Acrylic Painting: Learn to Paint a Magnolia | Kacie Landis | Skillshare

Acrylic Painting: Learn to Paint a Magnolia

Kacie Landis, Painter & Designer

Acrylic Painting: Learn to Paint a Magnolia

Kacie Landis, Painter & Designer

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23 Lessons (1h 56m)
    • 1. Intro

    • 2. What You'll Need

    • 3. Prepping Your Surface

    • 4. Sketching Pt.1

    • 5. Sketching Pt. 2

    • 6. Sketching Pt. 3

    • 7. Color Mixing Pt. 1

    • 8. Color Mixing Pt. 2

    • 9. Painting Glass Pt. 1

    • 10. Painting Glass Pt. 2

    • 11. Painting Glass Pt. 2

    • 12. Glass Detail Pt. 1

    • 13. Glass Detail Pt. 2

    • 14. Glass Detail Pt. 3

    • 15. Painting Petals Pt. 1

    • 16. Painting Petals Pt. 2

    • 17. Painting Petals Pt. 3

    • 18. Painting Petals Pt. 4

    • 19. Painting Leaves Pt. 1

    • 20. Painting Leaves Pt. 2

    • 21. Adding in the Background

    • 22. Painting Light

    • 23. Finishing Touches

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About This Class


In this class, I'll show you my entire process for painting this magnolia still-life painting. This class is perfect for beginners or anyone looking to explore a new painting style! We will cover the materials you'll need, how to prepare your canvas and basic color mixing. Then we'll take brush to canvas and I'll give you the tips & tricks I use to accurately sketch out my composition and apply color to create a vibrant still-life painting. Feel free to paint along with me using my reference photo or apply these techniques to a photo of your own.

By the end of this class you'll have a frame-ready painting to hang on your wall. I can't wait to see what you  create!

