Watercolor with Me: Loose and Juicy Summer Fruit Slices

1. Hello!: Hey, guys, welcome to my channel. I'm Jessica Sanders. Color me creative art dot com and I'm so happy you're here. I hope today that you'll watercolor with me and we're gonna paint some loose and juicy summer fruit slices. So let's grab our supplies and then let's get started. 2. Supplies: Okay, guys, for this class, the supplies are very simple. You're going to need your watercolor paints. You need a couple of brushes. One or two will do. I have around this to say number 10 brush and a liner brush smaller. Fine. You will need either a gel pin or a paint pen that's white, some sort of tape to hold your paper down. Watercolor paper. I suggest that you use at least £140 but if it's for practice, you can use a thinner and I'm also using and what's called a cold pressed paper, which has a nice texture. And you will also need water and a paper toe. And that's it, guys, let's paint. 3. Bonus: Why do I need watercolor paper?: So if you're a beginner, you may be wondering, Why do you need water color? So have you ever tried toe water color? And it turned out like it did in first grade, and you thought, What am I doing wrong? I mixed some colors that did some different things. I didn't use grade school paints, but it looks like what I did in grade school. What's wrong? I would like to suggest that it's possibly because you need watercolor paper. If you're using mixed media paper or any other kind of paper, it just doesn't work the same as watercolor paper. So I have an inexpensive brand of watercolor paper. This is only £67 paper. It's very thin for watercolor paper, and so if I use a lot of water, it will buckle and warp. But if I don't use too much water, it's it works just fine, and I will work for this purpose. So what I want to show you is that the water on watercolor paper water stays where you put it. And if you notice the color doesn't go outside the boundaries, I've said for it. Now I can drop some of the stick pigment into this water, and it will not go outside of the boundary that I have created for it. So I can even tip this paper and move it around. No, if it has a ton of water, it's going to go outside of the boundaries. But but just a little bit of water. Even Aiken Tippett vertically and the water gathers at the bottom and it stops. It doesn't continue down the page now. I can force it by tapping, but I have to top sort of hard to make that water flow. So I just want you to understand that it's a special property of watercolor paper, and it causes the water color pigments in the water to stay exactly where you put them and to not go outside of the boundary that you create. That's something I didn't know as a beginner. Watercolorist was that I really did need watercolor paper. I thought any paper would you and promise, I promise you, you just don't get the same results. If you don't have watercolor paper 4. Embrace the Water in Watercolor: So let's try to unravel this mystery of how much water to use and water color paint. So I've just wet my palate like my pigment and picking up picking it up with a wet brush, and I'm going to mix a thick consistency of paint. This thick consistency is good for when you want to make really solid marks and lines that don't have a lot of flow and movement, and it's probably used least in this expressive loose freestyle that we're painting in. But it is valuable to try and mix different thicknesses and to see how your watercolor behaves on your palate and on paper. So what we're gonna do is we're gonna mix three different consistencies, a thick, a medium and a thin, and we're gonna put that on our paper and see how that acts. So now I'm gonna make my second consistency. I've just taken a little bit of this sick, but it in another puddle and I'm going toe just my brush in the water. Just add a little water to it. It's very obvious how much more movement you get when you add just that little bit more water to your pigment Also, it doesn't dry quiets quickly as the thick pigment. So let's do this for 1/3 consistency. We're gonna add a lot more water. There we go. So you can see the transparency in this. This is least transparent, sort of in the middle, and this is very transparent. So let's test these out on paper. So I'm gonna just rinse my brush. I don't want to start with a clean brush, tap off and pick this up with a thirsty brush, and I'm going to just paint it here and actually a little bit more, so I'm just gonna add a little bit more to it. Okay, so this is much more thick. It doesn't move very or flow very much on our paper, and it's going to drive very quickly. It will give you nice, crisp, crisp lines that don't have a lot of movement. They're gonna drive really fast. Okay, so I'm gonna rinse my brush again. Top off that excess water. Okay. Excuse me. Now I'm picking up this middle puddle, and what I hope to show you is the different value you get, which is the difference in lightness and darkness and the transparency so just a little bit more through a little bit thinner paint, and you're going to get quite a bit more transparency and difference in value. Now I have