Quick and Fun Summer Painting: Watermelon Slice

1. INTRODUCTION: hi guys, starting this year and I'm your teacher for today's class. This class is rather different compared to my usual classes in the sense that it has much more off a casual format. Today I will be demonstrating a painting off this watermelon slice using the wet on wet technique. This painting is quite simple and quick compared to my usual paintings. So if you're looking for a quick and front project, we started me in this class. Before we begin this class, I will take you through Ah, quick warmup and exercise, which consists off first during it out in two D than painting it and to do using the same technique that I'm going to be using, but in a much more simplified way. Then I will show you how to visualize the same subject by drawing it and three D to get you more comfortable with painting at Freehand. Then I'm going to tell you the limited color repellant which I will be using and after that we're going to be painting it. But to make the process easier, I will be dividing the painting and two smaller Dessens, so the information is a little bit easier to digest. This painting is simple to do, and I would recommend it for all levels, including beginners. However, if you are very new to water colors and you're not very familiar with the wet arm a technique I would suggest for you to do the what on what painting. Warm up with the simpler version off the subject just to get the hang off the technique, and this applies to all the drawings to Before we start, I will try to go over the steps off the painting and exercises slowly. But if at any point you feel like it's going too fast, I suggest that you pause in between so you can work at your own pace. It would also be a good idea to watch the class or skim through it before painting along. So you have a better idea off what I will be covering throughout this class. With that said, let's begin 2. SUPPLIES: here are the supplies I'm going to be using for this class. So here on my left, I've got my palate with some colors. If you don't have a palate, you can also use ceramic plate or a plastic plate, preferably something with a white surface, so you can see the colors you're going to mix for the paint. I'm going to be using my whole bind watercolors, but you can use anything you have on hand. On top of that, I am also going to use wide Wash that I've squeezed out of the tomb for highlights. And for this I have the wizard needs and designer Gosh. But of course, you can use whatever is available to you. I'm going to be using limited color palette, and I will go over them in a separate lesson later on. Next is a jar with water I was painting prior to this, so the waters with dirty. But before you start painting, please fill the jar with clean water so the colors come out clearer. I always have a to shore paper towel with me when I'm painting to try my brush and get rid of excess paint. If you're not too comfortable with loading your brush yet. You can also use crap papers to switch the colors before putting it down. So for the paper, I'm going to use cancel Excel 300 GSM The size off my paper is 15.5 times 23 centimeters. On the left side of this paper, I will be showing you the warm up and dry examples along with the colors and on the right side is going to be the final painting. But since this is a free hand painting class, he can use any size paper. Depending on how large she want the painting to be. I'm going to be using two brushes for this class and the painting brush that I'm going to use this actually, this b tech sized too, and it's very small, but my final painting isn't so big, so I can still use this. However, if you want to paint a larger version off this final painting, you can also use a larger brush to make it easier. The second brush that I'm using here is just for me to do splutters when I flick the Bristol's or when I tap my brush on the handle, but you can also substitute this with any stick that you have or pencil even chopsticks for the warm up and exercises I will be drawing. So if you're following along to the whole class, including the exercise, you will need a pencil and a razor. Last but not least, I'm also going to be using a hair dryer for this class just to get the class going and to make the drying process much faster when I'm going to layer on the paint. 3. WARM UP AND EXERCISE: before we start, I'm just going to break down the shapes. This is a two dimensional drawing off the watermelon. I start by drawing a triangle with a curve bottom with an extra line to depict the Rhine and teardrop shapes for the seeds. The bottom off the slice can either be curved or straight. This dis depends on the circumference off the whole watermelon, but I much prefer drawing and painting a slice with the curve bottom. If you're really a starter, you can try to doodle these in different angles to get a good feel off the ship. As for the seats I liked only include a few around 24 or maybe maximum five seeds per slice because I find that it might not look as aesthetically pleasing. If you still find it a little bit difficult to draw these out, you can still practice them before moving on to the next step. But I'm just going to go over the colors now that I'm going