Meet Your Teacher

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Kacie Landis

Painter & Designer


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1. Intro : Hi. My name is Casey Landis, and I'm a painter designer. Over the past five years, the successful side business selling custom paintings, original artwork and even meaning live at weddings. And recently I found a lot of joy and painting flowers. I love all of the detail, all of the colors. You could add into it, the amount of personality you could bring out in such a simple subject. So today I want to teach you how to create one of my magnolia still life paintings. I use a variety of mediums, but acrylic has to be one of my favorite because it's so easy to clean up, and it has a really fast drying time. For these reasons, I think it's the perfect medium to start out as a beginner painter. Your project for this course would be to create your own floral still life painting, and I've attached my reference photo, and the project resource is below state Could feel free to paid along with me or use your own reference. We'll cover the materials you'll need, how to prop. You can miss sketching and your composition, mixing color from limited color palette and then finally applying that color to create a beautiful finish. I can't wait to get started and see what you guys create, and I hope to see you in the next video. 2. What You'll Need: Hi, guys. I'm so glad that you decided to paint along with me and learn more about acrylic painting before we dive in. I want to go over what materials You'll need to successfully complete this project. First, you're gonna need a surface to paint on. So there are a lot of options for this. I am personally gonna be painting on this acrylic paper. Mine is just nine by 12. And so I'm gonna be painting on that. And of course, you can also use a canvas or a wood panel. So, like I said, I'm gonna be using this acrylic paper. You'll also want to, of course, have some brushes. The's air. The brushes that I am going to be using today kind of suggest that you have a larger brush . So for my larger brush, I'm gonna be using this angular brush. I find they work really well for straight lines as well as you know, blocking in big spaces of color. I also have this smaller brush. It's ah, Filbert so kind of has more of a rounded top, but it's been on the side also good for detail on and then I have to much smaller brushes. This one is kind of similar to that first brush we were talking about in that it does also have that straight edge for detailing and this longer Barschel brush This longer bristle brush is really great for detail ing as well. Um, you definitely don't need these exact brushes to create this project. I just suggest that you have a larger brush. Um, something kind of in the middle. This one's actually on the smaller died and then a smaller detail brush. And then, obviously next, you'll need something to use as a palette to put your paint on so you can use a paper plate . If you have a glass or wood palette, that's also great. Um, I am going to be using this palette paper. It's really great because it's disposable because, like I said, acrylic paint dries really fast, so it's great to be able to have this on and put all your pain on it. Make sure colors and crumble it up. Toss it, throw it away. This one's optional, but you can also use a palette knife. It makes it really easy for mixing colors, which we're going to go over, but you know, if you wanna. If you want to stick to normal brush, I do that sometimes, you know, grab a little bit. Makes it here in there that's gonna work. Just find two. So you can use one or the other or both, all probably and abusing both. So whatever you want to dio, that'll work. Now, finally, we're gonna go over colors. I think one of the best things about acrylic paint is that you don't have to break the bank . There are a lot of options when you're starting Teoh paint with acrylic. Me, We are going to start with a really limited color pilot because I don't want you to have to go out and buy a ton of paints to complete this project. I have six colors, and I think that when you have the six colors, you can mix about 90% of the colors that you're ever gonna need. So first we have burnt number titanium white, and then we have carbon black, these air kind of those neutral colors that we're going to start out with, and they're gonna help us create a lot more of the turns that we're looking for from here, we're basically using primary colors. So I have Eliza or in crimson Ultra Marine Blue and got me on a yellow light. And from these colors, we're going to be able to mix everything that we need for our still life today and so much more. Like I said, 90% of the colors that you're ever gonna need you can mix from this bunch right here and then some other things that you'll need, of course, are something with water. You know, a little jam jar 10. You'll need some tape. This is great. Especially if you're painting on the acrylic paper because I like to leave a border around the edge of my painting. I just think it makes it look really clean and finished. And so we're gonna be using artists Take for that and then last but not least, it can't hurt to have some paper towels handy. We're gonna need them after you know, you've rents brushes, you're gonna want to wipe them off so you don't have too much water. And then, of course, if there is any spills or anything like that, it's just great to have this nearby. Okay, so let's get started 3. Prepping Your Surface: Okay, so now that we've covered all the materials you need, we can get started with prepping our painting surface. Um, and I'm gonna take this down just so I'm not moving it around too much for filming. Um, that looks about street men. Take my artist tape and just secure this where I want where I wanted to go. I think top and bottom should should be good. I want to make sure it's nice and flat. Okay, that's good. It's not going anywhere. But like I said, I do like to have a border around the edge of my painting. And I think that the width of this tape itself is gonna be just fine for that border. So I'm gonna line this up with the edge of my paper, stick it down, make sure it's nice and smooth, so no paint's gonna get under it. I'm gonna do the same for the bottom because they don't. You know, since I had to stick some down here onto the table, Um, I just want to make sure that it's the same with us. This I'd borders are gonna be it. But again, again, we want to make sure We don't have any buckles under there, so no pain can get under it. You know, if it's not perfect, it's fine. It's not really gonna be noticeable. Um, but I want to get it as close as possible to even on all sides. So there we go. This is not going anywhere. It looks like all my edges are nice and smooth and sealed to the surface so that we can have crisp lines when we take that off at the end. And now I'm just gonna do the same with my palate paper. Next, I want to talk about toning your surface. Think it's one of the most important steps for creating a really vibrant painting? The simple step is crucial for a few different reasons. It provides a base of color for your painting and depending on the color you choose this can either warm or cool your painting. So, for example, when I put this Eliza in crimson right onto