Watercolour Styles & Techniques: Paint Ice Creams in 3 Ways

1. Introduction: Hi. My name is Sharon Stevens, and I am an artist, author, and teacher. May know my first book, watercolor for the soul and my more recent book How to Paint it. I am passionate about encouraging creativity for relaxation and joy in simple ways that are accessible and achievable for everyone. In this class, I want to encourage you to experiment more with your watercolors, exploring different styles and techniques and ways to approach a subject. Quite often, we can be so focused on creating a finished piece, but we tend to want to jump straight to the finish line. There is so much fun to be found in experimenting, and it's a great way to learn more and also discover what styles and methods you like. We'll be focusing on painting ice creams in this class because they are a fun and simple subject, and I will show you how to paint them in different styles with pen and wash in a looser style, and also in more realistic styles. As we go through, I will encourage you to think about different ways that you can approach the subject and experiment with different techniques and methods as we go along. My ultimate goal for this class is that not only will you come away with some lovely paintings by the end of it in a variety of styles, but you will also be feeling inspired and motivated to experiment more when approaching a new subject. Okay, grab your supplies and let's get started. 2. Supplies: Okay, let's run through the supplies that you will need for this class. Firstly, you will need some watercolor paper. I'm using cold press paper for all of the paintings in this class. I recommend 140 pounds or 300 GSM weight, and I'm using Saunders Waterford paper, which is a high white color. For my brushes, I'll be using Princeton velvet touch brushes. They're all round brushes, and I'll be using a size zero and a size two for the finer details in style three, where we'll be painting more realistically. And then my larger size is six and eight for all of the styles. So you just want to have a larger brush for the more looser painting and to get more coverage and some smaller brushes for the finer details. For the paints, I'll be using Windsor and Newton professional watercolors, and I'll be using tube paints. But you can use pans if you prefer, and that's what you have. I'll be using five colors. I'm using my three primary colors, which are the three colors that are best for mixing in the Windsor and Newton professional range. These vary in the Cotman range, so do check online if you need to know what they are. Mine are permanent rose, Windsor lemon and Windsor blue red shade. I'll also be using yellow ochre and bunt umber for the cones. If you don't have these colors, that's fine. Just try and find a color suitable for the cone. Ideally, something close to a yellowy gold and a warm brown. Burnt umber has a lovely orange tint, and then a red blue and a yellow, which we can mix to make the other colors. I'll also be using my opaque white for the more realistic style, and this is my doctor PH Martin blue proof white. You'll need some clean water, a palette for mixing on, a paper towel to take out your excess water on. I think I went through at least two or three in this class. You'll need a pencil and eraser for sketching out any outlines. I recommend a light pencil that is not too heavy, like a 0.3 mechanical pencil or a HB pencil. Like to use a needed eraser for softening lines before painting, and I also use the eraser on the end of my mechanical pencil or a tombo mono eraser for erasing smaller areas. For the pen and wash, you'll need a waterproof pen. I'll be using a Nibal micro pen. For one of the examples, I'll also be using masking fluid. This isn't necessary, so don't worry if you don't have it. But if you do grab that along with a container to decant a little or the masking fluid into plus an old or cheap brush to paint the masking fluid on with. You'll also need some scrap paper like printer paper to cover your page when adding splatters. Finally, I've uploaded the outlines for you to trace for the projects. For the first style of pen and wash, we'll be sketching and painting these freehand I have provided outlines just in case you would prefer to have these. For Style two, we'll be sketching the first ice cream, as we'll need an outline to be able to apply the masking fluid in the appropriate places. But the other two will be painting freehand again. So again, these outlines are just here if you would prefer to have them, but neither are necessary for styles one and two. They're just there if you're not confident sketching or painting freehand. For the last style, the more realistic ice cream, you will need to trace this outline ready for when we start painting. It's more detailed, so we'll not be sketching this in the class, but I will talk you through this when we get to that part. Okay, that's everything. So gather all of your supplies and we can get started. 3. Styles: When I want to paint something new, regardless of the style, the first thing I usually do is look for references, whether it be a real life object or images. This can be helpful for even the simplest and loosest of styles because you still want some information about your subject to make it interesting and identifiable. And once you have that information, you can then choose how you interpret and represent the elements of your subject. What level of information you need will be determined by your style. If you're painting loosely or very simply, you may just want a quick look at some photos or an object to check out the shapes and colors and any fun or prominent details that you want to include. Then you can basically ignore the rest. At the other extreme, when painting more realistically, you may want to find a particular image or object that will work well as a reference and try to replicate much more of the detail. I like to find multiple references and pick and choose elements that I like and kind of merge them together to create something unique. So first, let's look at our subject, find the information we need to paint it. We'll start at the most basic level of detail, which will be the shapes. So we can easily break this ice cream down into two shapes, a circle and a triangle. I find it really helps to think of subjects in this way, breaking them down into simple shapes, and then you can gradually add more details from there as you want or need to. For our simpler styles, we can keep to these basic shapes or adjust them a little bit to be a bit more reflective of the actual shapes. For the more realistic styles, we can spend a bit more time sketching out our shapes to get them more accurate. We can also look at the proportions for a more realistic painting, we would want to get these proportions pretty similar to our reference. However, with much looser styles, we can make them a bit cuter by adjusting or exaggerating certain elements, and we can play around with those proportions, perhaps shortening the cone a little or making the ice cream a bit larger or a bit more prominent. And you can see in this pan and wash style that the chocolate chips are a lot larger than they are in the more realistic style. For techniques, we will be using much more of the wet and wet technique for the pen and wash and looser styles, holding our brush higher up, working with larger brushes and looser brush strokes. We'll be letting the watercolor move in the way it wants to more and trying not to interfere as much as possible. As we move to the more realistic ice creams, we're going to be using smaller brushes and working with many more layers, gradually building up the details, and working with a lot more intention, trying to control where the paint moves much more. I think if you're trying to figure out your own style, it's really useful to take a subject like this, a simple subject and paint it in different ways to find out how you prefer to work, what techniques you enjoy, and what effects you like the most. Okay, let's get started with our first style, the pen and wash. 4. Pen & Wash: Part 1 - Intro & Practice: The first style that we're going to paint the ice cream in is pen and wash. So let's first run through the supplies. I'll be using a size eight round brush. A larger brush like this is great for washes and a looser style of painting. We'll be painting a variety of flavors of the ice cream, so I have a number of paints set up on my palette. For the cone, I have yellow ochre and burn umber. For the strawberry ice cream, you'll need a pink, and I'll be using my permanent rose mixed with a little Windsor lemon. The Mint choc chip, I'll be using a mix of windsor blue, red shade, and Windsor lemon to make that bluey green. For the chocolate chips on the mint choc chip ice cream, I'll be using a darker brown by adding a little of the windsor blue to my burnt umber. For the chocolate ice cream, I'll be using the burnt umber and that darker brown mix again. I all that's five different colors there with a few mixes in between. These are the colors that I'm going to be using throughout the class. For my pen, I'll be using my UIBOey micro pen Just make sure that whatever pen you're using is waterproof so that it won't bleed when we add the paint. You'll also need a page or two of scrap paper or printer paper so that we can cover surrounding areas when we add the splatters at the end. Okay. Before we start painting, let's just talk a little about this style of pen and wash. So here are some examples, and you can see how loose and playful this style is. The pen provides the shape and the detail, and the watercolor just really provides a splash of color. We're going to be adding quite quick and power washes with the watercolor, not worrying about control or shading. We can play around with the boundaries and overlap the pen lines. So here you can see I've gone over most of the pen outline here, and it provides quite a different effect to when we stay within those boundaries. You can also see in each of these, there's plenty of highlights, so there's plenty of white gaps where I've just let the papers show through, and I've painted around those. So I feel like that gives it a really nice effect, too, so we don't want solid washes of color in these. You can also see that the paints have bled together. So the pink is bled into the yellow oakum brown here, and the same here. And the same here, these two colors for the strawberry ice cream and the chocolate, they blended together. With the pen lines, you can see that they're quite sketchy lines. They're not solid lines. Some of them are broken, so you can see the gaps here. Some of the pen lines are a bit lighter than others. So on this side, and particularly on this side, it's quite a light pen line. And then on the left side, it's a bit heavier. You can see with that sketchy effect, you get kind of multiple lines showing through. That heaviness just gives a little bit more definition, a little bit more shadow on that left side, whereas this right side looks a bit lighter. So with the pen, we can add in subtle elements of shading and definition and detail. And we'll practice these types of lines before we move on to our ice creams. Now, there are a few ways to approach this style. My preferred method is to sketch out the subject first with the pen, and then once that's dry, you can add the watercolor. Alternatively, you can lay your pat down first, and then once that's dry, go over it with the pen. And we'll try both of these methods so that you can see which one you prefer. I like the first because the pen gives you your structure so you know what you're working with. So then you can be a little more intentional with where you're leaving your highlights. The second method is quite playful and you can just lay your paints wherever you want to and then build on top of that. The third way is to sketch out the outline first in pencil, which is particularly useful if your subject is a bit more complicated or you're not that comfortable diving straight in with the pen or paint. You can then add your pen over the top. Then once dry erase the pencil lines and then add the paint. Bear in mind that if you sketching pencil first and then add paint, you won't be able to remove the pencil lines that have the paint on top. You may want to do it in the order of pencil, pen, and then paint. Do want to sketch your outlines out first, then I have provided a downloadable PDF in the projects and resources tab, so you can download those Tracey ice creams out, and then go from there. Okay, so let's spend a few minutes practicing the elements of pen and Wash. So grab your pen, and again, I'm using my UNIBLi micropen with these pen lines, we don't want solid smooth lines. We want more of a sketchy line. So practice being a bit lighter with your pen and having those broken lines. And just like you would if you were sketching with a pencil, you can just practice going a bit back and forth, being a bit looser. So here you can see, it's creating those broken lines. We have some pens overlapping. We can then also go over and press a bit harder and darken some of those lines. And that's going to provide a contrast with the lighter area. So if we were to sketch some shape, so let's do a circle. I'm gonna press a bit harder on the left, and you can see I'm going back and forth in a bit of a sketchy motion, working my way around, leaving some gaps. And then these are a bit lighter. I've got quite light pressure, especially with this type of pen, the ink comes out quite easily. So you need to kind of really practice like being quite light with it. I've got a really loose grip with this pen. So I've got it securely held. If I was drawing something that I wanted to be really precise, I would be holding it much closer to the nib. Would be moving with much more intention. I'd be holding it a lot tighter. But just like we were with the brush as well, we can loosen that grip, hold it a bit higher up, and just kind of work much looser. So just practice a few different shapes. Practice going over some of the lines, adding more pressure, more shading, and it's going to give you a darker line and more depth. And you can choose how sketchy you go. This is quite sketchy. It's got kind of multiple straggly lines almost. Or you can stick to kind of more of a controlled broken line like that, which also has a really nice effect. These are two quite different results you'd get if you vary it like this. Looking back at the examples, you can see on this one, I've actually added some shading in, which is cross hatching. So they're diagonal lines crossing over each other. So we can practice that as well. So if you use a kind of flicking motion, press it down, drag your pen away and lift it up quite quickly. Do this multiple times and you can see they're kind of different lengths. We don't want this too uniform. And then we can go the other way. So we're going to go diagonally downwards now instead of up, starting from the same point and that left, and we're just crossing over. So if this is our edge, that's going to give more shading and more shape to our subject from there. If we wanted to add more, we can just go over again. And these are shorter lines, so it's darker at that very left side. And as it comes out to the right, there are fewer lines, so it's a nice graduation from dark to light. And the more you build this up, the darker it's going to get, the more shadow it will have. We can also practice these lines on the cone, which are going to represent that grid pattern on the cone. And these are just again, they're longer flicky lines. And again, we cross these over. And you can see, because I wanted a quite loose style for these, these lines are flicky lines, so they don't even go all the way to that right side. So they look kind of less controlled, more flowing. You can also add some detail into the ice cream. You don't really want to go overboard here too much. It's quite nice to keep it really simple, but here are just a few little lines to help give the ice cream some texture. Quite light, you can just practice those squiggly lines, which you can add into the ice cream. Okay, hopefully that was helpful. If you want to practice more, then go ahead and just practice those lines. Otherwise, we can move on to using our brush now. So again, it's a size eight round brush, so nice and large, and we're just going to practice creating some of these washes. And the way we're going to be painting, just like I mentioned with the pen, we're going to be using our brush quite loosely. We want, obviously, a secure grip so it doesn't fly out of our hands, but we are not going to be holding it near the nib and really kind of controlling the movement of the brush. We want to hold it a bit looser, a bit higher up. So when we're laying down that paint, it's nice, kind of loose and fluid. We also want quite pale washes here, not too dark. So I'm going to pick up some of my pink. I'm moving it into this well here, and I'm just going to add some water to it. Plenty of water, and I'm coating my whole brush. You want to make sure your brush is coated all over because when we lay the brush down flat, we want the paint to come out from all of the brush. If it doesn't, if your brush is dry kind of in the middle, then it'll be more patchy effect. So here, like I said, just hold your brush loosely, and then I'm just moving it around. And I'm leaving, you know, leaving plenty of white space. You can grab some water then and pull some of that paint out more. So just practice that kind of looser brushwork. I'm not trying to control the paint. I'm just laying it down quite quickly and then leaving it. Okay, so just add a little bit more. Again, nice loose strokes. Adding a bit of water. We're not worried about, you know, back runs, this water starting to push that paint away here, which will create a really nice effect because that is going to add texture to the ice cream. So whilst this is still wet, I'm just going to pick up some of my yellow ochre, and this is going to be the color we'll start with for the cones. And then we can just add this next to it. And you can see I actually torched a little bit too long. And so, oh, no, it is starting to bleed, and I thought that pink had dried a bit too much. But you can see that's kind of pushing upwards. So I just laid it down next to it really quickly, touched the pink. I didn't go over it, and they're starting to bleed in together. And that is going to keep moving until the watercolor paint is dry. So we won't really know how that's going to settle, but it's a really nice way to practice letting go and just quickly laying it down and then leaving it and then just seeing what it wants to do, especially if you're used to working with more control. It's a nice way to, you know, practice letting go a little bit more. Okay, so that's our practice session done now. Let's start painting the ice creams. 