to be doing for the exercise or warm up technique for the final painting. For this, I'm going to do a much simpler approach to the realistic three D painting this is just going to be two d just like what I doodled before and the colors that I'm going to be using our queen red, permanent green and sepia. As an example, I will show you how I would approach this by painting the triangle with a curve bottom as doodle before with just clean water and no paint. This way, I'm creating a barrier in which the paint or water can travel. Now that the basic silhouette is painted, I'm going to load my brush with very thick consistency off the Queen read. And I'm not worried at all about taking too much paint because the pain will be distributed alone the wet area, depending on the paint or paper you're using the paint, my travel slower or out of foster rate. For me here, my paint isn't blooming so fast, so I'm going to help it along by cleaning my brush from the excess paint and then help distribute the paint by pulling it down with my brush. I'm going to stop near the bottom, but I want to leave a good space for the rind. You want to do all this fairly quickly, so the paper stays quite wet. But if you can see some parts off the surface starting to dry and you don't want to just yet, you can just add more water with a clean brush to re wet the area. I'm now going to clean my brush and reloaded with the permanent green for the rind off the watermelon slice for the Rhine. I'd like to usually paint along the edge, so the brush is touching both the wet and the dry area, depending on how what the surface is. If you don't make the line in one swoop, you might create, blooms asked you take off your brush, so I like to move it along quite quickly if I can. But if the pain ever blooms out and you want to control it, you can just clean your brush and dried slightly with tissue and use that clean, dry brush to help absorb the what paint or you can even distribute it. You can also use this technique if you want to get rid off any excess water on your paper, and now that you have both the colors down, I usually like to move the pain around. If they're not in the exacts plus that I want them to. You don't really have 100% control over this, but I want to create a really nice gradation off the top, being much more vibrant than the bottom part off the watermelon. Before I paint the seeds, I want this leader to be completely dry. So while I wait for that to dry, I'm going to paint the other one. And this time I made it to be on site down. So for the 1st 1 we went the area or block out the area with this clean water. And for some people, depending on the lighting, it might be hard. See. So for this one, I used a little bit off tinted water, so I just put a tiny bit of paint so you can see a little bit off you instead off completely transparent water to help you seem where you've blocked out the area. And you can use this the same way because watercolor will dry a bit lighter than what you initially put down. And for the rest, I'm pretty sure you can sell that. I used the exact same method, but this time, instead of pulling down. I'm pulling up because now I want the light gradation to be at the top, where the right is well, the surface is still what it's looking a little bit light, like the 2nd 1 I just take a bit more off. The queen read with my brush, and I tried to put a little bit more off the pigment in the color. Just so it's a bit more vibrant than what it is now. I think I'm done with the 2nd 1 now, and I'm going to leave that to dry and move back to the 1st 1 before I paint anything on top off this. I wanted to be completely dry, so I want to pat it with my finger to see if it's completely dry and no longer cold to the touch. It's just the slightest bit what the paint will still travel out, creating a bloom for the seats, and I want the seeds to be quite clean. So I'm just going to use my hairdryer to dry it out completely, just in case. And then after that, I can paint the teardrop shapes for the seats if your needs water colors or not. Yet comfortable with this technique. I recommend that you keep doing this exercise or warm up just so you get the basic understanding off the water and paint flew off your materials because, as I stated before, the blooming and the paint flow might also depend on the paper or the paint you're using. You can actually create a really nice pattern with just this slice that I demonstrated. But if you want to follow along, I also have a YouTube video off this warm up. But I included different sizes and bits of slices to add variety, so you might want to follow a little, too, that first for extra warm up or exercise before moving along to the final painting. 