor Lemon: A Multi-Medium Study, Class #1 of 3

Colored Pencil Lemon: A Multi-Medium Study, Class #2 of 3

Meet Your Teacher

Teacher Profile Image

Daniela Mellen

Artist & Author


I'm an artist and author living in coastal Florida and surrounded by plants, animals, marine life, and the warm sun - all things that inspire me.

I am drawn to creating things and love to get lost in projects. Each day is an opportunity to learn something new, build on existing skills, and branch out to new ones. I was formally trained as an educator which is my passion and incorporating art into teaching makes my life complete.

As of March 2023 I have a catalog of classes on Skillshare. You'll see handmade books, memory keeping, watercolor, acrylic paint, unique art supplies, and photography composition. Thanks for joining me and I look forward to seeing your work.

Check out my Patreon Channel or my YouTube Channel for additional class info... See full profile

Level: Beginner

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1. 1 Class Intro: Acrylic paint is a lovely medium that lends itself to beginners and experienced painters alike. Acrylic paints are water-based and don't require special solvents, making it easy to clean your tools. Acrylic paints are readily available and come in many grades for crafters through master artists. The colors are vibrant and the colors can be opaque or blended or both. They can be used in layers, are standalone, giving you as the artist lots of possibilities. In today's class. Lemon acrylic painting. We'll explore a few techniques using acrylic paint. Hello, I'm Daniela Mellen, an author and artist. Today's class is for beginner painters who want to work on creating realistic shadows and blends in their paintings will paint lemons, leaves, and a branch that have individual shadows in gradients of color. Class includes a template to help you make your initial sketch. And then I'll demonstrate a painted collaged layer for the background, followed by chapters, I'm painting each element in the design from the lemons to the leaves and the branch. This class is the last of three classes that use the same lemon template to create the finished piece. The first-class use watercolors, followed by a class that used colored pencils to create the lemon illustration. Now we're going to use acrylic paints. So thank you for joining me today. Now let's get started. 2. Class Supplies: These are the class supplies that we'll use today to paint our acrylic painted lemons. I'm downloading the watercolor lemon template that you can find in the project section that fits on a standard piece of paper. And there are many medium you can use. But today in class, I'm going to paint it onto a canvas panel. And this is just an 8 by 10 canvas panel. But you can use an art journal page, piece of card stock, even a piece of copy paper. Today we're just practicing technique. I have two pieces of paper here that I'm going to collage onto my panel here. And these are just basically scrapbook paper. One's a book page from a journal. And I chose one that had book print printing on it. And I chose it because it's acid free and so it won't eat away at my Canvas. But for art journal, anything will go. I am an assortment of just craft acrylic paints, although you could use quality acrylic paints as well. But for this project, the craft acrylic paints work very, very well. I like that. They're matte finished, so they're great for use in an art journal. And I include the names of the colors that I use on a download class supply list. But really two or three of each color, a dark medium and light work beautifully. So if you want green for the leaves, a dark medium and light yellow for the lemons and dark medium and light for the branch, a couple of browns and then standard black and white. Additionally, I have some matte medium here that I use to attach my collage paper, a pencil and eraser. For a palette. I like to use something disposable. So I go to the recycle bin and I find some packaging, nice flat packaging. And this works out well for me as a palette, but feel free to use whatever you're comfortable with. When I am an assortment of brushes, I have a couple of flat brushes to paint my background and to use for matte medium. And then I have small brushes in number fours and a number one. And the next chapter, I'll show you some variations for the background so you don't have to use a canvas panel if you're not interested. 3. Canvas Alternatives: So here are some supplies you can use for the background. Acrylic paint lends itself to many options for you, because it's opaque, it has a little bit of body and it's just a beautiful medium to work with. I started with my template and basically you change the shape of your template or the size of it by altering it when you print it out. So if you want to make it very small, printed out at 40, 50 percent. But I'm going to use it as is today. So that is why I determined that I'm going to use one of these media today because the size fits. So I have my template and I know that this is the main piece, so my page has to fit this. You can use a piece of card stock, you can use a piece of blank paper. You can use a journal. And you have so many options with the journal, as long as the paper can support paint. And there are many ways you can do that. Here's just a composition notebook that I built up each page with other acrylic paint, matte medium only layers. And I use the median because then that way when it's dry, the pages won't stick together. And you can pay your image right on top of one of these painted pages. You can even remove it from the journal to use the page. You could use another journal where the pages are printed, but it's not used yet. So you get some interesting background for your book and for your pages, and for your final painting. And lastly, you can use a journal dedicated to either watercolor or mixed media, which just means that paper has more tooth and it's heavier. And you can use that as well. And this is just a blank page. Today in class, I'm going to use a small piece of canvas. This is just a thin canvas, 8 by 10 canvas panel. 