Watercolour Summer Illustrations: 9 beautiful Paintings for Beginners

1. Introduction: Hi, welcome to this class. Thank you so much for joining. Today we are going to paint nine different beautiful and fund some illustrations. It's kind of like a paint your vacation theme. And I chose illustrations that are very different from each other so that you'll be able to practice a variety of things. We have architecture, food and drinks, animals, landscapes, shells, anything that's connected to your summer holiday. And that will give you the opportunity to practice very different skills. So I hope you'll enjoy it and please let me know how you get on. You can contact me here on Skillshare or on social media or wherever you like. I'll be happy to answer all of your messages. And of course I want to see your finished painting so please share them in the project section here when you're done. 2. Materials: So let's quickly go over the materials. We will need 300 gram cold pressed watercolor paper, a mechanical pencil to trace your outlines. For one illustration, we'll be using some masking fluid if you have it. Then for brushes, I used synthetic round brushes in the sizes 50300246. Then I have a soft eraser and some white gouache, as well as my palette with all the colors. All the colors as well as everything else will also be mentioned in the project section. 3. Pink Shell : In this chapter, we'll be painting this shell, and we'll do it by using just two color mixes. What I really love about this project is the contrast between the soft background wash and the sharper details that give it form and a bit of structure. I have quite a collection of shelves at home by now and I thought let's just look at those two. Because I brought those home from beach because I just loved the color combination of the soft pink and beige tones. The shell that we'll be painting is not a 100% true to nature, but it is inspired by those two. So I thought I would just show them to you before we get started. The beautiful thing is when you see something in nature that you really like, you don't have to paint it exactly as it is. You can just draw inspiration from it and turn it into something new. That's what I wanted to do today with you. Let's look at the colors. I have some colors in my palette already. I'm just mixing up some new yellow ocher there. This is just pure yellow ocher. I'm keeping it fairly dilute. There's quite a bit of water in the year, but we'll be painting it wet on wet anyways, so it'll be a bit softer when we paint. The pink that I'm mixing up now is a very simple color mix as well. I still have a bit of pink left and my palate, the red that I'm picking up now is Winsor red. But feel free to use whichever bright red you have in your palate. It really doesn't matter that much. Then I'm mixing it with a bit of yellow ocher just to give it that peachy tone, it doesn't exactly turn orange, but it's it turns into a peachy color. I just didn't want it to be too bright red. So I'm mixing those two together and that's a bit of permanent rose. You can really see the yellow ocher in here. I'm picking up some more permanent rose because it is the yellow ocher. So between prominent. Looks quite nice. We'll be using a very watery diluted version of this and a thicker one. When we paint the second layer with the details. I think I'm happy with that. Okay, for brushes I have this number six synthetic round brush that I'll use to wet everything with water. And then to paint the details. I have a number four brush. I don't know if I'll be using it. And then for the small details, there's a number of 030 brush. The first layer we're going to paint is a very light background wash, wet and wet. So to start with, we're going to paint the whole shell with clean water. I'm just making sure that I don't paint outside those wobbly lines there at the top. Because I do want a very clean and crisp edges. Just make sure you spread the water evenly that it doesn't pull somewhere or is too dry. Then we're going to use the pure yellow ocher. The diluted pink me, It's really taking my time here. This is the diluted pink mix. Fairly dilute is not too much. I'm just painting a half circle at the top here, but I'm making sure that I don't paint all the way to the edge because I want the color to spread out and I do want the top part to be lighter and maybe even a bit wide. Just put your colors down, your paint down and let the pigments do what they do. I'm just swiping across the top here with a cleaner brush. Spread it out a little bit. But just to help it along, maybe it spreads more on one side than on the other, but that's fine. If you remember the shelves that we looked at, they are not symmetrical or even at all. So don't sweat it. This is the pure yellow ocher. We're going to leave a wide area between the yellow ocher and the pink mix. Again, make sure you don't paint all the way until up to the pink. Just leave a little bit of white there and then it goes all the way down to the bottom here. The yellow ocher is also fairly diluted. But if you remember the picture that you saw in the beginning of this class of this chapter? The background wash was really quite soft, so we don't want it to be too strong. Otherwise. Details we'll be painting on top. They won't really pop. So that's why we want that contrast is pretty much it for the first layer. We're now going to let this dry completely. And it has to be bone dry. Before we continue with the next layer, you can just let it sit there or pick up a hairdryer and try it off. Let's start painting the details. And I'm using my size 0 brush. Now. What we're gonna do is pick up the pink mix that we have. Not the thickest one. But I will add a bit of water to this. And then we'll start painting in those lines that you can see on the outline that I've provided you with. I'm just turning my paper here a little bit to make it easier. And I'm starting at the bottom and then it's always one pink stripe and one that's not painted in. Being a bit, I'm painting a bit more slowly here and I'm being careful not to paint outside the lines. This is not the the very concentrated pink mix because we are going to go over that again to add a bit of shadow with the pink. So don't make it too dark now otherwise you won't be able to darken it. When we add even more texture to it. This will take a bit of time and I'll just go ahead and paint all of those in. And you can do the same and meet me when I'm done. This is what it looks like now. If you want, you can hit pause and paint after me pain what I've painted. If you haven't done so already. If you want to continue with me now, you can pick up an even smaller brush if you have one or if you need one. We're now going to go over those areas again and add a bit of contrast. I'm now using two brushes. I have one, I think this is the 30 brush that's loaded with the thick dark pink mix. And I'm painting along one side of this wall area. And then I'll use the size 0 brush to soften the edges a bit and blend the color out. Because we don't want hard edges, we want there to be a soft transition. Here. I'm just going over it with a clean, damp, a brush. Doing the same here. With a clean brush. Again, I'm softening the edges to make sure we don't get any hard lines. For these smaller areas, the next one is even smaller. I'm using my smallest brush and I'm being quite careful that I don't paint any wonky lines and when it goes down to the bottom because that would ruin the whole thing. If at any point you feel like you'd like to use a bigger or a smaller brush than I because you need more control, please do. You should always use the tools that suit you best, even if they're a bit different to what the teacher shows you in the tutorial. If you feel like you need a bigger brush because you paint slower, just always use what's best for you. I'm going to go ahead and do this. I'm always putting down the color on one side of that area, always on the bottom. Just so that it's coherent. And then I'm going over it with a damp brush to smooth out the edges a little bit. I'm being very careful when I paint down to the bottom. I'm going to speed this up a bit, I think, because it's a little time-consuming. But you get the gist of it. It's really exactly the same thing for the rest of the shell. Alright, so we're practically done. All that's left to do is make sure it's really dry. And then I went to wrap up the pencil lines at the top a little bit. I'm going to use my hairdryer here just because it's quicker. Most of it is pretty dry already. But I want to make sure that it's really dry. Because if I were to smudge the paint with my eraser now that'd be a shame. Now I'm just rubbing out the lines at the top. It doesn't make a huge difference, but it does make a difference. So whenever you can rub something out, do it just makes it look nicer. Now we're done. I hope you've enjoyed it and you're happy with your shell. 4. Beach and Waves : Hello and welcome back. Naturally, every collection of similar illustrations must include a beach of some sort. So that's what we're going to paint in this chapter. Let's look at materials. I have a brush size number 230 here, as well as some masking fluid. For those of you who don't already have masking fluid at home, please don't go out and buy adjust for this illustration. You can still paint it. And I'm going to show you a way around it when we get to it. So don't worry, you'll still be able to paint beautiful waves. Even if you don't have masking fluid. I'm mixing up some colors here. This is turquoise. And we will need to mix it with a little bit of ultramarine blue. If you don't have turquoise, if you just have, I don't know, whatever blue you have. You can paint an ocean with cobalt blue, with ultramarine, with a green-blue that you have. Just anything that you feel is nice for waves and oceans. We're going to have one diluted version and one that's a bit darker, a bit more concentrated to create a sense of like deepness of the sea. And then the beach will be painted in yellow ocher. Just mixing that up here. Then we will be adding some shadows to the beach and the waves. And I'll paint that in with a little bit of burnt sienna for the foamy parts of the waves. And I'm going to paint over it with white gouache. I'm showing you here what white paint looks like on white paper. Super smart. If you don't have whitewash, you can also use one of those gel pens. We don't have an outline for this illustration because we really don't need one. We're going to do is pencil in two waves. The bottom section is the beach, the first section is the first wave, and the rest of the painting is the second wave. Here, I'm using my masking fluid. If you don't have it, you can just skip this bit. It will just help us create the highlights a bit more prominent than without, but it'll be fine. Now I'm painting in these like foamy back washes when the waves hit the beach, they're going to appear white. And I'm painting in these little shapes. They almost look like worms. But we will, will paint over them again with the white gouache after we've wrapped everything out in the end. But this will just help us along a little bit. I'm painting those in on the second wave as well. By the way, I'm using a very old brush. This is a very cheap synthetic brush that I had and I've used it for masking fluid ever since and it's like by now it's really hard and dry it up. So if you do have masking fluid and don't use a nice expensive brush that you plan on using. Again, pick, make one old brush, your masking fluid brush. Now we're going to get started on the beach. This is the yellow ocher. This is a very dilute mix of yellow ocher. I'm painting it on dry paper because it's very diluted and I thought it wouldn't wouldn't be too bad if the beach had a little bit of a structure. So I wanted to paint it on dry paper because we don't need a completely smooth even wash. I'm spilling because I'm painting too fast. I'm being mindful of this edge here where the wave hits the beach because I don't want to paint beach into my wave. I'm just making sure that this is a nice and clean edge. But if you end up having hard edges here, It's not too bad. It is sand and it's uneven and maybe it could also be rocky, so don't worry about the