Loose Watercolor Fruits and Vegetables

1. Introduction : Hi, My name is Gary Marsh Avesta. I'm in our distant not educator here and skill share. Some of you also know me as my little basil dot studio on Instagram, where share my our journey with daily our post and short video tutorials. Welcome to my sculpture channel up in painting with watercolors in Lieu style for quite a while. And what I love about this style is how, with the use of simple brush strokes on bright colors, you can capture the beauty of the world around you in very easy steps. Fruits and vegetables are nice fund subjects to paint in this stuff. 14 illustrations and design elements recipe illustrations there always popular, so it's never delayed to create your own collection. So in today's skill shake last, we're going to be painting a variety of fruits and vegetables in lose vertical esta. I welcome all skill levels to this class. If your big never ADV AURICULAR, you will learn important techniques like painting Britain but controlling water, lifting colors and creating textures. But if you already experienced red watercolor, you will still enjoy this class as it might help you to lose an up your style I've created this class with individual fruits and vegetable lessons so that you can learn them at your own pace. I will also be sharing some sample projects that you can create using what you will learn in this class. So let's not waste much time and get started. 2. Project Overview: welcome to this class. Before we get started, I want to show you some of the sample projects that you can create. Using what you will learn in this class will be painting this project together, but with other fruits and vegetables, you can create these little memory flash card for kids to learn the alphabet on fruits and veggies. You can go for something seasonal like this decided in a season. Add some seasonal fruits and vegetables. Anson leaves maybe some lettering to decorate your piece are. You can choose to create something simple like this with your favorite fruits and vegetables are a favorite recipe. You can scan and digitize all of these elements, turned them into patterns. Recipe illustrations and upload them on your print on demand sites. So it's entirely up to you to decide your class project among all of these options. Next up, let's get started and look at the simple supplies will be using 3. Supplies: Let's quickly look at the supplies will be using today to practice the fruits. I'll be using this watercolor paper pat from Prima on for the project. I'll be using our Tasers 300 GSM cold Press Watercolor paper for brushes. Amusing travel Mob Brush a synthetic one, and it holds a lot of water in it. I'll also be using a number four pointed round brush synthetic one. This travel more brushes number six sides so you can use any a few more precious. You'll be needing a wide gel pen, a pencil, some kitchen paper. Travel, a jar of clear water. You will also need a spray bottle to rivet your colors. Now let's look at the colors I'll be using. So for colors today I'm using mostly the classics palette from prima. I've also added a few other colors from Primus other ballots. So this is the classics ballot, the top in button Roar classics palette. So the top one is Pinky from the classics than red, orange, yellow and green from the classics. After that, I'll use purple brown on black from classics. Next one is Tokyo, sort of a pink color from Odyssey. After that, There is a Harvard, a purple smoke tree, maple sassafras from terrain palette and then a color similar to indigo called dipsy from the currents palette. You don't need these exact colors. Just make something similar from the colors that you already have. I'll be uploading this chat under resources under your project section of this class. 4. Watercolor Concepts: Let's look at some of the watercolor concepts. I've got a piece of watercolor scraped paper, so I'm just going to activate my palate by using just spray off water. And now, with my brush or instant slightly patter dry, I'm going to pick some color, just touch it on the paper, travel big some color and now rinse my brush. Get more water. So the first technique off adding Vora color on the paper is called wet on dry. That's when paper is dry and you add wet color on top of it on the other side. If you read the paper already, so I'm just using Clearwater to prevent the paper. So now the bottom surfaces went, and you decide to add vet color on top off it. So this is going vet on vet. Another way for wet on wet can be. Then you paint a shape. So I'm painting a small round shape, and the base layer is still wet so this orangish color is still wet and you decide to add another color. What color on top. So this is wet on wet. The orange was wet. I added some green red color that sound a bit of indigo, and you can see how it's bleeding, so this is wet on wet. Another way for wet on dry is, for example, the top block is completely dry. So if I'm going to paint a vet color on top of it so wet on a dry surface, this is wet on dry. So this side is wet on dry, and this one is veteran bit. You get defined sharp edges and here quite nice, soft, blurry plants. Now let's talk about values. So based on how much water you aren't, you going to get different values. So I'll create three different puddles, same amount of color. And now I'm going to vary the amount of or a and so, too the first puddle. I'm going to add lots of water, so quite a watery mix to the second puddle. I am just a little bit water on to the third bottle. No extra war at all. Now, in my cleaned, rinsed and dried brush, I'm going to pick from the first puddle and paint a small block so you can see how light it is. Watercolors always dry a bit lighter now, from the second bottle I'll place it next to this so you can see how it's already a bit darker than the 1st 1 And now I'm going to pick from the last one and see how it's really dark. I've created another block with the lightest value here, so what I'm going to do is pick from the middle value that we created on a small block on top of it. And now I'll pick the darkest value and and another line so you can see the three variation light medium on the darkest value in the next video, Let's look at lots of texture techniques. 5. Brush Strokes and Texture Techniques : Now let's practice and brush. True, so to control water in your brush, always keep some kitchen paper travel handy and just touch the brush with the travel to remove excess water. If you think you have picked up too much water in your brush, just touched the kitchen. Paper travel and excess water will be gone, so let's start by loading your brush with nice and juicy color and practice some of these brush strokes so complete. Push off your brush, pull it down, go back up loaded again. Really nice and juicy. Try to make round shapes with it. Using the initial load. Try to pull that color around, try to make fine lines. So I'm holding the brush really low, really tight and using just the tip of my brush to create fine lines. Try making leave shapes, so practice thes brushstrokes with the wider mop brush or this kind of travel brush. Now I'll do the same exercise with my final brush so fine lines, broad brush strokes, sort of leafy shapes, so this gets you have more confidence with your brush. Now, if you blend two colors really nicely, so green blended with indigo or deep sea here. Really nice. Smooth. Blend off the two colors and I'll pick it in my brush and I'll paint with it. You are simply going to get a darker green but really nicely, evenly blended colors. But if you pick one color in your brush nicely loaded green on a touch of indigo after last minute and paint with it, you're going to get to different tones in your brush strokes. This will come handy when we brain some off the fruits and vegetables. Another technique that will be