4. Painting the Background: So to start my background on my canvas panel, I have my template and I'm just going to double-check that fits, that fits very nicely. So I'll set the template aside for now because I'm just going to prep the background. So I know I'm going to hold it in this formation. So this is the formation that I'll use when I'm creating my background layer. I want to use some collage. So I just have some scrap of paper here that looks like newsprint or book pages. You could also use book pages or newsprint. And I also have some more pages that it's just a grid pattern. So as you can see, it's very subtle. And I chose these papers and these colors for my background because I know I'm gonna make my lemons bright in yellow and green. And I wanted a little contrast, but nothing that took away from the main piece. So I have some matte medium here to adhere my collage. I just squeezed it into a little bottle cap because I don't need very much. And then I have my paints. I have just some white matte acrylic paint. And these are just little craft paints which have a very high content of water or less pigment than quality paint, acrylic paints, but they're totally functional for my piece today. So the first thing I wanna do is I want to lay down just some white paint on my canvas. Just going to put it down kind of haphazardly. This canvas is primed. So I don't have to worry about priming it. But I do like to start with a little paint. This is a little buffer and this gets my surface wet. And when I want to add additional layers for this particular technique, for the background, it really helps everything to blend nicely. So I'll just put a very thin layer of my white acrylic paint down. And this also acts like a glue for the collage. Just a little bit. Set my brush aside. And I just want to add a little bit of collage. So I'll take a piece of this grid paper, which has a little blue in it, and I'll tear it up so I get no straight edges. Once I have that, I can tear it up further and kind of just decide where I want to put it. So I'll just set it down. And I like to use odd numbers and I like my paper to go off the page. I'll take the other sheet of paper that has the print. Remove any straight edges, and just put in a few pieces of this sphere. It will add a little texture to the background. But that's okay because the acrylic paint layer nicely on it. So I think that's a nice start. I'm going to come in here with a separate brush, dab it into my matte medium and just brush along the back of these pieces. Don't need very much. I keep it nice and thin. And then I just burnish it down. And I'll do this with other pieces. Speed this along. Then after I have my pieces down, I like to take a piece of parchment paper and just press my pieces down, gets rid of any air bubbles. And I can gently remove it without it's sticking. Whatever's left on the brush, I'll just very lightly go over the edges. I'm still letting the pieces of torn paper hang off of the canvas and when it's dry, then I'll remove them. But for now I'm just going to leave them as they are. Have all my pieces adhered the way I want them. I'm going to take my brush and just drop it in my water just so that that matte medium doesn't dry on the bristles going to come back in. But a little white paint on my brush and just kind of blend over some of these edges. We're going to be just a little fainter than they are. And the paint helps me with that. Can go in here, rewet some of the area with a white paint. Then I'll come in here with just a little bit of the color, blend it with some white and just add it. And I like these lines going up and down. You can go back and forth, make a grid, blend circles. It's up to you. I don't hesitate to go over some of that collage we've added because I liked the way it kind of blends it together. And I'll take a little bit of the blue as well. If there's any areas that I feel like I've gotten too much pigment. I can just go in there with some white paint and dull it down. But I don't think I'm overdoing it with the pigment. Kinda happy with the way that's starting to look. I'll pick up a little more white and just blend that out. And once I'm happy, just going to set that aside and let that dry and told to thoroughly dry. It's acrylic paint, it shouldn't take too long. So I'll check back in about 20 minutes. 