Traditional VS Digital Watercolor: Fruits

1. Traditional and Digital Watercolor: Fruit : Traditional watercolors and digital watercolors are very different from one another, but they're also very similar. Today in this class, I'm going to be taking you through a very basic look at watercolors traditionally and digitally. We're going to be drawing fruits and every single lesson is going to be a different fruit in both traditional and digital formats. I will be using the iPad and I will be using watercolors. It's going to be interesting. Hi, I'm Sangita Angela Kumar, and I'm so excited to take you through this class where we're going to be drawing basic fruit. Look at fruit as an example and learn how to paint them in both traditional and digital formats. This class is for beginners. It's for people who have not been exposed to digital or traditional watercolors. It's a great class to see the difference between the two. It's interesting. Even in terms of the shadows and highlights, well, you'll know more in the class. Looking at how to draw fruit in watercolors and how to draw fruit in digital watercolors. I'm happy to share all the insights that I learned creating this class for you. Let's draw some fruit both traditionally and digitally. Let's get started. 2. What you need for this class: You will need for this class. For the traditional version of this class, watercolor paper, 180 GSM, two, 300 TSM, a set of round or flat brushes. You'd need a mixing tray or palette. You'd need a rag, pins of course and water. You'll also need the Procreate app, iPad, Apple pencil, watercolor brushes, and watercolor paper, if you want to do the digital version of this class. You will need some sort of watercolor paper. Procrit artists like Nathan, they have watercolor paper. Lisa Glans has watercolor paper, True Grit artifacts. A lot of people have watercolor paper. Max has watercolor paper. I will be using Calvin Drift Studios watercolor paper. So he has many, many watercolor papers. I will be using a combination of the regular watercolor paper. Or you can even use if you have Black Sands via. However, if you don't have a watercolor paper, it doesn't really matter because, for example, I'll show you this butterfly. This is through a watercolor paper. Without watercolor paper, it looks like this. It's less saturated, but it still looks nice. I prefer using a watercolor paper to give a little bit of watercolor texture. But that is up to you. This is what I do in my workflow. There are many, many, many watercolor brushes that are available on Procreate. There are even brushes that are native to the Procreate app. So, for example, you can use this to paint. That's native paints, wet acrylic if you'd like. For a watercolor effect. Personally, I will be using Calvin's brush, and this is his watercolor set. He does have another watercolor set called the dreamy one. I will not be using the dreamy one for this class. I will be using primarily his original watercolor set. And the brush that I normally use for this class will be the abstract round, the fine liner, which I will set to the eraser. So whenever I want to erase, I will erase with the fine liner brush. And then I will be using the water blender brush to blend. So primarily these three brushes are what I use. For texture, I use the little pine brush, but you're welcome to use the brushes here in the native app. I will be using Kevin's brush. So this is Lisa's watercolor, which is also good. If you have this, you can use that. Again, all round or brush. Abstract brush, all round or brush are brushes that people use. So this will create a nice watercolor effect. So I'll be using watercolor brushes. You're welcome to use whichever one you have. Lisa's brushes are nice. Nathan's brushes are nice. George Vaughn's brushes are nice. Like his watercolor brush is also really nice. So whatever brush you have already, don't buy a new brush for this class. If you have the brush is great. If you don't the native Procreate app is good, where you can have options like you can use fern tree as a watercolor. Principally, it's the same thing. Watercolor paper and a watercolor brush set. I will be using Calvin's paper and brush set for this class. 3. Pear : I'm using a lemon yellow for the pear. Now, you might see a little bit of guck that comes out here. That's okay. If you mix it, it becomes okay. So now, this is a medium yellow. I'm just going to put shades of yellow around because yellow will come in handy, especially with foods. Sometimes the pear has yellow tones. This is a yellow ochre. And the nice thing about boots is that they have, like, splotches of color here and there, sometimes. So with pear, it sometimes has splotches of red. Now, as you can see, I've actually not added a lot of paint, and that is something that as a beginner, a lot of people don't tell you, but I'm going to tell you because you don't actually need a lot of paint. This much paint is gonna probably last me this whole session for all the fruits that I'm going to use. And if I need it, I can always use more, but less is more when it comes to paints or pigments. So for this, now I'm going to do a shape. I'm not sketching the roots. I'm going to go straight for the paint. It's not because I'm like, brave, because we all know the shape of fruit. Fun to experiment and see how the shape is and what to do with