using in this class is how to softly blend the edges. So I'm going to paint a shape here vet on dry. So if I don't do anything, this will give me harsh edges. But if I want to blend an edge, I'm going to rinse my brush, patted dry and run it along the edge of Want to soft in up so you see how it's starting to pull the color with it. Sir Vince, my brush patted dry if you create too much off a watery puddle. So, for example, here you can see it's too much water, so simply rinse your brush, patted dry and lift the color up. As you bet. Dry your brush, it becomes thirsty, so it will big excess moisture off. Now let's see it one more time. I'll just paint this little shape here on with the rinsed and slightly dried brush you're going to soft in this about image and also the side one. So you see the difference between top on these two edges, so practice this a bit. Now let's look at some of the techniques to create textures and highlight. So first, I'm going to start with the technical lifting the color so we'll start making a block really nice and juicy in deep indigo. Collapse on this block is Well, I'll make another block here, so do this orangish block. We're going to lift the color by using a kitchen paper travel. I'm just going to scrunch it up and push it on the color so you see how it lifted a lot of color. So this technique usually works from the color is still red, so you lifted off. But this one, the top one is still wet. I'm using a rinsed on dried brush and pushing it against the paper to see how it nicely lifted a highlight. So I rinsed and dried brush picks up the color like this. The bottom one is almost right, but we'll still do the same rinsed and slightly dry brush, and you'll need to rub it a little bit. But it will still lift the color out. And both of these techniques are going to give you nice texture to create for fruits and vegetables. There's some other techniques that we can also use to create a bit of interest in our fruit and vegetables. So I'm just painting a little orange block here, and you can add another red color so green here and it will bleed based on how much water you have added in the green. Now, for the 2nd 1 I'm going to paint a red block on violent still that I'm going to pick my wet , slightly dried brush and touch the brush onto the paper so that the moisture comes in and it creates these little blooms for the last one. I'll paint a block, and I'll add some salt to it, and when that will dry, it will create a nice texture. Another technique is called dry brushing. So for that I'm going to paint a small block and will wait for it to dry first. So let's paint a little blocked with the base color here and now wait for this to dry. Now I gotta old dry brush. No more sharing it. And I'm just picking up some color on the tip off this brush and I'll just flick it over the base. So this gives me sort of hair remarks. And this can come handy when you're painting some of the fruits or vegetables, which are a bit fuzzy at places, so just flicking it over dry surface. So these were some of the techniques will be using in this class. 6. Loose Watercolor: Papaya: Let's paint simple pie, so I'll start with the yellow from the class, expand it and at the pinkish color Tokyo to it. This gives me nice and pretty orange, a bit more yellow to it. I'll start from the top. Push my brush down a bit wider at the bottom, completing the outer part off the shape first and then pulling the color in. If you're quick, you won't be creating hard edges big. That same color added more towards the outer edge on both sides and also a little bit in the center. That seat one more time. So yellow on a touch of Tokyo, so differ. Pinkish color. Big quick, unde quickly build a sculler in. If your brush has dried, quickly vetted and pull this color in. You find your shape, adding a bit more Tokyo towards the outer ridge and some in the center. Now you have to rate for this to dry completely. Just check for the back off your hand if it has dried or not. If it feels school, it's still wet. But this one has, right, so I'll pick some black in my finer brush and I'll start creating the little seeds in the center, some off them complete circles entirely filled in some with little bit of sort of the gap left in between to create the highlight in the seeds and place them quite close to each other. But don't make it all one big black shape. Let them look like seeds separated a bit but quite close to each other. So some with a bit of gap, some completely filled, and the overall shape should be sort of a almond shape net seat. On this one, I first place them a bit further apart and then fill them up the gaps in between them a bit later. And now let's make some green and on just that touch of black to it, and we'll be creating the visible green peel so you stopped at the bottom. Run a big talent to the edge and then join it upon top and fill this gap up in a very thin line off the same color. The words the other side, this visible peel on the other side, is optional. You can leave it and keep it only to one side. It was Stop with this one at the bottom, saving a bit of gap and joining it up on top. Fill it up. And for this one, we're going to leave the pill visible only from one edge. So this is how I paint Tobia. 7. Loose Watercolor: Lemon: it's paint some lemon, so I'm picking some yellow from the classic spell it adding some body to it. Nice and juicy mix. I'll pick some of the color. I'll put it down in one brushstroke a curve. And I'm simply pulling this color now, leaving a little bit of gap towards the right side, sort of creating a highlight, adding a bit more color again, leaving that center highlight alone, refining the shape a bit more. So it's sort of an oval shaped with a little rounded dip at the bottom. I'll pick some Tokyo on a bit of yellow to it. And while this limited still vet, I'll just add a little bit towards the bottom edge on a bit more towards this left edge of it, a big some green in my finer brush, and I'll just add a bit of that green towards this edge as well, a bit more at the bottom. Just instead of making it look completely yellow and flat, you're adding a bit more off color to it. Now. Pick some black and added to the green mix a bit more green. Andi, with the tip off your brush brush almost straight create a take stock. Nice and juicy mix. Attach leaves with it. Quite big leaves and sort of baby. Visby can add a bit more color to the leaves. You can make the leaves as detailed as you like or keep them lose like this. That seat one more time. So nice and juicy yellow mix push my brush down, and this time we're going to fill the entire shape. To find this shape a bit more brings my brush patted dry, and we're going to lift the highlight this time. The last time we left the highlight alone, and this time we're going to lift it a big Some of the Tokyo added to the yellow mix and again added to its opposite side of the highlight Big. Some of the green makes additon Greenspan brush, but to try a bit sort of blend that green in a bit. Not completely, but just smooth in a doubt. Now get picked that black and green mix for the stem. Andi the leaves so you can create a whole page full of these lemons. Add more leaves to them and they're very popular right now. I would pick some of that orange and add a little bit at the bottom. You can make it as detailed as you like on a few dots here and there, and this finishes off the lemons. 