Watercolor Italian Veggies

1. Class Intro: Vegetables are a standard subject of still-life paintings, where they're interesting foliage, brilliant colors, and unique textures. In today's class, watercolor Italian veggies. We'll focus on these humble culinary staples for our inspiration. Goal is to capture the shape and colors of these subjects. Hello, I'm Daniela Mellen, an author and artist. Today's class is for beginners, watercolor artists with an emphasis on building layers with simple brushstrokes, will paint five images with two chapters dedicated to each image. The first chapter carves out the unique shape of each image, and the second chapter adds details. We'll start with a simple pencil sketch. Then you can trace from the template and modify as you like. Then we'll paint an eggplant, a pair of bell peppers, a Portobello mushroom, and cap, an artichoke, and a vine, a plum tomatoes. The images are abstract but contain enough characteristics of the veggie to be recognizable. Gather your materials and let's get started. 2. Class Supplies: These are the class supplies for our watercolor Italian veggies. Now what I use is a six by five paper for each one of these illustrations. But you can modify this and use any size paper you'd like. I have the template here which you can download and print out. If you print out at the exact size, it'll fit that six by five paper nicely. Or you can enlarge it as you see fit. I have a pencil and an eraser to make my sketch. And then I'm just using three paint brushes, a 621. I have an assortment of watercolors, and I'll include the specific colors that I use on the class supply download. The next chapter we'll go over using the template and different ways to modify it. 3. Using the Template: Now to use the template, you'll need a light source. I'm using a light pad, but you can use the light from a window. These sketches for your tracing onto your template are very simple line art. What do you do is you find the image that you want to trace. And I'm going to demonstrate using this pepper image here. And then you just set it down on your light source and you might want to just tape it here to keep it in place if you're using a window. And then you put your watercolor paper right on top of where you want to put it now I'm gonna shut out my studio lights and turn on the light source. And you'll see that it shows up through the paper. Now you can flip your template around. It doesn't really show so much different the pepper, but you'll get a different image so you can get the mirror image using this template. I'm going to sketch my pepper, but I want to put two peppers there. I want one just behind it. So I'll put my template down, make my sketch. I want to go very lightly and I don't want to scratch the paper. I'm going to erase the pencil marks or paint over them. And so I don't want them really showing. But there are very helpful guide while I'm doing my painting. I create my first image. And then I can alter the template by putting it behind this image and changing the size up. I want it to look like there are two peppers here. I'll just sketch that out. And then I have my image and it's ready to paint. In the next chapter, we'll start painting by painting our eggplant. 4. Painting the Eggplant: Because we're making simple images, there are two things I really want to focus on. I want to focus on the shape of each of the individual vegetables and the brightness of a color. You can also make very subtle color if you prefer subtle, but I think bright is very energetic and exciting. So the first thing I want to do is I want to make a very painterly simple image. Just with some water on my brush. I'm gonna go around the perimeter on the interior of my sketch, not going into the center. And I'll do the same thing up top here with this green stem. Now, my first layer is going to be very simple. I'll start by putting water on my palette, mixing some purple and then mixing a little Prussian blue with that. Just until I have a soft color. Then I'm going to be very careful and I'm just going to create that outline. You don't have to go the entire outline. I like that look, but if you want to skip some areas, that's fine. Going to just outline it. This color is very soft and it's actually quite beautiful on its own. I go around the perimeter of the flesh of the eggplant here. The same thing up top here with this greenery. When I have that perimeter, I'll dip my brush in water again just to lighten it. Now I'm just going to blend it out. Not worried about coloring in all the eggplant. In fact, I like it a little bit of the white. I'll pick up a little more of the deep color though, and deposited just on the base to give a little bit of a shadow and a little bit up top here. That's just for variation. Now I want to color in my stem. I can see that I spilled a little pigment over there. So I'm just going to take a paper towel and just dry off that area where I made that spill. I'll absorb some of the pigment and just make it a little easier to control. Now I'm gonna take some of this light green, this green, yellow, yellow, green, right on my brush. And I'm gonna do the same thing. I'm going to create that shape. Again, not filling all the area in. I have my background layer for the stem as well. I'll go back in, take a little more intensity of the pigment and just deposited along sides of this stem here. I'll come up here right to the edge and really get that shape nicely. When I'm happy, I'll stop there. This is a great base layer. We'll let this dry and then we'll come back and add our interest in our color in our second layer. 