Irina Trzaskos, Waterfallcolor Artist & Illustrator
Irina Trzaskos, Waterfallcolor Artist & Illustrator
3. Draw a cherry
4. Color mixing
5. Paint the first layer
6. Paint the cherry
7. Adding shadows
8. Final considerations
The level is set based on the opinion of most of the students who have reviewed this class. The teacher’s recommendation is displayed until at least 5 student responses are collected.
About this class
This class is suitable for beginners.
In this lesson I will explain step by step how to paint realistic looking watercolor cherries, the same techniques can be used to paint any berry (preferably straight shape).
Trova le foto di riferimento di vari frutti di bosco e "ricette" colorate nella sezione del design della classe.
If you are new to the medium of watercolor and would like to understand it better, I have 2 lessons on the basics of watercolor:
The lessons are concise and fun.
This course is aimed at designers, illustrators or naturalistic sketchbooks who use watercolors or are interested in watercolor media.
Know your teacher
Waterfallcolor Artist & Illustrator
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Practical class project
Painting berries is a lot of fun. Hope you like this design.
For this lesson you will need the following supplies:
- Farba akwarelowa (ja używam farb akwarelowych "Białe noce" Nevskaya Palitra)
- Watercolor paper (I used Canson, 140 lb cold press)
- A sharp pencil
- Medium sized round watercolor brush with a good tip (I used Da Vinci Kolisky Sable # 4).
- A small watercolor brush for details (I used Kolinski’s sable # 2)
- Flat synthetic brush
- Paper towels
- Color palette
- Optional watercolor masking fluid
For class activities, paint round cherries or berries with me as you see fit.
See the reference photos below:
Recipes of colors for different berries:
If you have any questions about the watercolor courses or the techniques I use, I will be happy to answer you.
I can’t wait to see your beautiful works in the Classroom Design Gallery!
Thank you for taking my course, x Irina.
Degrees of degree
In October 2018, we updated our review system to improve the way we collect feedback. The following are reviews written prior to this update.
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Tuesday 22nd November 2016
How to Paint Luscious Cherries in Waterfallcolor
Configure the topic
Purchase a handful of ripe cherries in the store. Choose to find the perfect one at its best. They come in a variety of colors, from yellow, to bright orange red, to dark brown. Choose the one you like or get an assortment of colors. Look for cherries that still have stems. If a leaf isn’t attached, do your online research to see how they are shaped, their color and their size compared to the round fruit.
Configure your still life composition. Place the objects you intend to paint near where you will be working. You need to see the subject clearly, up close and in good light.
Keep cherries as the main topic as they are in the center. However, include one or two additional elements to make the arrangement more attractive. For instance; an interesting bowl or container. The glass will have the advantage of being transparent, so you can paint what you see through it. Argento o altri oggetti in metallo rifletteranno la luce e i riflessi renderanno il lavoro eclettico.
Place the cherries on a white or smooth material. Gather and twist the fabric lightly for interesting folds. These folds can act as lines to lead the viewer’s eye through the painting. The simplicity of the fabric will ensure that we focus on fruit.
Design and sketches
Configure your watercolor colors. Any type or style is fine; dried flakes or squeezed tube colors on a clean palette.
Get a sheet of 140 # watercolor paper. Use one side with a watercolor pad or a quarter (about 11 “X 14”) of good watercolor paper. Choose a watercolor brush set that includes a soft watercolor brush or small, medium, and large tip brush, flat, inch, bevel brush, and lining brush. Use a water filled gastronomy container to activate and dilute the colors and rinse the brush. Keep tissues or paper towels handy.
Design your project lightly. Start with the cherries as circles, keeping their natural size. Concentrate and apply some, but let the few drift away from the core mass. The stems should diverge in many directions. Aggiungi le foglie per riempire gli spazi vuoti o i bordi di un mazzo di ciliegie. If you are adding a vase or vase, draw it.
The highlights will help with this, so draw a small circle on each cherry so that the highlight remains unpainted. If necessary, keep the paper white with a drop of masking liquid or French fries. Or just plan to paint around small points of light.