some big puddles here, and I actually want that. In this loosen free style of painting, we want blooms and puddles and and all kinds of special effects of watercolor. We want to embrace the water in water color, so we want you to be able to know that it's there, that it's been watercolor and it's not just and opaque pigments. Okay, so let's try the third again tacked off my brush. And once I picked up in extra drop of water there, that was on my paper. That's okay. It's much more transparent. That's why it looks so much lighter. So one way to see value is to squint and look at the colors, and it kind of takes away the color and let you see how light or how dark the value of a pigment is. So the thinner, the pigment, sort of, the lighter the value. So we have sort of a dark a medium and a light value, and we can go even further if we want to and just add more water. So let's just do that even more water, and I'm going to do it one more time because I want you to see you can get really, really almost clear. Just huh? A hint of color for your water color. So this is a great practice exercise because you will learn so much about your watercolor, and every pigment acts a little bit differently. But you can still makes thick, medium and thin consistencies and even thinner and actually anything in between. So I could actually take some of this some of this, and mix something in between. And that's going to give me something that sits in here value wise so you can see so many different such a range of color in one pigment, one color. So that's a really awesome characteristic. It's sort of like if you're used to painting with acrylic, it's like adding white to your color, except you're just adding water. So I'm going to do two more colors for you. I'm going to fast forward through those so you can watch a little bit more quickly, and then I would love if you would get out your paper, your water color, and you would practice baking some swatches. Now you don't have to have strips of paper you could use in a watercolor journal or any kind of watercolor paper. I would recommend an inexpensive one. Since you're practicing, this is a fun exercise, and you will learn so much about your pains. So you may want to do every color you have if you get a little carried away and that's okay , too. But be sure, do me a favor and share it down in the project section below or in the discussions so we can talk about it. Let me know what your questions are. If you have any problems, issues concerns and I'll be more than happy to answer. It's one of my favorite things to Dio when it comes to teaching his answer. People's questions. So stop this video, get out your colors and play and practice this watching and let's get ready to move on after that to the next segment 5. Wet on Dry Technique: for all of our paintings in this particular Siri's, we're going to be using the wet on dry technique and simply said that has just dry paper, and you put wet paint on it. So you put wet on dry, and that's how you paint. So we used the same technique in creating our color swatches. If you remember, we used a wet paint on dry paper, so we were using this paint technique in the very loose way. What I want to show you is how to invite the color to flow, and so all we have to do to invite the color to flow is add water where we want the color to go to and work our way up to the color and touch it. And if you just touch it in various places, it will invite the color to flow into that water. And I'm tilting my paper just a little so it will flow down and you can see you get a nice watery effect. I can add more color and more pigment if I want to, or I can add more water and just encourage it to flow in any direction that I want If you remember in our special lesson about watercolor paper, you really need watercolor paper to do this technique. It won't go where he didn't put it. Another note about using this watery technique and a watery brush is you'll see these shapes begin to develop, and these are called blooms, and we actually want blooms in this style of painting you notice. When I dropped a water in there, it created even more a bigger bloom. And this is a great, effective watercolor that you really don't get with other mediums. It's a lot of fun. This is an important technique for painting this loose. Every style that I have, it's just to invite the color to come and flow and mix. And it's going to tire whole painting together because the colors are going to sort of overlap in layer. You're going to get a layering effect, and it just looks fabulous. So this is actually already dry here. But I added that water and you can see while it was still damp, I added that water and created this bloom effect. We want the blue effect to this. In these paintings, it's just an amazing fun part of water color 6. Invite the color to flow: I don't. Your water color to flow is a very useful technique, for the paintings will be doing where we need some fine lines, but we want tohave. The colors flow out, so I have this very fine tipped liner brush well used. As you can see, it's a little worn out, and I went it and want to use that to make