3D Floral Art: That's Ranunculus! | Hannie Clark | Skillshare

3D Floral Art: That's Ranunculus!

Hannie Clark, Author and Artist

3D Floral Art: That's Ranunculus!

Hannie Clark, Author and Artist

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15 Lessons (1h 58m)
    • 1. 3D Floral Art: Welcome!

      5:58
    • 2. Supplies You Will Need

      6:39
    • 3. Mixing the Perfect 3D Medium

      4:52
    • 4. Practicing with Your Pallet Knives

      8:20
    • 5. Prepping your Panel

      6:05
    • 6. Designing Your 3D Floral

      1:12
    • 7. Creating a 3D Ranunculus Flower

      18:21
    • 8. Creating 3D Accent Flowers

      8:32
    • 9. Creating 3D Leaves

      4:46
    • 10. Creating 3D Berries

      6:08
    • 11. Final Detail Work Part 1

      12:28
    • 12. Final Detail Work Part 2

      10:56
    • 13. Final Detail Work Part 3

      10:47
    • 14. 3D Floral Varnish

      5:59
    • 15. Bonus Lesson: Make Your Own Mixing Pallet

      6:30
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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.

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 three different flowers, two kinds of leaves, and berries in order to compose their own 5"x5" 3D floral painting.

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

BONUS Lesson) In an additional bonus lesson, the student will also learn how to create their own mixing pallet necessary for mixing up their 3D medium.

