Paint Realistic Apples in Watercolor Confidently

1. Class Introduction & Expectation: Watercolor realistic subjects can be intimidating. But when you learn the techniques and the brush strokes, you'll get more confident in painting realistic subjects. You'll realize that painting realistic subjects is not very intimidating. The brush strokes and the techniques are repetitive, but you need patients to achieve good results. Hi, I'm Bianca. I am a watercolor artist from the Philippines, and been painting watercolor since 2019. This class is for beginners to intermit it in watercolor painting. For those who would like to switch from painting loose to realistic, and for those who paint with other mediums, but would like to try watercolors. I will guide you through the process step by step from the materials, transferring the drawing to your paper, watercolor consistency, brush strokes, right in shadows, negative painting, and how you can transform a drawing into a realistic and three dimensional watercolor painting. These class has two projects. First is just one apple with a background, and second is with six apples with a background, if you want more challenge. I'm excited to see your versions of the apples. So let's start with art supplies. 2. What you will need: Here are the art supplies needed in this class. I'm using Bau Hong Academy, watercolor paper. This is 300 GSM, 100% cotton. I have a loose watercolor sheet that is seven by 10 ". If you are new to watercolors, this is the brand I can recommend. This is a student grade paper, but it's 100% cotton paper, and it's 300 GSM, which can hold a good amount of water. This is more affordable than the arch, watercolor paper. Either of the two papers are good. If you can't find this brand, find any that says 100% cotton. You may also use a watercolor block like this. It's also from Bau Hong Academy. This paper is glued on all sides, and there's a small area at the top, where you can take off the paper after painting. Next, I have two small jars of water. One is for washing the brushes while painting, and the other is for wetting the paper. That should be always clean. Next, I have a diluted liquid dish washing soap. I use this whenever I apply masking fluid. I have a masking fluid. This is from graphic gum. You may use any masking fluid you have. I have a masking tape for taping my paper. I have here a ceramic mixing palette. You may use any mixing palette you have available. Next is watercolors. This is from different brands. I'll use only a few colors and I'll tellor, which colors to use for the class project, but it's important to have the primary colors. I have a flat brush to what my paper, especially in painting the background. Also have an old synthetic round brush from Princeton Select. I use this to apply mask fluid. I have a Princeton Neptune round brush size eight. This can hold a lot of water, and I use this to wet the apples. I have a mix of synthetic and natural fiber round brushes. Sizes four and seven. These brushes are great for painting details, especially this size four, which has a very pointed tip. I also have a four H pencil and needed eraser four drawing. This is a rubber cement pickup or rubber eraser to take off the masking fluid. I always have a towel beside me whenever I paint, or you could use a paper towel or tissue paper. I have a leaf blade that I used to remove the paper from the watercolor block, or you may use any flat thing like this ruler. I have a art board where I take my paper, and I will also use a light pad to transfer my join to my watercolor paper. I also provided printable outlines, one apple four Project one and six apples for project two. You could check the projects and resource section for the list of art supplies and the printable outlines. 3. What is watercolor consistency: I Welcome back to my class in this lesson, we'll be talking about watercolor consistency. Okay, so I will be using Winsor red for this exercise. I pretty we think this is my winds red. Already prepared just a small amount of my water here of my winsor red. As you can see, this is quickly moving into my palette. This is t consistency. All right. If it's quickly moving to your palte, it's very light to wash. It is t consistency. Okay. There. It's easily moving. I will just put this on my paper here. You can also rase your brush or deeper brush to your water and get more. It will be depends on how light your water color would be, or if you would like to get pink, and you don't have pink. You can also use your red, water it down. That is the beauty of water colors. You can just add water to have lighter value of your paint. And then You will also get a light wash. That is consistency. I won't add water here anymore, but I will get more paint. See from lighter red, it's darker. It is still consistency. I will get a little bit more of red. Here. For next consistency, it would be coffee consistency. For the coffee consistency, it is still moving to your palette, but not as quickly as the ta consistency. This is coffee. It moves quickly, but it's darker than the previous one. I will add this to here, I will just watch it. There you go. Again, this is the tea consistency. This is the coffee consistency. It still moves to my palette. Here, for the tea consistency. As you can see, it's very light, it moves quickly to your palette, and it's very light. You can water it down as much as you want to depends on what you're painting. Next would be milk consistency. I will get more of my paint here. This is the winds are red, and I will add this to my mixing palette, the same. The same pale I did not mix another one is the same. I just added more paint. As you can see, moving around my palette, red is not moving that much in my palette. And it's thicker consistency. This is milk consistency. If you think of the drinks, The tea is very light. Coffee is thicker. When you go to milk, it's more of creamy. Okay. Talking about creamy. Let's go to the cream consistency. It did not wash my brush, but I'm getting more of my paint. Add it here on my palette. If you could see it's not moving that much as well and thick, darker. I added here. As you can see, there's already difference. Adding this color to this one, this is more darker than the previous ones even here. Next, we have the butter consistency. If you see butter even in the kitchen, it's more of like creamy texture. It's more of thick. Most of the time, if I do butter consistency, I do not already mix it on my mixing palette. It doesn't move on my palette anymore. It's very thick and creamy. I did not wash my brush because if I wash my brush, there would be water. I get the paint directly from my palette. I will put the paint here. You can see this is butter. If you see some unpainted part here, it means that my paint is in the butter consistency, it's, it's getting dry. There you go. This is helpful if you are painting, for example, sand, that is butter. For this class, we will be doing from t, coffee, milk, and cream. I use butter consistency sometimes. But as for beginners as I can see, most of the beginners I can see, they stick to tea to coffee consistency. You can use to cream consistency. Do not be afraid to add more pigment to your paint. Do not water down too much if you like to paint with with saturated color. For saturation, that will be talking about later on after this lesson. 4. What are values in watercolor: Welcome back to M class. Now we are going to talk about values. Okay. Earlier, we talked about the watercolor consistency here. Now this we'll talk about values. As you saw me earlier, I painted this. I water it down and it get me a light or pink color of my red. Okay. This lighter value, this is darker value. Okay. And as you get to butter consistency, even the cream, that is already high saturation and also darker value. Okay. What I like about water colors is that you can just water this down, and then you can get lighter value of your paint. So I wash my brush earlier. But I will get more of I will still rinse it. I will get more of the red here, and I will put it here. Okay. So Here, as for milk consistency earlier, I will just add water, I will water it that rains little more and add more water as I paint. What I like about water colors is that you can in it as long as you ranse your brush or add water. Add water. You just need to add water. You can go up to the lightest color of your water color as long as you add water. Now, if you would like to add saturation or more red, what I did on my watercolor paintings as I will show you on the Project one and Project two of my class, is that I did not just add red. I did not use the butter consistency. I cream consistency, milk to cream consistency of my water colors. But like for the cast shadows, we do not add black or we do not use black as for the shadows of the apples. What I do is you will get a darker shade of your color of your red, for example, for the apple. Use the ber consistency, but it will take you time to paint it. But if you would like to get more darker value of red, you can do two things. You can get a darker value of red as this is perm serine crimson. You can use any darker value of your red of the same color and mix it, and you will get a darker shade. You may also mix with other colors, as long as you will get a darker shade of red that is darker than the natural color of the red that you are painting. Now, as per the color wheel, if you study the color wheel, you may get a little amount of green. We still have green mix here from earlier. As you can see, when I added the green the red here on the green, it gets darker. Attle bit of green, you can add it to your paint, and as you can see it got darker. Okay. There you go. As for the painting, we do not use black or I do not add black or neutrotant, or paints gray to make my colors darker. I use complimentary colors or a darker value of my colors. In that way, when you add a task shadow, it won't look like it's black. Our eyes will perceive it as black, but the truth is you use a darker shade of the same color. So that is for the values, and I'll see you on my next question. 5. How to transfer drawing to watercolor paper: In this lesson, I will show you how to transfer an outlide drawing to the watercolor block, since we cannot use a light pad on this because it's a block. So what you can do if you have the outline drawing, I will get here another cancel. This is a student cancel that my son uses in school. I will set this aside first. And what I will do is I will scrabble the back first is like I am going to draw I will put graphite on the back of it. So this is the back of the outline drawing. I will scribble and make sure that this is already dark. So in transfer the drawing, if you're going to scrabble, what you need is a dark pencil that do not smudge as well. So just scribble the drawing. Make sure that you darken all of the outline or Make sure that it is dark enough, but also the pencil that you be using won't smudge on your paper. Because if it does, if you use B pencils, the B pencils are actually soft, then what will happen is the graphite will smudge on your paper, and we don't want that. We just want to transfer the rowing without a mess. You can use an HB pencil. This is among number one pencil that my son uses in school to make sure that it is dark and dark enough that you can transfer the graphic to your watercolor paper. I do not use any carbon paper because that will also a carbon to the paper that is hard to remove and I like that. Okay. Now I'm done scribbling on the back of the apply. What I will do is I will put it on my watercolor paper. I will also use a masking pap so that. It will avoid the paper to move around while I'm transferring. I will fold this area. Before I will transfer the drawing. My paper won't move. We don't want to move your paper whenever you are working because it will ruin the transfer. Here we go. I will just put the tape just one side here. I will just leave this open so that I can see so I can see it. There we go. I will just put this there, I just secure this. So that it won't move that much. My paper is A four size. That's why and I am using a small paper. You could use any size of the watercolor paper that you have. You don't have to use the same size, but if you are starting and this size is comfortable, that would be fine. Be when I was a beginner, A five size is comfortable size to paint. So and that's why I still have defect sides. Okay. Now what I will do, I will use dis pencil to outline just slowly. I make sure that I will transfer the outline to my paper. When you clip it, you can see that there is already pencil lines. There it's light, it's fine. But what you can do later is darken it if it's too light for you. I will just I will finish transferring the and I'll exp to you the next process. Okay. Now, I'm done transferring the drawing. So when I look at the so here is transfer. It's very light. Okay. So I will just remove this up from drawing. I will set aside and this one. So I have here I have here a four H pencil that I normally use. So what I will do, I will darken the pencil lines. So it will be easy for me to pit and see the lines. Okay. Okay, so I finish darkening the pass the