it. So I'm going to now take this. So now I know this is the it's not a circle. It's not a triangle. It's like a oval blob, but with a fat bottom and, like, a little hat on top. Now I'm loading my Paintbrush with a lot of water, okay? So when I load it with a lot of water, it suddenly becomes wet. Now, you see the magic of watercolors will come alive when I do this. So right now, it just looks like I'm moving the water around. But actually, I'm just shifting the paint. And I'm creating like a border. So it looks like I've drawn it, but as you can see that I actually didn't draw it, right? Now I'm going to take a little bit of red, and I'm going to load my paint with more water, I'm going to just dab it. This is the magic of water cools. Now, I don't want to make a poka dot. I just wanted to show you because this looks really fun. But obviously, a pear is not like this, but it's fun to enjoy the joys of blooms and the colors. So I'm dipping my brush and I'm a gonna wipe it. And I'm just gonna it's sad to lose the blooms, but I actually just did it to show you how fun it can be. Now, you can also decide where you want the shadows and where you want the reflections in a pair. Now, for example, I've kind of messed up the shape a little bit, so I'm going to draw a nice flat pair. I'm going to get the base little fatism. Okay. So it's a nice voluptuous pear. Now, a color that I forgot to add was a bit of green because some pears are golden, but pears have a little splash of green. I'm just going to add a little green. I'm loading my paintbrush with water again. And I'm going to again create some blooms around. Now, watercolor is actually dry. It looks wet, but eventually when it dries, it will be a lot more brighter. But what I'm doing is I'm pushing the color towards the shadows that I'd like. So for me right now, the light is coming from here. So I'd like more shadows in this area. So I'm literally shifting the color into this corner. I'm going to kind of get a little bit of red here. If you'd like a highlight, you can get a tissue paper, and you can dab the areas you'd like a highlight. Now I'm just trying the paint brush because I don't want to load it with water now. And I'm taking the paint away from this area. So you see, I didn't actually paint I didn't draw or sketch the shape at all. What I did was I just with my brush, created a shape, and with that, now you have an idea of what a pair looks like. Now, obviously, for the stem, I need to add a little bit of brown. I'm taking a very, very thin brush. At first, I always go light. Now, the danger here is it might be a bit wet, so it might smudge. And that actually might be nice because it's creating a little bit of bloom and shade. So it's giving you a bit of a shadow. That's your pair. One really important lesson you can do in watercolors is leave a little white space for highlights. If I have to slice the pear, I would probably load my paintbrush with lots of water and dab a little bit of very tiny bit of yellow. Okay. And let's make like a wedge. So what I'm doing is I'm dabbing this to create an almost transparent pair. And then with a non loaded brush. I will draw a seed and maybe a stick coming out to let people know that it's a pair. So the thing is that it's not about being perfect. It's about just letting the paints have I mean, mostly having fun, getting the ideas of what you can do with paints. So now, because you're familiar with what a pair looks like, you're allowing the Artists, like, your brain is already moving in a direction that says, this is a pair, and this is a slice of pair. So it's not always to do all the work. You have to allow the viewer to their brain to also understand. So this is a version of a pair. I've shown you the variations. Now, like I showed you that I actually didn't sketch this. I didn't use pencils. I just use paints, and I pushed the colors out to kind of give it a border and a line that if you see here also, it's a line that's crinkled and it looks like I've drawn it, but I actually didn't draw it. If you feel like being adventurous, you can splouchprown. Oops very gently. So that's your pair. So with digital is different. There are a lot of very nice watercolor textures, and Calvin has the best, in my opinion. Of course, Lisa Glance is there, Nathan is there, Max is there. So you have to choose whichever watercolor texture you'd like. So with the paper that you see on digital, normally it is like, for example, this is Calvin's paper, which I've bought. And this is a paper background with some sort of texture and treatment. So you can do it yourself or you can create that texture yourself. In here, I've made two versions of pears, which I'll show you the process I did. But this is without the paper texture. This is with the paper texture. So now I'm going to show you how to draw a pair in watercolors. You open a watercolor texture, your favorite one, whichever you'd like. I'm using Calvin's. And I'm using a golden yellow. The brush that I'm using is, again, Can's watercolor brush. I'm using abstract round, and again, not sketching, just going by the shape of a pear. But I'm not lifting my brush. And I'm just like I did with the watercolor paint. But I'm drawing with the paint and getting my shape. Okay. Now, if you see there's a little bit of texture here and here. If you want the texture, keep it, I don't want