beach being patchy. I taped my paper down by the way because we're going to add a lot of water and paint to it. And if I hadn't taped it down, it would have just warped. That's why I did that. While the beach is almost dry. I am getting started on the first wave here and I'm wetting it with water because now I want, I do want a real a really even wash and transition of color. We're going to paint it dark blue, where it hits the second wave and we're going to let it fade out towards the beach. Now if you don't have masking fluid, just to exactly what I'm doing here, which is paint a dark wash of blue towards the end and then really let it fade out until it's like really white in the front and that will resemble that white foamy water. I'm really taking my time here with the water. Now I'm picking up the turquoise. I'm starting at the top. Then it's just going to bleed out towards the bottom. And then we're going to blend it in and make sure that we have nice, nice gradient. Blending it out a little bit. But I'm not painting all the way towards the front because we do want a white line at the front of the wave. Just cleaning up the edges there. Then I'm dropping in while it's still wet, I'm dropping in some water across. This is a clean brush now and I'm just making sure washes fading out evenly. I wanted even darker yet because the contrast is what's going to make it look really beautiful. Just dropping in some more color, making use of the fact that it's still wet. And I'm letting this dry now, you can also wait until it's completely dry before you get started on the second wave and the rest of the ocean. I'm doing the same thing again. I'm wetting everything with water. This is still a nice thought. My size two brush, feel free to use a bigger one to put down the water. It'll just be so much quicker. As you can see, I'm not wearing it all the way to the edge and leaving a bit of a white line between the front of the second wave and the backoff the first wave. Because again, I want, I want the white contrast there. Now I'm using the turquoise again, this is a very light, light wash. I'm painting really patchy and really sloppy here, but that's on purpose because I wanted to create a sense of depth in some places where the water is maybe a bit deeper and it's going to be a bit darker. And then there's also areas where maybe the sun reflects a bit more or hits it differently and then the water appears lighter or almost white. It's totally okay to paint really sloppy and patchy here. The only thing I'm being mindful of is this front part where as you can see, I'm making sure that I don't paint all the way to the front. Then while everything is still wet, I'm just adding more of the turquoise this time. It's also mixed with the ultramarine. I need more blue here. I'm just making a mess. Basically. I'm pretty much done here with this first layer. Now I have a cleaned off my brush and I'm just taking off a little bit of the blue down here at the bottom because I feel like I've lost my highlight area a little bit. Now before we take off the masking fluid in the next step, we're going to let everything dry completely. Make sure your painting is bone dry. You can use a hairdryer or just wait before we take off the masking fluid. Now minus completely dry. And I'm just rubbing the masking fluid off with my finger like that. Now if you don't have masking fluid, you're still going to use your white gel pen or white gouache to paint in those little foamy areas. But maybe you'll need to paint over a two or three times to make it appear completely white. Gouache has already opaque, but sometimes I feel like even dark blue tends to shine through it. Maybe you'll just need to paint two or three layers. Like I said, the masking fluid is just a nice add-on to help us to keep some areas white. Now what I'm doing is I'm mixing the gouache with a little bit of water. It's still quite thick. And I have two small 30 brush. And I'm painting alongside the edge of the wave that we've left wide anyway, but I'm, I'm still painting over it. And then from there I'm painting into those little white worms, any shapes that we created with the masking fluid. I'm also painting over them and then painting next to them. Because I want them to look a bit more natural. It doesn't really look natural at the moment. So I'm just going to do this for both waves. And if I feel like it's not really opaque enough, I'll just go over it again. It's a little bit of a process, but you can just you can just play around with your brush until you're happy. Before I move on to the second wave, I'm actually picking up some burnt sienna and I'm going to paint in some shadows on the beach. Now, I don't know if waves actually create that shadow on the beach. I don't think so. But the contrast just helps us bring out the white foamy water a little bit. It's on dry paper and I'm using the small 30 brush to put down a little bit of paint and then I have the size two brush that's got a bit of water on it and you can see how I'm just smudging out the paint a little bit so that it looks natural. You don't want it to be too wide and I'm also not putting the color down everywhere, just here and there. But you can already see that it does create a sense of it being three-dimensional. The wave just pops off the paper a little bit more. And I think that's a nice effect to have. I'm creating even more contrast and shadow at the back or the top of this wave by picking up some of the concentrated blue. And I'm doing the same thing. Basically I'm putting down some color and then I'm using the clean, bigger brush to smooth it out and spread the color out a little bit. But I'm just trying to make that second wave pop just the same way as we just did with the first wave. It's just these fine little details that don't look like much, but in the end I think they do make a difference. Sometimes it's worth it to just look at it again and go back and think, Oh, if I add a little bit here, maybe maybe it will make a difference and usually it does. I was just looking at it. You don't have to put down a second wash of blue here. If you're happy with it the way it is, leave it and you're done. I thought I wanted the back of the top of the painting to be a bit darker. So I just went at it again with water as you just saw. And now I'm just dotting in some pure ultramarine blue. Just because it didn't seem rich enough and deep enough, but you don't have to. It's really up to you. You should always look at your own painting and be the judge of it. Even, even if the teacher says, Now we're gonna do this and now we're going to add this look at your own stuff and, and make those decisions. When you're done, let everything dry completely. Before we take it off of the desk. If you've also taped it down. I think I'm pretty much done here now. It's completely dry now. Onto the best part which is taking off the tape. And then you can see that we've got a nice little frame there. Since we didn't have an outline for this illustration, I'm sure everyone's looks a bit different. So I'd love to see what you came up with and what you paint it, so please share it in the project section and then we can all look. Thank you. I hope you had fun painting this and see you in the next chapter. 5. Coffee Pot: Hi and welcome back to this chapter. We are now going to paint one of those very classic, traditional Italian coffee pots. I thought I'd include this in the collection of illustrations here because it's just such a typical Mediterranean thing to have and to make coffee with. And also it is a very good exercise in painting shiny and reflective surfaces because it's a metallic object. And it is also a monochrome, meaning the only painting, the only pigments we're going to use is Payne's gray. We can practice with different hues and color mixes, color concentrations of the Payne's gray. And this is a very good basic painting exercise. So let's jump right in and mix up our Payne's gray. What we're gonna do is create three mixes of the Payne's gray. Each of them a bit more dilute or concentrated than the other. So I'm starting with a very light wash and adding a lot of color. I'm testing it out on my sheet of scrap paper here and you can see that it's really very, very dilute. Then I'm creating the next one which is going to be a bit more concentrated. Then the next one is even more concentrated. Now, that looks about right. And then we have one that's very dark for those bits in little areas of the plot that will appear to be almost black. And we'll go into later those as well. I think that looks about right. Let's look at brush sizes and then we can get started. For brushes. I have a size 024 synthetic round, and I'm going to start with the very lightest areas. I'm picking up the very lightest Payne's gray mix that we made. And I'm adding a bit more water because I really wanted to be very, very light. We're painting on dry paper. Were also painting in sections. Meaning we're painting each section at a time and letting it dry until we paint the one next to it. Because we do want these hard water lines that are going to help us separate the sections from one another. We don't want them blending into each other. I'm just putting the swash down on dry paper. And I'm paying special attention to the straight edges of each section. Because it's not a natural object, it is an artificial object. And all of those lines are very straight. And if we start painting them a bit more wobbly, then the whole thing will look off a bit. This is still the very lightest mix. And now I'm painting in this section, which is also very light. And also the very lightest mix goes onto this top section here. Be mindful. There is a white line between the bottom one and the top one that we're painting now. Just leave that white because we're going to put a darker mix down on the white line. I'm thinking light enough. It shouldn't be, doctor. And also the very lightest wash goes onto the espresso cup. The espresso cup is wide. It's like a white porcelain cup, a very basic one. But I don't want it to be paper wide, so it's going to have a bit of a bit of a shadow. As all white objects that we paint, we actually paint them in gray. I'm dropping in a bit more color onto the wet paper here. And I'm realizing it spreads a lot because the Payne's gray mix has so much water in it that the color travels faster compared to a more concentrated wash. I'm actually about to lose the highlight that I wanted to. Keep on picking up a clean damp brush and I'm trying to lift off the color here, but the highlight is pretty much lost that I wanted to create. But we can come back to that in a little bit and add some more Payne's gray on the bottom. And then we'll be able to create that bit of light and shadow on the cup again. Now that the left section on the bottom part has dried, I can come in and paint the one next to it. This is also our very lightest mix. We can call it a mixed number one. Now I'm picking up my size two brush and I'm going into the slightly darker mix, let's call it mixed number two. I'm adding a bit more water to it because I thought I added more water to the first one, so I thought, I don't want the contrast will be too much. This one goes onto that section that I'm painting in right now. Mixed number two also goes on to that smaller section on the very left-hand side. Also with mixed number two, we can continue here towards the front. The paint that in. Then the same mix also go on the bottom of the pot. And on the bottom right side, we're also going to paint in mixed number two. Coming back up to the top still we're painting with mixed number two and we're painting in this little section here. I'm coming back to the mixed number one. They're very light ist one and I'm painting in the remaining section at the top was mixed number two. We're going to paint the front section where the coffee pours out. Feel free to use your size 0 brush for this little bit because it's quite small. Then I'm picking up my smallest size 0 brush and I'm using mixed number two. I'm going to paint in this little section that's on the handler. It's kind of like a screw that connects the handle with the pots. And then I'm using a size two brush again. And I'm going into mixed number one, the very