lines, so it will be easy for me to on top of it and I can see the lines and this time. H 6. How to transfer drawing using a light pad: Oh Welcome back to my class in this lesson. I will show you how to transfer the outline owing to my watercolor paper using a light pad. Okay. So this outline owing is in the projects and sce section, so be sure to check it out. What I do is before taping the watercolor paper to my artboard, I make sure that the outline owing has been re transferred or traced to my watercolor paper. So this is my light pad. I will put the outline owing on top, and I make sure to use the tape and tape my my drawing down. I do not put tapes on all of the sides, just on both sides and that would be fine. Now, I make sure also that my paper is also aligned to my outline drawing. I will plug my light pad first, and then I make sure that I can see the outline drawing. I will turn off the lights so that I can see clearly. Before chasing, I also make sure that my paper is aligned. That's also I put also tape on two sides. The same on the outline showing. You you don't have to put tapes on all of the sides. It's just small tape because you're going to remove it anyway, and then you will need to tape your paper to your artboard. There it is. I turned off then, I will chase the outline showing using a four H pencil. I will turn off the other light and I will speed it up the process. I I. 7. How to use a watercolor block: This is the watercolor block. This is Balcom Academy, s with 100% court. This size is seven by 4.9 ", as you can see, this is glued on four sides. There you go. There's a small part there that is open so that you can remove the paper after the paint. And later, after finishing the painting, I will also show you how to remove the paper from the block. So first, what we are going to do is we will paint first on top of it. You don't have to remove the paper yet. You need to paint on top of it. You don't have to take it because it's already stretch out for you. So this is a sle flee that you don't have to take your paper. It's all stretch out for you. And you don't have to worry about damaging the paper with your tape. So if you're having a hard time looking for a tape that you could use for watercolors, you can also use a watercolor block. Well, anyway this academy is student grade paper. There's also an artist grade of bac or you could also use watercolor block, whichever that is suitable for your budget. If you are still studying or learning how to paint, this one is really good because this is already 100% cotton. 8. Watercolor Techniques Part 1: Welcome back to my class in this lesson, we will be painting a leaf. And this is also practice for our watercolor techniques and brush strokes. Okay. The first one would be wet on wet technique. It is also the reason that I always have two jars of water. One would be for cleaning our brushes, arranging, and one would be for wet on wet. Okay. I will also have this outline drawing on our project section so that you can also trace or you can draw free hand of this leaf. This is one of the leaves that will be painting on the second project that has six apples. Now, as we talk about wet on wet, and we would need to know how much wet should our paper be. Okay. Also, first washes would be always painting very lightly in t to coffee consistency. Okay, so I have here T to coffee consistency of my green mix and French ultramarine blue for under painting. I'm wetting this brush. This is my bigger brush. I will be painting this one first, this area. First, we need to know how wet our paper should be. I will be painting on this area first, so I will wet it with my water. Okay. When you do wet on wet, as you can see, I remove the excess water here because it has to water. You would know if it's too water if there is bottles creating on your paper. It should be just enough shine. Make sure that your paper absorb the water first before you apply the paint. Here, I'm letting the paper absorb the water. And I'll show you this in different angles so you can see how wet is my paper. Now in this angle, you should be able to see my paper and how wet it is. As you can see, there is no puddling creating, I'm letting the paper absorb the water. It is shiny and there's no puddles creating. If there are puddles on your paper, it has too much water, your paper won't be able to absorb the paint as well. If I'm going to drop my inconsistency, I will be using blue. Because let's say this is the part of the leaf that as you can see it's folded, but this is the part of the leaf that is on the top and this is the darker leaf. You can see my paint flows very easily to my paper, especially here. When I added the paint, it flows easily. There we go. As Brush Strokes As gets, I painted this following the shape of my leave. This is dry. I will just rains it. If this happens that there is a dry that there is this you painted here, and it looks like it will dry with harsh edges. I will just get a damp brush, this is not too wet. It's just damp. I will just soften it. Another technique that you can also do in your watercolor painting is smoothing or softening your edges. I also do that in most of my paintings. Painting on the leaf at the bottom. This is the bottom leaf. Now, this leaf appears to be lighter than this one that is on top. I will just soften this or smoothing it. So what I do with this is I paint also very lightly. Then I will be following the shape. If you do not follow the shape of your subject, what will happen is that, your painting will look flat, and we do not want that on our paintings. I putting water on this area, I will be painting on wet. For our paintings, the first wash, will be always wet on wet. That's what I do. Because on wet on wet, you can easily edit or you can make changes, you can lift the paint easily. While it's wet. Once your paint has been dried on your paper, it will be very difficult to lift up the colors, especially if you are using a staining color like wins are red, that is very staining and it's very difficult to correct your mistakes. Aside from that, if you are going to do wet on wet, especially on the first wash, always use only tea to coffee consistency only. And we'll be talking about that later. It means that your paper should be when I say tea to coffee consistency, your paint should be moving very quickly on your palette. Here, as you can see, I painted this just water. I let the paper absorb the water. My water is not puddling on my paper. It's just enough. There will be just, but no puddles. I will be painting the area with blue. I will just follow the shape of my leaf and here as well. And here. I also do the same here. I will softening this or smoothing this. I spread the color going up there. I will lease my brush because I will be adding green. Every time I rinse my brush, I also remove excess water on my towel here. I will add green here As you can see, I follow the shape of the leave. Because if you paint up and down, I love to write your painting will look flat. This area is still. I should have waited for it to dry, but it's fine. I can paint the green here. This time it's damp. This happens when your paper is damp. Your water color spreads a little on your paper, it doesn't move around that much. But I will just let this dry first before I apply the second layer. I'll just lease my brush. Okay. The next technique that I will be talking about here is glazing. Okay? This is a mistake that I did earlier that I put green while my painting is still wet on this area, I should have let it dry. Because if that happens, as you can see it blends the green and the blue here, but that's okay. This is a mistake that you should not do. I felt a little bit excited, but I will let this dry. Okay. Once it's dry, I will paint with a very light also of green with t consistency of my green mix here. Aside from that, this is what we call glazing. Glazing, it means that layer your colors very lightly. So like this, I painted te consistency, what on what? And then I let it dry. And then I will paint a thin layer of paint on top of it. That is glazing. Then you will let it dry, and then you can paint another thing thin layer again. That is glazing. I always do that also on my watercolor paintings. I do glazing for like three to four layers of my painting, that will be depends on the painting that I am doing. Okay, so now this area is dry. I can do glazing now here. All right, so I will rewet this area. I will be doing this area by area. Of the sleeve. For this, I'll just leave it like that. I will just leave it there. But as you can see, if you painted wet on dry right away, it would be difficult to remove or lift up the color. Okay. That's why I always do wet on wet first. I showed you that so you could see that it would be difficult to paint wet on dry. On the first wash, I always do wet on wet. You can see there are thin lines there. I will skip the thin line and I will just paint on beside it. Again, following the shape. As you can see is just I'm doing an upper S stroke, like that. I curve my brush stroke. There you go. Here I will be smoothing it. This is another technique smoothening or softening. At the same time, I remove the excess water because if you smoothen this, it's also lifting. It leaves the color there, but the paint goes to your brush. We need to clean your brush. I lease it. Now, this brush is wet. I will still use this bruh. This is a bigger brush and paint the next part of my leaf. I skip the lines there, or that would be the veins. I cut my green here and painting. This, as you can see, I do not just go up and down or just diagonal. I curve my brush. Your brush strokes matter. Okay. There you go. I made a mistake here. I accidentally put my brush here, so I will just soften it or smoothing it. Softening your brush strokes is also helpful with your painting. Most of the time, I correct my brush strokes with that. There we go. I'm just painting with water. Secrecy is just shiny, not too wet. Then I will just brush it again. Following the shape. Remember to follow the shape of your subject. Apple is round. When you go paint the apples, you should also paint and curve. I'll show you that also later. Here, which just move my paint. Then there's a lot of water here that end and harsh edge here. This brush has too much water, so I will remove the excess water, you paint, and then I will soften this. There you go. I just drag the paint that is left on my paper, go into the edge. There you go. So just to recap, the techniques that we did wet on wet. Remember to wet the paper first, do not let puddles on your paper. Let the paper absorb your water first. Next technique is glazing, that will be painting, light wash, and then let it dry and then paint another layer of another thin layer. Also, we talk about smoothing or softening your brush strokes. And as for the brush strokes, we follow the shape by curving our brush strokes, not rushing left to right or up and down. So avoid that. Follow the shape of your leaf. I will let this dry, and I will talk about later on, negative painting. 9. Watercolor Techniques Part 2: Okay. I'm still waiting for this part of the leaf to dry. But what I will do is I will glaze this area with green. So I we'll glaze it with doing wet on wet. Okay. I will also start here so I can paint green the tip of the leaf here. For the first layers, again, I will just do tea to coffee consistency. That means that I have a lot of water than my paint. My first wash would be first two layers would be very light. Then on the third layer, that is the time that I will start building up my colors. Very go. So you can see, just follow the shape of your thinking. I just follow the shape of my leaf. Painting these parts of the leaf. I will do it with my green, but this time, I will do negative painting. When we say negative painting, it means that we are painting around. We'll be painting around the veins. We will be avoiding the veins. I will just get my green, green mix. This is a shade of green. I will start here. I will be painting here. I'll be doing this wet on wet. As you can see, just wet this area. I did not wet the entire leaf. This area. And painting it again with my darker shade, the same following the shape of my leaf. But this time I will be avoiding this area the veins area. There Okay. I will add more dark green here. Okay. Now, I will get this big brush. I will soften this part. At the same time, I will use this brush to soften this part. So it will have a good smooth transition of the paint and water there. Just make sure that when you soften and smoothen your brush strokes, it is just damp and not too much water. Because if it has too much water, it will create blooms on your watercolor painting. Less if that is what you intend to do. I do only blooms. Whenever I paint a background. Here, going to this area, I'm wetting this area and I avoided the veins. I let my paper absorb the water first, brushing the water to this part of the leave. I did not touch anything on the right or on the left. I'm letting this on the left dry first time I'm getting from the lighter part of my mix. Be ping from here going up. There we go. As you can see, I curve my brush stroke, like this. From left to