4. DOODLE IN 3D: in this lesson, I will show you how to drop the three D version off the watermelon slice. We're going to paint Freehand for the final painting, so it's best to get a fair understanding off the basic shape so you can manipulate it as you want. And for this, we just need the shape of a wedge. If the curve is a bit confusing to make, you can try this trick off, visualizing the shape by first drawing a triangle and three D first. And try to do this in different angles to make sure that you get the idea off how the different angles might look. If it's slightly tilting up, then you can see some off the bottom off the triangle. If it's slightly tilting to the right, you'll see some off the left side off the triangle and vice versa. You may even tilted diagonally, in which case you'll be able to see some parts off the sides and the bottom. Once you get the hang off making thes three D triangles, then you can start thinking about the curve off the rind at the bottom off the triangle by adding the curved line in the different angled triangles that you've just turned out. Then once you get the basic idea off the shape, you can also try to draw the whole slice or the wedge freehand. Then add the seeds. And if some parts off the skin is exposed, you can even add the pattern off the rind at the bottom. Try doing this a few times until you're comfortable with that. You can do a lot more drawings than I did here. I just did it as an example, and you can also try really weird angles. You can try and upside down or more of the diagonal angles to were drawing this quite small . But later on, we're going to be painting a large so you can try to draw a larger version off this and use that as reference. If you want to. Fourth final painting. I'd like to draw the watermelon slides with a stick, and I want to show a slight diagonal tilt to the watermelons so a little bit off the ride is showing as well as the side. So I'm going to draw a slightly larger version than what I draw before, and to use that to gauge the angle that I want to roughly draw it out. I'm also going to take the chance to draw the Rhine pattern and also the positioning off the seeds. I personally find that if my watermelon has too much seeds, it looks a little bit on appetizing, So I'm just going to include around three or four seats. So for this I feel like there's too much rind showing. So I'm going to draw another version where only a slight bit off the pattern off the rind is showing. And see if I liked that one more. You can do as many of thes as you want until you're happy with the composition, but if you have full confidence and painting straight away, you may skip this step. 5. COLOURS: These are the colors that I will be using for this painting. The first and main color is this quint red, which looks like a magenta color. This is by Daniel Smith. This going to be the first color that I put down. Then I'm going to add some natural red tow. Add depth to the watermelon slice but not feel read that I'm going to be using is by M. Graham for the side. As you can see, the colors are a little bit darker. That's because I mostly used Crimson Lake. The Crimson Lake is from my normal whole by set and for the even darker parts. I am mixed in some sepia to deepen the tone for the rind. As you can see, I used a really yellowish green, and for this I'm X and permanent Green and Hansa yellow. The permanent green is by whole bite, and the Hansa Yellow is by Daniel Smith. Next color is for the bottom, off the rind, and for that I use wicker screen, and the hooker screen color is by Cottman. Next is sepia and for the sepia I used from my whole mindset, and that's going to be for the seeds for the stick. I use some yellow okra, and I also added crimson linked to the yellow Joker to layer on top and also sepia and then to bring the whole painting together. I use whitewash by Windsor Newton for the highlights. So those are all of the colors and the brands that I'm going to be using for this painting , but please use whatever is available to you. 6. PAINTING: FRONT FACE: Now let's start to paint the slice for the front off the watermelon slice. I will be using the similar method as I painted previously in the warm up or the exercise, So I'm going to take my brush and block the would shape. But this time I'm painting a much larger size. I'm also using tinted water just so you can see better for this. I stuck to my brush size from the exercise because I want a nice clean point at the top off the slice. But you could also switch to a larger brush size toe what the surface if you find that the surface is trying to fast as your wedding as I'm applying the water, I'm also thinking about the accuracy off the shape while taking my time to fix the edges and the points along the sides. Now that the area I want block is completely wet, I'm going to load my brush with a very thick consistency off the queen read and start from the top off the slice, as we did before. This is the same color as the exercise, but this time I'm going to also add different colors on top later on, and I'm going to help the paint along. But this time I'm going to make a circular motion to create more texture for the watermelon flesh. Sits there larger areas to fill its OK, if the first application is a little bit messy looking, and the texture off the flesh doesn't look exactly as he wanted to. As you apply more and more paint on the surface starts to dry. It will hold the paint and its place a little bit better because the water will travel less As the paint travels down. You will see that I want the paint to not be completely red, and for that, as you probably can tell, I clean my brush before to get rid of any access paint, so the rest off the paint on the bottom off the slice