5. Adding Details: Now that I have my first layer dry, and as you can see, the eggplant shape is really starting to develop. Now we get to really play with the color for the eggplant. I like to take two colors. I'll take another shade of purple and then a shade of blue. So I'll take some of this cobalt blue, put it on my palette, and mix just a little of the existing color with it. I want it to be really blue, more than purple. I'll start with this light color. I'm going to take an area here and I want the deeper color to be along the bottom area of this eggplant with large brushstrokes. I'm just going to add some texture. Just like this. Gonna really focus my color on the bottom half. Then I'm going to dip my brush in water, pickup some purple and really mix it in up top here. I want a really intense color. I'll mix a little Prussian blue with that until I get the different color than what I have. Now play around with the proportions of purple and blue. Now I'm just going to add some more of that color. Interesting shade overlapping the colors I already have. Also come up from the other side. Going around, not getting the entire area. I really just want little areas of interest. Dip my brush in water and blend out some of those areas. Can come up here a little deeper pigment. Then I'm gonna come back in with that cobalt blue again and add some more to some areas. I want a very rustic looking shape, very abstract, but easily recognizable for what we're doing. And I can play around with that, adding pigments as I go. I really liked the shape of the egg plants, so I wanted to maintain that nice rounded edge. But then just depositing pigment here and there. Just for a little texture and a little interest in that color. I can come back in, wet my brush, pick up a little color and just soften it. So it's not so harsh. I'm quite pleased with that. I'm going to switch to my number two brush. I have a little more control and we're gonna do the same thing for the top of the eggplant. I'm going to go in there with that original color, we use that yellow, green. I'm just going to go around the perimeter in long brushstrokes. Not going over the entire image. I'm leaving some of the area we've already painted exposed. And now I'm going to take some deep green and mix it in with my color. This will really give it a pop of vibrancy. With a sharp point, I'm going to go over the area that we just wet. So there'll be a little blending of the colors we created. Again, I'm maintaining that shape. Again, going back and forth with a really chunky rustic texture. I want to combine the areas. Then for the last layer, taking a little of this lemon yellow, it's a cooler yellow. I just want to dab it in areas. It'll be a little wet. It'll help the previous color blend and it gives a nice effect. There I have my eggplant, I can go back in and decrease the intensity of the color if I want. But I'd like to give it just a little bit of shadow or background, more like an aura. I'll choose a color that's flattering to the eggplant, pickled, choose a soft pink. Come in here with some brilliant pink, right on my palette. A little bit of perylene red just to deepen that up ever so slightly. I have my color. Rinse my brush. Large strokes just go around the eggplant with clear water. Setting the stage here so that when I deposit my color, it will blend nicely away from this image. Just want to soft little effect so the eggplant doesn't look like it's floating. You can use any color you'd like for this, I'm going to switch to my number two brush. Pick up that soft pink. Just run it along the edge where we just wet. Leaving a little gap of space between the subject and this little aura that we're creating. Go around all the way around the eggplant and the stem. And this accentuates the shape. Kind of grounds it just a little bit. Now I can choose how thick I want the spread of this aura. I'll go in there with a wet brush and just make sure the edges blend out. I get a nice gradient where the most intense color, which is still quite light, will be up against our subject and it just fades away. Then we have our first rustic image that's easily recognizable as an eggplant. 