right here and then going on this stroke. It's like an S stroke. There. In here, I will just soften this. S I remove the excess, grain my brush, remove the excess water, and then soften it, softening it. There we go. There. Here, as you can see, there's already a vein here, because for the leaves, most of the time, if you look at the leaves, the veins are lighter than the actual leave. For some artists who paints loose florals. When they do the veins on the leaves, they use darker color. But when you look at the reference photos and you look into the leaves, the actual leaf, if you have any plants around you, check on the leaves, and you will see that most of the leaves has lighter color on their veins, not darker veins. So that is what I am doing now. Next, I will be painting this area. I will be finishing this. Again, I will paint negatively. It means that I will paint around the veins here and as for my brush stroke. I'm painting like an stroke here. Following the shape of my subject. I will keep this part. I will get a damp brush, I will soften. And soften here. I will just continue painting the leaf. As you can see, the brush strokes and the techniques is just repetitive. That is what I like in painting realistic subjects. You don't have to master specific brush stroke or whatever. The same technique and brush strokes. You will be using that on all of your paintings is just going to repeat those brush strokes and techniques. Then very light, then following the shape of my leave. There we go. I will just leave it like that and I will just softening here. I will also soften this area. There we go. Now, as I can see, there are more paint here than on these veins. So I accidentally added paint here because the veins here are very thin. Okay. So my brush is too wet. I will just remove the excess water, make sure that you are using a damp brush. Now we'll be lifting. So this is lifting. You use a damp brush, not wet, but damp. And then lift up the color. When you lift the color, the paint or the pit will go to your brush, so we need to clean it again. It would be very helpful if you are using a stiff brush. For example, Princeton snap or Princeton select, they are very stiff, and it would be easy to lift up the color. This brush is not very stiff. Okay. So lifting. When you lift, it means that you are getting the pat out of your paper. Next, we'll be talking about wet on dry. 10. Watercolor Techniques Part 3: Okay, now we are on the third layer of the leaves. So this time, I will be talking about wet and dry. Wet and dry, it simply means that you will put wet paint. Of course, it is watercolor. Your paint is wet, and you will be painting on dry paper. For other artists, they use wet on dry the first wash, but I don't, and most artists don't because when you do wet on dry right away, it will be difficult to lift up the paint, especially if you are using staining colors, that will be difficult to lift up and difficult to correct once your paint has been put on your paper, and I showed that to you earlier when I added a small part of green here. Now, for wet on dry, as for my brush, I do not use very wet brush. Okay. It's just damp and I will get my green here. I will do wet on dry on just here on this area. First, If you could see it. All right. If this happens, it means that your brush is too dry. Okay. I do this for some of the details. Also, it will be helpful if you are going to use this, for example, if you're painting a landscape and the sand, you can also do this technique. This is a dry brush technique. Okay. But I'm not going to do dry brush. I will be just doing wet on dry. So it means at my brush, it's too dry. So I wet my brush. And then I will paint here mostly on this area. This is a big leaf. And when I do this on the apples that I painted, it's small. There I was able to paint it very nicely, but this is a big leaf. For this, I will just soften or smooth in this area. Remember, it brush should be damp and not to wet when you do lift softening or smoothing your brush. As you can see when you smooth in your brush stroke. Again, smoothing. This is how you do smooth in. I showed you different ways to smooth in and different scenarios to smooth in your brushes. That's why I like to finish this leaf so that you could see how I do smoothing, how I do lifting, and finish the painting. I would like to have darker green in this part. Okay. Now, I will do wet on dry on some part of the leaves. For example, I would like to add or define the shape of the veins here, I will do wet on dry. As you can see, now, I'm using the tip of my brush, and this is I'm using fine brush stroke that I use only the tip of my brush and painting very very thin strokes going up. Again, following the shape. Of my leave. At the same time, I am going to do negative painting because I will leave a space here for the veins, and then I will paint negative. With with what on dry and using my tip of my brush. Tip of my brush. There we go. W on dry. Here, I am actually painting the details, almost the details. I use saturated or tcsistency of my grain and also on dry here. Okay. It's my brush is already too dry. I will get more pigment later because I ran out. There as you can see my brush strokes. I'm just using the tip of my brush. It will be helpful if you are using a brush like this that has a very pointy tip, but is synthetic brush. Now, this time I'm painting. The tip of my brush, doing the fine lines on on I'm painting the details. And will be adding more here. Here again, negative painting. As you can see, if once I added darker color on this area, the lighter color here that I did not paint that I avoided because it is the veins, it becomes more visible. That is and that is the reason I do negative painting. Here. If you could see as lowly as I paint with darker color here. It creates a shape of the leaf. Here, I will just soften this part. You may do the same brush strokes in different direction. That will be depends on the shape of what you are painting. So just follow the shape. Using the tip of my brush here. We can do this fine tip brush strokes in different directions. You can practice on the paper just by just by doing this, using the tip of your brush. You could do this on different directions. You can do an S, or you can do round, it will be depends on the subject that you're painting. That's why in this exercise in this lesson, I would like to paint this leaf because to show you how I apply the brush strokes. Not only the brush strokes here. And then I will smooth in this. I will continue I will finish this painting, but I will be on speeded up mode because I was just doing the same brush strokes. Okay. So this is our finished leaf. As you can see that there is already life shape and form on the leaf after we painted this with fine tip brush strokes also following the shape of the leaf. As you can see, here I did not add more paint here and also here. That also helped the leaf to show that there is shape and form on the leaf. And we also do negative painting also on the veins. LC on my next lesson. 11. Let's practice painting an apple Part 1: Welcome back to M class. Earlier, we talked about values. We talk about also watercolor techniques and also brush strokes. Now we're going to apply those techniques to practice painting an apple. So I have here an apple. Aside from that, we'll be talking about light and shadow in painting this apple. If you have a light source, the opposite would be, there would be shadow. Like what I painted here on the leaf, my source of light would be at the top, mostly, but I have also source of light here or directly from from the top here. So I have my light source there. If you are going to paint a shadow, you can see, just looking at my hand, I have shadow here because I have light source coming from here. So the light source from here, it create shadow or cast shadow here. I also have three more source of lights. That will be from the right, that will be from here, and also the ceiling. We'll be focusing on the cast shadow. A right? And how you're going to apply it on painting the apple. Here, I still have my mix of blue and red here. We create a natural shadow of the painting. I paint the shadows first using an underlying colors. Let's imagine that the light source of our apple would be coming from here. The light source coming from here and also directly from above. Let's see there would be sunlight directly here. The shadows would be the opposite would be here in this area. For example, it's a daytime and you're out. Most of the shadows would be here. This shadow there would be shadows here because this is like going inside the apple. There will be shadows here because this is from the top going down. There would be shadow here. For example, there would be a leaf that is folded behind. You will also see this in our projects that is a leaf behind the apple. You will see there. You will see a leaf there. There would be shadows here as well because this leaf is behind. What I do when I'm painting the shadows, I paint it with blue first. I will have a t consistency of blue here. Of course, I will be painting this apple first with shadows. Is not supposed to wet the entire thing, but there would be shadows in this area. Let's say, I won't paint the entire thing. But I will let the paper absorb the water. Remember as we talked about earlier, Then I will get my t consistency of my blue here. This is a t consistency of my blue, it should not be too dark because if that will be too dark, it will show us darker color later on. I'll just remove the excess water. I will add the blue here. This is my blue and I will add here. Here I forgot to add blue here. If you've added darker color of blue, your shadow would be beer as well. But for the shadows, I use only tea to coffee consistency and very light wash. Here I will just soften this. Let's say I will add the dark blue here because this leaf is behind an apple. There. There will be shadows here. Okay there. I will just let this dry. My blue is almost dry. But there are some also apple that is like light red, and sometimes there would be like yellow underneath. So I will add some yellow here. And also, I will show you how to paint the highlights as well. So I will have yellow on this part of the apple. Course, let the paper absorb the water. Remove the excess water there. Then I will add some yellow here. As you can see, as we talked about earlier, I painted following the shape. There you go. Let this dry completely and on the second layer, I will be painting red. 12. Let's practice painting an apple Part 2: I Okay. My apple here is dry. Now, what I'm going to do is I will paint this again, wet on wet with the tea consistency of this red that I mixed earlier. Okay, so again, this is tea consistency. It might be darker than the te consistency that I made here because it is the lightest t that I created. But this is still tacsistency. As you can see, the paint is still moving around quickly on my palette. It's just the value is more like here just to show you as an example earlier. The second layer of the apple, I will be painting this wet on wet. I will be painting it using this big brush, as you can see, I follow the shape of my apple. I will be painting on this area first. Of course, as we talked about earlier, when we do wet on wet, we are going to let the paper absorb the water, avoiding puddles, so you can remove excess water from the brush. I will avoid the leaf here on my right. Make sure that the apple is wet enough. Now I will use and we get my paint here, and I will paint following the shape of the apple. As you can see, I did not paint up and down or left height. I follow the shape. Here, it's going down, so I will paint this going here and here, and you don't want your apple to look like a ball here. This will and with the harsh edge, so I soften it. Now, I'm going to move my water here since this part is drying. Then I will add pink here, so S. Now I am on the right side and I follow the shape of the apple. I will just paint this with a few layers because this is just a sample and practice of the apple. Here it should be going down here. Here, it should be left from going to left, following the shape of the apple. It's dry here, so I ret this area just to make sure that I have a good blend of water color here. As now, we are doing glazing. We are painting another layer, very thin of the apple. Take consistency and here. This is dry. I will soften this edge before it will dry. For some part, I will just fix it later. There we go. I won't paint on the first on the right side because it's still. Softening here. Okay. Now I will let this apple to dry and later I will be painting it with a darker value of red. This apple is totally dry. So the next thing I will do is I will mix first my red. So we used earlier a ta consistency on this. Now I will be preparing my color here, and I will make a milk consistency of my red. Okay. Sorry. This is coffee consistency, I will add more. Okay. Just to check, if the color is running Fast. If it is, then I will need to add more red. So this is already in milk consistency. So we'll be going to this, okay? Just to check. I will paint here. My brush is dry. There you go. So here, it's