Meet Your Teacher

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Hannie Clark

Author and Artist

Teacher





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. 3D Floral Art: Welcome!: - Hi . Welcome to my sculpture class when he was handed Clark. And I am really excited to share this new technique of floral art with you before we started. I want to tell you just a little bit about myself. I am a author of two novels and three Children's books and also an artist. I saw a lot of my art through my INSTAGRAM account Handy Clark Creative and my Facebook page under the same thing. I'm really excited to shoot his technique with you, but first I want to tell you a little bit about it. You see behind me. This is what I call three Floral Art and I first started style when I began following a couple of key artists that have really had a big impact on my style and also my love for art. The person is Her name is Nicholas Falco ski. She's a Canadian artist who uses oil paints to create just gorgeous florals. They're very impressionistic florals, and I have admired her work for years now and also was able to take a class from her, which really tells me develop my own style. Another group of painters that I love to follow and love to observe are they call themselves sculptors painters, and they're based out of Russia. There's a couple of the founders of this technique from Russia who created this beautiful, very Victorian, French ish sort of a style of sculpture, sculpting florals onto their panels and a pulse of pictures of these particular artists work as I talk about him so you can see for yourself along with their Instagram accounts, because I really love what they do. And if you love this technique that you want to follow them as well. The final artists that I really love to follow, he's Australian, and unfortunately, right now I can't pronounce his name. But I will also post a picture of his work as well as his. Instagram handles that you can go and take a look at his work as well. Anyway, after observing these artists for a while, I decided that I wanted to do something similar, but I didn't want to work in oil. All these artists working oil or the sculpture have come up with their own medium that they used to do this beautiful plasterwork. It's almost like plasterwork is what it is So I decided that I wanted to create my own sort of technique and style using acrylics and acrylic mediums. And so, after playing around for a while and really kind of developing my own style, come up with a term for my florals, which I called three d florals. And the reason why they're three D is because, of course, they kind of stand up off of the panels and they're like frosting on a cake. That's kind of what they look like to a lot of people. Antabuse. Well, so I can see these ones behind me are. This is a 36 by 36 we've got a 18 by 24. And then today in this class, we're going to be a very small version of this three D floral art on a five by five panels . And I'm I'm gonna show you everything you need to know to in order to do this yourself. So this is gonna be our assignment for this class. You're going, Teoh. I'm gonna walking through the basic techniques of mixing how to mix your medium to get the right consistency in order to form your three d florals we're gonna do some color mixing. We're going, Teoh. Then use our palate nights to create these florals here on the panel. And then we're going, Teoh, do the detail work and then margin. So you I will take you all the way from the beginnings of learning this technique all the way to completing your very own. A little spring of flowers years. I'm really excited to get started with you. And I will see you guys in the excitement where we will talk about supplies. Let's go ahead and get started. 2. Supplies You Will Need: through. This is our supply segments. I'm gonna tell you exactly what you'll need in order to create your own little five by five inch, three D floral paintings. So the first thing that you will need is something to mix your paint on. I created this mixing plate, and I've included a bonus segment lesson in in this class. That should be the last one in the classroom, and you can go on their learn how to make your own super easy and really inexpensive, and you probably already have the things that you need around your house. So you'll need to something mixture. Peanut you will need, um, acrylic paints that I prefer to work with are the acrylics, liquid tex heavy body acrylics and then the golden acrylics. I just love the way that they feel and the way that they go down. And so that's what I prefer to use. You, of course, can go super basic. Do the liquid X basics, which are so much cheaper or the artist's loft brand is also another really inexpensive choice. Um, when you're mixing them with the medium's, the mediums are really what are gonna be doing most of the work as faras. The structure of your piece is gonna go so the color isn't as important in the foundational work. It's when you get to the detail work that you might notice a difference in your colors, but where you're just starting out, that's not a big deal. You can, of course, start really inexpensive and then go from there. There are a few colors that you'll want to be looking for. If you want to get the exact colors that I'm using in this piece, of course, we're gonna need white and black. I prefer titanium white and Mars black. We're gonna be using primary magenta Eliza in crimson KTM yellow, Naples yellow and then cobalt blue, and you definitely don't have to get this large of a tube by the biggest you can afford. But but much like I would do the 22.5 fluid outsized rather than the this larger size. So this size instead, and then that's those are the builder, the only colors that I'll be using for this particular piece. And if you can't find these exact colors than just, you know, get us close as you can find you know you're black and you're white. A lighter blue, 200 a darker, blue toned red. You're really kind of bright lemon yellow, your softer, Um, we're creamy yellow and then really true blue like cold wall. So anything that's really you know, no green tones or or purple tones. Just go straight blue. So that is all that you'll need. As Faras paints concerns, the other thing that you'll need is you will need a five by five Jessel board or our panel board. It has to be bored, though, because the mediums that we're using are too heavy for campus. So make sure that you get a Jessel board or a panel board, and the place that you that I get mine for really inexpensive and they're usually 50% off is at hobby Lobby. So this one's 3 99 half off dollar 50 so it's not not very expensive it all, so you'll need a just aboard you'll need. And these are the things that are going to be a little bit more expensive. Um, so you wanna go small on him because you won't need very much for this project? See how you like it first. And then if you really like this technique, then feel free to go and get bigger tubs of this stuff. The first medium that I use is gloss super heavy gel, or I also use Matt super Heavy Joe. It doesn't really matter if it's Matt or gloss, because I end up putting a Matt varnish over the top of it at the end anyway, So, um, this was this is liquid text brand glass, super heavy jail. I also use fiber paced by golden. Um, I believe that a Sfar Asai have been able to see Golden is the only one that makes the fiber paste, but you can get it at your local Michaels. I usually have to order it online through Amazon, so or you can also get it through Dick Blix and the final one is modeling paste, and this is also by liquid text. So those are your three mediums. You will also need some palette nights on. You'll need a palette knife for mixing. Do you actually just get these three because because they will work out great. So Italy rgm 1919 Powell's RGM Italy 43 48. So Those are your three palette nights. And of course you're mixing knife Cesaire super cheap at Michael's or Hobby lobby ER or any of your local craft stores. I would stick with the plastic because you don't you don't need something fancy for that. And then you will need on assortment of different sized paintbrushes. Thes are your They're appointed, um, Filbert. I can't remember the name of them, but they're a little bit pointed at the end. I like that, and I just have a size 5/0 for fine details. I've got a size to a size eight and then a size 12 for a little bit bigger. I am not so sure that we will. You actually need that size 12 for the details in on this particular painting. But if you decide to go any bigger, this would be a good size to have on hand the last thing that you will need. For this class. I recommend having a spray bottle on hand just to be able to clean your palate. Baby wipes are nice to have one hands to also help clean your palate and clean off your palate nines. Or you could just have, at least for cleaning off your palette knives, you could just have a new old rag to do that as well. I prefer the baby wipes because it just keeps it cleaner. And then you will also need your Matt varnish. I love the liquid text brand, Um, but if you prefer a different brand, go for it on and that's that's all you'll need for this class. So I will meet you in the next segment will, where we will talk about, and I will demonstrate mixing your medium to create this this three D effect with your flowers so I'll see you guys in the next time. 3. Mixing the Perfect 3D Medium: so the key to creating three D sculpture painting or three D florals is Teoh. Have the right ratio of medium mixed into your paint on, and I use three different mediums to get the texture and the effect that I want. So these three that the modeling paste, the fiber paste and the glass super heavy jail. Now there's a difference between these different mediums. Modeling paste will make your paint turn out more white. Um, it'll it'll make it, uh, as though you've mixed white paint to it. So I use this pretty sparingly. So my ratio for this to paint is usually Fourtou one. So I'll do four