8. Loose Watercolor: Peach: for peach. Let's create a mix off pink and add a bit of yellow to it. This will give you a nice peachy color on with the very juicy brush. Push your brush down, create sort off a fat or will shape. Now start up on top. Leave a bit of gap, unclos it at the bottom big, that same color on a bit near this gap in between that seat one more time. Push your brush down, complete the oval shape sort of an almond shaped start from top and join in the bottom and then add more color just around the edge. Now, Bix, um, green in my brush and add just a touch of black to it. And just with the push of my brush on pull it. You'll get very simple leaves just to add upon top. Now let's make a peach that's been cut in half. So for the pit part, I'm going to pick the color Mabel and I'll create the outer boundaries off the picked first prince my brush and pulled this color in softening it up a bit. Allowed some sorrv would do it so different, deeper red color, and now we can let it dry will create some slices off pitch, so that same PCI makes pink and yellow. And with just a push off your brush and pull it, leave a little bit of gap and create a few dashes like this sort of abode shape. Let's see a bit more yellow in it. So when push off your brush, leave a bit of gap. And now, in your finer brush, pick the sour. Would color not much water in it and just touch this little gap with starboard and let this color bleed into the slice, mostly towards the center, to create the visible peel to speak that same peachy color. It's getting blended in this one, so for the next one, a bit more red in it so that it's visible. So these were the slices. Now this one is almost trying, some adding a bit of brown towards the bottom of the pit so that that also blends in Well. Now I'll create a heart shape around to give me a guide, two filled sort of the fleshy part of the beach. Now for the flesh part, let's create that same PCI mix yellow on pink, a bit more yellow this time down. The people that we created now for the flesh. I'm just feeling that heart up and barely touching the pit just a little bit, touching the pit not too much, leaving a bit of right gap, adding that beach makes freshly when more time towards the outer edge. And now big some starwood in your brush and start touching this flesh very close to the pit . Touch the bitter little bit, but try to leave that wide gap in between on a bit of the Sarver towards the outer edge. Now you can let this dry a little bit. Now that this one is right, I'll add a bit more off brown to add details to the pit. So little baby lines here and there, a bit of black at the bottom for the darkest of the shadows, some more starboard to darken up this bleeding color into the flesh and make little connecting dashes between that flesh on the pitch part. Now, to make the outer appeal, I'm going to make that same PCI mix and just add a very thin layer on both sides of the heart and with that same mix, fill the gap up on top. So this was beach 9. Loose Watercolor: Kiwi: Let's paint him, Give the slices. So I'm picking the green from the classics palette and also another puddle of green and adding a touch of black to it to give me a darker green in my brush, I'm going to pick the nice, juicy for screen mix and created doughnut shape with little center left in between, smoothing Dedge. Now, quickly rinse my brush, dry it and run it over the edge of this inner circle, softening it up. OPIC the darker green mix and add a trend. Imlay more towards the outer edge. So not all across the whole circle, but just a little places here and there that seat one more time. The donor cheap first with the lighter green mix leaving the circle in between. Rinse your brush battered. Try running toward the inner circle soft, turn it up and now big the darker green mix and added towards the edge. No, who just rate for these to dry up a bit while they're still drying Renzi brush patted dry and push it against the color, and you be able to pick a bit of color like this sort of creating radial sun lights. How we used to as kids when we created a son, so this will create very fine. Highlight its seat one more times, rings your brush patter dry and just push it against the center. Here. The color is not yet completely dried. Now let's pick some brown in a brush and just add the outer appeal. Just 10 layer a bit more towards one side and a bit less towards the other. I'm creating this quite smooth, but you can also add a bit of texture to it and created in a bit more fuzzy on more natural look. So with a fine detail brush, you can just our little fuzziness do it by just putting a bit more color and moving it around. So now we'll wait for these to dry completely. Now that this one has dried, I'll add the darker green mix not too dark, and create one small and one big dash coming out from the center. So one small, one big, varying. My darker green makes around and going all around that center. One small, one big dark in up. This one is still red, so it's bleeding quite a bit, so let's wait with that one darkened up this one a bit more at places. Now I'm going to pick some black for the seeds so you can also read for these lines to dry first and start adding this black a bit towards the center on a bit further away for a few of them. So some closer to their center. If they start to bleed, that means you have to wait a little bit longer. Now let's greed those lines again for this one. So one small, one big and go all around dark, going up a few of them. Now let's take some black for the seeds. And if you're impatient as I am, your color will bleed so great a little bit on ab deceit, some a bit more closer towards the inner edge. I'm a bit further for some of them, sort of alternating between the two. So this was how I paint Givi slices 10. Loose Watercolor: Pear: Let's paint some pair. So I'm picking green from the classics palette and also some yellow and adding a touch of Tokyo to it. Now, in my brush with the green, I'm going to create the pear shape, so just push my brush down. But right at the border, pull this color, fill the shape. We find the edges a bit. Ren's my brush, battered try and lift a little highlight almost in the centre or more towards one of the side. One more time lifting the same highlight out. And now that sort off Tokyo and yellow mix. I just added, with the tip off my brush, not too much water. Just that makes in my brush on adding little dots and letting them bleed all over, leaving that highlight alone and a bit more. Talk to you, not everywhere, more towards the edge. And now we're going to wait for this to dry. In the meantime, let's pain. Some bear half, so mixing that same Tokyo and yellow mix a bit more Tokyo and making it quite watery and picking very small color only from the edge of that puddle I'll start making that same shape like earlier fill it up. I'll pick a bit more color to define the shape. I'm picking it only from the edge of the parts or not too much color and filling it all in , just refining the shape a bit more now for the visible peel. I'm going to pick some green in my brush. I let the center part dry a little bit, so I'll pick some green in my brush, and I'll just touch it towards the edge, trying not to let it bleed in, keeping it more outside the edge, just barely touching and going on around. If you color starts to bleed, then wait a little bit and we'll pick some of that orangish mix and I'll start to create this inner rain. You can see how it's sort of bleeding. That's because the basis still red and we wanted to bleed a little bit. We don't want it to be very harsh line. I'll darken it up. A little bit of places, a fix amount that black or brown and add just a bit up on top. This is where the fruit twig attach is. I'll pick that same orangish makes a bit more to create the complete, the midline and now we'll again little dry. Now we'll pick some Tokyo in my orangish makes Anil our little dots to this one. This has almost dried, but I don't want these dots to stand out so much. I'm just going to Prince my brush battered dry a little bit and run it over them. They almost get completely blended in. But then I'm going back in and adding a few more dots off that rent and letting them bleed a big, some green and a touch of black do it to create