5. Pen & Wash: Part 2 - Ice Creams: Okay, so I'm going to start with my brush and we're going to lay down some paint. So let's start with a strawberry, and I like to start with the ice cream first at the top and then do the cone underneath. So I'm going to mix a little bit of my Winsor lemon in with my permanent rose. That's just going to you only need a little bit. We don't want an orange color, but that's just going to soften that pink a little bit. I'm just going to test my color at the top. Okay, I'm quite happy with that. Okay, so with these ice creams, I usually like to start with a rounded top to give it a shape and then have a bit of a ridge. I'm going to leave some white. So I'm not even creating that whole shape. I've added in a bit too much water here, so I'm going to just pick a little bit of that up. Okay, now I'm going to my yellow ochre. And again, we're not worried about we're going to do a rough triangle here. We're not worried about perfect shapes because we're gonna be drawing in that shape with the pen. I might just add a little bit of my burnt umber. You can see these paints are bleeding in together nicely. I've got that highlighted area. I'm just gonna leave it like that. Next to this one, I'm going to do a mitre chip. I'm mixing together my winds are blue red shade and my winds are lemon I'm looking for a bluy green color. You want this to be quite pale. I'm just going to test that again. I'm thinking a little bit more blue in there. Maybe too much. Right. Okay, I think that will be fine. This is going to be I'm adding more water. I want this to be nice and diluted. Okay. So you can see just quick loose strokes. I'm actually going to go in and add a bit of a darker drop into that left side. I'm just touching it lightly with the tip of my brush and then I'm just going to let it bleed in. Washing my brush off now and I'm going to my yellow ochre. My yellow ochre has got a little bit muddy there, so you can see that's a bit darker, so I'm just going to move this up here. There was obviously a little bit more paint on my brush, and my water's got a bit muddy. It's quite a p color, so you can see that's a bit brighter now. It doesn't matter if you move too far. Don't worry about getting the shapes right because these can just overlap those pen lines and go outside that boundary. And with this method, you don't have that much control. So if you wanted to stay in those boundaries, it would be best to do the pen first. I'm going to touch this up to the green so that it bleeds in. 6. Pen & Wash: Part 3 - Ice Creams Cont.: Okay, whilst we're waiting for those to dry, we can grab our pen, and then we can just sketch out the outline of our ice cream for the second method, which will be pen and then watercolor. So for these, we'll start again with the ice cream. Start with that circular top. Remember, nice sketchy lines. And if you want to adjust, that's fine because that's part of the sketchiness. I'm going to go in a bit and then come out for a ridge. And then I'm darkening this using quite a light line and it's broken for this right side. I actually want to come out a bit further. So feel free to adjust your lines. It doesn't have to be neat, which is part of why this style is so lovely. It's got a lot more freedom and less pressure. And then bringing it out a little bit. Bring this up. Okay, so I've got a rough kind of shape for my ice cream now. I might bring this out a little bit more. And then you can darken some of these lines. I'm going to lightly add some kind of ridges in here for that texture. I'm not going overboard. Okay. Gonna leave it there and just darken that a little bit up. Now we want to draw in the cone. So kind of find out where the middle of the ice cream is and then work your way down. And we probably want this cone to be just a little bit longer in length than the ice cream, so you can make a kind of marking point to give yourself a guide. And because this sle is a bit looser, a bit more playful, it's not as realistic. So if you looked at an ice cream or a picture of an ice cream, the cone will be longer than the ice cream itself. But we can play around with those proportions when we're doing a more looser, playful style. And this just kind of makes it look a bit cuter. Okay, so going in a little bit, going to bring this down. Nice sketchy lines, remember. It can be easy to default back to the normal lines that we're used to, which are kind of heavier and solid, keeping them broken, and again this side and going even lighter with the pencil lines, pen lines, sorry, a bit more broken, a bit lighter, adding some heaviness on this side. Okay, now we can do those criss cross lines across the cone. So I'm going to start from the left side, working downwards. And it's a kind of flicky line moving up. Trying to get the same gap in between. And then once you reach the top, you can move over a bit and add them in coming from the top as well. And then, now we're going to go upwards to crossover. Again, just using flicky lines, same gap. They're slightly curved, and that's going to help give the cone a bit more shape. And they don't kind of all reach that side. So if we want to here, we can add a bit of shading, so add in some hatching. In a few places. So kind of doing it in random places just makes it a bit less uniform. And I'm going to do this down the cone as well. Okay. So I think I'll leave that one as it is. And let's do another one. This one we won't add the shading to, we'll make it a bit simpler. Okay, so again, starting with that circular shape. I'm going to do quite a rounded edge on that side. Adding in a bit more depth there, finding the middle, and then going down to find that endpoint. I drawing those lines on the side. Nice and sketchy. And then you can see, I've made that a lot simpler. I've done kind of less lines. It was a lot quicker. And then adding those crisscrosses for the grid. Just adding in a couple on that side that would meet up with these lines, but still leaving that highlight in between. And I'm just going to add a little bit here. Okay, I'm going to leave it as that, so it's a bit simpler so we can see the difference in effects. Okay, we'll do one more and we'll do that double stack of ice cream with the flake in. So for this one, I want to kind of squash down the ice cream a little bit. So rather than have more of a circular shape, it's gonna be a bit squashed, a bit more of an oval, perhaps. Okay. And then just coming off a little bit to the right. Okay. And then add in a bit of a flake coming off to the left. And then that cone. So finding that middle, working my way down, giving myself a guidance point. I'm a big fan of making things as easy as possible and having guides for myself. And then just sketching in those lines. That does look top heavy, but with this style, it's fine because we're not going for realism, and I think it just looks quite cute. I'm going to go back into this one and add some chocolate chips with my pen. And again, thinking back to what we discussed about proportion sizes and in this more playful style, I'm going to enlarge those chocolate chips a little bit. So because we're not going for realistic, we want them to be quite a big focus for this. So we want we don't want squares or rectangles. We want more organic shapes. So based on a square, I'm kind of you can see, it's kind of got a bit of a wobbly line there, and then I'm going to include them in different directions. And now we want to add some of different shapes and sizes. So I'm going to add one, and this one's going to be coming off a little bit. Okay. And then we can add some smaller ones. And again, we don't want them too uniform in terms of how they're spread out either. So we can have some close together and then have some bigger gaps. Just to add in a little one here. And I think I might just add one more there, but I don't really think we need too much more than that. Right. I think I'm going to leave it there. Now we can start adding our paint. 7. Pen & Wash: Part 4 - Ice Creams Cont.: Okay, so now we finish the pen lines. Our paint, well, I know from my paint is almost dry, but it's not dry enough for this type of pen. We want to make sure it's completely dry before adding this because otherwise the pen will bleed into it. And it might be worth whatever pen you have. Just play around with laying the paint over the top of it and vice versa, laying the paint down first and then the pen and testing out with a timer how long it takes to dry and to kind of get yourself that clear line without any bleeding. With the pig the micron pens, I know that I could add paint to that, you know, within 10 seconds probably, and it would be fine because it dries so quick. With this, it takes a little bit longer, but I'm confident that these would be dry now. I don't think I'd need to leave it more than a couple of minutes to be sure. Okay, so we'll paint these ones that we've drawn in already first, and then we'll go back and add in the outline to those ones. Okay, so now we're ready to paint. I've freshened up my water. I've got my size eight round brush again. We're going to paint this one in strawberry flavor. So we'll start with the strawberry and then go in for the cone. So decide kind of if you want to keep within the boundaries, if you want to go outside the boundaries, I'm going to go outside a little bit. I'm going to leave quite a big chunk, I think, of white here and I'm going to add some pink on that side. And as you can see, I can do that because I know where the boundaries are, which is nice. I'm going to just mix up a little bit over darker pink. Add that in a little bit. Okay, so I'm going for my yellow oak and again, going over that line and then bringing it down, leaving that nice drip of white there. Just real quick brush strokes, and that's it. And then going in, getting some burnt umber, and I'm just going to add a bit of burnt umber, as well. And then I'm going to leave it like that. Okay, so moving on to the mint chop chip, I wash off my brush really well. I don't want any of that paint affecting my bluey green. Picking up a diluted mix of that bluey green. And then I'm just gonna add it in. I'm going over the chocolate chips. Once this is dry, we can paint those in over the top. I'm going down a bit as well. Let's see if we can make it look like it's dripping a little bit. Okay. And then with my yellow oka. Again, pulling that down, going over those lines as much as you want to or stick to the boundary. It's absolutely up to you. And then I'm just going to add in a drop of burnt umber. Okay, so that's it. I'm going to leave that as it is. Now, for this one, I realized we didn't add in the detail to the cone. So I'll do that quickly now. So I'll just give that a few seconds to dry. So you can go in after your paint has dried and add more detail. And it's what I tend to do. I start with the pen, add the watercolor. And then once the watercolor is dry, you can have a look at it and think, you know, Oh, the ice cream might need a little bit more detail, a little bit more texture in there. So you can kind of just go back and forth and play around. It doesn't have to be a rigid process that you stick to. Okay, so I'm pretty sure that's fine. So I'll start with the chocolate. So, making sure my brush is really covered and then going in. Washing this off, so I've got some water, then with a kind of wet brush. Not too wet. I'm taking off some of the excess just pulling it around a little bit. I'm going to add it in a little bit of the darker brown. So this is the burnt umber mixed with the winds of blue. So whatever blue you've got, if you add it to a brown, it's just going to make it darker, but you need to do it with caution and add it in gradually. Otherwise it will overpower it quite quickly. Okay, so I'm just dotting that in on the left, and then I'll let it bleed in. So I'm gonna wash off my brush now, and then we're going to go for the strawberry color at the top. Okay. I'm adding in a bit more of the pink because I think it had a bit too much yellow in before. Okay, so I'm going to add this in and then just touch it to that brown a little bit. See how that reacts. Okay. So moving that around quickly, you can see these white spaces I've left gone over the line a little bit. I'm not being delicate or too controlled. I'm gonna add it in a little bit more pink. Okay. I'm going to do the cone next because I want to give that pink a couple of minutes to start to dry so that the brown doesn't bleed into too much. We want a bleed, but if there's too much water, it's just going to take over and be too much. So it's always useful paying attention to how much water there is on your paper, especially when you are, you know, painting with a wet and wet technique or painting with this kiss technique where you're laying the paints stand next to each other because the amount of water is going to determine how much they bleed in together. And how quickly they spread. Okay, so now just picking up my burnt umber and adding in a little bit more. Okay, so now I'm going to go to this dark brown. Sorry, that was the dark brown that I used. It wasn't the burnt umber. Which is fine. So I'm going to this dark brown now for the chocolate flake, and I'm going to go a little bit outside this line, and then I'm going to leave some white on that right side for a bit of a highlight. I'm just taking off the excess on my brush. I'm just going to move that paint down a little bit. You can see that brown is bled into the strawberry, hopefully that will have a nice effect. Okay, now we've finished the first stage of painting for these. We can wait until they're dry and then we can come back and we'll add the chocolate chips, and then we can look at anymore details we want to add. I'm going to add some more details with the pen to that flake, I think, then we can add our splatters. For now, we can go to these top two and add the pen in there. If these are dry, Oh, that is wet. Just put my finger in there. If they're still wet, I'd recommend you leave it until they're dry to be working over the top of them. Otherwise, you risk your hand smudging them. Once they're dry, you can just get a piece of paper and lay it over the top so that when you're drawing, you don't risk kind of any moisture from your hand ruining that painting. I tend to like to work top down on my page, but sometimes like this, you kind of have to go back and forth a little bit. So it's worth just keeping in mind how the other bits on your page are and going from there. So I'll give that a few minutes, and once they're dry, I'm gonna come back and start working on these. 8. Pen & Wash: Part 5 - Ice Creams Cont.: Okay, so once you're ready, you can just lay a bit of scrap paper or printer paper over the top of those. Grab your pen, and we're going to sketch in these outlines in the pen. So we'll start with the top, and we want to use our sloges I say sploges or washes as kind of a rough guide, but we're not working to them exactly. So I'm not going to be going round this as an outline. I am going to be placing the cone where I think it needs to be regardless of if that is within or outside of that boundary. So we'll start with the top of the ice cream. So I'm going to come down. And this has actually created a really nice ridge itself, so I'm kind of working with that. And then I'm going to come down. Okay. And add in that texture. Okay, so from here, I'm going to find the middle and then bring this line down and here. So you can see the paint that's come outside this line, which is fine. Okay, and now I'm going to add in my grid lines. So starting with the downward diagonal lines, adding those in at the top, and then going the other way and crossing over. Okay, so if you want to, at this point, you can add any extra kind of shading in, any little bits of cross hatching or any little bits of more detail. To give the ice cream a bit more texture. So I'm going to leave mine there. So now let's move on to this one, which is the mint choc chip. Okay, again, just working my way round, almost knowing where the washes are and then ignoring them. I'm kind of working regardless of where they are. Oh, that looks like a face. That's quite cute. Okay. Sorry, that's distracting me. Okay. And then adding that bottom point and then the cone. So just remember those broken lines, sketchy broken lines just in case you're automatically resorting back to the way you'd normally do it. I'm going to add in a few more 'cause you can see it looks like two eyes and a mouth there. I'm gonna add in a few more 'cause that's plow me off a little bit. Okay. Add in those grid lines. Okay. I think I'm going to keep it quite simple there and leave it as it is. So I wonder you may have kind of developed a preference for which method you prefer pen and watercolor or vice versa. Both fun. I mean, like I said earlier, with the pen and then watercolor, you do have that option to stay within the boundaries, although I've gone outside of these boundaries anyway. But it does give you that option. Right. Now, let's go in and paint these chocolate chips. You can see once it's dried, we've got this lovely blend here with that strawberry coming down to the cone and the same here, which is lovely, and it goes into that brown really nicely. I've got this back run here into this chocolate chip, where the yellow ochre, the water from the cone has pushed that up, which has created a really nice textured effect for the ice cream, as well. Okay, so for these chocolate chips, I'm going to be using the dark brown mix, which is the burnt umber and the little bit of the blue to make it darker. Only a little bit. I don't want it too dark. You can see the difference there. That's much warmer. That's probably a little bit too dark. I'm gonna add a bit of the burnt umber back in. Okay, yeah, I'm happy with that. And then I'm going to I'm not going to be sticking within these lines either. Okay, so really quick filling those in. And I'm going to leave it there. Okay, so now I've added the paint. We've finished painting now. At this point, we just want to have a quick look and see if there's anything where we want to add some more details. So I'm getting my pen and first checking that the paint is dry. That feels dry. I'm just going to add some quick lines down this flake. And that's it. I'm just going to leave it like that and possibly add some lighter lines into these ice creams, too. Okay. Um, I'm add a little bit of shadow down this side, I think, darkening that line. And then Okay, I'm going to leave it there. And now we can add our splatters. 