this texture. So I'm so I'm blending the texture in. Okay. So if you just want to do this, that's great. But I personally like I like having splotches and stuff. But now I'm going to have fun with it, right? So you've got your shape and you've got your let's say, brown for the. I'm using the fine liner pen. Now, for example, if I want some texture in it, I can go to any texture pile. Right now, I'm going to play around with this blooms texture. So for that, I'm going to put this on Alpha lock. I'm going to just add a little texture. Like I said, the light is coming this way. So I'm going to add this more. So obviously, the texture is a bit intense. I'm going to add a little more, so I'm going to add a little bit of green, a little bit of red. Okay. Now, for many people, this would be very intense. I I have a plan. So now with the watercolor, blending, Oops. Just dab. Another way to add depth is you remove colorful. You click on the Select button and you choose free hand, and you highlight this part and you feather it out a little bit. And then you darken it a little bit, change the hue if you'd like, saturate it, and there you go. Similarly, if you want highlights, select the highlighted area. And feather it saturate it if you'd like. Brighten it up a little bit. Now, if it's strong, then again, you can use the blender brush, and blend it. I'm happy with this, so I'm going to stick to that. Now, this is very clear cut. So I'm going to just add a little bit of shading to this part. So for that, I'm going to create a new layer and I'm going to go to overlay. This is my favorite way to add shadow. I'll click on Black. Black creates like a darker color, see? Using the mist, I can add more shadows. Okay. Then I can change the settings and create whatever I want. I can lighten it a little bit and merge it. Then if I want to add A brown. It's going to add liking. Little line. Now, again, it's too if you want a little more blending, you can just zoom in, make the blending to a little smaller and blend a little bit of this so make sure this line is not blended and only this blending, you get a little depth. Of course, this is Calvin's brushet, but if you want to add more like Lisa, Lisa's acarl has a lot of fun stuff. So she has blooms. So like, for example, if I like, I like this, it's loses, but if you want to add an overlay, and again, like her her overlays are nice, and then you can use a little bit of maybe soft water blender to blend this out. That gives a nice bloom like bloom effect. Now, I feel that I feel like this is really saturated, and it's nice, but it looks a little fake. So if you feel that way, you can just decrease the saturation, not have it so bright, but maybe this. Because now if you see the illustration that I did with paint, right? And then the illustration with digital, the difference between this and this is quite a lot because of the saturation, of course. But it's not like both of them don't look like a pair. So now, like, for example, I haven't added a highlight, but I'd like to I've done it in a different layer, so in case I don't like it, I can always delete it. So here I'm going to increase the brush and I'm going to smudge this in a way. So my highlight is taking the shape of the pear. So this is this is giving it an idea that it's falling in this way. So I'd like to do more of that. So What I like doing is I like creating a little bit of shadow below. So it's not looking like it's floating. So let's again, I've got a little bit of you can make it gauge and blow. I know what I do is I go a little darker at the contact point. Then if you feel like it's bleeding a little too much or you want a little darker, I don't want it darker. But if you're feeling like this part is bleeding, again, you can come, use the water. Water blender really helps in these kind of. So I don't like that, so I'll just undo it. I'm going to find lice on this. That's how you can do a pair in traditional watercolors and digital watercolors. 4. Apple : Now we're going to draw an apple. So again, not sketching, but just just I like to kind of make a oval heart. One thing I really like about watercolors is that even if you make a mistake, you can always go back and fix it. That is really the best thing about this medium. So again, allowing the blooms to come And if I want to add more color, then again, like I said, the light is coming this way, so I'll add more color on the right. And automatically, there's a white space here, so I'm just allowing it to enjoy itself. Now, some apples are red. But some apples have a little bit of yellow, so let's just add a little bit of yellow also. So it gives a little variation of color. But essentially, that's it. It's kind of like a heart without a point pointiness and it's just around not a circle, but you draw a heart, and then you just follow it around, that's your apple. Now, again, if I want to create the stem of the apple. It's wet, so it may smudge. But I'm going light right now to see what happens. Then I'm going a little darker, mixing a little. I'm mixing a little bit of brown with my red. And then I'm just gonna draw a line here. Hopefully, it won't bloom too much and create to create a little bit of depth. Now, if you want to draw like a small leaf. Let's get a crack. Wipe your get some of them. Cream. I'm okay with this color. And just press it down and stretch. Press