saturated, more red color. So for the third layer, I will be wetting this again because I will be painting this wet on wet one more time. Okay. So beaches within this area. Let's say also that there is a shine on our apple that is touched by light, so we have a highlight. With that, for highlight. What I do is I avoid painting the highlight too much. That's why my first two layers are light in t consistency as much as possible. T or T to coffee consistency, depends on what I am painting. So I make sure that the whole apple is wet and let the paper absorb the water. Now I will get my brush here. We'll get my red. I will start painting here from the top. There going round. Let's say there is a highlight just like in the middle. What I do is I avoid painting that area. I will continue here. If I will paint here, I will just drag the paint whatever left in my brush. But here I am just painting very lightly here. Whatever left on my brush. Here I am just using the tip of my brush. Sometimes I just leave it unpainted. Depends on what I am painting. Here my right side is drawing. I'm painting quickly here. This one, this part is already dry. I suggest that I rewet this. If you are living in a place that is made like the Philippines where well, you need to rewet your paper. That's ok. Here. There we go. Again, following the shape of our apple, this area is dry. There you go. As you can see, as we painted this area, it's darker than the ones that we have yellow. Here I will be starting to paint the top here, and I will be starting to build the color on our layer. When you add contrast or shadows, more saturated color, your painting will start to look lively. That is the time that you will see depth on your watercolor paint. There we go, I will just soften this. This is basically the third layer and I will let this dry. 13. Let's practice painting an apple Part 3: Okay. Now fourth layer. Okay. So I will be still using milk consistency of the watercolor. I will still pre wet my apple. So this is the fourth layer of this apple practice. I will just wet the left first because my paper is drying quickly since I live in humid country, the Philippines and my paper is drying quickly. I will add more red here. As you can see, this is the top of the apple. What I do is I paint from the direction. This is the center top that there is a hole there. There you go. I won't leave that dry with harsh edge, also this. Now I will wet this area. Now I'm avoiding the highlights and I will leave that unpainted. Now, this part of the apple, Okay. Now I'm going to rewet this area softening. There you go. Then here instead of going on circle here, I will just go down. Now I'm using the tip of my brush and whatever left on my brush. Most of the apples have also shadows here. I will be working on this later on. I am softening, smoothing this area. When I so I accidentally brushed that area with a clea very light red, so it's easy to erase. Now, I will be moving on to the right side of the apple. We're t this area. On the first wash, that is the wash that I let my paper absorb that much, like I actually wet my first layer. If you noticed earlier, that I rewet my paper multiple times for the next layers. If that will be second, third, fourth layer, you can just rewet your paper, even just one time, and that's fine. We just continue here. And then I'm going to add more of red here, also in this part. I'm painting with the belly of my brush, that I press my brush harder so that my brush will release the paint that is on its belly. Here, I am going to pa going there. If you see direction of my brush changes, Because if I paint continuously round, my apple will look like a ball and I don't want that. I left this part painted on the first layer, but I will be working on that leaf later. Whatever paint left on my brush, I will just continue painting near the center, near the highlights, whatever left on my brush. It's getting dry. That's why it creates that effect. Okay. Here, I will soften it. Remember, if you're going to soften your brush strokes, your brush it be damp and not too wet, or else it will create blooms. Unless if that is what you're trying to do. Now, while waiting for the apple to dry, I'm going to get more red here. This time I will be doing a cream consistency of my red. It is saturated. The red is st than earlier. My apple is getting dry for now. Then I will just paint here. I will start here. And I will be painting more of the apple here. Okay. Here, I will paint more of going here. This part is somehow damp. I will soften this part and paint like that. I will soften this area. Still paper is getting here because I forgot to move my paint here. I focus on the top. Now here. More saturated red, there you go. And softening this area, and rewetting the other parts of the apple. I'll be continuing painting here and here as well. Moving on to the center of the apple, I ret this area. Okay. There we go. We have a high light there that we will avoid. But whatever left in my brush, I just dry it there, soften the to raise there. Whatever left in my brush, I'm dragging there near the center of the apple. Let's say that our apple has lights or a light source in front of it directly in the middle, that's it. I for your practice, you could put your highlights anywhere, right or you could look for the reference photo on the project section, and you could practice any of those apples, any one of those six. But I am just painting now from my imagination. Okay. Here I will add what red here, building the colors as you can see. Now, the blue is gone. You cannot see that blue anymore. Actually even the third layer. But here I will just paint the apple here. This part. I will just drag my color, whatever left or my brush to this area because there is a highlight here and we don't want to disturb that. We don't want to add more colors there. There we go. 14. Let's practice painting an apple Part 4: Now on the last layer of the apples. That would be six layer. I will use the red that I mix earlier. The wings are red with a lizarn crimson with a bit of green mix that I have here. I will just use that. And I will start painting here. This is the top of our apple that has stem here. I will soften those. There you go. Now here, I will be adding, let's say that there is cast shadow here, so I will use this. I will paint the side with a dark red mix here. Now, as you can see, I did not wet my paper. I'm painting on, and also the consistency of my water color is very very thick. This is cream to water consistency. If I will use just one color, then I will just get my I will just pick up color and do not place it on my palette, I will go directly on my paper. Here, let's say there is cast a shadow on this part. Now, I will just soften this like that. To make sure that your brush is damp when you soften. There we go. Let's say that we have some shadows here. Again, I'm painting wet on dry. There we go. Now this time, I will be painting the leaf that is left here. Since this part is very small. Instead of painting this on what, I will be painting this part, what on dry instead. Since for the second layer of the leaf, I will just get my green mix and I will paint it here. Of course, this would be the second layer, so my paint is t to coffee consistency. I won't use thicker consistency as of this moment. H. Now, for this stem, I will just mix red and green. That's what I have here is to get brown. You can also use any brown. You can mix colors if you want to. Since is just a practice. I will just use whatever I have in my palette. I'm painting also because it is just a thin Now for I will go on the third layer of the leaves. I will get a darker green. I will paint more of green, just right beside the apple to show that there is shadow here. Okay. For me, I am painting the apple like on the top of the tree. No somewhere on the table or whatever. That's why I do not put shadows here. So recap. When when you paint an apple, follow the shape of the apple. There would be any ca shadow, you will use a darker value or mix of your colors. This is a practice, and then if you're ready, you can go to the project one and project two. 15. Project 1 Apple & Leaves Part 1: For this one apple, the apple that we are going to paint is this one. So if you have the reference photo, you will be you will be painting this apple. This would be the the second apple on the left. So if we are going to study the reference photo, there is a highlight here, and then there is best a shadow on the side and also on the top. And also there are dark as here. This is a small painting, and I'll show you how to this one. Okay. So we're going to translate this reference photo to the painting. So let's start. I will just prepare the colors that I will be using for this painting. I will be for take the paints. For this painting, I will paint first the apple before I pat the background. For this painting, I won't use a masking fluid. But later on, on the bigger project, I will be using masking fluid. So you have two options, whether you would like to take the background first or you will like to paint the apple fruits. This time, I am preparing some colors that I will paint. I will use this Windsor red Windsor nein. I also used lemon. I will just paint with t consistency. This time, I will also prepare a French to Marine. I will also prepare green. This these are just the first colors that I will be using. Before I start painting, I will lighten the pencil lines first. If it's too dark, you can lift some graphite. I am using a needed eraser and this needed eraser doesn't damage your paper. So you can shape it on any shape that you would like. You can roll it to your paper to lighten your pencil marks. You don't want to have any pencil lines showing after you finish your painting because pencilins are hard to remove. So this is already good enough for me. I darken the pencilins earlier, I know, but sometimes it gets dark. Now, we start painting the apple fur. What I will do is, I will do this wet on wet. I will be using this Princeton size eight Prison net size. I'm getting water from the clean jar. This is the water that I will be using. I will be wetting the cool apple. I will paint the leaves later on. I will start with the apple first. And I will paint first the I will paint the apple with light color consistency to coffee consistency of the apple, this would be wet on wet so we can have easy flowing of water. You don't want your brush or to wet the part that is that you won't paint yet like the lease or the sides. Because if you went out of the line, it will the water color will flow to that area that we do want to. Wet the apple as much as you can. The water is not puddling on my paper. We do not want to have a puddle of water on your paper because if that happens, the paper will lift, and then you will and then when you put the paint the paint will go to the side, we do not want that to happen. So there you go. So carefully wet the Where the apple. I will be painting the lightest color first. I have here the round brush size f. I will use yellow first with ti consistency. I will paint this part first. With the consistency of yellow. There will be also some parts of the apple, that I will paint with blue. By this time, I'm just going to build colors. We are starting the apple lightly, and then we will build the colors later on as we go. There you go. This is just the first day, I will rise my brush, remove the excess water, and then I will get this French ultramarine. I will put the French tra Marine here on this side because this is a side that has shadows, a lot, there. And this part here as well. This part also. And here. It's very helpful that you are using a brush that has a very pointed tip so you can reach some tiny areas that other brush cannot reach. I will add here as well, and some of here. My paper is drying. I will lease my brush and I'll get rinse red and I will put some red color here. And some red here as well. And here I will just maintain this area light as much as possible. Then I will add on some parts here. There we go. Whenever we paint, make sure that you also paint on a round motion. I added the colors here and it has. That's fine because it will lighten as long as you add two d and that will be fine. This area is dry, so I'll get my brown brush here. I'll wet it a little bit so that it can help to flow the colors here. Later on, I will still add more of the colors. Later on, so this is just the first layer of the colors. It's still wet here. I basing my brush. Remove the excess water. I will just run my brush here. Because this area is light. So I don't want to add more colors here. I just want to move the color that I have on my brush and on my paper. Is my brush. Moving around whatever I have paint that I'm picking up on the paper. There we go. This is just the first layer of the apple and I will leave it dry. I don't want to add more at this time here, but I will move on to the leaves. I will use this symthetic brush size seven. I will leave and I will just add the color and an undertone color here, which is yellow because this leaf is very, very light. This is the leaf that is touched by the sun. I will just wet this area. Then I will get yellow. I will drop the color here. I has to water on your brush, remove it by tapping it on your towel or tissue or kitchen towel that you have. But I like painting with the towel beside me. There you go. S my brush again. This time I am going to move to this leaf here. Still wet on wet. There we go. I will just move the paint around in this area. Okay there. Next, I will paint this area first. This one. This cliff is folded. Okay. This is like the back of the leaf that is lighter than the front leaf. So I added too much water, so I'm removing and lifting the water and putting on my towel. So have yellow here. I will and the color here. As you can see, I just added very light color. We do not want to have a saturated color by this time. This is the area that is touched by the light, we don't want that to be dark. This area, this leaf here is the back, the reference photo, and there is a shadow here. Instead of yellow, I will use blue. I left this dry did not touch the other side yet because this area is wet. There. I have blue. I reach my brush, remove excess water, and I will move the paint around. If it comes water reaches, remove the water on the towel. Now, this part is somehow dry, so I will go back to it. I did not paint it earlier because I didn't want the paint to mess up. So I want the water color run down to the other areas that I do not want to. Instead of yellow here, I will put blue because these is the area of the leave that is darker. So the shadow color here that we are using and the undertone would be blue instead of yellow. There you go. I did not paint anything there, but I can paint it with yellow. This tiny area here is very small. I won't do on on this area, but just hit amount. This is the first layer of your apple, and I will try and we'll go back to it later. 