lightest one. And I'm starting to work on the middle section. I'm painting that in right here. I'm also painting in mixed number one onto this section. Still with the size two brush, I'm going into mixed number two, and I'm painting in the front part. Now we're going to use mixed number three. That's already more concentrated. I've added a bit more water because it's some dried up a little bit in the meantime. Now, I'm painting in the section, and I'm being careful that I'm painting very straight lines on the edges so I don't paint it to the section next to it. Then with the size 0 brush, I'm also picking up mixed number three. And I'm working on this tiny section at the top right corner there. I'm doing the same thing on the left side. There's also a very small section there that's also mixed number three. Then we continue with mixing a three on the top part of the lid here. The size 0 brush is even too big for you for this sections. Feel free to use a smaller one if you have one. Little part here is also mixed number three. Now I'm picking up mixed number two again, and I'm going to start painting. It was little lines. Mixed number two also goes down here on the right side. At this stage, you can really already see it coming together. I think Penn painting and monochrome is actually a lot of Because with just one color and different cues, you can really create shape and form and a whole object. I'm continuing up here. This is mixed number two again. This is the reflection of that little knob on the top. So we're going to paint it twice. Basically it's just mirrored. And don't be afraid to really use the same color mixes you did on the top part of the knob. Now I'm painting this one in. Now I'm using the mixed number four or a doctor S1. Again, I'm adding a bit of water to it because we haven't used it yet and it's dried up a bit in the meantime. So with the size 0 brush still, I'm painting in this bit in the middle of a pot. Again with the darkest mix. This very tiny section here on the side. Now I'm coming back to mixed number two. That goes down here, on the top here as well. On this side to this mixed number two again. And it goes right here in the middle. Now I'm picking up the size two brush and I'm going into the very darkest mix mixing. Therefore, I'm starting to paint in the first layer of this handout. This is also on dry paper. Now with a very small brush coming back to the darker mix and finishing up the knob here. The very dark mixed Coase on to the side. Then mixed number three goes onto the reflection. The very darkest mix is going to go here in the middle. Then we're using mixed number two again to finish the middle part on the right side. Now mixed number three will go onto the top part here. By this time I've downsized my brush size. By the way, this is a 20 and not the size 0 anymore. Because the size 0 turned out to be a bit too big for the super tiny parts. This is mixed number three again, and I'm painting it here on the very top section of the knob. And with my size two brush, I'm going to wet this area here because we are going to drop in a bit of color at the very top. But I want this to blend in a little bit this time. Because imagine you've had this coffee pot for a very long time and it has just some, some signs of usage, basically an old age. So this is, this is that I want that to blend in a little bit, which is why I am doing it wet and wet. Then mixed number four again, dropping it into bit while it's still wet and then I'm blending it out again. Now with my size two brush. I'm mixing up some very concentrated Payne's gray. And I'm going over the the handling of a coffee pot again because this is actually black, so we're going to layer it with Payne's gray until it looks almost black. I'm also putting a bit of very concentrated gray onto the top here. Then there are a few little areas that just the darkening up. That's what I'm doing. Now actually switched to an even smaller brush. This is my 50 brush because now I'm going to paint very fine lines. And I don't want them, I want them to be really fine. The smallest brush that you have will be just fine. There are also some lines that go in this section here. We're going to add very concentrated mix number four on the bottom, just to accentuate it a little bit. Now, the coffee pot is done. Let's come back to the espresso cup. And like I said, I wanted to add a bit more form and shadow to it. I'm painting in the mixed number two on dry paper with the size two brush and then I'm using the size number four brush. It's just got a bit of water on it. And I'm blending that out. That's going to create a sense of roundness. And I'm also going to do that on the handle and the bottom part. And then we'll be done with this illustration. I'm pretty happy with the way it is Now. I'm just accentuating that pencil line here. I'm just drawing, drawing that in. And if you're happy with the shading on your cup, I am with mine, then you're pretty much done with your painting here. I hope you had a lot of fun exploring monochrome paintings and please share your painting in the project section. 6. Blue Butterfly : Hi and black, I'm back. In this chapter, we're going to paint the next illustration, which is this beautiful and delicate butterfly. I'm going to paint it in blue, but you can choose your own colors if you like. You can paint it in green or red or yellow, whatever you feel like. I'm mixing up some turquoise blue here right now. And I'm going to have one very diluted mix and one that's a bit thicker for the details. If you don't have this particular blue, if you don't have to cross in your palette. You can also paint it in cerulean blue or cobalt blue. Or you can even use ultramarine if you like. As long as you have a light and a thicker mix of it, it'll be fine. This is some yellow ocher. Will be using this for the body of the butterfly. And down there at the bottom, you can't really see is just some burnt sienna with a bit of yellow ocher in as well. These are pretty much our colors. We also have a little bit of Payne's gray because we're going to paint a few dots on the wings of the butterfly and also use it on the top of its head. You can also use black if you like. For brushes, I have a size two and a very small 50 brush for the details. And we're going to start with the upper top side of this wing. Will be painting the whole first layer, wet and wet, but we'll do it section by section. Each wing has two sections and we're going to start with the top one. I'm putting down a bit of water. Because when I pick up the the diluted blue, I want that to really spread out because I want that typical watercolor, almost tie dye look on the wings. If you have a bit more water on your paper than you usually do, that's perfectly fine. In this case. I'm picking up the turquoise and I'm starting in close to the body here. The idea is to really spread it out. The only thing I'm being mindful of is the edges where the wing is attached to the body. And then also this lower edge where it's where it's close to the bottom of the wing. Sorry. Stuttering. I don't know why. I'm not covering the whole thing with color. Because like I said, we want that tie dye look. You can just make sure that your edges are nice and clean and then you can let the pigment do what it does. Now I'm moving over to the left side. Before we go to the bottom, the wing, the upper the upper section has to be completely dry. And that's why I'm moving to the left side now. And when the right side is dry, I can paint at the bottom. I'm just doing the same thing. I'm wetting it with water. You don't have to put the pigments in the exact same spots on either side. I just wanted to put a little bit down close to the body because I feel like that's where it maybe would be more concentrated in a way I didn't even know if that's true. But I'm trying to paint a differently on this side because it just looks more natural. When it's not completely symmetrical. You can clean off your brush and dab it off a little bit. That's what I just did. And I'm just going over the edges to make sure that they're nice and clean. But I'm not doing much more to the paint on the paper. I'm just letting it spread. Now I fled everything completely dry and I'm moving on to the lowest section of the right wing. I'm doing the same thing again. I'm wetting it with water. And then making sure that I don't paint over the body or into the upper section of the wing. Then I'm picking up the diluted turquoise and I'm just putting a dot down closer to the body. And then on the outer edges of the wing. It's just making sure that my edges are nice and clean. Then the water can pretty much spread, however at once. Now I'm painting in the lower part of the left wing. And I'm putting down some clean water. Then I'll pick up the diluted turquoise. Just put a little bit of color here and there. This time I'm putting it down in the middle of the wing. Just like I said, just so that it's not completely symmetric, it looks more natural that way. Just carefully painting them. Imagine if I want more color or if I'm happy with it. I've zoomed in a little bit for you and everything is now completely dry. And we'll continue with painting in a little bit of texture. And for that I have a very small brush. This is a 50 brush. Feel free to really use the very smallest brush that you have. What we're gonna do is we're going to pick up the diluted again, the diluted turquoise. And we're going to flick alongside the wings of the butterfly. What I mean by that is we're going to paint very, very fine lines in the direction of form. We don't want them to be much darker than the color that we already have. It's still going to be quite transparent, but it is going to add a bit of texture and it just gives it that delicate touch. Basically. This is very diluted paint. I hope you can see it. Yeah, I think you can. I'm just painting very fine lines. The brush is barely touching the paper here. And it's also okay if your lines are interrupted, you don't need to paint them in one swift motion across. You're just adding texture. The idea is that once they're ones that color is dry, it is, it is visible, but it's just barely visible. These are really the smallest of details, but it does make a difference. Feel free to also turn your paper in whichever direction you need so that your hand can really paint in the directional forum. That just makes it a lot easier. Especially when it comes to painting lines. This is really very diluted turquoise. Again, just like with the first part that we put down, these lines, they don't have to be completely identical on either side. They don't have to be extremely, even. If there's if there's unevenness in it, it just makes it look more natural and nicer. Actually, I think it's just more interesting to look at. Now for the top part, again, I'm painting in the direction of form and I'm moving my paper accordingly so that I can do that. I'm already really liking the look of this butterfly. You can also leave it like that if you want to, if you wanted very, very pale and delicate, you could also leave it like that and just paint in the body basically. Now this is, this is that. And again, we're going to let it dry and then come back with more details. Some of which I've lost in the process of painting. I've painted over my pencil lines. I'm just not very good withdrawing, so I need to trace like every single thing. Basically. I'm just painting these bits back in again. Probably not in the right spots, but whatever. Now, I'm painting wet and wet again, this is a very small area, but it still makes it different if difference if you paint wet-on-wet or wet on dry. I'm just putting down a little bit of water and then I'm picking up a slightly more concentrated clause. And I'm painting along the edges of this little triangular or whatever kind of shape it is that you have on your outline. The reason I put down the water is because I want a clean edge on one side but then I wanted to bleed into the inside. It's going to be software inside the shape. This is now the concentrated turquoise that I'm using. Now I'm using the concentrated turquoise again, and I'm painting some more lines, this time on dry paper. And I'm actually painting along the lines that you