Easy Watercolor Flower Painting | Watercolour Mentor | Skillshare

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

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

Lessons in This Class

12 Lessons (3h 34m)
    • 1. Introduction

    • 2. Materials

    • 3. Flower Painting Techniques

    • 4. Paint Sunflowers

    • 5. Paint Mixed Flowers

    • 6. Paint Tulips

    • 7. Paint a Flower Arrangement

    • 8. Flowers & Vase - First Wash

    • 9. Flowers & Vase - Final Touches

    • 10. Large Flowers - First Wash

    • 11. Large Flowers - Final Touches

    • 12. Class Project

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About This Class

Welcome to Easy Watercolor Flower Painting!

Loose painting is a fun way to create fresh and spontaneous works. It allows you to learn the basics of color, form, and tone in watercolor painting. In this class, you'll learn how to sketch and paint 6 beautiful flower arrangements in an easy and fresh manner.

This class is aimed towards beginners with 6 demonstrations which I'll help guide you through step-by-step. There are scans, drawing, and tracing templates included as well for each demonstration to help you transfer your drawing over quickly and easily. You can follow along to my real-time drawing and narration videos for all of these demonstrations.

In this class, I explain every technique I use while I'm painting, such as using watercolor to paint petals on a flower. I'll also discuss color choices, and the strength and specific mix of pigment I am using. If you have a pencil, some watercolor paints, and paper, then you're ready to go.

In this class, I will cover basics such as:

  • how to sketch simple flowers shapes in pencil, and how to use watercolor to imply light, shade, and mood with a variety of colors.
  • How to paint petals, stems, and shadows on flowers
  • Materials - what paints, paper, brushes, and pens you will need.
  • Understanding light sources and how to paint realistic shadows.
  • How to sketch easily by simplifying a subject into basic shapes, using a combination of loose and accurate drawing styles.
  • Hands-on lessons on essential watercolor techniques such as wet-in-wet and wet-on-dry.
  • How to paint backgrounds and use contrast combined with striking color combinations.

So join me in this class - let's create some paintings that you can be proud of!

Demonstration Paintings:


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Watercolour Mentor

Art Classes, Mentoring & Inspiration!