this white surface, it's gonna look super dark, right? But if I've already tone my canvas and giving and I'm giving my honest something to compare this color, too, it's going to make it a lot easier to determine values later on. This white, clean white surface is really intimidating. So when we put that initial toned ground on here, there's no pressure to cover the entire surface. And that first mark is not nearly as scary. So go ahead and make that first mark just cover the entire campus. Your mind is gonna thank you for it. And then you're painting. Well, thank you for it, too. Because even if you don't cover every little bit in the in painting, that little bit of color that pops through is gonna add a lot of dimension and character. Whereas if it was just like plain white canvas poking through that could make it look a little unfinished. Whose cadmium yellow, the Elizabeth Crimson and a tiny bit of birth number and a lot of a little paint can go a long way. So don't feel the need to, you know, fill up your plate like you did in kindergarten. Um, when you put so much on there and you just gloved your brushes and it no. Oh, that you don't need to do that. Um, you can always add more later if you need Teoh. Um But for now, this is gonna be more than what we need. So we're gonna start with yellow and yellow has a very, uh, very weak value, I would say. And, uh, saturation compared Teoh these other two colors. As you can see, there are a lot darker. And so that means they're gonna affect this color a lot more than the yellow will affect either of these so we can start with a lot of yellow. But when we add these others, we want to be very careful. And so I'm literally just gonna, like, dip the tip of this palette knife into that red and then I'm going to start Mexican in. I grew up a little more. You can always add more, but, you know, it's really hard to take it away once it's in there. And you can see that yellow already really? Starting Teoh warm up compared Teoh what it was before. And then I'm gonna add just a tiny bit again. Just a dot of that number. You can see that that changes this like dramatically already, and I haven't even totally mixed it in yet. I'm gonna add a little more red cause I wanted to be. I wanted to be warmer than what it is now, and that's getting a lot closer. Um, to the color I want I want this really golden Goldman base that's gonna warm up this painting a lot. Yeah, I think that's great. This is the exact color that I want. Um, and now we before we do our wash, I'm gonna add a little bit of water to this before we do our Washington at a little bit of water. I'm not a ton. I don't want it to be necessarily watery, But I do want to create a wash. So I'm gonna grab my larger brush, um, and just kind of dip it into my water and start adding it in there. And I want it to be almost like a guess. I'm mochi consistency because I don't want to add too much to the surface. I still want to be able to see that texture and feel that texture on this initial layer just a tiny bit more. Um, but I do want it to cover. And from there we're gonna apply in even strokes to our surface if you need to get out a little more water. And the great thing about acrylic penises, this is gonna dry really fast. Um, so we don't have to wait a long time, Teoh, before we can start painting on top of it like we would with oil paint. And you're gonna really want to get in there, get it into the texture of your surface. This is why we watered it down a good bit. Because we want it to get into all of this little Sivits in the favor. - Great . So now we have our toned background. It's not even what's, however, um, but it doesn't matter, because we're gonna cover this up. It's just so that we have that base. I'm gonna rinse my brush off, um, And what Down? Like So you wanna make sure you get both sides and really that base because a lot of pain can get stuck in that base. Um, and then we're gonna move on to our next step 4. Sketching Pt.1: we are going, Teoh roughly sketch in this composition. So as you can see, the overall shape of this composition is pretty similar to the shape I have here. If you have something that's more square, feel free to crop it however you want. So one thing I want to talk about, IHS proportion. So when we're about to sketch this out, the first thing I want to look at is like, what is a big dividing line I have in this composition and for me, I see the top of this vase that it's like a big divider in the composition for me. And so I'm gonna measure about how much that goes into the composition. So it's not quite halfway, but it's pretty close on, and that's why I'm going to market off on my paper. So now I'm gonna go to my paper and and I'm just gonna use some of this red straight out of the tube. Um, you can use literally whatever your color you want, but, um, just gonna use some of this red and I'm gonna find about where halfway on this paper is gonna be. So it's about right here for me And then, like I said, it's a little less than that. So I'm just gonna guess to me that right about there is where the glass is gonna end. I'm gonna use that same ratio to make the rest of the composition a little more proportionate. Um, so we go back, we see that dividing line was about halfway, and it's pretty similar. This amount of distance is pretty similar to the amount of distance that we have to the side. So we're gonna measure that as well. Here, here. You know, that's close enough. So we're starting in a pretty good position on, so I know that that's where the edge of that glass is gonna be. Now we're gonna work on dividing that glass in half until it looks like this dividing line is about halfway as well. And so we're gonna take this distance. We have Mark toner paper and find the middle of that and put another mark using these measurements were going Teoh. See that the base, or at least what looks like the base in this photo of the base is pretty close to that same distance that we're gonna have from the edge of the composition. And so if we can have this much here, the base is going to be about the same there. So I'm just gonna mark mark the wits that we're going to and, you know, it's a painting, so you can take creative control of whatever you want. If you want to make it a little wider, you know, it's it's totally up to you. And so you can kind of see the proportions we have going on with this base now. And so I'm going to start to fill in those lines very roughly. The sketch does not have to be even close to perfect because it's all gonna be covered by paint and a little bit, since we have one of these round things right before because we marked off this second round thing and from here, it's gonna kind of balloon out. This is a rounded, rounded top right here again, and keep it really rough. Don't focus on the details right now because the details come when we're painting. Right now we're sketching 5. Sketching Pt. 2: So now that we have that base roughly blocked in, um, I can see that I personally think that this is a little skinny for me. So I'm just gonna add a little more depth or a little more width to the sides, because I want I want this base to hold a little more weight in the composition than it is currently. And then we have this this top of here. So one really important thing with this composition in particular is to get the's