it down and stretch. So now there's a little bit of collection of the colors here, and that's okay. But again, like I said, the light is coming this way. So you can just dab a little more color here. That's your apple. Similar to the pear. Take a little bit of yellow. It's tiny, weeny bit of yellow, okay? And then just paint a line and a wedge. Now, it's barely visible. I don't even know if you can see it, but it's a wedge. Now, try and match it to this and leave a little bit of a little white here. Now, it's wet and I'm just dabbing a little bit of water, and I'm gonna see I'm going to run my brush through the border of the wedge. So it looks like it's the skin of the apple That's bleeding in yet, it looks like a apple wedge. Then On this point, I want to draw the seed. So I'm just dabbing it before adding the brown. I'm just doing a small tear drop. Your app. And that's it. I normally look for a reference. Now, you can download this if you'd like. So I've downloaded this apple. So now the photo is in. Now, this photo is under the layer, so it's looking very watercolory. So I'm going to remove this and put it up. Now, a lot of people would take a pencil and then sketch it Okay. But that's not actually what I want to do. So let's do, do, do, do, do it. I'm going to just take the paint. I'm choosing the abstract round. I'm going to make sure I'm in the layer under the watercolor paper, okay? And another cool thing you can do is when you click on this, you can color match. So, for example, if I want to shade, I want a darker color, I'm going to stick to this color right now and then add more shades later. So right now, I'm just gonna Just like I did with the traditional paint, I'm trying to be more instinctive, right? From what my eye sees, this is more flat. This is more round. And this is more round. And then this is a little more flat. So I'm just basing this on what I see, okay? Now this is a little more yellow. So now, can I do that. And based on this, I want to create some lines here. Now, the bottom of this apple is a bit dark. But hold on. Here's the water blender brush, and I'm gonna blend, increase the size a little bit. And I'm gonna stay within these lines. If I do this, then it smudges the border. I'm not gonna do that. I'm gonna stay within these lines. As an eraser, I'm gonna be choosing fine liner eraser. I'm going to use this brush too move Okay. So the main pen is on the water blender brush. The smudger doesn't I have another smudger for this, but I'm not going to use the smudger right now. I'm just blending the apple in a direction that I see happening there. Now, I'm not going for something realistic. I'm going for something I see. Right? Now, to your eye, this didn't look very this looked more yellow than it looked pink. When you colour match it, it looks more pink. Okay. Now I want to get the stick. And for that, I need a different brush. I'm using the fine liner brush, and I'm drawing the stick from the middle part of the sample. Okay? Now, it gets a bit lighter here. So I'm gonna Now, it kind of is beginning to look like an apple, just by adding a line. Now, as you see there are small, small lines, if you can see, small, small lines coming out of this line that I've created here. So using a smaller version of the brush, I'm going to try and copy that. But I'm not touching the stick. Okay. I'm increasing it a little bit, and Now, when you look at it from far, it's beginning to look like an apple. But close, it just looks like, what is this blob of red and a line here. But don't be discouraged. There is method to the madness. Okay? So now this color is a bit light. So we're going to go back to this color. I'm going to choose a brighter part. We're gonna know. Let's get a little textured brush. I'm using a little pie. Now, I'm gonna draw the lines that I want to appear. I'm just going in the shape of the apple, okay? Now, as you see, a little bit of this is red. I'm keeping that, but I'm also getting the patterns. There's a bit of yellow, so let's let's see what happens if we add a little bit of yellow into this. I'm going to increase the width of the brush a little bit. To draw a little texture. I'm not trying to be perfect because in nature, things are not perfect. And the more imperfect you draw them, the more natural they look. Again, I'm going to take the smudge brush, and at a smaller size, just smudge, maybe increase it a little bit. Smudge the lime into the apple. When I smudge it up, I'm bringing the colour back into the apple. When I smudge it down, I'm adding this color. Now, there's another brush I really like in his set, not in the same set, but it's in another brush set. It's his feather brush set, which is it's got a plumage blender, a streaky barb line. So I use this a lot for my animals, but it's basically it smudges lines that line that I was using to teach smudging that line. As you can see very closely, it's creating a bit of a line. Just be careful not to do this. Now, it's not the most. I'm using the fine liner eraser to erase parts that I don't think. I've accidentally smudged on mistakes I made. Okay. What I'm going to do is above the layer, I'm clicking on overlay, okay? And I'm creating a clipping mask over it. Now the fun thing about overlay is when you hit black, it darkens. Let's go back to the abstract. It darkens. See? And because it's a clipping