16. Project 1 Apple Part 2: This is the color that we have here. Is red and green that I can use for the shadows here. A right there. So the first layer of my painting is dry. You would know if it's if the paper is really flat. Okay. So this time, what I will do is I will again the apple. I will wet it as much as possible. I won't wet the entire apple. I live in a very humid country, which is the Philippines. By this time, even if the EC is on. My paper is quickly dry. Even if I use watercolor paper, my paper is still dry very quickly. So I need to work very quickly as well. What I will do is I will wet the left part of the apple first. And paint it before I move on to the right side. You can make sure that the water is absorbed by the paper before you adding paint. Okay? I think that's it, I will just wet this area later on. Okay. This time, I will get wings red. I will get more red here. So right now I am using milk consistency of red, and I will just starting on the top, using the tip of my brush. And when I press heavy, the paint releases by the brush. Brush can hold water and paint on the belly because it has a big belly. There you go this time, I will add more here this area in this part as well. I do not touch one yet, but if see, I do not press my brush. But I just going to run through my brush very likely just the tip of my brush because this area is light. But here, I can press heavy here. I can add more paint in this area because this area is darker. Here I will paint going up going here. There you go. To this area is darker at the bottom. But then goes lighter here. This area is not wet, so I will wet this area. There, so I can run my brush again and to get smooth transition. If if you are living in a cold area and your paper doesn't dry very quickly. That's good. You can continue adding more paint wet the whole apple. This time I'm adding another layer of red hair before it gets dry. And then here before it will dry, I will soften it. Now, this time I'm done on the left side. I am going to move on the right side. I did not add a second layer here of paint that much. So it's fine. I'm wet right side of the apple and part here. All right. So this time, I will get I will add more here. This area is a little bit darker because there are shadows here of the apple. I will add more saturated colors here. There we go. Then if that happens, it means that paper is d in this area. I'll just soften it with a wet brush, and we don't want to leave like that because it will give you a hard edge. So there you go, I just wet it again and move the paper around. So if you are living in a humid country or area, this trick is what you can do. If if you're living in a cold country and your paper doesn't wet, that doesn't dry easily, you won't have the same problem like I do. There we go. We'll just add more colors in this area. Here. This area is going down. Instead of going right or left. There. I will soften this area as well. I see I am just using now the tip of my brush. I'll add more I will leave that first, and then I will continue painting that later, but I am painting this area first because it will dry easily again and we don't want that. There you go. If it gets too dry, you can wet your brush. I'm getting mix here, a little more red here. There we go. For this area, see it. What I will do this area. Not too. Absorb. Then I will just thing here and there. This area is not round, but it's like straight. So instead of because we don't want to have a very an orange. Here, this area is somehow light. What I will do, I will just put my some of the color here first. And then here, I'm just going to run my brush, whatever paint I left on my brush. Okay. If that happens, my my brush again, softening it. And this these area as well. We do not want to leave. We want to leave those harsh brush strokes there. We need to soften them. This area, I will area, and then I will run my brush here. There we go. Rings, and then I will run my brush here. So there we go. Okay. This time, I'm just painting this area. I left some small areas here painted on the second layer. So just running using the tip of my brush. This is the reason I like pointed bruh. I make sure that I won't go out of the line because I'm afraid that it won't look like an apple later on. So there you go. Here, I will just add more red here. I'll wet my brush and I will get some red here. This area is a little bit more redish than the other also that is near here. I lense my brush and then move the paint that I have in my brush. There you go. My paper is getting dry. Again, I'm just moving the paint around. I will do is I will get this big brush and soften this. I don't want to let my paper like that. There we go. This time, I will paint this site. This site is somehow. There are shadows here. But later on, I will teach you how to add test shadow on this area. And the reason that we also added blue here so that for the shadows of the apple. I will look like there is a natural shadow on this area. There you go. Okay. There we go. Here. For this area, I will again, this would be layer. 17. Project 1 Leaves Part 2: How this apple getting dry. So what I will do first is I will think this area or this area, I can work here because this area is somehow dry. So I will use this big brush and wetting it again, just make it ale d not wet. So I have my sap ring here. Just a touch of green is fine. I think it starts, I lease my brush, and then I use the water that I have here on my brush to wet the area or color this part. I just move the paint around. Because we don't want to have very dark green here. Remember, this part of the apple or the leaf is touched by the sun, so we don't want it to be dark. You want it just right. Okay. That's it. I'm just going to leave it dry. And then I will move on to this leaf. This part of the leaf is touched by the sun, so this is touched by the sun, so it's very like this upper area and below it, it has some shadows. But we will pairs with green. I will just this area first. Get my green mix here. We'll start here and move around the paint. I will use the belly of my brush and you can see that it will more paint. I have the green and then I'm going to add the water there. I will paint of green here and there. I'm just painting those areas with showing with a little bit darker green and here as well. Those areas with shadows or dark area here. These parts it has the shadows. So I paint it here. There we go. I will just leave this area dry and I will move on to the next one. If you could see this leave in the reference photo, this part is the lightest part, and there are some shadows on the area. Okay. There's also a tiny part here. I will this one first, this yellow part of the leave. I got too much of the green, so I will get wet my brush, remove the excess water, and then I will just use whatever color left on my brush, and I will just move around the paint. Is this part of the leaf that is. So we just want this area to be as possible. Let we go. Then I will move on to the other part here. This is Okay. Although although this leave is not yet dry. I'm just going to be carefully wet this area. Okay. I'm starting with this area, not touching the parts that are very close to what I've just painted. Okay. At my green. There you go. It has too much water, what I got earlier, but it's fine. I just use whatever left on my brush to paint, and I just move around the. Okay. Okay. Dry very quick. So raise your brush and we again. These areas somehow. Okay. Then If you want to help the light color to pop up more, you need to add darker color. And that helps it also help the darker color also will help to give dimension to your painting. There is and it's darker on this area as well. It's fine here. I can add more green here and more green on this area. And here also. I will wet it again because it's really dry before I add another shade of another green here. I hope that looks more realistic now. Somehow our painting is is having life. Now I will lease my brush, just one time, remove the excess water. I have somehow green here, and I will just p here. If you ase that much, get green, just a little bit use the tip of your brush. There you go. Now, this area. This area and this area is hiding behind the apple and it has shadows there. What I will do here, I will add more of the green here. This would be the darkest leaf that we have because it has shadows and hiding from hiding behind the apple. There it is. I'm going to rinse my brush, remove the excess water, and then drag the paint down. There you go. Okay. So we're done on the leaf. 18. Project 1 Apple Part 3: I let this right area dry, but I'm wedding these area, so this would be like my third layer. And this time, I will add more saturated red to cream consistency, milk to cream consistency of red that I have. There I will start here and says the water c flow, I will just let it flow and here is if we don't want paint it to look like it's a ball like it has a paint on left right stroke. So I paint going downwards. In this area. I let this I left this and let my watercolor left on my brush, through, but I run back here so that I won't leave this area try. If that happens, soften it. Soften this area too. And you see the big rush now. I run through this area. So it won't look like it's it's to it's too white, but we would like to have it shiny, but it has a hint of a color. All right. This time I am hinting on this area. The have some shadows on this area. Okay. This part is dry for some reason, but even if I wet this area, so it's fine, just wet again. Okay. I still have wet in my brush, but it's fine. I'm using it to move the paint around. Here. Whatever paint that I had is left on my brush, I'm just running through it on the apple. Again, we do not want to show that this area is to is to white, but there's a hint of color. Here, I will be starting to paint the shadows. I still have this brush and I'm running through the color here and there. Making sure that the air will be painted and I won't go out of the line I'm using the tip of the brush here. Here, since it's the red. I'm getting this mixed of red and saping. I add the paint there. Okay. So let that color flow. I release my brush. Then I will just erase a brush and then I'm going to move the color around. Okay. So we have that shade of the shadow bear the green. There we go. Be around it. Now I'm going to waste my brush, remove the excess water. The towel. Softening softening it. Then I can just leave this area dry. What I can do now here is I'm going to paint this area. This small area here that I left here. I wet it first. It's not too wet, It's not cott but it's just enough wet. I'll get saturated red here. And paint from the bottom four for not comfortable with that. We can paint from here going down. I will raise my brush again, move it says water. Then I'm going to use whatever water that left on my brush to paint and move the colors here. Because if we add more color, it will darken it. We don't want to super dark this area, but just right. I added blue here earlier for the shadow, so it's fine. I will just add a little bit more of red since some part of the reds here are not moving anymore. So that's it. Then I will leave this apple dry this time and move on to the. 19. Project 1 Leaves Part 3: Okay. Now I will move on to the leaf here. So this lower a is darker. So I will get that green here. I did not add water. I will paint on