times the paint to best the fiber paste. I usually do 2 to 1, um, ratio on that one, and then the gloss super heavy jail. You can mix as much of this with your pain as you want to, and so I use the most of this. It just depends on how much of the of the mixture that I need will depend on how much of this gel that I mix it. So go ahead and show you how I do that, a particular mixture so that you can see kind of what you're gonna be working with you. OK, so we're going to start out with this primary magenta and Naples yellow. So I'm gonna just start small because you're gonna want to adjust the colors you go to make sure you get just the right color, okay? And I'm going for this really popular kind of coral, poorly pink that we That's kind of really popular right now. I think it's a little bit more of an orange in tow to it. Maybe a little bit brighter of yellow to that. A touch of KTM yellow just to bring out a little bit more of a war orangey tone. Just a teeny bit of that that makes a little bit more quarrel go over looking for anything . Okay, So when she your paint mixed, then you're gonna start with your modeling paste. Remember, the modeling paste is it is 4 to 1. So I'm just gonna just do a little touch of this modeling paste here that I'm gonna take my fiber patients. We're gonna want a 2 to 1 ratio here. So that's about 2 to 1. Then you super heavy gloss. Well, just make us much as we want gonna just start with that little gap right there. Okay, go ahead and start mixing, and I'm gonna show you the test, um, to know whether or not it is the consistency that you you wanted to be in before you start doing your three d sculpting. I can already tell that this is a really good consistency. Okay, you'll know that it's ready. When you couldn't do this tonight test, you just hold it upside down. But if it doesn't fall out for a drip or anything, you know that it's the right consistency. Okay, so there we go. Now, we've got our, um, paint media mixed, so I'm just going to set this aside, and then we're gonna come back, and we're gonna learn a couple of strokes for making the flowers for our painting. You guys in the next segment 4. Practicing with Your Pallet Knives: Okay. Now, for our first flour, which is our ridiculous floor. We're going to start with this squared off knife. And if you can't find this more squared off size 48 go ahead and just use this one because this one works. Actually. Pretty pretty good. Almost as well. Um, So you're gonna start? You're gonna take a little bit of your mixture just about that much. And you're going, Teoh, This is the first stroke that I wanted Children. The stroke is you just set your ad the edge of your palette, knife down, and then you push out like that, and then you kind of slide it along like that. You do, and then you're gonna repeat it. You're gonna turn. You were canvas or service, and they need to think sexy one. Do it again. You just repeat that until you come full circle. Now, a lot of times it helps to have on your canvas or your palate have a circle drawn that you can kind of follow. And I will show you all demonstrate that for you when we actually move onto her our panel. But right now I'm just kind of teaching you the strokes. So there you go. You just kind of layering it on top of each other. And there we go. And you're just going to continue to do that all the way in until you have just a little hole in the century and I'll show you what you'll do next when we could move on to the flowers. But that's the first stroke that I want to teach you. OK, this next stroke is going to be the leaf stroke on, and I'm going to be using this. Pointed the number 19. And what we're gonna do is we're just going to take a good portion, just about that size about as much as we had with the ridiculous. Maybe a little bit more. And we're going to go ahead and you're gonna take angle point first, and you're going to lay it down like that. And as you pull your knife away, they're going to kind of press it down a little bit until it creates kind of the ridges in the leaf. And I'll pull this little bit closer so you can see to see how that knife has created those ridges. It's just kind of like a very soft tapping up and down. I'll show you that again. Gonna go. We'll start here, put the point down first, and then we start just lightly tapping, and you kind of just drag it out to the to this kind of the shape and the direction and the length that you want it. I'm gonna do that one more time just to make sure you guys got that stroke down, so we'll start right here again. Wait the tip down first, and then you just lightly tech. That's might be tough. There we go. So that's our leaf stroke that we're gonna be doing today. Okay. Now for this stroke, what we're going to be doing is we're gonna be creating a stem and then ah, flower. But so what we're going to be doing is we're gonna start with this very thin, skinny, pointed one, and you just take kind of rub your your knife through the paint mixture until you just happen up there, and then you just kind of just wipe it out in the direction you want it to go. I'm gonna do a couple of these, and it doesn't have to be perfect. Don't worry about that. This is more of an abstract art anyway. But you're just kind of creating. And if you want your branches just a little narrow than just kind of make it more gentle pulling out like that, Okay, Now, what we're gonna do is we're gonna create the flower buds on the end of these. And either you could get this palette knife here, this shape, and I'll show you both both techniques. Or you could have used this one and this one. And so I'm going to start with this one in this would just to kind of show you so that you don't have to buy so many nights. Um, So what I'll do is I'll take my palette knife. I'll grab a little bit of my mixed runner, and then I'm going to just press down and pull out like that. Then I'm going to take this skinny one, and I'm just gonna go like this, and I'm just going to pull all those. So it's kind of like a crepe flower. If you If you've seen a crate flower, you know what I'm talking about. They kind of have that ridged pedal Okay, so that's kind of the bug that I'm looking for here. And then, Okay, I'm going to add a little bit more on top here. I'm gonna take my flower again, And I'm just going to kind of put this right here and do a little bit here so that we kind of create the inside and the outside of the flower. And then I'm just going to add some more of these little ridges here. Here we go. So there's are that that's the first technique with this, these two knives. Now, this is what I will do. I do with this one and just grab a little bit like this, and then you just start a little bit further down the stem and you just pull out like that and then you do the same thing that I was doing with the other skinny palette knife that you just pull it out like that, create your create your pedal, spur your your crate flower. Really? So let's do that one more time. Both sets of lives both overtake. Thinks I guess that's what I'm trying and we will push this one out, pull it out, and this is gonna be a simpler one, and then we can had a little bit more. Okay, home we go actually, like that little bit better. That's nice. And then we will do this when I get over here where we started a little bit further up, pull it out. Good. And then let's do this 11 more time. Boost. Write it down. And you know what? Even if you don't use this when you can use the tip of this one to kind of do this everything, they'll just be thicker strokes, which isn't a bad thing. Kind of thinker. Written ridges, I guess, will be going on here. And then we'll add a syllable word to create the front of our flower, you know? And here we go. I actually prefer Thies to to this one. So there you go. You got you get to decide which everyone you want to use, especially for this size, since this is gonna be a much smaller painting Been, but I'm used to I actually really like she's just used to together. So Okay, that's our second stroller. Final stroke. And now we're going to go prepare campus 5. Prepping your Panel: So now we're gonna prepper canvas and the way I'm going to do that as I'm going Teoh. First of all, for my no, my camera, my panel and the color that I've decided to use on the background of this is just a pale cream. And the way I'm gonna mix the cream is I'm gonna just take my white. This is titanium white and just a little bit of that. I don't need a ton for this size of a panel that I'm going to add Just a tiny, tiny bit of this KTM yellow, like just a time. But, you know, just a little bit more of this weight, we'll mix it up here. Now, I think that's still a little bit too yellow for me, so I'm gonna just a little bit more white and then I'm gonna add this fiber paste. The reason why I am the fight repast is because I want the background to be a little bit textured. So I'm just gonna take a little tiny bit there just toe. Like I would say, this is probably maybe 1/2 a teaspoon of it, but it's probably it's possibly 1 to 1 But I don't mind so much with this background as I do with the flower. So we're just gonna mix that together. And if you see that fiber pace just gives it a really nice kind of it's almost like an oil painting sort of texture. Do you see that? It's kind of got a little bit of a graininess to it, and I really like that. Okay, so we're going to start by kind of taken a little bit of this, and we're just gonna start scraping it on. And I want this background to be pretty text arised. So I'm not really worrying about which direction I'm scraping it in. Just want it to be more organic, stuck away with guests. Just a nice background for our little spring of flowers here. What, like that? Like that. Quite a bit, actually. So it's more of like a creepy sort of, um, consistency. And I'm going to just scrape it along the edges to make sure that canvas is all the same color. And of course, if you don't like this some worse textured edge, you could just do the same mixture of paint and just paint the edges but I really like the texture to be all over the case. - Okay , so there is our background. There's gonna let that dry. I usually like to let it go for at least 1/2. A now hour, if not longer. You'll just have to play it. White beard. I'm depending on your climate and whatnot for how long it takes to dry. But that's the great thing about acrylics as they drive really fast. So just kind of keep an eye on it and let it what it do its thing. The thing that I wanted to tell you about also is that if you happen to have, ah, lazy Susan hanging around that you're not using, they make the best turntables for art, especially this kind of art. Just because you're having to turn so much when you're making the flowers that it's it's great to have it on hand. Do not feel like in any way that you have to buy. When I did this for months before, I finally broke down and got a turntable or even really thought to get one, um, I took a class from Nicolette Bellicose Qihoo. I mentioned getting a turntable and it has been a huge time saver. But I wouldn't invest in it unless you're serious about pursuing this technique further or pursuing art in general of a bit further. Um, all right, I will see you guys in the next segment where we're gonna do our flower layout, and then we'll get started on our sculpting. 