3D Floral Art: Dabbling in Dahlias | Hannie Clark | Skillshare

3D Floral Art: Dabbling in Dahlias

Hannie Clark, Author and Artist

3D Floral Art: Dabbling in Dahlias

Hannie Clark, Author and Artist

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12 Lessons (1h 55m)
    • 1. Welcome!

      5:51
    • 2. Supplies

      7:14
    • 3. Mixing for Backgrounds

      8:51
    • 4. Designing Your Bouquet

      6:06
    • 5. Mixing for Flowers and Leaves

      5:06
    • 6. Sculpting a Classic Dahlia

      11:58
    • 7. Sculpting a Star Sister Dahlia

      18:03
    • 8. Sculpting Ranunculus

      15:40
    • 9. Sculpting Leaves and Stems

      9:21
    • 10. Sculpting Cherry Blossoms

      5:50
    • 11. Detail Work Part 1

      14:35
    • 12. Dahlia Detail2 480

      6:44
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About This Class

3D Floral Art is a unique and exciting Mixed Media art style. Profoundly influenced by the art of Canadian artist Nicolette Valikoski, Russian artist Evgenia Ermilova and Australian artist Alesandro Ljubicic, Hannie Clark developed her own painting style using acrylic paints and a mixture of acrylic mediums to create a 3D effect in her paintings. This class is an introduction to her 3D floral style, with special focus on creating two different kinds of dahlias.

The student will learn:

1) About the special tools and mediums required to create 3D art.

2) How to mix the perfect ratio of medium to paint, that then lends itself to creating a 3D style.

3) They will learn a bit about color and painting composition.

4) They will learn the beginning, simple strokes required to create two different kinds of dahlias, plus filler flowers and two kinds of leaves to compose their own 12"x12" 3D floral painting.

5) They will also learn the very special technique required to varnish their finished 3D piece.  

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Meet Your Teacher

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Hannie Clark

Author and Artist

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Hi there, and welcome to my profile page! I'm Hannie Clark. I am a novelist, children's book author, and a 3D floral artist. I love being creative and am very excited to share my skills with you here on Skillshare! I graduated with a Bachelor's in English lit in 2005 and immediately began my writing journey when I started writing my first novel. Two novels later in 2015, I decided to add a new dream to the mix and began pursuing art and illustration. I've written and illustrated three children's books since, and sell original art pieces in between through my Instagram account @HannieClarkCreative

I believe creativity plays an important role in our happiness and development and isn't given as much priority in today's fast-paced, tech-savvy&nb... See full profile