this area. I will just go in to paint the area so that has dark color or if it has shadows. Here as well. Some of parts of the leaf here, I won't touch it anymore especially on the upper area of this leaf. I'm just using the tip of my brush to get that in and do not want to get a of paint on my brush. I'm just using the tip of my brush. And painting this time area. Okay. I will do the same here to again this time I'm painting wet on dry because I'm already painting the details. There I go. Here as well. And just painting like the sides of the lines of the leaves. I did not paint on the middles. So by this time we're doing negative painting, it means that we're painting around. There we go. I will add more by this time, I press it a bit harder on my bruh. There we go. I will raise your brush on time, remove the excess water and remove the pin. Go up. We'll add a bit more here. A little bit more of green on the area. And part here. I lease my brush, and then going to soften those edges. Then dark red here. Well drop some red here, which is p brush. I will add red here. By this time, just using the tip of my brush, wet on dry on this area. Next, I will move on to this part of the leaf here. I will add more green on the light area of the leaf. There is the line there, I will just paint around it. I will add more green here. Okay. If it's wa if your brush is watery, remove the excess water. Okay. I'm just adding some breeze, but I did not the whole thing. There you go. You will use this brushes set. I will just wet this sll area here, and I will add some green on this area. There we go. If you have a water brush, remove the water using the towel beside you. That's why I always have towel beside me. I will add more green here. Using the tip of your bruh. S. And some parts here. You don't have to copy as what you can see on the reference photo, but you can add paint on some areas. But you don't have to paint everything with a darker shade of green. You can just leave some color of the first layer. So our leaf won't look flat. There you go. And I will use. I will also add a little bit here. There, I will get more green color of the green, and then I will add more green on this area. It will help to pop this slight area of the leaf. More. Okay, moving around the paint. Okay. So if you want part of your paint to pop up more, you need to add a darker color beside it. All right. And more of more of the green here. Now we have one last. So I will get a saturated color of the green and I will add the green here. I will wet my brush to. My brush is not too wet, but not too dry I just adding green on a lease area. I just down. I raise it, reraises water, and then move the paint going down. This part of the apple. I'm sorry. This part of the green of the leaf here is darker. There we go. I think I will add a little bit a tiny amount of gen on the lei. 20. Project 1 Apple Part 4: I We're almost done with the apple. But before we continue, I'm going to mix. I'm going to mix new colors. F I will be using for cast a shadow. I will mix ac magenta. I can have a darker red color and I will mix it with transparent py orange. Orange. There we go. I added more magenta. There we go. This is what I'm going to use forecast a shadow. It is more darker than the wins red. Now it's time to paint the last layer and also. This would be another layer of the apple. I will be wetting this area first. I will just wet the areas that I'm going to add more paint. Here I'm just going to add more shade of red here. I will be using just wins red on this area first. Okay. And also building up the shape of the apple. It will leave a hard edge there, so I'm softening it, and then move here. Then going to add more of. This area is dry. So I'm just going to wet it again. So even if I move some red here, it's fine. Again, I don't want it to be, but should be a hint of color. So painting I'm adding more on this area, wet my brush, remove the excess water. There you go. Then I will just move around the color. Here well. Das area. So just adding the color. I will get more of wins. So this is a very saturated color of wins and adding. So By this time, you'll see the apple look like round or like a ball, but there is shape of apple. It's not too much round like earlier, but a circle motion, but there, you should see already dimension on this area. Just using the wet I the big brush to wet and move around the paint that is left on my brush, wet in this area as well. Okay. At this time, I am going to add more of the red and I will transition it to the new color makes it eye prepared. Okay. For color for the past shadows, this is the color, this is the magenta and the mix of magenta and s cart. To At this time, I'm adding paint here. I'm going to move around here. This is a big brush that is wet and moving around the paint on the right side. I'm just using whatever left on my brush. Here as well. This has cast a shadow here of the leaf, so I'm painting this area. And I will add more shadow on this area. My paper is quickly drying, but it's fine. I will just soften the edge here. For the cast shadow, even if you paint it on top and the paper is, it's fine. I left part here that is not painted with that. I will just darken this area. And I will paint it re red. Not too dark. Just the same consistency of win red that I have here. There you go. And then move around the paint. There we go. Hopefully, somehow we could see that this is already shaped of an apple. Now, I will raise my brush. I will this area because I don't want to leave hard edges there, but I will get the dark red here and I will add more paint here. There we go, and here as well. These are the area that has past shadow and shadows of the apple. There. It's really I'm not painting wet on dry, not wet on wet anymore. Hope you notice that. But still softening some strips here that I do not want my paper to show that there is harsh edges of the paint Then I will add more color here. This area is somehow damp because I wet the area and move the water here. There we go. Right there. This time, I'm going to add some colors on the Apple below here. So my brush is damp. I am painting now on. And this is darker consistency in red. Here, I'm going to paint more of red in this part, but this time I'm going to wet this area. I don't want to paint with I don't want to paint this wet on. I want to have smooth tation of the color on this area. Remember, I did not paint this area, but I just run th my brush ir and some colors. I did not clean my brush, but I'm going to get the other darker red here and I'm going to brush off some color here. If this happens that is going to try so, I will soften it. I will have smooth transition. I will work on this area. I will wrap this top a little. I didn't clean my brush, I used the same color that I have here in the brush. There we go. I'm almost done with this layer, but here, I'm going to add more color of the dark green here. So this is wet on dry. I will clean my brush ins and then remove that says water. I'm going to soften the edge here. There you go. Then here, we'll add more color here. Dark red on these areas. I'll just wet the area that I'm going to paint. I will use the dark red color to add more D on this part of the apple. I look like when you add more dark color, it will help you to show that what you're painting on is as dep on it. Okay. So there my bruh. Then just softening the edge of the part of the w I painted on this area and moving on, I just move the paint around here in my brush and then move the paint here. Go. I will just leave the apple one first and then I will move on to the leaves. 21. Project 1 Apple Part 5: I'm using this mix of red and green here and be here. If your drawing has been coed by the paint, it's fine. He pitches draw as you paint. I raised by brush, remove the excess water, and then I'm going to lift. So part of that. Then if you're going to remove the excess water, remove the excess paint, B you're picking a color. Go. Now, I'm going to paint on the casting shadows of leafs apple. Okay. So we have a shadow here. So this brush is not very wet. I'm using this dark color here, and I will add the shadow of the leaf here. Okay. I will add a little bit more of this color here. My paint is also quickly. A reds for brush, I move the excess water. I'm going to soften this area. Now I'm going to add casting shadow here. This red I have, and I will get a little bit of green and I will add it to the red air to have more red. There we go. I added that shadow. I will get this big brush. I will go to soften the edge here. I will need to add a little bit more. Now I'm going to add more of the same color. We'll add a little bit more here. So there is amount of gas shadow here. There is a leaf on top of it. Then we soften the edge here. Now we'll add more of the red on this area. This not actually cast a shadow, but just the shadow of the apple and here. Adding this color will help to show the shape of our apple. D here, and then we'll add more of dark red here in this area. So again, this is already painting wet on dry. There we go. Shadow here. I will add more of color here. It's ready with consistency. I will raise of a brush. I will soften this area here. Death the apple, I will add a little bit of green on this area so that it honor of at a darker green here. I show the and this part of the leaf is folded. There go. We a bit here. And the and also on this area. I will raise this brush, remove the excess water. I'm going to soften this part here. Now, I'm done with the apple. What we can do now is we are going to lift some colors. You say the damp bruh. I will move excess water here. I will just try to lift some co. The ruh and it. There are some green dots on the apple. In my brush to remove whatever color to pick up from the paper. The the colors. But if you are having a hard time lifting, it's fine. You don't have to lift all of the colors. There you go. This apple is not if you are fine with it, it's good. I'm thinking of adding a little bit more of shadow to connect to this area here. V. Area as we. There we go. The apple is done, so you can stop here. But if you want to add color or background, I'll stay with it, go to the next ps. 22. Project 1 Painting the background: Now I'm going to paint the background, but before that, I am preparing the color, so I still have sap green and the red mix here, but I added the green there. I will add a little bit of sepia, and a little bit of ma, which is to bet the brightness of the green, a There we go and more of French ultra Moline because I still I just have a tiny amount of paint. So for this background painting, it will be just easy and light. Okay. So I'm going to paint the section by section. I will paint from the apple going out. I will start painting from this area. Using the prints stan. My brush is dirty. It's fine because I'm going to add paint anyway. Even if there is some color left on this brush, it's fine. But if you can use clean water, or clean brush, that will be awesome. I will chose Paint carefully with water, especially the sides that has those leaves or the apple because you don't want to destroy your painting. Where it is. And wetting the area will paint section by section. I will use this bigger brush. I will use this French ultramarine. Then I will just drop the French ultramarine here. I will just paint as light as possible with the blue. Because I'm thinking this is like the sky area when you look up. There I tilted my paper like this so it can help my pain to flow. Okay. But of course, it will just flow on the areas that has water. Okay. I will soften this. I do not want to leave it like that. Okay. Now, I will add more water on this area. Okay. So imagine that you're looking up at the apple. There is the sky up there, bright and blue. That is what I am doing right now. If you notice I did not paint the entire thing. I left white spaces. There I used wrong brush there we go. You could stip, it's fine. As long as you do not disturb painting that you did. Imagine that you're looking at the apple up on the tree, and then There you go. You can see that clear light blue sky. We're looking a tree. And carefully painting on this area. Okay. That's why I prefer painting the background first because it's quite tricky when you paint the background flass because you don't want your painting to ruin. The area is this top is. I will blue here. Remember that you can always steal your paper. I just simple bruh and let the water color flow. I'm not thinking of anything right now. I just enjoying dropping the colors. That is I move do, I'm going to change colors because Well, there are a lot of apples in the background. So we can add brown like four colors of the branches of the of the trees. So I leave some white spaces as my brush, a as the other brush, and then going to add more of water here and soften those brush strokes there. There we go. And then move downwards. There. Here, I'm going to get some red. Like you imagine there are some apples there. In the background. You can trap some greens. Like if we could see there are some leaves there in the background. There are a lot of apples there. We'll just wet the area. It's easier to paint the areas that there are no