have on the outline that you can download and trace. Since I've drawn that section. And again, I'm not sure if they're exactly the same now, but it doesn't really matter, it's fine. Now these little veins, they are much more pronounced and darker than the ones we painted in earlier. I'm painting this little section in on dry paper as well just because it's so tiny. Then again, painting along the lines you've drawn in. My brush is really just barely touching the page here. Because if you end up painting a line that's really too thin and barely visible, you can go over it again. But if you paint one in that's too thick, That's like twice as thick as the rest of them then it kind of ruins it because you can't really go back. If you're not sure about painting really thin lines. Maybe practice them on a piece of scrap paper or just do less in the beginning and then go over it again if you need them stronger. Just looking, I'm happy. This little section. Again, putting down a little bit of water. Then we'll do the same thing that we did on the right wing, which is pickup the concentrated turquoise and paint along the edges of that shape and then letting it bleed into the medulla. You can also clean off your brush after you've put down the color and just swipe along the lines to help them move a bit and soften the edges of it. This is now the size two brush. It's just a bit damp with water and I'm just tapping the color along these lines again are on dry paper. Everything is dry. Now, I'm picking up the yellow ocher painting in the body of the butterfly. This is on dry paper because we don't, we don't need to edit. This isn't too dark. This is a fairly diluted yellow ocher. I'm just making sure I don't paint onto the wings. Just going over this little area again. I wanted it to match to the top, the top section. I added a bit of water and just a bit more color to let it bleed out because it looked a bit stiff exactly. But to clean in a way, I don't know. You don't have to do this if you don't want to. Now we're going to paint in some details on the bottom of the wings. This is again my very small phi 0 brush. And I have a concentrated turquoise again. And I'm starting to paint in these little shapes that you will find on your outline. These should be visible of course, but try not to make them too thick because if you do, I think they might stand out a bit too much. They're just, they're just a little bit of accent on the bottom of those wings because if we leave them like they are, they're a bit bland maybe because there's not really much going on. I'm doing the same thing on the left side. Just really painting carefully to make sure that I don't paint outside the lines and mess it up. And then I'm filling it in. Defining the edges of the wing a little bit. You don't have to do this. You absolutely don't have to do this. If you feel like your lines might get a bit too thick, then leave them as they are. I just thought it would be a nice a nice little accent. Make it look a bit more refined, but you don't have to do this. Now we're going to come back to the body again. I now have the yellow ocher burnt sienna mix on my brush. And I'm painting very fine little strokes to suggest that. Harry, it's not exactly for, I guess it's hair that butterflies have and we're not painting it in exactly true to nature. This is not a photorealistic painting, but we do want to suggest that texture a little bit. So I'm painting in those strokes. I haven't actually looked at a close-up photograph of a butterfly before I painted this. But I'm fairly sure that the hair doesn't cover the entire head. I'm just adding a bit of luck color overall to the head. But I mean this is so small and the main attention is really on the wings. So it's not worth obsessing over this too much at the moment. This is now the very concentrated Payne's gray, like I said before, if you want to do this in black and you can do it in black. I don't have black in my palette. So whenever I want to paint something that looks black, I use a very concentrated Payne's gray and that for me does the check. And I'm painting in these little eyes or circles just to add a bit of interests because I thought the butterfly looked a bit boring without anything on it. Most butterflies, they do have these circles at the top and also on the bottom of her wings. I'm painting those in. If you don't want to do this, you don't have to. I keep saying that in this chapter, the antennas are also Payne's gray. I'm being really careful here because I really don't want them to be too thick. Again, my brush is barely touching the paper. You could also do this with a fine liner if you want to, if you have a very thin one. I'm thinking, okay, what else do I want to do? Painting in more circles. Now I'm realizing fat, what I painted is not symmetrical. Because I painted over, uh, my, my outlines in the beginning. I didn't paint them in exactly the way they were. So now I'm like, Where do I put the dot? But it's fine. It's one of those things that no one will notice. So now we're pretty much done with the butterfly. I'm, I've picked up some concentrated took Clause again. And I decided I want to add little lines there at the top. And then I'm going over my lines here and there where I feel like they need to be defined a little more. What I'm doing now is I'm using my clean wet brush and I'm just swiping over the hairy texture because it was a bit too it looked a bit too rough, so I wanted to smooth it over. Sorry, my camera crashed here for a second but you didn't miss anything. All I'm doing now is like I said, adding a few, few more lines here and there. Very fine lines. This is pretty much it. I hope you've enjoyed it and please share your results in the project section. 7. Green Scooter : Welcome to this chapter. We are now going to paint the screen vesper or scooter. Most of this illustration will be small areas wet and wet so that we can practice and blending and creating highlights. Then the rest of it we'll just be adding details wet on dry mostly. It's a pretty straightforward illustration and I hope you'll enjoy it. So let's begin by mixing up some colors. Alright, so before I begin mixing colors are usually wet, olive my pants with the spray. It just makes it a bit easier to get the color out. Now, I'm mixing up some yellow ocher. This is just pure yellow ocher. Then we'll have some burnt sienna. These are just the pure pigments, but I am painting them out for you so that you can see what they look like. We have two different greens for all of the metal parts of the scooter or the colored parts. This is hookers green, dark. I like using it as just what if my favorite greens. Then down there, we'll have some hookers, green dark as well, but mixed with sap green to make it a bit lighter. This is the darker shade will be using this for the second layer of the scooter. This is the one that's a bit lighter with sap green and I'm realizing I need it even brighter. I'm adding more sap green to the mix and also a bit more water. That's looking a bit brighter. Then we have some handles and headlights in this good her and those will be painted with Payne's gray. And we'll be using a diluted version and then one that's a bit thicker. So it almost looks like black. I don't have a black in my palette, but if you do, you're also happy to use Mars Black or lamp black for the parts that are supposed to look like black. Here I'm just marking the screen for you. That will be our light green and not the one in the middle. For brushes, I'm holding a size four to 50 here. But I will also be using a brush number 0 at some point for the details. And I'll start with this front part here. And we think this is the size two brush. And I start by wetting the whole area that I want to paint. With this scooter. It's good to be very mindful of your edges because we don't want the different materials to blend into each other. So I'm really taking my time here wetting the area and making sure I don't wet where I don't want the paint to go. Now I have the lighter sap green mix on my brush. And in one fairly swift motion, I'm painting along the edge of this shape that we've wet it with water. This is what will basically be doing for the whole project. Is wet an area and then pick up some paint. And then paint along the edges of that shape so that the color will softly blend in. And then we'll take a clean wet brush and blend it in even further, making sure we don't have any hard edges. That's basically the main technique we'll be using here. Now I have a clean wet brush and I'm painting over the edges of the green paint, just making sure that I don't have any hard edges. And that way we'll create, create a sense of roundness. Now I'm doing the same thing down here again, wetting the smaller area with water. It is fairly small, but I decided to be consistent with the technique. Even though it is small, I still do wet and wet just so that we can practice it. Now I'm coming in with a lighter green mix again. All of this is the first layer. By the way, we're going to do the whole thing in one layer with the lighter green and then we'll let it dry and do the same thing over again with the hookers green dark. Just to create some depth and roundness and make it, make it look nice and shiny. Here I'm doing the same thing. I'm wetting the outside edges. And then I'm cleaning off my brush and smoothing it over and making sure I didn't have any hard edges. Now to the little back we'll same thing again, wetting it with water. Then I'm putting down some green mix, too much painting along the edges of that oval shape and letting it blend into the middle. Now I'm going to let this dry and start painting in the seat. To do that, I'm picking up some yellow ocher and I'm painting this on dry paper. Now the seat is a different material. The green parts, the green is matter. The seed would be leather or plastic. And it won't have that bright shiny reflection that we're achieving with the white paper in the green parts. This is why I'm painting this in with a solid color just all over, but it is a fairly light wash of yellow ocher nonetheless. Just make sure you paint within the lines and feel free to pick a smaller brush here. By the way, I'm still holding my size two, but I could probably do this easier with a size 0 brush. I'm just being mindful of my edges so I don't paint into the other parts. Now, I'm letting the C dry and I'm wetting part in the middle. This is like the biggest part of green that will be painting. And it's the same procedure again, wetting the whole area, making sure I don't wet the match where the feet go. Because that will also be burnt sienna in the end. And now I have the light green mix again. I'm painting along the outside edges of the shape and letting it blend into the medulla. Also makes sure you don't paint over this bottom part, which will be Payne's gray and a different metal in the end. Now I'm painting down the middle so that we'll have some lighter stripes, which will also suggest reflections. Now I'm just going over the edges to clean them up and make sure everything is nice and even, even smooth. Now I'm moving to the front wheel. Same thing. I'm wetting it with water first and then I'll take the light green mix and paint along the edges and make sure I smooth it in, smooth it out. Now I'm moving to all the gray parts. I'm picking up the very diluted payne's gray and I'm painting in the front wheel. I'm doing this on dry paper. I'm also painting in the back. I have a bit of color left in my brush. This area around the flop, the front light is also gray methods. I'm also painting this in with the diluted payne's gray. This is just the first layer. We are going to go over this with a darker Payne's gray and create some highlights and bring out the shapes a bit more. Now this is also going to be gray. This is kind of like the thing where you put your foot and step onto the best way is painting it on dry paper as well. Some yellow ocher, again, just a tiny little triangle. This is where the feet go. Again, this is also the first layer. And then we'll be talking about up with burnt sienna just as we will do with the seat. This part of the back wheel is also going to be green. I let both areas that are next to a dry before I paint