little leaves. So just a push up my brush fine line and then leaves attached to it on grants my brush on, Pick the color out for the seed health sovereigns and dried brush and just push it against this in apart to create two seed house. And now let this dry allowed a bit more red at the bottom and darken up the bill part a bit more. Now that center has dried and picking a take black makes and adding to little seats one in each seed. How so? This is how I paint bear and the bear half 11. Loose Watercolor: Avocado: it's been two avocado have. So I'm starting with the yellow that comes in the glass. Expel it and I'll add a touch of green to it. Maybe a bit more yellow initially. Make it nice and juicy, and with this, I'm going to start from top. Put my brush down, fill it in with that same color. Pick more color if it's drying out and fill the whole shape up and very quickly pick some green in your brush and run into a long the outer edge and let it bleed a little bit in that yellow. Now pick some green and add a touch of black to it for a bit deeper green and run it further on the outer edge, letting it bleed just a little bit. So keep it towards the outer rich, but let it bleed just a little bit. So you have yellowish green in the centre, lighter green and then a bit darker green on the outside. Now ruins your brush, dry it and lift the little part for the seed in between. This is the half which doesn't have the seed, so it just lifting the little hollow Bart. Now we'll wait for this one too dry, and in the meantime, let's create the other half so green. We have to add yellow to this. Great. I'll paint the same shape. Try to keep them almost the same size. You want this initial layer to remain vet while you add the green next layer. So just if it's drying out, add another layer of this green yellow green mix and now big that light green and simply touch it towards the outer edge, letting it bleed in a bit. Now add some black to the green and added further towards the outrage. You want this green to be a bit more demarcated, with the lighter green that you added. Now we left the center out, syringes your brush, dry it and lift the center a bit. Now that this one has dried, I'm going to pick some Tokyo on a touch of yellow to it. Not too much water in my brush, and I'm going to just follow the control off this hollow shape with little dashes. Prince, my brush patter dry, and I'm just more than ing it out a bit on the top edge. I'm kind of widening that color a bit and pulling it a bit more inside, adding a touch more yellow, creating sort of the hollowed area there. The seed will fit in just moving that color out. I'll pick a touch of brown and added at a couple of places. And now that this one has dried, I'm going to pick some Mabel and a touch of brown to it and create the seed or the pit while it's still wet. I'll add some brown to it, so I'll just pick some brown and added very close to this maple paddle that we made, and I'll add it on one side and a bit more at the bottom. I'm trying to preserve this Mabel color that we had initially put, so I'm not going all over with the brown going a bit more on the other side and still leaving quite a bit of Mabel in between, making the seed shape a bit more rounded and now rinsed and dried brush, and I'm running along the Mabel to lift it for their up to create a nice highlight in their pigs and black. Mix it with Tim Brown and at the darkest part of shadows for a deceit and a bit more in the center again tried to save that nice highlight you just created. I'll just run slightly moist brush along the sea to just smoothing it out, up a bit off that darker green mix and just added a bit up on top and maybe a little bit of brown. So this finishes off our to ever got two halves. 12. Loose Watercolor: Strawberry: Let's paint some strawberries so I'm starting with salver would and also mixing a bit of red that comes in the classics palette. So I'll start with the sour of what makes nice and juicy color. I'll start upon toe, bring it down, complete almost 1/2 of the strawberry shape, not change my makes to the red food. The gap. You find the shape a bit. I'll add summer food and a touch of purple to it on added to words. Fun off the sides. Give sort of a darker, maroon ish mix and now rinse my brush, patted dry and now lift a little highlight almost in the center. Let's see it one more time. So soured would almost half of the strawberry shape change the makes to read and a touch of purple. Now Renzi brush dried on the paper towel and lift the highlight. Now let's wait for both of these to dry completely. Now that things have dried, we're going to create a picnics off yellow and just with the tip of my brush, not too much water in my brush. I'm going to add little dots all over the strawberry. Now I'll pick some green in my brush, nice and juicy mix will be painting the little simple part on top off the fruit, so nice and juicy green and add a touch of black to it. Starting from top, Just tickle your pressure around to create the serrated edges off the simple but so sort off leave shapes, but with a bit of separation, some a bit over the strawberry. You can attach a fine do it to them as well. It sound a few more to this one, some of them falling over the strawberry, and now we're going to create a mix off some purple and a touch of Starwood into it, and right underneath the yellow dots, we're going to create little curves. If it's still wet, it will bleed into the yellow so you convey weight. Still, the yellow has dried, and just underneath that yellow, create the curve with this deeper red color, allowed a few more of this deeper red color dots filling the entire strawberry, and now we'll wait for all of these to dry. I'm going to pick of I gel pin. You can also use white ink or wash to our little white dots on top, off the yellow that you had painted and also few of them independent. So just filled entire strawberry. But these white dots. So this is how I paint strawberries. 13. Loose Watercolor : Blueberry: It's been some blueberries for them. You're going to need just one color. So either in Tagore, in my case, deep sea and create a nice and juicy makes with lots of color in it. I'll show you quite big blueberries so that you can see what I'm doing now with my bigger brush, I'm going to press the brush and make almost a full circle, and now rinse my brush, patted dry on the paper. Andi soft in the lines and finished the whole circle, so this creates sort off a highlight in the center. Create another one, almost a full circle. You can deposit a bit off extra color on one side and then soft in there, remaining part and complete the circle. I'll create a few with my smaller brush. So nice and juicy makes press. You brush down, pull it up, rinse your brush, but it dry and so often this highlight, So try to create quite a few of them. The new practice, with the position off highlight wearing some with highlight in the center and some more towards the edge. This variation in the highlight will give you Ah, good collection of blueberries with different positions, so make a few more. You can also decide to add a bit more color on a few other spots to prevent your blueberry from looking quite flat. So just like this, add a bit more conduct and then soft turn it up. - Now I think we should let all of these dry. We have enough of them, so let them dry completely. Now that the blueberries have dried completely, let's add the remaining finishing touches. Some picking really take makes off the deep sea color on with just the tip of my brush. I'll start with the ones that have highlight in the center, and I'll create almost a full flower shape. One petal left an al. Just simply rinse and dry my brush and pulled the color to make this pedal sort of lighter and opposite to it. The remaining petals a bit darker on a dot in the center. Let's see