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Transcripts

1. Welcome!: everyone welcome Teoh, My skills, her class. My name is Hannah Clark. I'm an author and an artist, and I am really excited to share had a unique way of painting with you. This class is three D floral painting, dabbling with dahlias. I'm going to be showing you how to make two different kinds of values in this class. If you took my last class on on three D for a painting that was called the three D floral paintings, start with ridiculous. Um, you'll already know how to make one of the flowers that we're gonna make in this particular piece. If you haven't taken that class, I highly recommend it. But if not, um, you stick around and I will walk you through making all the flowers that we put into this piece here. There are a few other flowers in that other course that I am not going to making in this course. So if you want to learn more flowers to make them, that's a great place to check out somewhere. And I will have planning were coming as well. Um, this is the piece that we're going to be making in this course first of all, let me a little bit of foundation on what three d for a painting is. It's really just what it sounds like. Three d floral painting. It's the flowers stand up off of the off of the panel because of the mediums that we use. And this is these are all acrylic mediums that I'm using here I just mix the mediums with paint, and that's what gives me the the mixture that I I sculpt, kind of sculpt these flowers out of If you want more of an introduction into kind of three D floral art, some other artists that do it if you would like to check out their styles as well I cover a lot of that. In my last course on three D floral painting, I give you some names of some three d floral I artists that I really admire and also kind of show you some of their work so you could get more of a foundation and a familiarity with what I mean when I say 34 art this particular piece, this is the one that we're gonna be creating. We're going to be made working on the your standard Dahlia Flower. Um, this is this is more of a pointy pedals, Dahlia. There's also more of a rounded pedal Dahlia, which you can make By taking this course, I will show you kind of demonstrate to you the different knife that you'll use to create more of a rounded pedal than these, this more pointy pedal. And then we're also going to be creating these star sister dahlias. I will put the correct name. I keep on getting confused on what the correct name is, but it's either star sister or sister start. But they're lovely there. These really pretty red with the white pedals on top, um, flowers here and I will walk you through how to create both of those. Then I will also help you make some ridiculous filler flowers and then these little cherry blossoms. And then, of course, your foiled your leaves to kind of fill in, and I'm gonna walk you through every step of creating this piece right here. Feel free. Teoh. Explore other colors. If you don't like this color palette, that's totally fine. Um, I will be on Lee mixing these colors, though, so if you're not familiar with color mixing. I recommend that you kind of stick with me until you get more familiar with that. I'm And then I will also be going through The well will create the flowers, the foundation of the flowers. And then we will do the detail work after the flowers, the foundation flowers dry. And then after that, I'll show you kind of had to make this more antique. Look around the outside and then we will go ahead and varnish it. So I hope you will stick with me here and, um, learn how to do this three d floral art. It is one of the funnest techniques that I've ever done in art. And I really love it. If you would like Teoh see more of what I do. Please take a look at my instagram of count. That's where I sell my art. It is handy Clark Creative h a N N e Clark C L a r k creative and, um, I post anything that I'm selling up there. Anything that I've created in the past will be up there, and you could just kind of take a look at all the things that are possible with three d four Art. You can also take a look at my website, which is handy clark dot com, and see some of my work up there as well. So I'm really excited to have you guys in Class City now. Let's go get started in creating some three d Dahlia's. 2. Supplies: Hey, everyone, welcome to the supplies portion of my three d floral class on sculpting dahlias. When this segment I'm gonna tell you the supplies that you'll need to start off with, you'll need a 12 by 12 canvas. This is a panel that I get from hobby Lobby there really inexpensive. I usually get him 50% off. This is only $8 at full price. So not another a big spend on the panel, and you'll want to make sure that it's panel. But with the three D floral art, it's quite a bit more heavy than just regular paint. And so you want something really solid. Teoh hold the weight of it, and also it helps you to sculpture flowers a little bit. As for a school palette, Knives goes is a shape. I. I use this one a lot for leaves long skinny leads, and this is just a master's touch one so you could find out of hobby lobby. This one I use for stems and other fine detail work like the inside of flowers. This one is Italy RGM plus it's a size 22. You could just find any long skinny with a with a point of the end. This is for pedals. Ah, little bit bigger pedals. I've got this one which is also in Italy. I believe it's 27 rGM plus Italy. Um, I use this one a lot for leaves and petals, mostly for leaves. But in this tutorial, I'm going to show you how to use it for the bigger pedals on the dahlias. This one is in Italy rGM plus number 19. And it's just this a smaller little pointed one. This is I'm gonna be using this for both Berries, smaller pedals and possibly some leaves. And then this one is just It's rgm Italy as well. I have no idea what the numbers, but it's just kind of ah ah, circular spoon shape on. And I use this one for a lot of things. I use it for scooping out my medium. I use it for making leaves. I use it for making some pedals. I don't I don't know if all use it for pedals in this particular class, I highly recommend investing in one of these. If you want to get more serious about three d floral scoping so the other thing you'll need is you'll need a palette knife to mix your medium with your paint. I have a paint scraper to clean off my palate. For my palate, I use a refurbished panel pane of glass from an old. I believe this is a 16 by 20 inch. I have a really quick tutorial bonus tutorial in my other three D floral class, um, on how to make one of your own. It's super easy. It's just a pane of glass, and I just wrapped the edges and duct tape so that it doesn't cut my hands. That's more of a portable one. And I also put little kind of cushion rubbers on the bottom of the glass so that it it can hold its place. When you set it down with this one, I just take it down to my table because I always do my art on this table. And so to tape it down just makes more sense. The other things that you're gonna need is, of course, Krilic acrylic paint. I'll put a list of the colors that I use in the class information down below so that you can have a list. I use a mixture of golden acrylics as well as so you're golden acrylics as well as the latex heavy body acrylics. I like them both quite a bit. I really love the latex because of the it is ah, thicker substance. And so what? I'm mixing it with the medium's. It really mixes really well and holds its shape for the detail work afterwards, however, I really like that. Go down a lot smoother than I feel the heavy body liquid text do. So really, it's whatever you prefer. You can go really cheap with your paints. You can get the basics liquid Tex paints and do the same thing. They're not gonna be as pigmented, and they might be a little bit softer, so they might not hold their shape as well as these professional grade. But, you know, it's just up to you. Whatever. Ah, level you want to start out with this course? Um, I just recommend, you know, don't super invest in any of these products before you're sure if you really like doing this. So maybe, maybe even just watched the course first and see if it's something that you really like. Now we get to the more expensive part of this course, and that is with the mediums that I mix into my pain. The paints are also expensive, but you can you can kind of gauge that go less expensive for pains if you want to, as far as the medium's go. However, I I would go with the professional grade because they have the quality necessary to create the three D texture that we're looking for this class. So I use three different mediums. Um, you don't have to. You will get, uh, a looser flower that way. But if you want to do the very sculpted flowers that hold their formerly well, you'll want to get all three of these mediums. The 1st 1 is modeling paste. Now this is a 32 ounce. You can get an eight ounce one for quite a bit less expensive, so I'm look for those at your Michaels Hobby lobby. Joanne has them as well, not as much on edge Iran. Or you could just get him at Dick Blix online or Amazon eso modeling paste. I use golden's fiber paste on the modeling face to go with liquid text. That's the best brand I fang. I found fiber paste with golden. I love this stuff. It gives such a cool texture kind of Ah, Matt texture to the flowers. And it's almost like you get kind of an oil painting, sort of a look with it, and then the mat, Super heavy gel. And then I also will use your Matt varnish from by Liquid Tex. I love Matt varnish. I think it gives it such a knee shabby chic look that I really love. So I love to go with the map. I'm you want a spray bottle to clear help you clean off your palate? This isn't 100% necessary. It just makes it a lot easier. If you have a striper spray bottle in hand, you will also want baby white. I use a lot of baby wipes, and I use the cheapest brand. I could spot it. Just help you keep your palate nice, clean and also to clean off your palace. When you're done, you will also need a set of paper. I love using the Filbert Filbert style of brush on, and I usually have A to a four, a six and probably a 10 on hand just to do the variation of detail work that I do in my piece. I wouldn't invest in super expensive brushes. If you have a lazy Susan around that, you don't mind getting paint on or you can also cover it with Saran wrap or something. It's really helpful to have something like this on hand to just turn your flowers while you sculpt them, so not necessary at all. I painted for a good, solid year before I invested in one of these, and it was totally fine. You just have to turn it yourself and that's it. So those are your supplies for this class. I will see you guys in the next lesson on mixing your medium. 