6. Painting the Peppers: For our peppers here, we have the beauty of being able to color them in multiple colors. Peppers can be red or green or yellow, orange. And these variations within those as well. Just start by taking my clear water and just outlining the face of these peppers, leaving the center bear little more difficult because there's less surface area on that image in the back. Now I want to make my first pepper red and my back pepper yellow. I'm going to take some perylene, read, write on my palette and mix it with some vermilion hue. And I'm just going to outline that front pepper. Going right around the perimeter. Same formation that we did. The eggplant where we're just creating that first layer of color, that background layer. Because this is red. I want the pepper to be red. I have a lot of play here. I don't want the color to be too vibrant or to read, but I do want to start staining that paper. I'm going to switch to my number one brush. Picking up that pigment and doing the same thing on that background piece to that pepper here. I'm just gonna go around the perimeter, leaving a space between the front and the back of the pepper. The sections of the pepper, I should say. Just introducing my pigment here. And I'll do it over here as well. And I'm not coloring in that area completely. Want that to look like little highlight and a little painterly. Then I'll rinse my brush with water just so it's damp and just blend out those edges. I'll come in, take a little more perylene red on my palette, and just go around the outline here on one side of this pepper. Really carving out that shape. Start introducing a little bit of a bold color. Dip my brush in water and just blend out that vivid color. I want the ends where it blends out to kind of go smoothly. Little brushstroke is nice, but not too much. Then I'll pick up that color. Just deposit it on those back sections. Again, the area closest to the existing segments that just gives a little variation, could come around here with just a little bit on my brush and outline the shape. On the right-hand side, this pepper. And then going there with a wet brush and blend it so it's not a perfect line. I'm going to switch back to my larger brush and I'm going to take some of this deep yellow. It's yellow with a little bit of warmth to it. I'm going to outline that pepper the same way, leaving a nice gap of space between the red pepper and this yellow pepper. Right now I'm just creating that shape. When I have that perimeter done, I'll dip my brush in water and just blend out some of the areas, leaving a little bit of the white of the paper showing. Rinse my brush and then switch to my number one brush, pick up that pigment and work on those segments behind the front of that pepper. Again, I leave white of the paper showing just really creating that shape right now. When I had that done, I'll let this layer completely dry. 7. Adding Details: Now that I have a beautiful base on these peppers, I just want to really accentuate them. I'm going to start by working on the stem. I'll take some of this yellow green right on my palette, mix it with a little deep green. Just to add a little more color. I'm just going to carve out the shape of the stem, leaving a slight gap between the pepper and the stem won't fill in the entire area. I liked that white of the paper showing. I'll do the same thing on this pepper. I like that white of the paper showing I think it looks very abstract painterly. Just going to come in there with a teeny bit of this deep green. Really get that color very bright and just deposit some deep green along the wet areas of this green is a nice little variation. I'm going to switch to my large six brush and I'll go back in. I'll take some of this perylene red on my palette. A little bit of deep brain and with that, to tone it. Now I'm just going to add some brushstrokes on one side. Take a little more on this side, the opposite side from where I went. I'm not trying to cover up the entire pepper. I liked the variations in the color that we have going. Then I'll take a little more perylene ran on my palette. Just deposit that in areas and as you can see, I'm getting a nice variation of color here. I want to make sure I maintain that shape to that pepper. While still adding color and brushstrokes. Just deposit a little bit of color just in dabs on the back sections here, because I liked the variation. Then I'll rinse my brush with water. Now here's the part where it gets a little risky. I could take my number two brush and I'm gonna take a little of this deep green on my brush. And I want to just deposited in some areas where if already added the red on my paper so that it's wet. And I'm getting just a little variation, a little hint of depth of color. Going to come back in with that red and just introduce that red to the outside of the areas where I just added the green. That gives a nice little variation. And it makes it blend. Going to pick up a little bit of this lemon yellow up. Just deposit that in a few areas for highlights. Not too much, but just a little bit inside my pepper. Really happy with the way that looks. I want to come over here to my yellow pepper. Take a little more deep yellow on my palette. Just swipe up a little bit of that red onto my brush. Now I'm just going to add some areas on the front face of this pepper, not too many. With this deeper color, this little orangey yellow. When I have my three areas are so I'll come back in with some deep yellow on my