painting beside it. Then these area that has like apple in the leaves that you don't want to disturb and. There you go. I will just add colors. You could use any colors that you would like. But I prefer like colors. I can imagine like this is an apple that that I can see right now on the top of the tree. All right. This is why I'm painting where the green. For the green, I added, you can add a little bit of red, a little bit of blue and purple. There you go. You can leave some white spaces there. You don't have to paint the entire thing like just one color. If you do that, your painting will look flat and it doesn't doesn't look good. There. I drop some colors here. I'm just using whatever left on my palette. You can add more colors if you want to, but I'm just using what I have. You can mix other colors as well. But painting red and green. These are complimentary colors it's good to the eyes. Just avoid butting on the paper. I leave white spaces there. Use the same brush, and then just move the paper around. You can have dark colors in d value. We want to it's up to you. It's falling here and I'm trying to move the water around. Okay. There you go. I will move this water around there. I can think the back now and everything here is wet. This area, I have to be careful. You can add, add more green. Imagine that there are some apples behind it. I also have yellow in the cat, so I can also use that. That's also put color. Okay. So just tickle my brush there. I not thinking of anything. So I'm now moving upwards. But before that, I would like to get more of green color now thing with this and going to soften lease here. I make some color of green here to add to a background. There you go. I like anything with background because I think without background, it looks. I would like to have background colors. I would like to add more brown on the. If you think that you painted darker, as long as your paper is wet, you can drop some colors there and I blooms. That aul may not always good effect on most of the paintings, but it's also very useful and creating backgrounds, and also adding texture. Some artists do not like to have blooms or creating blooms on their paintings, but I like them. It creates beautiful effect on the painting. But make sure to use it properly because sometimes it may not work. These may not work also on on the apples. These areas started to dry, so I'm softening those cos. Okay. If you are using a bigger paper, it's somehow difficult to manage. If you are painting paint like this and painting one area at a time. That is why I paint one area at a time. You don't have to pat everything in one. Here we go. Here, I will add green I'm sorry blue. The name of the blue here on the so Somehow it turns that it's bluish green background, but it's fine. I'm just using whatever have been co. There we go. So for some created texture. There are measure there are some apples behind it. And you are an apple and you can see the. This is the final painting. Next, I will show you how to remove the paper from the watercolor block. 23. How to remove the painting from watercolor block: Now our painting is completely dry. We can now remove the painting from the block. You would know if it's dry, if your painting is flat. I will use this leaf blade from Bag Hong, or you can use something flat like a or a bone folder or a bread knife. I will insert the blade here at the opening at the top and glide slowly. And here, this is the painting, and I have a new clean sheet here. I will put this aside. This is our final painting, so I can frame it, and this is the project. If you want to continue and challenge, go to the next project with six apples. 24. How to apply masking fluid: In this lesson, I'll be using graphical masking fluid, an old synthetic round brush size four and diluted liquid dish washing soap. I washed my brush and the jar of dish washing soap. This will prevent the masking fluid from sticking to the brush and avoid damage. I remove the excess water using the towel beside me. Then I pick up masking fluid, which I poured a small amount into the bottle cap. Then I applied the masking fluid to my paper. I was careful in applying the masking fluid and as much as possible. I avoided going out of the lines. Then I washed the brush into the jar of dish washing soap. And I repeated the same process until I finished applying the masking fluid. Once I'm done, I just leave it before painting. 25. Project 2 Painting the Background: In painting in the background, I use French uterine, Sap green, and a mix of nac magenta and transparent pyal orange. Using a flat brush, I we the paper at the upper left, and then at the upper right. Then I went down to the middle. I made sure the whole paper was evenly wet and shiny and with no puddles of water. It's very humid in our country, and even when I paint with the AC on, the paper dries quickly. So I wet the paper multiple times because I let the paper absorb the water before adding another layer of water. This is the reason that a flat brush helps to paint big areas. I use the Princeton neptune round brush size a to pink with a t to coffee consistency of my watercolor mix. I added the blue at the top, just like the sky color. When you look up at the tree, I picked it with horizontal strokes, and I added more blue next to the mask areas. I would like to have a light background with a saturated subject. It's a photo with a light blur background that focuses on the subject. In painting the sky area, you may tilt your artboard and let the water color flow down. That's optional, but it's also good to have a smooth flow of the paint on your paper. I lease my brush, remove the excess water and pick up. I dropped sap green at the top and let it bland with the glue. I also added sap green in other areas like there were some leaves in the blurry background. I held my brush near the end because I wanted to paint a loose background as much as possible. The bottom of the paper was about to dry. So I brushed it with a flat brush. And then I added more grain in the middle. I also added red to other areas of the painting to show there were some apples in the background. While painting the background, I was looking at the reference. So I have an idea of where I will drop the colors. I continued adding Sap green below the paper to represent please in the background. I always recommend having the reference photo beside you when you paint, so you can zoom in and out to see even the smallest details. I wanted my background to be as light as possible, but you make paint a more saturated background. It's up to you. I scattered some water into my background as the painting slowly dry to create a blooming effect. Once you are happy with your background colors, you may leave your painting to dry, but avoid using any heating tool when you have masking fluid in your paper to prevent damage. 26. Removing the masking fluid: I use this rubber eraser or rubber cement pickup to take off the dried masking fluid. Make sure the background painting is dry before you remove the masking fluid. I find this rubber eraser, the easiest way to remove the mascul fluid. I just rub it off. It takes me less than 5 minutes to take the mascu fluid off the paper than using my fingers or art eraser. Make sure there is no maskin fluid left on your paper before painting the apples. 27. Project 2 Apples Part 1: In this lesson, we will be painting the first layer of the apples. I'm starting to wet the apples. I'll do a wet on wet technique, and I'll add an blue to the darker or shadow areas. Yellow to the areas of the apples that are light. The colors. I have RNT consistency. I'll build up the colors as I go. Remember to leave some white spaces for the highlights. I'm wetting the apples multiple times because I'm letting the paper absorb the water before I add another layer of water. It's humid in the Philippines and my paper dries quickly. The apple should be wet. Avoid having the water run outside of your drawing or else, the water color will flow to the area that you wouldn't want to paint. Also, avoid having puddles of water. If you do, dry your brush and lift the water. It's the reason I use a mix of synthetic and natural fiber brushes like to have control of the water. I follow the shape of the apples as I paint them, or else the apples will look flat. Your brush strokes can help to define the shape for the apples. It's, so my brush strokes are as well. I'll do the same technique to the other apples. I'll spe the video for now. But remember to look at the reference photo as you paint. Oh. Oh. I'll just leave this. I'll take a break, and I'll see you at the next lesson. 28. Project 2 Leaves Part 1: For the first layer, I will use cadmium lemon, French ultramarine, Sap green, a mix of inacoon magenta and transparent parle orange. I will mix sap green. And winds are red for the shadows. All of these colors are in t consistency. I also have winds are red. For the first layer, I will do a wet on wet technique for a soft and smooth transition of the colors. I started wetting the leaves at the upper left with my side seven synthetic round brush. I make sure the leaves are wet enough and shiny and no puddles of water. Letting the paper absorb the water first before applying the colors. Then I will use the cadmium lemon to paint with my size for round brush. For the like green leaves, I will paint yellow for the first layer. I add windsor red to the middle of the leaf. Then I move on to wetting the next leaf. I switch brushes every time. I use the side seven to what the area I want to paint, and I use the size four to paint. I move to the last leaf at the top, wetting it first before I apply the cadmium lemon. As I paint the leaves, I do not paint the whole leaf, but I leave some white spaces. I make sure my brush is not dripping wet and as much as possible, I avoid wetting the areas. I do not want to run the waters. I carefully painted section by section. I am adding a bit of red and blue in some areas. I look at the reference photo as I paint, and there I see where to add the red and the blue. Then I move to the other leaves on the left, doing the same process. I got the leaves first before I add the colors. I am adding yellow to this leaf, as it's shown in the reference photo. This is a light green leaf, and I will speed up the video because I'm doing the same process in painting the first layer of the leaves. Oh. I'm adding some red on the stems in the leaves. I paint as I look at the reference photo on my phone so I can zoom in and out to see the details rather than printing the reference photo and you can o it in. After painting the first layer of the leaves, I let everything and I'll see you in the next lesson. 29. Project 2 Apples Part 2: In this lesson, we will paint the next layers of the apples. I'm starting to write the first apple at the top. Then I add Winsor red with coffee consistency. I re wet the apple because my paper dries quickly due to humidity, even if I use 100% cotton paper and I paint in an air conditioned room. If you are in a cold country, you won't have the same problem. You can continue adding red to the apple as long as the paper is. As you can see, when I add the windsor red, the area that has a blue underpainting looks darker than the one with yellow underpainting. Remember your highlights as you paint, leave white space for your highlights. I continue to layer the colors on the side to slowly show the shape of the apple. Whatever paint I have left in my brush, I just use it to brush the center of the apple. Remember this is the apple that is touched by the sunlight. Keep in mind to make the c. This time, I rebut the apple because I'll paint the third layer of the apple with milk consistency of Winsor red. I paint layers of layers of colors and having 300 GSM of watercolor paper helps a lot to hold multiple layers of watercolors. Slowly as you paint, you are bringing the apple to life when you add layers of colors. For the center, whatever paint is left in my brush. I just bring it to the center by pressing a bit harder on my brush to release the paint that is in the belly of my brush. I'm using the tip of my brush to paint the lower part following the shape of the apple. When your brush strokes follow the shape of the subject painting, it will help to show the shape of the painting on a flat paper. In other words, slowly, your painting will look three dimensional. If your paper is drying, just brush it again with a light amount of water like I do. In painting the highlights, you can bring the paint to the area where the highlights are. In this way, you can add a head of color to the highlighted area. Some highlights don't have to be all white, but you can have a tiny amount of paint. I'm wetting the apple on the left and adding red at the bottom. If you observe how I paint the apple, I follow the round shape of the apple instead of brushing with straight lines. If you paint with straight lines, the apple will look flat. I'm adding colors, there are some parts of the apples I add more colors, and some parts of the apples are lighter. Remember to paint by looking at the reference photo. You don't have to copy as it is in the reference photo. Our goal is to learn to paint the apples as a painting and not a photo. What you need to look at in the reference photo are the lights, shadows, highlights, color shapes, and values. In this stage, I'm applying the third layer of the apple and adding milk consistency to the darker areas of the apple. Whatever paint is left in my brush, and dragging it to the highlighted area. By this time, you should be able to see how important we do the first layer with the yellow and blue underpainting. Since water colors are transparent and as I layer the colors, the first layer is still showing. Don't be afraid to layer the colors because as the painting tries, the painting will look lighter. Slowly build up the colors by layering them and slowly use thicker consistency as you go. When I was starting with watercolors, my mistake was not being confident in applying saturated colors, not following the shape of the subject and not layering colors. It is common mistake for beginners in watercolors, and I usually see it in watercolor Facebook groups. I'm still using winds are red, and I will use the mix of acro magenta and transparent parle orange later. So in this lesson, I'm painting two layers at a time on each apple. I'm using the same technique as I finish this stage. For now, I will keep quiet so you can watch how I paint the apples, and hopefully you can paint along with me. Oh. D. A Now, we're done with the stage. Let's take a break, and I'll see you at the next lesson. 