3. Mixing for Backgrounds: So the first thing that I'm gonna mix up is the foundation layer that I'm gonna put down just the background color of my piece. I'm gonna do that quickly. I laid down a little bit of parchment paper just so I could just pick it up easily and move it over to drive. You got a little bit of that on hand? Uh, not necessary at all. Just nice. And makes a little bit easier to transport your your piece for this piece. I'm going to do a kind of cream ish background going to be using a little bit one believes Titanium. I'm gonna be using a little bit of my white. I've got this parchment color and I love this color. It's a very nice kind of antique craft, so we're gonna start with white first. Now, on this bottom layer, all I put into the bottom layer is just the fiber paste because it gives us this kind of nice textured base layer. So I'm going to just put down my white, um, and then parchment color and the thing I like about the parchment colors, it has a little bit of a green base and I'm gonna be using a lot of red in this, um, in this piece, and so that having that green contrast in color, I'm hoping for something really kind of lovely with that. So I'm just mixing up my pain to make sure that I have the right color that I want. And I really like that antique sort of white here on that. I'm going to add my fiber pieced. He's gonna take my spoon shaped palette knife, and I'm just gonna start with just one scoop of this. Um, actually, maybe one about 1.5, and I'm just gonna mix that with my paint. And I've got my wipes over here. This is where the wipes come in. Just going to be enough my knife here so that this stuff doesn't harden on it and make it much harder to clean. As you can see, I've I loved these spoons a lot and set them down without cleaning them off right away. So I have little souvenirs left on my nights, but that's okay. All right, so we're just gonna mix this up and the ratio for the background layer. What I would say is probably just like, um, I would go one toe, one ratio. So one part paint one part of the fire paste and you see how that I don't know if you can see that from that far away. But you see how that's given it. Kind of like a a nice little texture to it. It's not that smooth, creamy paint anymore. It's got more of ah, almost. I don't know if I would call it cement, but kind of like a cement texture to it. So that's what we're looking for. Hey, that's mixed pretty well, and I'm just gonna lay this down real quick. And of course, I mean, it also gives it a lot of body to see how that's just sticking on there. Really nice that allows you to make more of a textured background. And so I'm just going to start laying this down, and I just scrape it on. There's no real magic to it. Just do what speaks to you. What what looks that you really like? I don't like to get too terribly texture, because that makes it a little bit trickier to put down your flowers, but I do definitely like texture on my pieces. When you see that texture right there, I'm just kind of scraping it on. That's what I'm looking for. You just like a nice kind of stuccoed. Look, I just want to take it all the way to the edges. Then you want to clean up those edges right away so that they don't dry with little bits on him. You're gonna take the color all the way over to the over to this on the sides. And so you cover the entire panel for the entire friend of the panel. Um, anything that will be showing with this mixture gives you a nice foundation for your all right. Now, this is a little bit bigger than the last pieces that I did on here. I'm and I wanted to do that because I wanted to give you the chance to, uh, create more than one of these dahlias within a piece on also the chance to practice using your filler flowers. Um, if you have taken my last course in your coming back for the 2nd 1 you have already learned those flowers. Um, so it's a good chance to practice those flowers again, and just kind of see how you could use them to feel into a piece. So that's really fun. And so now I'm just gonna tell my piece up and I'm just gonna kind of straight fits along the edge. I want to cover it all because I wanted to look really kind of antique E, I guess. Shabby chic. Look, I guess Bohemian maybe. I don't know. There's all kind of all kinds of words I used to describe these flowers that I do, And so I usually go for a kind of funky ish bohemian. She looked So there we go. We're gonna turn it. Just move on to the next days and you're going to see how this I don't know if you can see , but there's this little crease it edge up here. You just kind of scrape it along and just clean that up because this drives pretty fast. It's one of the things that I love about acrylic paints is that they dry really fast. But then at the same time, I don't love that about acrylic paints, which I think you here. For most artists that work with acrylics is it's a love hate relationship with that particular quality. But I've also done this same floral art in oil pains with using cold wax, and I love the way that it looks, but it takes so long to dry. And so I do not love that quality of it. And I know a lot of oil. Oil artists love that quality about it, but when you're using it so thick, it's just takes months for it to dry. So I prefer my krill. However, I am a huge fan of the way that it looks. It's just so pretty. But I also like the way that the acrylics looks. So it's kind of just a different sort of just a different look. We're about done covering our little piece here. Just gonna clean up these edges, make sure there's nothing sticking on the back of my piece because I don't want it sticking to my paper. But if it does, it's not that big of a deal, cause the parchment will allow it to come up pretty easily. But I just want to make sure that everything is all covered and the texture is the way that I wanted before. I said to decide to drive because, like I said before, it will dry really fast. Okay? And I'm just gonna clean everything asides and the edges. Make sure it's nice and neat, but still has that nice texture. Look, And then I'm just going to settle, decide to dry. And when it is your I'm actually going to use up the rest of this medium here, just kind of scrape it on, especially around the edges, where maybe maybe the flowers won't be covering, um, and then not wasting any. And I'm also getting a more kind of organic text relook, which is what I really love. So there we go. I'm gonna hold it up and let you see a little bit more of the texture here. It's kind of like just a old textured wall look, and I'm gonna just set it aside. As soon as it's dry, we're gonna come back, and I'm gonna teach you how to make the medium with your paint to create the formula for your flower 4. Designing Your Bouquet: Welcome back, everyone. So this is the layout portion of the class, or I'm going to show you kind of how I go about designing my book. First of all, the best way to kind of get the hang of, um, the kind of flower arrangements or style that you like is really to just go followed florist instagram accounts or get on Pinterest or wherever. And just start looking at forests designs and see what really speaks to you both with colors or flowers or whatnot. Of course, in this class were mainly learning how to school Talia's. But as you continue on my courses, that continued that get a pretty broad repertoire of the kind of flowers that you can make , and therefore you can start designing your own bouquets. Now, I've been doing this for long enough that I kind of know what I'm looking for. Layout that I want a lot of times before I really start putting something together, and these were the colors that I'm going to be working with. Um, I've got a nice yellow, really deep red this nice pink, and these were gonna be my flowers, and then I've got my greens right here. And I will probably add darker green like this in here as well. Just Teoh help with the ridiculous that I'm gonna be adding. And so this is my color palette right here and then the design that I'm gonna you're working with. So I've got these two big regular Dahlia is right here and then the three star dahlias. And so these ones are a little bit more tricky. So I added three instead of just the two. And then I got just the big dahlias that are kind of like the focal point of the piece. And then I got my little yellow renown Keolis kind of spread throughout, which was from my last course. You really want to get them down there? My favorite flower to make. So, um, you can go in the other three d flour coarse, and then I've got these little sprays of flowers, and I'm going to go ahead at my template down on my handle, and then we'll onto mixing her to start off with. What I use to create my templates is I have this circular stencil here, and this really helps me get the proportions and just keep things a lot. Almost all flowers that you're gonna make are gonna be in somewhat circular. I they don't ever end up perfectly circular in my pink flowers. And general usually are a little bit more circular