just a really fine line. If you use your thick watercolor or it will give you better control, and she'll sort of spin it to make it have that pointy point, and you can draw a nice lightly. Then why of color. You can make it thicker. Track it along. You get a more watery effect if you use a thin A paint, and it actually flows a little bit more. So if you use your thick mixture of paint, it's not gonna flow as much or as long as you usually medium or thin. So practice making little fine lines with your liner brush or rigger brush, and that will help you with basically with a little bit of your drawing skills. So let's say we have a fine line and we want Teoh encourage it to flow. So I'm gonna pick up, Let me turn my paper round. She's here for me to work This way you pick up some of my paint with my fine liner and then I'm just gonna create my line. You see, this is a very thin, fine line. If I wanted to, I could drop in more color, just like any other time. With water color, you can always add more color and pigment to your life. So I have this super fine line, as you can see, and I want to be very soft on one side. So what I'm doing is taking my bigger brush and I'm tapping off the excess water and I'm very likely going along just beside the line. I don't want to touch it yet, and then I'm just gonna push my tip up and touch it just a little, just like we did before to encourage that color to flow. Now, if it's dry already, that pigment is not gonna flow. So you have to do this while your original line is still wet and it just pulls that color out. You can go back with your liner brush, drop more color into your line. And, of course, it will flow out more how, where we've wet the paper. But if you notice on the dry side, it doesn't flow out at all. And you want to leave little white spaces in between. It just makes little nice sort of like reflections of light. And again, this color will only go where you invite it to go. This will create a very soft effect and softened the edge one edge of this line, while has a hard line on the other side. 7. Let's Paint a Lemon!: All right, guys. The let's paint a lemon. I love lemonade and limits in the summer time. It just really do you feel like it's some? So the first thing I'm going to do is tape off the edge of my paper. I'm gonna use this whole with, and it's just going to create a border around my page. Okay, so now that I have this take down, I'm going to draw in my lemon. Well, when we look at the lemon slice, it's sort of it's It looks like a circle, but it depends on the angle you're looking at it from, so I don't want my circle to be perfect at all. And I also just want to do part at the living, some good sort of making oval in an oval shape. And then I'm going to just add part of an oval at the bottom. This is just the part of the living that we can see, and then I'm imagining where the center would be. I have no light circle in the center. That's all you need now. You can just paint loose and free however you like and paint your living. So let's mix up some color. I'm gonna add some water to my palette and pick up this lovely summary bright yellow mixing up a middle consistency again. This is the one that I use the most because I can add water or pigment to it as I like. So have a nice puddle here of this bright, bright yellow. Let's just try it on this piece paper Yummy for me. I mean, we're going to do first. It's just paint a thin line of yellow right along our pencil line. I do. I don't have my brush fully loaded. Just has a little bit. I want to be really thin. You can use your liner brush for this. Just using the tip of my round brush doesn't have to be perfect. Remember, we're not going for perfection here. We are going for fabulous and amazing, but not perfection. And then I'm going to paint in this, pick up a little bit more thicker paint here and paint and the edge of our limit, and I'm going to invite that color afloat just a long maybe not quite that much. Sorry guys. It's a little much, but I do want to flow out a little. I don't want a lot out here. I want to be mostly needed. Rents my brush a little better. There we go. I want this to be most clear, so I'm just gonna a lot of water. I'm gonna pick up a little bit of that. Color is just too much for me. I just want a hint. So I'm just gonna use my brush and just thirsty brush. Tap it off, bring it over there. All right. And then add Clearwater and drops. So it's just messy and fun and lucid free. And remember, watercolor always drives lighter, and then the next I'm going to with a damp brush. Tapped off a little. Encourage this to float. Just I just want to soften this edge. Actually, just a tiny bit. Make sure your brushes pretty dry and just go along. This inside edge of living doesn't have the inside of a woman. Does not have a hard. And don't forget to check your references. Not for copying, exactly, but just so you could understand what limit looks like. We all have an idea of what a living looks like. But sometimes our idea doesn't quite match with reality. Now this edge I want to leave a hard line, this bottom edge But this part where we can see sort of