6. Designing Your 3D Floral: Okay. Our background is dry now, and it's time to lay down the layout of our sprig of flowers that were going to be creating . So I've got this circular stencil here, and I love to use circles when I'm doing a layout of flowers because most flowers are circular. So I'm going to start by doing the renown colas. I don't think about the ridiculous up here. And I'm going to just lightly trace this for a night cause or the circle right here for the ridiculous. And then I'm going Teoh, I want to do I'm gonna do a smaller or small a flower right? About here way. We will do our I like Justin, except a little accent. All right, here. Okay, so that's our layup for painting here. I'm going to get started with the Angeles first 7. Creating a 3D Ranunculus Flower: I wanted to show you a picture of a ridiculous So you can kind of see the structure of the flower. Um, this is the kind of flower that we're going to make today. Thanks for this beautiful PCI. Ridiculous. Here. Um, so you see how there's the dark around the outside, and then we've got the lighter going towards the center and the nice to get closer, and it turns green. And then you got that dark green little tiny century there. So that's that's the kind of the anatomy of a ridiculous. And so we're going to be following that structure as we create these flowers again, I'm going to take I squared off palette knife, and I've got that coral, um, mixture that I make a step with you earlier. Right here. So I'm going to just grab a little bit, just like I showed you before. And we're just going to start circling it down with just smearing it down like that. Start with the edge down, Rick, your and then we're gonna just smear it on again. That's rounder than I wanted. But that's OK. I go again. This is where the turntable There the lazy Susan comes in really handy. Keep going key. We get He's got this trickle of the flower again here. So it's looking really nice. And as you can see that having that circle, having that circle right there really helps keep the flower nice in and meet K. Now, what I'm gonna do is I'm just gonna go in another road, and I'm gonna just Wherever I see a connection of pedals, I'm gonna put my next pedal right there. So we kind of have a an offset flower so that the pedals show up. Really? Um, really Well, in this three d painting go now. On this, depending on the size of the flower, I will usually do anywhere from 2 to 3 rows of the outer color, the darker color of the ridiculous. And so that's what we're gonna do with this one. And we go now, since I'm making a set, I'm gonna go ahead and lay down this other one moment stuff is still wet. - Okay , Now I've got this extra white left over from when I did the the background. So I'm going Teoh, create this light. The lighter shade of pink. But first I'm gonna add a little bit of this, um, gel just to create more. Um, because that I don't think was running kind of low on. So we will mix that up here, mix it with paint that's left over here, this little bit of pink so that I get that lighter shade that I'm looking for for the inside of my ridiculous no worry. If there's a little bit of, uh, fried pieces of pain, it's OK cause when this all drives, it's gonna be rock solid. That's that's how it drives. And so you don't need to breathe about those little pieces being there. It is preferable, of course, to not have them. But if you do happen to get some in there, don't worry about it. It'll be It'll be all right. OK, now, this isn't quite as dark as I want it to be, So I'm going to add and mix up some more paint of this portal color and, um, and just a little bit bigger a batch of the pink so I can work with that a little bit more . Just take this mixture right here, and I'm just gonna add it to it. And then we're gonna add somewhere medium as well to give it the texture, the thickness that we want. So there's color right there on. Actually, I think it needs a little bit more of the cream. So I'm gonna do a little bit more of that on, See what we get there. Okay? I think that that's pretty good. You get good shade lighter, so I'm going to know at somewhere medium to this. Go with him, Joe. First, remember, you can put inasmuch villas you want, Since I want quite a bit of this mixture for my other two flowers as well. I'm going to just go ahead and And if it of this to it, then with my fiber paste, I'm gonna do just a little bit less than 2 to 1, since there was a little bit of the fiber pace already in those other ones. So I just kind of go This looks like a pretty good, pretty good size. You just You know, you just kind of have to able. Actually, I think I'm gonna do a little bit more than that, because that is a bigger pile of people on. And then with the modeling and put paste, of course, is your one before. So you want to go with the least with this one. So I'm just gonna take just about that, Maybe, maybe a little bit more. And And if you get Teoh while you're mixing, it doesn't pass the spoon test where it sticks to your spatula or the special guest heuristics to your scraper. Um, then just go ahead and add a little bit more of the either the the modeling paste really makes it quite a bit thicker. So if it's not to think of it, just add a little bit more of that. Um um Or if you feel like there, you've already put in enough of the modeling paste and go ahead and add the jail because the jail you can't add too much of. So I'm gonna go ahead and mix this up here, and it looks like you have a good amount of paint. Thanks. True. Okay. And it looks like it's passing the test, so it's it's hanging on there real good. Okay, so now we will do the inside of a ridiculous. Okay, here we go. 1st 1 just gonna do the exact same stroke. We're just putting it. It's just a different color, that's all. Thanks. Seems stroke with this layer of the ridiculous I usually do. Probably usually ends up being about two of the lighter shade, because then I want to save some room for the green. We're on our second player. Mm. As you get closer in, it gets a little bit more tricky to keep these, um, pedals separate from each other. So you just want to go real slow. And if you need a little bit more paint to give you a little bit more distance or height so that you don't have to get so close to those other pedals, go ahead and do that. Okay? There's my two rows of the later on that one. No, moved to the 2nd 1 So there are is are ridiculous up till we need the green. Okay, so now the green that I want to add into these is a very soft green. I want to kind of keep with this softer pink just really soft, delicate flowers. So I'm gonna use the Naples yellow and the cobalt blue, and I'm gonna just turn my mixing palette around over here so that a little bit of room. And though ad I want to do probably more of the Naples, then there call because we wanted to be a really light soft, and I'm just gonna do it just a touch of this blue and we're going to mix it. And I believe that I'm going to want that little bit of Katie and yellow because that's not quite as green as I would like. We're gonna give it a listen up. Any yellow right here, a little bit of that Katie in Hilo and then just a little bit more of the cobalt blue. Hey, let's see where that takes us every time there's a green. That's where the green that I was. Wait a little bit. Now the question is, do you have to have all three of these mediums to do This kind of art? Answer is, of course, no. I like the texture and the consistency that thes three mediums mixed together. Give me, um you could probably do the exact same effect. If you just used this gloss super heavy job and mixed with your paint. It won't look the same and won't have the same texture, and it might not be as stiff. But you can try it if you want to save money and just kind of maybe try out the techniques . That's totally an option, because this this is pretty stiff stuff. See it pasts. It passes the spoon test. I just don't like the texture. Personally, I I it's too, uh too smooth for me because I want my my flowers to have more of like an oil painting is sort of texture on, so I end the fiber paste, and I also want them to dry to a super hard, hard, hard hardness as well. On the modeling paste really helps with that. So that's why I mix all three of them together. But you, if you want to just try it out the technique. You do not have to use all three of them because I've done it before. It was just, um, just modeling paste, which I didn't like that, and it's kind of not great, cause it it. If you don't have the right paint gray show to modeling paste, it can crack on you. And I've also tried it with um, modeling pace and Los Joe super heavy glass gel together, but that didn't have the texture that I wanted. So you decide. You