mask, you are not drawing outside the apple. So now I want to draw a little bit of shadow. So I've just drawn black, okay? So again, with the water blender, I'm creating a shadow. Again, there's a little bit of shadow here. So I'm just coloring it in with the water blender brush, I'm blending it in the shape of the apple. Okay. There's a little bit of a little bit of shadow here, a little bit of shadow here. Shadow. Now I'm not trying to be perfect. Like I said, in nature, fruits aren't perfect. Okay? Now, the best thing about overlay, as you can see, now if I hit on white with the same effect, I'm using my abstract brush. Now I'm just drawing a little few highlights here. Again using my tender brush. Blending the lines I drew to create a bit of a Iyight Now I can just close the close that and now I'm not particularly happy with the shape of the apple. I'd like it to be a little more round. I'm going to make a copy because in case I destroy this copy, I'll have a copy here. And I'm going to go to the liquefy brush, and I'm going to say there's expand. There's push, twist, world pinch. So like, for example, if I want to pinch this down, Wow Whereas I want to expand the top. I can't expand. And Oops let's increase Wow. I'm happy with this. See? So I've made it a little more bulgy here. A little more pinched here. See? So that is for me, a better shape of the apple. Now I'll bring this up. This was this was the original shape that I got where the shape was a little wonky, and this is the shape that I liquefied. Now, again, I'm not particularly happy with this border, so using my eraser brush, I was gonna erase this part because I'm not particularly happy with the hard edges. Oh Okay. But this is the apple in watercolor in digital. So I did make another apple here. And in this, again, it was something different and this looks a little more. I've created a shadow. So I'll just show you the process. So I had made a shape like this, and then I had squished it, and as you can see, that it doesn't really look like anything, but I've left a little bit of white for the reflection. So, again, I left a little bit of highlight here, shadow here. I mean, if you'd like to add a shadow in this, you can. Just add a layer below. Just press it down. That's your shadow. 5. Kiwi: Let me do a kiwi. I'm using a bigger brush for this. And I'm first taking, like, a normal wash of green. It's not so dark. I'm drawing. Again, I've not drawn a circle, but I'm just working this circle in. And I'm removing the paint from the middle. Then I'm going to again go back to a darker darker green. I'm going to mix that with the screen. State next birthday. So the center of the kiwi is, like, light green, almost white. So we're gonna leave that part. So it looks white, but it's actually a very light shade of green. You've got green around, and again, you have to wait for this to dry to add the detailing of it. But the fun thing about kiwi is the brown around. So I'm gonna get the skin. I mean, the fun thing about a kiwi is not the skin because you have to peel the skin out or scoop it from it. But I'm creating a border around this shape that I've made to kind of create that and feel free if you want to add a little, like, fuzz with your brush. You don't need to, but how much detail you want to go into your colors is up to you. It. If I want to draw a kiwi without it being cut, I'd do that. Okay? Again, Filling in with a very wet brush. The magic and the beauty of watercolor wet is another level. So again, move the colors towards the right, so you get a little bit of shadow. But with Kiwi, the texture is nice. So what I'm doing is I'm blobbing a few blooms. So when it dries, he'll try with some texture. But make sure you wait for the paint to dry. So I played around with blobs and texture. I blobed some paint on the sheep, and then I just dabbed my brush to kind of smudge it and So with digital watercolor, I use round brush and I created a green circle, but it's not an exact circle. With that, I drew some bright lines inside, and then I smudged it all and I created a gradient. It's not a perfect circle, but I made sure the center is brighter and I blended it outward to give it a look like it's faded out. And then I added white and did the same thing and again, blended it out. I added black marks around the white center. I used the quick pine brush, and I added a quick oval circle and I colored it in. And what happens with pine brush is it creates the fuzz. So I wanted the fuzz in this. So I used a quick pine brush. And then I splattered a few dark splatters on the closed kiwi to create a little bit of texture around the kiwi. I added a light texture and a dark texture to create shadow and highlights together. And then if you feel like it's a bit hard, then you can soften the poky parts. I softened it with the blending brush to kind of create a softer fuzz. And I go around the whole kiwi shape and I create a softer fuzz around the hard edges around. After that, I highlight the part between the Kiwi and I brighten it. And then I highlight closer to the Kiwi to darken it to create a little bit of a shadow. With a feather vein daughter brush. And yeah, that's it. So it's very simple. When you see a kiwi, it's brighter in the center, and then it's got lines around it, and then it's got small small seeds in the middle. And the skin is a little fuzzy. 