into the limb. And I want to be really soft going to get some clean water and soften that even more. There we go liking that. All right, Now I'm gonna pick up my middle color again, and I'm gonna create just wedges. Gonna lead a little bit of space there and create a lemon wedge. It's gonna end right at the center. Now you can see this was wet and that's why that color all ran together. So I'm just gonna pick that up again. Everyone makes mistakes when they're painting. I would consider that. What? I just did it to be a mistake, basically just started in the wrong spot. So I'm just gonna pick that up, push that out, can pick up more clean water, push that away, just sort of clean it up. All right, there we go. Now I'm gonna go back to my color, my yellow, and I'm going to start here where it's dry this time and paint a wedge and just want everything to go straight toward the center. of my limit. I don't want to be perfect. And so there we go. And next, Same thing. Get a lot of basic shape. Practice with this. Let's make that go out a little bit. Doesn't have to be all filled in. Can add in symbol drops of water here in the air. Just him and texture. There we go. Now I'm gonna paint a little bit more. Have a little bit thicker mixture here to in this puddle to the side. It's thinner here and thicker here. No, using that slightly thicker mixture and again, I'm going to start here and go just beside and I want that to be pretty pointed. I'm sort of following the outside of the shape of the women as well as the wedge this next to it. And I'm just going to continue doing that sort of following in the water and just making I want this toe have like, this is gonna be our biggest wedge right here. I'm gonna Adam drops of water there. See, we have a skinny one here. It's OK. If they touch a little after this sort of think mixture, Think of just one more wedge here one more leaving some light and there gonna drop a little bit more water in there, Pick up a little bit. That was a little much. If you ever need to pick up water, you just draw your rush first. Or you need to pick a pigment dry brush first and then pick up. So you do All right. So, So far so good Gum E. All right. And then I think I want to do a little bit of splatter. While this is wet, you get a little bit different effect when it's wet into wet. I'm not much. Just a little bit. Got some limited use flowing out here. Pick up a little bit more. And like I said, this is wet into wet. It's gonna spread out a little bit. And when it's rise, you'll have a little different effect than the wet to dry. I'm going to take a little bit of my yellow. I picked this up. I'm gonna put it over here. I'm just gonna warm it up a little bit by picking up a little tiny bit of this red and you get sort of an orangy yellow that But I can just pick up more yellow until I get the color that I really want, which is just I want a warm golden yellow and a little bit more water. Now, I think I'm achieving that, just sort of making it a little bit darker by adding that touch of red so I could live this down here. You can see the difference. I think it's just a warmer, more sort of saturated color of yellow. And I'm just going to take that and I'm gonna put that for my lemon peel. And I'm just gonna make some little dots because I want it to be textured. And there we go. Some of it's gonna spread out some of its not that's all right. And then I'm going Teoh at a little shadow. And the way I'm going to do that is just an This is a very limited, juicy strata, right, So our shadow is actually lemon juice. But let's just drop in a little bit of this darker, darker color here and painting right over the edge again. Okay. I am loving this so far and loving how you can see the light in here. I'm loving how this is going to be nice. Dark color. I like how these colors are very similar. But yet this is just that little bit darker, more sunny, kind of yellow, really liking that you couldn't tap in a little bit of this over here, but not much. I'm looking now for Sheen, and this is starting to get a little bit less shiny and less water on it. And I want to just do some drops to see if I can get sort of that blooming effect as it dries. Same here. It just creates such a nice texture. So I just want to do that. Okay, so now I'm gonna let this dry and then e keep fiddling. You know how it is, right? You start painting and you don't want to stop, So but I am gonna stop. I'm going to let this dry, and then I will be back. Okay, so now that everything is dry, I'm gonna go back in and dark in this lemon rind. I'm going to use my thick, warm extra color. Remember, it's more opaque, and the value is darker when it's thick, and then I'm just going to paint it in. I'm just gonna cover the whole section. Sort of a solid kind of color. Now, the texture that we created earlier is still going to show through. But I just really want to emphasize that that's in the dark a little bit. So I'm gonna add actually, even a little bit more of this spread make it even little bit more orangey and just go along, paint this bomb a little bit forward over there. All right, then I'll take also