can play around and find what texture you like and what fits your budget. But this is thistles. What? I used to create the art that you've seen and either on my website or my instagram account . Or, um, just in the pictures of the beginning of this class that I that I showed. So this passes the test stick into the to the spatula. Okay, We're gonna get a little bit of a figure scoop to see if it will still still get good. Okay, so let's start working on a center number. Ridiculous. Finish these up here, little center. Now the centers of these I do a little bit differently. I do try and do a couple of these just it with the same stroke. I just have to go in a little bit tighter. I do try and do that, but sometimes I have taken the color in too tight and I won't be able to make it go all the way around like this. Um, but this is what I do from this point on. So I'll take my spatula and my palette knife and I just take up a bit of it, and then I will kind of shape it into a little bit of a ball like this. It's kind of rounded up for me. Then I will set it in the middle, right there in the nails, push it down like that. So it still creates kind of the peaks of that rippled and ruffled pedal, but without messing up my other people's and then I'll probably usually do. Actually, I think I'll leave that one just there because I'm gonna put in a dark green center, finished with the last level for this ridiculous. We need to add a dark green center, one of the fastest ways that I know of three. She your party, is. You can either use pains, great flowers, black. You don't want a super dark severe, especially since we're keeping very light and fresh looking. So I'm just gonna just spec a black right here and then I'm just gonna take my palate. It makes it more of like a grayish green state sticking with that kind of soft green color , but it is just just dark enough that they will show up in that center as kind of be the very center of the flower to kind of center. Everything okay, so that's mixed up pretty well. I'm just gonna go ahead and add those centers to our ridiculous I'm gonna at the center in the same way that I finished off those that the lighter green center. Let's just make that ball with my with my palette knife and my scraper. So just make it into a ball Nida's We can make it train, not have any peaks like that. Those little picks right there just tryingto keep it nice and smooth. Then when it's where you want it to be, just drop it right down there in the center. And if you need to push it down a little bit, go ahead. But just kind of squish it down just enough. So you know that it's all all together. Then we're gonna do it again for this one. Use up the rest of the screen right here. Create that ball. We're just gonna drop right down into the center. There we go. Drop right down there, squish it down just a teeth to make sure that it's connected to everything. And there you go. There's your ridiculous 8. Creating 3D Accent Flowers: and just a simple jasmine flower right here, right here. Do you see these things? They're just 12345 pedals. We're gonna add a really simple flower like that. And then and then we'll do the leaves and go from here. We're gonna go ahead and move on to the jasmine flower, and I'm gonna make this just a really light pink. Um, actually, not not super light. Just maybe a couple of shades lighter than the centre pink right here on. Then the final flower that I'm going to make is that crepe kind of spring spring that we practiced. The jasmine flower is super duper simple. That's why I didn't do the strokes with you there because it's kind of the same thing as the leaf without doing kind of the little jiggling bridges on the lead. So I'm gonna go ahead and show you that after a mix up this pink, who's gonna again I'm gonna use my white here, and I'm just gonna take a little portion of my white going to send it over here in this lighter pink section and add just a tiny bit of the pink and we're going to mix it up. I can't see that. Can you go there? You can see I'm gonna just mix it up so that I've got a nice, nice pale pink going on here. I think I might want to add just a little bit more pink so that it's not to be Do just a touch more of the pink room, you know, So that it's not too late. No, too much because these little jasmine flowers are pretty small. Okay, there we go. Now let's take a look at our are referenced picture again. I see. Take a look at our jasmine one more time set on the structure. So what we've got here is we've got the 12345 pedals and it has a very tiny little light green center. You can see that. Let me bring it up just a little bit closer. Do you see how that's got the little tiny green center either? So that's what we're going to make. And the politics that we're going to use is I think I'm going to stick with this pointy one , I because I want to use this as the point of the center of the flower. So let's go ahead and get started. We will just take a big scoop like that. It's a pretty good, solid scoop. And we're just gonna put our point down in the century, like, just like that, we're gonna pull out pedal, Okay? Do five of these point to the century and bring it out like that point in the center. And this is where you got to be really careful cushier. Put it right up next to that room. Oculus trying to smear, which I just totally did. But you're gonna just just can just fix it just like that. You've got it. Pedal pedal day. There we go. Smooth it up, Air Force. And that's four witnesses now and then the last one five. So there is there a pretty jasmine tape, at least our pedals. Now, see, that's what I wanted to do. Okay, Now we're gonna take and clean it off, take the same light green ranger, and we're going to create our center. It's We're gonna use this little knife instead of the, uh, bigger knife on. We'll just make that ball again. Do it before. I don't want you to get Teoh particular about our perfect with your flowers. You just want the impression that's what we're doing here is we're making giving the impression of a flower. Okay, No. Last but not least of the flowers. It's time to create our little crate flower. What we're gonna want to do first is we're gonna want to create this stem. So I want you to take a little bit of this darker green tea mixed with the black. A little bit of that they want you to. You want to tuck it underneath your ridiculous and then just pull it out like this. Okay, hold out. There we go. I will do Thea other side over here for the 2nd 1 We're gonna do the same thing. Now, make sure you're probably not gonna be making two of these like I am. So don't worry about the mirroring practice. If you do happen to make two of them, I want to make sure that the mirror each other. Okay, so now we're gonna take it under there, remember? We're gonna pull it around, but this Here we go. There's our little stem for the crate flower. Now for the final blossom this little creep flower. We're gonna make it super duper light, light, light, pink. And so I'm going to take just a touch of this pink everyone to just mix it with the rest of the weight. And you just want a whispered of pink in here. Okay, so this is kind of just like a little strawberry yogurt kind of color. It's that little, very touch light touch of pink. Okay, Now, remember how we practised our little creep flowers before? So we're gonna take our pointed palette knife again, and we're going to grab up some of that. I would get a pretty good scoop because you want to make a fairly good sized create flour, and then we're gonna just set it down there and we're gonna pull out, OK? And then pull out and pull out just a tiny bit more. And then if you want to use your stem stem palette knife, feel free to do that. I'm just going to use this one because I actually kind of like the way that it's working. Then I'm gonna do the top so that we have a center to our little crate flower. Just add a little, another little later there. Okay, so there is our crepe flower and we've got a ridiculous are jasmine and our crate Flor. So let's do the second creeped out over here. 9. Creating 3D Leaves: and now it is time to move on to the lease. So I'm going to start buying peas. Flan edged leaves with the crate flower. I'm just gonna gather up some of this my palate night that's left over. Try and mixing that pink so that the pain doesn't show up, could you? Don't love peace needs. Okay. Now, to just take some of this right here with great flour. And I'm just gonna take a little leave in there, and I'm just gonna pull it out. I want pretty good size leave coming out of there. Okay, so there's our creepy flour, And if you want to add another one, you sure can, um I think I might add just one word just over right up here on the way. You know, if you're gonna put a leaf up on top of a flower The'keeper's to doing that is you gotta set down the edge where there's no paint. So right in there in that little that little create part was gonna set it down, and then I'm gonna pull this leave very gently out. So you've got kind of a more three D, and then you would otherwise what I'm gonna do with these leaves right here is I'm gonna take my very thin knife. I'm just gonna pull through a being, gonna pull up s'more beans, Italy's and this this I know the white is showing through right now, but when I put on when we put on the detail work that white won't be showing, but it just gives it some texture. For when you put the detail paint detailed work on there, I actually think No, I think that's pretty good. Okay, we're gonna don't over here and then we're gonna move on to this way. Now it's time to dio he's lighter green leaves and then but we're going Teoh, use the pointed palette knife for reasons. And I kind of think I want tea with the jasmine rather than the ridiculous. So I'm going to just take on and gather up a bunch of this because I want these to be fairly long wings, and I'm going to just tuck it into my jasmine flower. And remember, I'm gonna just jiggle it. Have to make that a little bit. Don't worry. If you mess