- The second way to give cherries the illusion of roundness is to control the light falling on objects. Decide which direction the light is coming from and be consistent when painting objects. The side closest to the light source should be brighter, almost as if it appears washed out, than the opposite side. If you can’t actually see such dramatic light, fake it.
Dampen a few circles on the cherries while maintaining the reflections, keeping the area dry to resist the paint. Load the brush with paint and tap it on the shadow side or the light source side. Waterfall przeniesie kolor na cały kształt wiśni. The richer color deposit will be on the shadow side and the sparse, lighter color on the opposite side. Add another batch of red paint on the dark side. Make sure the strokes are semicircular to mimic the round shape of a cherry.
Paint some cherry shapes without wetting them first. Again, work to get three red values for each cherry; pale pink on the light side, medium shades and a darker and richer color on the shadow side.
When wet, the paint casts shadows. Extrude a small rounded shape of color from the cherry to create a subtle shadow. Do this in one swish of the brush and don’t try to alter or edit the shadow. Try combining it with the glaze at some point. If the cherry red is too light to fade, rub it lightly with a tissue to lighten it. Or add some green to neutralize it and make it gray.
The paint comes out the same way. Wet some leaves and work with dry paper. Use a variety of vegetables; from yellow-green to dark green. Again keeping the three green color values. When wet, scratch the vein pattern with the sharp edge of an old plastic credit card or paint the veins with a pointed brush. First, create the center line as a wavy line to give the illusion that the leaf is alive, slightly curved and twisted. Or, perform a combination of both techniques and get the influx veins out of the main.
Look closely at the stems of the cherries. They are a little thicker at the other end and look perfect like three bronze values. Tilt them in all directions. Let it dry.
Adding details and background
Work on a cloth under the cherries. Use a pencil to mark the lines through which the material flows from under the cherry. If necessary, add interesting edges to the drape. Paint the shadows on the fabric with neutral brown or diluted gray. Soften an edge by sliding the waterline along the gray shadow.
To create the illusion of a silver container, paint along the edges of the object in shades of gray. Show me some thoughts. The red cherries, green leaves, and stems can all be reflected, but to give the illusion of distance, make just one or two of the reflected cherries realistic and the others will fade away as loose spots.
- To indicate that a container is glass, show the color and shape markings behind it. Paint the glass again only on the edges of the object. Let the piece dry.
If you want to add a background, do so at this point. Place a contrasting or deep neutral color in the space above the curtain. Let the image dry again.
Add the latest revisions. Use a linear brush or a pointed brush loaded with a dark shade of paint. Discuss what to point out in the group of cherries, in the leaves, and in the plate. Draw these dark lines with a fine, pointed brush. Dgranicz narysowane linie do minimum i staraj się nie zarysować całych kształtów.
Support the painting again, take a step back and study it. Leave to dry overnight and review remotely. Repeat the changes but try to keep them minimal.
Ddłóż obraz.Throughout the year it will remind you of the beauty of nature.
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Eventually I started writing another art tutorial. It is almost the end of July and it is World Waterfallcolor Month. This month I challenged myself not to paint flowers, so this tutorial is all about painting cherries. The reference photo for this image is from Pexels.
I always start with a drawing and mark all the points where I put the lights and shadows.
I used Raphael Kolinsky round brushes (sizes 2 and 4) and Daler-Rowney watercolors. For this image I used crimson alizarin, cadmium red, prussian blue, porcelain white, viridian and ocher yellow.
For the colors I wanted, they are close to the dark red of meaty cherries. I play with these three colors: Alizarin Scarlet, Cadmium Red, Prussian Blue. When I paint areas and shadows, I mix scarlet alizarin with Prussian blue. I used individual colors to match different shades of cherry.
Whenever I start painting, I am always afraid of wasting time painting and ending up with unsatisfactory painting. I like to scare myself like this. (Praning-praningan. heheheh) When I started, the first cherry didn’t look like a cherry at all. Honestly, I wasn’t sure if I could paint it, but I kept painting. The painting took me almost two hours.