dividers . We want them to stay grounded. If they end up being a straight line, that's gonna really flat, not the base. And we want it to have that three dimensional feel. So we're gonna keep all of these kind of going on that same the lips. Yes. Well, it's the top. You see, the stem is going at an angle here, so I like to just simply take my brush, find that angle, and then mark that angle on my composition, and then we can see the length of that base is pretty similar to the height of the magnolia . I'm just gonna mark that off right there. And the wits? It's similar Also, it's just a little bit wider. So I'm gonna sit that mark to those marks, and I'm going to know that my flower is going to go somewhere in that direction. You know, I'm just gonna start adding a little bit more detail so that I can see kind of what's going on. This needs to be thicker because it's really throwing me off way of relief coming out here . One thing I don't want you to get caught up in its being like, far too exact with with any of this painting is about exploring. It's about, you know, creating your own composition from things that you've seen in real life. But it doesn't have to look exactly like this reference photo. So when you're sketching and in have fun makes him crazy lines again, we're going to cover it up later anyway. So why not kind of explore with what you have here? I want this leak. If if I was going strictly off of this competition, this leaf would probably go off the page. But I really want to keep that top one here, so I'm gonna just that to where the top ends just right there about getting too close and like pinching against that border so I can see where the top is. But I'm not gonna put anything else in there because I haven't drawn out that that flower yet. Now, I just want to add there so many different ways to paint. You don't have to sketch it out like this for you get started. A lot of people don't, but I just find it really helpful to get these initial shape kind of plotted down. So now we're gonna go and we're gonna find B magnolia petals. Um, and this is where it's gonna get a little tricky. There's really no like secret for this. Um, but we just wanna loosely sketch what we see, like, big shapes. So right here, I see that I see a shape like that and you could divide them up by colors like this is really bright. So I'm gonna do that shape, and then over here, this gets a little bit darker, so that's gonna be another shape, and then it becomes light again. So it's another ship right above that. And remember, you can always use your brush Teoh to see what those angles are. So from here, have an angle. That's kind of like this. While you're plotting these, I'll keep your original points in mind so that you don't go like way too far off. It's okay to exceed goes those marks, but you want to just be mindful of them, not not to go crazy. 6. Sketching Pt. 3: again. I'm just looking for different shapes of color. You have to imagine this whole thing as a flat image and say, OK, here's a white triangle. Here's a greater angle. And while you're stretching this, you can keep your color really watery. I mean, that's why Jenna dubious. It's easier to draw that way. And, um, you know, you're just using less pain. And when the sheeps get difficult to really pay attention, Teoh each individual angle. - I'm gonna come over here because I feel like I have a lot of results. I've been kind of ignoring this side and take your time with this. You know, it is rough and it doesn't look good. It's one of the most important steps, especially when you're a beginner. Um, getting that form right when you can simplify these shapes, it makes finding the values later on. And that was color is a whole lot simpler, so I can see I make this a little too small and so similar Pedals are starting to get a little cramped, but that's OK. Um, it's your painting. You have the liberty to adjust whatever you want. If things start to get a little cramps. You can admit whatever you want. Uh, and so I'm gonna pretend that this pedal on the side over here is covering most of that huge leaf. And then it overlaps Is other people next to a lot more than actually does. And this last pedal that's hiding back here go ahead at the end as well as the in the middle. Coming out that middle of really kind of brings up will fall together and we can see that doesn't look right. What does? A great I personally think that I played this step Wajih Harshman angle. So I'm gonna go correct that when you do this step, it lets you work out your composition before you put too much time an effort into the color of everything. Because once you start putting color, if you have to change something, there's a lot more work than just like the lines we have here. So I feel like that's a pretty decent sketch, and then we'll move on to color 7. Color Mixing Pt. 1: Okay, so now that we've marked in all of the major shapes, we can start toe add color. So we have Count me in yellow light, Eliza in crimson burn number, ultra marine, blue, titanium, white and carbon Black. Before we start painting, I want toe kind of go over how these colors interact with each other and why we chose these colors. So obviously we have kind of a primary colors here with the yellow, red and blue And what those we can create almost any color that we're looking for. Burn number titanium white in the carbon black. Those kind of come into push and pull the values of how darker like they're going to be in that bird number, especially, is going to deal a lot with the overall saturation. So, for example, we'll take a little bit of this yellow. So the the red and obviously we're going to get an orange. The saturation in this red is a lot stronger. Then what's gonna be in the yellow? And so that really takes over and we'll get a lot darker because of that red, even if we just apply a little bit. And so from there if we weren't at a White White does not have a lot of power and so we didn't see a huge change. But there is still a little bit of change, and with this, we're we're lightening up that value. So, like if we were to look at this is a black and white photo right now, this is a whole lot. You see, we're going down on the value scale. What I really want to talk about is mixing greens because you know, when you're in school, you're taught that you take some yellow. Do you take a blue to get just a little bit? Because blues a lot stronger than yellow, you mix it together and yes, you do get a green, but this is a very bright lime green, and we may use some of it for highlights and where the lightest hitting really hard on our composition. But for the most part, this screen is a little too synthetic and isn't going to give the most realistic view what's at a little more blue? Just to see how how this reacts, you can see the value is getting darker and again, it's still kind of that very synthetic green and blue. I'm gonna go ahead and wipe off my palette knife. So I'm not mixing too many colors here. Now I want to talk about how to make those very natural looking greens. 