up, this is really forgiving. Especially since it's kind of a The more it's a more impressionistic kind of genre hating. We're meeting. Um, just just, um don't Don't worry if you make a few mistakes, because it's it's really, really pretty forgiving when it comes to that kind of stuff. So I'm gonna put this one in here, and then I'm gonna pull on Chico Teoh. Thirdly, over this way detected in I'm going to coal. Maybe I just teach more to kind of so that right there is our little Sprick finished, um, with the base work. Now what we're going to do with these is we're going to let them dry. Um, I'm gonna let your strife for 24 hours. It takes 24 hours for these two, um, fully dry so that you can start putting the detail work over the top with 10. Creating 3D Berries: Okay, welcome back to this very bonus segment. So what I'm gonna do is I'm just going to add three little sprigs of Berries and I'm gonna use this darker green again to create my little stem for the Berries. I'm going, Teoh. Just find the places where it looks like it needs some. And I think right here's a good spot to add a little instead of Berries. I just just add a little stim. And I would just add enough for me to have space for for three little Berries. And then I will just turn it to find another section. And this is all about the power of three. So I always if I'm adding a smaller element like these Berries, I always go in threes and then we'll do one more over here to right over to on through. Here we go. So there we have our three little stints. There's our Berries, and now I have to decide what color of Berries I want to do. I think I actually sticking with pink here. Pinker green. So maybe what I will do. Maybe I'll do a darker shade of this magenta magenta t quarrel. Just kind of Yeah, maybe I'm gonna do that. So I'm gonna just add a little bit of this magenta right over here, and I'm gonna mix in six and a little bit of this pink here with it. I'm gonna make just a darker sheet of this car. And actually, I think I need to make that a little bit more quarterly. So I'm gonna add a little bit of this yellow to it with the KTM yellow. Just attend to the kiddie meals. So I'm gonna add this Lisbon Crimson Hume because it kind of has It is an orangey deep red . I'm just gonna end that Wait, Look, okay? Things are just gonna be tiny Berries not going crazy with him. I'm going to use that. Pointed my pointed palette knife. It's right here. Just good. Scoop up. Just a tiny bit like we did for the centers of the jasmine. It's just gonna be little tiny Berries. Not a big deal. It'll There we go. So make sure it's just right on the very tip that when you set it down, it doesn't make two big oven encrypt go little sprig, wicks and Berries. Here it is. without some Berries. So you get to decide which one you like best. And, um And does that go from there in that IHS it. I wanted to give you a close up of the texture that you just created. Now, this is a side view of that texture. You see how that's a three d three d floral right there just raises up off the painting and kind of creates sort of like a frosted cake effect. And you get to a lot of that going on when you use this particular mixture of mediums along with, um, palette knife. So I just wanted you to see a close up of that. Before we start, we let it dry and then start doing the the detail work. So Okay, right, we'll see you guys in the next class. 11. Final Detail Work Part 1: All right. Welcome back, everyone. So our paintings, the base work of our paintings is all dry. And, um, so we're now we're gonna do the detailed work. But before we get started on that, I want to show you how to clean your palate is because of this product. Now, I Sometimes I get busy and start working on another project, the away, and I end up This ends up drying on my palette. You can get pretty hard, but I'm gonna show you a little trick for getting it off. So you just take your spray bottle, um, and just spray a pretty generous amount of water on it, and then you just let it sit for a while. And then if you have a paint scraper on hand, this is the best option for cleaning office palette. But you can also use your scraper. It just takes a little bit more elbow grease to get it off. But I'm gonna go ahead and show you right now how easily that comes with the paint scraper . Once you got get that water on their inactivating it so we'll see that comes right off pretty easily. Okay, so now we're ready to start on the detail work of our painting. I'm just gonna take and put out the colors that we used Just just scored out just a little bit of it onto my palette Here. Way. Go. Let's get started on creating details for our I just stick with that rule of building, um, even more texture through shades and highlights. So let's start with the ridiculous here. I'm going to get one of my paintbrushes is here. Just a a smaller one. Not too big. I think I'll stick with Maybe a maybe in eight will go within eight. And these are just point Phil. Burt's Gilberts are really nice to work with on this kind of detail work. I think I've got just a couple of other sizes. I've got a four and a two, and then a 5/0. I'm just to use for the other details. Gonna mix up a little bit of this core look, coral color over here. Um, wait a little bit of this. That's two orange. Yeah, just a little too orange. Soften it a little bit with her. Here we go. A little bit more peak. That's pretty good. Pretty close match. That's all you're doing. You're just trying to match the shade of the darkest shade. So the base shade. Um, I think that that is actually maybe just a team of people. Very cool. And if you need Teoh, your paint's gonna drive really fast. Unless, of course, you have Golden Opens, which they take a lot longer to dry. Then you're just irregular acrylics. Keep your spray bottle close by so you could just kind of what your paint as you go on. So, no, you got me pink mixed up and I'm going to start adding white to bring up the M. This is the highlight. So now I'm focusing on the region's here where it's raised up and just kind of trained toe . That is not light enough, just kind of brushing it over the top to kind of create this, um, were shadowed effect. If you get some some of the different clear paint on a different aspect of your painting, just take out your baby weight or your rag or whatever you're using. You just like it up. It's no big deal. And if you you know, Paula spells that you don't end up catching before it drives. And you could just go back in and paint over it with your background color or whatever color is, um, you're using that. That got a Yes. This is just really loose detail work. I'm not I'm not going for anything super fancy or detailed. I want to keep the very loose, impressionistic kind of vibe going on here. Okay, so now we're gonna That's more white so that we can move into the highlights of the center of the flower. That's pretty good. No, just taken. I had some highlights middle here. Like I'm gonna take I mean, the even lighter pH here it starts in detail. Burke on the other flowers. Your goal. And your goal is with this detail work to just create even more depth to make it look more painterly than it does with just the three d base work going on there. Okay, so there's a slight of pink. I'm just gonna put a touch of this on our little create flower here. Contention This at the bottom of this will create fire. We're just and then a little bit in the center of our creep flower creating that illusion of their being kind of a bull like pedal of the flowers here. Okay, Now, I'm gonna go backwards a little bit here with this crate flower and get a little bit of a touch dark room for the very base of the flower crepe flowers or one of my favorite things to add to a painting. I just really love the way that they they look and kind of the effects that they bring Tokyo day. I just think there so softening and kind of physical as well. So that's pretty good. I like that. Okay. Now, for the, um, the jasmine, what I'm going to do is I'm gonna do something counterintuitive, which I'm going toe light in the center and let the outside go dark room. And first I need to get somewhere. One thing that I forgot to mention because the base work doesn't need it is of course, you want to have you know, your big tub of water on hand secret. Rinse out your brush while you're doing your detail work really good. And now we're gonna work on these little jasmine flowers by pulling light out from the center. We'll just go with its mother. It could wait here. I really love Jasmine. Have you ever look you've ever smelt Jasmine before her smell? Jasmine When my family goes to California honor do of Disneyland trips all around the hotel that we stay and they have these climbing star jasmine plants and especially in the spring around spring break time is when they start to a blue. And so we walk past these. We get a walk past these climbing jasmine plants when we're on our way to the park to Disney, and it just smells so good. And so whenever we smell the jasmine, it always reminds us of Disneyland. And so I like incorporating Jasmine into my paintings to for that. For that reason, I think they're also a really lovely little flower. And it's a really simple flower to which, you know, with the ridiculous having all this depth and multiple pedals, it's nice to have something simple to kind of compliment it. All right, so we're just dabbing in their ticket, taking it from the center and pulling it out. I was going in and pulling it out to see that pretty lightening effect that has got there. Yeah, that's just what we're going for now. I'm only expecting you guys to just do one of these little squares for your paintings. Feel free to do to, of course. But the reason why I'm doing two is one I like to create our own piers, especially when they're this small. But also, I just wanted to be able to have the chance to show you guys the techniques in double so that, you know, I could show it to you and then show it to you again while you're working on it. And hopefully that's