As you can see there were some areas that I avoided painting, these are the areas to highlight. Cherries have a glossy skin. To show this sheen, it is necessary to leave the areas unpainted as it is easier to add color to these areas later than to remove the pigment. For me, in the process of painting, the marks in the drawing are useful, where to place lights and shadows. I have not yet developed the ability to paint from memory. I still have to plan how to approach a certain image. I always look at the reference photo as a whole and try to understand where the light source is and how the light casts shadows on the surface. I also try to identify the different colors on the object, so even though we can see that the cherry is dark red, you can see different shades of red and these shades depend on how the light illuminates the surface. In this way, I study the topic to be as close to reality as possible.
In every painting I work on, I always have a handkerchief near the palette to easily wipe off excess water on the brush. I also have another sheet on the side where I check if I have mixed the right color.
My usual painting technique when using watercolors is to apply dry, more saturated strokes of color to the dark areas and gradually spread the color with a wet brush. I use this technique when my subject is a flower, fruit or animal. It seems that I am very confident and precise about my strokes and colors. In fact, I actually look at the reference photo from time to time and paint different shades on different areas as I see fit.
At this point, the image slowly takes shape. Attention to detail is important in realistic images. Every little underline and delicate stroke make up the whole image. This is one of the advantages of learning to paint; you tend to be very insightful in your surroundings.
All these colors used to paint the cherries are different colors obtained by mixing alizarin crimson, cadmium red and Prussian blue. These are the specific pigments I used. You can also try the different shades of red available in your palette. Try experimenting with a light red, medium red and dark blue pigment or any combination of red and blue. Cherries have different stages of maturity and varieties, so different combinations of red and blue can still produce a realistic image.
Painting the mason jar can seem complicated. It is easier to paint it by studying the jar. Understand that this jar is a clean object. There is no color. Ddbicie wiśni na powierzchni mówi nam, że jest to szklany słoik. Also, try to observe how the light hits the surface. As for the rim and the grooves of the jar, I can see shades from light gray to gray on the surface of the glass. I used the existing colors on my palette. I mixed everything that made the compound almost black, and when I mix black with white it turns gray. The different shades of gray depend on the amount of white mixed. That way I didn’t have to deal with a black paint tube. Dszczędzam na farbie dzięki kolorom, które już mam w swojej palecie.
When you paint the jar, you don’t have to paint the whole shape. Just paint the reflection and shadows and when you are done you can already see the shape of the container. When I look at the reference photo, I’m really trying to identify some very dark areas and recreate them in the image. The contrast between light and dark adds depth and makes the image lifelike.
Eventually, I looked through the image and started mixing colors until I was happy with the effect.
This is the finished image.
This is a YouTube video of the process.
Cool craft projects, devious recipes, and other art stuff.
EDIT: Here is a photo of the painting we did in today’s live stream. It was a lot of fun and not too difficult, I hope you try!
Hello friends! I have a skill building exercise for you today! I’ll show you how to get the smooth, shiny, lifelike texture of these juicy cherries from this photo.
Dto szkic treningowy, który właśnie opracowałem:
We will paint it live today at 12:30 PM EST. You can watch the live or a replay in the player below, but if you want to chat with other painters or ask me questions live you have to watch on YouTube.
Supplies available from sponsor Jerry’s Artarama: http://www. jerrysartarama. com/ Use coupon code: frugal20FS49 for 20% off $49 + Free Shipping (Excludes: Sale, Super Sale, Egift Cards, Buy It Try It’s and Vendor restricted items. Look for the green coupon eligible icon on the product listing
- Akwarele Sennelier * Crimson, Carmine, Ultramarine, Dlive green, Yellow Dchre
- Synthetic Squirrel Mimik Brushes
- Watercolor paper flakes
- White gel pen (optional)
*** Dstatnie 4 dni, aby zaoszczędzić 50% na moim kursie akwareli.
Learn techniques for mixing great colors, masking, washing perfectly and more! This course covers the techniques I think every watercolor painter should know to easily create beautiful images that look effortless. Upon completion of this course, you will have three beautiful pre-made images representing the techniques you have learned. You can complete these lessons at your own pace and return as many times as you want, you will have access for life! This is a beginner’s course that combines basic and more advanced techniques in a relaxed and easy-to-follow format. Find out more or sign up today!