it. This one. Again, I'm putting down some water and then I'm picking up the light green mix. And I'm painting in the top and then the bottom. In the middle, I'm leaving a little white spots. And this is also a reflection where the sunlight hits it and it appears almost white. Make sure you leave a little bit of whitespace there. It's so easy to lose those highlights because you leave two little initially and then you blend in and then it's all gone. This is burnt. Sorry, this is yellow ocher again, just filling in that part of the seat on dry paper also. Then we have the I don't even know what is cloud top part with some green as well. This is also on, I'm on dry paper because the area is so small. If there is not really a point in wetting, it will just create a bit of a mess. I think. We'll go back in with some Hooker's green dark and create some, some shapes and roundness. Thinking, where do I go? Let's go here. This is Payne's gray. Please feel free to really use a smaller brush for these little bits and pieces. This is my 50 oppression now, Just because once you go over the edges and then it doesn't look nice and clean anymore. And you're kind of like losing that definition that you want with this type of illustration. So pick a smaller brush. Always pick the tools that suit you best. Painting this n and letting it dry. Painting in the backside of the mirror. Here I'm not painting in the whole area but just the outside along the edge. And then I'm cleaning off my brush and just blending it in, basically like we did with the in parts. There's the headlight. The headlight is class in the middle and then it also has a metal ring that on the outside of it. And I'm painting this in first with some diluted payne's gray. I've zoomed in for you a little bit so you can see I think this is much better. Yeah, and I'm letting this dry and then once it's dry, I'll paint in the class part of the headlights. So now I'm coming back down to the front wheel and it's completely dry. I'm wetting it with water so that I can then pick up my smaller brush that's loaded with concentrated Payne's gray and I'm swiftly moving along the edges of the wheel and letting it blend in to the middle. Picking up some more Payne's gray because I wanted to even darker. The rubber wheels are black. After all. I do want at least the outside edges of the wheel to appear as if there are black. If you have black in your palette, feel free to use it. Now I'm coming in with a very small brush and I'm just painting some little stripe stair to suggest that the texture of the wheel structure of it, not sure how to say, I'm just painting that over it. This is my size 0 brush. Now, this is also diluted payne's gray and I'm painting in the remaining parts of the wheel on dry paper. I'm looking at the back wheel and I'm thinking This needs a smaller brush. I'm going over it with Payne's gray again, but I'm not painting this in as much detail as the front wheel, of course, because it's just really tucked away in the backend. It's small and it doesn't need a lot of detail. Now I have Payne's gray again and I'm painting in the outside of that lower lies, just like we did at the top. I'm going over this one again because I wanted a bit darker. Now we can start to paint the second layer of green. That means we're doing exactly the same thing as we did with the first layer. Only we're going to use the darker green mix switches, just pure hookers, green dark. And we're wetting all the areas before we start to paint. And then we pick out up our dark green and paint along the edges of the shape again. Then to blend it in, you can clean off your brush and just soften the edges a bit. Same thing in the middle, wetting it with water again. Then darkening the colors. Since hookers green dark. I'm just running my brush along the edges. Our first wash of light green gives us a good orientation of where we need to put more color in the next layer. So I'm basically going over those areas again and darkening them in deepening them. That's basically all this is going to repeat this for the remaining green parts that we still have. I'm going to speed this up a bit as we've done it before. And you can paint for yourself and meet me again here when you're done. Now, I'm coming back to the seat again. I'm putting down a bit of water and then I'm picking up my very small brush. It's loaded with pure burnt sienna. And I'm painting along the edges of the seat and letting it blend in. I'm going to smooth it out a bit. Down here, the same thing. A little bit of water and then some pure burnt sienna to give it more color and depth. Now for the headlight, um, this is some diluted payne's gray and I'm basically painting all over it except and leaving a couple of white stripes. That was suggest reflections in the glass. It's the same. When we're painting windows in a house, you basically painted, paint the glass in gray and you leaving white areas for sunlight reflections. This is also on dry paper. Now I'm just going over the remaining details again. The smallest bits in areas down here, for example. This needs some more Payne's gray. Wherever you feel like you haven't already painted a second layer, like here at the front, for example. I put down some water again and then I have concentrated Payne's gray and I'm painting along the edges again. You can now just deep in any area or any, any color, any tone where you feel like it needs a bit more shadow or a bit more highlights. Now I'm painting in the gas and the brake with some very concentrated Payne's gray and really just filling in the remaining bits and pieces. And then we're basically done. Down here. I'm going over the stripes that I painted in the reference outline. This lower part of the seat also needs a second layer with burnt sienna to match the rest. Now we're practically done once this is dry. I hope you've really enjoyed this one. And I just wanted to say that I would love to see what you painted. So please snap a quick photo and share it here in the project section. Then I hope to see you in the next chapter. 8. Lemon : Hello and welcome to this lesson. We are now going to paint these lovely bright lemons. I love painting lemons for me. They are synonymous with summer and the Mediterranean. And they're just so much fun to paint. And I decided to include them in this class because they are the perfect subject to practice, shading and creating light and shadow. And that is something that you can never get enough practice off in my opinion. So let's get started and dive right in. For brushes. I have a small 30 brush and then I size two and size for synthetic round brush. The colors that we're going to be using are very simple. I'm now mixing up some lemon yellow. We're going to need a lot of that. This is some lemon yellow mixed with orange. I already had it on my palette. I am going to need more of that though. Then for the shadow areas, we're going to use a bit of burnt sienna. Just because burnt sienna is actually a very, very, very dark orange and it's a good shadow color for these yellow lemons. Then we have two little leaves, and I'm going to keep those relatively simple. It is just sap green mixed with yellow lemon. That is lemon yellow, I'm sorry, I always say that the other way around. And then for the dark areas of the leaves, we just have some pure sap green. And that's it for the colors. I've transferred the outline onto my watercolor paper, and I'm just lightening the pencil lines a little bit. It'd be a shame if they, if you could see them through the finished painting. They're still quite, quite distinct on the paper here, but that's just so that you can see it on the camera. I will rub them out even more after I've put down the first wash because the yellow is very transparent even when the painting is done. And I don't want the pencil lines to show through. Now I'm picking up the pure lemon yellow and I'm putting it down on dry paper. This is very diluted color because I just want to establish complex the first layer. I'm making sure that I don't paint over the highlight area. I've penciled the highlight areas and for you as well, they are fairly large, but in my experience, it's always better to pencil lemon bigger because you will end up moving in on them and they will get smaller. So just to be on the safe side that you don't lose your highlight altogether, it's better to plan it out bigger than it will eventually be in the end. Now I'm picking up the orangey mix. I'm just dotting it in while my paper is still wet. I'm doing this on the bottom of the lemon slice. And also where kind of like leans against the other two slices or lemons. Because this is where we're gonna have more shadow. So it's darker. I'm dotting it in and not just painting it in with smooth strokes because the lemons, they have this kind of dotted, uneven structure. So they're not completely smooth like an apple. We're going to achieve getting this texture look by really dotting the color in every layer that we're going to paint. Now I'm letting the first one dry. It's always better to let it dry completely minus deliberate ****. But I think I'm just being impatient here. I'm wetting the bigger lemon this time just because it's a bigger area. And I don't want to have to rush when I put down my first wash. That's what I'm doing now this is again lemon yellow, very diluted. And I'm making sure that I'm painting around the highlight area. I'm trying not to touch it here. I'm just being mindful of my edges. But I'm pretty much letting the color just bleed into the center of the fruit. Now I'm doing the same thing while the lemon is still wet and picking up the orange mix and I'm dotting it along the outsides of the lemon. And also this this top part where it would be attached to the twig. And also down here, where there'll be a cast shadow from the other two pieces of lemon. I'm really just dotting my brush on the paper to achieve this kind of texture. And it's going to build, if we add one or two more layers and it's just going to build up and become more visible and pronounced. Now I'm just cleaning off my brush and we're going to move over to the leaves and put a first layer down on them. I'm wetting them with water first because I want that, that typical watercolor look on those leaves. I don't want to paint them too realistic because this is just a fun illustration and it doesn't have to be completely true to nature. And I don't know if you saw, but I only put the water on one side of the leaf because we're going to get a hard edge where this big vein runs down the middle right there. And that's going to get us a nice separation or hard line. Only put it on one side. Then I'm just blending it in a little bit. And then when that's dry, we're going to do the other side. You can get into so much detail with painting leaves. It is ridiculous. Painting the veins in painting them negatively. People go crazy with leaves. But I'm keeping this relatively simply simple. We just have this one that's running down the middle. That will be enough for us here. Just like helping the paint run along. Wrapped out a bit too much of the second leaf. So I'm just trying it back in again and also wearing that side with water. I'm going to do the same thing as we did on the first leaf. Now we're going to let this dry and come back to the lemons. I'm mixing up some more lemon yellow, diluting it with water. And I'm painting in the outside of the bottom lemon slides. And if you look carefully, you can see that I'm not painting all the way in. There is going to be a white stripe between the peel and the actual fruity part. So don't paint over that because that's going to be it's going to be white or grayish. Then I'm also mixing up some cadmium yellow. And I'm dotting it in just as we did before. This is now my small size, 0 brush. If you don't have a darker yellow like this one, you can also use orange and mix it with a lot of lemon yellow to brighten it up. I always say that really use whatever colors you already have in your palette. The ones I'm using are just the ones I have, so they're more suggestions then the mandatory mandatory materials that you need, you can really use whatever you have. Now, we're going to paint the slices of the lemon. And you know how they have this separation. And