and so having circles place so that you can get a better idea of how it's gonna offer panel is is a good idea. I think I'm gonna use the pink one since I've got the pink and the red flowers. Um, and now I'm just going Teoh, put down the circular circle of where my flowers are going to be placed on. I'll start with the big dalliance first, and I'm just going to use this. Of course, this biggest circle sketched that out right there and hopefully you can see I'm not sure how well you could be able to see you see how it's pretty light. But it's just just there enough so that I can see and then I'll put my second die. You're right down in here. And I usually like to have my circles touching. Um, just because I like that group tennis. I mean, these are bull case, so I like him to be pretty grouped together now for the star. Dahlia was 3rd 1 down in size to map those out. Got one there. And then I've got to down here and then for my renown Kilis. I'm going to use this one right here, and it's okay if the circles overlap a little bit because the flowers will overlap a little bit. And as I actually really love the way that that look, I've got another ridiculous straight here and another ridiculous over here. And then I got to up here, so one and then you and then I've got my leaves that I need to sketch. It leaves. I just sketched those right and I don't use the circles, so I've got a big leaf right here than I've got. Got some Another big leaf right here. Center leaves right here. Another big leaf right here. That's, um, typically French here. Here. Do not worry if this is not perfect, because you're gonna be putting stuff over the top of it anyway. So it's not not a big deal. And also, the placement may changes. You put things down, so give yourself some some room to be flexible there, and then I've got my sprayed or smaller flowers. And I think rather than putting so I have another spray down here. I think I'm actually gonna put it up here. Okay, so I've got a pretty general idea of how things were going to be going here on and way go. Okay, so now I'm going to meet you in the next segment where we're going to start mixing paint. I'm gonna show you the ratio of medium to paint and how to get the perfect consistency to start sculpting your flowers. So I will see you in the next second. 5. Mixing for Flowers and Leaves: everyone, welcome back this segment. I'm going to be teaching you how to mix the perfect consistency of paint using the three mediums and your acrylics that I told you about in the supplies this portion of this class . So the first color I'm going to start out with is this paper, the larger Dahlia's and the two colors that I need for this are Naples and a lizard and cream. Gonna start by, of course, mixing my pain. And then I add in the medium's because I want my paint to be just right where I wanted to be before I put in the medium's. Because if you put in the medium's too soon, then you waste a whole lot more, more medium you have, the more pain you have to use to change the color that makes I'm going to start with my maple case. I got my Liz Aerin and my Naples. I'm just gonna mix that up first, see how the color is. That's pretty good. Now the with putting down this the foundation work, oral art is that you always want to go a little bit darker than what you'd like to see in your finished product. Just because I'm gonna be doing a lot of detail work on top of the foundation work, and it's going to lighten it up quite a bit. So if you want really deep rich florals, then you're gonna want to go much dark than the color that you want to end up with this pink. It's I mean, it's pretty close to where I want it, but I'm gonna leave it right there just because I want to be able to lighten it up quite a bit still and still have a good bridge Pink. I guess, um, I am going to add a little bit more paint just because I'm worried that I don't have enough here to make these two march del. You know, I wish that I could dio what you do with oil paints. Usually, I don't know if you followed any kind of, uh, like Nicolette Belkovsky does this kind of really super textured floral art in using oils and cold wax, and she's able to make up all of her colors at once, and I wish I could do that with the cruel expertly just drive too fast. I mean, I've done it before for smaller pieces, and it works Fine. But when you're doing like a bigger piece, you can't mix it all up at once. Other ways you end up with kind of, Ah, a little Krusty top coat over the top of your paint and you don't want. Okay, let's compare that again. That's pretty good. Okay, so I'm gonna add in my media to start with fists modeling paste and the modeling modeling paste is the one that you use the least of it is 4 to 1, so four parts paint toe, one part modeling paste. And the reason why is because this has more of a potential to kind of crack and stuff and also to change the color of your of your M pate. So I've got for the one about there in my modeling paste with my fiber paste, I do more of like, 2 to 1. And so I'm going to add one scoop like that that's probably about 221 And then, with your super heavy gel, you can put in as much as you want. Um, I mean, you don't want to go crazy, but it doesn't really dilute the color at all, or the integrity of the paint. So I usually do about one toe, one, if not 2 to 1, the gel being that the two to the one paint. So, um, that just helps me get plenty of mixture while I'm still not having to use a ton of paint. So hopefully that will be enough to create these two dahlias. All right, so now you just mix it together really well. You just want to make sure you get all the air bubbles out as best you can. You get all the if there's any clumps or anything like that with your modeling paste, make sure you work it in really well and incorporated into the whole mixture so that the your mixture is nice and, um, smooth and almost kind of like the texture of the frosting that you buy from the store in the little containers. That's kind of the the consistency that you want your final mixture to be, and the test that you do to make sure that it's right where you want it to be, is you just scoop it up first you clean it off all the way to make sure you mixing what's closest to your spatula there, and then you just pick it up and turn it over like this. And if it sticks to your spatula, then it is the right consistency. And now I'm going to show you how to make the values. 6. Sculpting a Classic Dahlia: Okay, so your classic Dahlia is made up of lots of pointy pedals. There are There is the other kind of value that is also sort of the classic. That's more of a rounded edge, Dalia. And if I were to make going to make one of those, I would use something more along the lines of I say, Let's see, maybe this sort of a spatula. But since I'm not going to do the curled ones, so if you see over here, if you can see over on my glass, you'd make kind of start with these little round ones like this to make those more of a round peddled Dahlia and I and I think that that's really lovely. Um, and maybe I'll maybe I'll do a class like that. But the thing is, is that if you learn this technique of just doing it with the more pointy tips, then it's the exact same technique. So if you want to do more of a round it off pedal, I think that those Air Justus lovely Um, but it's the same technique, so I really liked OK, so that's kind of the look for one of those more round and dahlias on DSO. But I'm going to do more of the pointy dahlias, and I like to practice over on my palette or my mixing palette just to see how it's going to look before I put it down panel because once you start putting it on your panel, it's quite a bit harder to get it off and the way I'm going to start, I'm going to start by using actually this one. And this is the one that I like to use for my bigger leaves. A swell, but I'm just going to just grab a little bit on the end like this, just a little bit there, and then I'm just going to press it down and I'm gonna make sure you get a point there and pull it down like that, and then we do the same over there. Pull it down. So we're doing kind of a circular motion around our circles, so let's go ahead and see what that's gonna look. We'll start with this top one on. There's our first going to make our little point, because remember, we're doing the pointed Dahlia is here, and the way you get that point is, you just kind of press out onto the tip here, so I'm just setting it down. And then I'm pressing out to the tip than pulling down, pursing out to the tip, employing down. We're pulling back, I guess, is where it what it is rather than down. And I just think values air so pretty there. Just that lovely, perfect circle and so many lovely little pedals there. So pushing out and then back, push out to the tip and then pull back in out to the tip pullback in. See how this circle is so nice to have how it's guiding kind of the placement of my pedals out to the tip and pull back. You don't need a whole lot of this medium toe get a good texture and especially on the first layer, you're gonna want to start with less medium just because you're going to be building up and you don't want your flower just really sticking off the page off the panel. You want there to be, um, shape, but not, you know, an actual flowers sticking off your panel. So because I'll go easy on the first level or first layered and then and then pull back. Okay, Now I'm gonna do this first layer of pedals on this next one down here, out to the tip. Pull back out the tip and pull back you're doing. There's always keep in mind how much medium you're using, because you we'll be doing a few more layers of petals. So I don't want to go crazy on this first level. I was saying before, Okay, now I'm gonna clean this one off, and then I'm going to move down a size. I'm going to use this one. It's my next biggest of the pointy pedals here, and we're gonna do the same