5. Transferring Sketch to Canvas: So there are three methods for transferring the template onto the area. We're going to paint, either the canvas or the page. So the first one is the simple one where you take a light source, either a window or a light pad illuminated, put your template down, but your page on top and trace over it. And this produces a nice result. So sometimes your paper is too thick or it's too dark, either It's Canvas or it's just thick card stock. And even if I put my template down and illuminated underneath, I can't see through it. So there are a couple of other methods you can use to transfer your template to your page. Once still involves a light source, I just flipped my template over. And then because it's a dark page I'm going to use if it was a light page that I wanted to transfer it on, I'd use just regular pencil, but in this case I'm using a white chalk pencil and I'm just going to go over my outline. And then from there you put it on your page and you flip it over. And from there you'll burnish it. You can use the back of a pencil. You can use another pencil and just write over it. And I'm starting to see the image, then I'll just trace it with my pencil again. And so I have my template the second way. Now the third way and the way I'm gonna do in class today is I'm going to take that template and cut it out physically, manually cut it out so that I'm left with the shape of my image. I also cut out these leaves just so I'd have some options. And then just go take a regular pencil, placing the template exactly where I want it and use it as a stencil to trace my image. So I'll just set it down. And I have my image trace. I can just go in there and fine tune it. Put this leaf in front of this lemon. Make sure I have all the looks the way I want them. Come over here. I can take additional leaves and put them on. I think I'm just going to stick a leaf up sort of like this. So I'll set it down and make that tracing. From here. I can modify it however I want. I want to make this little part a little thinner. Might want to elongate the leaves just a little bit. So I cleaned up my template, my little sketch quite nicely. I went in there with an eraser and just erase any marks, very gently. Added anything changed the leaves. The next chapter we'll start our painting and we'll start with our branch. 6. Painting the Branch: So I have my colors down on palette here, and I just use a little bit of a disposable container that I found in the recycling bin, cleaned it up and I used it. I have a little bit of a light brown, gray, a sand color, and then a white. And an assortment of brushes and good start with a number 4 brush here. Just going to take it and I'm going to take that sand color because I think that's a great base. And I'm just going to color, really just paint, add pigment to that shape of that branch. Try and paint between the lines here. Really just mapping out where this branch is. Beauty of acrylic paint is you can layer it and once it's dry, it's nice and opaque. But while it's wet, you have some blending capabilities. Putting my sand color down throughout the length of that branch. When it gets to the edges, I just kinda blend it out just with little brushstrokes. And now I can start my shading. I'm going to take a little bit of the gray, just mix it in with whatever remained on the brush of that sand color. I'm just going to add some little areas on the bottom, fin, little gray areas. This adds a little shadow to the underside of the branch. And I'm going to mix my brush with a little bit of white. It'll dip in whatever I have, mixed it a few times. Now I'm just going to pull a little bit of white on top of that branch, staying away from the ends. And I want the lighter color to be at the top of that branch, going to dip in a little of this brown. And now I can just pull some of that color here. We're starting to see the branch emerge. Just going back and forth over it. I don't want to see any of the Canvas underneath. Switch to a smaller brush. This is a number one brush, pick up some of that brown and just in little areas dusted around, blending it out while the pigment is still wet. I like to stick to the bottom of the branch. Somewhat long strokes blending it back and forth. Can pick up a little of that sand and blend it in if it's too dark. And then I like just go in here, take a little off my brush and just blend it out there as well. Then it come back in there with the gray, put it on my brush and a little points and just going to pull little sections up here in gray. We'll come back to these with a little darker color. But for now I just want to add a little gradient. The start of a gradient. Pull some color, some little lines throughout the branch. And then I like to just go in here right where the leaf will touch and blend out that color, make it a little darker there. I'm pretty happy with the way that looks. I think I'll just add a little bit of white on my brush and just few areas off, put in some white just to lighten it a bit. Sticking to the top of that branch. Going to stop here, let that dry. We'll come back and work on the leaves. 