the same dark with that little bit of red mixed in. Emphasize that shadow even just a little bit more. I think this is looking pretty nice. I want to add in a little bit of white. I'm gonna use the white paper thin because on this edge, remember, I sort of made that when I felt like was the mistakes. Just gonna color in. You could use squash for this on and make it kind of not even I want to add just a little bit more contrast Penis. Do what to this. A little bit more reflection. Make it look more wet. My goal. Our goal is to make it look nice and juicy and wet, so it's gonna have a lot of reflection on it. Some sort of drawing that in and like little bits and bobs and lions. And for the last step, just gonna add some corrupt, some splatters. So just gonna tap it now If you feel like that's too dark, you can always just take your paper towel. Tap it off. You can make a thinner mixture by adding water ATS more watery splashes if you like, and now you have a very juicy lemon. So my limit is nice and dry. Very well defined edge for the bottom, Which is why I was looking for very juicy looking. So let's see how it looks. It's like a big reveal. When you take the tape off Now I'm actually going to save my Washington guys. You don't have to throw it away. You can stick into a piece of paper like this and save it. Use it again or use it in your journaling. If you're in a journal, look at that beautiful clean, and that is what I was going for. That is fabulous. 8. Kiwi time!: Okay, guys, let's pain the kiwi. We're gonna draw more round circle that we did for the limit and add a little crescent shape for the peeling. And then we're going to use a very watery version of the yellow that we use for the women. And then we're gonna mix up some green, a bright green and a sort of dark grey green that you get by mixing that blue, yellow and lime green together. I'm gonna use that for the peeling now, sir. Mark, the center of my Kiwi where I wanted to be. And then I'm laying in color with brush strokes toward the center again, you know, So it's really watery light mix and then starting on that peeling with that really natural dark green color. And I'm dotting in a lot of the color in this case because of the texture that you see on those kiwi and always using that same technique of allowing the color to flow out. And then I just moved on to my second layer, adding in more more color Anson yellow for that sonny sort of effect. And this is just gonna let the color mix on on the painting, adding in a little bit more shadow, a little bit more juiciness. And then I let that dry and I'm moving on to a little bit thicker mixture of the green. Again. I'm leaving lots of white space because kiwi fruit has a lot of lines and and white reflective spaces in it. So I want to leave a lot of that and pulling that color to the center and then adding the second layer of appealing but trying to create lots of texture and interest. If you notice I'm using basically the same colors over and over again, it's gonna make the peace be all tied together and very cohesive. Now, dropping in some of the dark blue into that shadow is gonna mix with the green and create a nice, juicy shadow loving this effect. It's fabulous. The next we're adding in sort of a blue green, which is just a little bit of blue mixed with the long green. And then we're going to move on to the seats. So I went back to that dark green mixture at it, a little bit more lime green toe, lighten it up and then I'm just tapping in seeds with the tip of my brush, and you can see where the painting is wet. It flows and where it's not, it doesn't and that's perfectly fine. And then I want to just intensify my layers so back to the rind, adding, in that texture, that sort of olive green color just to create. I I just love contrast, so this will give me a lot more contrast. Then I let that dry and I took the dark blue and added in more shadow, encouraging that to flow again. And remember, this will drive lighter, so you have to keep that in mind. And I cleaned up a little bit of that dark that got where it kind of didn't want it to go and lift that dry and then time for some highlights. So back to the sharp opinion I scribble a little in the middle because I wanted a little bit bigger centre, and I'm just adding little scruple, e lines, dots and highlights even a little bit on the peeling where the light maybe catching it where it may be wet. The Kiwi has a lot of sort of radio lines that go out from the center. And so when I just add those in, like, really just quick strokes with the pin, it works really great. I decided to take the tape off, but I didn't. I wasn't happy with C and so went back and added even more seeds at the very end, much more defined and I really loved those results, so I can't wait to see what you do with this. 9. Let's Paint a Watermelon Slice :): Okay, guys, let's paint a waterman. First we want to draw triangle little smile at the bottom and a little rectangle on side. We're gonna mix up some red and some pink in that sort of medium consistency of watercolor to water ratio, and we're just going to start laying in the color really in the