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1. Introduction: Hi, I'm Dara for watercolor, mental and welcome to easy watercolor flower painting. Loose painting is a fun way to create fresh and spontaneous works. It allows you to learn the basics of color, form, and turn in watercolor painting. In this class, you learn how to sketch and paint six beautiful flower arrangements in an easy and fresh manner. This class is aimed towards beginners with six demonstrations, which I'll help guide you through step-by-step. Their scans, drawings, and tracing templates included as well for each demonstration to help you transfer your drawing over quickly and easily. You can follow along to my real-time drawing narration videos for all these demonstrations. In this class, I explained every technique I use while I'm painting, such as using watercolor to paint petals on a flower. I'll also discuss color choices and the strength and specific mix of pigment that I'm using. If you have a pencil, some watercolor paints and paper, then you're ready to go. So join me in this class. Let's create some paintings that you can be proud of. 2. Materials: Okay, Just a really quick video here that I wanted to make to show you what kind of materials that I use for this particular class. Now, there's a bunch of brushes that I think are going to be quite crucial for you when you get started painting florals. And I'll just show you a bunch of them that I use and just where I essentially use it in the context of a painting. So I've got to get a bunch here, okay, so I might just pick out the flat brushes first. And I do also have an interesting sort of flat brush which comes on a slight edge. So if you compare this flat brush with, say, this one here, you can see that it kind of ends with a more significant point because it's cut on a bit of an angle. Okay, This brush is really useful for getting in irregular sort of shapes like pedals. Were you starting out obviously with a thinner sort of mark and then going to a larger flatter area and then finishing off with a thinner mark again. So I think that works quite well. It's hard to do that with a complete flat brush because it tends to, when you press down on the side, tends to get a bit squashed in. Doesn't look as elegant as if you use a brush like this. So that's one of the brushes I used to paint and drawing stems, some of the petals. Now, in terms of the normal flat brushes, I use these at times to help cut around shapes. So here you can see a bit of the flower that PEDOT and then the background. They're using a flat brush to kind of cut around the edges and expose some of these lighter areas inside. Makes it really easy because it has a flat edge and essentially it's just makes it a lot easier to cut around things. You can also use round brushes to cut around. I do use these ones as well. So that's another option. Now in terms of round brushes and larger sort of round brushes, smaller ones, These ones I tend to use here for bigger washes. So say on the ground here or basically on the vase. Maybe I want to get in a particularly large flower. I can use a larger brush to get into the, the petals because it starts off with a point and then you can press down to get a larger shape and then lift off at the end to get a, a, again, more, more narrower shape at the end. I tend to use smaller brushes in that same manner like this, really just depends on the size of the paper you're using. If you're using a large sheet of paper, you're probably going to need to use a larger brush. And that's your general mop brush, like I was saying before, just gets in paint and a larger area. So I might use this to cut around some of these flowers and also try to get in a lot of the background. So that's about it in terms of brushes, I do have a couple more here, little bonus brushes that I use from time to time. This is a cat's tongue brush. It's kind of it kind of reminds me a bit of a flat brush except the sides at Katyn. And this allows you to get in an interesting sort of shaping coming with a very kind of large, sort of a small tip shape and press down to get a larger shape and then lift up to get a sort of petal like shape. So this is really useful. It's also great for cutting around objects. So just around here and around the flowers, you can get in a bit of paints and still have control and control basically to cut around the shapes. This here is a little fan brush which I sometimes used to getting little bits of shrubs and things like that. You know, you might have a few bits of grass or something coming out the side, or could be a little bit of, for example, little tweaks or smaller flowers stems coming off the back. So this helps you get in a few lines at the same time nicely and without much effort. So that's about it for brushes now, in terms of the colors that I use, I'll talk a little bit at that. The main colors, I've got a whole bunch of them here. But the main ones that you're going to want to get your primary colors. So primary, you're talking about your blues, your reds, and yellows. So in terms of this class, you will be paying some sunflowers. So some yellow, some Hansa yellow and lemon yellow will do just fine. I've also got a bit of yellow ocher, a bit of Naples, yellow here as well, which you can use to if you like. I've also got some orange, a bit of red, bunch of blue, cerulean and ultra marine bit of lavender, which is a three lights sort of violet T kind of color as well are going to be this x2 ruling in blue also have a bit of a wash there sometimes gouache can be whitewashed, can be very helpful to just bring back a little bit of the white on the paper at the end if you have gone overboard with some of the background coloring in all, well, just want to tidy sum things up here and there's a nice finishing touch. I do have some other colors here, like a bunch of greens. I've got a emerald green, I've got a thaler green, hookers green. I've also got some sap green, which is a very nice light sort of green which, which, which have nice light and fresh sort of green, which I use some earthy tones here as well. Got a bit of here, burnt sienna, I've got a bit of burnt umber, and of course, I've got a bit of mutual tint and Payne's gray. So if you've only got your primary colors, that's about all that you need. So if you've got a nice yellow, a blue, and a red, don't really worry about anything else. You can mix most of these other colors with that and it can be too much if you're using a lot of these colors and you're not sure exactly what you're doing as well. So that's my little Justin paints now, in terms of paper, I'm using 100 percent cotton watercolor paper. It is basically cold press or a medium texture as well. And you can tell because it's a little bit rough and it also allows you to create a bit more smoothness as well if you're using this sort of paper now if you have hot press paper, just use that. That's fine as well. It can be tricky sometimes and it dries. We pulled areas if you're not careful. So just be careful with that and maybe lean the paper on a slight angle like that so that the water runs downwards. But my main advice is to just use the best materials you can afford and whatever you have at home. I think that practice and giving it a try is more important than the actual materials. But if you want to be able to get in the similar effects and in an easier experience for you, I would suggest getting some of the materials that I have. You got three artists grade primary watercolor paints, some cotton watercolor paper, and just a few nice brushes. That's all that you need for this class. 3. Flower Painting Techniques: Okay, so I wanted to do a little video here just to demonstrate how I use some of these brushes to draw some basic flower shapes. Someone's like a little bit of practice for, for you before you get started. So what we'll do first, I'm just going to open up my palette and pick up a bit of, a little bit of paint. And we'll start off with a darker paint just so that you can see on a, an, an easiest sort of level that's too light. Sometimes it can be difficult to see, but Let's go ahead and pick up a little bit of this green color here, so safe, I want to draw a leaf or something like that with the, with the round brush. Normally what you wanna do, if you look at the brush, it, it has obviously a smaller tip at the front and then the belly in the middle. So if you push down very, very lightly, notice that you get a thinner shape at the front. Okay? But then if you push down and then further and then lift up, you're going to get these sort of shape there. So it's kind of a as kind of like a leaf shape that you can get in. And this brush is a little bit worn so it's harder to see. But if I use this other brush and we'll give this a try here, you know, thinner sort of tip, press down and then lift up like that. You can get in a shape of a leaf in just one brush stroke and it takes a bit of practice to do. But it's something that you can certainly master with a bit of, with a bit of time and just practicing some of these little strokes. I use this to get in the little sides of the flowers and little petals of the flowers. So if I start going like that, that could be a pencil, that could be a PEDOT like that. You can even go from the outside in like that as well. They're there. Okay. You get the point. I mean, that's not a perfect sort of flower, but allows you to get it into one brushwork. Okay? And could do this with all different colors. You can go in with the yellow. I tend to start off with very, very, very loose shapes and then I'll cut around them with a bit more color and darker sections on the outside. You can drop in paint in the center as well. Like this if you want to bring out some of the darkness in the center of the flower. Okay, so that's how I use round brushes. Now I do have another brush as well, which is basically a flat brush with a slightly different tip. Okay, if you look at the tip, it's essentially cut on a bit of an angle. So a normal flat brush will look something like this, where it's cut completely straight at the end, but this is cut on an angle. And the difference is, is when basically when you're painting with something like this, There's, there's more variation and more interest in the line. So I mean, you can go from something like this, something like that. I mean, you can get in, again, these sort of shapes quite easily. And you can sort of move around the page quite, quite interestingly and get some sort of shapes that you don't normally get. Okay, so I do use this also for pedals and bits. Bits and pieces get some irregular shapes running in. You can get in some stems and things like that as well very easily with this, with this sort of brush k. Whereas if we try that on the normal flat brush, you can still do it, but it's certainly not as agile as it is using this brush, okay? But we're using a few different brushes. Flat brush and we're using a round brush. I'm using a flat brush with a bit of a funny, sort of funny sort of tip. And we're getting similar sort of shapes in for the petals. Okay, It's just more so the technique that will help you out. Okay, so another thing we can do, negative painting is so important. So you notice this flower, it just looks a bit, doesn't look so flowery at the moment, does it? But what if we go in there with a bit of darkness around the edges like that. And we can shape this, some of these petals a little more, okay, something like that. And we can cut around and there we go a little bit more, tiny bit more form to those petals. Okay, so just essentially if you've drawn it in, it doesn't mean that it's going to stay like that forever. And I tend to start out actually with a lot of really, really abstract sort of shapes, which are just bits of yellow bits of color, light color on the paper. And then I'll drop in some darker bits and pieces afterwards. And that allows you. To essentially work and work on the shape and detail a little bit more defined, a little bit more where you need to, okay, that's forming a super detailed example. But you get the idea. I'm cutting around that kind of thing. Okay? I'm also using this cat's tongue brush as well. Which again is a great brush for getting in the same sort of effect here. Ok, We want to get in maybe like a shape like that, their competitor or something like that helps you really get some of that in without much effort at all. There's a few different, certainly a few different brushes that you can use to get similar sort of effects. And practicing it as, as I'm doing here, really makes a huge difference because you want to get in, once you get some confidence with your brushstrokes before you actually start doing the flowers. So if you've got a bit, a sketch paper up, just a bit of normal paper on the side. Just have a play around and sketch along the sketch some of these bits and pieces here, try them in different colors. Even. Draw a little some shrubs or things like that, and you get it more confident. Heads putting in shapes, especially these natural shapes of leaves and things like that. It takes some time to really get the hang of it and it becomes a lot more natural. Okay, so you can already see a bit of what I'm doing here. I'm joining them up. That kind of thing does really make it easier for you. Okay? And just the petals just have a play around drawing some pedals and using different colors. Okay. I remember you don't have to get it in a 100 percent correct to start off with. You can start off like this little shape and then you can cut around and always focus on the shape as well. It could be a flower facing to the right. So more of the flowers facing up there, or it could be a flower that's facing upwards. So you've got more kinda coming out like this. Or you might have flower facing to the left, which has more petals coming out towards the left like that. And then you can indicate a bit of the center part of the flower here. Okay? So have a play around and certain practice. And the more you do that, the easier it will certainly become. And also working on your wedding wet effects. Okay, finding exactly around the time that you can drop in your paint without it affecting the wash underneath it, without going too far into the wash underneath and, and having everything kind of mixed together. So these little sketches really help you out a lot. So negative painting is a big thing in this, in this, in this class. Okay? And a lot of it comes from just knowing when to go in, waiting for a place for an heir to dry, and then going into that area directly afterwards. So that we can get in a little bit of detail and a little bit of kinda cutting around. So I'm not here, for example, going with a bit of this green. Okay? If I want to just go Dhaka around some of these stems, then I might leave you a bit of white there. Okay. Then I might let these pot blend in a little bit like that. Okay. Or I might want to just go lighter like this. And this area with the lightest sort of air of the leaf. And then I might go darker on this other side here like that. Okay, There's a lot of choices and knowing how the paint reacts, especially as you go in and add in backgrounds and things is super-important. And okay. Generally speaking, if you've got a lighter sort of shape in the fore, in the foreground. So like a flower or something like that, you want to make the background a little bit darker. So that area would come out if you make the background the same color as that leaf or that stem or something like that. It's going to be very difficult to see once it dries. 