6. Grapes: So grapes, essentially, again, is green. But again, we're not going to sketch. But essentially, it's circles. But the fun thing about grapes is leaving the highlight as white. So I'm drawing a circle, but I'm not finished filling the circle up. So this is dark, and this is light. So, again, a bunch of grapes. Leaving white. And pressure put pressure on the brush. So you press it down to get more And like, if you leave too much white, you can always fill it in. But you can never take away though you can never bring back the white that you've left. So initially wanted to draw a shape that's this way, but I my brush had a mind of its own, so it's gone level. So I'm drawing it this way. You can always layer the color, but this is the base color that I'm doing for the grapes. So grapes generally hang, so creating hanging like a bunch of grapes. Now, if you want to add more color, you can. Again, like coming from hers. Here, here, here. So now as it's drying, you can see that with drying, it's created a automatic highlight. Just layer corners. So the white spaces create like a highlight. Drawing the grapes stem. And when you look at a reference for a grape, you can see that the stem goes throughout. With grapes, getting the green right is important. This green is really not. I like this green, but I'd like it a little more saturated. So the way I did grapes, so you can either do this. But I think what makes it interesting is when you leave a little bit of white. Just create a point for highlights. So I mean, something you can just release. Da can highlight on the right like this. Right? And then if you want to go a little darko cream. Now, you can blend it if you'd like. Don't worry about being perfect because nature is I'm going to go a layer below and get a wood to give the impression that it's hanging. Another way to delete it is select it. And So basically a stem. 7. Watermelon: So I've taken a big dunk of water, okay, in my brush. It's like oozing with water. And I'm painting. I don't know if you can see, but I'm painting like a half a smile. Then I'm moving up to a triangle, okay? Then I'm filling this whole triangle with just water. Okay? Then my brush is still loaded with water. I'm dipping a little bit of red at the top. See that? Let's get this let's get the sun into this. So I'm just dabbing blooms. I'm leaving a little white space. And the water is enjoying the. So I won't do it all the way down because I'll tell you why. Now, the top of the watermelon is the most red. So let's add a little bit more color. So it's blooming into each other. Okay, if you want to get a little more fine line, you can pull the water color there. The moment I get a little bit of green, and again, I go on the border. You've got the bloom of the green that's being lifted up. If you want to go darker, I do have a dark green. Oh, I'll just go over that. Just to give it a little more and here it is. I wet the area, and then I let the water run into it, so it basically created like a gradient. And if I want to go darker, I can, but I don't want to go darker because I actually like the effect. Once it dries, I can I can add some seeds. Seeds will be like a light black. The thing is you have to wait for it to dry, because if you don't let it dry, then it smudges into each other, 'cause the fun of watercolor isn't just the magical blooming that happens with wet or wet. But it's also when the paint is dry, you can actually add details. So to do a watermelon, there are many ways to do it. So I want to get the right color. So watermelons are red. Let's try this. Okay, so I'm just creating a shape here. Then with the water blender. Now in this I'm blending even the sides of the watermelon. Okay. So I've similar to the wet on wet. I basically dabbed a color here, and then now I'm just blending it down. Now with a fine liner. Going to create a line to define the mark. Now using a green, I'm gonna paint below. So there's a little gap. I'm blurring the I'm blurring one end of the green. What I did was I blurred this part to create that gradient effect. I want to create a more. I've set the fine line up in erase. No erase this What you can't see is this bite. So I'm gonna use a select too. I'm just gonna invitate this bite. I'm gonna kinda darken this. There's a bit of a line. And what I'm gonna do is I'm going to create like a white using the fine liner. What I did was give it a little bit of dimension, and I left a little white just to create a more natural look. I could have left it a little more jagged. It doesn't really need to be so perfect. But, yeah, this is the watermelon in watercolors, if you want to see it close by. So this is a little more plain and this one has a bit of a bite. 8. Plum: And I'm just adding it to it comes to a nice light consistency. So again, circle, but I'm not being strict about it. But here I'm going to just draw a line to leave a little white. So by leaving a line, I'm giving it a little more shape. Now I'm again coming with light coming this way, so this will be more dark. So it's getting a little It's not so wet. Then similarly, let's create the inside of it. Inside of a plum is depends on where you are. But I find that when you dab the colors, you remove the color with tissue to create a little bit of transparency. Then you add yellow. Okay. Now I need to get a little bit of brown for the