I hope you have a great weekend and maybe take some time to paint, the weather looks like it will be fine in the Northeast, so my paint job might include a ladder and a trim! Thank you for spending time with me today and until the next happy creation!
Learn to Paint Glass in Waterfallcolor
It’s easier than you think!
There’s a reason Soon Warren’s workshop, Vibrant Waterfallcolor Techniques: Painting Glass is getting 5-star reviews. Actually, for a few reasons, but they all boil down to this: great science on a great topic: watercolor glass painting.
He soon introduces some of his favorite watercolor techniques with easy instructions, and the topic is delightful: painting a bowl full of cherries. But while he might conjure up an image of Santa Claus for people getting ready for Christmas next month (next month actually), these berries evoke the sweet, tart flavor of early summer.
Go to the production section
It’s a fun video to watch, both because Soon offers delightful, easy-to-follow art instructions, and because painting glass that can be so daunting becomes something any of us can do with ease. There’s a playfulness to this video, even as you get solid tips and tricks for getting your watercolors just right, each time. There’s something fascinating about watching the way she blends her colors to create these luscious berries, and if you like the versatility of watercolors, you’ll really enjoy how the watercolor techniques Soon employs complement that freedom and movement, even while creating strong lines and forms. With clean lines and vibrant color, you’ll love the easy elegance of this still life and you’ll be ready to apply it to your own compositions.
- how to prevent watercolor paper from warping
- wet-on-wet and wet-on-dry watercolor technique
- how to mix watercolor directly on paper
- line work to add sparkle
By the time you’re done with this video, we bet you’ll have some watercolors you’ll want to hang in the kitchen and dining room, inspiring you to eat – and paint – well!
“Everything comes from something” and so is the art. All artists are influenced by what they see and experience. For Laurin McCracken, his watercolors were heavily influenced by Dutch and Flemish still lifes of the 16th and 17th centuries, with which she has encountered many travels. The works of the Dutch painter Willem Kalf, with their vivid colors and luscious black backgrounds, are of particular influence in McCracken’s work.
Kalf and his peers were masters at recording the world around them as they saw it, in great detail. They were fantastic technicians who developed the craft of painting while developing a style of painting to document what they saw with great precision. When McCracken paints, he is influenced by both the subject matter and the painting style of these artists.
McCracken’s first goal is to capture objects of his interest, as well as Dutch and Flemish. Artists such as Willem Claesz Heda, Jan Davidz de Heem and Pieter Claesz noted the growing wealth of the world around them as Dutch ships traveled the world and returned with richness and interesting new items such as blue and white porcelain from China. McCracken believes we live in an age of similar wealth, which should be similarly recorded. He uses this historical influence to perpetuate some of the most beautiful objects in his life: flowers, clouds, toys, decorative crystals and cutlery, the glass he grew up on. In short, anything that attracts McCracken’s eye and spurs his imagination.
McCracken’s second goal is to capture these objects in a high level of detail. This is not the style of painting that is usually associated with the medium of watercolor. McCracken wants viewers of his works to see not only the objects in the photo, but also the reflections and other optical effects in these objects. For example, at first glance, silver appears to be a series of grays with some dark shadows and very bright highlights. McCracken also sees the colors that silver picks up from surrounding objects. Identifying these reflections is an additional challenge. The position of the reflex is not always as simple as the ones above
thick kettle belly. The flower may bounce off the underside of the curved handle and the side of the kettle away from the flower. It’s these kinds of details that can only be discovered by careful observation.
‘Cherries, Silver & Chinese Porcelain’, Waterfallcolor by Laurin McCracken
This painting was created using DANIEL SMITH Waterfallcolors and Escoda Versatil Brushes on Fabriano Artistico 300 pound Soft-to press paper. (Bottom right) Photo of a still life cut out for drawing. This is one of the many photos taken during the photo shoot. The fabric and white are too warm. This was corrected in the image creation process.