it one more time. So nice and take makes so five petal flower almost complete, rinsed a brush, dry it Fulda last petal and darkened up the opposite. One with the dot in the center. I'll show you how I'm doing it here so rinse dried pull that last pedal darkened up the opposite one on the dot in the center. Now, for the one were the highlight is towards the edge. It's going to look as if blueberries sitting on its side so picked up. Take makes on just on that edge jiggle. You brush around and a little bit outside it a little bit outside on a bit inside. Let's try that flower one more time for this one. Highlight is sort of in the center dot in the center and now rinse you brush, patted dry and pulled that last battle of that flower out. Now see the side one. So instead of a straight line, I'm jiggling the brush around a bit, sort of a baby line and then on a bit outside. So it's basically that same flower you're making, but you're looking at it from the side. Could make one more for this center. One the flower shape. So these were you blueberries. Try creating a lot of them in one go and practice this detail part 14. Loose Watercolor: Fig: Now let's paint some fakes. So for that I'm going to pick some of the purple color from the classics palette. I'm going to add a touch of deep see Do it sort of the indigo color, a separate puddle off deep sea at a touch of purple's smoke tree. Also, do this deep sea battle just on the side, not mixing it completely. Now How big this first deep sea Andi purple mix and I'll start a bun top sort of a teardrop shape big, more deep sea color. So I'm just varying my mix. You're finding the shape prince. My brush big, some green, start up on top and bring it down just a little bit. A big, some more purple on some deep sea on a bit more color. When one of the side trying to preserve the initial layer that I had added. I'll also add just a touch of that purple smoke tree color. I'll refine the tip a bit more. Now let's try it one more time, so some purple smoke tree in the purple and deep sea mix, so there's no fixed rule. All I'm trying to do is change my mix around sometimes with a bit more bluish color and sometimes with a little bit more visible purple. Don't forget to add the green. It always brings a nice touch. So just a little bit up on top and bring it down a little bit. Now, while these air still bit, what you can do is add some fine lines to them, so they haven't dried completely. So just aren't that same one of the same mixes that used for the base in ad fine lines. Some of them will bleed where it's still vet, and some of them will stand out a bit more. This is one of the same mixes that you used for the base color. Now let's paint some fig halfs, so I'm starting with the little pencil marks for the center. So it's inverted heart, leaving a bit of gap to create sort of the flesh part now for the center. Him starting with yellow and just little dabs, some bigger, some smaller close to each other. And I'm trying to fill this little hard mark that we created upside down one. I'll add a bit off. Sorrv would into it a deeper red color, letting it bleed in that yellow a little bit, a bit more servant at places. So you want all of these colors, you're adding to be visible. I'll just add a touch of pink towards the outer edge of this shape that we're painting some purple in the center. It's quite dry, so I'll pick from this bottle. And now you can wait for this to dry, or you can add a bit more details to it. So I'm going to pick a little bit of sovereign boat in my brush, the fine and brush. And I'll just add a few more dabs and little lines to make it look like the little fibrous part in the center. This is entirely optional. Now let's see it one more time, but this time without a drawing guide. So I'll just stopped with some yellow, changing my mix around, adding a bit of red salver. Would the deeper red some think on the outer side? Just little dabs some purple, letting it bleed in friends you brush, try to pit, create fine lines in there, And now for the outer area, we're going to pick some deep sea and a touch of purple in it, and we're going to start from the base kind of parallel to the center. Push a bit more on the side now in zoo brush, Fixem green. Start from top, blended in. Go on the other side. Now pick that purposely makes again and then complete the other side, keeping the other side peel visible a bit lesser. Damn the left side. It's too which one more time. So same purposely deep. See mix. Start from bottom push as you go up. You can also try from the top down. There's no fixed rule about it. Just make sure to add some green from the top and bring it down a little bit. I'll smoothing this inner and a little bit with slightly wet brush. So this was fake and fig Hafs. 15. Loose Watercolor: Grapes: Let's paint a bunch of grapes, so I'm going to start with Tokyo. It's sort of a pinkish color. So, doc, you in my brush and then adding a little bit of purple. Do it. I'll also create another mix that is made out of purple on a touch of deep sea. In it, I'll start with the Tokyo and purple mix. Now I'm going to change my brush to the final brush, and I'll just pick that Tokyo and purple mix. I'm going to create a teardrop shaped with little right in between so pushing Andi closing . So push your brush and as you go up, leave a bit of white gap in between. I'm trying to place all of the's individual grapes close to each other, but still leaving gaps in between them. So just push you brush down, go up, leave a little bit of right in between as you go down place lesser and lesser, so by the end it would be just one grape dangling. Now I'm going to change my mix into that purple and deep sea mix on adding just a sliver next to some of these grapes so that it looks like the grape from behind is speaking through. So next to just a few of them, just a sliver or a touch visible. Don't do this to all of them, just a few of them. I'm trying to fill this gap in between them with this deeper color, and now let's change our makes to green and add a touch of black to add the tweet part. Attach fine twigs to each one of them on a bit wider upon top. Just fine lines. Now I'm going to pick that initial Tokyo on purple mix and redefine some of these front grapes a bit. They've kind of gotten a bit blended in with the back. Once I'm just redefining them a little bit. It also helps give them a bit more color. Now, with that green on black mix, I'm going to create these fine tendrils on with that same mix. We'll also be creating the leaves so we'll start with the veins of the leaves first a bit more black. You can also make some off the deep sea color into the green mix to create the veins and now runs your brush. Pick some yellow in your brush under touch of green to it, just a touch. And now, on each of these little vein part, I'm just going to dab my brush, creating sort of the leaf shape on each one of them, And together they'll make the full grape leaf. I'll add just a touch off darker green to it at places, giving a nice variation in the shades of green. You can also add a bit of Starwood under touch of yellow it places as well. Now we'll pick some deep sea and added to the pinkish purplish mix that we had, and I'm going to redefine the back grapes a bit more. This also helps to give a bit more definition to the front grapes. Since we're painting it quite loosely and without waiting too long between layers, they tend to bleed into each other, so it's always a nice idea to just define them at the very end. So now I'm just running a slightly red brush and giving a bit more definition to the front once you're moving any harsh edges and just giving them a nice shape. So this was a bunch of grapes 16. Loose Watercolor: Eggplant/ Aubergine: Let's paint a more machine. So I'm going to start with do pedals off purple from the classics palette to