will be more of a pinkish tone rather than, uh, deep magenta color. At this point of time, whenever you feel like any off the sides are but crooked, you can fix it slightly by just pulling the wet paint. But be very careful because each time you fix the sides, the still wet off the slice will become bigger so be light handed while doing this and make sure that you pull the paint slowly a little at a time. Like before. I'm also going to leave some white areas, and while I wait for the paint and what it settle, I'm going to move on to the rind. And for that I'm going to mix a little bit off hands a yellow with the permanent green to get a lighter and warmer green, and I'm going to apply it as I did and exercise. And that's for my brush to touch both the wet area as well as the dry. And after I applied the paint, I clean my brush to get rid off any excess paint and use the clean brush to help distribute the paint slightly. I want the bottom off the rind to be a little bit darker on the transition to be nice and smooth as it's. Stoli touches the pink color off the water melon flesh because I've taken some time to paint the rind. The top part has settled a bit more, and the surface isn't as puddling wet as before, so I'm going to apply more paint on top. But this time I'm going to use a different tonal Fred, this is called Now fill red, and this is more of a primary red rather than a pinkish magenta tone. From before, I feel like the different variations and the red gives more depth and mission off the watermelon flesh. And what this color. I'm going to paint more off the distinct circular motion or the texture, and I'm using the tip of my brush and not putting too much effort or pressure because the what surface will help it along and spread the paint here at the top. I feel like it's looking a little bit to read and flat in terms of color. So I decided to take some off the road off just to create some contrast. And at this point, you're just going to go with your own gut feeling and use the time to just the placing off the fibers off the flesh by adding paint to or define some areas or taking it off to take off paint. You can use a clean, dry brush to absorb what paint, but if the surface is slightly drying, you can reactivate the paint with a slightly depth brushed and take it off with a clean, dry brush 7. PAINTING: SIDE AND STICK: I'm going to paint the side off the watermelon now, just like how I was sketching it out before. So I'm going to add it on the left side and a tiny bit at the bottom for the skin off the rind. And I'm just going to load my brush with a very light consistency off the queen read or natural red, just enough to tip the water. And I'm going to block out the area with the tinted water. And while doing this, I making sure that I don't touch too much off the front, off the sliced where we just painted previously. This is very important, and this keeps the areas separate. As I have pain to the sides. I'm going to keep adjusting the neatness, as I did before with front off the slice, which means I'm going to be cleaning out some off the sides and adding more paint, so it's OK to leave a bit off white beforehand and build it slowly later on. Once I've blocked out the silhouette off the sights, I'm taking a bit off the nuptial red and I'm spreading it and the top middle off the area, and I slowly distributed with my brush. I still don't want the surface toe look to. Even so, it's okay if some parts look darker than the other. I only want a light layer off this because I'm going to be adding a deeper red witches, the Crimson Lake fourth side. I want to love my brush with a thick consistency off the color and then apply it to a small area off the wet surface. And like before, if I have excess paint on my brush, I clean it and dab it slightly with tissue so I can use it to spread the paint that's already on the Web surface, creating more off a separation between the dark and lighter part off the surface. What's the pain starts to settle. I'm going to build on the color, and I'm going to take a bit off sepia, and I'm going to add it to the Crimson Lake to create an even deeper red. You can also use ultra marine deep and mix it with the Crimson Lake to create more off a deep purple tone or use every black for a more muted tone, and I'm applying it to the small section near the top closer to front facing side off the watermelon slice. And at this point, this is where I want to create more off the curve strokes to represent the fibers off the watermelon flesh. But I'm not going to take this down too low, because next I'm going to add the color for the ride. So I'm going to add a bit off the base color for that by mixing in a little bit off the yellow and permanent green. Then, once I use that to re wet the surface, I added a touch off sepia into the yellow and permanent green mix to create more off a muted green for the sites. So the muted tone along the sides and the bottom is a bit more cohesive. As you can see, there is a bit too much off the yellowish green on the side, so I took some of that off with a clean, dry brush, and I just spread some off the reds downwards, so it blends a bit better. Next I load my brush with the color hooker screen, which is a really nice deep