brush with a little bit of water and go over the edges of those areas that I just introduced, that orange color. This gives me the variation that I like. Introduces a little vibrancy. It also coordinates it with that red pepper. I'm quite happy with the way that looks. Again, I want to make a little ora, slight aura around my peppers. So I'm just going to take some clear water on my brush, stroke around the peppers. Then I'll choose a color. I think I'll go with a light blue. I'll take some of the cobalt blue on my palette. A little bit of water. I'm not looking for a very bright color. And I'm just going to pull it around the edge of these peppers here, leaving a little gap. Paper between the pepper and this little aura that we're creating. Go all the way around. Very simply. I'm going to take a wet brush and just blend out any of the straight edges. Again, I don't want it to distract from our painting. It's going to dry very soft. And that's the look that I want. There. We have some rustic bell peppers to use for our illustrations. 8. Painting the Portobello Mushroom: Now to paint the Portobello mushroom, we have the mushroom here, the underside with the gills and the cap here. This is a very basic painting because the colors are so soft. I'm going to go around on the cap here and just wet the cap, both of the background image, the main image here. I want a very light color. I'm gonna take a little step just on my palette. And a little Van **** brown, if you don't have to just use a light brown. And I'm just going to introduce a little bit of color, creating the shape for the mushroom cap. Then up top here I'm just going to very gently paint in that pigment. Really wash out that color. Really just creating a discoloration on this whole mushroom. Makes a little more sepia in with that. Now I want to just wet this area of this stem, leaving this little stripe here. Just getting that stem nicely colored. I'll switch to my number one brush. Really just move that pigment around, creating the shape of that stem. Pulling that pigment right to the bottom. But maintaining that shape. It's okay if they're a little bit of white area. Going to switch back to my larger brush. Wet it and I want to come in here and we're gonna work on the gills really quickly. Take a little more sepia on my palette. Color in this area with more pigment up top right at the border where the mushroom cap and the gills meet. That the bottom is a little bit lighter. I also want this color to be a little darker than the mushroom cap and darker than that stem and come back in, add a little sepia. Now just deposit pigment up by the top of those gills. I'm going to remove as much pigment and water for my brushes. I can just come back and outline closest to the gills and the exterior of this mushroom. Then I'm going to take my brush and with a pointy brush, I'm gonna just create a line. It's going to echo the shape of that mushroom, but it's only going to cover the top portion of it. Just like that. Going to come back to my mushroom cap. Just add little segments of color here and there. Just dabbing it lightly with whatever remains on my brush. Just looking for a few little discolorations. I have that done. I'm going to stop there and let this layer completely dry. 9. 9 Adding Details: To finish the mushroom, I'm going to start my detail work. My number one brush. I'm gonna take some sepia. I want the consistency to be what I can control and make a nice sharp point, but not too dark. I'm going to start with just barely touching my brush to my paper and just making a little thin outline for the shape of the mushroom cap here, as well as the whole mushroom, the underside. I'll just go around creating that shape, that outline. This is important because it gives us nice boundaries. Go right over your pencil mark. Again, take it slow to get that nice thin line. And it will dry even lighter. Then I want to outline the mushroom cap here, the interior where the gills meet. That creates a very interesting ruffled edge. Then I'll outline the stem very carefully. Now I want to start adding my details, but to use my same brush, just dip it in water. As you can see, I've got a little bit of pigment on my brush. Take a little more pigment and mix it in. And then we want to create a shadow up top here from right here. Tracing that line, meeting that line that I made for the gills. Right to the edge here. From about one o'clock to seven o'clock. I'll dip my brush in water again. Just blend out that edge. Good. Take that same pigment, flipped my piece around and do the same thing on the bottom here. Just on the bottom edge, dip my brush in water and blend that out. So I have a nice shadow forming. I'll come back and pick up a little pigment. And it once again on my little brush and I'm just going to make little specks of brushstrokes on the top of this mushroom. I want to stay with these specs somewhere on this discoloration that we made. Not making a perfect line of them, but just a little different specs here and there, little bumps of them all the way around. Then I'll come back and take a little