we're going to paint all of these slices separately so that we get a hard line down the middle. Just as we did with the leaves. I'm painting. I'm putting down some water first. And then I'm picking up the yellow and just running my brush along the outside lines of it that we have that we get that separation between the slices. And we also have a bit of a gradient and it's lighter in the middle. That's the first wash. And then we're going to paint over it with some more detail. So I'm just going to go ahead and do this. When you paint the different slices, always leave one in-between so that it has time to dry. And then you can just paint along for yourself and maybe meet we went, you're done. You can really see the separations down the, down the middle of each slice. And that's because we painted them wet and wet and let it dry one at a time. Now coming back to the leaves and we're going to do exactly the same thing as we did before. I'm wetting it with water a little bit and then I'm picking up the sap green, lemon yellow mix and painting along the outside edges of the leaf and then. Letting it blend in and try. Now it's time to come back to the lemons. Before I actually put down this paint, I'm looking at it and I'm realizing I wanted to rub out those pinch those pencil lines. It's always best to do that in the very early stages. Meeting after you've put down the first layer, because as you keep putting paint onto your paper, it'll just cover the pencil and you won't be able to rub it out anymore. And I really don't want pencil showing through our lovely vibrant and light yellow painting. I'm doing this and I'm sorry about my camera is actually attached to my desk. So it's it's moving too much. I hope you're not getting dizzy. I might need to change that at some point. I'm really robbing them out. We just don't need the pencil lines anymore at this stage because we've put down the first wash of everything. So we can know where the highlight areas are and we can see all the outlines so we can just keep painting like this. It already looks much nicer, I think. Now it's time to put down the second layer of paint. Again, this is the lemon yellow. And I'm working with my small brush here. I'm painting on dry paper and all I'm doing is I'm just dotting in more color. I'm adding a bit more water to the mix because it was too concentrated. I'm just dotting alongside the form of my lemon where I think there'd be more concentrated paint. And I'm really just being sloppy with my brush. That makes any sense. I'm just moving it across. Moving it over the paper. I'm trying to be very irregular with it. Again, this is meant to create that typical lemon texture of appeal. I'm being careful to leave out the highlight area. And at the bottom here where it's still wet, I'm actually adding a little bit of the sap green, lemon, yellow mix because that just creates a bit of shadow. And this is the burnt sienna. Know, it's orange, sorry. Feel free to play with the colors here a little bit. The main objective is to build the colors and build the highlight areas and build the shadow areas just bit by bit. And as it dries, you can just add a little more. Here. Like I said in the beginning now I'm actually moving into my highlight areas because of course they're not going to be completely white because that will look a bit unnatural. I'm putting down a little bit of color in there, but it's very dilute and I'm just starting it in so that I have a smooth gradient from the shadow area to the highlight area. I'm pretty much happy with this and I'm in a second, I'm going to move onto. The big lemon. And I'm going to do exactly the same thing just in the bright yellow mix. And then add a bit of light orange or dark yellow in places where you feel like it needs them. Then at the very top of the lemon where it was attached to the twig and the tree. I am going to use a bit of the burnt sienna and also green. So feel free to do your own thing here at this stage. I'm going to keep doing this and you can come back to the video or look up again when you're done with your second layer. Now I'm letting the big lemon dry and I'm coming back down to this one and I'm doing the same thing again. I'm picking up a bit more pigment and just dotting it in onto the outer edge of the lemon just to give it more form and more color. Now while this is drying, I'm coming back yet again to the first slides that we did. And again it is the same procedure, picking up my, my yellow and dotting it in because I need more contrast here, I need more color. Lemon is so bright and pale that it doesn't really, you can't really see it. You can't really see the gradient, the shadow areas, so it needs to be more pronounced. And I'm just doing that. Also here at the top. And then you can slowly see the actual shape of the lemon emerged from the paper. We need to make it look more three-dimensional. Now I'm pretty happy with the tonal value of the two upper lemons. I think. If you feel like you need a bit more color, just keep working on it until you're happy. Now it's time to come back to this lower lemon and paint some more details onto the slices. If you picture any citrus fruit, you'll remember that they have the big slices, but then each of that slice is made of these little separations. And I'm not painting those in hyper realistically, I'm just suggesting them so that your eye and your brain can make sense of them and recognize it. Again, I'm doing one slice at a time and I'm leaving one out in-between to give it time to dry. And I'm just painting in these wobbly lines, basically, leaving a lot of white in-between. Just to suggest these small little, I don't even know what they're called, but you know what I mean? So you can see how I'm doing this and it's really not very It's not very detailed. It's just a suggestion of more detail. Just watch me do it and then you can go ahead with your own. Now we're pretty much done. I'm quite happy with those little details. I think I'm just gonna leave it like that because if I start overworking it, I'm only going to lose those tiny little highlights and then it won't look like a lemon anymore. So all I'm doing now is I'm mixing up a tiny bit of gray because I'm looking at this open slides and I'm thinking it shouldn't actually be paper white. So this is just a little bit of Payne's gray. It's very diluted. And I'm painting along this white section of the lemon peel just to, just to tone it down a bit because it's just the pure white was too bright. So I'm just doing that. You don't have to do that if you don't want to, but I suggest you do. I'm really just is putting down a super diluted bit of Payne's gray, no fuss, no mass. And then I'm also going to put it down in the center of the lemon because there would be a tiny bit of shadow in there, I think. But then that's pretty much it. We're done with the lemon. I hope you enjoyed it. Please share your finished painting. I would love to see them in the project section and see you in the next chapter. 9. Sandcastle : Hi and welcome to this chapter. We're now going to paint an illustration that's a little bit bigger in size, but that doesn't mean that you need to be intimidated. It's not that complicated after all. When I put together this collection of some illustration, I thought, okay, what do I want to include? And I wanted to keep it as diverse as possible. A piece of architecture. I also just wanted to do it with the ones. And since we're on a summer holiday here, a sand castle is the perfect fit. So I really hope you're having fun with this one. And let's just get started. The colors that we're going to mix for this illustration are very simple. All we need is sand colors and different tones. The main color is going to be pure yellow ocher. And you can mix up quite a bit of that because you're going to need it for most of this painting. I'm just mixing it up here, adding a bit more water and then I'll just show you what it looks like on the paper. But you've seen it before at this point. And then this is a very diluted version of the yellow ocher. We're going to use that for the very first wash, the sand causal. Then we're also going to need some shadow tones. The shadow tones are going to be burnt umber, That's the brown that I have in my palette. If you have a different brown like Van **** brown or sepia, you can also use that. And I'm mixing it with the yellow ocher again. This is the first shadow color. And it's just, it is quite a bit darker, but it's still it still has yellow ocher shining through. And then we're going to paint cast shadows on the sand Khosla, to create the effect that the sun is really shining bright. And we're going to paint those with pure dark brown. This is the outline. There are quite a few lines here. Make sure you really paint them in thoroughly. And I'm going to put down the first wash of color, which is just pure yellow ocher. And I'm holding a size six brush here. And I'm going to paint this on dry paper all over the whole cost except for where the sand is at the bottom. I'm going to paint the sand last. Unlock going to put the color on all at once. But I'm going to paint in sections. Because when you paint in sections and let each section dry, you're going to get hard lines on the edges of it. And we do want that here so that we can have a separation between the towers and the different parts of the buildings. Use a fairly diluted version or mix of the yellow ocher. Paint each section in separately, always leaving one in-between. Like I am here. Not letting that dry. Moving over to this part, this is actually a very simple painting exercise. It is a bit time-consuming. But that's just due to the fact that you really should paint every little section separately. So it might take a bit of time, but it's not hard to do at all. So now I'm painting in the front part that has the gate. I'm also painting all over the gate and the windows by the way. So you don't need to just barely Windows. Since we're painting on dry paper here, chances are that you may get a hard water line. At some stage. If you do, it's really not a problem at all because just think about the material that the sound causal is made of. It is sand. It's not completely even. It's not like a flat stone building that has no no natural material in it, so to speak. But I think you know what I mean? It is okay if the sand castle is a bit patchy, if you get a hard line here and there because it is sad. So I thought that makes it a bit more easy. When you're just getting started with painting architecture. Now that these bits are dry, I'm painting in the smaller areas here. It's really a bit by bit. I'm going to continue to do this because it is a bit time-consuming and you can just keep doing this. Yourself, and then we can all meet back here at the video when we're done with this first layer. I finished it and I've let it dry completely. What I'm doing now is rub out the pencil lines as much as I can. You're welcome to do the same. Sorry about my camera shaking here a little bit. Now the pencil lines are rubbed out and we're gonna start with putting in some shadow. And I have a size two brush here. And I'm picking up the darker yellow ocher mix that we made with the brown makes sense. I'm painting alongside one edge of this tower in a fairly swift motion. And then I have my slightly larger number four brush that is clean, just has a bit of water on it. And I am smoothing out that color so that it blends evenly into the rest of the the rest of the tower. And just adding a bit more. What we're gonna do for each of those sections of the castle is put color on either side and create a sense of roundness so that it looks three-dimensional and pops off the page. And we're going to do that with this. With that makes that we have here right now. Sorry. I'm just grabbing some world thought and painting along this side now. Same thing, it's on dry paper. Now I have to turn the page because it's just easier for my hand. Feel free to turn in whichever direction helps you paint lines more evenly. I have the clean wet brush here again, and I'm just smoothing the color out. I'm adding a bit more because it wasn't enough. This is actually one of the most basic painting techniques that you'll need in watercolor, creating