thing. We're gonna just scoop up a little bit of mediums and we're going to start placing in between previously or pedals. See how that's extra pointy portion of the palette knife creates more of a deep peddle their I really like that. Look on these dahlias. That's really pretty. And it's funded to do the detail work with as well. You're doing just the exact same ocean you're pushing down towards the edge to make that point and then pulling back down towards the edge, playing back. You just have to make sure just to be careful as you're pulling back, you just want to make sure you're not pulling back too far too quickly because you don't want to take off the pedals that air situated behind it. You don't want toe mess those up. So just just be aware where your polling and then pull up really quickly. It's kind of all this sort of trial and air of creating. You just have to keep on, um, trying it out. Now I'm going. Teoh actually lay in. Maybe one more. Just not a full maybe. Do every few right here through here just to fill it in just a little before I moved down to the next size in my palette. Knives. I don't want it to be too empty in there. Okay, Now we'll do the other one. See how this turntable are. This lazy Susan really helps. Just see, I just got my hand over here, and I'm just gently just pushing it as they need to move. Um, for, like, a whole year. When I first started making these paintings like this, I was doing it by hand, just like kind of holding him up moving them around, and it was fine, and it totally worked. I mean, I didn't know any different, but then I invested in a little lazy Susan, and it just It was like everything sped up so much because I could just, you know, turn just the little, little, tiny push again. Just gonna add a few more of these bigger pedals. Um, Just did here just to kind of feel things out a little bit before I start with the little ones. And again, that same motion of just pressing to the point and pulling back gently, and then we're going Teoh, stop there. One word with these bigger pedals, actually, maybe just one more. Throw that one on right there. Okay, All right. Now I'm going to you go down to my smallest pedal knife, and that is this one right here. It's just the smallest little one. Okay? And then I'm just gonna do the exact same thing on only this one. There won't need to be as much poorer. Still pulling a little bit, but not nearly as much. You can just kind of pressure press the point, and then yep. Still pull back a little bit. And as you get closer into the middle of this flower, um, you're just really trying to kind of fill that in, and then we're gonna kind of, um, do a little bit of texturizing right there in the center to make it look like there's ah lot of pedals, really little petals really close together. So just fill that in, keep going round and round until you filled in the entire flower, and then we're just going to take and we're just going to put some on her knife and we're just gonna lay it down there and then just a little bit more, and we're just going to just kind of start you just touchdown and pull up, and it just creates that sort of like, bunched up petal. Look in the in the middle that you see in flowers, that they still have a bunch more open up if that makes sense. And I'm just going to just do that just a couple of times, not too many, but just to give it more of that tight bunched up petal. Look in the center there. Okay, Now let's do the next one. Looks like I'm going to have plenty of mediums, so that is great. Okay, now we're just doing that the little center thing again with the hello. And I have just pressing down, pulling up a little bit to make lots of little kind of pokey pedals in there in the middle . Okay, here we go. So there are two regular Dahlia's. 7. Sculpting a Star Sister Dahlia: next, we're going to be doing the star, sister dahlias and these air so pretty. I love these values. I'm going to be taken a little bit later of liberties with the color. I'm gonna be using a much darker red. Um, just because I like the contrast between the pink and the darker red better than a writer read. And also, I'm going to make the yellow a little bit paler. So let's clean this up here. And you definitely want to make sure you clean your palate after you have mixed some paint or some mixture because you don't want to mix again over the top of it because it will get all the little dry pieces into your next mixture. And that makes it really difficult for you to sculpt your flowers because there's just these little clumps of stuff inside of it that you know they'll drag through the medium, or they'll just create just kind of bubbles that you don't want there. So make sure you clean up your palate really well before you start mixing your next color. Let's do this is just this one. We're just doing straight up a lizard crimson with maybe just a touch of burnt sienna just to kind of dole the color just a little bit. Just gonna pound about that much is probably good. Just gonna put in just a tiny bit of this burnt sienna here. Now, if you ever have colors that you want a kind of dull a little bit because so also often paints air so bright and vivid with their pigments And if you ever want to dole it a little bit What I found is you can either use burnt Sienna, raw number or Payne's gray, and those where each of those we're going to create a different kind of doling effect to it . And it really just depends on what? What Look, you like the best for this particular painting. I'm gonna go a little bit warmer with the bird Sienna, but my favorite is the wrong number. I really love how wrong number really makes the kind of the tone that it puts into paints when you mix it together, how we're going to enter mediums. Okay, starting with the modeling paste. I remember 1 to 4 our fiber pieced 2 to 1, and then our super heavy gel which is just whatever you need within reason. Okay, We're just making sure we mix it all in now, As you can see, this lightened up quite a bit more. Um and I'm actually kind of a little bit glad about that because I want to add, I think a little bit of pirouette read to this just to make it less purple and were red, but not to read. I mean, I wanted to go with you, Lisbon, because I wanted it to be a richer red's not to purple. So that's the thing with color mixing is you just kind of just kind of have to play around with it. But starting out with less paint to get the color right is always better just because you waste a lot less and then you just add as you go along too. Get just the right color that you're looking for. So I'm gonna add that viral red really quickly. Not too much, just a little bit to start out with, see where it goes, and then more if we need to. That was probably a little bit too much. So I think what happened here is I think I put in a little bit too much of the modeling paste I'm gonna add just a touch more Eliza in. And then I think we'll be good. They go first. Let's do a test. Staying on there pretty good. So it would get. Got a good consistency. And now we're going. Teoh, go ahead and sculpt our star sister Dahlia's all right. Now with the star Sister Dahlia's. We're going to start with this one. That's big, Nice. And we're going Teoh. Just go around the circle once with that with this color. And then what? We're gonna come back in with white and then a yellow. So, um, you just need one layer of the red in this Dahlia. So we're going to start here with this one, and we're gonna dio just what we did in the last. The's dahlias were just gonna go out to the tip push. It's pulled back in, go out to the tip, push, pull back in and it's okay again if they're overlapping, because that's what bouquets do. Go back in. This is pretty. This is a really pretty color election. And again, just be careful while you're pulling back. That you don't pull back and mess up your opposite row pedals, we'll do one more thing. Well, back in. Good. Okay, Now, when we run to the next one and come back out, out, go back in, fish out back in. See, that's what I'm talking about. Here we go. No problem. Not too big of a deal. Go. OK, And now the last one. - E I have a feeling I'm going to have a lot of this red left, so I might be making another piece after this really quickly before it drives. That's okay. It's really pretty color. So I don't mind cups c And sometimes when you're overlapping, you got to be careful as well, because if you don't get enough medium on, then it'll scrape through to the flower underneath it, and then you pull that color into your other colors. So you wanna be careful of that in the way that you do that is just make sure you get enough medium when you're going over the top of another pedal. I'm just gonna have a little bit more right there for that one. And there we go there there's the first layer of pedals for our star sister dahlias. And I'm just going to clean up my palette knife, slide this color aside, and then we will move on to our cream color very quickly. Here, quickly. With this red, you want to make sure that you get it all off, because if any of it gets into the yellow, then it's really going to change the color of that yellow. Okay, so now, first of all, well, or the white, actually. So first we're gonna do the cream I'm going to use to make the cream. I'm going to use just straight up white with a touch of titanium unbleached titanium. Actually, you know what? I've changed my mind. I think instead I'm gonna add a little bit of the Naples yellow to that instead of the embryo team. So just a little bit of that Naples. She can always add more, but you can't take it out. So start with just a little bit, and then see how you feel. Just a little bit more of the yellow. Okay. All right. So we will add our modeling paste too much here. Super heavy. Okay, now, when you're putting something like white on top of this like a red like this, you've got to be really careful. And again, that's that Making