the first pedal. I'm going to add sour vote or any deeper read that you have onto the 2nd 1 Some indigo are deep sea. In my case. Now we load our brush first with the Starwood and Purple Color really nicely loaded and at the very end, I'll pick from the second puddle. Now for the breaststroke, I'm going to push my brush down. And as I quit the bottom turn and start to lift my brush to just the tip quickly and some deep sea and follow the same brush stroke as I go up, he was just the tip. Quickly rinse my brush patter dry and now soft in this inside white part that you created to create a soft highlight. Let's see it one more time, so I'm creating the puddle again. Some side would and purple really nice and juicy mix, also keeping the other part of nice and juicy drinks. My brush freshly load with the first petal purple in SAR boot and quickly pick from the other one. Now push my brush down at the bottom turn, and as I go up, use just the tip of my brush. Quickly add some deep sea prince, my brush batter. Try a bit and soft in this. Why tie light? This makes your vision looking quite interesting rather than complete purple flat shape. Now I'll fix and green in my smaller brush. Add a touch of black to it for the top. Simple part. So one do country. If you don't want your green to bleed in, you'll have to wait for the bottom layer to dry. But I actually like it when it bleeds in. It gives a nice loose effect. Now I'll pick some yellow and add a touch of water to it, and I'll pick just a little bit and add a little dot at the bottom off the machine. Let's see the whole process one more time, so I'll pick from the first petal pink and Starwood Second pedal is purple and deep sea. Push my brush down, and as I go up, just use the tip of my brush quickly at deep sea, rinse my brush that did try and soft in there highlight to just create it. Use the green on black makes to create the top part and just a touch off yellow for the little dot at the bottom. So this was open gene. 17. Loose Watercolor: Corn: Let's paint some corn cop, so I'm picking some yellow from the glass. Expand it nice and juicy makes I'll start by making almost a full conical shape but leaving a little bit behind and now rinsing members, patting it dry and just spreading this initial color out of it. Let's see it one more time. One press stroke a little bit for the next one prince your brush. Dry it and I spread this initial color out a bit, so this gives a bit of color variation within the whole calm. Now we can wait for this to dry a little bit. You can make some simple green for the leaves off their husk with just two small brush strokes for the ones that are in the back, I'll pick some orange from the classics ballot. I'm touching from the back of my hand to see the paper field schooled. That means it's still that, but it's almost tried. So I'm picking some yellow with that orange from classics palette and using just little dab brushstrokes in a vertical column to create the little cardinals. So just little damps trying to very the amount of color in my brush so some off them will look a bit darker, some of them quite blended in with the base color. Let's see it one more time with the other one. So some yellow on maybe a touch of red if you don't want to use the other orange and pick a very small amount of color just from the edge of the puddle. So not much color in my brush on vertical columns off little dabs close to each other. Do try to change your mix, so don't keep all of them very similar looking. Some of them should blend in a bit to help, making it a bit more lose. I'm picking a bit more of this orangish mix we created and kind of adding a top layer on top of some of these to make them look up it. Blend it in on picking some green and adding the back. Most husk leave for the second layer of husk leave. I'm going to add a bit off black Do this green makes again another set off leaves on both sides. I twist the tip off these leaves a bit when they come more towards the front. If you have some colors bleeding. Simply rinse your brush batter dry and picked axis moisture now with the same green mix, the ones that are in front as you come near the corn called base. You have to increase the size off the leaves, so sort of covering the base off the cup, having a bit of black to the green, making it darker. So twist upon top and as you come to the bottom sort of in s shape and covered the base off the cop, I'll use the same mixture to create the bottom part of the gulf, giving just a few more brushstrokes to create a bit variation in my green, giving a bit darker value here in there. So this finishes off the corn cope. You can keep adding a bit of details. More shadows, but this is how I paint corn cop. 18. Loose Watercolor: Pumpkin: Let's pain some pumpkins, so I'm going to start by making two pedals off yellow to the first bottle. I'll add some Tokyu onto the 2nd 1 SAR bird or a deeper red. I'll start with the 1st 1 so a bit yellowish orange mix and sort of an elongated oval shape . But the next breastroke I'm going to create to seize on each side, sort of encapsulating the first breaststroke and leaving just a white sliver. In between. I'll create another set. You can use a pencil to draw the shape first if that helps, and as I go to which back I'm reducing the size of my brush strokes on at the back. I'm just using little brush strokes to complete the shape. I'll pick some of that starboard mix to add to the edges for the deeper color just along the edges. I'm trying to save that white I created, refining the shape of it. Let's see it one more time. Picks him Tokyo and some yellow for spreads. Stroke Second, this is the first ridge now one on each side. Try to leave some right in between. Another set reducing the size of it, tapering it that bottom. And as I go to words back, just small little cars and the back. Most ones are just little dabs to finish off the entire shape, and you can obviously use a pencil to create this shape. I'll pick some of the sarb would mix and a touch of yellow to it on ad deeper shadow to the ridges. You can keep adding more deeper color along these ridges, but I do try to save that white, so a bit more red. Now we'll make some brown and just add a little bit here and there along these ridges, not toe every one of them and not everywhere. Just a few of them. We want to save that brightness off that yellow now big some green and add it up on top. Here, the white gap you created fill it up a bit, and as you go up, just twisted around to create the tender. So fill the gap and as you go up, twist it around so I'll keep adding more shadows to the ridges. So some so I would add some brown to it, keep adding, but keep trying to say that white I'm creating all of this while the shape is still red. So all of these brush strokes kind of blending well. But if it's standing out a bit too much us rinse your brush, patted dry and soft in the brush stroke. I'll pick some brown, and I'll added to the SARB would mix to create a bit darker color. I know ad a bit at the bottom to give a bit more darker value to these ridges just at the base again. Everything is still repped, and now I'm going to pick some green with a touch of black, and I'll start creating forward slashes next to each other to make that tender look twisted . So just some black and green on Slash is next to each other, and this finishes off the bumpkins. 