DANIEL SMITH palette by Laurina McCracken:
The detailed drawing was created by projecting the image onto watercolor paper using a high resolution LCD projector. The painting began with the lighter objects; chinese vase and fabric background.
Moving from left to right, the main objects in the last row have been painted. Each piece was individually masked. Dbraz został pokryty cienką kalką kreślarską, to każdy przedmiot został wyeksponowany tak, jak miał być malowany, to obszar wokół niego został zamaskowany taśmą kreślarską.
Then the fabric in the foreground was painted, followed by the cherries and the crystal bowl. The highlights of all the objects in the photo were masked with DANIEL SMITH Artists Masking Fluid.
Dstatni ciemny przedmiot, srebrna filiżanka, została pomalowana zwracając szczególną uwagę na odbicia w srebrze.
A primer was applied to the bottom areas prior to the final application of the black paint. Dbszar pod stołem został po raz pierwszy pomalowany Burnt Sienna, aby harmonizował z blatem stołu. Blue paint enlivens the blue of the porcelain.
Dstateczna czerń tła powstaje w jednej warstwie. The paint is relatively thick and after drying it is “scrubbed” with an old paintbrush to remove the brush strokes and break up the surface of the paint so that it has a velvety finish and does not reflect light.
Reference photo for Cherries, Silver & Chinese Porcelain, Waterfallcolor by Laurin McCracken
Zdjęcie obrazu zostało zrobione aparatem Canon EDS SD5, aby uzyskać najwyższą możliwą rozdzielczość obrazu do zgłaszania do konkursów i publikacji.
‘Cherries, Silver & Chinese Porcelain’, Waterfallcolor by Laurin McCracken
‘Cherries, Silver & Chinese Porcelain’ Waterfallcolor by Laurin McCracken
McCracken’s photorealistic style has been particularly well received in the Far East, where realism becomes an established approach to painting. For example, in 2015, he had two paintings (Lady Churchill Cigars and Stereopticon) accepted into the 6th Beijing Biennial, China’s top exhibition for all types of art. This is the third year that McCracken is the only American watercolorist whose work has been accepted into the program. Two museums in China have also purchased paintings for their permanent collections. The National Art Museum of China purchased the Stereopticon as one of nine paintings purchased for the 6th Beijing Biennial. The Asian Museum of Waterfallcolor Art in Haikou City purchased Underwood. Finally, his painting Bottles on a Wooden Box was accepted into the SIWB-NWS (Shenzhen International Waterfallcolor Biennial – National Waterfallcolor Society of USA) International Small Image Exchange Exhibit in Luohu Art Museum, Shenzhen, China, and his painting. Still Life with Tea was juried into the Shenzhen International Waterfallcolor Biennial in the Shenzhen Art Museum, Shenzhen, China.
Small Waterfallcolors and Hand Painted Silk Scarves by Jill Rosoff
D Making Browns and Greys in Waterfallcolor
February 27, 2013
Whenever I want browns or grays in my paint, I mix them. I don’t use brown, black or gray paint in my palette. I’ve just started a new workshop, and realized this is something I tell all my students. When new students sign up for the workshops I send them a supplies list so they’ll be prepared on day one. I don’t include white, either. I like my colors to be bright, clean and not dirty at first. When black, brown, and white are included in a pre-made color set, so be it, but they’re never on my list of colors a new student can purchase.
Why do I believe it? Because it’s easier than pie to mix your grays and browns, and when you do, the colors are so much more interesting. I marroni e i grigi possono essere miscelati utilizzando diverse combinazioni della triade di colori primari o delle triadi secondarie o terziarie.
Various warm browns mixed with purple and yellow or orange (top and bottom)
Do you want a nice dark chocolate? Use alizarin, some cobalt or even purple and a nice cadmium orange. Modify the amount of each color added to achieve the desired hue.
red and green for a cool brown, drop-in and mixed methods
How about a nice warm payne’s grey? Start with Permanent Blue or French Ultramarine, add some yellow, then some red if needed. Or pink. Again, play with the amounts you add to change the hue.