7. Painting the Leaves: So now to paint the leaves, I have my assorted colors here have a dark green and medium green and a light green, as well as a kind of a palace yellow. I took a little bit of the brown that we used on the branch because we're going to use that as well just to make it cohesive. Now I'll start with one leaf. Show you how I do it, and then I'll show you the completed leaves. I'm going to take that medium green and I'm just going to kind of paint the outline here very generously. I'm leaving a little gap between the pencil mark and the outline. This just gives me a little bit of play room, a little wiggle room. Really. Not worried about coloring the entire piece, but I do want to get those edges fairly nice, really sharp. So I have my basic shape down. This is the number 4 brush. Just like that. I'll set this aside and I'll come in here with a smaller brush and I'm gonna go in there with that darker green. Make a nice sharp point on that brush and really carve out the shape. And I'm kind of overlapping with where we put down that medium green. So I carve out the shape for a little distance. And I know that I start to lose control with the point of my brush as the paint forms its shape on the canvas. So I'll have to go back, read, dipping my brush and blending it as I go. And that creates the beauty of acrylic paint. I have my shape. Now I'll go back. It seems to have dried here. I'll go back and dip it in that medium green and blend it out. And I'd like to have nice blends, no lines on the top part of the leaf though I want it to be lighter, so I'm gonna go in there with that medium green and do that same outline that I did on the bottom, except on the bottom I use the darker green. So I come in here. Again, I'm just carving out that silhouette of that leaf. I only have a little area to go because I started by coloring the base of it in completely with the green and the thicker brush. So now that I have that shape, I'm going to go up here as well on the stem of this leaf. Now that I have the shape where I'm very pleased, I'm going to dip my brush in that lighter green blended around with whatever's on the brush and start blending it. I like to follow the shape of the leaf. I think that's a pretty effect. And down here I'm going to go up about two thirds of the way down and start adding that lighter color. I'll come back in with that medium green on my brush, blending it out just so that there's no harsh change up in my leaf. I like to pull the color towards the center. And then I like to clean off my brush over here. I'll come in with a little bit of this yellow on the edge of my brush, blend it out. And now I can just put in a few little strokes here and there. And the important thing is to get that nice little blend. I also like to get the shape of that leaf, how it kind of forms. I can come back in with a little dark green on my brush and I'm constantly dabbing it on my palette. Just so it blends whatever's on the brush with the new color I'm introducing. And I'm putting in a little shadow of a vein down the center of this leaf. And I'll come in with that medium green. Just blend it out and few areas still, a little bit of that vein peaks through. Lastly, I'll come in here with a little more yellow. Just adding a few little spots of that. Don't want us to look like stripes. Just a little bit of a highlight. And now here's where I'm going to take that dark color, that brown that we used in the branch. Again, I mix it with whatever's on my brush and on the tip of my leaf, I'm just going to pull up here. And I'm going to go on a little bit of some of the bends and just add a little bit of this brown. Clean up my brush just a little by rinsing it, removing the water from it. And now I can take a little bit of this dark green again, rub it on my brush and blend out a little bit over that brown that we deposited. I'll take a little of the medium green and just add it just so that there's a nice blend. And that's how I do the leaves. Now, before I show you the completed leaves, I want to show you this twisted leaf here. I'm going to turn it on its side because the leaf twists a little bit different. At least my procedure is, I go there in there with the darkest color green, right on the bend, on the underside of the leaf. And I'm just going to come out here with my darkest part of the leaf. Bring it out good portion of the way. And then I'll carve that shape. I'll take that dark color again in the area where it is underneath the lemon will be the darkest part. I'm going to carve out that shape as well. Then I'm gonna take that green and just carve the point out. And now I'll come back in with that medium green. I'm just going to stick with my small brush here. Instead of going in for the number four brush. And now I'm going to carve out the shape, the perimeter of this entire leaf. Because this leaf is twisted, it presents an interesting effects, but we can make with the shadowing. So yet again, I went around the entire leaf more or less with my medium green. And I carved out the shape, except I treated each section of the leaf a little bit differently. I have the bottom section here. I have the shape that I'm very pleased with. I'm going to go back in there with a little dark color and pull it up from the bottom and just add a little bit on the edges, mostly the bottom edge. Remove it from my brush. Take the lightest screen, go around, depositing that for a little highlights, and then come in there with a little bit of this yellow on my brush. And adding that as well. I'll go back in with that darker green kind of sketching a little vein. And then a little bit of this brown, mix it on my brush and pull it up from the bottom and on some areas of the leaf. Just to introduce a natural effect. I'll rinse my brush and just complete that top leaf. I'll go in there with that medium green filling in all those areas as well as the stem, then it come back in with that dark green. So I really want to emphasize that darkness. Even a little bit of this brown. I'll emphasize the shape of that twist. Pulling that brown up. Remove it from my brush, take that light green right on the top of that leaf, and then even a little yellow just for some highlight. And then we have the premise for the leaves. I'll finish the remaining two leaf, and in the next chapter, we'll start our lemons. 