sure you have enough of the medium on your knife before you said it down . Because star sister die is they have that really crisp white pedal on top of the red. And so you want to make sure that you don't have any streaking of the red going through, but I mean a little bit of streaking. It's fine because I've seen dahlias star sister dies that do have that a little bit of red vein ing through the pedals. But if you could help it at all, try to keep him as weight as possible. So these white petals, we're gonna look a little bit different than the red or even the pink. There were set out a little bit differently, so I'm going to use a different knife. I'm gonna use this small, skinny one, and the way that they're set out is there kind of go one to like that and they're a little bit rounder on top. It's not totally vital that they are. It's more just kind of the layout, and then you got him the next that is perpendicular to their neighbor. And they're kind of like that and learn with same over here. One, Of course. Try and get him to touch. I think that Teoh and then you got your bottom ones down here that are doing the same thing like this. So they're kind of set up were like in a kind of a cross or a necks, sort of Ah, a format information. So let's go ahead and see those go on to our flowers here. And remember, the key to not streaking them with pink is making sure that you have enough of the medium on your palette knife. So we'll do one too. 345678 So here we go. Got plenty of the medium on my knife here. We're going to start with one. Oh, dear. See. Look, it's got read on the bottom, so you just have to make sure that you kind of keep it on the bottom. We're just gonna slide that law for their. So there's two there. We're gonna go to here, friend. Not very much on that one. So that's good. Not very much red anyway. I mean, to get a little bit more on that one. You kind of have to sort of, like, sculpt your pedal almost or the the way that it is on your knife before you put it down just to make sure that you have all the enough all in the right place. If you kind of have, like, a little mountain kind of going up like that, that's that's usually what I found is the best way for it to go down. That makes any sense. Be foot down. Here we go. I need to put down a little bit more right on top of that one, I think. Here we go. Okay. And then our final one. Her final pair, I guess, needs a little bit more weight to cover it. There we go. Andi, actually going, Teoh, make this put a little bit thicker, Rico. Okay, so that should work. Okay, Now they're not perfect, but flowers aren't perfect. So don't worry. If it's not going down perfectly for you, I find that there's my favorite paintings are the ones that are in perfect and you can see the imperfections. But there's something really beautiful about that to me. so I'm never too precious with my paintings. Of course, I like them to look nice. And and, like, I did it on purpose. But, you know, mistakes happen, but they don't have to be mistakes. They could just be you. Like Bob Ross says, Happy little accidents. So don't stress out. Art is supposed to be fun. There are last two pedals. There we go. Ok, all right. I'm feeling pretty good about those guys. And now I'm going. Teoh, take this lighter and and going, Teoh, actually gather all of this up and I'm gonna mix it with my pink so that it becomes the pink that I used in my and blossoms. 8. Sculpting Ranunculus: Okay, welcome back. Now we're going to move on to the ridiculous. I'm gonna start by mixing my yellow and the yellow that I'm going to create. I'm going to use both yellow Joker and my Naples. And I really love the rich color of the Oakar. But I like the creaminess of the Naples. And so it's reason why I'm mixing them both. First, we're gonna put in the centers of our Dahlia's, and then we'll start in honor. Ridiculous. So to make the centers of the Dahlia is to use the small pointed one. And I'm also going to use mixing knife. And what we're gonna do is we're just gonna take a little bit of this yellow, and I'm just going to scrape it off, and I'm gonna just start trying to form it into a little tiny ball, just kind of turning it over and over, and then I'm just going to lay it down and I'm going to kind of do, uh, like a circle of them. And then one in the middle again turned over to create the ball and then stick it down next to the other one. You want to kind of poke it down a little bit with the tip, turn it over, creating that ball and stick it down next to that one. And again, it's kind of we're trying to give that look of of squished pedals in the middle. You know, there's just so many all bunched up next to each other. That's kind of what word trying to create the impression we're trying to create with this sculpting. Look that one in and actually pending oh, out a little bit there. And then we'll put one in the middle and then just kind of poke the tip of your knife in there and just kind of moving around a little bit. Give it a little bit more texture. Um, like, there's just a bunch of unopened pedals kind of all together right in there. Okay. White in this. A little bit more. So that's a little bit more even circle here. Pull this back in a little bit. Here and there we go. Okay, Now, we're gonna do this two more times with her other days. Now it's time to create heartburn. Oculus? No way will go ahead on start. Gonna use the same knife. The pointed knife and I'm going Teoh, start working around the circle again and and I'll show you. It's it's a certain it's a particular, um, move that you do. And I wish I could assume in with this camera. But what you dio is you are taking your medium got just a little bit on here and I'm just pointing putting down this edge that's facing away from me, the bottom it and you just set it down on on your palate or your panel. And then you just press gently to the side while you're scraping along and that you're creating kind of, Ah, a long skinny, her long, narrow pedal like that, and then you just kind of are overlapping them around in a circle. If you want to know, get a more in depth tutorial on these. Ridiculous. My last course on the three D foils miraculous course has much more in depth, but this is the general idea. This is you just do this over and over again until you fill it in, so I'll show you on the palate. Now we're on the panel and sorry, I keep on calling on the palate, but it is a panel, so All right. Okay, so here we go. We'll start this with this one over here hand. It's gonna overlap over the tip here. Ever get more on when you're going over the top of other colors or other flowers, and then I'm just pressing it down, out, pressing the edge and then going down and out, kind of creating like a wave. Um, with the medium, it's kind of standing up a little bit. You just push it out, shake out, and then you just kind of go back around and start kind of bunching them up next to each other. And I do with the color of the flower. So the yellow I'm going to do about three rows and then I'll come back with a green color in the center, and then I'll do a darker green for the middle. So we're just punching that up right there. Yellows, air A little bit unique because with my other color of ridiculous, I'll do the main color and then I'll do a lighter version of that color. I'll do about two rows of that in the center, or as I go in and then I'll do the green, but with yellows because they're so close to green already. Um, I just do Just go straight to the green, Just make it a more yellow green. So I'm on my third row right now, just pressing down the edge and then pressing out and kind of twisting as we go twisting terroristas we go. That and here's my last one. And now we're gonna move on to next one. So we're gonna start up onto the pedals up here like this? Sure more for when you're up on top of a flower where medium for when you goto Vontobel flower we're pushing out. Trying to create as good of a circle is we can doesn't have to be perfect but because flowers get squished in bouquets. But if you can make it a little bit more and that's always nice to heaven were more of a circle for a circular flower like a ridiculous. The more you squish it, the more that those pedals come up next to each other and it looks it looks really nice. Um, it makes it look more bunched up the way that ridiculous is. Do like they're just so tight together the pedals are. And so, um, I like to just press him right up next to each other to give that bunched up. Look, I like this color palette is a nice kind of early spring, but still kind of a little bit pale, So it's a little still a little bit wintry of a palette. No, I like that. It's nice. It looks like we're gonna have plenty of mediums, so that's good. If you start getting little peaks in your flowers like this, it's usually because you need to clean off your knife. So because the medium will stick to each other, stick to itself. So if you're having those peaks, come on, then you just need to clean after knife and then you can get back to it and it will create much cleaner pedals. OK, there we go. There's two down way. There we go. OK, they stop there. Actually, one more since that, even here we go, OK, and now it is time to move on to the green centers and the color that I have for these center and then the fellow turquoise. So we go ahead, mix that up really quickly, and I'm just going to actually incorporate this medium. And I said, don't mix. Actually, I'm going to set this aside, clear that off and then mix it in because it has gotten a little bit of a bit crusty. And I don't want that ending up my medium. And we're gonna go light on the trick toys because it is very powerful, especially the fallow are always very powerful and go heavy on the okra and see what that gets us. Because this is also going to be one of the colors for my leaves. So one of my sets of leaves So I'm going to quit. Keep that her make quite a bit