green color, and I'm going to paint something like a dashed line where not the whole line is connected to suggest that not the whole skin will be dyed green but their parts off the light green showing through. And at this point, because the surface is mirror what? I'm just going to leave it here and move on to painting the stick. I'm not going to add the stick. And to do this I want to align it with the very top point off the watermelon because I'm using that as measurement to be the midpoint off the slice. And I want to paint downwards with a medium to light consistency with the color yellow Oakar. I'm painting it down and also rounding the bottom as the surface off the paper is still wet from the paint. I'm going to add a touch off sepia, not adding too much, because the paint will spread. And that's for the base color of this thick. So I don't want it to be too dark at this point, and I'm just going to apply the Docker brown, which is the sepia under the watermelon slice, and also on the left side, where the shadow is before I move on to the next lesson. where I will be adding seeds on shadows. I want to make sure that these base colors are now completely dry. So to speed up the process, I'm just going to use a hair dryer. 8. PAINTING: SEEDS AND SHADOWS: the painting should be completely dry by now, and I see that some of the hooker screen that I put down before has faded a bit as a dries . So I'm going to layer more off the green on top with a medium consistency that is not you running. Next thing I'm going to layer is the stick. I want to add a little bit of dimension and textures of this, so I mix a little bit of Crimson Lake into yellow ogre to create a darker tone of brown. Then I use it to glaze over the sticks slightly to create a darker stick color. They're not off that. I'm going to add sepia to the left and top part off the stick to create some shadows from the bottom off the watermelon and that I'm just going to blend it slightly so the shadow looks more natural. I'm going to work on the front, face off the watermelon slice now and paint the seeds for this. I just use street upset via with a medium toe light consistency. I want to start with a like consistency in case I don't like the placing, so I can just put more color on top of it or take off the sepia and using the same mixture . I'm also going to add a slightly hidden seed on the side, so I'm not going to paint it as defined as the seas that I painted for the front face off. The water mounts last after I'm happy with the placing off the seats, I added more off a thick consistency, sepia to add depth. It's OK of the pain. Look on even meaning some parts off the seeds might look darker than the other. I actually prefer it that way because I find that it adds a bit of texture and depth to the scenes. Once I'm done painting seats, I'm going to paint the shadows for the watermelon flesh. And for this I want to make sure that the seeds are completely dry or else it'll bleed and follow the trail off new paint if the paint or water touches each other from the scenes. So I used my hair dryer to make sure that there are no longer anybody paint. Once I'm ready, it's faint. I mixed some not feel red with a little bit of Crimson Lake too deep in the red, and I'm going to use this red to paint the shadows off the flesh near the seeds. I'm going to paint the shadows along the right hand side on the bottom, off the seeds first. Imagining the flesh is slightly concave where the seeds are, and I cleaned my brush so I don't have an excess paint and then use the clean brush tube then and clean off any hard lines from the red. If there are a lot of access paint like I have here because I put down really the consistency when I'm blending, I also move the paint around to create a little bit more texture. Then I'm going to start to bump up the contrast to add the deeper red against the lighter reds from the previous lier. And for that I'm going to add Crimson Lake, the front off the slice, and I'm going to add it to enhance some fibers or the deep shadows near the seeds. And I like to also enhance the textures that I made on the first layer, or even add more curved lines to full of the fibers off the watermelon flesh and smoothing out any parts if it looks a little bit too harsh by cleaning my brush and then loading it with just water to spread the paint. Here I ran out of Pete that I was spreading, so I just loaded my brush with more of the natural red. I like to add on more natural red than the Crimson Lake, because I found that the Crimson leak has such a deep and rich color. And if I use that for both off the surface, facing the front and the sides, I feel like it defeats the purpose off. Having shadows, it actually flattens the image, so I want to use it very limited Lee for the front face and then add more of that on the side to bones the whole illustration together. 