8. Painting the Lemons: So now to paint the lemons, I'll paint one lemon. Show you the process, and then I'll show you the completed image when it's done. What I like to do is I like to take the lemon here, this one closest to me, and I treat it, it's a three-dimensional object, little orb. So this part is the part that's closest to me just because it's like a dome. But there's also a little light hitting the top of the lemon. So I want to keep that in mind. Could come in here with my darkest color. I have a white, bright yellow, somewhat paler yellow and orange, yellow and a light green. So I'm gonna come in here with that orange, yellow. And I'm going to place that down at the bottom of where the bottom of the lemon would be. And again, I'm going to turn my piece around so it's easier to work with. And I'm going to bring my color down first. I bring it down. I don't bring it exactly up to the border. I just leave a little gap and that just gives me a little more control. And then I just dab my paint around the bottom third of that lemon. I'll add a little bit up top here just for a underpainting layer. But that's pretty much it for that dark layer and this big brush. So now I'm gonna come in here with my next color in sequence is bright orange. I'll put it down great here on my palette. And because this is wet, I can blend a little more. So I'm just going to put down some of that yellow right down, right on that orangey yellow that we already added. I had a little bit up top here as well. Whatever's remaining on the brush, wipe it off on the palette, pick up some of that pale yellow and blend it together. And now I'll just put it down here and I'll finish coloring in that lemon. It's not done yet, but we have our basis. Set that brush aside, could take my small brush here and I'm gonna go in with that orange, yellow. And I'm going to very carefully paint right up against that leaf. I want to still maintain the shape of that lemon. And in the area where I've already put the collage underneath it, there's a little bit of a bump, paints on it beautifully. But I said to keep that in mind, that little extra bit of texture. So I have the bottom of my lemon done. I'm going to go back in with that darker color and reapply another layer brushing up towards the top of that lemon. Whatever's on my brush off, take that brighter color. And again, with that smaller brush, just mixing that in. And with that brighter color, I'm going to come and outline the top of this lemon. Going over the paint. We already set down an underpainting layer. And I like to take this color, this pale yellow. Add a little dab up top here. And then I create that little stem right to the branch. I'll take a moment and then a very sharp point carve out that shape. There. I have my underlayer going to come in here again with that bright yellow. And I'm going to debit kind of in the center and the bottom part of that lemon. And I'm just going back and forth. I like the way the brushstrokes look. If you don't like brushstrokes, you can smooth it out. I'm very happy with that. I'll brush off that color and I'm gonna pick up a little of this green. I'm going to brush it very gently up from the bottom of that lemon, just like this. And right from the top here, going to pull it down ever so slightly. And I like the way that looks, gives just a little hint of green. I can go in here and put it in a little bit over here and just blend it out. And I'll come back in with a very sharp point. And that light green and put it down on this branch, on this little stem, really. I'm going to rinse my brush and take this a little bit of white. Now add a little bit of a highlight. Remove the water from my brush. Really loaded up with white, and then take a little bit of that yellow, that pale yellow in with that white. And now I can just put a little highlight here. I'll come back in with a little more white on my brush, still mixing it with that pale yellow, letting those colors work together. And that's how I complete one of the lemons. I'll do the next one. Well, let it completely dry and then we'll come back and add some final touches just to really sharpen our piece. 9. Painting the Final Details: So now to add some final details to the painting, this is where I just want to emphasize some pieces. So I'll take a look and see if there's any contrasts. And I can see in-between the lemons, there's not a lot of contrast there, and I want really a definitive space between the lemons. So I'll start with that for the final detail. I just put some more colors on my palette, the same colors we had. I used that deep orange. It was the deepest of the yellows that we had that I use for down here on the lemon. I just put a little more on my palette along with the medium green, the brown that we use for the branch, the white and the new color I added was just some black. So I'm going to take that orange shade and I'm going to really emphasize this part of the second lemon here in-between. So this is where the shadow would be and this would