of it. Now, when your color this color is too bright for me. Um, with these more paler tones, I like to kind of have all the colors match really well. And so with this green, one of the ways that you can also kind of neutralized or color a little bit is to put in the contrast in color, which for green is red and I've got a little bit of this red left from the Dahlia. So I'm just gonna take just a tiny bit of it and mix it into this mixture. And, um and hopefully that will neutralize the green a little bit for me. Yeah, that's working. Nice. Do a little bit more, though, so that's a really easy way, especially if you're already working with contrasting colors to, um, kind of neutralized your tones. So they're not so bright and kind of juvenile colors, um, adding the contrasting or like the burnt Sienna or raw number or Payne's gray. It kind of sophisticates the colors. And I, um you like that? So that's what I'm doing right now heading this read into neutralise the green a little that is working really well, but that Yeah, that's pretty good. I think I might add a little bit more yellow and we will be in good shape. It's a little bit more Oakar just to lighten it up. And then because her at your mediums Yeah, that's perfect. I like that alone. Okay, let's get our little nice again There little pointed peddle night and we're gonna do the exact same thing that we were doing with the ridiculous before were just pressing in the pedals and I usually just do about one turn of the green and then I will take and I'll create a little ball and then press it in just so I'm not messing up the yellow or the I'm the color, um, around it. So I'll do that. And then I will take my mixing knife, grab a big portion of the mixture, and then I'll created into the ball like I was doing with the Dahlia centers. And then I'll just press it in there. And then I'm going to just spread it around to create another what looks like another row of pedals. And then we'll do it again. And this is exactly what I'll do with the darker green to create the center of the dahlias . So there we go. We got her next part. See how it creates kind of a bunched up look right there. So that's already for the center to go in. My name extended, and we're just gonna put in down one using the peddle technique that we were using to create him in the first place. And then we will Teoh the bone that one in there, shape it around. Good. Okay, so now let's do our leaves 9. Sculpting Leaves and Stems: fun to creating our set of leaves. So I'm gonna be using this long, skinny knife that I used with the white petals. And I'm just gonna be really doing the same thing as I did with the pedals just for leaves now, So just getting my medium and just the places where I had these little green skinny leaves I'm just going to start putting down agree the screen color. Just drag it out as faras you need. And it's all kind of about the shape of your leaf that your and these ones were like the long I like the long skinnies to be in there every once in a while. Um, and sometimes you might be like, uh, from your original sketch. You're like, Oh, I don't like that I don't like that placement, and that's totally fine. You just tweak it and, um and that that's what this painting art thing is all about is you're just kind of filling it out and just tweaking as you go. All right, we'll see. This one is the one that I needed to maybe possibly do somewhere. I'm not sure I like that placement so going Teoh LLC just put those in there like that. That's the great thing. Also with palette knives is, um, you can use the same palette knife to make so many different shapes. It's just really kind of how you press things in or dragged them out or whatever you, whatever you choose to do it. It changes with kind of technique. And the only way to really get those techniques is to practice using your palette, knives, um, a lot, and that will show you all that you could really do with them. And there's some pretty amazing things you could do with palette knives. I really love plural sculpting with my knives. They're just really cool. So now I think I'm going to leave that there. I think I'm gonna set a little bit of this medium aside, this particular color side, just in case I want to add more leaves later, and then I'm going to mix the other half of it with black to create, um, that darker green for the centers of my ridiculous and my stems for my accent buries or flowers, or we're gonna add a little bit of actually and let's do a little bit of Payne's gray instead of the black. And I'm just gonna add just enough that I don't have to add more medium to it. Just mix that together. I'm just looking for a darker shade of the green. It was quite a bit darker, just fine, but I'm going to grab a little bit more of the screen here and added on the Yeah, that'll lighten it up just a little bit. Okay, So I'm going to start by putting down my tree stems. And I just have this kind of needle knife really love this knife. It comes in so handy when I'm doing detail work like this. Um, and I just kind of drag my knife through it and put the meeting down like this, um, creates more here. - Okay , there's air strikes. Now I'm gonna do the centers of our ridiculous. And again we're gonna be using the small pedal pointed pedal knife case. We're going to do our little balls again, creating little balls out of medium. But just by turning it like this, and then we're just gonna set it down in the center. Okay, on. There we go again. You're just kind of dimpling it as you put it down. Not you don't want a perfectly round sort of a ball there. You just want to kind of dimple it in. So again, it looks like you know there's not a ball. It's just a bunch of squished up pedals that haven't bloomed yet. Actually, that's the look you're going for. Here we go. And the last one. Here we go. And now it's time to mix up our trick ways. Blue of this turquoise. We're just it's just follow turquoise and our, um, believes titanium put that down on adding titanium to it. And then I'm actually going to kind of does the color a little bit again with the red. This that looks in just a second, it's it's actually going to make it look a little bit purple or blue, so we will maybe try the burnt Sienna instead. - Okay , so now it's time to put down the turquoise lease. I'm going to use a big leaf knife the way that we do this is there's a little bit of a wiggling technique that happens with these with this particular knife that I like the kind of B M design that it leaves in the and the leaf. So show you what I mean by that. So we just take our medium on a relief like a runner palette knife like this and you just lay it down right where you want it to go, and then you just kind of your pulling it out. But you're kind of pressing up and down wiggling the life as you go, and it kind of creates that nice leaf. Look, I don't know if you can see it from up there, but I'll pull it closer. You could see it. You see the ridges and then in the leaf. So that's kind of how you create that look. And I really like the way that that this knife works for that purpose. So we've got another one right here. We're gonna add and just go nice and slow. It's kind of could it works the best for me as if I just go nice and slow and then miss May you got to be careful when you're wiggling and you're coming up on two other leaves. Like like this, for example. Um, thankfully, I'll be painting a little bit of detail work over the top, so that should be fine. But I also kind of want to break up this in here a little bit. So I'm going Teoh, add another leaf may be coming. Maybe coming off this way. Here we go. And I think I'll do one right down in here as well, because that looks a little. 10. Sculpting Cherry Blossoms: everybody. And welcome back to the cherry blossom portion of this course. Now, you're probably wondering why I'm working on something that looks completely different than the piece that we've been working on. And I'll tell you why I accidentally time lapse recorded the last portion of this card or this portion of this course. And so I have to do it over against that. You can actually see what I'm doing eso. Anyway, hopefully this will translate well for you to be able to learn the technique enough to follow. Look, I'm going to add the time lapse so that you can see how I laid the blossoms out onto the stems. But I just wanted Teoh, you know, take this time to show you actually what I'm doing, Um, So what we're going to do, I decided to do cherry blossoms instead of Berries. And so I just got this purple paint that I had left over from another piece, and I've just got a kind of a throwaway little palate here, but, um, here's the stem, and I'm just going to take in the way that I do. The cherry blossoms is I just take and I'm going to do? I'm gonna make the little ball of medium again the way that I was doing beforehand. Um, with the inside of the ridiculous and the inside of the dahlias, I'm just gonna roll it around, make the ball, and then I'm going to come and I'm gonna set it where I want it on the stems right here. I'm gonna go ahead and said right there and then what I'm gonna do is I'm going to press and pull it out, and I'm gonna do this five times if I could make it, um, and it looks like it's gonna work out. And that's just how I do the cherry blossom. I'll hold it up so you can see how I made the little dimples to create the pedals. I'll show you a few more times, and then we'll just switch over to the time lapse so you can watch me lay it down on on the peace that we've been making together. Okay, so this concludes the foundation portion of our course. We put down all of the foundation work, and now we just gotta let it dry. Um, it takes about 24 hours for two dry enough to be able to start doing the detail work on top . Just I would just set it out of the way somewhere You can tilt it up like this. It's best if you lay it down like this just because it, um