9. Pen & Wash: Part 6 - Splatters: Okay, so for our splatters, we just need a couple of pieces of printer paper or scrap paper. I'm going to fold one of these in half and rip it in half. Okay, so now what we can do is just cover up the paper that we don't want the splatters to be on. I only want these flatters to be on the ice cream. I don't want them to actually be on the cone, but you can add them to the cone, as well. But I am going to add the splatters the same colour as the ice cream. I'm going to drop down to a slightly smaller size six brush here and I'm going to pick up my pink I'm making sure my brush is covered. And then I'm just going to tap it on my finger. You can tap it once and see how it comes out and then move it around. Just make sure with these flatters though a bit unpredictable, they can kind of go flying. Make sure you haven't got anything precious nearby that they could ruin. So I'm just tapping and moving it around. Okay. I think that's enough. Be very careful when you lift these papers off. I lifted one off when I was practicing for the class, and it just smudged some of these splatters. Some of them will be a lot wetter than you first think because there will just be little blobs of water and may take a little bit longer to dry than you think. So just be very careful. Okay. So there's our first one, and I think these platters just finish off these ice creams really nicely. They just add a bit of delicateness that the paint doesn't really have because it is so loose. Okay, so we'll leave those splatters to dry, and then we can lay the paper over the top to add splatters to the others. Okay, so I'm just going to lay my paper over the top and the side, and then also over the cone and do the splatters for this other strawberry one. So I find my Sisix brush buried under my paper. And then pick up this paint again. And I've got more water on this brush so you can see those splatters have come out a bit bigger, which is really nice, actually. I like that. So play around with the splatters on a test piece of paper and the amount of water you have and the size of your brush and how hard you tap will also determine the size of the splatters and how they spread. So because these are quite wet these splatters, I am moving this paper very carefully. I do not want to ruin this. Okay, so you can see the comparison. I only did a few there. I didn't want to go overboard, but they're a lot darker, a bit bigger than those ones. So they look a little bit different. Okay. I'll leave those to dry, and then we can come back and do some more. Okay, so now let's add the splatters to the mint choc chip ice cream. So I'm going to use my larger piece of paper to just cover up those strawberry ice creams. And then cover up the rest with my smaller pieces. With my size six brush, I'm going to I'm gonna stick for this one. I'm just gonna stick with the green, the bluy green. Okay, I think that would be enough. I'm not going too overboard here. I think for the other mint choc chip ice cream, because it's got those chips in, I'm going to add the splatters in brown. I'm just going to wait for that to dry, and then I can cover it up. Okay, so now those splatters are dry, let's move on to this other mint chocip ice cream below. And I'm just covering up those bits. I'm going to cover up cone. And I just need a little bit more paper to cover up there. Okay, so I'm going in for my dark brown. Tapping on my finger. I'm just gonna add more water because I want these to be a bit bigger. Okay, I don't want too many. I'm gonna leave it like that, I think. Let's carefully remove these and then see how it looks. Okay, I'm happy with that. I think those splatters are quite subtle, but I think that looks really nice. So you can also cover up the ice cream and add yellow ochre splatters to the cone if you want to. But I think just adding the splatters to the ice cream at the top draws in the eye and gives the ice cream that extra focus, which I think is a really nice effect. Okay. And once those are dry, we can add the final splatters to this one. Okay, so for this one, I'm going to add pink splatters to the strawberry ice cream and brown splatters to the chocolate ice cream. So I want to separate out those two. So I am going to cover up the page and everything below that strawberry ice cream first and add the pink to the top. Okay. I'm gonna leave that to dry and then we can do the chocolate splatters. And there is a lot of drying time because we have five ice creams on a page, and I want to show you how I'd add splatters to each of them. Normally you would probably only do one, and so it would be really quick. Or the other thing is you could cut them out if you're going to use them individually anyway. So this amount of drying time isn't the norm unless you do want to have a lot on the same page. And remember, you don't even need to add splatters if you don't want to. Some of these you might look at and think, Okay, that has everything that I want it to be on it, and you can leave it as that. For example, I turned one of these into a bookmark, and I was quite happy with the way it turned out, so I thought, I would just leave that, and I'm not going to add the splatters. I quite like the way that looks as it is. So you can also turn these into gift tags as well. If you've watched any of my other classes or you've seen my books. You know, I'm a massive fan of making bookmarks, gift tags, greeting cards, anything that can be, you know, used around the home or gifted to friends and family and used as part of my life. I like to incorporate watercolor into anything I can really. So, um, these are really great ways to do that. And these are so quick, especially because they're smaller. I dropped down to a size six brush to paint these ones. And yeah, they literally took a couple of minutes. And I think I'm going to add some splatters to this one, but I think I'll leave the bookmark as it is. But especially if, you know, you've got a friend who's got a summer birthday, this would make a really nice gift tag to add to a present. Or, again, in the summer, you can swap your bookmark for, you know, an ice cream or summer related bookmark to match the season. Okay, so hopefully they've dried enough now. I'm going to move this paper up to cover the pink, and I'm just going to add another bit of paper to cover the cone, and now I'm going to go for my chocolate splatters. Okay. I think that is enough. Again, I'm gently carefully taking this off. So now we've got the nice contrast, and you probably can't tell on the camera, but I can clearly see that these are brown and pink, and they just bring out the colors of the ice cream nicely. Okay, so we're coming to the end of this first style of painting. I really hope you've enjoyed it, and you've learned a few things, and it's made you think about how you like to work and shown you some different ways that you can approach a style like this. So, yeah, I mean, there's not only one style of painting. There's not only one method. There are so many ways that we can do things. And through experimentation and having fun like this, because I really do find this fun. I hope you do, too. It's relaxing. There's no pressure. You're playing around. You're not trying to create a masterpiece or finished piece, you're just kind of experimenting, seeing what works, and hopefully creating something you know, that excites you and brings you joy. And hopefully you found it relaxing, too. But, yeah. So that's the end of the pen and washtr, we'll be moving on to the loose watercolor ice creams next without the pen work. So we'll be using the watercolor to create a bit more definition, but we're still working in a very loose way. 10. Loose: Part 1 - Intro & Practice: The second style that we're going to paint the ice cream in is a loose style. For supplies, I'll be using the round brush size eight, again, as it's great for that looser style of painting, and I'll be using a smaller round six for some of the details like the chocolate chips and the lines on the cone. I'll be using the same paints as before that are already on my palette, and they cover all of the flavors we'll be painting in this class. We'll be experimenting a little with this type of style. So if you have masking fluid, grab that along with an old brush and a container to decant a little of the masking fluid into. If you don't have any masking fluid, don't worry. You can just watch along in that section and perhaps get some ideas and see if you want to try it out in the future. As before, I have provided some outlines in a PDF for you in the project and resources tab if you'd like to download them and trace them. Okay, before we start painting, let's talk a little about this looser style of painting and go through some examples. In this style, we can interpret the details in a really simplistic way. And there are so many ways that we can play around with this. Here are some examples of ones I've turned into cards, as I think they work really well in this way as they are so cute. The ice cream part is painted wet and wet, as you can see. Starting with quite a diluted mix, and then adding a more concentrated mix of the same color around the edges so that it bleeds in nicely, leaving that lighter highlighted area in the middle. So we will be practicing some wet on wet techniques before we start painting the ice cream in this video. The cone is then painted whilst that top ice cream is still wet. So you can see that we have these gentle soft bleds are coming in, so that pink is coming down into the cone. And likewise, with this chocolate one, this brown is coming downwards. So you have the choice for this. You can paint the cone when the ice cream is still wet and have those bleeds, or like these ones, you can wait until it's dry, and then you have more of a defined ice cream. It's up to you. You may have a preferred effect or end result that you like the best. That grid effect on the cone, I've painted these with simple lines just to keep them really simple. And then the focus is more on that ice cream at the top, where I've added some splatters, which really helped with that kind of playfulness. And these I actually cut out and stuck onto the cards. And going back to that wet and wet technique, that's how I added in these chocolate chips, which you can see have spread a little bit. I then went in and added some at the top. Wet on dry. So when that ice cream was dry underneath, so they're more defined. I really love the way it looks because I feel like it draws your eye in initially to the top of the ice cream where you've got these chocolate chips in more focus and more defined with their shape, and then your eye can move down where it becomes a bit looser. I really like the effect of that contrast in this one. In this example, I added masking fluid to the cone for the lines, so it has a much bolder effect. On these two, I painted the lines with just clear water and then dropped in some of the brown, particularly in the corners where the lines crossed over and just kind of let it bleed in and do its own thing. So you've got some darker areas and some still lighter areas of those lines. Okay, so we're going to start with a little practice first with that wet on wet technique and the kiss technique, and then play around with some ideas for the lines on the cone before painting three different versions of ice cream in this loose style. So I'm just going to pick up my size eight brush, and we'll start with some wet on wet exercises. So choose one of your paints. It doesn't matter what color it is. I'm going for my permanent rose, and we want the first layer to be really light. So we want to dilute it a lot. I'm adding plenty of water into this well. And then I'm just going to paint a circle. It doesn't have to be neat. And then we're going to go straight back in and pick up. I'm going back closer to the source of this permanent rose and picking up a darker mix. And I'm just going to drop this in at the edge. I'm touching it quite lightly just with the tip of my brush and then just leaving the paint to flow as it wants to. Your paint is not moving very far, then it's too dry. And if it's flowing a lot and taking over, then you're probably using too much water. If you have a puddle, then it may just be sitting on the surface. You'll be able to tell by moving your paper, tilt it. If the water rushes down to the bottom of that circle, you've got too much. Let's just try this again. So trying to make this as layer as pale as possible. And for the ice creams, you can even use just water or tinted water. So here you can see, I've got a lot of water. It's kind of pulling here. If I tilt the paper, you can see even more. It's coming to the bottom. So I'm just going to lift a little bit of that up with my brush and take it out on my paper towel. So that's still quite wet. If it looks quite wet, you can just leave it a couple of minutes before you add that second layer. And it is really useful to play around with the wet and wet technique, especially if you're new to it or it's something that you struggle with. When I first started painting more with the wet and wet technique, I would just fill pages of paper playing around with variations in water to see how the paint would react. And it's not just that first layer that determines how the paint will move, how wet it is. It's that second layer as well. If you have a lot of water on your brush, it's going to move more freely. The consistency of that mix is thicker and you have less water in the mix, it's not going to flow as much. So I've left this for a couple of minutes now, so I'm just going to go in and add. So I've got quite a lot of water on my brush in this mix. You can see it was flowing, and this is going to keep moving until the paint has dried. So if we have a look at what it looks like now, we can compare that to when it's finally settled, and it's probably going to look quite different. I imagine it's going to be a bit paler. Because that water is diluting it and it's going to move a little bit more, but we'll see. When you're playing around like this, it can be useful to just take a quick photo when you finish the painting and then compare it to when it's dry and so you can compare the two and see how different it is. The other thing that will affect how the paint reacts is what paint you're using. So paints can be quite explosive and spread really far. That can definitely make a difference too. It's worth experimenting with your palette. Let's paint another circle. And then this time we're going to practice those chocolate chips and look at the way the paint spreads at varying levels of dryness. So now I've just painted, that's going to be quite wet. If we add just a drop in, I'm going to pick up a darker mix. But I'm going to you can see that brush is quite full. I don't know if you can see that. I'm just going to dab it on my paper towel, take out the excess. And then just with the tip, I'm just going to gently touch this paint. And you can see how that's spreading. With these chocolate chips, we want to leave it until it's a little bit drier than that, so they don't spread as far. I'm just picking up some more while we wait, give it a couple of minutes. And just using the very tip of my brush. I'm not applying pressure. It's just that very tip. That is quite a good amount of spread. Okay. So if yours is spreading quite a lot, just give it a few more minutes for it to dry a little bit more and then try again and then see. And by doing this, you'll start to get to know kind of how dry you need it to be, like, roughly. I mean, it is unpredictable, which is what's quite lovely about this technique. It's kind of a bit more freeing. But just by practicing, you'll kind of be able to guess a bit more how it's likely to react. If you look at your paper from the side, you might be able to see how shiny it is, and that will kind of give you a clue to how wet it is and then how far these will spread. Okay, so keep playing around with that if you want to. Now we're going to move on to the kiss technique. So again, starting with our pink I'm just going to lay a bit more water than that. I'm just going to lay kind of a rough rectangle down. And now I'm going to wash off my brush. I'm washing it quite well. I can just check if it's got any pink left on it. I'll wash it a little bit more. My water is gonna look a bit pink now, so there'll be a little bit of a tint. I want to go to my yellow ochre, so