4. Paint Sunflowers: Firstly, what we wanna do is get in the pot. And the reason why is just so that we can get a scale or a general sense of size on the paper because we don't want to make the part of the, you know, the speak for instance, if you've got all this space here, what I'm going to take up the entire room. So firstly, what I do is that I just draw the four corners of the pot. So if I put a dot here, a dot here, a dot here, and a dot here. We can sort of already imagined with the pot goes and how large it is. And then we can estimate, of course, the size of the flower as well. So at the moment I think that's still a little bit too small. And it really depends how much space you want to, of course take up, but I do want to make this part a little bit bigger. So I'm going to increase the size to around this. And I'll put it just in the middle of the page and drag this down like that. So we've got left-hand side, just the line, the line coming down here as well. Just join, join this up. And notice it's not really the exact same size as the, as the pot. It's actually a lot taller, but I think this will be good. We can still change things around and things like leaves and stuff. Always try not to be too rigid, mini draw them. I'm using my hands to sort of the actual arm to actually draw this leaf in and keeping it pretty loose as well. Here on the ground we've got a bit of sunflower and potential. Few leaves here and there, not leaves, petals. So your petals here. And there's another larger kind of leave series has been arranged by someone. But I do like this idea of this flower fallen over on the ground like this. Okay? And now we can put in a few elements up the top here for the largest sunflowers. So we've got one that's roughly here and it's pretty large, takes up quite a large section of the pot. Anybody? Not another one here sort of chatting out the side. So I'm just trying to center of the sunflower, the sort of dark area. And one here looking over to that right-hand side. And the way you draw that in is that you sort of put it in a kind of convex shape coming out like this. So it's almost like a lens or a sign of an eye or something like that. And then you can go in and put in these little potential. Recall pedals. You forget what they call petals. So we've got that in now and just the general position of where it's facing. We've also got a bunch of leaves. But firstly, what I'll do before I get started, I do want to actually get in some of these pedals and notice how some of them also come down and sort of drop in front of the sunflower. So there's actually two rows of petals. I didn't realize this before where there's tumors of them. And I'm keeping this very pretty loose as well. And I'm given the other second set of pedals, economists just seem coming across in the back, but these are just potential areas of where I want them to be. It's going to probably turn out a bit different later. The good thing about this is that when you're painting pretty loosely, you can change around all the shakes and the petals are just an indication of where in a way you want them to be. I kind of use them as well to indicate what direction they're facing. If you see here, the pedals only come out from the right-hand side. So we're indicating flowers facing to the right. Ones are front-facing so that you can see the petals facing forwards. And you've got a few of the petals just sort of dripping down as well because you don't have them all looking perfect. Of course. Here's another leaf that we've got in and maybe another leaf coming up here on that side. We've also got another sunflower here and the back facing directly upwards. And again, the petal location of the petals facing directly upwards like this and none of them coming down the bottom, that indicates that the flower is actually facing up. So here's one kind of facing towards the back. And again, you're going to get maybe larger ones like this. And then bits obscured here. This is just little leaves and things like that there. I think that's almost about it really. I mean, at this point you can just sort of looking in and feelings and beats if you want to put in some larger leaves and things just running two over the sunflowers and helping fill up bit of space in there. But there's not a whole lot that we really need to do now the stems actually a not quite visible in here. It may be also, may also think of putting another flourine or some. Other ones that are sticking out on something like this maybe so experiment around for sure. I don't feel like you have to just include what is exactly in the reference. I mean, this one put over like this, so it's kinda facing towards the right. Maybe have a stem again just coming up here and then the lodge. And a sunflower here, just facing again forwards. This is quite a. Pedals need to be little bit bigger on that. And the middle section as well, otherwise it's not going to look like a sunflower. So again, a lot of this stuff you're just making up as you go. If you, if you see looking at another type of, wow, that's not actually in there in the first place. Here's the little middle section of that sunflower. And again, I'm going to put some of these petals facing towards the left-hand side. So you've always got an impression of that flower facing to the left. It's hard to see, but that's what I'm trying to imply there. And this one here can just be one that's again just facing towards us. So there's certainly a lot of them here and there's a lot of details. I also feel that I should put one here just on the ground because we've got one here. And I just think that it just needs a little bit of balance and maybe a few little petals and that kind of thing. This could be one that's just facing upwards, like that. That middle section there, a bit of a stem coming off to the side there like that. So improvise a bit, improvise a bit and be adventurous. It may not work. But sometimes, even if that interesting, you added some composition, doesn't look accurate, it can add to the composition. So I'm happy with how this looks pretty much in, so I will leave it as this and get into the painting. All right, so let's get cracking. I've got myself a number 10 round brush. And I'll be using this round brush just to start off by putting in a few colors. Another thing, we can also use a smaller brush as well, like in number 6. So if I just pick up pretty, pretty light, sort of yellow. So here I've got hansa yellow light. And I can just drop this straight to the pedals like that. And at the moment we're trying to add a bit of shape, but at the same time, we are just trying to get them to blend together a little bit too, so that we've got some indication of the edges of the flower. We've got another one here. This one's just coming down, facing downwards like this and made the petals a bit larger as well. Again, this is going to be cut around when I just adding a few more of the darks through there. Okay. And trauma to be also to perfect with all these petals, OK, and mainly the directionality that the direction which the parents are facing this, the important thing, like I said, you've got a few here that you can tell are facing forwards because you can see all the petals and just branching out from the center point of the flower. But then here on that one here and here you can see only the petals come out from the left and right side, meaning that the flower is actually facing in left to right. So it's kind of like, almost like drawing people in a way. Say, it doesn't take all that much to just imply. So notice how quickly ongoing as well because I don't want to spend all time all day doing this and here on the ground as well. Let's not forget, we do have a few, a few flowers, C2. So we want to, we want to just put in some of those petals. Look how quick I'm doing this as well. We don't want to spend all day doing this. Okay? So having a look around, Let's see if there's anything we need to add. You might say to yourself, these petals need to be little Big-O. You might want to add a bit more, be more color in there. That's also a good idea. Another thing I like to do is I pick up another darker yellow. So this is. A gamboge yellow, which is almost starting to tend towards orange. And then I started to drop in a bit of these near the center of the flower and let it mixing, mixing and blending with the yellow. And when that happens, you get this lovely sort of mixing and this kind of very, very subtle tonal shift between the center of the flower and the outer edge of the flower. Because the light source from what I'm gathering is coming straight from above. Or even if it's coming from the left or right, it's still going to hit the outside edges of the petals. And then we're going to get darkness on the inside. Very, very subtle, subtle sort of darkness. So it also just adds a bit of tonality, gives it a bit more strength as well. For this one here of con, of this I'll put in a bit in here, but I don't want to overdo it as well. Okay, So that's pretty much all the yellows of this sorted and we can now look at a few other things. Now, we want to make sure that this is dry before I go into do the outer edges, what I like to do is through the center of the flower, I like to pick up some neutral tint or if you've got some Payne's gray. And then I'm going to go mixing a little bit of this yellow with fat, with a little bit of that Payne's gray. Or if we've got a bit of yellow ocher, or if we've got a bit of if we've got a bit of mutual tint and I can just drop that in there like that. No, wanted to kind of blend a little bit. And I'm using also the edge of the brush, the side of the brush story to get the scene. And pretty quickly like that as well so that we get some blending and then we might get some little white areas in there as well. Okay, it's a sort of mixing and that one there is facing upwards so you can, and you can see, I don't want to do now is just trying to get in some greens and I'll go with sap green, but it is sap green. And you're going to get a little bit, they're a bit here. Okay? Sap green is a very nice, light, vibrant sort of green and were able to get in. Yeah, Just a little indication of some of these leaves and things coming off now keep it very lived as well so that there'll be a time as well where we go through and create some darker shapes in between, but just around the outer edges of these flowers, I just want to get in some of these little bits of leaves in here on the ground. Here's, well, I forgotten here this stage actually to put in a bit of dark color for the center part of these flowers, the sunflowers. So that's no problem. We can go and do them now, but we're not gonna get a nice sort of blended effect like we have up the top there. And it's not a huge deal as well. Say, you want some sharp edges and some soft edges and maybe deal with for some of them don't blend exactly. It's just the desired effect at times. Some more greens, so a bit of green here, and let's just dropping some around the edges of the petals. And this is how I use these dark colors to cut around the shapes of the petals. Okay, it's all pretty abstract at this point, but if we keep doing this, you'll notice it starts to take a bit of form and you can see individual sort of petals like these here. Here. Around here, for instance. This is going to mix in a little bit with that green here, here. So we can just draw out some petals here and there. I've got a bit of the sap green now. And I'm going to go into some of these areas here. We've got a bit of this green going around that petal coming out that can be a bit of benefit a leaf or something, another leaf here, a little technique I use is I start off very likely to get a sort of a sharp point and then I press down and then lift up again. So then that allows me to get in a sort of leaf shape. It's a little technique that you can use with all kinds of brushes, mainly with round brushes though. Let's say it's quite effective. So I'm going to go around and I've also got a few other green sea. I do have a bit of emerald green that I can drop in. It's a bit of a darker sort of green. But really at this point, I'm just trying to getting some light sort of colors, okay? And just to create a shape and form around some of the petals. Okay, so notice how I'm just cutting around some of them like this. And that's going to look kinda likely edge of the petal. They even on this side here some of that already started the bleeding, but that's a k will come around here. We're gonna put in a few more petals, not pedals, but just some green areas behind as well. We do have some bits of green here too, so that's going to form. Some edges around those flowers like that. This center part here, I'm going to lift off a teeny bit of paint occasionally because I think it's just dried a bit funny. I should change that up so it gets a bit lighter in the center. And then a few more bits of green up the top there. And again, we use that same technique that I was talking about here. Touchdown and then press hard, lift up quickly and you're going to get a little shape like that. So that's pretty much the leaves and things that greens in here. And notice how quickly I did that as well. It's not take much time at all and go down to the bottom and look, here's another one. Now that leaf here, here, here, around the bottom, for example, they could be a stand or something like that here as well. So it doesn't take all that much at all, just little bits and pieces. Now, for the, for this area here where we have the pot, I'm going to put in a little bit of gray paint, tiny bit a gray paint here. So let's have a look, just some neutral tent. And if I can get some of these, I've got a bit of this white colored paint as well. It's actually called buff titanium. And I'm going to drop that in here so as to just get in some of this kind of milky sort of color. And hopefully that will blend in a little bit well with the leaves so that it kinda joined ops as it comes down here like that as well. But I will leave some little bit of white in there as well. Okay? And that should pretty much do the trick. So I'll give this a little dry and then we'll go ahead and start doing, and the outside edges of all these flowers. Okay, this is what I'm going to start using a slightly larger brush with quite a large brush FC. So number 10, round brush compared to the number six that I was using before. Now I do have all these yellows in here, so I'm going to make use of complimentary colors are going to get a Payne's gray. I'm just mixing up some Payne's gray here, which is kind of a bluish-gray. And into that Payne's gray, I'm going to drop some ultra marine and a little bit of carmine. So what we're gonna do here is be a good, basically get a kind of purplish color. And I want to mix up a good amount of this as well so that I can cover a good chunk of the background. Okay, so Enough of that coming through, we'll be good to be more blue, a tiny bit more carmine and he just to get a nice kind of purplish mix. And let's try that out. Just like that. You'd be able to tell if it's dark enough because we want it to be dark enough to cut around everything here, but not too dark as well as to just make everything disappear. So you can just draw out these leaves by doing, when I'm doing hugest little segments creating areas where the leaves and petals sort of trail off into the background like that. But also around these little bits of green like that for the leaves around they're there. And if you've got some white in there, don't worry as well, just continue on like that and cut around this side as well. Here. I think the most important part is leaving the yellow, the yellow for the pedals. Because if we get rid of those yellows on there, then we're not going to much left of that sunflowers. So be very careful as you going into it and then shaping those pedals are and don't be afraid to leave a little bit of yellow, a little bit of white, I mean, on the top of the petals. So just as you can see on the edges here, we've got a little bit of white there. And we've got a bit here, here. And we're kinda just negative painting where we're cutting around a lighter object with some darker paint in order to reveal, to reveal the lighter object. Okay, and it works best. Doing these petals also works best when we're just trying to being quick with it, but also what we're being deliberate and we're being quick with our brushstrokes. I'm not saying just go in there and plunk it down anywhere. But when I'm going in now and thinking, okay, that's a pedal. I want that to show how, how can I put that in with a few little brushstrokes, and that's what I'm essentially aiming to achieve there. Okay? So it may not be perfect, but overall, the composition and this will tell a story. So we've got more sections up the top here. I can just fill in some of that darkness up the top. And also what you can do, you can put in a bit more other color. So here I might have some blue. Okay, we might fade that off a little bit in my good kind of lighter here all of a sudden. And, but the main thing is that we want a highest level of contrast near the actual yellows because that's going to be the broadest part of the scene. So we have dark right next to the light. Is going to make those flowers pop out and move just that more interesting and vibrant. So look at that. I've just gone down nearly done with this. We're almost finished. Here's a bit of brown. You know, why not? Why not put, put in some brown here to these areas, kind of dried already, but I can still go back into it, plunking a bit of brown into this mix. And if, you know, especially if you've got a granulating top of brand as well. It does look quite nice and interesting if we get some of that in a bit more of this neutral tint in here. And I'm going to mix up a little bit more of this kind of purplish color. And the last stage really just coming around this pot and I'm leaving it to last because I'm not just painted it, not so not too long ago, so I don't want to go into it too quickly and risky, blending into everything else in the scene. So going through here we've got another one, another one here. Here. Here. Here are a few of the flowers. Bit here. Here. We've got another one here. Cutting around again, the material here on the ground, this leaf here cut around that leaf. Again, I'm just leaving this pot till last because I just don't want that to blend into everything. So Nearly done. It. Just cutting around limit just to leave that yellow in there. That's super-important. Probably do want a slightly lighter mix here at the bottom as well. I forgot to mention that, but just lighten this area down the bottom. Here. Just looks a bit more interesting. And this could be like a place where it's standing. Okay, and then around the pot, I'm going to go fairly dark. Okay. And we can leave a little white line in there as well like that here as well like these. And we pretty much done with that plot. So we'll leave that to dry and then we'll add some finishing touches. Okay, things have dried off and little in the final stage here is just putting in the last remaining dogs, perhaps figuring out a shadow. And I'm thinking I might get a shadow just cast on the wall or something like that veer to the right. Just something a little bit different and creating some, a little bit more shadow, I suppose. So firstly, what we'll do is I'm going to go back into this area. Now. I'm going to get some shadows perhaps running down around these Leo little petals like this can just an areas and create some extra teeny bit of contrast. At the same time, darkening down some areas and creating little bit of darkness, especially on that right-hand side and there, but keeping it pretty light still, maybe a bit of shadow under the S1 here, that sort of thing here, and they just soft in that bit down. But I do want more shadow just underneath areas like just underneath here, for example, when it's really just a bit of neutral tint. And you can use a purplish sort of color for this as well. But I do want to get in a sort of sense of darkness running across, okay, and now we want some of it to sort of go into the background. So casting a kind of pretend shadow as opposed to just running across. Okay. And I don't want it to be old, too dark, but we do want it to be dark enough to indicate some kind of shadow like this. Cast upon wanted to be a kind of slightly broken shadow as well. Okay. Maybe beat here. Join them up a little bit. Kind of like getting a bit of light that's hitting that left-hand side and causing that shutter. On the right-hand side. You may even want to get into a bit of shadow on top of this sunflower or something here as well. It's up to you. I've just kinda decided to put it in at the last minute. Again, to kelp that shadow to make a little more, just a little more sense. Okay, So there we have it, a little bit of that in and we can drop in some more paint in this section as well just to get in extra detail, extra contrast. I'm going to pick up some more of this Payne's gray and create a little more detail. Areas near the flower petals like that. Not to over overly complicate things as well. So, I mean, this era tried to get into a bit more darkness in here just to change it up a little bit. We may want a little bit more sort of scratching us in the inside of the, of the petal and the pedal, but the inside of the actual sunflowers. So like here, just a little bit like that here. And then there's like an inner, sort of darker ring or whatever. Through that section, you might want to put a building like that. It's not a huge deal. Not a huge deal. Okay. And yeah, just really looking for extra details but not to overdo it. So for example, maybe here we can get in a little bit of darkness for that leaf in areas like that. Here we have a dock and leaf in here. Something here, here, here. Bit of darkness on that right side of the leaf like this, like that. We don't want to overdo it. And I think that should do the trick really. I mean, all there is at the end of the day, he's just getting in a slight little kind of indication of what's happening in here. And that's one of the tricks with loose watercolor painting. You want to imply more than state what's going on. Because things are always a lot more satisfying when you allow the mind to fill in the blanks, rather than of course, telling the entire story to the viewer. But having enough. And areas that defined is also just as crucial. So not getting, not getting mistaken there that it is just as important to also get in some areas of contrast and definition. So just spread this a little bit over here as well so that it doesn't just end off on a tangent or whatever, but will leave a bit of light on that left side of the flowerpot. Okay, let me be the school blend a little bit and do it thing. Some more. Shadow under the leaf. Like that. Yeah. Yeah. Fantastic. And I will call that one done. 5. Paint Mixed Flowers: So what we've got here is a slight change to the composition in terms of the bowl of enlarge the bowl a fair bit. And that's more of a personal choice. You can make it smaller and have the flowers sort of come out of a smaller ball, but I have made it a little bit larger just as a personal, personal choice. Now, what I've done is I've put this line in here, the back and the line represents where the cloth finishes and the DACA sort of background Stotz. And you'll notice a few of the flowers here that I've put in. They are just such very abstract shapes. And all you do is start off with a kind of circular shape. And then you just define the edges by putting some petals here and there. So you can see the flowers here. I've got this white one, this large white one here at the front, just above the top of the bowl, then this white one to the right, this red one here, and get it to overlap with these other ones as well. And you've got these little pink or red one here to the left as well. So those are the four biggest ones. And then we've got two smaller ones that have fallen off into the into the ground there. We can go in here. Again, I'm just picking up some little areas, some little shapes that I can add on for these. A couple of flowers coming off the side there. Here. This can be another bit. There's even some more flowers coming up here that just such an abstract shapes. Just keep the basic shape there and you'll be fine. Some petals here and there, this, I think these are some poppies coming out the top like that. Okay. Just indicating where they might be. Here's another one there that could be a potential flower. Here, a, you know, some, some petals as well as a larger sort of flour here. Not sure what kind of flower this is, but it's, you know, it's kind of orangey colored one is another one here. One that's kind of what shape as well coming up here, and another puppy. So there's a few different things here that you can certainly put in. And we've also got some, some leaves which are, which are quite crucial to need some greens in here. I think it's just having it all colorful. And there we go, larger sort of leaf coming in like that. So it's just picking out a few that you might want to add in there. Okay. And even making up a few, few if you'd like as well. Okay. So really that's what I am going to start with. And we'll go from there. So I'm going to use a number eight round brush for the same. And first things first, we just want to get in really light colors, very basic analog colors through this whole, whole way that we've seen. So first thing I'm gonna do is pick up a little bit of pink. I could have little bit of opera pink here, and I can use that for some areas there. For example, at part of the flower, I can pick up a little bit of calm mine as well. Let's see if that works a bit better than you would have come online. And some red mixed together so that we can get a vibrant sort of pink sort of color. And this is the opportunity to sort of define some of the petals. A little mole, okay? And this one I've made pink. Okay? This one here is another sort of pink color. Comes down. And K Let me just putting a little bit more in here, maybe some red into that one like that. Okay. And you've noticed these other ones just such a such a lots of color. I'm going to use little bit of this. Titanium white. Okay, just a little bit of that through their little bit through these loops and this one here, like that. Okay, Here's really putting in colors and nothing more and nothing will really, okay. Let's go with a bit of red and a visual feast combine, combine plus permanent red. Scaly it, pyro scarlet. Okay, beautiful coloring for that flower with a on the side there. You can use the solder, the blush and brushes on doing heels, ticketing, some shapes and the leaving some areas of the paper as well as super-important, leaving it what? He is. Another one that I've put in here on this side. We might have another one here, using the edge of the brush, the size of that brush to create some abstract shapes. So looking pretty red at the moment, I want to pick up some yellows. So I've got some little bit of lemon yellow and I'll put it in a bit here. Okay, that could be a flower. They might have another one here. Okay, Let's have a look. We've got another flower here and on the table like that. So a little bit of little bit of yellow into that one report from that we might even have a little bit, tiny little bit there for that flower. Be here for this one as well. Some of these ons kind of orangey yellow color coming out the side like that. Okay. These, these other flowers we've got a bit of red and a bit of common. Mixing up can just putting a little dash of color like that. Just little dashes of color to indicate these puppies. Okay. And try to keep those edges irregular as well for them. Okay. Even in here we can go in another but it's coming up through the back pain like that. Okay. Load of little colors and bits and pieces running through and through this mix is, I would plot to dropping a little bit of Dhaka paint through some of these. Okay, so just outlining, creating a bit more detail in the flowers. I like that little bit of darkness also in some of these, That's just a bit of neutral tint. Can use Payne's gray as well like that. It's troponin little bit in, a little bit in Kenya. And you will notice some of these other flowers as well. They do have a kind of a yellow Ina, section which we can draw pain like this and something like this. And then let it sort of spread out. This flower here as well. Little bit of, little bit in there. And a tiny bit of darkness in the center. Like that. The rest of it, we're going to use and some greens and stuff to sort of cut around later. But before we do that, it's really just finding some spots where we can. It's just essentially imply little bits of little spikes of color and things and few little flowers sticking out here or there. And remember, you can change the composition a little bit tonight. Feel like you have to make it look exactly like the reference. And I'm going to take the opportunity now to use some little bit of this set brain. And this is going to help me too. I'm getting some stems and things like that. This could be a stem of a flower. Then. And then over here I'll be a bit more careful and wait for that to dry. But I'm just looking for some areas near these other flowers where I can sort of getting a bit of a base kind of it. And bottom of the bud is what I'm trying to say. So little section at the bottom of each of these to connect up. And we're kind of wet into, wet into these, into these flowers. Okay, Very, these are very lot sort of washes as well. And do this kind of thing where they kind of join up. These ones come up with it. They're like that. Here we might have some little bits of green as well. Little bits of yellow in here would be nice. Tiny little bit of yellow, too much small grains. So I'm trying to find ways to getting some shop kind of shapes. You just a bit of sharpness in here and that's what these little stems are. Essentially four just to create some interest and hopefully do it while it's still wet. So it kind of blending in that kind of thing around here. We just got to be a little more careful because we've got the, the flowers of course, and they will, um, I have not completely dried it and on the shop or sort of edges around some of these. So we can try potentially going into this one and this one here, I think I'll leave the middle one for little bit lighter. But for example, like these little buds, again, just going, going straight into those buds like that. Okay, Great. I'm going to bring down some of these stems and things that will come down straight into the ball further down and kind of keep it pretty light still. Some stems and overlapping bits in the stems as well, which is going to be quite crucial. Like this. So little joining up here, the base. Then they actually kinda hit the bottom of, the bottom of somewhere like here. Putting some daka, daka sort of stems and things. And remember we can go over it a second time, lighted and feel like you have to get it all in right now. Okay. Leave this to dry for a very little moment, but what I'm going to do is put in a little bit of gray around the edges of the bowl. So just around here where we've got nebula, the cloth that's running through in the background and I think some titanium white running through here would be nice. Then what I can do is just maybe dropping some of these other color running through this section. But I'm just going to be very careful he's considering everything still wet and K. So I'm cutting around some bits and pieces like this. Yeah, just a little bit around the base. They're carrying that over to the right-hand side. Like this. Yeah. Yeah. Yeah. Yeah. And that brought hand side fares well, okay. All right. I'm going to try to get some of these leaves in and dark areas in that just underneath these pots. Okay, So going quite dark. Emerald green plus a neutral tint. Lets who try. Okay, and that's, that's could be a leaf. And the good thing is that we use these two sort of shape, the leaves in the background. I might use a smaller brush. This little one would be helpful that they're safe. And again, I'm cutting around these the pedals so that we have some extra contrast. We, we need some Hadza kind of soft like that, but just having a look and seeing what's best. Then maybe here. A little bit of sharpness in here like that. There could be some sharpness and he had just a getting a leak or something that's emerging, books coming out the side of that plant. Then. We also have some greens and things in years well, which we can play around with and dropping a bit of darkness and how that should look at how that sort of shapes around that white flowers. Well, so using, using a bit of negative painting here in terms of cutting around objects shapes to create an impression of the actual flower underneath. So these two are quite like these ones disappeared a little bit. We can probably lift off a teeny bit like this. Okay. We can go in with some quash later to bring it out just to show you what it's like. Sometimes that does happen when you're painting wet into wet. Here we can go shape this flower out a bit more with negative painting around the edges and the center of that flower is kind of not so visible anymore. So we've just added a bit of color in there, same with this one. Simply to color in that one. The base of this ball, I'm going to add a bit of blue, slightly blue color to getting, it's kind of a purplish blue color. Really suggested getting an impression of some water running through like that. This will kind of blend down. Hello. Payne's gray for the background, and probably a bit of ultramarine over as well. Okay, and I'm gonna just go through and use this brush to cut around a little bit the shapes here. And we're going to get a focus really on this darkness in here. I think that's really something that we want to achieve. Just basically getting a shop sort of shape going around some of these leaves in some of the flowers to create some negative shapes. And you'll notice here as well, Kinda blends a little bit until that white. I'm going to just use this cut around some bits but allow others to blend, to look at that Just quickly. Chop around some bits and don't be afraid to leave in some white areas as well. So if you feel that this too much darkness in that views the paper, texture of the paper is how I'm going to leave it in there, like that. Now over here as well, I do wanna getting a little shadow on the right-hand side. We'll just simplify this down a bit like that. For the pots. Bit more Ciceronian plus payne's gray. I'll start off around there as well. And just slowly as we get some sharpness in this background, I think that's the key here. And keeping it quiet, spontaneous as well. So you are not essentially leaving it all late, leaving it all sort of dark, but we are having some little spots of light coming through. Little bits of white, especially. Okay. Notice how quick must brushstrokes are. And just so long as you getting that impression of the flower, you'll find some of the buds. I'd be nib to the little kid, but remember, cut around them, leave some white if you need to. Use some more, more of a hue. Here. These ones maybe go, that's, that could be a bug there as well. And these are certainly a few more buds then painted in before. Cut around a little bit of college and test stick. A bit of brown in here as well. That would be nice. Beautiful brown. Tiny bit of extra interest. Some more here. Around the edges there. Okay. So it gives us a little dry and we'll come back and start working on it. One more time. You use a tissue to tissue here. And this is just pick off the paint in this area. Because I do want to create a little bit more sharpness for that flower because we've lost some of that in there. Let's lift off, maybe lift off a little bit there as well on that side, but that's on the flower. Okay. And we'll let it dry off. Okay, That's all dried off now. And really what we wanna do is just adding some finishing touches and go through first. Now, with this flower here, I've just noticed it does require a bit more shaping. So. That's what I'm doing here. I'm just going around with the bit of green that I've got here on the palette. And I'm just shaping essentially little bits of the flower. Creating some sharp edges in some areas here. Okay? Negative neutral tint running down here as well. So all that, we have neutral tint. Okay. Fantastic. Little bit of yellow into flour that was spread out just a little bit. Now around the base of the base here, we do need to put in just a little bit, basically a light wash of color for the base. I'm going down and I'm just using a little kind of bluish color. Change is cutting around in bits. But mainly doc and in this bowl. Okay. But I might also, we can leave some other whites know why, but that previous Washington areas too, so it's not just completely this color. So go all the way down the base there. Like that. Okay. Fantastic. And yeah, really for the rest of it is just looking at maybe some little bit of white goulash perhaps. And a bit of that green, which I can just mix up