Payne’s gray, mixed with the primary colors blue and yellow
completely different gray with the use of three versions of the basic colors
So my thought was this: why buy them unless you obviously use a lot of them? I don’t use them much. But also I think that when you mix them either in the palette or on the paper, they’re so much more intriguing. Shadows and dark areas appear much more vivid by using darker color values or by applying a layer of the opposite color to the area where you want the shadow to be. There’s so much more to discover in the painting.
Here’s a question: how often does brown occur in nature? Yes, the ground is brown. There are many animals. Tree trunks, generally, are brown, but there’s so many different colors. If you look at a eucalyptus tree, is the trunk the same color as, say, a sequoia? I find it much more fun to see what I can come up with.
Dettagli, "Fiori di ciliegio", © Jill Rosoff 2012
Last year I painted a picture of Cherry Blossoms. Have you ever noticed that fruit tree branches are sometimes richer in burgundy than brown? If you look closely at this picture, you can see that the branches here are indeed a deep burgundy red. What may not be so obvious is that I first painted each twig with a coat of Alizarin Crimson, a gorgeous, rich, deep, cool red. And while the strokes of color were still wet, I dropped some viridian green. This is a color you just can’t get out of a tube of raw sienna, or burnt umber. It’s a very complex burgundy. That’s right, its in the purplish range, and oh so very interesting! See the full picture here: Cherry Blossoms.
And by the way, do you know where the two browns’ names, sienna and umber, come from? Go to Northern Italy. The land of Siena, Tuscany and Umbria, which is close to Tuscany, has precisely these colors. And the difference between raw and offside? The raw versions are straight off the ground. The burnt, or warmer, versions have literally been burned, where the fire brings out warmer tones. Don’t you just love knowing that?
How to Paint a Portrait: Billie Eilish Edition [Step by Step]
In giapponese, la parola "fiore di ciliegio" è Sakura.
Sakura tree is an integral part of Japanese culture. It appears in ancient and modern works of art, and thousands of cherries grow on the island.
Each year in March, April and May, the cherry trees begin to bloom, attracting thousands of tourists who come to Japan each year to witness this wonderful flowering process.
If you want to bring the beauty of nature home, you should try painting cherry blossoms. All you need is a pencil to draw flowers, an eraser and the color of your choice. We decided to paint with watercolors because the soft colors harmonize perfectly with the delicacy of the cherry blossoms.
Instructions for painting the cherry tree
First, draw a cherry blossom branch. It is useful to find a photo reference that you copy very badly with a pencil. On flickr. en, you will discover numerous close-ups showing the details of the flowers. Just enter Sakura in the search field, and you’ll find lots of photos.
Un esempio particolarmente bello è quello dell’utente di Flickr "benjamine scalvenzi", anche se abbiamo dipinto il nostro motivo dalla nostra immaginazione, cioè senza un riferimento specifico.
At this point, be sure to draw the lines with a hard or medium hard (HB) pencil and a little pressure to erase them later without leaving any traces.
Then you can start painting cherry blossoms. The twig will be added later when the flower shapes are on the paper. That way, you avoid the tree branch’s dark colors to bleed into the much more delicate shades of the flowers.
The advantage of watercolors is their variety of colors, depending on how much water you mix them. For the petals we have prepared only a reddish-brown and medium yellow shade. Thanks to various additions of water, we can identify the light and dark areas of individual flowers. This creates organic shades that blend seamlessly with each other.
Step 3 to paint the cherry blossoms
Dnce the color of the cherry’s petals has dried, you can tackle the branch. The medium shade of brown is used to combine individual flowers and combine compositions with each other.
Now add the stamens inside the flowers in a stronger red or brown shade. Pollen bags at the ends of the stamens can be marked with simple dots.
Once the paint is dry, you can remove the rough design in this step. A curled eraser is ideal for this, as it doesn’t rub the paper as aggressively as a solid eraser.
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