19. Loose Watercolor: Beetroot : to paint beetroot. We're going to start with Starwood. Add some purple to this makes making it sort of a maroon ish color. And we will also create another brutal off deep sea are in decode that you have and add some sort of would do it are deeper red. Now we're going to start with the first mix that we created SAR vote and purple nice and juicy makes in my brush fully loaded and I'm going to push my brush down completely and pull is I go out. I'm trying to make a full circle, leaving just a slice in between reloading the fresh, adding more color to it now Walgreens, my brush batter, try and soft in up this little right slice we left in between. This gives me a nice soft highlight our pick some of that blue mix and just add towards the outer edges and a bit more at the base as well. I'm going to extend the same color and kind of taper the bottom and extended down a bit, adding a bit more of this darker color at the base. I'm going to rinse my brush in my find a British I'm going to pick the same darker color to create some extending roots hanging out just fine lines. And now we're going to pick this initial servant and purple mix, and from the top, I'm going to extend these long stocks that are going up. We will attach the leaves so long, lines going up, five or six of them, and each line I'm going to divide into the veins of the leaves already and now, with the slightly moist brush so waited on patted dry just a bit. I'm going to soft in up some of these lines to make them a bit broader. And now, in my bigger brush, I'm going to pick a nice, juicy mix off green and add black to it. Keep it really nice and juicy, and C members stroke and pushing my brush down and jiggle it around without lifting it toe . Push it down till the bottom in one or two press stroke. You can create this kind of leave so nicely load the brush. We kill it around and left as you go at the bottom. You can also create the leaves without the veins at first, so first create the leaf like this and then pick the same star would on purplish mix that you have created to create these wings. So it's entirely up to you. I'll pick some indigo to add another value to these leaves. Sort of difference that are overlapping. So it just makes them look a bit more interesting. And now I'm going to rinse my brush patter dry and this little highlight where the stock is attached to the beetroot. I'm going to just soft turn it up a bit. So this finishes off our beetroot. 20. Loose Watercolor: Carrot: Now let's bring some carrots, so I'm going to start with some yellow and going to add a touch of Tokyo to it. Keep the makes nice and juicy. I'll start up on top pushing my brush down a bit, and as I go at the bottom, I'm using just the tip of my brush. Go back up, leaving lots of right paper. The bottom. Reload the brush finished the top part. I'm leaving lots of right behind. Add a bit of curve upon top. Let's see it one more time. Push and pull as you go down. Go back up kind of upon top and tapered bottom. Let's see it one more time. Bush initially and as you go down, use the tip off brush. Go back up, finished the top part off. Now you some Starwood into the original makes and added to one off the sides to give a variation of the shade little fine lines at the bottom. You can use the side off your brush like this to add horizontal lines. Some more sorrv would try to save original layer as well to keep the variation going side of my brush. So all of these brush marks are going to stay and create and really nice. Interesting. Look on the carrot. Now I'm going to pick some green in my brush, not too much water. And just with the flick off my brush, I'm able to create the stock part. So just a flick, sort of on the side, the brushes slightly on its side and now, for the leaves were just going to dab are red brush. So it's got that green in it and just use some dabs quite close to each other, and this will create the leaves. Now we're going to add some deeper values. So again, another touch off sour vote. So the more layers of this kind of details you up and to look more interesting, you just have to wait for the bottom layer to dry a little bit before you add these details . Now, with some purple mixed into that initial makes just create little dashes and dots for the dense on the carrots so you can see how I've tried to keep that white intact. Also, the first layer is visible, so do try to achieve. This look can add the's fine lines at the border. The roots a few more dots and this finishes off our carrots 21. Loose Watercolor : Tomato: Now let's paint some nice and juicy tomatoes, so I'm going to start with some yellow. Add a touch of red to it. I'll also create a puddle. Offs are food. That's the girl. Start with. So in my brush, nice and juicy Starwood, and I'll start from one side. Push my brush down broad brush strokes and then change my mix to the red and yellow color. Complete the circle shape, fill it up, leaving a little bit of right. Bickmore sorrv old added to the shape. Let's see it one more time, so sorr would for the initial part, so broad brush strokes on the other side as well, and now creating a variation and using that yellowish mix more sorrv would and finishing the shape, giving it sort of a nice shape with a bit wider bottle. I'm going to pick some purple and add to my SARB would mix and add sort of the deepest shadows almost opposite to where we have added. The yellow so yellow will be are sort of the highlighted area on of a ferment the shadow, Biggs and Green and a touch of black to create the Cipel's. But if you don't want them to blade, you will have to wait for the base layer to dry. I like them how they bleed. Do you can obviously rate a bit, So this one has almost dried so you can see how it's not bleeding. So these are just fine leaf shapes. You can add a little twig to it as well. Now let's pain some to me to have. So I'm going to refresh my puddles. So yellow added to this orange is yellowish mix on some suburb would puddle also refreshed . So I'll start with this yellowish mix and create a figure of eight sort of lying down. Eight. So this will make the inside flesh part and with the rinsed and dried Britain just softening the inside part, I'm going to pick some sorrv would and added to its the outer edge but letting it bleed. We're painting it really loosely now, adding a little bit towards rear seats. Start. I'm going to pick some green in my brush and just add up on top just a little bit, letting it bleed nicely and softly. We'll pick some more Starwood in my fine and brushed not much water in there because the paper is already quite wet, so I'm just adding little dabs off. The SARB would pick a bit of yellow to aunt sort of to this middle line, so I'll keep adding more SARB would around the outer edge and also where the seed holes are . I'll pick some yellow to create little seeds or just little marks. It's all going to get blended in. And now, with some purple added to my read or Sarver word, I'm going to add deeper shadows at the bottom where the seeds are going to be. And now, with some black added to my green, I'll create the top part as if the supple and the twig is still attached to it. Let's pick the purplish and reddish mix again and darken of these shadows because they keep getting blended in. And now the darkest of the vids, um, deep sea are in Dicle. Let's see another half one more time, so some yellowish orange ish mix this time instead of figure of eight. I'm just removing the middle line, blending this inside part with a bit slightly dry brush, leaving white highlights using sour food on the outermost layer. If you leave white highlights here and there, creates a nice, interesting look, especially when you're painting. Lose if it's too wet. Just put her rings and dried brush to lift excess moisture. Allowed a bit of red now with some green. Just let it bleed a little bit up on top. Makesem Starwood To create the little, intricate part where the seeds are so sort of the deeper shadows, I will keep alternating and add a bit of yellow and the sour good color. Pick a bit more of yellow to create. The mid line is well and some seeds, and now, with some purple going to mix it with the red mix and and it at the bottom. But the seeds are allowed some more. Now let's aunt and green and the black mix to create