round shapes. That's this one right here. Again, we're painting in sections and don't paint the next section That's right next to the one that's dry. I'm picking this one. The smaller these Tower and roofs get, please downsize your paint brushes accordingly. This is the size toothbrush if that's too big for you, feel free to use a size 0 brush, whatever suits you best really. Then I'm using the clean brush again to smooth it out a little bit. I'm going to keep doing exactly this for all of the round shapes. The sand causal, Just making sure it blends nice and evenly. And I always use a different clean brush for that because it's a quicker process. Otherwise, I wouldn't I wouldn't need to clean out the one that has color on it. And then this is just a more effective way of doing it. This tower is a little bit bigger and I'm wetting it with water first so that my color blends more easily. Also, feel free to do all of this wet and wet if it helps you create a soft gradient. I'm wetting it with water. Pulling the color down on the side. On this side as well. Then we can already see how the towers are becoming round and stop being flat. Bar at the bottom there to suggest a bit of shadow. Then just smoothing the pigment out and I'm picking up the clean brush again, this slightly bigger one. I'm just going over the pigment there, cleaning up the edges, making sure it's clean. Now I'm moving on to this little roof here. I'm wetting it with water first. You can also do it on dry paper. That's really up to you. Whatever your preferences, whatever you feel more comfortable doing and picking up the semi, semi dark brown mix again. And I'm painting on either side of the roof. I'm also making a mess here. I'm painting on either side and cleaning up the edges. Then it also looks like the sun is hitting it, like right in the middle and the the edges of the roof are proceeding a little bit. And I'm doing the same thing here, putting down water first, then using the semi dark brown mix and dotting it in and being careful not to use too much. As the areas gets smaller, you will probably want to paint it on dry paper because that'll be easier. If you have a really small area, some of them are really small, then paint on dry paper because then it's easier to blend it in with a clean brush. So I'm going to do this again for the rest of the costs. Well, because it is time-consuming and you don't need to watch me do all of this. Again, feel free to paint for yourself. Or you can also skip ahead a little bit and hit pause for when I'm done and then just paint after what I've done. So yep. See you in a little bit. I'm done with the second layer now, this is what it looks like. You can press pause now and paint after what I've done. Now it's time to put in some more shadows and we're going to use the I have burnt umber, but you can use whatever Doc Brown you have. And I'm picking up a smaller brush. I think this is a size 0 or 20 even. Then, I'm going to start painting in the little windows. So the windows are going to be a lot darker than the rest because it's where the sun don't shine. So there's going to be a dark shadow in them. And so we're going to paint all of those in. This is very simple and quick. The windows are not going to have any more detail than that. You can just go in and go ahead and do that. Some of them are quite small, like the ones at the top. If you need a smaller brush, feel free to change your brush size. This is on dry paper, by the way. I'm going to paint in large gate at the front and I'm using a bigger brush there. You can use a size two are size four brush for that. And also just painted in all over with the darker brown mix. This is the smaller brush again, maintaining the rest of the Windows Phone inside the capsule. Now we're done with our two base washes and all that's left to do is paint in the cast shadows. So for this, we're going to use pure dark brown. And I decided not to pencil in the cast shadows just to know, it's a bit of a challenge. I'm just looking at my painting and I'm thinking, okay, if the Sun were to shine on the right side of the castle, where would the shadows be and what kind of shape, what they have. Unlocked painting this from a reference photos. So this is a bit of guesswork, but as long as it looks realistic, it's fine. In my opinion. I'm painting the pure burnt umber on dry paper with my size two brush. I'm going to do exactly this for the whole painting. I'm just pausing and looking and thinking, Okay, what could, what could the next shadow area B, what might it look like? What kind of shape would it have? We're done with the cast shadows. And now all that's left to do is paint in the sand that's at the bottom, at the bottom of a sand castle. We're going to do this wet and wet. So I'm putting down some water first. Just all over the sand area. I'm just trying not to put it over the actual causal because we don't want it to bleed into each other. Making sure it's nice and evenly wet. And then we need some more pure yellow ocher because this is again the base sand color that we had before. Now I'm just putting down the color. This can be a bit uneven because it's the sand that hasn't been molded or put into any shape or form. It can be uneven and a bit blotchy and a bit lighter here and darker here. So try to suggest some like little bumps and dense maybe that will make it look more realistic. I'm going to use the darker brown and I'm going to put it in a few areas of penciled them in for you. And to create a bit of shadow here as well. Little bit at the back there, it might be darker there. Then you can see how we're creating a bit of shape and form. It's basically landscape painting. If you painted landscapes with some hills, this would pretty much be what you'd be doing, except with different colors. Of course. This is again yellow ocher, just where I feel that I need a bit more. This is pretty much it. I'm going to dry everything off with my hairdryer now. You can also just let it sit and dry, make a coffee in the meantime, or a cup of tea. Now that everything is completely dry, I can come back with my soft eraser and try to get rid of all the remaining pencil lines that I can see through my painting. If you can't see any pencil lines in yours because yours is maybe a bit darker or your pencil was lighter in the beginning, then you don't need to bother with this. But I'm just trying to clean it up a little bit. Then we're done. This is it. I really hope you enjoyed this piece of architecture that's a little bit different. I had a lot of fun painting this. I would really love to see your paintings in the project section. So please just take a quick photo and share it so that we can all look at it. And I hope to see you in the next chapter. 10. Beach Outfit: Hello and welcome back. I thought after we've just painted the sand castle, it be fun to just stay at the beach and paint this little peach outfit. And compared to the sand castle, this is a very simple illustration. It's not very complicated, but it's still fun and it looks cute. I thought that would be a bit more relaxing. For brushes. I have a size two and a size 0 brush. And I'm going to show you the colors that I use really quick. You don't have to use the colors that I'm using in this illustration. Feel free to paint the bikini and pink or green or whichever color you want to use. Mine really are just a suggestion here. I'm mixing up some yellow ocher. This is the base color for the flip-flops and the hat as well. And then I'm mixing yellow ocher with some burnt umber. This will be the, the shadow color for the shoes and the hat. If you don't have burnt umber, just use any brown that you have. Then I'm using Winsor orange for the flip-flops. But like I said, you can paint them in any color that you like. Then some cadmium yellow for the ribbon on the hat. The bikini, I decided to paint an ultramarine. We'll have one more diluted mix and one that's a bit more concentrated. The dots that I painted on. Really feel free to take as much artistic license with these little illustrations if you want, if you don't want dots on your bikini paint stripes or whatever you like. This is an S6 sized paper and I've arranged the three pieces of the outfit like that. But you can also paint them next to each other if you like. Whatever you want. Basically, this is pure yellow ocher and I'm painting in a sort of base color on the flip-flops. This is on dry paper and I'm using my size two brush. I'm just making sure here that I don't paint over the straps. But other things that is just very simple. Very simple. First question. Now I'm doing the same thing on the other shoe. Yellow ocher on dry paper. While the shoes are drying, I'm moving over to the sun hat. I'm doing the same thing again. I am putting down a light wash of pure yellow ocher on dry paper. I'm just making sure that I don't paint over the ribbon. I'm painting the bottom part first. Then the top part. Now I'm letting them dry and moving over to the bikini, picking up the ultramarine blue. I'm painting it in. This is also a very basic background wash first layer. However, however we want to call it. And here I am painting along the edges and then I'm blending it out towards the middle to create a bit of light and shadow. I'm doing exactly the same thing. On the top. I'm painting along the outsides of the shape. And then I'm cleaning off my brush and blending the color into the middle with some clean water. And that way we'll get a nice effect of light and shadow. Now that every little illustration has its first layer, I'm coming back down to the flip-flops and I'm putting down a little bit of water and then I'm picking up the slightly darker brown mix that we made. I'm adding a bit of shadow and form to the shoes. So I thought it would look a bit more interesting if they had a slightly darker color at the top and as well at the at the bottom. Sorry. It is really early here while I'm recording this voice-over. So excuse, if I'm stuttering a little bit, maybe I need more coffee. Anyway. I'm just blending the color out a little bit. I'm not painting it into darkness, just a little highlights into. Create a bit more interest, so to speak. And I'm doing the same thing on the other shoe, little bit of water and then I'm going in with the darker brown mix. And I'm cleaning off my brush and then I'm just helping the pigments move along a little bit. Same thing at the top here. Just making sure I'm not going to paint over the straps. Now I'm just blending the color out a little bit. While the shoes dry, I'm coming back to the sun hat. So it's basically the same procedure as we did in the first layer when we paint it the first layer. Now I'm putting down some water and I'm also going to add the darker brown mix on one side of the hat to suggest a bit of a cast shadow maybe. And then I'm also going to paint it along the outside edge just to create a bit more form and interest. Again, I'm just letting everything dry. And while it does, I'm coming back to the bikini. I'm picking up the concentrated ultramarine. Like I said in the beginning. If you decided to paint it in another color, then just make sure you have a more concentrated version of that color. And I'm using my size 0 brush here. And I'm painting in that a few little dots. I'm trying to make them look even which is never easy. So I'm also painting like half dots and quarter dots on the quarter sized dots on the outsides of the fabric where it would be cut off and you only see a fraction of the pattern, whichever pattern it is. Then I'm doing exactly the same thing on the top. Non also adding a bit more color to the nuts were at the bikini it together. This isn't very detail. It's quite loose actually, but I just want to make it match with the rest of the bikini. I'm adding a bit more color. Okay, let's come back to the shoes and just add the last bit of detail, which are the scraps. I'm painting them in orange. Like I said, if you want to choose a different color, you are very welcome to. This is just pure Winsor orange on dry paper as well. I'm really just painting it in. There is a little area on the very right side of that flip-flop where the fabric kind of bends or twists. You can add a little bit of shadow, right where twists to make it look a bit more three-dimensional. But if that's too small and fidgety for you, you can just paint it in as it is. That was my phone chiming, sorry. The hat is also getting a bit of color. This is cadmium yellow. I'm also just painting it on dry paper. Very simple. Not just looking at it again. I'm thinking, okay, maybe I do want to add a bit more color to the flip-flops because they do look kind of pale. Maybe I should have chosen a different color than orange because it's quite similar to the yellow ocher. I've picked up a very small brush. I think this is a 50 or 100 even. I am giving a bit of an outline as if they were bit of fabric on the outsides. I'm really just painting along, along the lines there to make it look a bit more interesting. Now I'm also coming back to the hat again. I've picked up some of the darker brown mix that we made. And this is still my very, very smaller brush. And I'm just painting these interrupted lines around it all. Well, I'm covering all of it with a basically I'm trying to imitate kind of structure or texture that a straw hat would have because it looked a bit plane without any more detail on it. So I'm just painting these all over. Then it will look a bit more interesting. The same in the top part. That's it. We're done. I hope you enjoyed it and I hope to see you in the next chapter. 