I don't want that pink affecting the color. Okay. Now I've got my yellow ochre on my brush. What I'm going to do is I'm going to run the brush underneath the pink. I'm not going over the pink. I'm just going to go next to it and slightly touching it. You can see that yellow ochre has instantly started to push up into the pink and then merging together. Try that again. Perhaps this time varying the amount of water you're using to see how it reacts. So I'm going a bit quicker to my yellow ochre now so that that pink is going to be a bit wetter this time, and then I'm just running it underneath, touching that pink. Generally, with the wet and wet technique and the kiss technique, I don't like to interfere. I like to let it do its own thing. But one thing you can do is just tilt the page slightly, and that will encourage that pink to run down a bit more. You can see this is coming down. Which works really nicely for the ice creams because it will kind of look like the ice cream is dripping almost down the cone. Okay, I'm gonna lay my flat and then we'll come back and see how those look. Okay. Okay. 11. Loose: Part 2 - Practice Cont.: Okay. Now let's practice some different ways that we can do those lines on the cone to represent that grid. So if you grab a pencil, and then we can just sketch out perhaps I think four triangular shapes for the cones. Okay, so for this first one, let's just do a little bit of a back ground wash. We want this quite pale. I'm just going to use my eraser to just soften these pencil lines a little bit so that we can see the full effect without that pencil line. I've not softened it too much because I want you to be able to see where my pencil lines are. What I'm going to do is I've got this pale diluted yellow ochre. I'm just running this around the edges of this first. Cone, and then I'm just picking up some water on my brush, taking out that excess, so it's a damp brush, and softening those lines. That's it. That was just a couple of strokes. Don't worry too much. It doesn't need to be really neat or nicely blended. Just picking up a bit more of my yellow oak, taking out the excess on my paper towel. I'm just going to add a little bit more into the edge. Okay, let's leave that to dry and we can paint some lines over the top of that. The lines that I use the most are just simple criss cross lines. And I usually do these in yellow ochre because I find that the burnt umber can be a bit too dark, and I like the attention to be more on the ice cream and the cone, perhaps a little bit kind of less in focus, a bit more in the background, but you can try with the bone umbra as well or a brown. I'm going to start from this left side, just like we drew these in pen. I'm just going upwards, a slight curve. And if your line is coming out a bit blobby, just take out the excess water first, just dabbing it on the paper towel so that tip comes to a nice point and you'll get a finer line. I'm going all the way over to that right side. All the way down. Now I'm going to start from the left side again. I'm going downwards with a slight curve. Okay, so that's probably one of my preferred methods for painting these lines and representing that grid in a really simple way. We can also do flicky lines like we practiced with the pen. So again, just make sure your brush is coming to a nice sharp point by taking out any excess water. I'm starting from the left again. And instead of going all the way across, I'm just moving in a quick motion, dragging the brush and lifting it. So it comes to a bit of a tapered point. I'm not going all the way across. I can make these kind of different lengths as well. So some shorter, some longer. And now I'm just going to go downwards with the same thing. So these flicky lines crossing over. And here, I'm just going to add a little bit up here, so it doesn't look good. So that is a bit looser, a bit less controlled looking, and it has quite a different effect. You can also play around with kind of the gap size between these lines, making them smaller or larger. The larger you have them, the looser the overall result will be. Okay, one of the ice creams that we're going to paint, we're going to be using masking fluid. We won't practice the masking fluid. We'll go straight in with that and I'll talk you through that. Another way that we can paint these lines, which is quite a fun way is by painting them with water first. So again, I'm just loading my brush full of water, taking up that excess, and then I'm going to paint these lines all the way across picking up some more water and going the other way. And then I want to work quickly here so these don't dry. And I'm going to go from my yellow ochre. And then I'm just going to if you look to the page from the side, you'll be able to see more where it's wet and then just drop it into some of these corners where they crossover or at the edges. So that it starts to bleed in. And you end up with this really nice effect where some parts are lighter, some parts are darker, and it kind of gives it a nice textured effect. Once this is dry, we'll go back and do it over there because see, at the minute, this hasn't got if we left the background white, this hasn't really got any shape to it. We could paint the outline. So going over the pencil line, I'm just running it out with a wet brush. And then I'm going to drop in a little bit in a couple of places. There are lots of ways you can do these cones. You can also try working with a white pen, especially if you don't have the masking food and you want to create that white line that we're going to be doing when we're painting the ice cream, or you can try pencils or you may have some other ideas. Okay, so this is dry for me now. I'm going to paint those lines. This time, I'm going to go for a burnt mbus that's going to be a bit bolder. I don't want to go too dark. So I'm adding some water to this, so it's fairly diluted. But because I added that water to dilute it, I do need to make sure that I take off that excess water on my paper towel. Okay, so just be careful if the rest of your lines are still wet when we're going back over these. So I'm just holding my hand up to make sure I don't touch the paper. So I'm just painting these lines upwards and then going downwards in the same way that we did them before. You can see because I'm not resting my hand on the paper, my hand it's not a steady. Okay, so those are just a few ways of experimenting, a few ideas for how to create this. So I hope they've kind of inspired you a little bit and started making you think about how you can do things in different ways. 12. Loose: Part 3 - Ice Creams: Okay, so now we're going to paint three ice creams, and we're going to paint them in slightly different ways so you can Follow along as I use different techniques, and we create slightly different effects. So for the first one, I'm going to sketch it out in pencil, and this is because we're going to be using masking fluid on the cone, so we want that outline. So just to remind you that the outlines for all three of them are available to download and trace in the project and resources tab. We'll only be sketching out the first one. We'll be painting the other two freehand. But if you'd prefer to sketch them all out, then you can go and get that PDF. So I'm using a mechanical pencil, and this is a size 0.9. I would normally use a 0.3 when I'm sketching out on watercolor paper. I'm only using a heavier pencil so that you can see it on camera. I would recommend something much lighter than this. Either a 0.3 or just a normal HB pencil and press very lightly so that the pencil doesn't show through your paint. So I'm going to be applying a fair amount of pressure so that you can see it clearly. Okay, so for this simple ice cream shape, I'm going to start at the top, and I'm going to start with a circular shape. It doesn't need to be a neat circle. So adding in a few dips or waves is just going to add to that shape of the ice cream and make it a little bit more natural. Okay? So as I come down, I'm going to go out and then add a ridge. You can see I've got a few dips in here, so it's not smooth. I'm going to go downwards a little bit. Again, this is a little bit of a wavy line, and then I'm going to curve up. So this is a bit of a bigger kind of ridge than this side, and then go inwards and join up with that other line. So this is my preferred shape when I sketch out these ice creams or even when I paint them, I find it's quite a good shape, a good go to shape for ice creams. But you can make it more circular if you wish. Have a look at lots of images and see what inspires you. So now I'm going to find the center point down the middle of the ice cream and then just work my way down, and I'm going to mark a point. So the cone is just a bit longer than the ice cream. So we're using a similar shape as what we did with the pen and wash. So going in from the ridge just a little bit, I'm going to then draw this line downwards to meet that point. And the same on this other side. Going down. So at this point, if you want to, you can adjust your shape. But if you're happy with it, then we can move on to the next step. So I have my masking fluid, and I also have a container which I'm going to decant a little bit into because I don't like to leave this pot open or stick my brush directly in there because it dries very quickly. I'm going to use an old brush. Please do use an old or very cheap brush because the masking fluid will damage it. The only reason I'm using a brush, I normally use a silicon shape at all, but I find that for doing these lines, especially if you want to do the flicky lines, then a brush is going to be much more effective. But again, please do not use your best brushes or your favorite brushes to do this. We don't need too much, so I'm just adding a little bit in. And then you can choose what style of lines you like, whether you want them to go all the way to each side and look a bit more controlled or whether you want to create them a bit more looser and a bit flicky and not meeting the other side. So I'm going to go for this style. So I'm going to just take off that bubble at the end, and then paint these lines across. You might not be able to see very well because it is colorless, this masking fluid. Hopefully you can see a bit of a glint from the wetness, but I'm basically just doing the same as this. Now I'm going the other direction and crossing over. You find if you're looking for masking fluid and you do find some masking fluid that has some color to it, it can be really useful. I had to buy this recently and they didn't have any masking fluid that had any color in it available. Fortunately, I couldn't get any. I've done my lines. The other thing we can do if we want to, this is optional, it's all optional. Add a bit of a highlight. I'm just going to add it into this top right corner, a little bit away from the outline. Then that would just give an extra bit of contrast to the ice cream. Okay, I'm going to leave it there, and I'm going to go and wash my brush off, and I recommend you do the same, and then we can come back and carry on. 13. Loose: Part 4 - Ice Creams Cont.: Okay, so let's leave that to dry. It shouldn't take too long. But what we're going to do, we're going to be painting three ice creams, and we're going to be switching back and forth between the three of them when one is drying. So basically, we're not sitting around waiting too much. Okay, so I'm going for my size eight round brush now, and we're going to paint this freehand, but again, sketch out the outline if you prefer first. I'm going to paint this first one as a chocolate ice cream. So for my second one, I'm going for the mint choc chip. So we'll start with the ice cream. So first, we need to mix up our mint color. So I'm using my Windsor blue red shade and my Windsor lemon as before in the Pena wash video. So it can take a few kind of little bits of adjustments to find that color. Okay. That looks quite good to me, but I'm going to test it out. We want this quite pale, so dilute it and then check it out as well. Okay, I'm quite happy with that. It's a bit greener than the one we used before, but let's go with it. So we've got a bit of a darker mix here. So I'm going to pull some of this out. I want to use a really pale mix for the first layer, and then we can go back and add in a little bit of a darker mix, not too dark with that wet and wet technique that we practiced earlier. Okay. So just like we draw it out, I'm going to start with that circular shape at the top. So that is it doesn't look too dark, but we want this even lighter. So I'm just going to add some water now to my brush, and I'm just going to take out that excess, and I'm just going to add that in next to it, and then pull that paint out. So now we can paint the rest of it, so I'm pulling that round. I keep washing my brush because I want this to be even paler. And then going outwards for that ridge. Remember to make your edges a bit wobbly, a bit jagged, not making them too smooth. Don't worry about little bits of back run here and there. It's just going to add to the texture in your ice cream. But if you do, at this point, have quite a bit of a puddle, then just remember you can use your paper towel or your brush. Use a dry brush. So just take out the excess water on your paper towel and then just lift some of it up. Okay, I'm going to go in with a bit of a darker mix now. And just for the edges, I'm just going to drop it in just using the tip of my brush so that it flows. I'm going to bring it in a little bit more to that middle. And then I'm just gonna add some in on the right side as well. And at the bottom, I'm not going too much. Right. I think I'm happy with that. I'm happy that it's got a light enough area in the middle, but we've got enough color in there as well. Okay, so I'm going to wash off my brush now. I'm going straight to my yellow ochre, and I want to work whilst this is still wet. Taking off that excess. So again, just how we sketch this out. I'm going to find the center of that ice cream and work my way down roughly about the same length and make a little mark. And that's just going to help give me a guide for where I want that cone to be. So now I'm going to go up and find my edges. So just a bit in from this ridge, and then I'm going to bring that down. Okay, because I want the inside of this cone to be a bit lighter, I'm washing the paint off my brush now. And then I'm just going to good. Add that in. Okay. I'm also going to run it along the bottom of the ice cream so that that green starts to bleed in. You can see my water is fairly green. Alright. So then I'm going to pick up a little bit more of my yellow ochre and just paint this outside of this cone. And this is starting to bleed in a little bit. I might add a little bit more of the green, so that bleeds in downwards a little bit more. Okay, so you can see that's gonna come in. And now I just want to build up a little bit more color at the edges of this cone. So I'm going back to my yellow ochre and making it a bit darker, taking out some excess and dropping this in very lightly. If your paint is wet, it won't need much and it will kind of bloom out. And then I'm going to add a little bit of my burnt umber to darken it even more. So again, taking out that excess and then dropping that burnt umber in. More so just using this to neaten up that edge of the cone a little bit. Okay. I'm going to leave it there. I don't want to overwork it, but I'm pretty happy with that. So now, whilst it's still work, we want to have a look at the ice cream part and see if we think it's ready to add some chocolate chips in. So let's mix up our darker brown. So this is the burnt umber with a tiny amount of the windsor blue. It's not going to take much to affect that color. So add it in very gradually. Be careful with it. Okay. I've mixed up with my eight. I should have mixed it up with my six, but that's fine. I'm going to switch to my six now and pick this up. It's a bit of a smaller brush. I'm going to take out that excess. And then I'm just going to do one and see how it reacts. Just the very tip of my brush. That's good. It's not spreading too far. It's spreading a little bit. That's spreading a bit further. I think that top bit is starting to dry a little bit more. That's fine. And we want to add these in in a bit of an inconsistent way, so we can have some clusters. So don't worry if it's diluting too much because once it's dry, we can add a little bit more over the top. And then you'll have that lighter spread underneath with a smaller darker spread on top. So you can see it's actually quite nice. These ones at the top are looking a bit darker. I don't want too many. I'm gonna add one in here, and I think that's probably enough. So I'm going to go back to this one here, see if I can just add the lightest of touches in the center and see how that goes in and same here. Okay. I'm going for a more thicker consistency this time. So I'm going to the source of those paints to make it quite dark. I'm not using much water here because I'm hoping this will make it spread even less and keep that strength of color. Okay, so I'm just going to dab this into the center. Okay, so you can see that's darker. It's not spreading as much. So I'll just add these into the center. Okay, I'm pretty happy with that, so I'm going to leave it there. I don't want too many. So we can leave that one to dry now. And then when it's dry, we can come back and finish off the cone with the stripes. 