the top. This is completely optional, allowed some indigo or deep sea at the bottom for the deepest of the shadows, and this finishes off our juicy tomatoes 22. Loose Watercolor: Bell Pepper: Let's paint some red bell pepper. So I'm going to start with do petals of Starwood to the second paddle. I'm going to add some yellow, turning it into sort of an orangish mix. Now I'll start with the first puddle or directly from the pants, um, SAR vote, and I'll start first horizontally, going towards the left, going down, widening member stroke and then going back up, sort of creating a tooth shape. Now I'll fill it with the SARB would change my color around to the yellow or the orangish mix. I'm trying to leave a lot off right behind to create really nice highlights. I'll use that same orangish yellow mix to create the part of the pepper that's at the back . So just to brush strokes on each side now, big period for the back most part. Now I'm going to mix some purple into the sour would to create the darkest of the shadow. Now let's see this one more time, so let's refresh our paddles. So some servant in each one of them into the 2nd 1 a bit of yellow to it now pick the color from the 1st 1 or directly from the pan, so try to create a tooth shape. Fill half off the part with Starwood. Change your mix around to the orange one. Fill it up. Try to Levite behind no fixed position at some more Starwood. So what I'm trying to do is change my mix between red, orange and at the very end the purplish and Starwood makes. Now with that oranges mix, do press strokes on each side, sort of encapsulating it for the back part. And some Starwood for the back. Most fixem purple added. Do you serve with makes and at the deepest of the shadows. So the shadows air going exactly where I had initially created the first shape. So now I'm going to pick some green on a touch of black to it, to add the top part, trying not to fill this white completely because I want to save the fights that I created. So nice highlights saved, and now you can mix. A doctor makes off that purple, and Sarah would and add more, deeper shadows, sort of following the first shape recreated. So basically defining those bridges a bit better in soft in up. Some of these brush up by putting a sort of a rinsed and dried brush just softening. Adopt. So this was your bell pepper 23. Loose Watercolor: Onion: Let's paint some red onion. So I'm starting with Tokyo, and I'm going to add some purple to it at some water to make it nice and juicy. Makes and also make self some indigo are deep sea. I'll also create a puddle off yellow, preferably cleaner yellow than this. So one more time, some more yellow. Now I'll pick tokyu and purple in my brush, push my brush down, create almost a circular shape, living right in between prince by brush. But to try a bit and softer this inside part. Pick some yellow and added to the remaining white part and bring it down so you can see how nicely it's blending with the initial color. Bring some more of that initial mixed down and also bring it up for the tip. Now I'll pick some of that blue to add to the tip and also at the bottom, where the roots are going to be allowed this blue color along the curve as well. Now, with some yellow in my final brush, I'm going to start creating these little dashes for the roots and letting it bleed in the initial shape, adding some darker color and also yellow to keep making these roots a bit more visible. Now, with the wet and dry brush, I'm just picking up some color along the shape, the curves. And now, with some blue, I'll make fine lines and letting it all bleed in adding a bit more color at the bottom. Now, for the slice, you can just create with the initial Tokyo and purple oval shape and then small concentric ovals, not complete ones, just dashes off oval shape and then use the two mixes off Tokyo and a touch of blue to add the outer flesh pot, and you can add a bit of yellow for the base, so it's sort of the first slice off on you. You can add a bit off blue at the bottom. Now let's paint the red onion one more time to complete one, so I'll pick some Tokyo and some purple with nice and juicy mix. I'll try to create the initialed round shape, leaving right in the center prince, my brush patted dry soft on the inside edges and change to yellow quickly. I want this yellow to bleed in. Bring it down. Also, create the top. I'm going to ransom, Deep sea. Or, let's add Cem roots first. So with some yellow just little dashes at the bottom, I'll pick some deep sea for the deeper shadows at the bottom, some more off it along the curve. So there's no fixed rule. All I'm trying to do is create a mix off Tokyo purple. A bit of yellow, handsome, deep sea in there, Big Sam Brown for deeper shadows at the base for the roots. Prince, my brush better dry and recreate the highlights a little bit. So this was your red onion. 24. Class Project: Homemade Goodness Tomatoes Illustration : Now let's paint this illustration together. So I've already added some simple lettering, and the idea is to paint 1/2 tomato onto full tomatoes behind it, along with a small slice of tomato. We'll be painting all of this quite loosely, So just as we learned in the tomato lesson in this class will be starting with the figure of eight using some yellow and now I'll change to this hour would color some of the tricks To paint loosely is to keep your color mixes really nice and juicy. Leave lots of vibe between your breast strokes and not wait too long between them. Way now Let's pain first full tomato, so I'll start with SARB would keep it nice and juicy, changing to read and now fixem yellow. My aim is to save this nice, yellowish orange ish makes here. I lived some of this highlight and continue painting, just as we learned in the class. - Now to paint tomato slice, I'm going to start with yellow. I'll paint sort of a boat shape first, and now I'll change my makes to serve food afterwards, outside and a few touches inside. I left some color between these two, I'll darken up the outer edge again and also darken up some more in the center. So around this seat, use some off the purple. This one as well, needs a bit more off purple to darken of the shadow and maybe a touch of deep sea and smell . Okay, I'm going to paint the big a tomato at the back, and I'm starting with yellow on the left side because I want the color to be darker on the right, where it's meeting the first tomato so yellow on the left and darker on the right. So tried to preserve that nice yellow and now dark and abusing some purple just so that it looks like a bit of shadow off the front one falling at the back one. Now let's attach the green stop. Do this one. Now Let's use that same green makes to create a drink and attached both of these tomatoes, and we're going to also add lots of leaves. - Now for the leads, try to keep them quite lose first initial leaf shape, and then you can add little serrated edges to it. - What severe Almost done with this one? Let's create a nice and juicy makes off some starboard and will be doing some splatters. So load your brush really nicely and tap it over the other brush. So this gives a really nice lose effect so you can create this as your class project are one of the other options I showed you earlier. I would love to see your class projects, so please upload them in the project section of this class and fear sharing them on Instagram. Please tag me and use the hash tag, My little basil underscore Skill chair. If you have any questions, please feel free to ask them under the community section of this class. 25. Conclusion: I really hope you had fun painting all of these fruits and vegetables with me. If you like this class, you might also like my other watercolor classes. You can follow me on skill share to get updates about my future classes. Thank you so much for watching and have a nice day.