11. Popsicle : Hi and welcome back to this lesson. We are now going to paint something that must not be most from any summer illustration collection. And it is an ice cream popsicle. This one is strawberry, and it's mostly painted wet and wet. And it's fairly quick, but all the more fun to paint. Alright, so let's start with mixing some colors really quick. We're going to start with, don't run away. We're going to start with two shades of red that we're going to use. This is Winsor red. And I'm going to mix up here. We're going to use it pure as it is. Needs some more, can be fairly concentrated. Then I also have some Winsor red for the second shade, and I'm going to mix it with permanent rose. Really easy. I thought let's keep this fairly simple. Standing some more water. This is the pure Winsor red. This is Winsor red with some permanent rose. You can see it's much more pink. To pick, maybe like that. Then my other palette, I have some pure yellow ocher left from a previous illustration, and I'm going to use that. I always add more even though I have enough. Why? This is pure yellow ocher. Then the dark brown is some pure burnt umber. If you don't have burnt umber, use any other brown that you have. Cpr, Van **** brown. It doesn't really matter. So that's it for colors. I'm going to start painting the first layer. And we'll paint this wet in wet. So I'm putting down quite a bit of water over the popsicle, all over it, except for where the strawberry is, because we're going to paint that separately. Not wetting the strawberry. Just the ice cream as a whole. I'm also not wetting the little stick at the bottom. And then I'm coming in with my Winsor red permanent rose mix. And I'm just covering all of it basically. This is an illustration where we actually don't want an even wash. We want it to be a bit blotchy and uneven. Just going to look more natural sense. It's it's a popsicle and you'll have some areas where there's more fruit or less. So it shouldn't be, it shouldn't be completely even. Now I'm coming in with the pure Winsor red. This is very concentrated. I'm putting it down in areas where I really want a very rich, deep color. You can put it down where I am or you can find your own little blotchy patterns for this one, it really, there is no rule, it doesn't matter. All I'm doing is making sure that I have nice, clean edges. This is a size two brush, by the way. I'm painting along the edges and I'm also painting in this little droplet at the bottom where the ice cream is melting and it's just tripping a little bit. I'm just trying not to paint outside the edges there. Try to do all of this while the paper is still wet so that you'll get this typical watercolor look with the colors blending and moving across the paper. Wherever I feel that the paper is starting to dry a little bit, I'm just dropping in more color because it really, it doesn't have to be even at all. I'm also painting alongside the strawberry. Maybe to suggest a little bit of shadow. Have a clean wet brush and I'm just smoothing it out a little bit, helping the color move along a little bit. This is some more pure Winsor red. I really want this to be very vibrant and bright. And I find that with reds, you usually need a couple of layers to really get that vibrancy. The color, I don't know what it is about reds, but it also feels like they try a bit more dollar than other pigments. Blues, for example. We're going to paint, I think two or three layers here. Just cleaning up the edges again. Okay, So this is the first layer and it is now completely dry. I'm picking up the pure yellow ocher to paint in the little stick at the bottom. This is on dry paper. Just an even wash all over. But make sure the rest of the popsicle is dry otherwise the the wood is going to bleed into the ice cream and that wouldn't be nice, that wouldn't make any sense. Just always be sure that you let your, your previous washes dry. Now we're going to paint in the strawberry. This is also wet and wet. I have my size two brush here still. I'm putting down a bit of water all over the strawberry. This is not a hyper-realistic slides of strawberry, by the way, were just suggesting the fruit with just enough details so that you can recognize it and see it for what it is. And I'm now picking up the Winsor red permanent rose mix. And I'm painting in the middle section. We have a very small section that is going to be almost white. And then a middle one that's light pink. And then avoid concentrated pink on the outside. That is also kind of the appeal of a strawberry. Now I have a very small brush. This is a 50 brush. You could probably also do this with just a number 0. Just use whatever small brush you have that's good for details. My paper is drying really quickly today. I don't know why. I'm putting down some more water here. If yours is still wet, you don't need to do this. Then again, the number 50 brush. And this is very concentrated red, pink mix that we have. And I'm just painting alongside the edges. Then I'm letting it bleed into the middle of the fruits. So we have a dry, clean edge on the outside and we have a soft edge towards the inside. And that's what we want with the strawberry. Just cleaned off my brush and I'm feathering the color out a little bit. Just to suggest the structure of the strawberry. Then I'm picking up some more of the red pink mix and just adding it because it wasn't dark enough. Then again with a clean brush, I'm just feathering it out. Checking if the rest of my popsicle is really dry, which it is, I'm letting the strawberry dry and I'm putting down a second layer of red and pink on the popsicle. And we're going to do this the same way as we did the first one, meaning water first. Please let your strawberry dry completely before you do this. By the way, think I'm being a bit premature here with my water. Just all over again. Then I'm picking up some more Winsor red. And I'm putting it more or less in the same area where I did before. This is very concentrated. Red because we want a really, really deep colors. So don't be afraid to use your thickest mix ever and go all in and just see what happens. I just wanted to bleed into the ice cream and do its thing. This is a clean, wet number four brush. I'm just helping the color move along a little bit because the mix is quite thick, so it doesn't move as fast as more diluted color mixes. Wood. Paper has dried a little bit again on the top. And I'm just cleaning up the edge on the left-hand side there. And this is the number two brush again and pure concentrated Winsor red. And I'm also painting alongside the edge at the top there. Maybe it's going to suggest a bit of roundness if the outside is a bit darker. I'm just really trying to have a clean, clean edge there. And then I'm dropping color here and there in the middle. This is a clean brush. Again. I'm trying to help the color move along. If you get any blooms or hard lines where the paint has dried like right in the middle of your illustration. This is perfectly fine for those popsicle. You can be, you can be sloppy with your work here because it's just going to help it make more help make it more realistic. Sorry. I've added some more water because again, it's dried fairly quickly and just drop in some more color. A bit of a mess there. I'm thinking, where do I want more? My happy. Now I've let that dry completely. And we're coming back to the strawberry. I again, I'm wetting the strawberry, but this time only the outside section of it. And I'm using my small brush again. And this is pure Winsor red. And I'm just going over that outside edge again because it doesn't look doesn't really look like a strawberry to me at those points. So I felt like I needed to work on it a little bit more. I'm doing the same thing as I did before. I'm putting down the color along the outside edge and then I'm just wiping off my brush and I'm feathering the color out a little bit to suggest the texture of the strawberry a bit more. And I'm letting this dry and while it dries, I am picking up the burnt umber, the dark brown. And I'm also using my very small brush and I'm painting a few stripes, few fine lines onto the stick of the popsicle. It's wood and I just wanted to create that look. Now I'm letting everything dry. And I'm mixing up some more Winsor red and I'm mixing it with quite a bit of water this time because I'm looking at the popsicle and I'm thinking it's not vibrant enough. And this is exactly what I mean when it comes to red pigments. This is the size four brush and I am doing what is called glazing, which is putting down an even wash all over the whole illustration on dry paper. And it's just going to darken everything. And it's just adding more color and making it more vibrant. With this one, we actually don't want to get any hard lines. So this is why, this is why I put it on fairly quickly because glazing should always be a very even wash. Now I'm working on the little stick a bit more on the lines that I painted down there were a bit too pronounced and harsh. After it dried. I'm just going over them with a clean, wet brush and just smoothing it out a little bit. Now I'm trying everything off with a hairdryer because we're going to add some white highlights now and I want it to be completely bone-dry. When we do this. Before we do that, I'm just rubbing out the pencil lines that I have in the strawberry. I could see them through and I didn't want that. So just trying to run them out a little bit. Sorry for the camera being a bit wonky here. It is attached to my desk. So whenever I move the desk too much, the camera moves with it. I will fix that. Now everything is dry and the lines are rubbed out. And I'm using a white gel pen. And I'm just painting in a few little white highlights. This is going to create shiny look on the popsicle. Just makes it pop a little more. If you don't have a white gel pen and you have white gouache or white watercolor. You can mix that up and use a very small brush and put down these little highlights. Just always use whatever you have in your materials that might work best. This is pretty much it. Just looking where I wouldn't need some more maybe down here. So thank you very much for watching. I hope you've had fun in this tutorial, in this class. I hope that you are going to share all of your paintings, all of the illustrations that you've created. And I hope to see you in the next class. 12. Your Feedback: Alright, well you've made it or at least I hope you did. Thank you so much for watching my class. I hope you had a wonderful time with the sum of illustrations. Please do give me a little bit of feedback if you have a second here on Skillshare, I just like to know your opinion if you've enjoyed the class, if it was too easy or too hard for you. If you have a second, I'd be really grateful for your feedback and I hope to see you in the next class. Let's get in touch that stay in touch, and let's keep painting together. Thank you.