9. PAINTING: HIGHLIGHTS AND ADJUSTMENTS: once you're happy with most off how the watermelon is looking, you can move on to painting the highlights and for the highlights. Here I use white wash. I'm going to use a thick consistency wide wash to give bright highlights, and I'm going to paint it along where I think the light. I would hit the water melon sliced like on the side of the seeds to stand against the shadow that I previously painted on the last. Listen, I also like to add dots for highlights around the flesh. But be careful to not go overboard with this because it will give more of a cartoony, illustrative look compared to something realistic, However, because off the nature of quash, which is basically an opaque watercolor, if you ever feel like you've accidentally created too much highlights, you can actually reactivated with water and take off the paint. Or just spread it out and put more of the initial color to hide the white, just like how you would use water colors. So go wash is actually quite forgiving. Here is an example where I've accidentally put too much whitewash, and here, as you can see, I just want my brush, and I spread up the white that I've previously painted, and I took more red and discover it up at this point off the painting. Because the grains and fibers that you've created as probably a little bit different to mine, depending on the flow of your watercolor on the first couple of leers, please adjust the highlights according to your own painting and paint. What you feel best suits the overall aesthetic off your watermelon slice. This is also the time where you can balance out any other colors or final touches. If you feel like certain parts, need a little bit of work. I personally liked at shadows where I feel like it's not defined enough. And as for the side off the watermelon, I felt like I was looking a little bit too flat because there's not much texture going on, and there's just too much off the Crimson lake. So I decided to take off a little bit off paint with water by reactivating it and absorbing it with my brush. And then on top of that, I added a thin consistency off the whitewash to add extra highlights 10. PAINTING: SPLATTERS (OPTIONAL): This is just a no additional effect and is optional, but I want to add some splatters around the background. So for this, I'm going to use brush to help flick my bristles. But you can also use a pencil or any type off in stick. I like to use red for the top off the painting. It's up to you, though, which Tona Fred you want to use. And as for the bottom, I'm going to add some contrast by adding a little bit of green. For this. I want to use a thick but also liquid consistency. So when I flick, there's enough water to help spread the paint. If you feel like you've created some accidents by getting some splatters on your watermelon like I did, if you like the look, you can keep their. But personally, I want to clean it out. So to do that, I just took some water and spread it all across the surface. And since as not to think off a consistency ill, just blend with the rest off the painting. There are two methods to get the splatter effect, and you can either flick your bristles across the handle of your brush or any stick or another way is to tap the handles together, and this will create a lighter splatter. If you want larger splatters, you can also switch to a larger brush. But I'm just going to keep this painting simple and use the same one. You can just use the red. But as I mentioned before, I'm going to add a little bit off the green, and I just mix both of the greens together to create sort of more of mid tone, and I'm going to use the same ref it to foot the paint. If you want to create a dynamic splatter rather than what I've been doing so far, you can flip the bristles across with confidence and a quick motion, and that fast movement will cause the paint spread and a particular direction. 11. CLOSING: if you're here, I'd like to congratulate you for completing this class. So this is what my final painting looks like for the class project. I'd like you to paint along to this, but you may vary the angle off your own watermelon or even create your own composition by using multiple slices. If or when you do this, give this painting go. Please feel free to uploaded on the project section of this class so I can see your work and you can also share with your fellow classmates. I hope that you guys enjoyed this painting and this class as much as I enjoyed putting it together. If you do enjoy it, please leave a like or a review so I can keep learning and producing classes that you guys enjoy. I actually mentioned that I have a YouTube video off the warm up that we did where I used the same technique repetitive flee. And if you find that the final painting as a little bit intimidating, you may use the YouTube video for extra warm up when you paint This that's ok of the painting looks slightly different to mine because the style of loose what on what painting will always differ. Depending on where your pain travels. Here is the one I painted as trial for this class. As you can see, even though I used the same steps, it looks slightly different. If you enjoy seeing my art and following along to this class, you can also find me on my YouTube channel Janjalani, where I make simple and short watercolor painting tutorials. Or if you would like to see more art by me, you can also follow me on instagram at eyes Gender Scorn Union E. Anyway, if you're still here. Thank you so much for watching to the end. I hope you had fun and learned something new and I'll see you next time.