and use for some little white highlights in areas. I'll just try off that brush a little bit to get in some little stems and things like that here. My TA might be helpful. Yeah, just little bits of sort of stems and areas. Okay. So it's kinda of recovering a bit of that, but that's what they are on the page. And really the the rest of it is still pretty straightforward as just looking at little areas where we can dock and spots to give a bit of extra contrast. For example, here on the inside of that flower might think, hey, let's put in a bit of darkness again through the center and create a bit of shadow inside. Just like that. Spread some of it over to that right-hand side there. Okay. And then this flower might have a little bit of blue and things, just some shadowy areas to the right hand side. Saying goes for this one, I'm not putting a bit of little bit of color through the edges to dock and it off. Okay. Do you think is middleware needs to be slowly.com maybe around there as well. That one's already got a little bit in there. Some more color than I can just drop in here too. And just like that, some of these leaf, leafy kind of area under here as well. I'm going to just emphasize more on dropping in a bit of dark and paint in areas like that. Okay. And Destic me, just lift off in some spots here and there. Okay. So often he had bit if color for this flower there, maybe a stem or something stem for that one as well. Okay. Destic. And I redo this shadow it one more time. Actually bit more of this blue. Okay. I'm just yeah. Just want to I thought it would be non-survey dock in an APA little more because it's not really too obvious at this stage. So. I'm going to redo this. Let's go ahead and basically just dropping a bit of Payne's gray here. And I'm just creating a sharp sort of shape and shatter running to that right-hand side of the scene. Some of it kind of runs into the background still. Most of it kinda runs to that right-hand side. Okay? And testing. I'm going to grab a little bit of wash, two tiny bit of white gouache and I can go over these, get my brush out. And basically just see if we want to put in some areas where we want some kind of white flowers or just some bits and pieces that I can finish it off. And just a bit here, for example. Any way that I think would be beneficial, maybe he had just a little texture on that flower there. And the thing with the cautious that you gotta be very, very sparingly with it. Because it can get certainly can be quite overpowering if we're not careful. Okay. See you in a bit of a soft, softness over there. K and lambda base here. I'm going to just see if I can put in a bit of darkness it but base, which went off that brush, pick up some new routines and just dry brush a bit of these into the base like that. Just here. Put a little indication of the bottom of this jar. Mood of darkness in here as well on the side. And I'm not going through with a few little spots for the stems just running down into this section as well. Just some little stems Nia. And I hopefully can soften off a bit more at the bottom as well. It's going to be more color here. The bottom. 6. Paint Tulips: Okay, We're gonna do these tulips in a cup of water. And it's an interesting thing because we have teal is basically taking up almost the entire scene. And I'm left to sort of decide whether we're going to leave it as it is or change it up. But I think we'll leave it as it is. And firstly, putting the cup, so we've got the edge of the cup here. May give it a little bit more. It just a little bit more height than is in the reference. We're going to bring that down. And we know that it kinda exits out of the scene, so it's all the way down here somewhere and then it just disappears. Okay, so that's about what we have got. We've got AS little section here that just runs, it's this large leaf there that kind of runs across and finishes off like this. And then we've got a big kind of underneath going up. We've got lots of things going on inside the cup really. It's yeah, we've just sort of folds over and creates kind of a dark area underneath the cup. Okay, but what we're gonna do is we're going to have some fun. We're going to improvise in and give it a go. So here's a couple, couple of leaves. Here. It's actually dark, darker in that leaf, for example. But then we've got a section here of a leaf coming out, kinda coming down like that. And it's a little bit dark. So it's a little bit lighter leaf because it's catching onto the lightened little bit and you've got one coming down here as well. Same thing goes. Again. It's pretty a lot of light on this catching on. So the rest of it, we've got some more abstract sort of shapes there, but some of it just goes up. Costs over other shapes like that. Like that. There's a bit of folding going on in areas like that, like that one. So to sticking out like that. And here, this is a really dark spot in here as well, just up-scaled by a lot of I'm not sure what that is, but there's definitely more leaves and things. They just obscured. So this is what I'm doing. I'm just putting in the leaves, the green sort of beats in here and in, and letting it, letting it do its thing. Okay, creating some interesting bits and pieces coming up before we even put in the flowers. The flowers are surprising. We're going to be the more easy sort of part where we just put in the stems like that. So we've got one there, we might have one here, another one coming up over here. Here. The good thing about these flowers that they quite abstract, so it is shaped so we can actually have a good go at putting these in and changing the shapes randomly wood. So they're basically come on. I was like a ball-like shape is at the top of them are little bit more and little bit more wider, wider. But you're going to like to get this kind of overlapping shape, shapes like that. There's another one overlapping here. So many of them, and they kind of just meld into one big shape in the reference photos. So we don't have to be too pedantic about, about how they look exactly because we can shape them with the watercolor and we're cutting around them with a bit of negative painting later. So my goal here is just to getting their basic shapes and basic properties and balance it out. Let's have a few over here as well. Just like that. Another big one here at Ryan's side, one over here as well, coming in. And there we have it. We've got a nice little sane and pretty much ready to get started painting. So I'm going to be using a number eight round brush for this one. And you start off first by getting in some of the read up the top k, and then when we move our way down, so I've got some permanent red orbit of Pashto read, sorry, and we're going to just drop that in there. And I can just dilute it down a little bit to create just a more pinkish sort of Luke organic mix it with some common as well to, to just get a little bit more coolness in there. Okay, so just a little bit like that. And it's still fairly light. And what we can do is that we can actually paint lesion first and slightly sort of lie to them. My to use the edge of the brush, the size of the brush a little bit like this so that we have some slightly inconsistent areas and we have a bit of what running through there as well, hopefully, so that it's not all just the same color and looks also a bit more random, a bit more loose. Okay, some of the shapes, if you make these two rigid and paint them in exactly as we've drawn them. It's not going to look nice, It's gonna look too stuck on. So one of the things I will do as well as mixing a little bit of a neutral tainting their neutral tint mixed with a bit of that red. And then we can create a little darkness in some areas and mainly the base, some of the base areas and the top's like that. This one ears a little DACA like these. Okay. This, this one here. Then we can put it into kind of top is because they're not completely light. Okay, so something like that. Perfectly fine. I'm going to go in now with some green. Okay, now I'll actually use the smaller round brush, six round brush, a bit of sap green. And I'm going to shift some of these downwards and connect up the stems. And some of them, we let them kinda connect up more obviously. And some of them will just let them skip over the page like that. But they only need to have some kind of stem on here. And I do like to have a sort of melting into the bottoms of the flowers and code. It sort of gives a bit of them. You just need to be more of a natural look to them. Keep missing off a fuse, another one that's sort of running through the back later as well, like that. So the bottoms of them, they just needed a little darker to sort of signify that they are mixing in with that green. Okay, that's about it. Now. We also of course have these bits of green here to signify the leaves and things that are coming out of the sides. And this is where things can get a little bit tricky if we're not careful, we can overdo it. So really what I'm making sure I'm doing here is just to keep it very light and make sure you don't get rid of the initial stems that are there. Okay? So for the speed here, we can just rejoin that down and let it mix and create a bit of chaos in there. Okay, it will work out in the end. You can have is a line to sort of leaf that comes up, goes to the left. And these ones as well, bit of lots of leaf here. And add just a bit of that running through like that. Then it comes all the way down actually into the bottom of the cup. And there we go. That's pretty dark in this comp as we go further down and almost tense. Known as times another color and yeah, but we want to be careful as well so that we're not doing it. So little bit of color in there, little bit of thing. I'm going to use a bit of brown as well in here. And just running down into this mix is kappa. And lift off some paints so that it's not all It's not all just darkness in there. Okay. It doesn't have to be perfect because we're going to cut around the edges of this cup as well. Okay, So I think that does the trick for what we want at the moment. And so what we can do now is just sort of check and have a look. How is that background layer drawing is a drawing. The flowers because he went into them first. So they looking pretty dry. Some of them anyway across here. So what we can actually start doing is start getting a bit of the background. Okay, so I got myself. Now, I'll do want a slightly cooler mix for the background. Okay. But I'll also have some areas of thought, which is go thought which is basically a, a warm colored brown. So we need to have enough darkness in here, as you can see in the reference to make it look like we have contrast, say additional contrast. So that's what I'm doing here. Let's just draw around this flower for instance. And I just did it. Bitter that they're here. This flower is a little bit dark in the darkness, so we're not going to have as much contrast as say and the other flowers further up. So some of this going in here, like that. There. I think here we're just going to be a little bit more careful around the stem like that. Then we can have some of it mixing like that and some of it have a sharper edge. Yeah. Yeah. So that might mix a little bit, but we do need sharp edges in here as well. We don't want it all to kind of bleed into the, into the red. So and some of this stuff we have to shape up a little bit like this, this tube. Notice how I'm just cutting around that 1 bit more and leaving that white there. The reason I'm leaving that white there as well as to help it to mix around a bit more. Not to mix around, but to avoid it from mixing around. Too much. What I meant to say. And I'll put in perhaps a bit of cerulean blue as well. Let's go up the top here and try more of this cutting around work. Is that right? Around the stamps is a tricky bit because you got to leave enough in there as well. So there we go. Some of it mixes, but some of it doesn't. If you notice here, this will be a bit that kind of mixes in mole that will cut around this one. There we go. It is a bit of that flower is through showing. Here. We'll bring it down and around the sod of the the glass as well. Like that. Looking good. I'll do on some more vessel cerulean blue in there. I'm liking that. So I'm going to drop in some more up the top here. And again, just use this darkness to cut around the flowers, okay, and I don't really want it to mix. Here. We can darken off again to draw in a little contrast. Okay, little contrast. Tiny bit. This has gone too much in extending mixed in some of that, but that's okay. We'll go through Leave, remember to leave the stems, that little stem and then it does make a huge difference. Okay? But let's have a look at a bits that have kind of dried this section here. Okay. But notice I'm leaving just a little section of white surrounding stems and stuff like that and letting some parts melting. You have to have both to create a soft kind of looking scene of these flowers, but still have enough structure in there. Okay. This one looks like it's kind of on a funny funny angle. I may change it so that it's just more facing upwards like that. So we don't have to be perfect with the drawing. More cutting around, of course, here as well. Again, a little bit more cutting around and shaping of that tulip. Some of this is mixing in at the base of you can see here, some lovely mixing in some areas. So we have a combination of both. Basically some sharp edges and some soft edges. It's going to look amazing if we have a balance of both rather than just the same boring sort of brushstrokes all over the place. So some of this white as well as going to signify that there is some, some bit of sunlight or highlights on the sides of it. So keep going. And mixing up some more Payne's gray to put here on the left-hand side as well. Here. I think on the pot sides of the pot is going to be pretty important as well. So I'm just going to use some more Payne's gray here on the side of that pot. That just a bit more here. And sorry that part getting it in like that. Then there's the other section there here, cut around this part as well. And some of it, like I said, is already pretty wet. The greens are still wet. I mean, even here for example, but let it Do its thing and makes you. So we have a combination. Brown as well, I think would be nice to just add some of that in soft and it off little in areas. Warm it up a little as well. And the good thing about this brown is that it also, it granulate, it's a fair bit. So you do get some interesting sort of texture's forming in the background. Good thing or not. Another thing I'll do is I'll sort of do this, flick a bit of paint around a trauma to do it too much because we've essentially it causes a bit of a mess, but I do like to put in a bit here and there. Okay. Just to just to broaden the scene up a little bit, create a little bit of little bit of texture and a little bit of interest. You know, he's a bit of white, for example. We can drop in a bit of that through here, just a bit. And let's have a look what else we can do. Again, I'm just going to go around and shape this teeny bit mole. Okay? Another thing I have to make sure is the plot has to be a little bit darker and some shadows on the leaves of these plants as well. So probably we'll do that in a separate wash actually. Okay. There we go. We've got to have interesting sort of stuff happening here. Okay, Fantastic. Let's give it a quick tour. So the final bits and pieces here really it just to get in the final dark bits. Okay, so I'm mixing up a darker green with some sap green and a blue, blue. And a note that we have this darker sort of leaf here. And we can actually swap to a number 6 round brush. It's going to make it easier. Let's just put in some of these little dots in here, for example, it kind of goes all the way across like that. And the stops. And then the underneath of it. Here is pretty dark. And then we've got a section even just underneath this one here for the leaf going over to that left-hand sign, the speed here. So just a little bit of darkness there. So looking at ways that I can join the shakes off as well. So for example here, we can join up some of this with these here. And that's not even that green. It's live. It's kind of a little bit. I like that. Okay. It's not as loud is that section here in that left-hand side, so soft in that down a little bit. Just like that. And so have a look. We do have a bit more here, a little bit of green, just layering some bits and pieces in here. Then here, then here, even like that. Here, Here. Look, I'm getting there. Okay? And now of course in the base I want to wet this area very generously first and I want to take some time to dropping colors, of course, and I'm going to be using dark green color. This is a type of emerald green. It's trope in some of that and can't starting to mix too much makes it even a bit of Payne's gray in there and I'll drop that in. Like this k and loops, this area is actually pretty dark years. Well, when you hear, funny enough, inside this section, even here, I've forgotten to darken up the speed a little mole and it should. And it actually is like that. Some of this stuff base a coming through the base, the stems, super important. Some of them coming off in a new angle like that. Maybe a bit more. Sap green and K dry strokes of sap green just running through like that. All right. Sometimes they can soft and sections of it like that to get out of it, to blend in a little bit into the background, but it's a bit of a hit and miss technique at times. Some of this just blend that over to the right-hand side. Over here as well. We do have an extra bit of darkness over here, so make sure darkness in the background. I'm just going to drop in some dark bits and pieces, an extra dot bits and pieces. And I mean, they're really just meant to be some abstract leaves and stuff in the background. Maybe here on this side, we've got actually some some shapes just running through some vertical shapes here in the background like that. Okay, just to experiment around that's putting a few that these sort of shaped and old. A lot of this stuff is going to disappear anyway, once once it draws, it's not going to look like this. Say, you know, just a few little smudges and things here. These can be a tree or something back with a K and testing. And I think that's really about it. I mean, the only thing that you might think of doing is adding another layer, that middle layer purple or something like that on some parts of the tulips. But it's not a, it's certainly not a huge deal. We're just trying to preserve actually a lot of that had beautiful When I walk on the tulips. So you have to be careful and not overdoing it in air is sometimes if you have a little bit of this nutrient taint as well when you want to. Just adding a bit of contrast and areas or extra darkness in between the leaves and stuff like that. You can play around with that like this and this wild kind of draw out pots of BEM, of the same. You don't want to overdo witness the heavy thing. So just kind of a just in some areas you can do it. Met, for example, when he came here. And all these will draw you barely be visible. Okay. Groups. Just meant to be a little bit of water on top of that. And just call that one finished. 7. Paint a Flower Arrangement: Okay, so we're gonna do this little arrangement of flowers and it's going to be interesting. We use it as a general reference and wrote a flower here. Lots of little petals just sort of coming out over and under these different directions. So I'm gonna just indicates decay where they're, where they're at. And there's petals inside as well. Lots of little ones sort of facing upwards and a center, center portion like that. Okay, so this is something quite a complicated shape actually, but as long as we can get in the outer edges of the petals, on the outer edges to a somewhat accurate degree, we will be fine. So there it is, there. We have got a bud, is a little bud here and looks like a rose, a purple rose here in the background. Kinda that. And screw up the top there like that. Okay, we've got a bud here as well here on the side, kinda coming in like that and moving downwards like this. There's lots of little flowers here. Know what? Flowers and bits of leaves and that kind of thing. Putting a few of these little daisies or something? Yeah. Yes. So we can put in a few little. These ones are a lot easier to draw. Some potential areas where they have petals just overlapping as well with each other would be good. So you have a kind of a leader. The interesting assortment of shapes, this look how quickly I'm drawing these. It's not much at all because the main thing is the positioning of them is going to play an important part here. So that we've got to basically some different shapes running through it is even these, this flower is large yellow flower here running behind. Okay, So that's something here that we're going to include. There's also little little kind of flowers here. Little daisies coming off the side like that. He's a, he's a leaf. I'm also going to get in rows of some sort year as well, coming downwards in here. So the another bud coming up like that. There's always little flowers. To the right-hand side. We've got a larger rows. Sort of coming out the top of the scene. It's just have a few little details like this. Like that. We're going to have to just fleshes out a bit more when we go in with the watercolors. We've got little leaves as well, which are going to play an important role to create some negative shapes around the back of all of these. Okay, There's leaves that are folded over the top. Small little flowers here to the left, little funds and larger leaves and things here at the bottom as well. I believe rather. But believe it or not, That's about all I'm going to use. Okay, so we're gonna go through and firstly, I'm going to get in, again just basic colors for everything. Now I'm going to be using some gamboge, yellow. And let's put this in strength and she bit of lemon yellow would be better. Lemon yellow, which is a broad test sort of yellow coming in and we're going to do some of these petals might help if I use a smaller brush as well. So if I go into these and make sure you clean your brush so you don't get that sort of thing happening. Okay. Then just the loo head who's coming off the sides of it like that kind of what we had drawn before with the, with the pencil. Just follow some of those mocks around to getting these little petals coming off the side. Okay. That one's a bit large but not a problem. Okay, yeah. Fantastic. And in the middle of the flower as well, notice we're gonna get a bit of a darker yellow. So I'm just dropping in a teeny bit of yellow plus neutral tint to just dark and that off a bit. And look at what we can do. We can just put in some darker bits around the center like this. And Carry that on. Essentially bit of darkness in the middle like that I think would be good, so old that it sort of fade out to the edges and some of these little petals as well, you notice that they have some dark bits in them too. So I'm just using this brush to putting some of these areas of daka. Daka, so with pinworms in there like that. And that's about it for that one that's putting a bit of color here for these one. More yellow. And just lift off some of that color. Putting some yellow. Ikea. Go with a bit of pink or something up the top. Here. Pink color, red to go into the little purple. So these ones here, here, start off pretty lights tend to start off light and then I'll go dropping some dark purple when in here. Okay, So wait until we get to just courage it to make sense. Have a few different colors in there. And that's okay. Good. I haven't had a bit of titanium white for this one, just somewhat and nothing much else. The other flowers don't need a whole lot in there as well. I mean, we just need a bit of yellow for the center of some of these flowers. But apart from that, there's not all that much else to put in there. I do like having some sap green with some really light greens running through, especially as potential leaves and stuff like that, which is important to help create. Just a balance of suppose and have some green areas is as well to cut around, we do that, that dock at that ground. Just remove a little bit of paint for this one. Just like that. Okay? And that will create a kind of interesting texture in there as well. Since we lifted off a bit of paint. Now at this point you might be thinking it's looking anything like what I want it to look like. It doesn't look like flowers. Just have to wait. And test stick. Now, this is a pop where you need to be little more careful in intensive, just going to cut around the edges of some of these petals and create a boundary like this. You can see just then, just with some of the petals. Not all of them, but just a few of them likely to create extra sharpness in some areas. So you can see I've done this for a few of the pedals already. Okay? And so it doesn't just blending to everything and just look like just look green at the end. We need to leave some wide and little bit of space for the petals to show through like this. Certainly not the most accurate way. But we do have a little bit in there to imply that they are awesome videos there. Okay, so then that's putting it a bit more green in here as well. You will notice too that you get some of these little white flowers here on the edges and things he is. So we just got to be careful of those two so that we don't go over them. A 100 percent. Here. We've just got to Again, be mindful of the, some of the flowers because we've got the white edges over them like that. So what the easiest way you can do these is just cut around with a few little marks like these, 1234. So sort of either going from the outside in and filling out the edges are going from the inside out. Inside out like this. Okay, and then just leaving a few those pedals on, or we can go outside like this. Okay. Just creating negative shapes. That's all it is. There's nothing more to it. Okay, just cutting around and making it look like the whites and the other colors are showing through. And just persisting because it doesn't look like much at the moment. And that can be very easy to sort of stop and Sam giving up. It doesn't look like flowers or what have you, but you just have to wait and be patient and have faith that it will work out. Okay, The little bits of detail that you add, they all add up to something. But initially when you're doing it, doing what you're doing now doesn't look like much. So you just need to be patient. Here's another petal here. We've got another petal, for example, here. Again, I get another one in like these here. Little Wildflower underneath. This is a leaf, I think here that some flowers balance. So some bits of detail like that. There. There. Yeah. Then bit of this color here and around the flowers here as well. So the wildflowers are really important to cut around because he can't, he can't really recover the y's so well knitr if you gave me go over the top of it. Okay, fantastic. And I think what we'll do as always, I'm going to just get into some more of these lilacs sort of colors lambda. And stop when you leave eating the places where I'm not want to just indicate some of these long like sort of colored flowers and sections, especially around the sunflowers I think and listen flowers or whatever these flowers are, the having a bit of coolness around it's going to be an interesting. Okay, So just very light bits and pieces like this and spread it around in areas because it would be difficult to get it on later. So just little bits like that. Okay. Excellent. So I think that should be about it. So I mean, if you, again, you want to add on some more colors or symbol bits and pieces of greens and that kind of thing. There's always the opportunity to do it at the stage. But it's going to be very difficult to add on any logic follows afterwards. Do what you want to do in this section. And once you've done, then we can continue on the background. So what I think are really dry off any of these sections with the hair dryer, we can go straight into it but just find areas that dry, dry than others. So I'm going to use the number eight brush. And the first thing I'll do is essentially meaning we need to pick up a very dark color in the background. I'm going to actually use ultramarine, beautiful ultra marine plus birds on buff, overall, MBA, cane, that will get me a pretty dark color. I'm going to need a favorite of it as well. So let me just grab some more ultramarine mix that up here. It does help if you've got the tube that paint shoot as well. I don't know it needed to me anyway. So anyway, this will last me a little bit so until we can figure out what's the next call, it adds a bit of that in here. Some Payne's gray mice. So to help it and go a bit longer here, and I'm going to just drop in some darker bits here. This is just some Payne's gray again, and we'll begin looking at the reference picture and see what we can do to cut around some of these shapes. So this is a rose or some sort of flow off the top here. So we can just do a bit of cutting around. So like these. Okay, EBIT. And you can see already we've got some negative shape coming up like that. This is some kind of rows in here as well. So little bit of cutting around work like that. There is a leaf, for example in here and maybe a leaf coming up into this section like this here. And we'll go and just paint around some of these shapes and bits and pieces and not worry really about the, you know, if, if we're getting too much of that watt. But we wanted to leave some white on the papers. Well, suggest, be mindful when you go and go if I don't cover everything in leafs on the light and see what I'm doing here. Even, even in some areas where you have a bit of dry brush is skips over and you go to section of wall like that. Just leave it, just let it just let it be the less you touch it, the Beta. Okay, So there's some more, you know, we've got a bit of darkness or running through there as well. And testing. Sometimes we can actually dropping some darkness and he just helped it to mix in a bit and create a bit of this light darkness inside. So it doesn't just all of a sudden start to get dark on the outside, but it is inside as well. Okay, underneath some of these flowers in these areas. Here, there's a favorite of darkness and that blends in with the the darkness in the background. So it helps if it starts off, has a beginning, and then it sort of gets docked around the edges rather than just all of a sudden, you've just got all this doc or around everything and it frames it has to be cohesive. And some of these see how I'm just blending it back into the, into the flowers again, makes a big difference. Okay, So here we go. I'll start off from the side because I didn't paint down there not long ago and I don't want it to just disappear. There we go. Just a bit of color up the top section. Some of it's already mixed in there. That's okay. Okay, there we go. This bid at this flower here. Again, quite a strong contrast. And then we can even just getting some little bits, indications on the flowers. Soft enough that age a bit. Don't want it to be too much. Over here. Again, just cut around that thing. Bit of grass or whatever grass. I'm going to talk in that leaf. Maybe go in here. And we can start just adding commas around in this section, negative painting again. So just putting a bit of the color through here, and if it bleeds down and blending side, just let it. Okay. I'm left side. And again, just bids have cutting around work there. Yeah. Then pick out some highlights again and cut around them. This I'm using a slightly lighter mix here is ongoing as well. Just to change it up a bit. And as you know, this area are getting pretty wet. Like United is living in a combine. Some of it's going to go in to the initial area. Okay. And that's it. That is pretty much about it for this this wash. So just see if I can carry a bit of extra paint around and just dab off, just doll off some of these areas. But generally, I'm pretty happy with how it looks. And at the moment we're just going to have to let it dry and come back to it. Okay, So this faunal get is really adding in your font and touches. Sometimes it's good to have a bit of Washington. There's well and to get out some extra details here and there. And so what I'm going to do, I'm going to actually start out with a beauty of these premix green hat on the palette is just a bit of quash, green sort of quash that I had and I can go in and it's getting some little, these are just little strands that I made. I'm trying to imply of just little bits of leaves or or strands of leaves or tweaks that kind of thing. Yeah, I think this is nice to just put over the top because we've got all this darkest areas in here. So some of this is going to help and having it come out also on this sort of angle like that makes it look a bit more three-dimensional. And, and the thing with these quash as well is that it does fade down a little bit once you done. But like with a lot of flower arrangements, you do get this sort of bits and pieces sticking out like that and helps to create more dimensionality at this point because we've got a lot of abstract sort of shapes in here. And so it's good to be over on this side. Here. You've got a fan bronchioles, so that does and does one does if you have some of that and you get the fan brush, I will launch actually. And other things you can do is, for example, with the with the white flowers. You can go over the top of them with a bit of whitewash to bring out more, a little bit more data on the, the pedals. And if you want to define some of them more now I don't recommend nitpicking at things too much, but if you do want to define a bit more, this is where it's helpful and I certainly think it's a, it's a good thing that I should do with the moment because I've lost some definition and in that wash previously, so absolutely gone behind. So some of these is going to help. So I can get in some of these little, tiny little flower petals that had disappeared off and make it look a little bit more. Make them look a little bit more like flowers. So I think a sense of looseness, but then having enough in there to define is really important too. So certainly, you need to find your balance and what works for you. Sometimes I decide that I went to loose like I did. And we can add some more detail in all. We can take some detail away as well by going over it again and with some more dots and stuff like that. So see how that's already brought out. Indication of those little petals on those flowers him. You can even do the same thing here with some of these little flowers off indications of some little flowers like that. And when you put the stems in later. Okay. Over here as well, I have certainly lost some detail with some of these flowers. So I can just indicate scratching a few little bits like this. Okay. And that's going to look like, well, not exactly, but it's just going to imply some SLI smaller little flowers in here. Okay. Just like that. Fantastic. And