red. But then we're really encouraged that pigment to flow gonna drop in a little bit more color , and we'll let some of that escape out onto paper. Just give us that loose and watery feel and we want a very soft edge at the bottom, near the rind of the watermelon. We're gonna repeat that process with the side, and we're gonna drop in some water just to give those watery effects. We just I love those watery effects when it comes to a water color. And I had a little bit too much color outside there, so I just picked a little bit of that with my brush. I'm gonna use the green to create the Rhine, and we're gonna mix in just a tiny bit of dark blue to just make that green a little bit darker. Painting a fine line and then again encouraging that color to flow out into that white space toward the peak, but not all the way to it. Then we're going to start creating our shadow. Next round. It sort of mix up a gray color. So this gray is a very watery version of the dark blue, and we're just going to keep dropping in the color. Now added a little bit stronger pigment, and I'm adding in some pink just toe. Add like the watermelon juice to her shadow. Remember these air loosened, juicy fruits? And I want that idea that the juice is on the table. It's flowing out. It's rich in summary, so that's why we're adding. So now, mixing up a really dark green sort of an olive green. I'm using blue and yellow and the lime green to make it really nice and dark, and this is going to be for the seats. We're just gonna use the tip of our brush and make marks for the seeds. Put them where you feel like you want them, and, um, then we're just gonna again encouraged that color flow. This is a technique you can see that we use a lot. It's going to soften those edges and just give such a depth to the peace. It's really, really nice. And now I'm sort of adding the second layer of color. I'm I'm laying in reds and paints and adding more water as we go. And then it's back again to the rind. And I'm using the fine liner this time to really create a nice, fine line, and we're gonna go back and soften that edge once again. So once we let that layer drive, then we're gonna go back and put the second layer on the seeds and added works, flashes and drips and color matting, some watery, very watery splashes and some not so watery splashes. And I'm also gonna let those dry and then we're gonna go in with our gel Pinar Sharpie, paint the white and or you could use squash for this and add in some white highlights that we may feel like it needs. I want to be a little more shiny and vibrant than it looks right now, so I'm adding in these white highlights just to give the idea of reflection and wetness and watering this and I'm scribbling just a little bit along that edge, which also kind of just creates more texture and interest in the piece and that's it, you are done. 10. Thank you!: So now that you've completed your painting or maybe the ring, I would love to see you share them in the project section. And I'm planning more skill share classes. So I hope you'll come back and join me again. But in the meantime, let's talk about it. Ask me your questions. I'm here waiting and ready for you. And thank you so much. Thank you. Really? For water coloring with me. I'll see you again soon. 11. Bonus Lesson: Painting Watercolor Cherries: Hello, my friends, Jessica standards here, Hillary, Creative or get calm and welcome to my channel. So today, I thought would be really cool to paint some Cherries, Cherries, air, great summer fruit and I thought would be a lot of fun to try it in this loose style and just have some fun in my sketchbook. Now, this is not meant to be a perfect painting or anything like that. This is in my sketchbook. This is trial and error. Eso Let's see what happens. So I have my mission. Gold paints out right now. And I tested out you saw the little swatch of color, so I tried out my reds. I wanted those different tones of red light, medium dark. I wanted a pinky red and purple red, and I'm going to paint, actually, two pages in my sketchbook during this video. Now, this is sped up about three times normal speed, so keep that in mind when you're watching it. I don't actually do this best, as you know, but I do paint pretty fast and that sometimes gets me into trouble. But I had a lot of fun just laying the color on this page. and moving it around a lot. I left white spaces on purpose, and I'm just wanna just saturate that page with color and prepping it for a negative shape painting. I am using a reference photo from my pictures page, so feel free to go check out my Pinterest if you're interested. I have tons of photos of a mirror. My phone keeps shutting off, but still I'm not going for super realistic or anything like that. Like I said, I want loose and free and flowing. That's what I love about water color. But I do want you to know that I'm painting and cherry. So it's sort of a combination of abstract and riel, which I think, at least right now, is my favorite way to paint. So I started with just lightly, with a light color of our course, drawing in my shape of my cherry, and I thought I would add to to this