more sepia. Just introduce a few darker ones, little larger. Just to get some texture going here. Now I want to do the same thing on my mushroom cap, just making little bit of brushstrokes here and there. And it varies depending on how much pigment I have on my brush. Dip my brush in water on some, blend it out. This will make it dry, lighter. I'm just going for a little discoloration. A little look like that. Take a little more light pigment on my brush. Make a nice sharp point. And now I want to make lines very barely coming up from the center of the stem up towards the top. And then I'll go at opposite as well. I'll just keep dividing this in half. My little distance between marks here, really pulling them out. Again, I'll pick up that light color, can even add a little more water with it. And I'm going to create that sharp point and make those lines from the top of the gills as well. This is a very light line. It's not very dark. Just pulling them down. Dividing this space between lines in half each time I go. Because this is a nice light color, the shadow will be nice and light, but it still gives the impression of these gills. I'll take that light color and now I'm just going to add a little more water to it. And now I just want to make some discolorations on this pristine white area of the mushroom. You can take your time and do as many as you'd like. The pigment will dry lighter. And that's the look that we want to go for. I want to take a little bit of this darker color, mix it in. I get somewhat darker color. Now I want to just go with the top here. Make a line of a shadow. Not the length, the entire length of the mushroom cap. Just a little area for interest. And I'll go right over the area we already added some texture. I can come back in and white in this line. Dip my brush in water, and just blend it somewhat. I like to come over here and just create a little bit of shadow on the base as well. Then I'm gonna come back in with my deep color. I want to be able to control it on my brush. And I'm gonna start adding texture, little dots, very faint. Little dots to the stem is gonna look like little earth or soil. And right up top as well. Not filling in the whole area, but just peppering it in certain spots. I'll come and add a few more of these little spots to my top of my mushroom, as well as the cap here just in a few spots, gives a nice little texture. Then I'm going to take that sharp point and a darker color. And I went to add just a few more stripes just away from the ones we already added. Just so we get more of a look of the gills. Really letting that brush flail out. Key is just start right at the stem. Then I want to come up here to the gills and pull down. The lines are not going to touch each other, but they give the impression that they're one long Gil going from the top of the mushroom to the stem. You can decide how many you want. The more you add, the darker it will look. We want really the impression of the mushroom, not an exact realistic copy. Quite pleased with how that looks. And now I want to just add a little bit of a border. Again, I'm going to use that or a technique where I go around my subject with clear water. I'm going to choose just a light green. Ticks into this deep green. Put it on my palette. Just go around the mushroom. Come back in, introduce a little more pigment. Just helps ground that image. It will dry very light, but it just gives a little something to look at here, a little contrast to the paper. Go around the image with just some clear water to blend out any edges. There I have are mushrooms. 10. Painting the Artichoke: Now to paint our artichoke, we want just a little rustic image. Going to put some water on my palette. I'm going to take some deep green and then this yellow green. And I mix it in until I get just a soft color. I'll add one more brushstroke of water. Now I'm gonna take my large brush. I'm not worrying about perfection, but I just want to wet each one of these petals, not trying to fill them in. What I am trying to do though, is create that shape. I'll spend a little more time making sure I get the shape of each petal, not worrying about completely filling in that image with pigment. Leaving a little gap between each petal. And if I go very close to one edge, I'll just try and leave it that little space on the other. When I have some of them done. But not all, I'll clear my brush and just blend a little water in just so those edges aren't so harsh. I will just continue coloring the petals just to form the shapes. Again, it's nice to have a little contrast of a little white showing. I'll just go over each of the petals. I'm happy with the shape. I'll move on to the next petal. It doesn't have to be perfect, but I am just trying to capture the individual petals. Then I'll go to the stem, bring that pigment right out to that pencil mark. Don't fulfill that in. I'm going to just switch to my number two brush while my artichoke is somewhat damp or wet, take a little purple on my palette. I'm a little Prussian blue. Would that just to change the color somewhat? And then at the base