seed dabbing the brown. Now, when that dries up, it'll create a texture. Again, to get the stem, it's a stronger brown. To get the leaf. Again, you can build this color if you want it darker. I like it the way it is, but like I said, you can build the color and make it darker. Now we're going to look at the plum. So basically for the plum, again, we're using the same water colour paper. This time, I'm going to add a reference to the screen. So I'm just drawing some purple blobs with abstract round brush, oval shaped, kind of round, but mostly imperfect. The nice thing about this tone of the watercolor paper is that it's actually looking very different every single time I draw an oval. So I like the transparency that's coming. I'm filling the whole page with these purple, oval imperfect blobs, and of course, they're plums. They're not blobs. And I just fill the entire page and leave a little space if I'd like, but I'm going to fill those again with colors. Then after that, I'm taking the Select tool, and I'm clicking on the freehand selection tool. I'm selecting inside every single shape that I've chosen, and I'm closing that selection off. Even if it's off the page, I'm doing that. So each plum is getting selected. So what I'm doing is selecting the inside of the plum and I'm going to lighten the inside in a gradient form to create the tone as if the plum is open. And the way I selected it, I selected one and I put the plus button, and then I selected another one and I put the plus button on the corner left. Don't forget the small plums that are around. M. So now I feather it up to about 18%, and then I go to hue saturation and brightness, and I play with the hue and the saturation and the brightness to create a lighter tone, which is a little different. Now, you play around to see what you're happy with. Because you've selected it and selected feather, it's giving you a bit of a gradient. After that, if you'd like, you can blend the gradient a little more and pull the colors and push the colors according to what you want. And then choose a textured brush. Now, I've chosen another Calvin set, which is basically drips and splashes. I would encourage you to experiment with what you want because procreate is filled with brushes. You don't necessarily need to stick to one. Whatever texture brush that you like. Whatever is your favorite textured brush you can use. Now, in traditional, this is really easy. But in digital, you have to add texture through drips and splashes. Calvin has really great drips and blooms and textures. So does Lisa Glans, and so does Nathan. So if you have any of these procreate artists brush sets, you are welcome to use these. Even Itai Monero has very good textured brushes, even Frankentun have. So if you have any of these even nature brushes like stone textures or granite textures, is very nice when you add that texture into the inside of this shape. As you can see, you can't really recognize what the shape is, but it's creating a bloom and an effect, which I really like. I like the bloom, even in traditional art, so it's nice that I have an option in digital art to be able to do this. Now, under the layer, basically, make a new layer and put it underneath. I'm using the rough mop brush, and underneath the layer, I'm just creating more plums and creating like a depth, like a darker color below. You don't need to create more plums if you want. You can just leave it white if you'd like. I wanted I like the reference, so I'm creating another set of blobs underneath. And this time I'm being a little rough handed. I'm not really focusing on any sort of order. I'm just making circles, and I don't mind if I overlap the lines as well. But I'm filling the white space with purple. And then I'm darkening a few of them just to create a little bit of depth. Okay. I'm darkening the tone a little more. And again, layering It's not negative painting, but it's basically going from light to dark and creating a little bit of depth in your painting. So it looks like there are many layers of colors below the plums. To give it the impression that the open plums are on top of another set of plums. I'm creating a layer above and changing the opacity to overlay. And then selecting white, I'm choosing another texture, and I'm just highlighting some areas in the bottom to give it a texture and a layer. When you use overlay and you use white, it highlights it. If you use black, it darkens it. So now I'm choosing black and darkening a few elements of the same areas, just going over what I've already done and creating some shadows in the textures that I'm creating under the plums. I just merged the layers together. And now on top of the open plum layer, I'm doing a similar thing where I'm creating an overlay and I'm choosing some darkness, and I'm creating some texture, again, for the bleeding effect with black to create a little bit of shadow work around what I'd like to add texture. Because there's already color, it's creating a bleeding effect, which, of course, if you've cut a plum, you know, that's what happens. Then I'm going over the darkened area and I'm saturating that a little more with the overlay button and choosing black. It just looks really yummy and succulent and yum. I'm experimenting with these drips. I'm even using the drips. I'm using the quick pine brush, whatever I need to kind of create