8. Color Mixing Pt. 2: and on the palate, they might not look that great, but they're gonna look a whole lot better in comparison with the rest of the colors. And when we're trying to make a more natural palette someone to grab some of this yellow, I'm actually gonna grab a tiny bit of, uh, carbon black again, just a tiny bit because it's a whole lot stronger. Even that may have been a little too much. And you see, with this, we get a whole lot more natural looking of a green. So let's compare that. See, they're about the same value. But this one looks a whole lot more natural. Makes a little more so by mixing the cadmium yellow and the carbon black because the carbon black does have some blue in it. We're going to get a more natural green like this. Beautiful, all of all, of kind of green we have here. Compare that to that. And when you put them side by side, you can really see the difference, you said. And just to see how far we can push this, let's add a little more black and so you can see that these are a whole lot more natural looking, then these should to create a really warm palette. We're gonna want to stick with mixing this way. So I'm not mixing too much, and then I want to go a little more over here. We're gonna take some more yellow, and we're gonna go with a tiny bit of burnt number. Burn number will have a similar effect. The carbon black hat on it. But it doesn't have, um, as much of the blue in it. So let's just see what happens with this. And so when we dio the cad yellow and burnt number, we definitely get a more yellow green. But this is gonna be great for highlights in places where the light is shining through the leaves. And let's just compare. See these? This is going to go great with these more natural greens. And then, you know, we can occasionally maybe add in some of that that really bright green where we had mostly cad yellow and a tiny bit of ultra marine blue. But to get those really natural colors, we're gonna want to stick with CAD yellow burnt number and carbon black 9. Painting Glass Pt. 1: so really, when we start putting in color, you can start with whatever you want. I personally I want to start working on this space. I'm ready to put in some blue to combat this yellow background that we've been staring at it for a while now. Um, and I recommend starting out with your biggest brush. We don't want to get stuck in any details too fast, so we're going to start with this big brush to just block in that color. But first, let's take a look at our composition. So starting with this base, we see we have some blue, and it's pretty close to the ultra marine blue we already have on our palate. But we also have a lot of light that's coming through that's giving us really light blues and even some very, very dark greens that are almost black down here, we have a bit of a brighter green, so we're gonna pay attention to that. Um And then, of course, there gonna be hidden colors in there because their reflections that we want to make sure we pay attention to like, there's even a little yellow over here. Before we put down any of these marks on the details of, like, the etching and all of that detailed work on this glass. We just want to put down the overall colors. So we're gonna go with a darker blue lighter blue in that lighter blue is going to continue on down this side and that darker blue is gonna be on the side And that's what creates that dimension. Everything is going to have a highlight on one side and a shadow on the reverse side. No matter what you're working with, that's gonna help. Your work popping creates so much more dimension If you remember to add that one highlight in that one um, shadow. So let's get started on that. Keep that there. I don't want my screen, so I'm gonna start by mixing a blue. This blue is pretty close to what I already need. I think I'm gonna add a little bit of burnt number Just a dark and little tiny bit This can act as the shadows in the blue gonna grab some more to be kind of our medium blue and I still have a tiny bit of burnt number. It's a tiny bit of burnt umber for that medium blue. And then I'm gonna detain you bit of weight for some more of this highlights. And then I just want to grab a little bit off of this because I can also see that these parts where is Mawr illuminated? There's a site green hint to it. It's not the straight ultra marine blue. There is a slight green tent. So I'm gonna grab a tiny bit of this yellow to add in there as well, so I can get more of a a green teal, um, color that I can use his accents in there. And we're gonna just what? Our brush a little bit and get going. I think I'm gonna start with some of these darker colors first. 10. Painting Glass Pt. 2: and roughly at them in Remember that was blue and burnt number. We put too much burden number. It starts to look black, so I'm gonna add some more blue back in there, and it gives us this really beautiful navy. And I'm just looking for my darkest points on here right now. So I see that the top of this lead has a really dark point. There's a really dark line coming down right here. And this little angular part this pretty dark. We have dark lines over here. This whole circle is a little dark shadow beneath it. And then way have some darkness over here too. We do have a little bit of a shadow over here, but as you can see for the most part, all of this dark is going on this side because that is the side done opposite of the light are lightest coming in from this direction. So this site will be illuminated in the side is going to be treated a little darker. Gonna wipe off my brush. You could pick up a new brush if you want I since we're still using blue. Since we're still in the blue family I'm going to keep this one Just clean it off a bit. I'm actually just gonna grab some of this ultramarine blue that has a tiny tiny and I mean tiny, better burn number in it some. And I'm gonna go down and lay this in the spots next to let's actually get a smaller brush . I'm gonna bust out my kind of medium sized filbert brush. At this point, it's a little a little water. I'm gonna grab some of this ultra marine blue. I'm putting this and kind of next to these shadows I'm using. This color is kind of like a gradation into the lighter colors. And I'm and I'm looking at this stark spot over here. I see that there's a lot of different tones and so I'm gonna add some of this ultra marine blue into there for now. And in this stage, you don't want to water down your paint too much because we want to cover some of this yellow, whereas, if you know you water down than it is a little more opaque and that yellow is gonna come through and it's gonna seem really green, which I'm getting a little bit of that right now. So I'm intentionally going to make, um, my colors in my pain a little thicker so that I could covered spots where I don't want to see is much yellow. 11. Painting Glass Pt. 2: wash this brush off and I'm gonna go to this later. Blue grab some more Ultra Marine and some of this white No, I think this is gonna be really impactful on top of the yellow, because right now we just have to start. And so this is where we're going to start to see some big changes and really see that blue color come through. Do you see how, like, vibrant just that little dot waas, Um and so we have Ah, highlight here. And I'm just gonna block in this section, even though there are different tones in here, we're gonna go ahead and block it in just so I can start to see the overall shape a little more and kind of I mentioned in the beginning. I do like to leave a little bit of that yellow or even the red from the outline that I drew before to come through. Um, so if I miss spots, you know, I'm not worried about it, because I really like when those those nice little colors broke through in the final painting. If you look at some of my previous work, you will probably actually see sometimes I'll use like hot pink or, uh, just really vibrant color so that intentionally so that when it does poke through, it just provides this vibrancy that really wouldn't be there otherwise. And so you know, when you get more comfortable with painting and you're deciding everything for yourself If you want to experiment with a really cool tonal background, I highly suggest it's something I love to dio on my work. Personally. Even this is a little brighter than normal. I would say For the most part, people really stay most of the time neutral with a burnt umber wash ashore with a gray or or something like that. But I think it's really great to experiment. And so now this is obviously very rough, but we're starting to see this base takes shape. I am noticing that it's a little wonky, a little off balance, so that this is the point where I'm gonna try to correct that just a bit. And I think I'm gonna need some of the the darker blue to do that. I think the other side is what might be off. Yeah, like I said before, I'm OK with the things not being perfect. if I think it gives it character. Really? You know, it shows that it's handmade, but I'm gonna continue to add some of this blue groups. I'm going to continue to add in some this blue. I'm actually gonna mix it with this this nice teal color I created earlier. And I want to cover up this red, so it's not just like a line. Okay, so now we have this blocked in, and we're starting to see some dimension. It's a little less wonky than it was before. So now it's very like one color and the other, so I need to add some some middle tones in there. So I'm gonna take this light blue that I've been working off of and add just a little bit of that dark so we can see what we get. And it's this really beautiful, like dusty blue grey. Um, that I think I want to make a little darker. Yeah, I'm gonna go in here, just kind of blend these colors into each other. It doesn't need to be a softer or perfect blend. Um, because it's glass glass has thes fragments in it. Um, and you really don't want it to blend perfectly because the fragments are what really make it glass and what make it, obviously glass to just look around anywhere. You think there needs to be an edit, go ahead and make it nothing detail, no detail, just color. And so you can see where it's slowly starting to take form. I wanted to be a little less green over here right now. We're just looking at form and color. We can see that it's starting to take shape, but we don't have any of our fine details in there yet. And so now I'm pretty happy with the way this looks. It looks a little round. It's starting to take shape, and for the most part, it is covered. I want to zoom in and show you you get a better idea. No, it's definitely not totally covered, like we can still see. There's some yellow poking out there, some red parts poking in here and there. But I love the way that looks 12. Glass Detail Pt. 1: And so now that I'm pretty happy with the overall composition, I'm gonna start adding in. I'm gonna start adding in some details, Um and so I'm gonna take some white again, not using straight white for any of these details. Gonna take some white and some of this light blue we were working with earlier to create this really light like sky blue. And so, for instance, of the top of this glass in the middle, we have really a really light, um, transparency. So I'm gonna go and start adding that in just very loosely, you kind of have the same. Over here, we have a little highlight, some highlights here. We have line coming down here, and then we pick it back up underneath that ridge and down again. This ridge down here is actually pretty spotty. And so we're going do exactly that. Just had some spots in it. Add Cem some movement, it just creates a more adding some weight and with this lighter color we were using earlier and I'm going to start adding these ridges zoom and so you can see in these ridges are exactly the same as the overall base on one side of the ridge, there's gonna be a highlight. And on the other there's gonna be a shadow. So start that brooch here. I'm trying to keep these lines very thin to make sure I like them before, you know, I commit too much. Make sure I like the direction they're going. And I'm gonna stop with this really, like color about Midway. Because though we have highlights on this other side, they're darker. Soc thes highlights over here are really bright, and there are bright highlights over here. But I'm I'm going to guess that that color is a little darker. So I'm going to stop these highlights over here, and I'm shouldn't take a little ultra marine blue Make this highlight color tiny bit darker because not all highlights are created equally. Ah, highlight on a light section is gonna need a lot lighter color than a highlight on a dark section. See, even though those air pretty different colors, you can't tell a huge difference because it's getting it's getting later. I actually think I'm gonna make it a little darker. Gonna add some more highlights to that room that's coming around down here. Wash the brush, and then I'm gonna go in tow, add some darks, some of the Starks to the same, um, the same ridges. Something that's helpful, actually, that I didn't mention before. I have this Mr Bottle. And so if you are, colors do start to dry. Uh, are before they start to die. Really? It helps to give them a little missed every now and then, Especially if you're gonna be painting outdoors. It's very, very helpful. I'm gonna take some of the stark, and I can see that pretty much on each side of these highlights Over here, there's at least a little dark something, and it doesn't need to be exact. It just needs to be a hint hint that there is a shadow there. 13. Glass Detail Pt. 2: burn number so we can make some worth gets more of this mix cause I'm starting to run low on it. Get a little watered down, okay? - Don't let it get too straight. That's one thing I want to warn against. Um, I personally think that one of the best parts of painting is when you can actually see the brushstrokes. So I don't Don't get too worried about making these lines perfect. I think the imperfections are what make painting is unique and, um should really be embraced. So see, like, I this is actually a little stripey for my liking. So I'm gonna go back and intentionally mess up some of these lines. And so now when we look closely, we could see you see the stem that's behind this glass right here. It's affecting the outside. So, on these debates in these ridges right here, there's, like, some green coming through, um, someone again wash off my brush. I'm gonna create some of the screen that we made earlier and says this is a more like, reflective green. I don't mind using this very like synthetic color, so I'm just gonna let some of that blue that's still on my brush, Um, mixing with some of this cad yellow. It's like I said before, I think it's okay to use the screen very limited amounts. You don't want to use it on like this whole leaf, because that's not gonna be very realistic, but in small amounts, it can really, really pop, so I can see some here. So I'm gonna go ad just little hints of green in different places. Um, on these on these ridges, no one big thing we're missing is the stem itself. So I think we should go ahead and add that now, wash my brush, and I'm gonna make gonna make a green with some cod yellow way too much back. But that's okay, because this greenest super dark, But I do think we need a little bit of more yellow. Yeah. One thing I wanna warn is never go too dark too soon. It's better to start at like a middle a middle darkness. Um, because from there you could go lighter. We'll go darker and adjust your values based on you know what you see. And when we see the stem through this glass, it doesn't need to be as perfect as it is in the photo. Um, you know, glass distorts things, it breaks it up. And so just putting, like little jabs. Almost in, like, a hint of the stem. It goes overly long way. OK, continue. Stop here. When we get that green in different places in the divots because it gets broken up from those different factions and then see it down here. I see it curved. Okay, so right now my stem is all one color. It's kind of that middle green. Like I was just talking about, um, What's gonna make it really sing is when we go back and we add the highlights in the shadows again. Highlights on one side, shadows on another so we can see this gets pretty dark over here and very dark as it goes down towards the bottom. Here, there's a big shadow on the stem 14. Glass Detail Pt. 3: you can actually uneven a little more black to this because this is one of my darkest colors in my composition and see here how we're like mixing an actual color. And we're not just going from black street out the tube I got, I think is what makes a big difference. And it can really make or break a painting. So up here, we're gonna add just some more darks where we see those shadows. We started adding details, but now it's time to get to the small ones so you can take out your your teeny, tiny little brush here. Um, what I'm most interested in at the moment is thes circles with the little patterns and then that we can see, um, on the base. And so to do that, I'm just gonna take some of my dark and really, guys, I know you're not gonna listen to me, but don't think about it too much. I want you to do this really fast and just just do it and see what happens. Okay, Um, so we see a circle on this outer edge. It's almost like 1/2 circle strike really fast. Don't don't fill in don't let it be an actual circle Strong Really fast. We're gonna put just like an impression of the things that we think were there. And here I see another circle, but a lot of that is highlights. Um, but there is some darkness towards the bottoms. Go ahead. And at that, just think kind of what I see here. You have another one. We're going to go to our lights or really are middle lights. Not are our latest like this. Like great blue again and again where you see highlights. Let's add those in. Don't think about it too much. We want this to be pretty impressionistic, especially with glass. You don't want any of these details to really be solid. They always have different colors in them in different shapes than what our brain tells us is really there. Um, so you want to catch the light and just certain certain places just, like, be things up here. You can see we're starting to get some detail down there when it grabs more this dark blue. Because I think this this little section right here needs some work on dressed. Yeah, and see, I think that's good we can leave it alone for now, we might come back to it later, but the details on that tiny section, I think, are good to go. Let's move our way up. You see some of these lines better kind of cascading down on this bridge. I want to capture those, and I definitely definitely want to interrupt. That's Tim. I don't want it to look like it's on top. 15. Painting Petals Pt. 1: Okay, now we're going to start painting the scariest part, the actual flower itself. Um, And so as you can see, there are like, very, very subtle shifts and color in this. It's a lot of white. We have some gold, some warm shadows, even some some kind of purple e purposely blue shadows in there. See, there's like a warm shadow, and there's a more of a cool shadow. So what I want to do for this start with the darkest shadow. Not this one, because that's very dark. Um, and there's nothing else to really compare it to and the whole pedal part. But this pedal right here has some great contrast. And so I'm going to start there and find I'm gonna make a color that I like for the Shadow , and then I'm gonna find where the rest of the shadows with that similar color are, so we can see that there's one here. There's one up here, maybe up in this area, and so that's how we're going to start and that will slowly start manipulating our colors from there. I'm actually gonna tear up this palette because it's pretty covered in color right now. and I don't want to risk mixing my whites with any any greens or blues that I don't want. So it's time for a palate Rip this one up. And like I said, this is the beauty of this. I can just cold toss it and we're good to go, and I'm just gonna go ahead and mix some white. So I've already seen in here, So we already talked about that. Really? Golden the golden white. Um, I'm gonna mix some of that, and I'm actually going Teoh make a line of color color string because this could be really hopeful when you're looking for different values. Um, when you have such shut subtle shifts in tone and value, um, the's color strings can be really helpful. Well, this one is very pink. Um, I'm gonna make one that's a little less pink, a little more orangey, - So I think it's really cool to see with these color strings. You know, these are all the same colors, but look how different each string is turning out to be like there. So many so many subtle shifts in color from Ingelise. And I want to make one over here with some blue in some crimson get a little purple. I'm not going to use anything that dark, so there's no point in even starting it there. Um, it's gonna start with a light purple. You see how that develops. And I think these colors over here are gonna be great for some of those cooler shadows. Great. 16. Painting Petals Pt. 2: so I think I'm going to start off with my big brush again. Um, because I don't want to get caught up in too many details. I really want to make sure that all of that dark blue I was using earlier is is off because they don't want to get mixed in. They have a lot of really subtle colors going here. Um and so I think I'm gonna start with this with this golden color over here and go in for some of these shadows. You're gonna want to go darker because this looks white on here right now, right? Well, it's not. It's not even close to white. You can tell over here like this is not is not Wait, but we're going to go in with these warm colors and everywhere we see a similar shadow, we're gonna add it in filling in the shapes we made before I'm gonna bust out my filbert brush. Actually, you go in with some of these darker, darker oranges and find these big shadows here. And there's definitely one under here. And and so now I want to gonna go for a couple more highlights because I need some comparison, my eyes orbiting, confused. - I'm just going in at this point in adding and blocks of color. Like right here. I see. This is a big highlight. I'm gonna add in one of my Bredar my brighter strings that I made. Yes, I definitely recommend starting with some of these. So it definitely recommend starting with some of these lighter, lighter areas so that you can give your isom reference because everything is gonna look with pretty light on top of this yellow when all of our tones are so similar again, not using any straight white. I'm using this really beautiful, um, creamy white that we we made a few minutes ago. We're just blocking in shapes. 17. Painting Petals Pt. 3: - Now I'm going to start using some of these darker colors, and I think I like this this coral over here and I want to use it for some of these shadows . I think this coral color because really nice. Since I did start with that red outline. A kind of compliments. You know what's already there, But I'm just going in and finding shadows and painting in the shadows a little bit. We're not going to dark because we will. And some of those super dark, dark shadows And later, But I want to keep things as like, middle ground, as I can write. Asked that I can push and pull what I choose once we have more information down once more this gold. And as you can see, I'm actually not changing brushes. I kind of like that. These colors are all getting mixed together a little, and they're very similar to begin with anyway, um, so they don't make a huge impact on each other. But, you know, if a a small stroke of pink goes and where I was trying to put orange, I don't think I don't think it's a big issue. - I'm sorry. This part may not be as concise and like, straightforward is the rest. Um, but you kind of have to adjust as you see fit. And so I tried to start out with highlights, but then I realized I forgot some big highlights on this pedal over here. So I'm gonna come back and add those and no. 18. Painting Petals Pt. 4: you want a dark base here? I'm gonna get my smaller brush. Um, I want a dark base here so we can go lighter with the highlights on top of it. This is really just gonna service some some shadow for the seeds that are on there. And then this also gives us more reference for the flower around it. So we can go ahead and add more darks in there. Now, that kind of coordinate with that color, a little more that I'm using my small brush right now. It's just because I don't want a ton. I don't want a ton of these shadows. I'm putting them in very like strategic places. Kind of around. You know, where we added those purples and blues a minute ago. So this is actually called local color. If you're wondering, um, that effect of how when we put this dark down, it influences on the rest of the colors we can put down. Um, so that's why it's great to keep everything kind of towards the middle ground for a while. And then you can decide which areas you want a push and pull. Um, later on, as you slowly work up this. There's different values and I'm using this, um, the shadow color almost like a stain. It's it's pretty, Uh, I'm using the shadow color almost like a stay, and it's pretty watered down. And I don't want to go crazy with this. Um, so I'm gonna add it everywhere. I think it needs to go. And then I'm gonna take a step back, um, and see where we need more highlights. It's really just like a balancing act when you're adding in your lights and darks. It's a big balancing act. Um, between going too far, then put pulling it back. Um, but it could be a lot of fun. 19. Painting Leaves Pt. 1: So? So between these greens and thes shades, I should be able, uh, to cover the leaves. I may need to mix a little more because I didn't Probably didn't mix enough, but I'm going to stay within this range. I'm gonna clean off my big brush again. Gonna go for a big brush like, unjust block in some of those tones. So let's take a look at our reference photo. Yeah. So it's actually leaning mawr even towards towards thes brown tones. Maybe Maybe some of us you hear some of that. And just like we did with the flower way too much water and just like we did with the flower, I'm going to start with some of the the darkest bits. First, we don't want to go to dark bring down there. So right now we're kind of in this this middle gray, and I want to go in and some of the rial darks. So busting out this filbert brush again, Um, I have a lot of white on it right now, so I really need a wife it off because I want any of that. Um I'm just gonna add a whole lot of burn number two this. I don't want it to be pure burn number. I do want to have a little bit of that green tent, but I needed to be a lot darker than what it is right now. I'm gonna start with this section here on the edge. It's pretty dark. I'm gonna blend this into the green that I have there already. Number do the same. And now you can see we have these little stem things, so we're gonna just mark those for now. 20. Painting Leaves Pt. 2: And that does look a little like elementary at this point. Uh, but because way still need at the highlights, it's very much just lines right now. And like I said earlier, we don't like lines. We want those painterly brushstrokes, burn number and yellow, so that's gonna be pretty light up against that. Okay, especially down here. It seems to go pretty late. We were just doing the same thing that we've done this whole time, adding highlights on one side shadow on another. I think that's getting a little bright as we go up. So I want to make that a little darker. It's getting to be less of a that change. I'm gonna add some of this highlight to the top. I need some of this yellow bottom. It's like a lot brighter. So one thing we need to do, I think that's gonna make this look a lot more realistic is playing with some of that texture. There's a lot of texture. That and those lines kind of give the leaf. It's movement and it shows the direction in which everything is moving. And so I think I'm gonna try to incorporate that. I'm going to start with this light 21. Adding in the Background: I'm just gonna grab some a decent amount of white. And maybe it's much touch of blue from said so Now I'm very loosely covering this background. - Feel free to choose your own background color. Um, if you would prefer something other than the blue, you know, every every part of this is customizable. 22. Painting Light: Now all that's left to add is thes these little highlights. And for this just because my background is so light already, I think I'm gonna use a watered down way. It I'm so be more like a tent. And just so I could get a straight lines gonna lightly place this here probably won't stick anyway, because it's what and then just a fun little detail I want to add, Yes, you can actually see the but most people probably won't notice, But you can actually see the strings from the blinds. So now our painting is pretty much complete. I'm just going to go back and see anywhere I want to add another color or another highlight . 23. Finishing Touches: okay? And how I'm so excited. Teoh, kill this up. Get off the people first. Thank you so much for taking this class and painting along with me. I hope you had a much fun as I did working through this painting. And I would love to see the finished product. So if you followed along with me and have a painting of your own feel free to post it in the projects below. Thanks.