of each of these petals, just going to deposit a little of this purple color. Can go over the areas that are already wet. I can decide if I want to go up the entire length of the petal half or just very it. The key to remember is you're just trying to maintain that shape because you're adding this darker pigment, it will really draw the eye. So this was a good way to carve out the shape. Even further. Come back in and makes a little more color, Prussian blue and the purple. And continue just on the bottom portion of each of these petals. I like to do this while it's a little bit damp. Get adds a little interest, a little blending. But it's not so wet that the colors completely melt. And that'll just take a teeny, teeny little bit on one side of my stem here, just to unite the image. On this one, it really blended, which was kind of a nice effect, but I do want a little bit of a purple look. So we'll just go in there and drop pigment on a few more of these. Rinse my brush while it's wet with a little bit of green. I'll just come in and blend some of these areas. Not going for perfection. I just want a little bit of a blend just so we can see difference in color. But also an area where they're just so softly blended that it's hard to see. I'll do this with all the petals. Also enhances any of the green that we put down on our first layer, but built up the second layer. Take a little more green on my stem here. Going over that purple. And I'm very pleased with that. I'll let that dry and then we'll come back and just add some final details. 11. Adding Details: Now my artichoke has dried and I erase the pencil marks and I have a beautiful texture here. I wanted to take my number one brush and add just a little definition. I'll take some of this deep green right on my palette here just to get a nice rich color with a very sharp point, I'm just going to outline each petal and the stem. And I'll speed this along. There had my artichoke, I wanted to add a little bit of Wednesday to it, so I'm going to take some of his brilliant pink little bit of water and just add a little bit of brilliant pink to some of the areas on each of the stems. Usually between the area of the purple layer and the green. Just like the way that looks, the ads just a soft element and really emphasizes that interests of these shapes and these globes. I'll add a little to the stem as well. I wanted to add my aura here. Take my brush here with clear water, go around the perimeter just to wet the paper, and then choose a color. I'm gonna choose just a little bit of this lemon yellow. Put it down on my palette, but a little bit of water. And I'll just echo the shape of this artichoke. Go around, continue all the way around. Really emphasizing that shape. It's just a beautiful shape. Rinse my brush with water and just blend out those edges just so they're a little soft. You can enhance the artichoke further with light paintbrush, a thin line and those colors. But I like the softness and the abstract version of this artichoke. 12. Painting Tomatoes: For our last painting, we're going to paint these italian tomatoes, which are really egg-shaped, the plum tomatoes. I'm going to start by just wetting my brush with clear water and just introducing a little water to each of these egg shapes. Not worrying about covering the whole tomato or any particular area on the tomato just within each border. Then I'm going to take a little water on my palette and add some of this vermilion hue. A little prayer line, red, I want to get just a nice color to stain. I'm going to start with the full tomato in front of me. And I'm going to create just that shape. Really working on the outline and whatever, whatever water is on the paper will blend that. Really once I have that outline shape, I'm just going to move on to the next one and do the same thing. Leaving a little barrier between objects. Leave a little barrier between the little greenery that will paint later. But right now I just want to introduce that first layer with a stained pigment here. Again, a little area of white is nice on the paper. If you prefer an area that's fully covered with staying or pigment. And go ahead and cover it all the way. I'm going to do these ones in the back as well. Leaving a little gap between the object in the front and this tomato in the back. Wet my brush, take a little more vermilion hue and mix it with whatever is on my palette. And then deposit this vermilion hue on the left side of each of these tomatoes that we've already added. Just dabbing it in. Maybe a third of the tomato. Really getting that interesting color blend with whatever is wet and left on our paper. I'm going to rinse my brush, take a little perylene red, mix it in with the existing color that we have and do the perylene read on the opposite side. So on the right-hand side of each of these images, I'm going to try and go to the edge, but I'm not making it perfect. So if I have a little bit of that area that we stained with that first layer showing through. That's just fine. Again, I went a little white of the paper to show if you want to have