be the darkest part of that lemon. So I'm gonna put it down really emphasizing it a little more than I would normally do it. Because I really want there to be a lot of contrast there. So I'm gonna pull that lemon and then I'm going to add a little white with that. And I'll just blend that gently, blending it out. I can come back in. I can always take some more of that bright lemon color we use if it's not the right shade that I want. So I'll keep that possibility open. I decided I didn't need some of that brighter yellow. So I'm going to put it down here just to really emphasize that blend. I have a little more contrast now than I did when we started. So that was a good touch up to do on my painting. And I could go in there further and just really emphasize it. A little more of that white blended out. And I'm happier with the way that looks, can still play around with that. Good. Clean off my brush on my palette. And I want to take some of this medium green. And I'm going to mix a little of that light yellow in with it, just to change it a little. And I want to come in here and on the stem of the lemon, I just want to put a little bit on the base of the stem. And I'll do that up here as well. So I'm pleased with how that's coming out. Going to let that dry for a moment because I do want to go back to that lemon really quickly. But before then I want to add just a little darkness to this branch. So I'm gonna put a little black on my brush and a little bit of the brown. And I'll mix them together so I get like a deep brown. And now I just want to add some shading on either side of this leaf and just flick it across with a little more emphasis on the bottom of the branch. Do that over here as well. And then every now and again, I'll just put it in a little darkness. Can pull up a little, kinda making a little triangle and just dab some little dots. I'll take a little more brown and a little white on my brush. So I have a light color and I can blend that even further. And then it gives a nice elements to my piece here, very realistic looking branch. And I just continue to blend and blend until I'm happy with the results. I'll take a little more white. And on the top of the branch, just putting a little more weight, blending it out. And because it's blended with the brown, doesn't look stark white. So now I'm gonna switch to my larger brush, my number four brush, and I'm gonna take a little bit of that brown. And then I'm gonna really pounce it so that I remove it from that brush. I just want there to be a little bit dryness. And I'm just going to add a few little speckles here on the lemon and other buildup slowly than go into deep right away. And just making a little bit of a discoloration on the lemon. And it gives a realistic look. I can rinse my brush and do the same thing, drying it off thoroughly and just picking up a little bit of this light green ever so slight amount. And I can put some of that down as well. And that just makes our piece a little more realistic. I'll let this completely dry and then we'll come back and take a look at our finished piece, as well as some variations using the same template in the same techniques. 10. Class Wrap Up: So here we have our finished painting. We have the canvas panel, the background, Let's collaged and then painted. And then finally, we traced art sketch from our template and just painted it in using layers. It's kind of a very interesting result. I'd like to show you some variations using the same template and different background pieces. So different pages. So the first one is just a black and white painting on a piece of card stock. I use just black, white, and gray for my colors. And did the shading the same way we did using the colors. The only difference is I used just three instead of the yellows and greens and browns. You can still tell that it's a lemon and it looks like an old Century painting. So next, we've done the painting, the same technique, same colors and everything. But this is just a art journal page that was painted on the background. No collage. Just a painting on the background. So it comes across a little differently with a different feel. And that's just by the colors. So this is blue and purple background and this is more pinky. And the last one is the same techniques, the same colors, but on a journal page that's just a printed page. I didn't paint the background at all. I just painted the image onto the page and it gives a very fun book. And again, the mood is completely different than the one we did on Canvas. Now, since this class was a three-part class, we started with our first painting, which was done in watercolor using the same template. The second painting was done in colored pencils. And I flip the template over in order to do that and you can view that class as well. And then we painted with colored pencils, creating nice blends. And then the last image was today's class where we painted using acrylic paints. I hope you'll try your hand at some of these acrylic lemons. Or if you're feeling adventurous, maybe even trying a different media, either colored pencils or watercolor. Take a photo of your work and post it in the project section, or even try all three and show me all three versions of media using the same template. Please be sure to follow me here on Skillshare to get notified of future classes. Please consider leaving a review and thanks for watching.