that succulent effect. I've merged those layers, and I'm using the quick pine brush at a smaller size, I'm creating the seeds. I'm changing the color between light and dark to give it a little bit of variation. A Okay. And then over the light color just to create a little bit of variation in the tones, I'm adding a little bit of darkness to it. Then again, I'm creating a layer above it and adding some textures with a stippling brush. This just adds subtle effects. What I'm doing is looking at it from different sites just to see if I've missed something. Now, I merge all the layers together and add a little texture over each plum, if I'd like. So basically, now I'm just focusing on adding texture and splatters and create more depth onto the plum. And that's it. In close up, you can see that there are a lot of these elements that I've added, which from far look like texture. Now, I'm doing another illustration of a plum, right? So with the abstract round brush, I created a round shape in purple. With a fine liner brush, I added a white, and then I smudged it around. This is the reflection light that I'm smudging around. The reflective light I'm adding onto the plum, and I'm just blending it around. He Then I'm creating a little shadow with the darker purple. And then, again, with the water blender, I'm blending that around to create a shadow on the right side with the light coming from the top. A lot of the shadows and highlights can be enhanced with blending. I drew the stem with the fine liner brush and the leaf with the abstract round brush. Because of Apopenz's pressure sensitivity, it was easy to do that. And then the veins in the leaf, I did first with a lighter color using the fine line brush. And then over that, I did a little darker tone and added the shadows. Next to that, I drew half a plum, and I filled that part with paint. And then inside around the edges, I painted with the abstract round brush, a darker yellow tone, and then inside a lighter version. Now I did that because, again, it creates a little bit of a gradient. And then I added a few highlights. Then I smudged everything to make it look a little seamless. I've been careful to not smudge outside the plum, so all the smudge is inside. Then I worked on the pit of the plum, and that I first made a darker tone. Then I added a less dark brown, and then I builded it with highlights. I'm keeping the fine liner pen a little rough when I'm using it to create the impression of a textured seed. I'm adding the highlights right now. I'm trying my best to be as close to the reference, but I'm also making it look like my own. Above the layer, I create an overlay. I lighten it to create, like, the brightness, then I blend it. And then similarly with the highlights, and then I blend these patches of white just to create a little variation and highlight in the slice block. But this is a different way of illustrating a blow. And then I'm just adding highlight marks wherever I think I should to neat in the blurred areas. So under the layer, I added a stippling splatter just for effect. So that's how you do a digital plum. H 9. Banana: Banana is really easy. So you just make sure you've got the right tone of yellow, and you just swoop a kind of smiley face. And you make sure this becomes a tip. If you want to make more than one shape, then again, remember to leave a space or some white. And then while it's wet, get a black got this black and create the top of it and then swoop a line between. It's your banana. A banana is very easy. It's a smile. That's it. I want to make it a little bigger? And then get a little bit of dark. Did you find line a pen? If you want to do some blending, Is that your banana? You want to create more? Imagine I'm basically going over the same watercolor to create, like some lines. And then I parch black. Don't want to smashe it do. You can smh it if you'd like. Now, if you want to change the color, make it a little more brighter, can. It's primarily like a smile. Yep. That's a banana. 10. FOR YOUR PROJECT: For the project, you can upload a watercolor version and a digital version, or you can upload just a digital version of a fruit of your favorite fruit or just a watercolor version. But here I'm sharing an example of both together. One is a watercolor, traditional version of an orange, and the other one is a digital version of an orange. Whichever way just share. It always encourages people. It's always nice to see your work. It's always nice to see your progress. It's always nice as a challenge, as well, to see if you can really do that, especially if you love watercolor fruits. This would be such a great opportunity to destroy it and post it in the projects we can all see it and compliment you. 11. Recap and Thank you : In terms of traditional watercolors and digital watercolors, I found there are so many things you can learn from both mediums and I really hope you got value from this class and I hope it enhances your personal artwork, even if you're a traditional watercolor artist or a digital artist. I've grown a lot doing this class and I've learned a lot, even in my journey as an artist creating this class. Thank you so much for joining me in this class, looking at watercolors in both traditional mediums and digital mediums. I hope it's added value to your artwork and continues to add value into your learning as an artist.