that rounded edge all the way through, use that as well. Lastly, I'm going to rinse my brush, make sure it's clear and take a little of this deep yellow. Take a little bit of the pigment that we mixed, that orange and red. And now I'm just going to mix a little of this color and dab it on in-between those two colors on each of the tomatoes. It'll blend, it gives another variation of color. We're starting to see some interests develop, going to let this layer dry, and then we'll come back and add the stems and our detail work. 13. Adding Details: Now to finish up the tomatoes, I'm gonna take my number one brush, go in there with a little bit of whatever's on my palette for the red fur. If you cleaned your palette or a dried, just re-wet it or add some perylene red little vermilion hue. I'm just going to very lightly outline all of these tomatoes going right over that pencil mark. I'll go over all of them. Speed this along. I'm going to switch to my larger brush at a couple of brush fulls of water to the red on my palette. And I just want to go over about half of each of these tomatoes. Just on the one side here. It's adding a little bit of a glaze, but just a portion of each of them. Not trying to stir up what's there for the pigment or blended. I just want to add an overlay of color. Wet each of these tomatoes. Now I'm going to go in there with a little deep green on my brush, mixing with a little red. So I still get a dark color and just deposit a little splash of this on each of those tomatoes on those areas that we just wet. And that'll give a little interest and a little depth. Switch to my number two brush, make a new puddle. Take some deep green and some lemon yellow. I have a nice green color. I just want to go along the bottom of the stem here with this color. From the start to the base of that tomato. I'll just connect all the tomatoes to it and add that pigment again to the top. Really filling in that stem. Rinse my brush. Take a little of this deep green and just in certain areas on the wet stem, add that deep green. Rinse my brush again, pick up that color that we originally put down and just encourage it to run with that deep green. It forms a nice little blend and a little variation. Going to switch to my number one brush. Pick up that deep green, mix it with whatever green remains. And then I'm going to make these little parts of the tomato that stick out from the plant. Just going to bring them. Each of the sections here where this deep green pulling them out. I'm gonna take a little of this yellow green, mix it in with just a little of the deep green. Go over these again, give a little variation, fill them out and make them a little thicker. Skip a few. I don't think they needed or if they're too clustered already. But I like the way this adds a little bit of shadow. Now lastly, I'm going to take my brush just with some clear wet water and go around the edge. Again to create that little ora. Take a little of this surreal Ian blue can use your cobalt blue or any blue you'd like. Or you can even change the color altogether. I'm just going to deposit that color all the way around those tomatoes. It gets a little tricky because we have that little area to work on. But we're gonna stick with that light-blue. Go around just the widest of the perimeter first, helping that color to blend out gently. Just so there are no harsh lines. Then I add a little more color and go back in here and outline that area. I'm going to outline both areas. Re-wet my brush, and then just blend that together. There we have our tomatoes. In the next chapter, we'll review our work that we've already done and we'll look at a couple of variations using the same images and the same template. 14. Class Wrap Up: Here are the paintings we've worked on in class today. Each one has its iconic shape, and we really played with that. And then we added some colors. Now on a number of them, we added some unexpected colors that added a little bit of wind DSI on the artichoke and the peppers and tomatoes. And I liked the way that looked at added a very interesting approach, very colorful. Wanted to show you some variations that you can make using the same templates aside from flipping the templates as well. Here I took each one of the images and created them just so that I had a catalog of images to use. Instead of doing the aura around them, I just did a little bit of a shadow and I liked the way that came out. The effects were very intriguing. I played with the intensity of the color on these. They're very vibrant compared to the ones we did in class, but I really enjoy that aspect of it. Another version that I did is called unloading groceries, where you just put your produce on the counter and this is what you bought for the day. I loved the colors played with the variation of the shapes and really enjoyed the process. I hope you'll try your hand at painting some of these watercolor Italian veggies. If you do snap a photo of your work and post it in the project section, be sure to join me here every Friday for a new class on Skillshare. And thanks for joining me today.