page, but it kind of went a little bit wrong. I got that second terry like, way too big, So I just decided to like, as you could do with watercolor, just wash it out. So I just made a big puddle which you'll see in just a second. Uh, because look how giant that cherry got is giant cherry, and that's not gonna work. So I went OK. Not working. Changed a plan, No problem. You can change your mind when you're planting. When you're painting, it's your painting you're painting. So did the A lot of techniques for like, letting the color flow, releasing that paint from one area into another by just barely touching it with that brush , I had lots of water and paint on this page, and which is why I had to, like, clip it down. It was buckling just a little bit. This is great paper. This is a pin Talic, aqua sketchbook and I love it. It will really handle the water and paint. So I just kept on adding in color and deepening and darkening it and, uh, keeping in mind that water color will dry lighter. So I still have in mind toe have three Cherries on this page, so I thought I would lift the pigment. I do a lot of lifting in this particular painting because I had gotten the color so intense and I had a lot of water so I thought it would work really well to do some lifting and create spaces. So that's what I was doing. They're just trying to create a space by drying my brush and lifting the paint back off, and I'm creating a highlight in the same way. So when you see me move my brush to the side, I'm I'm just actually drying it. And then I'm coming back and I'm picking up more paint, picking up the water that's there. Creating that highlight played around with that for a little while, I kept lifting and then adding in and lifting and adding in just playing with it, maybe overworking in a little bit, getting a little carried away with the idea. And then I look back on my reference photo and saw that there were some texture lines that made her look more circular and spherical. So I sort of lifted paint for that as well. And then I let it dry, and I thought it would be kind of cool. So you see it go from that darker, wet color to the lighter, dry color there and now, adding my second layer, the left page wasn't quite dry yet, So I didn't even move on to that one unit either. And now I'm just adding in some dark shadow colors. And I was really pleased with this part of the process. I had a lot of fun, and I felt like I got a really great effect. In fact, this was my favorite place in the painting. I kind of wish I had stuffed then and left it there. I loved how that cherry looked. I thought it looked pretty cool. And I feel like now I have moved into the overworking a section of the painting. But I'm sharing it with you because I want you to understand that no matter who you are and what level of painting your at, you're going to have those fantastic paintings and you're going tohave Those I wish I had stopped at that point, I have overdone it, especially for me. I think with watercolor, I feel like it's really easy to overdo the painting. Uh, you don't need to put as much information as you think you do, and I intend to get a little carried away with the process. And instead of stopping and thinking about what what does my painting need right now? But I wanted to show that with you because we're all learning from each other. As you can see, I have moved over to my other page in which I told you I was going to do negative shaped painting. And guess what? I didn't It didn't work out the way I wanted to. So again, I changed it, and I added some dark Cherries on top of this lighter background and where you have seen the white before. You notice I lifted that paint, so there's still a nice light area, and then I just continue to paint toe. Let that color flow out and onto the rest of the page. I just love watching the paint flow. That's like my favorite. I think maybe I don't know. I just really love it. So I do get a lot when I'm painting, and I had also do some splattering and all of that, which is probably my very first favorite thing, is flattering. I decided I wanted this cherry on the side to be darker, even though I started out with that negative shape there. And so I'm adding in a dark rid It's a really vibrant red, really pretty colors these mission gold. I mean, they're just fantastic. And you notice I used all of my red in the top and I didn't even realize it was out of my vision. And I kept trying to pick up that red, and it was like, not working. I'm like, what is going on? And then I leaned forward and saw that I had used all of that really a bright red, and so I'm going to have to refill that part of my palette. But you know, these things happen when you're in the middle of fighting. And so I made that cherry that darker, red, bright red and added shadow around the bottom. And I'm just like, at this point, pretty happy with this painting and how it has all gone. Thank you so much for watching. I hope you'll go on, try and paint some Cherries. It's so much fun. And don't forget to leave me those comments and let me know how you like this. Thank you so much. I will see you soon. Bye bye.