helpful. I don't know if it's necessary, but I find it helpful to see things a couple of times before a try him out. Or as I'm trying amount just kind of get the technique down a little bit better. Okay, so that's good. No, we will go ahead and work on our ridiculous little bit more going Teoh pedals. Just one more shade. And then I'm gonna do the same with the center so that we keep that contrast between the two such sections of the flower. You do want my team to a little bit again. So we're gonna just lighten up a little bit here for the outer petals. Well, that's a little too late, I think. Very good. Still a little bit lighter than I like. Let's take them off. Here you go, Mr Touch. Later. We don't like to put in too much highlights or too many highlights because I want to keep that original color strong in the painting. Um, because if you go to light or take it to do too many highlights, then you lose it because it just passed a law passed allies, is it? If that's even a word, but, you know, creates it makes it more pastel even than what I like. I like those rich which colors, Tim. You don't wanna lose those in here detail work. So lighten up that century one more time. Here we go saying here, you see how that's creating A more. I was creating more depth and more interest, but also more of a painterly look. See that? Okay. All right. That does it for the Religulous. And now we will go back to working on our Crate Flower and our jasmine 12. Final Detail Work Part 2: Okay, so now we're gonna go little bit later with Jasmine. And I think I might go with a smaller brush this time. Course the to the number two. Now, with this born out somewhere, I'm really liking that effect. Such That's nice. And this is I mean, don't be intimidated by this detailed work. You do not have to be on expert painter at all. I'm a very kind of loose, really impressionistic kind of painter. I don't I don't like, um, the pressure of creating really meticulous detail, so I just don't so hopefully you won't feel like you need to wait. I'm gonna just lighten this lighter pink just a little bit more so I could do the edges of the creep flower a little bit more. Just But that's just a little bit more where she like that did seem over here not trying to cover up that original white pink. Just trying to give the last little bit of highlight there. Good. Yes, like that. Okay, I think I'm actually also going Teoh, take the center of the ridiculous. Just one shade lighter with that middle, Pete, just because it's not quite contrast ing for me, So I'm just gonna take that one little bit shades lighter. I'm just very loose brushstrokes because what you're really trying to do, all you're trying to do is you're just trying to catch the texture that's already there by just and and really enhance it by just lightening the tips so that it stands out even more , That's all. That's all you're trying to do. Okay, so that's looking pretty good. Now, let's try let's get the details for our Berries and then we'll move on to the leaves. So I'm gonna stick with this to number two paintbrush. We're going to now take our are always ran crimson here. I'm just gonna work with the paint that I worry mixed here a little bit, and I'm gonna add some more magenta to make it a little bit redder on. Then that's a good starting point. Maybe just a touch of yellow just a little bit more. Okay, so now I'm gonna start lightening it. I think I will just add in some of this later pink. I just use that to more white. Here we go. That's pretty good. Lighter shade. I just brush it over the top just catching the texture that's already there. Like I said before. And that's actually not, like, just a little bit. Sometimes you just don't know until you put it down. Whether or not it's gonna do the trick for what you're going for yourself. Don't worry about that. I think. Okay, that's let's look it later. I'm just with the Berries. All I'm trying Teoh create is just a illusion. I was shining on them, so I'm gonna take the Berries all the way. Teoh. Well, just a very contrast ing white or light, Light pink So that they look like they have a little bit of shine on them without taking away the depths of that nice real herb tea bread. Okay, I actually think I will. Taken. You knew this darker. Just maybe put in a little bit of shadow a little deeper in here toe rather than taking a lighter. Just create a little dip it more that way. I'm not trying. Teoh ruined the integrity of that original bright coral, but just had a little bit where texture, that's all. Here we go. Okay, good. Okay. No, Take these a little bit Later. Various, just a little bit later, you start adding in the white now. So as with the Berries, each time I put on a lighter color, my little stroke on there is gonna get smaller and smaller because you with your old you're creating a an effective shine. But you're also creating kind of like a rounder rounding effect as well. It won't look that way up close necessarily. But when you pull it back, it definitely will with the impression of being wherever around very or even. I mean, if you don't like the idea, various. This could be just little buds as well. It's another option, even if you wanted to do, say, just maybe one, but here one but there But there, instead of doing the various, you could totally do that too. I think that would actually look really nice. My last touch with this paintbrush. And then I'm gonna go even smaller too. Continue creating this illusion. - Okay , way. Go. Now I'm going to do one more. One more highlight in the jasmine flower with just straight up Wait just from the center. I think that contrast just a little bit more. That gives it just a little bit more of it contest. And I think he'll do the same with so edging Karen. Just just wait. Just that last bit of highly so know when you're doing that last white highlight. Just make sure you pull it around so that you're creating kind of like a squished oval just to create a bowl of that flower. And that should be good in. I'm gonna do one word thing with that and just take some of this darker read from our Berries. And I'm just gonna just touch it in there just to give that creep just a little bit more of a depth. Deeper Central. Go. And maybe just to touch on the industry, Here we go. OK, cool. So now let's move on to what's just one more time? One more deal with the with the Berries here. We're gonna do one more highlight with Berries. I've got this. The 5/0, uh, check a brush and I'm just gonna just go through Just touch a little bit of white on these Berries. Just a little 20 highly 13. Final Detail Work Part 3: No. Let's move on to our greens. Start with our number eight. Let's start mixing our basic green color. So we're gonna take our start with their Naples that out there at a little bit more of our tedium. So the Naples just is just gonna stuff in that, and then we'll start adding are so what I'm gonna do first is I'm gonna take and I think I'm going. Teoh, stick with the white asses highlight for this killer. So I'm just gonna skirt heading my white over here. Spray this again so that it stays with just This is where you're gonna see the effect of those. The ridge is that we created by kind of giggling the palette knife just for just gonna brush lately. Brush on. That might not be light of us. Lightly brush on. I'm gonna pull this out a little bit, Kerry. See, the ridge is a little bit better there as well will be the same here. And the place where you're going to see these ridges come out the most is when you put your lightest highlight on and what I like to do with the leaves as I like to kind of pick a side that is is coming out of the painting the most and just focus on highlighting that more towards that side, then the other. Okay, now I'm gonna take a little bit of a smaller brush Stewart to I'm going to do the center of the ridiculous just person this highlight on here. And still, I don't think that that color was light enough. So we're gonna go ahead and lie today. Lighten it again with more white, actually, much better on that panel that can stay. We go now. I usually don't highlight the center. Just because I feel like it takes away the effect of there being like that, you know, sent are kind of like centering dark, uh, century. So I just kind of let that be. Okay. Now, let's black too, the next year. And highlights are please go back to using my eight fresh. I'm just gonna take a touch of the black mix it in there benefits too dark. Just pulling a little bit more of your original green. That's pretty good. So I'm gonna just first it on there again, focusing on it. That leaf. That's kind of rising. out more than one side on one side, then the other. There we go. Can't say I think I'm gonna try. Just a little touch of that system. A tiny bit more of a painterly live. Now I'm gonna pull up my 5/0 My little detail brush and work on the stems Kind of just just highlight them just a little. So they're not so one dimensional. And also, you know, if there's places where you added a very but you didn't have a stem, this is a good This is a good time to fill those in this. Well, let's go back to our lighter green thieves. And then I'm gonna take this later with the white satisfy next. Let's go back to our darker green. Let's go there, four. Actually, I'm gonna go with me for over here. That's like those little stems one more time and back again. Wait till these are really pretty dry before you go back and add some more highlights to, um, at least at least try to the touch. They don't have to be depending on how much pain using your highlights. They don't have to be super, um, super dry all the way through, but but it's a good idea to make sure that there pretty dry before you add next layer Highlight on our dark green sneeze. Go ahead and use this mightiest green here just like that. And that's the coat that really brings out. I feel like that. That original leaf texture that you put in when you were doing the base work. Okay, so good. There is our detail work. All done. Now just take a good look at it. Look at