you know, everything stays weren't supposed to. I've never had anything slide off or anything like that. So you should be fine, regardless. But, um, that's what I recommend. And then, um, when 24 hours have passed, the thickest part of your peace is going to be the centers of the ridiculous. So I would just lightly touch them. If they are, they can give just a little bit. But if they're giving too much, then I would give him Ah, good. 12 to 24 more hours to dry all the way. Um, but if they are hardened enough that it's just a little bit of give, then you should be fine to start doing the detail work on them. That's it. I'm just going to put a little bit of texture design into these green leaves here, and I'll show you that real quick. This is totally optional. Not necessary if you if you don't want to. I just like to put a little bit of it in before the, um the real drying starts just to give it a little bit more life. And so I just get a pole down these sleeves just to give it kind of a vein down the middle . And what I've found is, it just kind of helps it stand out. These leaves stand out a little bit more, um, against everything else, because they can tend to get lost with all that other texture in there. So and if a little bit of the background shows through on the bottom, don't worry about it, cause you're gonna be painting detailed work on these leaves. Anyway, Um, so I'm just going to just drag that down on you Got one more here and these guys and that just gives them a little bit more individuality in in the peace. Um, and that's it. So we're good to let this dry, and I will see you guys back here in 24 hours. 11. Detail Work Part 1: everybody. Welcome back. This is the detail portion of this course you're painting. Should have dried for have been left to dry for about 24 hours, if not longer, depending on your climate. And so now we are ready to go ahead and get started on putting down our detail Work on top of our foundation work. So I've got my colors over here. I've got plenty White got my order Yellow, My Naples yellow, my lizard crimson viral red bird sienna Follow turquoise And I've got a little bit of my pains. Great. Teoh, just do the darker centers here and now. I've got my various sizes of, um, Filbert paintbrushes to you, of course, can use whatever style of paper she like. I just prefer the rounded edge of the fill Burt's. I feel like it gives me, um, kind of a better stroke. So I've got a size 10. I've got a size six a size for a size Ah, to in a size zero. So, um, you don't need all of these sizes. I would go with Maybe. I mean, you could just go with three. You could get a small detail brush a medium sized, and then you're bigger to do your bigger stroke. So, um, there we go. And these are just the trickle brand if you're interested in knowing what bread I'm using and now we're just gonna go ahead and get started And so kind of my philosophy with detailed work is you're just bringing everything forward. And so when you're bringing detail, Earth things forward, you start with the darkest and go lighter with acrylic paints. And so I'm going to do just that. Just start with my darkest color. And then and then in the end, depending on how light the flower is, I'll end with my white. So, um, let's get started. So I think I'll start with the Dal ius the pink dahlias, and I'm going to use my 10 and I'm going Teoh Teik and mix up this color. And I've got my little color card here to remind me of what my my rest color recipe is. And it's just a little bit of a lizard crimson with some Naples yellow. And I'm gonna mix up plenty of this because I'm going to gradually go lighter with the same mixture just so I have the same color going on the whole time. And this is where your spray bottle is gonna come in really handy because you'll be able to continually wet re wet your palate so that it doesn't dry on you, Uh, dree out on you. So I'm just gonna go ahead and mix that up, and that looks good. It's a pretty shade here. And with these dahlias, I kind of actually wanted dark in the centres a little bit. So I'm gonna take this color right here and start in that center area, and I'm just going Teoh sort of brush that over to create, like, kind of an effect that the flower is closed in that center portion is just a little bit more pushed back into the painting. Just get that a little spray, actually, give all my paints a little spray just to keep it nice and waste. And then we will start here with the centers. I also find that this kind of gives these flowers a little bit more depth. Sometimes I'll go lighter. So where the flowers more open? But with these particular ones, I want to kind of dark in him in the center just so that they're kind of more going in. So I'm just going to kind of brush that over there. And I'm not doing any kind of crazy painting, just really just a light brushing, you know, centers. And one thing you'll find with my style, it's It's very not perfect. I am not a precision painter at all. I really love the beauty of imperfection. And so please don't feel like you have to get all precious on your on your artwork here cause I'm not going to. So just just to get that out of the way, I really love loose, free painting. And, um otherwise I would just write all the time because that's where I have to be very specific in my details and all that kind of stuff. So instead I use painting to kind of just let loose. So here we go. OK, now I'm going to start adding a bit more of this, the Naples to this color to kind of lighten it up somewhere, that more that pink. And then I'm going to start adding, once I have this color set here, I'm gonna start adding some weight to start doing the highlights. Granny, actually take this color right here, and I'm kind of kind of fresh it over Syria. Kind of lighten it up a little bit. And now I'm gonna start adding my weight. That's going to lighten it up quite a bit. But that's okay. We want our first coat to be pretty noticeable. Um, that way we can build on top of that. I'm gonna have just a little bit more Gilo in this because I don't want it to be so pink. I would kind of want it to be more of like a peachy pink, a dusty, peachy pink. And so I'm gonna add a little bit more of this. Solicited her. Sorry, Naples yellow. And then we have more of a peachy pink that I was thinking of going for about plenty here to work with. And since my little cherry blossoms or the from the same color, that's gonna be a nice thing to have all that paint to work with and feel free to kind of thin your paint down a little bit. I find that it goes on easier and it dries faster. If you do send it down a little bit. with some water. Just help things go faster care and add the white again. Matt should make a pretty good starting point for during the detailed work on these dahlias . All right, so we're gonna go ahead, and all I do is I just start kind of brushing it on the edges of my pedals. I'm just I'm kind of just creating that depth to my painting that is already there. You just can't see it as well, um, as I want because, you know, the texture is creating depth in and of itself. But adding this detail work on top just creates that much more. And I really like that contrast. Feeling two paintings, I think that makes them very interesting. I'm just gonna fresh a little bit this. It's actually less brushing and more just kind of dabbing over the center area to make it a little bit more interesting to this flower. Okay, so now we're gonna let that dry right there, and then we're gonna move on to our star sister dot dahlia's. And that is, of course, just are Eliza in crimson and our pyro red. And the thing that I love about using pyro read my paintings is when I get to my top layer Meyer my you know, lightest layer. I just do straight pyro, And it just has this really neat punch of color in it that I really, really love. So I'm excited to show you that when we get to that final layer, but in the meantime, I'm just gonna mix up some lighter a lighter shade of this star sister Dahlia color. What I'm doing here is I'm just cleaning up the white area. Dr. Benson got in a little bit of detail, and I think I need to, um, go down a size or two and with my brush because it's just too big for these star sister die . Yes, I'm going to rinse out of this fresh Do that right now. I'm gonna take and use the eight by the six. Right now. Spray my paint a little bit. Just toe. Keep it nice and wet. Way are moving on here and you can't see too much of a shift in the detail for the first, like maybe two layers of of detail color. But just hang with it because doing those base layers makes it look more gradual and were natural. And so that's why I take the time to do them, even though they don't seem to make that big of a difference in the beginning, do kind of make up for it in the end. So this part of the painting of these treaty floors is the part You want to be a little bit more careful on just because you don't have the luxury that you had when you were doing the foundation work of knowing that you're gonna come back over with with detail work in the end. So that's why I'm pulling out the wipes toe wife things down here just so I can use less paint covering things up and just redefining pedals, and you know that, So Okay, so I'm gonna let those guys dry. This is also where your paintings goes from looking worst, even though it is three dimensional. Adding this detail work is where it starts looking more more three dimensional. It looks more and more painterly, I find, and I love that look as well. So this is an important part of the whole process for me in my particular style. If you just like the three D flatters without any D Tollberg than by all means, definitely. You know, follow your your instinct in your style preferences and go for it. Go for just leaving it that way. This is just what I prefer to do. So since its art, you can do whatever you want. It's the best. 12. Dahlia Detail2 480: