Botanical Illustration Basics: Watercolor vs Acrylic | Katya Rozz | Skillshare

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Botanical Illustration Basics: Watercolor vs Acrylic

teacher avatar Katya Rozz, Watercolor Artist & Pattern Designer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

21 Lessons (2h 9m)
    • 1. Introduction

      2:33
    • 2. Art Suppies

      6:55
    • 3. Explore Watercolor: Sketching

      5:15
    • 4. Explore Watercolor: Painting

      8:37
    • 5. Explore Watercolor: Details

      3:12
    • 6. Explore Acrylic: Sketching

      4:33
    • 7. Explore Acrylic: Painting

      6:54
    • 8. Explore Acrylic: Painting

      6:21
    • 9. Explore Acrylic: Details

      6:39
    • 10. Watercolor vs Acrylic

      1:23
    • 11. Class Project

      1:21
    • 12. Drawing

      7:29
    • 13. A Bird of Paradise. Watercolor. The Sepal

      11:09
    • 14. A Bird of Paradise. Watercolor. The Stem and Orange Petals

      8:34
    • 15. A Bird of Paradise. Watercolor. Building Volume

      8:13
    • 16. A Bird of Paradise. Watercolor. Final Step

      8:03
    • 17. A Bird of Paradise. Acrylic. Preparation

      3:50
    • 18. A Bird of Paradise. Acrylic. The Sepal

      9:27
    • 19. A Bird of Paradise. Acrylic. The Stem and Orange Petals

      10:02
    • 20. A Bird of Paradise. Acrylic. Final Step

      6:39
    • 21. Final Thoughts

      1:37
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About This Class

We will start this class with a fun botanical illustration exercise, where we will practice botanical drawing skills and will discover the characteristics of both watercolor and acrylic.

After we warm up and become more comfortable with both mediums we will create a detailed botanical illustration of a Bird of Paradise Flower, where we take the skills we have learned in the exercise to the next level.

We are not learning the in-depth processes of watercolor and acrylic painting, instead, I give you a brief, but basic understanding of both techniques, that you can practice immediately. 

Meet Your Teacher

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Katya Rozz

Watercolor Artist & Pattern Designer

Teacher

 

 

Hello, my name is Katya. I'm an artist and surface pattern designer, living in Israel.

I've started learning watercolors about 4 years ago and I paint/draw almost every day since then. I believe that I'm only at the beginning of my watercolor journey, but I decided to teach on Skillshare and share with you what I'm already learned. Hope you'll find it useful!

You can find me on Instagram to see more of my works.

Nice to meet you!

 

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Transcripts

1. Introduction: To truly enjoy the painting process, we should explore different mediums and choose one or a few that we are falling in love with at the moment. In this class, we will explore two of many types of paints that can be used for creating botanical illustrations - watercolor and acrylic. My name is Katya I'm an artist and designer. I’ve been painting with watercolor for the past 4 years and recently I’ve started to paint with acrylic. I absolutely love both mediums. And, using acrylic has helped me to discover a new aesthetics that has freshened up my art. In this class I will share what I’ve learned about both mediums so far and will cover all aspects that you might be curious about before choosing the one you prefer. We will explore while practicing what is similar between the two, what is different and which look you can achieve using both of them. First we will start with a fun botanical illustration exercise, where we will practice botanical drawing skills and will discover the characteristics of both mediums. After we warm up and become more comfortable with both mediums we will create a detailed botanical illustration of a Bird of Paradise Flower, where we take the skills we have learned in the exercise to the next level. This class is for those of you who are just beginners to botanical illustration and are not sure where to start and which style to commit to. Also, it completely suits watercolour artists who want to explore acrylic. And the opposite, If you are an acrylic artist and you are curious about watercolor. So, everybody is welcome to this class and I hope you’ll enjoy the process as much as I do. If you like the class, follow me on Skillshare by clicking the "Follow" button above the video. Also, you can find me on Instagram at @katya.rozz, where I constantly post my new paintings. Grab your paints and brushes, and let's dive into the world of botanical illustration together. 2. Art Suppies: Let's review the main materials that we are going to use in this class. First, the paper for completing both the warm-up exercise and the final class project. I will use my watercolor sketch book. The size of my sketchbook is 25 by 25 centimetres. It is around ten by ten inches. My sketchbook has 100% of 300 grams cotton paper from a known brand. It's up to you whether to use a sketchbook or just a few pieces of paper you will need for. Also, almost all techniques we are going to learn in this class will work fine on regular cellulose paper. I will mention the parts that are not suitable for cellulose paper, so you can skip them. Brushes. In this class I will use for main rations. Don't worry, if you don't have all of them. Let's see which crashes are amassed and which can be replaced with the others. The first branch is the Galinsky hair brush number three. This branch will be used for working with watercolors. The uniqueness of this brush is that because of its natural bristles, it can hold a large amounts of water and it has a very pointed tip. It's nice to try to work with natural hair brush in watercolor technique, but it's completely okay. If you don't have one, it can be replaced with a synthetic brush. The synthetic brush I'm going to use is this branch was pointed tip. Size is 54 or six will work great as well. I will use this brush for working with both acrylic and water color. So it would be great if you have a similar brush. The next brush is rounded synthetic brush number six that I will be using in acrylic technique. It has a rounded tip and it is suitable for creating nice smooth glazes with acrylic paint. The last brush is a thin liner. I will be using this brush for binding vanes. If you don't have a thin liner, it's okay. Because it has long hair. It can be useful in creating relatively long lines. But you can use any other thin synthetic brush number 0, double 0, or one, or synthetic brush number five, I will mentioned before. Water color. Usually I use watercolor from tubes. I just filled my plastic pellet with colors I like. But it doesn't matter which watercolor paints you have any brand or any form. I mean, pens or tubes will work well. In this class, we will need a primary set of yellow, red, and blue. These colors at the base for mixing a diverse color palette. Using primary colors, red, yellow, and blue. We can create all other colours on the color wheel for the primary said, I've chosen new gunboats as yellow. Quinacridone arose as red. It's okay to use Being instead of red and cobbled blue. I already have all three colors in my palate. Also, you will need some sort of ballad for mixing colors. A plastic ballad as I have a ceramic plate or any other that you have. Acrylic paints. In this class, I'll be using three primary acrylic colors as well. Blue, pink, and yellow. The exact colors that I will be using, our cobalt blue, and orange yellow. Also, working with acrylic paints, will lighten and darken colors using white and black. So you will need white and black as well. For the white paint, I will recommend using titanium white. There are a few kinds of wide on the market. But they found that titanium white works better for me as it is a bank. For example, zinc right? Is semi-transparent, so it is hard to cover something with wide on top if needed. Read the paint labels as usually manufacturers specify the transparency of each paint. In the warm-up exercise, I will use green paint just to save the time. You can also mix green from blue and yellow. Also, there are a lot of mediums that artists use when working with acrylic, which you can find at any art store. But I don't use just any types of medium acrylic paint and water only for crew aid in small-scale paintings like we will create in this class. It's absolutely unnecessary to have any mediums. The next supply is appellate for mixing acrylic paints. Use an irregular plastic ballot for water colors is not a great feat, as when the acrylic paint dries, it's hard to remove it. I will use a disposable pellet. Here are 36 sheets. Just one will be enough. For an acrylic palette. You can use a piece of glass or even disposable plastic plate, old pieces of paper or cardboard, we'll be just fine as well. Also for creating a drawing will need a pencil and an eraser. I will use an HB pencil, which creates lines that are not too light and not too heavy. And it is simple to arrays it if needed. For an eraser, I will use an art eraser, but a regular one is completely fine. The next supply is paper towels. I will use them in acrylic and water column for wiping the brushes and removing excess water, you can use an old clothes or something that absorbs water from the brush nicely. Water and water container. Both watercolor and acrylic paints are water soluble, which means they are usually mixed with water. For a water container, use any large vessel with a wide base that cannot be toppled easily. Also, something which is very useful but not necessary is a spray bottle with water. It helps me to prevent pains from drying out too fast. I sprayed both on watercolor and acrylic. And I will show you how later in this class, you can find the list of all the materials I have shown in the project and Resources tab below this video. In the next lesson, we'll start our warm up exercise. 3. Explore Watercolor: Sketching: We will start this class with a fan botanical illustrations exercise, where we will practice botanical drawings skills and we'll learn to work with both watercolor and acrylic. In this exercise, we will be working from live objects. I've prepared two sets of diverse plant materials I picked outside this morning. I separated them into two sets, the left one for watercolor and the right one for acrylic. I split or whatever on them every 30 minutes as I want to keep them fresh till the end of the exercise. So before doing this exercise, take a walk and join nature and pick a few different plans that catch your eyes. Try to pick plans that have different shapes and structures. As an alternative, you can use your own house plants or dried plants as well. The first medium we will practice today is watercolour. I fully equipped my workspace for working with watercolors, my watercolor sketch book, where we will work with both watercolor and acrylic watercolors. Galinsky hair brush, a pencil and art eraser, paper towel and binder clips for binding parts of the sketchbook together from the sides. I take the first set of botanical elements and place it near my sketchbook so it will be comfortable for me to work with. Let's start. I drew a grid of four squares in my sketch book ahead of time. So we're ready to go. In each square, we will sketch one botanical element. Now I will be working on the left side of the sketch book. The goal of this exercise is to train our botanical drawing skills and to get comfortable with both types of paint. We're not aiming to create detail realistic illustrations right now. Instead we will focus on quick sketching and observing the structure of the plant. I fix the sketchbook from the left and from the right with binder clips. I start with a simple single greenleaf. I observed leaves shape and the vein pattern on each surface. As a goal, we often make assumptions about the structure of a plant. But to really understand your subject and depicted accurately, it's important to observe the plant carefully. First, I sketch the central and the most visible side veins. After I'm done with the veins, I continue by outlining the shape of the leaf. Don't focus too much on the quality of your lines. They can be totally imperfect as this exercise is more of a study in botanical illustration. And we are just practicing. Continue defining the shape and winning pattern as you see it on your plant until you're happy with it, and move on to the next element. Next, I will draw a simple branch with five adjoining leaves. Again, I locate the placement of the stem and the main veins of each leaf. Once I'm done with the skeleton, I complete the shape of each leaf. You can improve your drawing by observing the negative spaces between the leaves. It helps to create a more accurate drawing. Also note how the Most outward points of the leaves are related to each other. Picks the lines with an eraser as you go if needed. The third element, I will draw a yellow daisy flower, which has a circular shape. First, in order to create an accurate round shape, roughly define a circle with repetitive circular movements of the hand above the sketchbook, followed by sketching gentle circles on the paper. After this, I add one more circle in the middle and sketch the middle axis of the petals. Tried to give the number of battles approximately the same as it is in your plant. Note that the middle circle has an un, even outline. So I reflected in my sketch, after I'm done with the structure, I remove access lines and draw the shape of each petal separately. I slightly increase the middle circle to better fit the proportions of the flower. The next and the last element is the dark green branch was 5.2.3 edged leaves. Here, I will be working exactly the same as I did with previous plans. Drawing the stamp and the main waves, followed by defining the shape of the leaf. While sketching, I will create smooth edges for this leaves. The tooth aged pattern I will add while painting with watercolor. Now I'm ready, my sketches aren't perfect and this is completely ok. The most important thing here is to show the structure of the plant. I slightly brighten the pencil lines with an art eraser and we're ready to go. 4. Explore Watercolor: Painting: Now let's talk a bit about what are common. As I've previously mentioned, both watercolor and acrylic are water-soluble. But usually we'll add more water to water colors than we utter crooks. They are generally more transparent. This is why it's important to keep pencil lines as light as possible. This is my watercolor palette. I use watercolor from tubes. I bought this pellet separately and filled the cells with my own choice of colors. This way, you can customize your own pellet and choose the colors you use most often, derive few built in pallet for mixing colors. And one separate. I loved my pellet very much and feel comfortable with structure and quality. So get your working space reading. Don't forget to put a paper towel nearby. I wet my watercolors once every few days or each time I start to use them by spraying water. This way, I prevent the watercolors from drying out too much and make my painting process much more comfortable with pre wetted Panes. Now, our goal is to practice even watercolor glazes and two slightly showed the value in our plans. At this step, you can pick colors intuitively. Don't overthink it too much. I will just pick the colors that feel right. I look at my first leaf and I see that it has a deep natural green collar. The right half of the leaf is slightly darker than the left one. Usually we use a light to dark approach using watercolors. That means you start working with light colors that are usually diluted with a lot of water and work towards reaching darker terms, decreasing the amount of water and increasing the concentration of pure paint in your mix. First, I prepared two mixes, some green. I take a green color and mix it with water in two separate places on my palette. I add yellow to the first mix for painting lighter places and keep your green for the shadows. I make yellowish green more watery and the green for the shadow, smooth thick. I start feeling the leaf shape with a water of yellowish mix of green. I worked with the tip of the brush along the edges to create a precise outline and fill the inner space of the leaf with the side of the brush. Once I've created a smoke, even glaze, I take a darker mix and applied on the left half of the leaf, be sure that the surface of the leaf is still damp. I repeat this action a few times to create a deeper shadow. I move on to the second element. I see that the branch has a light brown color with the read gradient on top. For painting this, I will create the light brown under layer for the leafs and we'll add red strokes and spots on top. I take a light brown color and diluted with a large amount of water. I cover all lives with the brown mix one-by-one. Again, I use the tip of the brush along the edges and decide of the brush. Fulfill an inner parts of their lives. Now when the paper is still damp, I will add red color on top. I mix red with pink and add a bit of green to desaturate the color. I pick the paint and make sure that my brush halls appointed tip. I go along the edges of the leaves with the tip of the brush. Look how beautiful a pain spreads out and seamlessly blends with the brown, creating the natural color of the leaves. I continue to go down with the brush and paint the stem. After this, I continue Edin read along the edges to the rest of the leaves. Also I add some red veins and spots according to what I see on my plant as a go. At this step, it is important to make sure that the paper is still them. Now we continue by painting the daisy. As I've previously mentioned, we work with watercolors in a light to dark approach. With watercolor, you generally do not use white paint to lighten, as this will make the water colors more opec. The paper itself is the white. So we should plan ahead and keep lighter places light from the very beginning. In this case, I want even covered highlights with the paint and we'll leave blank paper in highlighted areas. I take warm yellow color and mix it with water. I start evenly covering petals with the paint one-by-one, limit highlights from touched. Once I've covered all petals with the paint, I'd take a thicker, more concentrated mix of yellow and applied along the inner circle to create a light shadow closer to the bottom of the battles. I repeat the same action across the top edges of all petals. This way will create volume in our flower. And the very last touch is the second layer of thick yellow along the inner circle. One important quality of watercolor that every beginner should keep in mind is that watercolors become lighter ones dry. If you create a pale glaze, it will become almost invisible when dry. Look at our first green leaf, it became much lighter than it was when it was wet. Also, watercolor requires planning in one more aspect. We should not pain to neighboring areas at once. This will cause unwanted spreading of paint between two areas. So in this case, we should be patient and wait until the petals dry completely before painting the middle part of the flower. But the last element is the dark green branch. With those edges, I mix a watering but dark green with a bit of yellow and start filling our lives with the Paint. First, I feel the inner part of the leaf. After the main glasses ready, I replicated tooth texture along the edges with the tip of the brush. I continue painting all lives in a similar manner. Now, it's time to wait until the paper is dry. And then we will continue to as final details in the next lesson. 5. Explore Watercolor: Details: I take my first leaf and carefully observe the vein pattern before I start painting vanes. There is one small detail which is missing here. The stem at the bottom. When I'm done, I take dark green, remove excess water with the paper towel and replicate the win pattern on the surface of the leaf with the tip of the brush. Because of the transparency of watercolor, I can see pencil lines shining through the color. So it simplifies the process. I see that the veins are lighter in color than the main leaf. There are many ways to do this with watercolors, like painting around the veins or masking them with masking fluid. But in this particular case, when we're just practicing and learning the structure of the plant, I will create wanes with darker color. Now read branch, I will just complete the central veins of the leaves with dark brown color. To create Brown, I add a bit of green to the red that they already have in my palette. I take the paint, remove excess water with a paper towel and paint thinner central veins on each leaf one-by-one. I move on to finishing the daisy, its middle circle. I add more green to the brown color to darken it, and also a bit of yellow. I mix colors intuitively here, the exact colors are not important in this particular exercise, but it's good to practice color mixing at this step. Now, I take the dark brown color that I haven't my pellet and start filling the middle part with circular strokes that replicate its natural texture. Also, I see some yellow spots around. So I drop a few yellow spots on top. And now the darkest places are left. I had a bit of black to my brown mix and drop a few spots of dark brown in the middle. Column, spread naturally and create realistic texture. And this part, there is only one element left. I will complete it by only Edin central veins to each of the leaves. And now we are ready. In the next lesson, we will start doing the same exercise using acrylic paints. And we will be ready to compare and to figure out the main differences and decide which medium makes us feel more comfortable. See you in the next lesson. 6. Explore Acrylic: Sketching: Let's dive into the second part of the exercise where we will explore acrylic paint. I place my plate with live botanical elements nearby. I reorganized my workspace with acrylic art supplies that I'm going to use in this part of the exercise. I take the first leaf, which has an interesting shape. I roughly locate central veins in my first square. After this, I start creating the shape of the leaf. Pencil lines can be as dark and as bold as you wish, because the acrylic paint is much more opec than watercolors. It will cover pencil lines so they will not be visible. The second element is this nice green leaf. I cut about a half of it so it will perfectly fit my square. First, I sketch the central line where the leaves are attached. After this, I add the central veins of each small leaf. The lives here have around smooth shape, which is really simple to draw. And the third element, I choose a daisy similar to the one we painted before. I define this circles. The bigger and the middle one. Sketch middle lines of each petal and draw the outlines of the battles. As the last one, I will draw a high viscous flower. This flower is half-closed. I choose the angle from which I will be drawing. And I think that the view from the side is the most interesting one. It has a cone shape from the side. So I draw the upper ellipse first and then add a triangular shape, which is a system of petals adjoint at the bottom. After this, I draw the pistol, which pops out from the center. And I add the location of the stem at the top as a circle. When the skeleton is ready, I draw the shapes of each battle separately. The high viscous is a pretty complicated flower. Seller will not concentrate on details and we'll just wrap the draw the battles. Now, it looks like the flower is hanging in the air. So I grounded by adding the Kellogg's at the bottom. Just a few small leaves. I think that is enough. The rest of the details I will end while painting with acrylics. Slightly cleaner sketches with an eraser at this step. And we are ready to start painting with acrylic. 7. Explore Acrylic: Painting: Let's get started with exploring acrylic paint. I take three acrylic paints that I will be working with in this exercise. Pink, Hermes, primary yellow, and Sap Green. If you don't have premade green, you can mix any blue with any yellow instead. But being can yellow atomist, exactly as we did in the watercolor exercise. Don't overthink the choice of colors. Colors, intuitively, unlike with watercolors in acrylic painting, will lighten or darken the colors with black and white bands instead of adjusting the amount of water. So for doing that, you will need black and white. I squeezed Spain's into my disposable pellet. Don't squeeze too much paint at this step. In case you run out of band, you can always add more. Here I will work with two main synthetic brushes, round brush and the liner. Sprays on water on the banks to prevent them from drying out too fast. One of the most important aspects that you should learn when using acrylic is to have the right consistency of paint. We had much less water than we would add two watercolor. The consistency of benched provide us with a good flow of paint on paper. Yet opec, the quality of band at the same time. So I can describe the right consistency that they find comfortable when painted with acrylic. It's like a slightly loose sour cream, not to lose a watery, but thick enough to reveal all the advantages of acrylic. For the first leaf, I will use pure pre-made Sap Green and the round brush. I'd take a bit of paint and diluted with a wet brush, adding a bit of water until I feel that the consistency is good enough. I start applying paint to the leaf surface. This leaf has wavy edges, so I bend this natural pattern with the tip of the brush along the edges of the leaf. The inner part of belief can be painted with the side of the brush, exactly as we did well painted with watercolor. Continue creating an even glaze of paint on the surface. Now is the perfect time to practice. So try as many different brushstrokes as you wish. Experiment using different levels of pressure with the brush, find the right speed and direction of the brushstrokes. Also here you can find the most appropriate consistency of paint that you feel comfortable with. And the bit of paint or a bit of water as you go. Acrylic paint dry a bit faster than watercolor. But the beauty here is that you don't have to keep all of the area wet in order to continue creating a glaze or edit paint on top. In acrylics, everything works. You can make a transition between the painted area to any new area you want to add, even when the first one is already dry, you can add color on top of the dry area. Acrylics works really great in layering. Unlike water color, where we work from light to dark, when painting with acrylic paints, we start off with the dark colors. And work towards the light ones. I slightly adjusted this approach for myself and I feel more comfortable by applying meet town's first, gradually move into the darkest and the lightest areas. That means we can always add the lightest areas and highlights on top of the main glaze simply by painting with white light in, in your main color with white acrylic. Also, due to the way they are applied. Acrylic paints are brighter than watercolors. Using acrylics, we can reach even more vibrant results. Now, I move on to the second leaf. Let's practice here creating gradients with acrylic submit. Looking at the small leaves, I see that closer to the top leaves a lighter and warmer, and closer to the bottom they become darker and colder. To achieve this, I'll prepare it to mixes of paint. First one, yellowish green made from mixing growing with yellow and a bit of water. And the second one is pure Sap Green with water. I started applying warmer green in the top area of the leaf and add darker green closer to the bottom. I slightly blend colors together with swiping movements of the brush. I continue repeating the same actions on the rest of their lives. Use a paper towel as you go. Wiping the brush with the paper towel helps you to adjust the amount of paint on your brush and to give shape to the tip of the brush. Acrylic paint is not regrettable. Unlike the watercolors that can be diluted with water after the dry on your palate and can be used as many times as needed. A grid x become insoluble up to drying, essay dry on your palate and wanted shavings can be created in your mix and even after on your paper. So when do you need to create more mixed paint and your current mixed starts to dry. Don't do this. Simply recreated in a clean place on your palate. Also, it's important to know this one layer when acrylic paints. That means when you apply paint on top of an existing layer, the layer which is at the bottom will not be diluted by the New Layer, and colors will be appropriately layered on top of each other. What your color usually behaves differently depending on the type of paper you use. Sometimes when we read the paper, especially cellulose paper, the new layer can dilute the previous layer and caused scholars from both layers to mix. This fact is less relevant for cotton paper, which absorbs the band and allows for colors to be layered without mixing. When painting with watercolors, we saw that the colors become lighter ones dry. But unlike the water colors, acrylic paints become darker after drying. It's important to keep this quality of acrylic in mind when mixing colors. Prepare your mixed slightly lighter than the results you want to achieve. 8. Explore Acrylic: Painting: Now let's move on to the Daisy. I mix pure yellow with a bit of water and cover. Oh, pedals one-by-one. I varied the amount of water and paint in my mix as I go. I do this to achieve the best consistency of paint, which led my brush flow smoothly on paper. Printing the Daisy was watercolors. We were leaving blank paper in the areas of highlights. Using acrylic, who will pay in the flood midterms for all the battles. And we'll add white highlights on top using white paint. Unlike the watercolors, thanks to the consistency of acrylic paint, it is okay to paint neighboring areas at once as the pain doesn't spread too much and there will be not unwanted spots in transition areas. Now let's paint our final element, the high viscous flour, to bake the hobbies was flower realistically, we need a lot of time and effort, but I don't have a goal to achieve realistic results here. So I will create a relatively abstract illustration of this height viscus. I start by mixing colors, pure red for the midterms, and the red mixed with yellow and white for Benton light areas. First, I apply lighter mix along the edge of the dock battle. Take a bit of pure red and create a gradient. The better matches the bottom of the petal. This is a great exercise which helps us to learn new materials, developed drawing skills, and improves our ability to make clear observations. Painting from life objects helps us to understand the structure of the plant better and to fully absorbed from different angles. As I've previously mentioned, we don't have to wait until the bandit areas are completely dry. And we can start painting the neighbor and battle right now. Again, I start from light beam and gradually add the pure red. Now, I want to add one more color for the shadows. I mix red with a bit of black to receive dark saturated burgundy color. For the darkest shadows. Add a few dark brush strokes at the bottom of the petals. I continue painting all battles in the same manner, tonally building the volume of the flower. Note that each petal has three main tonal gradation. Light areas, midterms, and shadows. After the petals. I add small green leaves surrounding the flower at the bottom. I bent green me town's first and darker strokes and shadow areas. I'm adding a bit of white to bend light areas. Now we are ready with our basic layer. In the next lesson, we will add details on top. 9. Explore Acrylic: Details: In this lesson, we will end basic details which will help us to better show the structure of our plants. In my first leaf, I will add the vein pattern. I prepare light yellowish green almost wide. By adding a bit of yellow and green to the white. White paint is dominant in this mix. I create 9's consistency of paint. Take my liner brush and pick up the pen so it will spread evenly through the lens of the bristles of the brush, avoiding the creation of masses of paint along the hairs. After my brushes, evenly covered with paint, I start painting thin veins lines inside the leaf, replicating the better. And I see although leaf, for the second leaf, I will middle vales to each of the leaves. First. I see that here are veins are been darker than the men live scholar. So here I am painting veins or with a darker color. After I have finished the middle veins, I add a few sidebands to each leaf. Now, let's finish the daisy. First, I will add shadows to the battles. Yellow paint on my palette is mixed with green. So I added bit of pure yellow paint and splatter water on top of my paints. For painting shadows, I will mix all three colors together to receive a yellowish brown. I take this brown and start A1 thin lines around the middle of the flower as I sit on my life flower. Now, I take white mix and move on to painting highlights on the battles. For creating light opec areas. Use paint with a minimum amount of water. After highlights and shadows are ready, I mix colors for the middle part, I mix yellow with black and starts to people in the middle area with the tip of the round brush. I slightly add variations of the color by adding some orange and brownish dots. I will want to the high viscous. I start painting the white bestow on top of the petals. After painting the white underlayer, I add pink color alone. After this, I add red dots into stem and area closer to the top. Closer to the bottom of the stem, area, I will bent yellow and orange dots just according to what I see on the life flower. After this light dots already, I add darker ones. Now I take pure white highlights on top of the petals. As you can see, I'm not working precisely here. Just add an abstract highlights to each better one-by-one. After I'm done with the highlights, I move on to add an extra color to the shadow areas. I mix pink and black, again, an end if you lose dark brush strokes to these areas. I will also be int highlights on the bottom leaves. I mix green with white and add a few light brushstrokes here. And the very last detail, I add a few strokes with the liner in the area of pistol, just to connect the dots to the flower. And here it is. We've finished our botanical illustration exercise, will learn to sketch the plants from life. We explored the ways we can work with both what recolor an acrylic, and we'll learn the main differences between two mediums in practice. In the next lesson, I will do a brief summary of both. Please share your sketches in the project and Resources tab below this video. By sharing your work, you can receive valuable feedback from me and from other students. 10. Watercolor vs Acrylic: Let's briefly summarize the differences before we move on to our class project. Both mediums are water-soluble. But what recolor needs more water than acrylic? Watercolor is regrettable, and acrylic is not what you'd call a paint is more transparent and acrylic. Acrylic is more opec. In watercolor painting, we use light to dark approach. In acrylic, the opposite. First midterms or shadows and light areas on top. In watercolor, we'll leave blank paper of varibale glazes in the highlights. In acrylic, we just add white acrylic on top to achieve darker colors. In watercolor techniques, we use less water than usual. And in acrylic, we just add black. Watercolor becomes lighter ones dry, and acrylic becomes darker. Now when we are warmed up and equipped with all necessary knowledge, we can move on to paint in our final class project. Today, we will create the same botanical illustration, the Bird of Paradise Flour, using two different techniques, watercolor and acrylic. See you in the next lesson. 11. Class Project: As a reference for our final project, I've chosen a Bird of Paradise flour. I have a lot of my own photos of this plant on my iPhone. But I picked this beautiful professional fought reference from pixabay.com website created by an Rita. You are welcome to paint with me and to use this photo reference as well. You can find the link to download this image in the project and Resources section right below this video. But you can go further and choose your own reference and your own plant to paint. In this class, our main class project is to create two botanical illustrations, the same plant using watercolor and acrylic in case you found the most comfortable medium to use during our warm-up exercise. Just go for it and create the illustration with your favorite medium. In this case, skip the lessons where I demonstrate the medium which is not your choice. The difference in the following lessons from the previous watercolor botanical illustrations exercise is that here we will create more detailed illustrations. We will add more depth to the plant and will create realistic and list abstract interpretation. 12. Drawing: In this lesson, we will draw the flower. I will create a drawing on regular office paper using a pencil and eraser and will transfer it to my sketch book for both illustrations using a light bed. Let's observe our reference and define its main parts. Our flower has five orange battles. Long, multicolored sample, which is a modified leaf. She didn't the flower, a stem and a few blue inner battles. First, I locate the Most outward points of the flower from the left and from the right. I find the base point where all petals come from. This point will serve as an anchor for a further drawing. I loosely sketched the stem and main outlines of the sample. After this, I add the middle lines of each petal, replicating the angle of each line, and checking on the reference how they are related to each other. Don't forget to observe negative space between the battles. It will help you to create a more precise drawing. After loosely defining the structure of the flower, I will want to create in detailed outlines of the stem, the sepal and the battles. I carefully observe the reference, Find the straight lines, angles, and curves that the flowers shape consists of. I tried to replicate each detail I see while observing the reference. The more details and curves you have, the moralistic your illustration, we will eventually look. I love this flower, not just because it's full of color and has unique tropical beauty, but also because it has special mutual relationships with the phone, a world commonly known as Bird of Paradise plant. It's vivid pointed flower parts are specially adapted to pollination by birds. The robust space and fused battle Dart Of The Bird of Paradise make it ineffective purge for feathered pollinators. The most common is the cape Weaver bird. I define the shapes of pedals one-by-one, fixing, imprecisions with an art eraser. Also why drawing? I start to observe the colors. It might sound obvious, but the more you observe, the more you see, the more you see, the most sophisticated your illustration will become y observe and you can find many more details than just from looking at the first glance. Okay. Or I've had both by drawing an eraser, lighten up satellites, or clarify the lines just to make the shape of our more precise. Maybe not. Step four, for transparent that drove into my sketchbook. I use a light bed. In case you don't have a light bed, just trace your drawing using a window in the daylight. Also, it's completely OK to create the drawing right on your watercolour paper. The reason why I created the drawing separately in this class project is just because I want to create exactly the same drawing that will be used in both techniques. In the next lesson, we will start our first illustration using watercolor. 13. A Bird of Paradise. Watercolor. The Sepal: First we will start with watercolors. I've reorganized my space for working with watercolor, sketch book, plastic ballot, two brushes, one natural Galinsky, her brush, and the synthetic one with the binded tip paints, water container, paper towel, and water spray. For creating our Bird of Paradise illustration, I will use three colors. Only. Yellow, new game boat being quinacridone, pink and cobbled Bloom. I already have all three in my palate. Don't worry if you don't have the exact same set of colors, just experiment with what you already have and build your primary set of yellow, red, or pink, and blue. That feels harmonic with the colors in your reference. You can mix abroad color palette from these three primaries, any additional colors will be just a bonus. I will prepare the color palette for the illustration. First, let's see how the colors look separately. Yellow, pink, and blue. As you see in the reference, there are almost no pure colors that have chosen. Instead, we can see orange, red, purple, and green, which we will mix from our primaries. Unlike the first two panes, cobbled block has an interesting crenulated effect. When the paper will dry, we will see it in here. Let's gradually mix all colors, each one with another. First, I will mix yellow with been and receive a nice bright orange color, which we see a lot in our reference. The second mix is pink and blue. By mixing pink with blue, we achieve purple color. By adjusting the amount of pink and the amount of blue in the mix, we can get a colder, more violet hue and a warmer, more pinkish purple. Third mix is blue with yellow, which gives us a green color, same as with purple. By adding more yellow or blue, we can achieve a diverse ballot of greens. The first part will be working on is the sample. This part is the most challenging one, as it has a lot of colors. It has multiple highlights and shadows. We will cover the whole era with water and we'll apply colors in a wet and wet technique. Here I will use my Kaminsky hair brush for weighting the paper as it can hold a large amount of water on it. I start by applying an even layer of water to the whole area of the sample. For applying paints on wet paper, I will use synthetic brush number five over the pointed tip. Don't worry if you don't have both. Just one of them will be enough. But make sure your brush has appointed TPP, so you will be able to paint sharp details. When observing the sepal, I see pure yellow, orange, purple, and even pure blue at the very bottom of the sepal. Also, I'm looking for the shadows and highlights in the reference and keeping in mind which areas I should leave lied, and which areas I should add darker downs too. As we discussed earlier in watercolor, where applied color from light to dark. This means painting light areas first, gradually 18 meters and painting shadows at the very end. So after I have evenly covered the paper with water, I mix the main color. So I'm going to use, I'm mixing blue with yellow to make Grimm's. Next color is bright orange. For the orange chain mix yellow and pink. The next color, I mix orange first and then add a bit of cobalt. For painting shadows, I will prepare a dense mix from cobalt and yellow. I add one more layer of water to the sample. Try to cover the surface evenly, avoid creating water piles on the paper surface. Okay, so now we're ready to start painting. Unlike the acrylic, whatever color is re wettable paint. So we can reuse it by adding water to a band that has already dried on the palette. I dilute the yellow, the other the heaven, my pellet and applied along the top edge of the sample according to what I see on my reference. Applied the paint and spread it with the brush. The second color I apply is blue. At the bottom of the sepal. Spreads loosely in the upper direction and a smooth it with wiping movements of the crash. After this, I take orange and paint the orange line in the upper part of the sample, removing excess water from the brush with the paper towel. The next color is green. I apply green right below the orange line and stretching down into direction of this term. I smooth the border of each painted with the brush. I pick a deeper green and applied in the shadow area closer to the bottom of the sample where the shadow is darkest. I stretched the pain to the left and to the right and blended with other colors that they have here with the brush. I'm adding more green, dark, darken the shadow and spread this color left and down in the direction of the stem. Paper towel is very useful here. Always wipe your brush when you feel that there is excess water or paint on it. Now, I'm moving on to paint in one more shadow, right below the orange line. I see that the orange line looks much more pale than it is in our reference. So I add more orange to this area. Do not blend green and orange to march as this can create an 1and dirty color in your painting. At this step, when the paper starts to dry slowly, I use a dense mix of paint with a minimum amount of water. The reason for that is I don't want the pain to spread out too far from this orange line. This watercolor technique is challenging to master, and it is just a matter of practice and understanding the math behind water and paint ratios, both on paper and on your brush. If you want to learn more about this watercolor technique, had up to my profile page here on skill share, where you can find more advanced watercolor classes, where I teach this technique in detail. I see that green shadows are not as dark as they are on our reference. So I dark green areas a bit more. One final touch. I add more yellow on the right side and blended with other colors. Let's leave this era as is for now, and let it dry completely. The colors were not blended perfectly. And this is absolutely okay. I even like it as it looks similar to the natural texture that we see on the sepal. Further in this class, we will apply an interest in dry brush effect, which will make the sepal loop even more natural. But in the meantime, let's move on to the next lesson and paint the other parts of the flower. 14. A Bird of Paradise. Watercolor. The Stem and Orange Petals: Let's continue by painting this stem. I mix water yellowish green, and start applying it. At the top of the stem. I leave a thin white lines separating the stem from the sepal. I apply paint and spread it down with the brush. While the paper is still Damn. I added a few Brown drops at the top and blended together with green. Now let's move on to paint in the orange petals. Exactly as we painted. The sepal will, will whet each petal and will apply paint in a wet and wet technique to create an even glaze. Observed the battles ahead of time and note where the highlights are. So you will be able to plan where to leave light areas. I carefully when the battle a few times and spread the water to the second battle that is connected to this one to create a nice smooth transition between two of them. I take watery yellow and apply to the light areas of the battle. As I see that in light areas, the bedroom has shiny yellowish orange color. After this, I take orange and accurately applied to the midtown and shadow areas just according to what I see on the reference. Increase the color value gradually moving from light to dark values. I take my orange and darkens the darkest areas. At the bottom of the petal color has slightly spread into direction of the second battle, which creates a nice natural transition. I blend orange and yellow together by creating a smooth gradient was swiping movements of the brush. I'm darken an orange shadowed areas, again, was a dance mix of paint, almost without water in it. Smooth the borders between two colors with the clean room gout brush. Continue deepening the color as you feel is right, but avoid using water mixes of paint at this step. I'm done with this battle and I'm ready to move on to the next one. As we discussed earlier in this class, we should carefully plan the work process when using watercolor. As long as the paper is still damp, we can't paint in neighboring areas. So I will switch to the left pedal. In the meantime, it's important to keep your water clean. So don't forget to change the water as it becomes dirty. I changed the water at this step as well. Again, I covered the whole surface of battle with water a few times as we did with the previous better. First, I apply yellow color and highlight areas. I finish the yellow area before reaching the bottom of the battle, living a bit of blank paper closer to the bottom, where it adjoins exactly as it is in our reference. Now, I take orange and applied on top and on the right and left edges of the battle. While observing this battle with C, that there is a deep bright red shadow along the left edge. So I'm mixing a dense mix of pink and yellow was the dominance of beam. This way we achieve bright saturated red. I applied the band and smooth the edges of this area with the brush, removing excess water with the paper towel. I blend yellow and orange to create nice smooth gradient's. The shadow along the left edge looks more saturated on the reference. So I add a bit of saturated red here and the thin red line along the right side. After I apply it, I smooth the borders with the brush. I add one more shadow closer to the bottom of the battle, which creates much more volume in this battle. Deep in the shadows. Once again, you can do this as much as needed as long as the baby is still damp. Now let's continue Benton battles in the exact same manner. In the next lesson, we'll paint the inner purple petals. We will add more details to the sepal and we will add final details which take our illustration to the next level. See you in the next lesson. 15. A Bird of Paradise. Watercolor. Building Volume: Now let's spend purple petals. First we will start from the light purple part of the right battle. I take the purple mix, the dipole or the heaven, my palette and diluted with water to get a litre water mix of purple. I take the mix and evenly applied to light part of the petal. I take a very pale what repeal and apply it to the upper part of the middle purple potato. While the upper part of the illustration drives, I will paint the second layer of the sepal. I will darken the green shadow and we'll add a few more colors to make the sample look more natural. I will do this in wet and wet technique. At this step, we should have clean water to keep the colors of the sepal clean. So I changed my water. I take my Galinsky hair brush and cover the whole era of the sepal width water. Again, for those of you who paint the illustration on cellulose paper, I would recommend avoiding this step as one more layer of water can potentially live the paint from the previous layer. Don't worry if you feel that the sample doesn't look complete. At this step, we will add texture and will darken the shadows with a dry brush and further in this lesson. But if you use cut and paper, you can apply as many wet layers on top as needed. Cotton paper absorbs the paint and it is hard to live the color from the previous layer. Once I have covered the whole area with water a few times, I take yellow and applied in the area of the right edge to create a most saturated color. Here. After this, I take orange and deepen the color of the orange line at the top. I tried to avoid blending orange with green that is below. I spread orange closer to the left edge of the sepal, justice, a seed in the reference. Now I take Brown that we have mixed before, an edit along the left edge of the sepal, gradually spreading it downwards. I darken the sepal where it is attached to the stem. Also I apply a bit of brown at the top of the sepal and smoothest and with the brush. After this, I mix my dark green with water to deepen the Grinch shadows. This color is pretty dark, so it is exactly what we need to increase the dawn of the shadows. I apply the bend in the darkest areas and smooth the transitions with the brush. Now I dip in the shadow which is closer to the stem. I feel that the middle of the sepal is too light. So I'd take a bit of yellowish green and added to the central bar to create more volume here. Add a bit of cobalt at the bottom of the sepal. And as a final step, I slightly increased with the directness of the Upper Green shadow. Now let's darken the upper part of the stem a bit. I take Grindr there all are the heaven my palate applied to the top of the stem and spread it downwards with a clean wet brush to create volume in the stem. The upper part of the illustration has dried. So let's move on to finishing the pedals. I will start from the orange pedal that pips out from the front battles. I prepare a yellowish bright orange and apply color from the top to the bottom in wet and dry technique without wetting the paper beforehand. This battle is relatively simple and less detailed, so it's fine to works trade on dry paper. I slightly darken the edges at the top was saturated orange. Now let's finish the dark purple petals. I mix cobalt with pink. I create a dense consistency of paint with a very little amount of water in it, as dense and as dark as possible. This way we can achieve the darkest values in our illustration with watercolors. I want to slightly decrease the brightness of this mix as it feels too saturated for me. To desaturate purple, I will add a bit of yellow and adjust the proportions of all three colors until I'm happy with the result. Head in more blue, a1 look pink. And here it is, we have dark, deep verbal. Also I see few relatively light blue areas in these battles. I start painting the bottom part of the right pedal from this light blue. After applying light blue, I gradually started blend in dark purple and spread it along the whole battle with the tip of the brush. I blend blue and dark purple areas with stippling movements of the brush to create natural texture that they see in the reference. 16. A Bird of Paradise. Watercolor. Final Step: Now let's move on to the dark purple battles that are behind the orange paddles. Again, I start with blue and gradually add dark purple closer to the top. After I finish, I move onto the second battle. Look how beautifully they make the orange battles stand out. Now, we are almost done. We just need to add a few details that will make our illustration crisp. First, let's add shadows to the upper part of the right. Purple Patton. I mix my pinkish purple with water and paint. The line in the middle. I clean my brush, wipe it with the paper towel, and smooth the border of the line to create a smooth transition to the highlight. Now I append a similar shadow at the bottom. Small shadow at the top left edge. I paint the line with Kulcyzynski hair brush just because it has a very pointed tip. Clean the brush, wipe it with the paper towel and accurately smooth the border. And same at the bottom. I feel that it's not enough, so I add a few dark strokes in the darkest areas. Now let's complete the orange paddles. Here we will just add some hints to folding parts of the petals and will deepen the darkest shadows. First, I add dark orange in the area where we see the inner part of the left potato. I apply orange, clean my brush and smooth the transition. And finally, a bit of the darkest tone. In the second button, I will bend the shadow at the left side of the leaf was saturated orange. Almost tread. I painted right on dry paper. After I painted the shadow, I'm adding the darkest line on the left side of the battle. Move on to the central petal. I bend the shadow at the left side of the battle. It has a pretty complicated organic shape. So carefully observe the reference and try to understand what is going on there. I bend the shadow and smooth its borders with clean wet brush. I think it's just enough the battle slope natural but not too realistic, which is exactly what I want to achieve in this illustration. Now, at small nice details. First, dark dots at the top of the middle verbal battle. It's a very small detail which adds a lot. I bet, a few dots with the tip of the brush. And a few strokes on the left battle just to garden to the reference. Now the final step that I've mentioned before, we will add a dry brushing effect on top of the sample, which will add a natural texture and build up a color more without reweighting the paper. It takes a little practice to get the natural look. But this effect is wonderful when applied well, we'll make dry brushing over the flattened brush. First, I prepared two mixes, one pure cobalt and the second one green. I will work here with Galinsky. Her brush as natural hair gives a software texture. Though, it's okay to do this effect with a synthetic brush. First, I take hub dry brush and wet the brush with the first mix to this idea of the brush and the mix and flatten the brush with zigzag movements left and right. I remove excess water with the paper towel and repeat the same action a few times. If your brush doesn't flattened out enough for the Harris to separate, then you can gently flatten the branch between your finger and thumb. When the branch is perfectly flat and filled with paint, I start creating dry brush strokes using flood brush on top of the sample. The strokes should be solved subtle and look like crayon marks. I apply a blue layer of dry brushing to the bottom. After this, I add a dark green dry brush and texture in green areas. And here it is. I'm pretty happy with the result. In this lessons, we have learned the basics, the most important techniques used in watercolor botanical illustrations. But on the other hand, it was only the overview of what you can do with watercolor. And you can continue practicing, learning, and discovering many more techniques you can use for creating botanical illustrations using watercolors. In the next lesson, we will start creating the same illustration, but this time using acrylic paints. Can't wait to start. 17. A Bird of Paradise. Acrylic. Preparation: Let's move on to the acrylic part of our class project. I reorganized my workspace with appropriate art supplies. In this illustration, exactly as we did in the water color part, I will be using to remain colors. Yellow, pink, and blue as the yellow. I will use orange, yellow as the pink car mine, and as the blue covered. Also using acrylic paints for creating lighter and darker returns, we will use white and black. In addition to paint. I have a water container, a paper towel, water spray, and brushes. Here I will be using around synthetic brush, maybe a thin liner and the same synthetic brush with a pointed tip that I was previously used. And with watercolor, I squeeze the banes to my disposable palette. We need more paint, then we usemin painted with watercolor. As spending with acrylic, we use thicker coats of paint. I spray some water on top as the acrylic paints can dry quickly, especially when you are in a dry climate. First, I will prepare our color palette in the sketchbook. We will mix paint exactly in the same manner that we did in the watercolor part. Acrylic paints can be semi-transparent, semi-opaque, or opec. Carefully read the product specifications. Manufacturers usually indicate the transparency of each color on the tube. So using different grades of transparency, you can achieve different results. Using opec pains, you will fully cover your surface. But using semi-transparent paints, you can achieve a watercolor effect. If you need to create an even opec cover with semitransparent or semi-opaque band. You will just need to apply the painter a few layers. First, let's see how colors look separately. I pick the paint and slightly diluted with water to receive a nice creamy consistency. The colors I've chosen here are pretty similar to the previous choice of watercolor paints. Unlike watercolors, acrylic paints dry a bit faster than water colors. Sometimes it's very comfortable and speeds up the painting. But sometimes we need to give this quality in mind to be able to control the process. Now let's mix the colors and see how they look mixed. I take yellow, a dread, and adjust the ratios of both to create bright orange. After this, I mix pink with glue and get similar purple as we did in our watercolor illustration. And as the last color, I will mix blue with yellow and adjust the ratios of both. By mixing yellow and blue, I get nice green, very similar to the one we have on our watercolor palette as well. Now, I'm done with my color palette. The colors are pretty similar on both sides of my sketchbook. And we're ready to go. We will start painting from the sample. First, I will prepare appropriate colors. I prepare a yellow for the top part. I mix orange from yellow and pink. After this we need green and also we need light blue for the bottom part of the sepal. I mix blue with a bit of white to slightly lighten up the blue. And the very last color is brown for the left edge of the sepal. 18. A Bird of Paradise. Acrylic. The Sepal: Though we discussed than using acrylics, we paint from dark to light. In this illustration, I will get Benton intuitively, sometimes starting from mid tones and sometimes from light areas. I will start by applying pure wide at the top of the sample to further make the blending of color smoke most. So I mix wider with water and applied along the top edge of the sepal. After I have painted a thin line along the top edge, I gradually start adding yellow. First mix it with white, and then blended within the white area. I spread the yellow to the right. Now I want to add orange. I mix orange with white and edit under the old dependent error. After I have added orange, I smooth the transition between the two colors. I start increasing the value of orange by adding more saturated orange on top with less wide in the mix. Now, I will add green. I take my green mix and make it a bit warmer. By adding the yellow and white to it. I take the mix and start applying it under the orange area. Here I worked with the side of the brush. Disposition helps me to cover bigger errors at once. And to feel the shape with smoother strokes. I move on to a darker green area. I apply a darker green in the bottom direction. Now I want to complete the ship from the right side of the sepal and blend a lighter yellowish-green area with the darker green one. I take light yellow, mix it with white, and use this color to blend two errors together. The huge advantage of acrylic paint is that because of its opec qualities, we can always paint on top. So in case something does not go as smoothly or as perfectly as you wish, you can always paint over it without creating a smudgy mass, as it usually happens two watercolor when you're trying to recreate something by n layers on top of the painted area. Now I will add a light blue line at the bottom of the sepal. I add more white to my Bluemix and added to the bottom. After this, I add a dark green line above the glue and blend these two errors with the side of the brush. I pick a lighter green and create a smooth transition from deep green shadow to a more yellowish area on the right side of the sepal. Also using the same mix, I create a light green area above the green shadow. I continue blend in different areas, layer and paint on top trying to achieve smooth transitions between them. Now, I move on to the left part of the sepal. I spread the orange area in the direction of the stem. And we'll add highlights and shadows on shadow on the right and spread it in the direction of a big dark green area in the middle of the sepal. I spread the paint and blended with the side of the brush. I take wide and create highlight. And again, I applied the paint and spread it to the middle of the circle. Now I want to darken the green shadowy area a bit more. I take green and applied in the darkest areas. Also, I see that there are the thin dark green line just below the orange. I spread the dark green in the direction of the place where the sample goes out from this stem. This most shadow on the right is very important as it creates a sense of volume in the flower. I paint the shadow and smooth and its borders with the brush. After this, add a bit of wide along its border to make the transition between the shadow and the highlight even smoother. Please note that now when painting with acrylic, I used the paper towel in the exact same way as I did with watercolor. I remove excess water and paint by wiping the brush with the paper towel. Building the volume within this sample deepen shadows even more. Increase the volume of colors according to what you see on the reference. Enlightened the highlights. You can continue layer in and blend in as long as you need until you are satisfied with the results. Carefully observed the reference, and tried to replicate the main color transitions, the main shadows and highlights. See you in the next lesson, where we will continue paint in other parts of the flower. 19. A Bird of Paradise. Acrylic. The Stem and Orange Petals: Now let's spend the stem for painting this stamp. I change the brush to the synthetic brush with pointed tip. As this brush works better for creating details, I started by applying wide at the top of the stem. After this, I take a bit of brown and added at the top of the stem, leaving a small separation line between the stamp and the several white, exactly as we see it on the reference. I prepare a yellowish green blended at the bottom of the brown area and spread it down. After this, I add a bit of white to the green mix. Once it's ready, I apply this mics in the middle of the stem. After adding it to the middle, I stretch it to the right and to the left. I create one more lighter mix based on White and edit to the center of the stem to create a volume in it. The Brown at the top almost disappeared. So I add a bit of brown at the top again and blend it with green. As a final detail, I deepen the Shadows along the edges of the stem and lighten up the highlights in the center of the stem. Now let's move on to the petals. First, I mix the light yellow from pure yellow with a bit of white and diluted to receive a nice creamy texture. I start accurately covering the first battle with yellow. Once I've covered the whole petal, i take a bit of wide spread the color to the bottom, creating white areas were the battles are connected to the sample. Now I take orange and applied according to what I see in the reference. First, along the left edge of the battle. Because acrylic paints don't spread too much, we can pay in different errors was sharp edges inside the battle together, meaning that we don't need to wait until the paper dries to a details as we did in watercolor. So I can create this folding part right now. I feel the darker areas are not saturated enough. So I added a few bright brush strokes in darker areas. Now we are ready to move onto the second petal. And again, because acrylic dries quickly and dance spread out from the painted error does a dry paper. We don't need to wait and we can start bank in the neighbor and battle right now. As we did in a previous petal, i covered the whole era with the yellow first. After covering with yellow, I pick orange and edit along the left edge. After this, I create a smooth gradient at the bottom of the battle. And again, I blend yellow with wide at the bottom to show a natural transitions of the battle to the sample. Now it's time to add highlight. In the middle of the battle. I take y applied in the middle and blend with other colors with the side of the brush. I mix most saturated and more red, orange to paint the shadows on the battle. Once I've got the smooth creamy texture, I add this orange to the darkest places. I really love how acrylic paint feels. It creates a nice silky flow. Let's move on to the middle petal. I apply light orange at the top. After this, I continue by adding yell to the bottom left. I want to create the wide transition. I add a bit of wide and spread it down to the place where two pedals are connected together to create a nice natural gradient. Let's paint darker places. I observe the reference and create an orange shadow at the bottom. After applying the paint, I smooth the borders with the brush. Continue painting the rest of the battles in a similar way. Congratulations, we did a great job so far and we're very close to completing our class project. In the next lesson, we will add purple petals and a few small final touches. 20. A Bird of Paradise. Acrylic. Final Step: For painting final details, I change the round brush to the brush with the pointed tip. First, I'll add light pink parts on top of purple petals. Now, let's prepare a dark deep purple for dark purple petals. I take the paint and evenly covered the petals. Try not to go beyond the borders. I continue cover in the rest of the errors with the dark purple mix. Now let's add a few small dark dots at the top. After we painted the darkest areas, I will finish the purple petals on the right. I mix light purple and cover the top area of the very right petal. After it's dried, we will add a few small shadows on top. Now let's move on to the final touches. First, let's add the darkest shadows to the battles. I prepare a saturated dark orange mix and applied gentle brush strokes in the darkest places in the first two pedals. After this, I prepare a lighter turn to create smooth gradients along the borders of the shadows. Now, I move on to the left pedal and deepen shadows here with an almost tread color. This petal has very deep shadows, very high contrast. And finally, to finish the petals, let's add highlights in a few places. For adding highlights on top, I take pure white paint. I almost don't mix it with water as I want the pain to be as opec and as dense as possible. I take the paint and add gentle, even white brush strokes in highlight areas across all petals. After applying paint, I smooth highlight birders. Now let's add a few light highlights to the purple petals. Just a few gentle strokes as we see it in dereference. And finishing the upper part of the right pattern and adding shadows at the top part and smoothen the borders with the brush. After this, I add the shadows in the bottom part. And now the fun part. And exactly as we did in the watercolor section of the class project, we will apply a natural texture with the dry brush on top of the sample. Because in this acrylic illustration, the sepal is slightly darker than it is in the water color one. And I want to achieve similar results. I will add white dry brush strokes on top just to remind, in the water call apart, we used blue and darker infrared in the right direction texture. I take a half dry brush dubbed the branch and the right mix and flatten the brush was zigzag movements left and right. I remove access water with a paper towel and repeat the same actions a few times. If you brush, doesn't flatten out enough for the Harris to separate, the new can gently flatten the branch between the finger and thumb. When the brush is perfectly flat and filled with paint, I start creating dry white brush strokes using the flood brush on top of the sample. The strokes should solved subtle and look like crayon marks. Okay, I think it's enough. The texture looks create who we are almost done. As a very last step, I'll add a few white highlights at the top part of the right verbal pattern. That is it. We finished our second illustration of the glass project. Thank you so much for being with me in this class. We did a great job together. I hope you enjoyed the process as much as I do. In the last lesson, we will look at both illustrations and will make the conclusions about working with watercolor and acrylic. See you. 21. Final Thoughts: Now it is time for reflection. Which medium Did you enjoy most? Which of the processes feel more natural to you? When you look at the paintings in both techniques, which esthetics do you like most? Acrylic or water color? It's really your choice. We all are unique and our, our choices are unique for us to please share your thoughts, the challenges you have faced and what you have enjoyed most in the project and Resources tab below this video, attach photos of work-in-progress, exercise sketches and ready illustrations. It's a big reward for me to see your works. So speaking of both, acrylic is the preferred choice for a lot of today's modern painters. And it's much simpler to use than watercolors. Acrylic is brighter and much more forgiving of mistakes, as we can see it here on the right. A Bird of Paradise illustration has a beautiful, vibrant painterly effect. Though when we look at the watercolor illustration, it has a different unique charm, thanks to watercolors, vibrant transparency, and dynamism. Thank you for being with me in this class. Seo on Instagram in the next class. And remember, practice makes perfect.