30. Project 2 Leaves Part 2: In this lesson, I'll show you how to paint the second layer of the leaves. I started on the leaf at the top using a wet on wet technique. I did the same process and used the same color, which is sap green in milk consistency. I didn't paint the entire leaf with the same value of green. Some parts of the leaves are lighter and some parts of the leaves are darker. It depends on the reference photo. Remember to always have the reference photo with you as you paint because it will guide you on your painting process. I added a small amount of red and yellow in the middle of this leaf as it shows in the reference photo. I look at the reference photo as I paint. I added more green to the areas of the leaves that are darker. I put the reference below, but I'll remove it later. I added inconsistency of sap green to the lighter leaves to show a hint of color because those are the lighter leaves, the back of the leaf, or the leaves that are touched by the sunlight without or with a small amount of shadow. This leaf is half yellow and half green with some red or brown dots. So in painting this leaf, I used yellow on the left side. And while it's, I and I painted the lower right part with green. With the white on white technique and sap green, I painted the right side of the leaf and left the other side unpainted to show the shadow and divisions of this leaf. I also added a small amount of in the middle or the pet and I painted the inside leaf with a sap green in consistency to show the fold of the leaf. I wat the small parts of the leaves in the section, and then I added a coffee consistency of sap green. I added more sap green to these folded parts of the leaves and on the patios. On the inner leaf of the, I wat it first and added milk consistency of sap green. Adding saturated colors in contrast can help the lighter colors to pop up more and it can add dimension. I added more sap green beside the veins to show the division of the leaves. This technique is called negative painting because I was painting the veins. It's a helpful technique to show depth and I mentioned interpainting. It can be challenging at first because you are painting around the subject and not the subject. I. This leaf is curved. I painted the middle of the leaf yellow and sap green on the corners to emphasize the shape of the leaf. The reference photo has a lot of curved and folded leaves, which I find interesting to paint with a little challenge. Moving to the leaf on the right, I we the outer leaf and painted lightly with sap green, and then I added more sa green beside the veins. I wt the inner leaf and painted it with mecsistency of sap green and the petals. This will help to show the leaf was folded. I did the same on the leave. I left unpainted earlier because I was waiting for the leaves beside it to dry. Remember, in this stage, I'm painting, which can help the paint to easily flow on the paper. I clean my brush, remove the excess water and brush some parts of the leaf to lift, some paint to lighten the leaf. If you lift some pigment on your painting, remember to wipe your brush, because when you lift the paint from your paper, the paint will go to your brush. To lift some paint again, you need to clean your brush before, putting your brush back on your paper, or else the paint will go back to your paper. Then I move to the next leaves on the right with a mil consistency of sap green and I painted these leaves wet on wet. Just be careful that to go out of the line or flow the paint to unwanted areas. Then I move to the next leaf in the middle. I w the leaf first, and then I painted it with a lighter sap green and drop a bit of red as you see in the reference photo. I avoided painting the veins in this leaf, but I painted around the veins. I move to the next leaves on the right and I painted the outer leaves first with a lighter value of sap green, then I painted the inner leaves with a darker sap green. If you don't notice, I skip some leaves, but I go back to it. I just the wet a dry before I paint the next leave beside it, or else the paint will float to the other parts of the painting w I didn't intend to. I lifted some paint from these leaves to lighten some areas because these leaves were small and it's a bit hard not to paint on the whole leaf. I painted the small leaf in the middle with a mill consistency of sap green in the wet on dry technique because it's too small to do wet on what. Moving to the big leaf on the right, I started painting what on on the left apart with a small amount of sap green. Then I wt the big part of the leaf and then I drop red in the middle and let the paint flow a bit. While the leaf was still wet, I dropped so green on the leaf. I followed it with another layer with a thicker consistency of paint, and I avoided adding paint on the veins. I did the same on the other side. Going down to the leaves below, I painted yellow on the stem with a bit of red and the wet on wet technique. Then I added sap green on the outer leaf at the bottom, avoiding the veins. I moved to the next leaf above. I painted the outer leaves first, and I did the same on the other leaves. I did decative painting by avoiding the veins and painted only on the leaves. These leaves are folded, so I added a darker tone of sap green to add depth and dimension to the leaves. I added another layer of dark sap green while the leaf was wet. I painted with a negative painting technique by avoiding painting the veins of the leaf. I painted the leaf behind with a darker sap green to emphasize the death of the leaf. I went back to the leaf on the left to paint the inner leaf with a darker screen, and I did the same on the upper leaf. I lifted some paint on the leaf to prevent the leaf from looking flat. Moving to the last two leaves on the right, I painted the outer leaves first. And added a darker green on the er leaves. Lastly, I painted the branches bro. This is a mix of windsor red and green. Then I will leave this painting to before moving to the next step. 31. Project 2 Apples Part 3: In this stage, I painted the apples in milk consistency using a wet on wet technique. This is the third layer of the apples, and this is a stage where you can continue to build the colors by adding more red. I added sap green near the bottom of this apple or the calyx. It is a star shape near the bottom. I also added a small amount of brown to the Cx. I use a small brush to spread the color on the lower side of the apple. Then I left this apple try, and I moved to the next apple below. I went the apple first. Then I added red on the left, a little on the top, and the right side of the apple. Remember in painting the apple, follow the direction of the shape of the apple. It will help to show the shape and form of the roundness of the apple, and it can prevent it from looking flat. If your paper is drying, you can rewrite the apple, you are painting on before you apply the colors like what I did. I added a small amount of dark red mix to the lower right because I started to build up the colors of the form shadow. I added brown to the bottom of the apple, and later I'll add the ca. I move to the next apple below, and I wet the apple first. I wet the upper part of the apple that is above the leaf. Then I added red on the upper left on the top part and the part of the apple between the leaves. I love the small area near the middle touch because that is the area that has highlighted where the sun touches the apple. I added a dark red mix at the upper right of this apple for the form shadow. Then on the highlighted part, I added a small amount of light red to give a hint of color. And then on the bottom part of the apple. I wt first and I added a dark red mix to it. This ara should be darker because this is the part of the apple that is behind the leaves and shadows are forming on it. Moving to the next apple below, I w the sides. I avoided the highlighted area in the middle. Then I added red on the left, going to the bottom. I also added red on top of the highlighted area and whatever paint was left on my brush. I brushed it to the highlighted part to add a hint of color. Then I wt the right side of the apple. Then I added red on top and a small amount of pink on the highlighted area. Then I started adding red on the right side and slowly layering the red here. My paper was drawing quickly, even if I used 100% paper. This is because of the hot weather in the Philippines. So if you live in a hot place, you can rewrite your paper as you needed. I skip the apple behind, and I move to the last apple below. I I wet the apple first and I added red on the upper left. Then on the lower left. Whatever paint was left on my brush, I brushed it to the highlighted area on the left. Then I slowly built up the color on the right side of the apple, but I avoided highlighted areas. I let the apples dry, but I will paint the next layer of the leaves. 32. Project 2 Apples Part 4: Turn the fourth layer of the apples. The focus of this cid is painting the calx and adding the shadows. I mix the primary colors I had to get brown, and I started painting the calyx of the apple on the top. In the middle of the calx, I painted small strokes going down using the tip of my brush. Then I spread the paint from the middle of the Cx, moving to its sides. Then I move to the next apple below. I painted brown on the bottom of the apple, and I spread the paint from the bottom going up and following the shape of the apple. The paper has dried, so I rebut the paper. Then I pick up my brown mix to paint the bottom of the apple and a bit dark red mix from the bottom going up. I move to the next front apple below. I painted them with brown and green. This area should be because this is the part of the apple that is behind a leaf. I pick up my dark red mix, and I painted the right side of the apple on top. The dark red will show as a shadow. This time I'm painting wet on dry. I did the same on the next apple below. Again, I'm painting wet on dry. I also painted on the small part on the left side of the apple. I did the same on the right side. These parts of the apples are under the leaves and some other apples, and cast shadows form when an object is against the light and covered or likely covered by another object. Remember to look at the reference ph as you paint. I move to the next apple below, which is likely behind another apple and painted the left side. I also added a dark red mix on the right side. I found the center very light and bright, so I added a touch of red. Then I moved the apple on the left. I accidentally drop green in the middle, so I corrected it by lifting the paint with e water. I painted the right side with a dark red mix on the wet tried technique. I also added dark red on small parts on the left and the top. I moved to the apple below. I painted the bottom and the right side. Some strokes I made were harsh, so I softened them with a bigger brush. If you did the same, remember, the wet brush is not dripping wet. Then I painted the shadow on the leaf in front of the apple copying the shape of the leaf. Next, we will finish the leaves and the branches. 33. Project 2 Leaves Part 4: In this lesson, we will finish the apples by painting the branches with the same brown mix. You may use a smaller brush at this stage. I painted on the dark areas and intensify the colors. I painted some stems with the dark red mix. Now the painting is done. It's time to take off the tape. Whenever I remove the tape, I gently and slowly a from the paper. And here is our finished project. 34. Final Thoughts: You finally made it this far. I hope you learned in my class, and I hope you are more confident in painting more realistic subjects like the Apples. I would like to see your watercolor apples paintings in the project section. Thank you.