down the bottom as well, we can also do something like add a beacon one, put it in another PEDOT, couple of petals and stuff down here as well. So don't feel like you have just because you've, you've colored over that top with watercolor. You can't go over the top again. You can't just use a little bit of quash and essentially, essentially completed again. So there's no rules as to whether you can use opaque water color or transparent watercolor, I think. And it's whatever it gets the job. That's importance. Fantastic. You run the risk here if you fiddle around too much of overdoing it. So certainly keep that in mind and think I'll stop with that. Now. What I wanna do is also mix up a bit of this greenish color with the brush. Again, to getting some little highlights, little stems and stuff like that. For example, this here, this could be a stem, that could be stem kinda connecting onto that flower. And you don't want to do it no, the whole over the whole thing. But certainly in some areas it will help to just draw out a bit more detail in here and define mole that's lost a bit of the green on the stem or something like that and you can redo that. Here. For example, we might have a enlarge and leaf that goes over the top like that, the logic leaf here, then another leaf here usually is probably a bigger brush will help. But this technique I'm using is that you touch them to the pipe was lightly press down and then you lift at the end. And that allows you to get in this sort of shape essentially. So I'll put it in a bit of little bit more color in there as well so that it doesn't just appear off in there. Of course you have the flowers as well. And decision as to whether you want to add some more color into the flowers to define them. We're not, we have to be more careful here because you essentially are at a, at a point where if you're putting too much, it's going to it's going to ruin it. So we just have to pay more attention to yeah, just being a bit more frugal with you and with how much paint you are putting in there. How much layering you're doing as well as super important. And I, for example, so I want to put in, for example, red here, underneath of rows. Just a lot wash would do like that. We don't want too much running in there. Okay. This section here actually dock and often there'd be all that looks good like that. Now can draw out this little negatively painted leaf. We've got some more green. It's a green in there as well. And it here, if I've got some daka, daka sort of paint, I can drop that in here to bring out some detail on the edges as well for the flowers and things like that. This here. Little bit of detail in there. Okay. I'll grab that little brush and I'll stop picking up some of these wash against not getting some detailing for some of these flowers. And he's like a bit of the stem for that rose as well. We could have that kinda just mixes nicely together. I know I've lost a bit of detail in here as well. So again, we can dropping a bit of a wash, little bit of what Guassian here and getting a few little leaves and that kind of thing running through shouldn't have done that. On top of that, flower. Bits coming through like that I think is important. But again, not move at doing it as well as to be very careful. And over here, it would be nice to getting a few little stems and things, but also I want to perhaps work on that flower mole and we'll put in some quash bit of yellow to just draw out some of these new mole. Okay. All right. Because I know that we've lost some of those indications. Okay. Just some of the pedal was running through the center of the major petals as well, like this. Then it will go wash this. So, so what suddenly a lot you can do to bring it out, okay. Excellent. Maybe a little bit of darkness as well. In some parts of the leaves. Petals. I'm glad that I got a lot of this will dry and be okay. Anyway, so and fantastic. And perhaps a few mole. And we broke so to strokes running through like this hip and bottom as well. Coming through, coming out to the left-hand side. Glad you'd be more whites as well. Running out like this, bringing it all together. And yellows. And all of those lambdas. 8. Flowers & Vase - First Wash: We're gonna do this vase of flowers. That's basically it has a slightly lighter background. But we're going to use this as a bit of a reference to putting a few bits and pieces in here. And the drawing mainly is just going to be a little indication of flowers. And they, the vase as well. So just putting a bit of a circular style vase like that, just like that. Just a circle, kind of oval shape. Actually like this. There's a bit of a patent on the vase as well. It's a kind of a strip running through. Patents would have running through the center like that. Okay. And, but you've got one, you've got another flower here when we're sort of in a way, I'm just drawing out the shapes but not really putting in too much effort as to the actual form. Rather than just getting in a few sort of circular bits and pieces here and there. Once I go through and get the backgrounding that a lot of sort of backgrounds when I'm going to cut around and do some bits and pieces. But I do like these flowers and the looseness of them. And just having a reference that has so many choices. Intensively, you want to go, say, it's a larger flower, they must like a daffodil or something. Over on this side, I might add another one of those in. These larger flowers are really good fun to do. And so I can get in a few these overlapping on top of each other. If I can. Like that. Oops, This one's are a lot of little petals running around. This is just facing to the left somewhere. Okay. I think that should be all right. We might also just get an another one. And only because there's so much space on that left-hand and right-hand side of the page. As you can see, where can I think it's a good idea to to fill up some of that space so it's not all too empty. I mean, we do have leaves and things here in the table. It's kind of like an overhead view in the background is here. And there's a little bit of perspective, even if you look at that, this tiny little, little slights here where the flowers sitting on this kind of benchtop with some of these wooden slates running across. Okay. Okay. I think that's enough for the sketch. I mean, it's up to you again with the flowers. It's, you know, you can take your time and draw them in with more detail. But I think the exercise here is really just to keep things loose and uses more as a reference rather than something that say, in a dedicated has to be drawn this way, sort of photograph. And I sort of approach that approach in this same way with a lot of my, my paintings. So that I don't fall into the trap of just copying the reference. So I think that some, I think that's enough details. So let's go in and splash them coloring. I'm going to pick up a few brushes here. I do have a brush you, which is a kind of flat brush, but it does have a funny edge to it. We have a look. So I can use this brush, I can use also a round brush. It's not a huge deal. Or try this 1 first and let's, let's firstly try to get into some colors. I'll use a bit of the sap green. Firstly to just cut around some of the petals here for this flower. Very, very loose sort of indication and some broken edges near as well. So we have large white flour. And then we'll have a leaf like this. Doll that green down a little bit as well. Finishes off with the kind of edge of the leaf like that. Maybe hears all. Get another bit of leaf or something coming off on that side. Okay. Fantastic. Smooth off some of these edges. Some more. Pick up some yellow with the same brush. And I'm going to just working a few Pintos and things for these flower that and any brush that can start with the smallest sort of tip at the end, could get you a slice, nice little small tip at the end, and then moving to a larger body shape for the pedal, that's what we're looking for. Okay, that's one using this brush. I do you also use other brushes which accomplish the same sort of thing as well. So even a round brush, you can do that with. The deal here is we just try to get everything to join together. We want all the shapes of the flowers to cooperate. And a bit of dampness with a center pot of that flower as well like this. And we just used a little orange to help it to blend in to the rest of what's going on. Flower here on that left-hand side, that's kind of a magenta white color. Okay. Well, we'll just a reddish color if you if that's all you've got. So little bit of that, yeah. Maybe go just this slide sort of H on it then. Okay, that's all I want. Just a few little petals coming in into the center point of that flower. And also ran here. We do have a pink sort of flowers. So I will getting some of the petals here as well. And around, sort of cut around that green to get in just the indication of that. Like that. Just dark and sent them out of that flower down a little more. Drop that in over here as well, maybe a bit of yellow in the Santa to blend into the red like that. This one same thing goes just a bit of yellow in there. And then over the whole lot, but just some bits and pieces. And i'm, I can put it in a little bit of blue for shadows, that kind of thing. This flower is quite interesting because it's not exactly, yes, always, I think white in the center, there's almost like a teeny bit of yellow through the air. So we'll just move a little bit around like that. And same thing goes for all the other flowers. Or suppose we just cutting around this some greens, I'll just pick out a bit more green. Cut around this one. Again, this can be a flower here, kind of a white colored flower in the center like that. Might have a bit of yellow in this middle part. Okay. How about some blue? We're not using much blue. We some ultramarine. Just a touch of ultramarine blue with some of these ones here, this blue flower like that touching onto the paper, moving that, moving that color out to the edges. And you want to do all these stuff while the paint is still wet. So we do get a bit of mixing and areas. Okay. This is just some green I'm going to put in here. And that's a flower here, this white section here. And I'm gonna put a bit of yellow in that sinth upon to signify like that. Then that could be another blue flower. I'll kind of cutting over parts of it there. Then getting them surrounded Baba that greenish sort of color, some more red. Little bit of red for a flower and here perhaps overlapping areas. It's more yellow for this flower here, a bit of yellow. Just a little light wash of color there. Do the same thing for these other ones as well. But there are some over here as well. Now if you're getting sick of the color yellow, again, just pick up some other color and have a play around. But then instead, so this is a bit of lambda which I've picked up and dropped in for flower up the top. And I'll drop in a bit of green in here underneath as well to create a bit of a stem or something like that. Join that further down. And think a bit of yellow would be not as he had just next to all that purple of course. Then to expect a bit of blending to have that some more blue here, just a stronger blue kind of flower running through this area and having a few rough strokes as well, like this. Darkness in the center of that flower. And same with these other ones. Here. Didn't hear. If we can get that to blend nicely as well. Okay. But a bunch of that yellow have gotten rid of it up the top so we can always lift off some of that color. We've gone a bit too heavy. Let's have a look. Some more colors and more flowers. Here. We've got looks to be another sort of flower up the top. And now I'm not just putting a few loose strokes of this pinkish color here for some another flower or something just coming through like that. We'll put a bit of darkness in this area as well. This could be the inside of a flower. This one here. That one there as well. I'll probably leave that one. What? We don't have too many white flowers and here. So we can leave that one wide. This one I'll getting passed with a bit of turquoise color. Turquoise Sica. Connect on with the other flowers. So important, including some of the yellow in the center as well, like that. And it's tri bit more blue for this one but just darker. Perhaps for this flower. It's a dry brush strokes like that. There is just some green bits and pieces in between as well, which we can indicate. It's really just bits of leave, leaves and things. So I will use a very light wash of this sap green. In some areas. It does help to bring it all together, creates little bit of a boundary. But just be careful not to overdo it. I do have a bit of blue mixed in there as well. Because you do have these little leaves and things coming off in areas. So this brush is good for that. To just getting some soft indications of leaves and bits of green, just reaching through as oppose. Any brush that has a sort of slightly shop a tip works very well for this. Don't fret. If you don't have this exact brush. And a round brush will do several different round brushes on, let's say to me one bit smaller than the other. Here we go. This is going to have a stem coming off and again, just these little bits and pieces here. Now just coming off the edge of the plot. It's really just the indications of the leaves. And we do have some leaves here as well underneath near the port. And not only that, but it's sort of sections like these, like come out and then I have little bits coming off like this. Linear maps another leaf here, leaf-like shape. And it helps to cut a cut around these flowers as well as you can see, some small shapes that are starting to come together very, very slowly. And what we can do is start adding a bit of color to the base of this. I'm going to use just a brown, which is neutral sort of color. And we have these leaves and things as well, which we can just do a slight cutting around bit of work like that. Dock and more of that rod end side. So that we've got an indication of some shadow. Little bit of that on the pedals and things here as well. They do need some slot coloring scenarios is going ahead and putting a little bit of color way you think kind of needs is a stick. And I'm gonna go into the background and displeasure and a little bit of color here. And then we're going to swap over to maybe a brush, this one here, cat's tongue brush. And I'm going to just have a look and see. We can get a maybe a, we use a kind of a green color, undersea green here. And the goal here is just to get in a bit of a background, but not too dark. Oops. Too dark. So I'm just cutting around some bits and pieces. But remembering to leave enough white some things in years. Well, this flower here, the exhibit or cutting around, especially with it being what have it will make a difference is very lots wash in the background anyhow. And it's important to remember like what I was saying it just to leave enough why it's on the paper. Just creating very light wash running through this whole area with some And of course some bits and pieces sticking out. It's mainly just cutting around. This is a granulating green as well. So it will be very interesting to look at once it dries to see some of the colors, hopefully separating out and forming some interesting patterns and color combinations. It's kind of green and gold, greenish gold. It should be some blue in there as well. So we're using this cat's tongue brush so that I'm not overthinking it. Keeping it pretty light because I do want most of the flowers to form a positive image. When we told them that positive painting is in the, the flower is actually darker than the background. And keeping it simple just with one color in the background as well. But of course, this color does separate out and little bits. That makes it more interesting. And the platform that the flowers sitting on veins is fairly dock. Almost as dark as the actual vase itself. Again, just going back into some of these white areas inside have and making sure that I've got enough of this background indicated. Okay. But not all of it needs to be covered in. The bottom bit is where I'm going to be using some thought. And just blend that in to the layer above that green the mill seeing like that. That's kinda what I want. Just a bit of a melting and even a bit of slide doc, and I'll see you on that right-hand side. Too. Too much. I'm going to cut around some pieces here and the base vetted in a little bit of ultramarine did dark and off that spot. And now with the vase touches the, the table top here, this is going to be shadow just costs so that right-hand side and I'm hoping to get betting mostly just wet into wet. I think it will look more natural that way. But before we even do that, that's been trying to just get in this side of the backgrounds table. I mean, make sure that it's finished off nicely. Okay, so what we can do is start getting a bit of this blue. I've got a bit of blue and red mixed together, ultramarine and read. And basically we can stop just putting in a bit of this shadow shape running across to that rod end side like that. And of course it needs to be mixed in with the right-hand side shadow as well. Which is what I'm doing here. Just trying to get a soft shadow running across the rod side of that vase like that. Still having enough doc missing there too. Can of course do this when it's drawed. Just a personal choice. Wanted a bit softer, may have to go back into it again anyway. Okay. I'll put it in a bit of, I want to put it in a little bit of violet. Just blending the, It's sort of the middle of that flower like that. Just a slight bit of water in some areas like that. These flowers well as needed, just some more little bit of darkness in areas that are yellow, there. 