all the little the different aspects of it. Make sure that it is the way that you wanted to believe that this as detailed as you would like it to be just a little bit more into that there and maybe just a touch of white light , light, light, extra light. According to that jasmine century, Here we go. Okay, So now when I made you, I'm happy with how this looks. I think I might maybe take somewhere that light green and a very real light green that I used for the jasmine and just put it on the ends of those leave just the very ends, just to give it that extra hot trump highlight. And, uh, on deck, that's to it. And just a shade lower for the dark. Here we go. Okay, Now what I'm gonna do where I call it. Good. If I went to mix up just a little bit of that cream and I'm gonna clean up the places where I got little bits of color spread around my little painting, so I'm just gonna clean that up a bit, and then I will. So I think I got a little bit of my and what I would I recommend doing when you're doing the cleanup, it just keep it really rough and kind of just kind of touch your paintbrush around so that if your color doesn't match exactly then you're not creating a problem with, like, different, different colors in your background. If you just kind of touch it around, then it looks like you did it more on purpose that it's not just covering up extra, and I actually end up liking it. If it is maybe a short shade, darker shade lighter because it creates kind of just a little bit more texture and interest in the background. The painting. Okay, there we go, There are a little moral pieces. I really like the way they turned out. I hope you like the way years turned out as well. In the next segment of this class, I'm just gonna take you through the last step of creating a piece of art, and that is to varnish it. And because there's so much texture in these pieces, it takes a little bit of extra care much to make sure that your piece stays true to the original look that you when you first created it. So the other thing that I like about the varnishes could totally change the luster painting . And I love the man. Look, especially this texture. I feel like it makes it look so much more antique. So I'm gonna go ahead and meet you back here and next segment, and we will varnished these 14. 3D Floral Varnish: All right. Welcome back. This'd is the final step of our three D floral art painting. Andi, I'm going to just show you quickly how to do the varnishing in a way that won't change the original look of your painting venues. This Matt varnish by liquid techs. Uhm And if this if this varnish gets gets too many air bubbles in it, then it will change the look of your painting, especially with this kind of texture. So you have to do it in a very particular way and very carefully. What you'll need for this varnishing is you'll just need a little disposable cup or cup designated specifically for varnishing. I'm just gonna pour in a little bit. To start, I need more. I can always put in more, just a little bit. And then So I have a very specific brush that I use for varnishing. I don't use it for anything else except varnishing, and I always clean it out with clean water. So there's never the chance that any colored paint will get on to my paintings when they're all finished. So the way that you want a varnish three d floral art or three D art in general is very slowly. So let's get some on your brush because you want to move this, uh, varnish around as little as possible on your painting. So I just kind of start from the edge and just brush it on. And the reason why is because if you if you play with it too much and it gets too many bubbles in it, then it will dry with kind of a milky finish over your painting When you don't want that, No, After you put in all this work, so don't worry if there's some little pools, as long as you don't play with it too much, it does dry, clear. So, um, just the main advice I can give you is just don't move it around too much. Um, you're gonna want to do two coats of this just to make sure it's nice and protected, and this is gonna give it again. That really nice Matt, look, that I feel like makes it look just another level of antique ish, which is kind of, you know, I feel like this style that I do here is pretty vintage e on. So I like to kind of stay with that theme of creating these Matt have been touched looking flowers and you wanna wait two hours between each coat of varnish for them to dry. This is going on pretty well. So just you're very carefully and very. I recently made a 48 by 48 34 point painting, and the varnishing, I think, might have taken longer than the actual creation of the piece. That was what sinden also be. Be careful of Lindh or little fibers that can also find their way into your garnish. But you don't want those becoming a permanent part of your painting. And I also take the varnish around the edge of the painting because I feel like the edge is also a part of, especially where most of my customers that buy these. I don't think that they end up framing them just because I do paint around the edges and it's kind of just like a accent. Oh, make sure that I burners the edges just so that they don't have to worry about the paint Kidding ruined There. OK, there is our 1st 1 done. E will go ahead and just kind of let my brush sort of stop up any pools of varnish that I feel like my feet a little bit too much, especially in the very user, you know, deep crevices of the ridiculous. Okay, I'm gonna move this aside very carefully. We're going on the other one. Okay, Now it's finished. Don't forget the bonus segment that I have attached to this class about creating your own mixing palette. Okay, so here is the finished product. I hope you guys air so satisfied with the three d floral art that we made together. Um, I know I am. I loved. I loved teaching this class. And I love doing three D fuller Flora, light art. And I will definitely have more classes like this with more advanced paintings, simpler paintings, even some other kinds of projects that you can use three D floral painting before. So I'm really excited to share those with you. Help you follow me and check out to the rest of my classes on skill share. And, um, we'll keep on learning together. So thanks again for coming and taking my class on. I really hope you enjoyed it. You will see you guys next time 15. Bonus Lesson: Make Your Own Mixing Pallet: everyone Welcome to my bonus lesson on making your very own mixing plate. So this is something that I use all the time when I'm doing sculpture of painting through the flowers. And, um so I thought I would put this bonus lesson on here for you guys so you could learn how to make your own. The things that you'll need to create your own mixing plate are thes air. These little bumpers thes self adhesive bumpers. They're just rubber rubber bumpers that usually used to put on things that you don't want to scrape across surfaces. You'll need some duct tape, whatever color you like. I like the white, and then you'll need a pane of glass. I just took this out of an 11 by 14 frame, and so it works. Glass works really great just because it's such a smooth surface, and it's easy to scrape the air, mix things on it. So to start awful I'm gonna do is I'm just gonna take my duct tape and I'm going Teoh covered. Line these edges so they're they're not so sharp. So because you don't want to cut yourself on these, um, because it is exposed glass. So I just take and I just pull it like this, measure it out about half way through. So I've got about how much you gonna turn off there? I'm gonna stick it in about half way to 1/4. Had 1/4 of an inch to 1/2 of an inch in, and I'm just gonna presidio and fold it over. Teoh, make that edge less short. Of course, you are going to get some of that tape on the other side. If you don't like that, look than just bring it in further. Bring this top part and further and so that it kind of is aligned with each other. I don't care what it looks like just because I want more surface to be able to mix on. That's why I will bring the tape in that way like that. So I'm gonna fold that right there. And that went up there on we're gonna go again, measure it out the length of your glass for them on do the same by the same length or the same amount in press it down. Hope I went in a little bit further that at that time this is by no means an exact science That's gonna drive me crazy. It's a little bit cricket. Okay, We're gonna try that again. Okay? So we'll try and make that more even. That's pretty good. Okay, just pull bad. Pull that down on the other side, que? I will do it again on this side. Pure. Okay. Just repeat this. Of course. Simply cover all four sides. Go, go. And then we will do our final side right here. Thank you. Okay. Once you have that all done, you could take your scissors. You could trim off any excess. Take that you don't want. Then if you want. Like if you have a table that you always use for art, you can tape it down. That's what I've done with my plate over here. You could just tape it down to the surface. If not, it's great to have it mobile anyway. So the last thing that I do is I just take these river bumpers here. And this This makes it more portable, Which is kind of what I was thinking would work best for those of you. Starting out with this is doing the portable bumpers. So that it doesn't scrape along surfaces and whatnot. So we're gonna just put these on in the corners. Four. And I will put one in the middle here. Actually, let's do two in the middle. And what? The reason why I, like the bumpers is one Yes, so that it doesn't scrape along the service. But it also makes it really easy for you to lift it up when you need to move it around. And so we've got our bumpers cure, and that's good. And it won't. It also doesn't move around when you're when you're mixing as well. So there you go. That's how you make your own mixing plate for three D sculpture painting. So I will see you guys next time. Thanks so much for stopping by Hope This is a fun class for you.