14. Loose: Part 5 - Ice Creams Cont.: Okay, so heading back to my size eight brush, we can go back to ice cream number one and paint the cone in. So I'm just making sure my brush is clean. And then I'm going for the yellow oka. A nice diluted mix. So if we add a lighter mix to the center, then we can darken it at the edges, and that's just going to help give it a high light. If you've got a lot of water in there, you can just pick it up with your brush. Going for a more concentrated mix of that yellow ochre now. I'm just going to run it down the edges and then let that bleed in to the wet area in the middle. And the same on the left side. Okay. So I'm just going to go for a little of my burnt umber. Not too dark. Taking off the excess. And then I'm just going to add some of that in. Okay. I'm going to leave that there. And we want this one to have a nice defined ice cream. We want that boundary to be crisp. So we're going to wait until the cone is dried before we paint our ice cream. So now we can move on to our third ice cream. And this one I'm going to paint as a strawberry ice cream. Okay. So for this, I'm using the permanent rose and it's got a touch of the Windsor lemon to soften that pinkness. No before we continue painting, I'm going to freshen up my water because it has got quite green and muddy. So do the same if you need to. Okay, I freshened up my water. Just to say, it can be really useful if you do actually have two glasses and you try and keep one of them clear water, especially when using wet and wet like this. Unfortunately, I actually broke my glass last week, so I only have one. But I also have kind of a bad habit of just kind of dipping my paint into both of them and making them both muddy. So it doesn't always work for me having two. But there's definitely something you can try. That will save a little bit of water. Okay, so we want a really nice diluted pink for the strawberry ice cream. We're not going to make the darker wet on wet washes very dark at all. So we want that first layer to be just almost tinted water. So we want that contrast. So I'm actually even going to add some water over the top, so you can see it's very pale. And you can even just use water so that you do get that contrast. So I've added that kind of spldge to my paper, and now I'm going to turn it into the shape of the ice cream. So again, I'm just moving that round, so it goes to the circular shape up top, and then I can just bring it round and adjust that shape with my brush. So this is my size eight larger brush. So it's easy to do this. It's easy to get this decent amount of coverage and move the paint around as I want to. Okay, so once you've got a shape that you're happy with, we can go back and add in a bit of our darker pink. So this has got quite a lot of water and I don't want to be adding lots of water into the second layer because it's just going to flood the whole thing. So I'm just going to dab this out and then see what sort of color that. So that's still quite pale. I want a bit of a darker color, not too dark. Okay, so just taking off that. And then I'm going to add that in. So that's a little bit darker now. Dabbing it in a little bit more towards the center as well. Okay, I might just add a little bit of a darker. Okay, I'm just going to add a little bit of a darker pink into this edge. Only a couple of dots to kind of give it a little pop of color. I think that will do. Maybe a little bit at the bottom. Okay, I don't think we need too much. That's gonna keep spreading. So now wash off your brush and then go to your yellow ochre. So you can see how much my paper towel is getting nicely colored and wet. I'm constantly using this. It's so useful. So again, finding the middle of the ice cream. I'm working your way down, hovering over the page, and then just marking that end point of the cone. And then I'm going to go down from the left side, work my way across touching that strawberry ice cream, perhaps leaving a couple of white gaps so that it doesn't blend in all the way. And then I'm just gonna wash off my brush now because I want this lighter area in the middle. And then I'm just going to blend that out. So if you need to, just like we did with the mintchop chip, you can add a little bit more pink if you want that to drop down a little bit more. So let's just add a little bit in just to here. Maybe on this side. We'll see how that goes. It's not bleeding in too much at the minute, but I'm going to give it time and see how it goes. So with this cone, I want to build up the color a little bit more. So I'm going to my bone umber, and I'm going to just add some of this into this edge. If it's not spreading too much, if it's kind of looking a bit dry, you can just use a damp brush, so clean your brush, take it off on your paper towel, and then just move it a little bit. But generally, I recommend trying not to interfere too much. And that can be hard depending on what style of painting you're used to or perhaps just, you know, how you like to do things. You like to have a little bit more control over things. So it is a nice kind of style to practice, letting go and kind of leaving a bit of control to the watercolor to see what it wants to do. Okay, so let's leave that one there and wait until that's dry. Now we can go back to the first ice cream. Just check just gently with your finger or looking on the side. If it's still shiny, then it's still wet. You may need to wait a little bit more. I think mine's fine. So I'm going to paint the ice cream now. I'm just going to soften this line a little bit. Well, that mark there is because there's masking fluid in there, which I forgot about. That's fine. I'm just softening it a little bit. Not too much. I'd soften it more, but I still want you to be able to see it on the camera. So soften yours as much as you can until you can just see it so that it gives you that guide. Okay, so I'm going to add a little bit of water into the middle of this one. And then I'm going to pick up my burnt umber. And then I'm just going to add this in. You can see that's bleeding in. I want to leave that highlight there, so I'm just gonna go around the edges now. Just softening that bit. So it looks like I've got quite a lot of masking food more than I thought I had, but we'll see when I take it off. Okay, so I'm just going to fill in the rest of this ice cream. And I generally think the chocolate is a bit of a darker, more prominent color than the rest. It can be quite pale if you're painting it realistically, but I think to give it that nice, deep chocolate color looks really nice. So I'm going to mix up the darker brown now. So this is the burnt umber with the windsor blue, and then drop this in to the edges. Okay. So I'm going to leave that dry. 15. Loose: Part 6 - Ice Creams Cont.: Now we can go back to ice cream number two and check the cone as dry. And if it has, then I'm going for my size six brush, and I'm going to paint the lines. So going back to our practice, Remember that we've got a number to choose from. So we can paint them nice and neat. We can do more flicky lines, or we can add that kind of water and then drop in some color to the shape. I think for this one, I'm going to stick to this kind of neat look. And then perhaps for the strawberry, I think I'm going to go for a more spacious, flicky look, but do choose whichever one you prefer. So I'm going for the yellow ochre. So you can decide on how dark you want this yellow ochre to be, how prominent you want those lines to be. I don't want mine too dark. So you can test out the line strength on a bit of paper. I'm just adding a little bit more water in there. Okay, so just remember, make sure your brush is a nice sharp tip to get those fine lines. And then I'm going all the way up slight curve, and that's going to help give the cone a little bit more dimension than if they were just straight. So the other way now. And for the longer lines, you can see I'm moving my whole arm because if I started to use just my wrist, I would get about halfway and then falter because my brush won't be able to go any further. I find that if you start a longer line and drag your whole arm, and I'm gently resting my finger on the paper to give it a little bit of balance. That one's shorter so I can just use my wrist for that. Play around with how it feels to move your whole arm and just move your wrist and see how steady a line you can get with those. Okay, so that's almost finished. We're going to come back at the end, and we're going to add some brown splatters to the top of this ice cream. So going back to the strawberry one, let's just see if it's dry. I think that might need a couple more minutes. If this is even a little bit wet, these lines aren't going to look crisp. They're gonna start bleeding in, and I think they look best when they are crisp. But again, that's another effect that you could experiment to see. It might look quite nice if some of them are bleeding in a little bit. Okay, so I'm gonna get a couple of minutes, and then we'll come back and paint the cone for ice cream three. Okay, so I'm back, and I've just switched out my paper towel for a new one because the other one was getting quite wet and I didn't want it to ruin the paper. Okay, it's with my size six brush, and you can go even smaller if you want your lines to be finer, or if you want a bit more control, it can be a bit easier to use a smaller brush. I am going from a yellow ochre again. Okay, taking out that excess. And then I am going for this kind of flicky effect, but I'm going to leave a little bit more space. So this one looks a little bit more kind of loose and playful. But again, choose which one you prefer. So I'm just going to start from this left side going upwards and flicking. And this one's going to be a bit longer. They're not actually as I didn't leave as much space as I was intending to actually, but it's not too bad. I think it's a bit more space than this. Okay, so if you want to at this point, turn your paper around, and you might find it a bit easier to do these downward flicks. I'm gonna keep it like this just because I'm filming, but normally I'd be turning my page around at this point. So downwards flick. And again, one more. And then going up to this top of the ice cream and doing a couple from there as well. Okay. So you can see it's quite a subtle difference in terms of what you're doing, but I feel like it creates quite a different effect. I like the way this gives a gap here, which makes it look almost like a little bit of a highlight in the cone to give that shape, even though the lighter area is in the middle. Okay. So the next thing to do, were nearly at the end is to remove this masking fluid. So the cone will definitely be dry. We did that quite a while ago. Just double check on the ice cream. I don't think mine is quite dry yet. You don't want to take off the masking fluid until it's completely dry. Otherwise, you're going to smudge the paint, and it's just going to ruin it. So I'm going to leave that for a little bit longer, and whilst we leave that, I'm going to leave the cone as well, just because I don't want to be rubbing this too close to the ice cream and smudging it. Whilst we wait for that to dry, we can add some splatters to these two ice creams. 16. Loose: Part 7 - Splatters: So grab some paper. So I'm covering up the whole paper. I've got three sheets. So I only want the ice cream. I feel like if we give splatters, just like we do with pen and wash, we just give splatters to the ice cream, it gives more attention to that and more focus, and then the cone kind of drops a bit in the background. We could do some splatters onto the cone as well, so we could do yellow ochre splatters. But when I've done that in the past, I feel like it just looks a bit too fussy. But definitely try that if you want to, and then you can decide yourself. So I'm going for my size six brush, and I'm going to go for the dark brown. So the mix of burnt umber and winds are blue. I want this to be a little bit thicker, so I'm just adding a bit more. And then just make sure I'm going to take off the excess. These can be unpredictable, but if you have a lot of water in your brush, it's probably just gonna come out with some big blops. So depending on what you want, um, yeah, it's definitely worth practicing. Okay. So I think I'm going to add a little bit more water. I want them to be a bit bigger than that. Moving my brush around to try and cover some of those whiter areas. I don't want too many. So I'm going to leave it as that. I don't want to go overboard. And then carefully take off these papers so that you don't smudge any of those splatters. I have done that before, and it kind of ruins the effect, so just carefully lift and then move. Okay, so if we cover those up, you can see that that's our mint choked chip ice cream done. Okay, I'm quite happy with that. If you want to, you can go in and add a couple of wet on dry chips. So I'll do this and you can follow along if you want to. But if you're happy with how yours is looking, then just leave it as it is. Okay. So this is one of the cards I showed you earlier. And you'll see, I just added a few of those wet on dry chips just at the very top to give it that focus. And then as you move down, it kind of becomes a bit looser and a bit less defined, which I think looks really nice. So I am going to aim to do the same thing here. So I'm just going to add a few little chocolate chips at the top. Not too many. It's quite small little bits. And they're kind of some of them are in different directions. They're kind of they're not the same marks. Some of them are little lines, but then you can do some bigger ones, which are kind of square rectangular shapes, but the edges are a bit kind of uneven. I think I'm tempted to leave it. I don't want to go overboard. I'm gonna add one on it, and that's it. No, I just a little bit there. Okay, I'm gonna leave it there. I'm pretty happy with that. So I hope you are happy with yours too. Okay, so we're going to need to leave the splatters possibly for a few more minutes. If you look from the side, then you might be able to see if you get a bit of a glint on some of those. Splatters, you can see if there are any globs that are still wet. Sometimes a blob will come out and it can take longer than you expect to dry. So just be extra careful with the splatters. I think this masking fluid is about ready to come off, so I'm just going to use my finger and I'm just going to rub so just gently. If at any point you start to get a little bit of a smudge. A the paint just stop and then come back to it a bit later. You can pull it as well. Just be careful because it can damage the watercolor paper if you're too rough with it. Also make sure that your hands are dry cause if your hands are a bit moist, that's also going to smudge the paint. Okay, so I think that's all the masking for from the cone and then just gonna take it off this bit. Okay. That's a bit of a bigger highlight than I expected. I thought I'd left a smaller one, but that's fine. I'm just going to try and erase some of the pencil line around this. Okay, so this, you can see, it's much bolder. It's quite a different effect, but I really like it. Okay, so hopefully those flatters are dry now, then we can add some splatters to the strawberry and chocolate. So I'm just going to cover this up. So using my round size six, I am going for the pink. I don't want it too dark. Okay. Okay. Just a few taps, and that one's done. I quite like this strawberry. I think it's really nice and subtle. It doesn't have much detail to it, and it's got that looser effect with the flicky stripes. So there's not much going on there, but I think the flatters definitely make it. It gives it a bit more contrast and a bit more interest as well. Okay, I'm just going to give a few minutes to dry, and then I can cover that up. Do some splatters on the chocolate ice cream. Of course, if you don't want to do the splatters and you're happy with how it looks, that's absolutely fine. These are all just ideas for you to play around with, and then you can kind of pick and choose the elements that you like or experiment with some other ways of doing it that you may hopefully be inspired to do. Okay, so now those splatters are dry and we are safe to cover them up and just cover everything apart from that chocolate ice cream. So again, si six brush, and then I'm going for the darker brown mix. Okay. And just carefully lifting off. Okay. So we have finished our loose style of painting these ice creams. So I really hope you've enjoyed this style. I think it's really fun. And you can paint these even smaller, like I showed you earlier for that card. And you can paint a lot of these. And because of the wet and wet and that kiss technique, they are going to end up all differently. You can paint 100 and no two will look exactly the same. And I do find them really fun to cut out and stick onto cards, or, you know, you can use them in your journals as well, especially during the summer months. They make a really nice addition. Okay, let's move on to the next style where we're going to be painting a bit more realistically. 17. Realistic: Part 1 - Intro: The third style we're going to look at now is painting a bit more realistically. We're not painting super photo realistically, but instead just practicing focusing more on how we can add more realism by referring to references more and using techniques to build up layers and details. We'll be painting one single ice cream in this style instead of three, as it will take longer. I've chosen mint choc chip as it's my favorite, and it also adds an element of the chips, so I can show you how I would do those. And we're also going to add in a little bit of sauce and a wafer just for fun. We are going to want more control and more detail. So I recommend using some smaller brushes alongside your larger brushes. I'll be using a size zero and a size two for the finer details, and again, these are round brushes. And then my larger sizes of six and eight for the beginning layers where I need more coverage. We'll be using the same colors that we have been using so far apart from the permanent rose, which we don't need for this one. We'll use the yellow ochre and the burnt umber for the cone, a mix of the winds of blue, and the winds are lemon for the ice cream, plus a darker brown mix of the burnt umber and windsor blue for the chocolate chips. We'll also be using that darker brown mix for the sauce and the wafer. I'll also be using an opaque white for some highlights. And for this, I'll be using doctor PH Martin's bleed proof white. You can use a white pen if you prefer, but it will be easier to get the finer marks with white paint and a fine brush. If you don't have the white, you can paint around the highlight for the source and leave the highlights off of the ice cream. So no worries there. Just work with what you have and focus on practicing these techniques. I have provided an outline for you that you can download of the pencil drawing. After the practice session, we'll dive straight into the painting, so you will need to have your outline traced and ready when we get to that portion of the video. For this style, I like to look at reference photos a bit more and focus in on the finer details, which will help give it more realism and texture. If you want it to be photorealistic, then I would recommend choosing one particular image and referring to that throughout your painting, trying to recreate that. However, I usually prefer to look at multiple photos and pick and choose the elements that I want to include because I'm not worried about making this really photo realistic. I just want to add those elements of realism in. For the ice cream, if we zoom into this, we can see these marks on the ice cream, which give it its texture. They're quite pale, so we need to make sure we keep our layers diluted and build them up gradually. We don't want to go in with some really dark colors because that's not how this should be looking. As we move to the bottom of the ice cream, we can see that the texture is rougher here. It's a lot less smooth compared with the upper part, and the dry brush technique and some of that white paint is going to really help us here, create that uneven surface. You can see the chocolate chips are dotted around inconsistently. So really just quite small dots, and then we've got some larger chips. In terms of shape of ice cream, I really liked the shape of this strawberry ice cream more than any I could find in the mint chop chip flavor. So this is what I mean about using multiple images to inform my painting. So now I can take the rough shape from this one for when I'm sketching my outline and then use the information I've gathered from the mint choc chip to paint. So it's all these kind of details that I like to look at and have in my mind as I'm painting. Moving on to an image of the cone, we can see that the lines of the grid are lighter than the squares. It's all a bit lighter on that left top side and a bit darker at the bottom, and this just helps give that cone its dimension. So we want to make sure we focus on that. It has this ridge where the cone curves down. If we look closely, we can see some tiny marks of brown that give the cone a more textured look. So we can create those with tiny marks or with a dry brushing technique, which will give it a more patchy look. So all of this in this style, it's just about increasing your observation skills and just looking, spending some time picking out those details and thinking about what techniques would be useful to recreate them with watercolor. This is the outline that I've provided for you. You can see that you've got the outline of the ice cream at the top and the sauce. And I've just provided a few kind of wiggly lines to give us a bit of a guide for where we'll have a break between the smoothness and the roughness in that texture on the ice cream. Then you also have the grid lines. And when tracing these, I'd recommend tracing them as a full line. And this way, you'll get a better alignment for them running through. And then you can erase the little bits in between where they cross over. I like to use the erasers on the end of my mechanical pencil, but you can also use a tombo mono eraser. It's a really nice small eraser for those fine areas that you want to get rid of. Okay, let's talk about this style of painting a bit first. There are varying degrees to which you can make your painting more realistic. You can keep it quite simple, working in a much more controlled way than we have before, and adding in some of those finer details, or you can spend much more time building up those layers for a more photorealistic finish. This is a simpler version, and this is probably my go to style. It's quite simplistic yet slightly realistic but doesn't take too much time. We have some fine details here on the ice cream, and the cone is looking a bit more realistic as we've painted in those squares and left the lines lighter, and these were painted in free hand. In comparison, we can look at these more realistic and detailed versions that have more layers and more texture where those details have been built up gradually. Here you can see the texture on the ice cream created by the dry brush technique. It's got lots of little details, lots of little marks and using quite a pale color for this strawberry ice cream, it's also got some little bits of the opaque white in there, which gives it a bit of contrast and a bit of iciness to it. Likewise, with the mint choc chip ice cream up here, this texture is created gradually in a much more controlled way. So you can see this is drier. It's more controlled. We've left some white areas, and then we've got some darker brown to give that illusion of the kind of chocolate aspect to it. And again, here, we've got all these fine lines which are helping to create the texture into the ice cream. And the grid pattern on these cones, it's all created slightly differently on these. Here, I used a simple line, but I think it works for this one because your focus is on the ice cream and on that wafer at the top. You can see here we've got much more detail and it's darker. Then in these two, we again using a dryer technique to control that texture and that color and where it moves to. So we've got some darker areas in these squares and some lighter areas. And then just building up that texture with small marks of a darker color, which just add that contrast in. And you may find for the style, because we need to work in finer detail, that it is easier to make your subject bigger. Although this is kind of on the simplistic style of realism, you're able to work quite small with this one. But when you're trying to create these details on the cone and in the ice cream, it is easier to enlarge your painting a bit. 18. Realistic: Part 2 - Practice: Okay, so I have my outline ready over here, and I'm just going to use the space on the left to practice some of the techniques that we're going to be using in this painting. So as we build up those layers and that texture, we want to use quite light colors. The ice cream doesn't have very dark values, so we want to practice mixing those light colors. I'm going to go for my pink. But for this practice, you can use any color. So we've been using fairly light colors all along so far. But we want to practice going as light and as subtle as we can. So I'm just adding more water to this. I'm going to bring a paper towel over here so I can have it handy to take out that excess. And I'm just going to practice going as pale as I can. So these look ever so pale, but as you're building up the layers, using this kind of strength of color is going to be really effective in creating that realistic level of detail and contrast. So as we build up those layers, we can use more control to blend them out. So just add a small swatch and then wash your brush off, take off that water, so it's just damp, and then we can just soften that edge, blending it out. And that's how we'll build some of the shadows up. There'll be subtle shadows, so we want to keep them nice and light and pale. We can also use dry brushing to create the texture. So add some colour to your brush and then take out a fair amount of that, paint and water in your brush, and then press this down and you can see it's creating this patchy effect. I think this is one of the more trickier techniques that people have struggled with in the past. So it is worth spending some time practicing because it really can help to create that realism. So this is a bit darker. So just making sure to kind of run your brush a few times, but try not to run it too much over the same point. And then it will just leave these gaps where the texture of the paper is showing through. There's little bumps on the paper. The paint won't be covering them. Okay, so we've got light values, these soft gradients for shadow, and they're dry brushing. So practice those as much as you need to. And then now I'm going to drop down to my small size zero brush. And with this, we can practice creating some fine details. So whenever we're creating fine details, we always want to be using our paper towel and taking off any excess water. So for the details, we can add in squiggly lines. And these are quite dark, so I'm going to just dip my brush in the water. There's still going to be some paint on there. But hopefully now it's going to be a bit lighter. And these are not uniform lines, so they're a bit wobbly at different lengths. You can angle them differently. So kind of practice trying to make them all look a little bit different. And then other marks we can make with our brush. I'm just kind of pressing down now and then moving the brush to create different shaped marks. And these will help to give the illusion of little indents in the ice cream where there are shadows. So just remember you don't need much water on your brush. We're working quite slowly. And this will be the same way that we can add some texture to the cone. We can add some little marks on there as well. And for the cone, I'm going to my size two now. We just practice those squares. So I'm going to my yellow ochre. And I'm just going to paint a square. Okay, I'm going to wash off my brush. And then I'm just going to it's looking quite flat now. It's quite a solid color. I'm just going to pick up some of that to lighten one area. I'm just going to move that around so I can blend that in a little bit. And then going to my burnt umber, which is a little bit darker than the yellow ochre, taking off that excess again. I'm just going to add it into this top corner, whilst that's still wet. We can also wait until it's dry and then blend in with a damp brush just like we did here. But So I'm just washing off and brush now. So it's just damp and it's quite clean, and I'm just moving that paint around so it blends in. So now we have quite a nice highlight, and this graduates from the yellow ochre to a slightly darker edge of the burnt umber. We're going to add some bits of sauce to the ice cream. As you can see, we've drawn this out in pencil, and we'll add a few more as well so we can practice those fine lines. Again, pick up any color you want at this point. So I'm going for the permanent rose. So it's just practicing those fine marks. If you're not used to painting delicately, then just take your time, practice as much as you want to. Okay. Then lastly, we have this wafer, which is a circular wafer. We can practice a gradient as well. So again, using whichever color, I'm going to go for the pink. We can start with a pale pink. So I've just added some paint here. Using a damp brush, I'm just spreading it out. So you can see that left side is darker, and we can use that lifting technique to pick up some of that paint, making that right side even lighter, and just moving it around a little to blend it in. And then if we want to, we can make that left side even darker, building up that color. So I'm going to the source of my paint, so it's more concentrated. And then I'm just going to add this into the left. So I'm not using much water for this technique at all, a lot less than the stars that we've used before, so that isn't moving much. I'm just using my damp brush now to pull that out so it transitions more gradually to the lighter color. You may want to keep washing your brush, taking that paint off, so that you're just using a damp brush. So it's got a bit of paint on there now because it's picked up from there. So again, I'm just washing it off and then using that damp brush to soften that line. Now we've got a nice graduation from this dark pink to this light pink, and that's really going to help create that look of that dimensional circular shape for the wafer. Okay, so you can practice these a few more times. The main thing is to practice using only a little amount of water because that's going to give us the most control. Once you've got your outline traced and ready, we can start painting our ice cream. 19. Realistic: Part 3 - Ice Cream: Okay, so the first thing we want to do with our outline is make sure these pencil lines are really nice and fine, particularly around this ice cream area and these guide marks here because this is going to be quite pale and we don't want them showing through. So using my needed eraser, I'm just softening these lines, making sure that they're still going to be visible enough so that I can see them to work with. Okay, so what we can do is start with the ice cream. And then as that first layer dries, we can move to the cone and then just go back and forth to make the most of that drying time, so we're not waiting around too much. And because we're not going to be using too much water, hopefully those layers should be drying fairly quickly. Okay, so let's first mix up our green for the mint choc chip ice cream. So I'm just grabbing my size six and we can test this out first. So again, I'm using the winds are lemon and the winds are blue. And we can just mix this until we think we've got our rough color. I think this is quite a nice green. I'm just going to make a few variations, and then I can compare them. So this one's got a little bit more yellow in. I'm just gonna wash out my brush so I can see what that looks like when it's really nice and pale. Okay, I think I quite like that. It's a bit greener. This has got a little bit more blue in, so I think I'm going to stick with that. Okay, so for the first layer, we want a very pale wash, but we also want to leave some white areas because it is so pale. So let's pick up a very diluted version. You want the most diluted you can get to start with because we're going to be building up the color. So really, really quite diluted, a tint, pretty much. Okay. We can actually go over these sauce dribbles because that highlight is going to be an opaque white. If you don't have the opaque white, then you may want to paint around those dribbles because then you'll be able to leave the white of the paper for that highlight. Just picking up some water so I can spread this paint out a little bit more. I'm using my size six, but you can use your size eight if you like. And you can already see compared to the other styles, we're working in a much slower and controlled way. I'm just spreading this around. I mean, it's fairly even. There are some lighter areas where I've picked up a bit more water, but I've not got much water, so I'm not worried about the possibility of back runs. Here, I'm going to try and leave some areas a bit whiter. So I'm just softening that line, and then I'm just going to paint a little bit more around this edge, but I'm going to leave some little bits here white. But because this is so pale, it's not going to stand out. Okay. So that's a pretty much a decent coverage of all of it just with a little white patch here. Okay, so let's just go back to the edges and just add a little bit more in. Not too much, but I'm just building and these are a little bit wet, so I'm just dropping this in or blending it in. If you find it's dry, then just pick up a little bit of the water and blend it out. So there's not really going to be any blobs of water or paint brushes full of water in this video. It's going to be more controlled and less water moving the paint around with a damp brush. Okay, so let's leave that for our first layer. Let's give it a couple of minutes to dry, and then we can start focusing on the cone. We don't want this to bleed into the cone, so we want the ice cream to be dry when we get to that boundary there. So for the cone, as we said before, we want these lines to be lighter than the squares. So we can paint this whole cone first with our yellow ochre, and then we can build up the squares afterwards, and then on top of that, we can build up some shadow and some little bits of texture with tiny marks and potentially dry brushing. Okay, so because the cone is quite large, I'm going to switch to my size eight brush so I can get a decent amount of coverage. I'm going for my yellow ochre. So again, we'll start with a fairly diluted mix, and I'm actually going to add a little bit of the Winsor lemon, particularly for this top left area, which was a bit lighter. So if we have a look at that reference photo, again, we can just see that the way the light hits the cone as it curves around, it's just making that a bit lighter than the rest. So this mix here, I'm testing it out. It's just a bit brighter, and it's got a little bit of that winsor lemon, go to make it a little bit darker. Don't want it too dark, but we want it to stand out as we build up those layers. We don't want those lines to be too pale. Okay. So I'm going to add this in to this left side. Just washing off my brush so I can move this around. And carefully run it under this line. It looks like it's bleeding in, then just stop and try and pick any color that's bled up and then just wait until it's dry. Okay, so I've got this brighter corner up here, and now I want to merge into the yellow ochre. So it's a bit more orangy. So I'm going to add this in. And it's just a subtle variation which can have quite a big impact on how it looks at the end. We'll see. Okay, I'm just washing off my brush a bit and making it a bit paler as we get to this edge. I'm going to drop a little bit of the yellow ochre in to just make this center a bit darker because you can see on that cone that it looks a bit darker in the middle. I'm just using a damp brush now to just blend in any bits. Don't worry too much because as we build up those layers, it's just gonna add that texture. If there are some areas which aren't know, completely smooth, that's okay. So I'm just bringing this down, careful at the edges. I'm gonna make it a bit darker at the bottom because this cone seems like it's a little bit darker towards the bottom, and I'm going to add a little bit of burn umbren as well. Just to darken that. I might just add a touch of burnt umber running down here, and then I'm just going to wash off my brush and smooth that in a little bit. Okay. So I've got this darker area at the bottom. It's slightly darker in the middle, not too much. It's not too prominent. It's a bit lighter on the side and a bit more yellowy and lighter up there. So I think that's looking good for now. 20. Realistic: Part 4 - Ice Cream Cont.: Okay, so now I'm going to go for my size 2:00 A.M. Brush, and we can start building up some of the layers and the texture on the ice cream. So I'm going for the green again. And then just keep testing this out to make sure it's really pale. And if you're unsure, just go a little bit paler, add a little bit more water. So I'm going to start from the edge. I'm just taking off that excess water because I want this to be a bit patchy. And I'm just pulling it out, just running my brush back and forth. You can see it's creating that texture, that patchiness. I'm just going to do this and build up the edges. Have your paper towel handy. We'll be using it constantly for this. Just remember to avoid those bits of sauce if you don't have that opaque white and you want to create those highlights. So making sure you leave those white I'm just going to build it up a bit close. I've got a bit of a line around this edge, so I want that to blend in. So I'm just building up that color a little bit more at the edge. So it's a bit more natural. And then drying off my brush now, because that's a bit wet there, I'm gonna pull it out. And I'm just laying down my brush quite flat on the paper because it's very dry, it's just going to pull that out and create that textured patchy effect with the dry brush. So I'll work on this a bit more at the top, too, and then pulling this down some. And then I'm going to work background here. And this is going to be the rougher area. Between these two pencil lines that we've got, we can make this quite a bit more rough. We'll start with building up the shape through that shadow on the sides first, and then we can work on the smaller detail. It's always the bigger areas first, and then just gradually building it up. I can take a bit of time this technique, this style. But if you allow yourself to, it can be really relaxing. It's not something you want to rush through. It's definitely something that you want to take your time with and make sure you're, you know, giving yourself that chance to slow down. Okay. As we're adding in the color here, we want to leave plenty of this white area because we want that contrast. And we will be adding in bits of white, but we want the pale green, too. So don't cover too much of this. Okay, so let's work along these guidelines, these pencil lines that we've got, and I'm just going to go a bit underneath these. And then make sure you've got quite a dry brush to pull some of that out. Mm. Okay, we can do the same for lower that lower line as well. We don't want it to be a strong line. It's really just a guide, so some of it will be a bit patchia. Okay, that's just going to help give a bit more of a ridge effect. So I want a bit more shape to this bottom bit. So that's build the color up towards this edge as well. And that will just help make it look as though it's going inward, so it's got a bit more shadow underneath. Okay. Now I'm just drying off the brush so that I can pull some of that out using the side of my brush and pressing down so that it's spreading any of that wet paint around in a more patchy effect. You may need to go over some of these bits a few times to help kind of move that around. Okay, so we've got a couple more guidelines up here, so let's work with those as well. So again, picking up some of that color, taking out the excess water, and then just following those lines around and then pulling it down. If you add too much color, then just clean your brush and you can pick some of it up with your brush or you can just gently dab your paper towel onto it, take off any paint. Let's do the same with this line up here, running some color underneath it. And then again, just pulling this out. Add a little bit more. Okay, we've got another line down here. Mine are really quite faint now. So I'm actually referring to the outline as well to see where I lay them down. Because that pencil line is quite faint, especially through the paint. 21. Realistic: Part 5 - Ice Cream Cont.: Okay, so we've got a few more shadows and highlights in there now and it's helping us give it a little bit more shape. Let's build some more texture and color up around this right side now. So this ridge will probably come in. So let's just add a bit of color above it, helping to give it that shape. So that ridge will be kind of underneath. So that's fairly dark. So I'm washing off my brush and I'm just going to roughly blend that in. So again, it's not a really smooth transition. It's a bit rough, but because it is light, that's fine, and it's going to create that texture. So that's helped us shape this ridge now. And now we can add some shadow to this lower portion of the ridge, and that will help give that a bit more shape as well. Okay, so I'm just adding in a little bit there. And you can see that's a bit darker. So again, I'm pulling this out with my brush. And that's helping to give that a bit more shape as well there. Okay. Using the dry brush, let's just add a bit more texture throughout. So you can just always check how wet your brush is first on the left side. So I'm just going to run my brush in a few random areas to create some patches. And you can really see how different the approaches and the techniques and the method is for creating this kind of style compared to the ones we've done before. I find both of them very relaxing in very different ways. I love seeing the plants bleed together and, you know, allowing myself to kind of let go and leave some of the work to the watercolor. But I also find it incredibly relaxing to work slowly like this and building up those layers and the texture. Okay, so let's go back to this left side now. I want this left corner to be a bit darker than the rest to help give it a bit of shadow. So I'm running out of my paint now, so I just need to mix up a little bit more. So I'm just gonna compare that to what I've already got to make sure it's the right lines? Okay, so I'm just going to add in some little bits here where we want there to be some shadow to create the shape. So you can see instantly that has given that ridge here more shape just by adding a bit of shadow. We can do the same for this dip here. Anywhere there's a dip, we can kind of add a bit of shadow to one side, and you can see, again, it's done the same instantly gives it a bit more shape, and then I'm going to blend this out. This is still we're still using very pale colors here. It doesn't take much. So let's have a look and see where else we can do that. So there's a dip that comes up here. So I'm going to add a bit of shading here and again here. And then just blend those out so they're not so blunt and bold looking. And then I'm just going to step back and have a little look and see how that's going. Okay. I think that's pretty good. I'm going to add a tiny bit more shadow here in this corner bit where it dips in and then underneath. And then we've got a few dips around this edge as well, so we can add a bit of shadow to these points, too, and then just wash off your brush and blend those out a little bit. Okay. So I think we've built up quite a good amount of shape here. It's really good to keep stopping, pausing, standing back and having a look. When you're working like this, it can be really easy to just focus in on one particular area. So it's good to stand back and look at the piece as a whole, and then you'll notice any areas that need to be built up a little bit more. Okay, so on the outline, we drew this little shape here, which is a bit of an indent. So we're going to color that in So we're going to add lots of little endens, but this will be the biggest one. So we want this to be fairly dark. And we're not going to blend this around. We want it to be yeah, quite obvious there. And I'm going to add a little bit of darkness under this line up here as well. So it looks like it's kind of going inwards to the ice cream. It's got a bit of a dip inside. So it's just giving it that extra shadow. And again, perhaps a little bit of darkness under here as well. You can see it's these little bits. Again, they're not too dark, but they're really starting to help it pop. Okay. Because we're not using much water, we can keep just moving around this ice cream and building up the texture. So I'm switching to my size zero brush now, which is finer. And let's build up some of this rough texture in this ridge down here. So continuing to use a pale color, as you can see it's very pale. I'm just going to create lots of little marks now and just make sure it's pale if you need to dilute it a little bit more. It won't be too pale. Don't worry. And we want lots of the paler area showing through for contrast. So press your brush down. I'll show you with a bit of a darker mix. You can press it down, maybe not that hard, but little dots and then different size marks. And that's going to help create this texture rather than it just looking like a lot of dots. Okay. Let's do some of them darker and to mix up a bit more color. Then I'm just gonna wash off my brush and then add a little bit of dry brushing. So we've got that variation between some of these dots and marks and then a bit more kind of a fuller area. So I'm just going to build up more of these marks on this lower corner as well. Okay, I think that's enough there for now. And then what we can do is add some of these really fine lines in so still using the size zero. You can bring this out a little bit. And then just add some of these wavy lines. We can group a few together and then move around to another place, and they're different lengths. Some may be a bit darker and thicker. We don't want to do too many or cover too much. Okay, I think let's leave the ice cream there for now and then move on to the rest of it because then we can always come back and add more. I find that at the minute, we can see. It looks pretty good for now. I think we might want to add a little bit more shading in there just to a few places. But I think painting the rest of it is going to help us get to know where we want to add more color. 22. Realistic: Part 6 - Ice Cream Cont.: So let's start this wafer. I'm going to my size t now, and I'm starting with my yellow ochre. Me. Okay, so I'm going to start at the left, and we want to create a highlight on the right side of this. So I'm going to wash off my brush now, just taking off the excess so that I can blend this out. So just how we practiced with this gradient earlier. So I'm blending that out, and then I'm going to add a bit more of the yellow ochre to the other side. Okay, I've left a little patch of white there for a highlight, so we can go back in and build up those edges with our yellow ochre. I'm going to build out that right side as well. And then just using a damp brush. I'm just going to try and control that movement and blend it out. So remember when you're doing these gradients, as you move it, your paint brush will be picking up paint, so then you want to keep washing it off, drying it, so you can just use your brush as a tool to be moving the existing paint on the page rather than adding more paint. Okay, let's let that dry, and then we can add in the darker brown stripes, and then we can adjust the rest of the wafer if we need to. Okay, so let's go to this cone. And I first want to define this edge a little bit more that curves down just so we can see what we're working with. So I'm using my side zero brush, and I'm going to grab some of my yellow ochre. We'll start with a nice power wash just so we can kind of work with that line first. So I'm going to start on the left of the ridge on this side where it will be kind of a bit further back. I'm just going to build the color up along where that line is, if you can still see the pencil line. And then I'm just washing my brush off, and I'm just going to soften that a little bit. So I'm just going back and forth until that paint blends out a little bit. Okay, so you can see we've got a bit of a line now. It's not too dark. Okay, so then again with yellow ochre and it's still a pale mix. I want to just create some random kind of texture along this ridge to show that it is a bit of a broken edge, and it's not really smooth. And then we can just soften that a little bit, as well. Okay, I'm going to just leave that there. That's something that we can kind of start with just to give us a bit of a guideline. 23. Realistic: Part 7 - Ice Cream Cont.: Now I'm going to my size two, and we're going to start filling in these squares. We'll start at the top left and work our way down. We don't want too much contrast. So we'll start with the yellow ochre, quite diluted, but just gradually building it up, especially this area, which is lighter, anyway. So I'm just going to start filling in these squares. With that yellow ochre. Nice and pale or if you're adding too much colour, just remember that you can lift it off with your brush or with your paper towel. And this is one part I just find really relaxing these repetitive elements where you can really just kind of lose yourself in them and go slow and focus on your breathing. Make sure you, you know, you're not tense or you're not rushing. Okay, so that's the left side. Done. So we'll leave that there for the left side, and then we can move over to the right side. And I'm going to do these slightly darker. So I'm going to pick up some of my yellow ochre and move it to this top part of my palate and then just add a little bit of the burn Umbrian. I still want it to be quite diluted. And again, just test out your mix. And then we can start building up that color. And for these squares, you don't need to fill in the whole square, even just part of the square is going to help build up that texture as long as you know, have enough to kind of give that shape. You can add a little bit of paint like this into the corner and then with your damp brush, blend it out. So it's not a solid flat wash. And whilst it's still a little bit wet, you can drop in a little bit of a darker color ever so slightly. And remember, because these shapes are small, you don't need much water at all, because otherwise it will just spread really quite quickly. So you always want to be working with quite a dry brush. So we're constantly taking the colour, the water out of our brush with our paper towel and adjusting. So it's the paper towel and that lifting technique, which are going to be really useful. So if you've got your mixes next to each other on your palette, you can just jump between them. So jump between the yellow ochre and the mix of the yellow ochre and the burnt umber. And then the burnt umber, as well. And we'll be building up this in the next layers as well. So this is just the first layer. So we don't want to go too dark and we can build up texture in the next layer with some drier marks and smaller marks, which are a little bit darker. I do love working with the style. I find I don't tend to do it too much these days because it does take longer. So I do tend to go for methods that can give you a shorter painting session and a quicker result when, you know, potentially, I only have 20 minutes here or there, or even less to paint. But you can also do this when you have less time because you can just, you know, just build up gradually over, you know, multiple days. Just come back to it. You can keep keep some notes with the colors you're using so you can remember just in case it is a few days in between. So I'm just adding some color to the corner now, and I'm just going to pull it out to cover a bit more of that square shape. I'll add a little bit of the yellow ochre in as well just to blend that out. So I'm getting a little bit of a variety in here. They're not flat squares. We've got some variation in color between the yellow ochre and the burnt umber. And then we've got a little bit of shading with some of the edges being a little bit darker as well, which, as I said, will build up as the layers progress. 24. Realistic: Part 8 - Ice Cream Cont.: Okay, so let's continue painting these squares now. I'll pretty much do them the same. I'll probably add some darkness in down here as we get to the bottom. But if you like, you can put on some music and just relax as we paint these. Okay, so let's just leave that a few minutes to dry and then we'll come back. 25. Realistic: Part 9 - Ice Cream Cont.: And then just washing my brush off so that I can soften this a little bit. Okay. I'm going to add a little bit where those grid lines are as well just to help pop this ridge out a little bit more and then blend that out as well. Okay, so that's popping it out a little bit more. We can go a little bit darker, so I'm just going for the burnt umbanll go to add a little bit in to a few areas. Not everywhere, just to help give it a bit of depth and then blend this out as well. Okay. So we want to make this edge on the right side look a bit rougher. So I'm going to use my yellow ok I'm just going to add some patches along here. So it looks a bit broken using a damp brush, I'm going to smooth some of them, try and leave some white areas in between. And then we can start building these squares up. I'm going to switch to my size zero. And with the burn umber mixed in with that yellow ochre, I think, I am going to take off the water from the bush, the brush, and using a tip, I'm just adding little dots and marks to build up the texture, especially around this area. And if you feel confident too and your brush is dry enough, you can just rub your brush back and forth for that dry brushing technique. That patchy effect. And if it starts to look too bumpy, you can just smooth it out a little bit. What I want to do now is add some shadows to some of these grid lines, and then we can build up the squares. So starting on this left side with the yellow ochre, again, go pale to start with because you can always add more. Just on the right side of where one of these lines are. I'm just going to add a little bit like a strip there and the same on the lines kind of flowing down. And you can see that's kind of making it stand up a little bit more. I'm going to do the same on these other lines. And then on the bottom right of these squares, but within the grid line, I'm going to do the same. So I'm just darkening that section there. Something. And all of these ones on the bottom left within that grid line, building that up. It's quite pale. Don't make it too dark. And then within the square, we can add a little bit of color on the opposite side, so it looks like a bit of shadow. So these are on the left, and so on the right, I'm just going to add a little bit to each of these squares that right corner. And then we can blend that out. Okay, so let's work down the left side of the cone and do the same as it curves around, those are the kind of shadow points that we'll see. So again, inside that lighter grid line, on the left side of a square, we're just adding a bit of shadow. And it can be quite subtle, but once we've done this all over, we'll be able to see the effect. The Okay. So I'm just working down that left side now. And on the other side, we're going to flip it so it's the other way around. As it's curving round, we'll be able to see the shadow on the right side. So again, in that grid line on the right side of the square or diamond, adding a little line of kind of shading. We're going to leave the ones in the middle. So remember to keep this nice and diluted. You can always go back and add more. Okay, so hopefully that's starting to kind of bring those grid lines out. I'm going to add a little bit more and two. Some of those ones closer to the middle. So, have a look and then see how yours is looking, see if you need to add any more strength to the color or add it to any more squares. 26. Realistic: Part 10 - Ice Cream Cont.: Okay, so now we're going to look those grid lines and just add a little bit of dry brushing so they don't look so smooth. We want to get that texture of the cone in there. So a pale yellow ochre. And I am just running down with my side zero, leaving little marks. So I'll show you on the paper. So just tiny little marks like that, little dashes, which wouldn't necessarily be visible. You wouldn't necessarily notice if you're just looking at the painting, but it is just going to help build up that texture and a little bit of realism. This is a great exercise in values, painting these ice cream because they do need to be so pale. Okay, so now I'm going to pick up a little bit my burn umbat and then do the same, but with a little bit less. Just a fewer marks. So just building that up. Again, really diluted. Now let's just add a little bit of texture into the squares. With that, I'm going to use my burnt umber over a dry brush. I'm just pressing it down to get a bit of that texture. You don't want too much. You don't want these to go too dark. I'm just really adding it into one corner or the top If you're not comfortable with the dry brush technique, then you can just use the very tip of your brush to create these tiny marks. Just trying to create different size marks. It is a lot easier with the dry brush technique because you can do it quicker, and then you get a lot more kind of organic marks from the way the brush lets the paint out. As we move to the bottom, I'm going to darken this a little bit more. I feel like it needs a bit more shadow at the bottom and a bit more texture. So I'm running the whole brush over everything there, not just sticking to the lines or squares. I want it to kind of unite it all and blend in a little bit more. But hopefully it's still kind of letting a little bit of that through. I'm going to blend this out a little bit towards the right, so it's not so patchy. Okay. I'm gonna go in with a bit of a darker burnt mbanal just to see if there's any kind of darker bits of shadow where I want to add. See, I'm adding a fine line there just to kind of make that grid line pop out a little bit. Especially in the corners and at the edges. It's going to help make it pop out a little bit more. Don't want too much. I'm going to add a little bit more into this ridge to make this a little bit darker. I'm also going to add some extra shadow underneath the ice cream. And then with a damp brush, just blend some of this out. Have a look at your cone now and see if you're happy if there's any areas that you want to kind of add a bit more definition to. But I think I'm almost there. I think I'm pretty happy with that. I don't want to go too far overboard. It's got quite a lot of color in there and a quite a lot of texture. 27. Realistic: Part 11 - Ice Cream Cont.: Okay, so I am going to go to this wafer now. I'm switching to my size two brush, and I'm going to mix my dark brown, and that's with the burnt umber and the windsor blue. So remember just a tiny bit of the winds are blue. It's going to affect the color quite quickly. So you only need a little bit. And then you can test this color out. That's a nice dark brown there. I just add a tiny bit of burnt ambiture. Okay, so let's have a look. I'm going to have the stripe in this one down here and then at that tiny portion at the top. So I'm just going to add some to the edge. I'm gonna wash off my brush now, and then I'm going to blend it out. Can always make it darker and add more. But we want to have a highlight as well. So we want that graduation. I got quite a lot of water on here, so I'm just making sure my brush is dry so I can move that water around. Okay, so I'm happy that this side is quite light. I want to darken this edge. So I'm picking up that darker paint and then taking that excess off because this is still wet. I don't want it to flow too much, so I'm just dabbing that in. As this is starting to dry, it's creating a bit of a harsh line here, so I'm going to lift that up. So just pay attention to what's happening on your paper and then if you need to lift some of it up or add more paint to darken it. Okay, so I'm going to add some to this top bit now. This top edge is a bit kind of wobbly edge. It's not completely smooth, just to give that wafer a bit of a rougher surface texture. And I'm just blending it out with a damp brush so it becomes lighter that side. I want the left side to be even darker, just to give it a bit more of a pop, help give it a bit more shadow and depth. So I'm mixing a little bit more blue in there now, and then just gonna add this to the edge. And at the top, as well. I'm going to run I'm just taking out some of that paint off my brush. I'm also going to add this because it's got a bit more blue in, it's a bit more of a gray brown, adding it to that left side, and then with a damp brush, just blending it out. So on top of that yellow ochre, adding that little bit of a gray brown just to give it a little bit more shape and shadow. I can do the same in this little bit here. So I'm just going to run that down the left side, clean my brush, and then just pull it out and soften that. Okay, I'm quite happy with how that's looking. I might just add a little bit of brown to this right side here. And then blend that out too. Making sure to leave this highlighted section. Okay, I'm quite happy with that wafer. 28. Realistic: Part 12 - Ice Cream Cont.: So now we can go back to the ice cream and we can start kind of looking at that now how it looks in comparison to the rest of it. So I think I want some darker areas, but then we can also add our chocolate chips in. So I want to add a bit more shadow. I think I want a bit more of a gray mix. I am going to mix that green up here on my palette. And then I'm going to add a little bit the brown to it. And see what color that gives us. Add a little bit more green. Okay. So it's kind of a greeny gray, I would say, which will work quite nicely. So I'm just going to add this into a few places so we can darken that shadow. Okay. Let's glen this out and see how it looks. So I'm just roughly blending out, not trying to be too smooth. That's going to add a bit of texture to it. Okay, I think that's working quite well. So I'm just going to add a little bit more to darken some of these shadowy areas and make them pop a little bit more. And then I'm just blending some of them out of the damp brush. Okay. I really like how that's looking. I don't want to get overboard with this, but I just want to add a few more bits in and potentially some of those little lines. You add in some of these darker lines, it's just going to add a bit of a variation in depth. So the lighter lines look like they're a bit more surface level, and then these darker lines look like they're deeper into the ice cream. Okay. I'm not going to blend out the lines. I'm happy with that at the moment. I'm probably going to add a little bit more shadow at the bottom and then add some to this textured area as well. So this shadow here is just going to help give a bit more shape, make it look like this part of the ice cream is curving under. And then with a fairly dry brush, just adding in some marks here did build up that contrast and texture within this area. So again, remember to just stand back and have a look and see how yours is progressing and if you want to add any more texture, any more shadow anywhere, then you can do that. Okay, I'm quite happy with how mine has gone, and I think I'm ready to add my chocolate chips in now. Okay, so I'm switching to my size zero, and I'm using the dark brown mix, not as dark as that last shadow we used on the wafer. So I'm just gonna mix that up again and make sure it's the right kind of brownie. That looks good to me. Okay, so let's start with some small kind of dots randomly dotted around. And if you do them at different angles, it's just gonna look a bit more natural like they're peeking through. We're going to have small clusters together. And even tiny marks of brown, which will just make it look like the chocolate's been mixed in a little bit, and there's just been a little bit leftover. We don't want to go too overboard. Once you've got a few dots, we can add some bigger chips in. And again, we're not looking for specific shapes here. Me organic shapes. And different sizes. So this one looks like it's peeking out from that little ridge there. Okay, I don't want you anymore. I don't want you do it, so you just add a couple more and I think. So one now and I'm gonna have one down at the bottom, I think. Okay, I'm pretty happy with that. I feel like I need a little bit more roughness to this bottom area. This bit is a little bit smooth, and we've got some smooth areas here. So I want to create even more texture along here. So I'm going back to not this darker green, but I'm just going back to my minty green to add in some more texture. So I'm going to go over this with a drybush to try and get some more patchy roughness. I'm going to do the same with this right side. I feel like it's a bit too smooth looking over here. Right, I want a bit of a darker green now to go over some of the shadow area, cause I think this is a bit too smooth. I want to build that up with the dry brush. Okay. I think I'm happy with the ice cream. So we can come back and add some white paint to it. I do want to add a bit more shadow underneath the ice cream. Feel like this ice cream is hanging quite far over this cone, but the cone hasn't got enough shadow at the top here. I think we're getting there. We're almost done, so I'm going to mix the mint mbnaoca and then just build up this color underneath. Okay. I'm going to blend that out a little. And then I'm going to darken it a little bit more with the burnt umber. Actually, I'm going to use the dark brown mix. Just a little. I don't want to go too much, but just underneath. Add a little bit of shadow. Not in every area. And then I'm just going to soften this. 29. Realistic: Part 13 - Ice Creams Cont.: Okay, I think I'm pretty happy with how that's looking. So I'm going to grab my white now, which is my doctor PH Martin's bleed proof white. Pull out a little bit of this and add it to my palette. I don't need much. So I'm just gonna use a tiny area on my palette there. And then just with the tip of my brush, I'm just going to add some little dots into this rough area to help it give it some extra texture, some extra kind of iciness and contrast. The final thing we're going to do is add our sauce. You can also do some flax of white on the cone to just give that some highlights, too. Not too much. Just in a few areas just to make it pop a little bit more. Okay. I finish with the white, I think for now until we add the highlight into the sauce. So I'm still going to use my size zero for the sauce. So I'm going to use I'm going to use a slightly bigger brush to mix the color. So we want the dark brown mix, so the burnt umber. And we want this really concentrated. So really thick and opaque color. She, I'm going to use the size two to start with as I've got the paint on there, and I think that would be okay. We'll start with, I can't really see too many of my lines here, so I'm going to go a bit rogue, make it up a little bit. I'm going to start at the top. Make sure it's nice and thick and dark, but you can always build up the color. So I'm going over the top of this chocolate chip and bringing it round. Then this is going to go all the way to that edge. So that looks like it's going over the top, hopefully. Okay, pick up some more if you need to. And then this is going to start at a fine. Oh, I just moved the paper and it's just smudge that so I'm going to bring it further up to the left. Then as we get to the end of this, we can add in that little rounded end so it looks like it's dripping into a bit of a drop. And then we have some more sauce on this left side. You can't see the pencil lines, don't worry. Just kind of add a wavy line, basically, trying to go slightly in the curve of the ice cream. And then we've got another one on this right side. Curving round and then wiggling down. Okay. And then I'm gonna switch to my size zero, and I'm just going to paint a few little drips of this sauce in freehand. So it kind of look like they've splattered a little bit down the ice cream. Okay, I don't want to add too many. I do want to darken this. I want it to be really quite dark, and I'm going to smooth it out, so I'm just going to build up that color for this sauce. Okay, check you're happy with your sauce. I'm just going to add a little bit more to the top, so it looks a bit more chaotic and less ordered. Okay, I'm happy with that. I'm going to leave that to dry, and then we can go in and add our highlight with our white. 30. Realistic: Part 14 - Ice Creams Cont.: So back to my size hera I'm grabbing a little more of this white paint so that it is a bright white. Then I'm just going to add it to this sauce at the bottom side of the sauce, and as it comes down and on the right side of that drip. It's just going to help it make it look like it's shining a little bit. I'm going to add a little bit of this white to this wafer as well, just to add some more highlight down that right side. Okay, I just want to add a little bit more chocolate in this rough bit. I think that's going to be it. Then I'm going to leave it. I'm just adding some quick marks. Not too many. Okay. I think I'm finished. I'm pretty happy with that. I hope you're happy with yours and you enjoyed the process. And I really hope you've enjoyed this class and trying out these different styles. And I cannot wait to see your projects. Join me in the final video, which is just a conclusion for the class to run through what we've learnt. 31. Conclusion: I really hope you've enjoyed experimenting with these watercolor stars in this class, and I hope you're feeling inspired to continue experimenting with techniques and styles going forward. Now is a great time to look over all of your paintings from the class and take some time to reflect on what parts you enjoyed, what styles or techniques you want to work on more, and if there's a particular style that you want to focus more on going forward. Would really love to see your work. So whether you have painted just one style or all three, please do share your work with me in the project gallery. To share your work, just head to the Projects and Resources tab and click Create a project. You can upload your image and add a project title and description. If you're on Instagram, you can tag me in any work kehare at Sharon Stevens Design. Your feedback always means so much to me, so please do leave me a review. These are so encouraging for me to see and read and also really helpful for other students who may be thinking about taking the class. And if you would like to see more of my classes and work, I have lots more classes here on Skillshare. You can check out my other watercolor classes or take a look at my drawing and doodling classes. I also have a class on Mindset for artists and a digitizing class for Photoshop. I also have two watercolor books that are great for beginners and for learning how to use watercolor to relax, watercolor for the soul, which has 20 fun and relaxing step by step projects, and my newest book How to paint I, which has 100 step by step projects with lots of paintings to inspire you throughout the year. Okay, once again, thank you so much for watching and Happy painting.