9. Flowers & Vase - Final Touches: Now to finish this off, what I will be doing is just picking up a little bit of this brown sort of paint mixed with a bit of a little bit of the neutral tint that I've got. And then just put in some little indication lines for these planks of wood here on the desktop or wherever the flowers are resting, it's really not a huge deal. It's just a finishing touch. Really going to be able to see them anyhow. Okay, But just to be faithful to that reference, at least a little bit of that perspective in there as well. That's all we need of dried that brush off or dried that brush off. And there's added in a little bit of that, the edge of that table as well there you can just define that a bit more. Even inside the veins you might want to putting some beats running across. It's not a it's not a 100 percent necessary. But just to sort of look, in some parts, it would be nice. Sometimes with the tissue I do this sort of thing where I'll go in with a little water around the edges. So this age is very hard, wet and just lift off to create a softer edge like that. Okay. Does, does wonders in some parts where you want to imply just a softer sort of pedals and areas, but still have, of course, enough to imply what's going on in the flour. So we've done that in a few little places. It's just a limb technique you can use here or pretty much in any painting that you choose. And I don't do it everywhere, just in some parts. Do see some artists use this quite often actually to create softness in the textures of the flowers in the background to sort of bring out, you know, if we did a bit here, for example, we have softness in the background, like that, Something like that. Okay, that works quite well to just, it's almost as if you're lifting off little bits of really just bits of interest. Okay? Because of course in the background we, you know, it's mostly the same tone. And so if you put a bit of water, lift off a bit in some areas, changes that tone around a little bit and creates little bit more of an interesting appearance. But you don't want to overdo it. Of course. He has. For example, here is a flower. I've colored it in a bit too much and we can lift off a little bit of paint on there like that. Yeah, I might want to soften the edge of this bowl a little bit like that. So I can just lift off like that. Okay. But actually kind of liked it the way it was before. So I'll just add in a bit of that color, soft and it again, you've got some quash, a bit of whitewash. It's a great tool that you can use also to adding petals and flowers and things like that. You kind of miss that little earlier. See something like that. You can get in a little more indication of that flower. Okay, but the trick is not to overdo it. The moment you start repainting everything in your scene is when you've gone too far, so little bit here and there you find, okay, so for example, this bit here where we've got this flower here. And we might want to indicate, for example, an area of the petal of the top here, something like that. Okay, that's fine. But don't go overboard. And I'll call that one finished. 10. Large Flowers - First Wash: So what we're gonna be doing here is we're going to be painting these flowers team. And one of the big things I want to make sure that the vase is large enough. So what I've done here is actually drawn a line kinda halfway through the page. It's a portrait style orientation. So it's like getting a little bit more of the flowers and perhaps even larger than what they are and will be able to basically just put in the center part and then from here draw the vases and we'll know that we have, we can use half of that page to draw in the vase and get it fairly wide as well so that we don't have too much room on the left, right side of the page and know what the bottom here, there is a sort of benchtop or something that the phase is sitting on. So tiny bit of a line there to indicate is of course a good idea. Now, what I wanna do now is I'm start putting in some of the flowers. And one thing to keep in mind that when we're doing this one with a combination backgrounds. So what I mean by that is basically background that has light areas and dark areas, sort of a varied background and mostly light areas, which is going to be quite interesting because normally with backgrounds for the previous videos, it's been either dark or it's been a lighter sort of background, but having both think will be an interesting sort of scene. So here we're just going to put in, I'm just going to add in the flower petals and very, very basic. It's actually around here, to be honest. So I'll just put in basically where we want that large flower to be. There's another one up here, and it just this large sort of pink flower. Here's a few petals that sort of go around, is so loose. I'm not even trying to really draw in the pedals, but we will have to, of course, getting some of these later with the paints. Okay, so there's one here as well That's just sort of like juts out the edge of the vase. We do have more here over on the edge as well where we can't really see the flower, but we've still got it in there. There's a flower sort of facing upwards like this. Yellow flowers, so bit here for that one. Then there's also another flower here. Sort of pointing upwards, kind of thing like that. And we've got another one here as well. Another flower sort of pointing upwards. We've got a white flower in the center here somewhere as well. Okay, and this sort of few more on the edges that as well. Okay, so we've got a few things in here to kind of certainly to work with and it does pays. Or if you want to add in some more, if you feel that there's just not enough in there for whatever reason and you want to indicate some more, by all means, go ahead and change it around adding another flower here, here and there. So I think that should do the trick. Now one of the things also that we do have all the stems that are heading down into the actual values itself. You can see them just the water level kind of starts about here. Then you've got the vase with the stems and things here in the water. So, you know, I'm not going to draw too much of that in. I think that's about all that we need. So let's go ahead and get started. Now I'm going to be using this brush here. It's a flat brush that has a uneven sort of edge. So we've got almost like a sharper point and it's cut on a bit of an angle. Okay, so I'm going to be using this one just to getting firstly the pedals and that kinda thing. So I'll start off with a bit of this red. Little bit of that red and no, dull it down a little bit. Just not DO Dan but just wet this. Create a bit more put more water in there. Okay. So I'm going to come across and there we go. That's a pedal there. That's got another one here. Another one here. Okay. So always tried to keep it light and don't spend too much time in one particular area. Okay, so there we go. That's the another petal. We got another one here, another one here. Um, and it does help if you've got a brush like this that has a kind of combination where you can do sort of a thicker stroke and then lift off at the end and get a lighter sort of stroke in and a thinner stroke, which is very, very important to get in some of these areas of the flower. Okay, So it's kind of overlapping areas of the flower. Another thing I like to do is I do enjoy dropping in a bit of paint through the center. I've put a bit of orange and a bit of neutral tint in that center. Okay, perhaps a bit of, maybe a little bit of blue as well. Just LET move around that like that. Just to just a touch of that dock at painting and annoy behind that one as well. We do have another flower, which is Dhaka, and I can go into that as such, okay, even with a bit of purple color in that flower, but mostly red. Okay, so just a bit of that beta that here, okay. The main thing I'm trying to shape is these petals while, while the paper's still wet and getting him to join onto the other flowers as well as so important. Okay. Going through the center of some of those pots. And then of course, you know, I'm going to grab a bit of that dark a color, a bit of neutral tint with a bit of orange. And we'll drop that in here. Get that running through like that and maybe bid of that, be more blue in here and that little middle section. Just a doc in that section of the flower down a little bit. I do want to lots of sort of wraps around here. Let's just getting a bit of yellow, okay, for this flower and I'll get that to sort of blend on to that flower as well so that we've got to just add a bit of an indication of that one and dropping a bit of purple or something in there as well. Let's have a look. This one here on the side, perhaps some orange would be known as the beauty of these lotsa sort of orange. To speak up a bit more of that kind of floats off like this. Okay. Maybe you'd have pink or something for these flower up on the age. Pretty lots sort of wash for this flower. I'm trying to go a bit lighter now if the sum of the other ones so that we don't have enough just to sort of harsh colors and time's running through this whole area, just the head. And there we go. Bit of color for that flower on top like that. And a teeny bit of darkness at the bottom of it like this. And again, we do have this other flower running around underneath, which is a kind of really dark, sorry, so it's a lighter color. It's basically white underneath. So I'm just trying to get in. I butyrate these petals which are facing upwards into the sky. And Chris, okay, and kind of we can put the center of the flower here just with a bit of darkness and let that blend in like I've done on the other one. Okay? And what we can do now start putting it in a little bit of that other yellow flower perhaps on the left-hand side. So just makes up a bit of this yellow paint and we can go here. And another thing is that we can create kind of y is a white flower here by just essentially cutting around some of these petals. As you can see. Like this. Make it look like there's a white flower inside there. Okay? But these can be kind of petals from the never flower here. And another flower here. At least. Trick is getting everything to blend and mix together. It's crucial. Step, soften off some of these edges. Okay, let's try down the bottom. What have we got here? I think I'm not make that one also pink, very light pink color with some opera pink CLEA. It's putting it in a little bit of this. Lots of wash of color running down some of the petals. And in joining on maybe to the yellow up to the top. Symbol red, perhaps with this this flower here joining on these panels. Please. Okay. I think having a bit of Daft muscles are running through these flower would be nice to have just added in a little bit of color and there is some green as well like that. Just do the center part of that flower does help their great. Some more colors on the flowers. A bit more of this red kind of color. It makes me also think of the background. We're going to have to go in with a cooler color, a little bit of a cooler color anyway, we can just leave it as it is as well. If you do want to keep it in with a very, very light background or even no background with fine just leaving it. Okay. So we've got a choice here. And I'm not grabbing the good of these orange. Just a little bit of orange to gain some more of the petals and that kind of thing. I think also what I'll do is add in another, another flower or something up the top here. We can do this at the top here as well for the other. So this section can be an extension of that flower really. But I almost always just missing a bit of the sort of fineness of the petals at the end. So I'm trying to just get into a bit of that while I can and make the most of it. Put it in a bit little darkness around on some areas. Saint out of that flower, just a little drop of color in there. I think that one we've already covered, but I can darken that one up a little bit more. Okay. I'm going to go into the base of the flowers now I'm just not getting in. And a little light wash of green moves that kind of down the stems. Okay. Keeping it very light and date and almost transparent sort of. It's lot as you can get it. Okay. But some of them, we certainly can darken up a little bit more, just adding more green, more blue in areas. That is, water has a kind of murky murkiness to it. So I'm adding a bit of titanium whites into this area of the water. So we would have titanium white down the base that we can stop picking up some of the sap green and dropping it in. We have a lot of sort of green areas. I'm actually underneath this spot here where the standards old kind of congregate together. This will probably take a secondary wash as well to get some more details in. But this is just a brief indication of some stems and reflections and things here in the water. Maybe beautiful blue, cerulean blue as well. Up here. And we can always wait, it will be lighter. Things have started to dry. Dead onto some bits. That to soften up a little. For the background, I'm going to stop already kind of working on that. So if I can grab, again some cooler color. And for that I'm going to be using probably use a bit of imperial purple actually. Do also have some amethyst color here, which is no less purple as well, which I can use just around the base. And here, keeping it very light indeed, that's better. All I wanted just color around the base and the flower as well. Here you can see, you can just cut around the little bits of it like that with the with the detailing brush like this. And we have hilum and of darkness. And especially near the j's, we might want to add extra darkness so that it comes out more. Okay. Something like that. As we go up, i'm I'm just putting more of like a greenish color. And I'll actually swapped to a larger brush, this cat's tongue brush for this. And just a greenish sort of color. Most of it's just gonna be wise, it's just going to stay white or very light color. Any house. Then. Just blend this, bring this down a bit. Okay bit more of that amethyst here. But keep it light as I was, I've been that side slope so that other brush, it's just easier to control this while it's wet. Okay, bit of cutting around book like this, k and testing. Now the rest of this is going to be more of a breeze. Now we're just going to have to just cut around some of these flowers and create a spit or softness here in the background. It's mostly just water. It's about 90 percent water. Beautiful green. Maybe. Keep it very, very lot. You want the flowers to be the kind of the dock is the painting. Bit more green. Cut around the pedals and things like that. Then the antithesis further down the bottom. Just a purple color. Here where it hits this section, I'm just going to pick up some G. If the lights, which is just a brown color, still pretty light, makes JIRA like that just blended into that background a little. And cut around the phase like this. Here. Bring that down. That's pretty much it. There's not much else to this background. I do want to get in a little shadow or something below on the vase and things like that. And just having a look what else we can do for this. So there's little bits touch-up areas here where we want to just get a bit more of the background color. And going through, It's important to just adding a little bit of this color for the vase. I'm going to just use a little bit of cerulean blue, just a light wash of that circle in blue. In some areas here, maybe here, just to get rid of that white in there. So it's not all completely wide. Beneath the move darkness in years. Well for the detailing on some of the petals. This brush as well as very good for getting in. Plato's, starts with a pointed tip and then is able to go into a more broader stroke. More sharpness in here for the stem, some of the standards anyway. So we can have some of them that are kinda softer looking and some that are more sharper looking at areas that I think what I'll do as well as those that are just dock and off a spot here. Just near the phase. We won't be able to get in a bit more contrast from vase, which is just a little bit more contrast in these areas I think would be nice. So I'm just dropping in some more colors. Sometimes you can do it as well for this. Some parts of the flowers like that. Again, just with these varied sort of background, you're picking out some areas of interest. Okay, bit more green over in some of these spots, for example, it could be imply something in the background of noise, but then relieving some of the areas of it white. So here, for example, it looks like there's a bit more darkness here in the background, so I can just dropping a bit more color like this, since that paper is already almost dry, but it's slightly damp, It's going to absorb that. And it's going to look a lot more large. It's going to draw a lot, lots. I once once we had done, but it just looks like it's pretty dark at this point. Okay. It wouldn't be nice to see how it blends and folds together. The colors just them fold together. Okay. Peter, darkness underneath the flowers here. Just a little bit of darkness to indicate the shadow coming towards the front. Not so often that as well then contrast quite well. Especially with the darkness here and the lots inside the vase. And if you think that it's too and not enough color inside the vase, It's too clear. You can also just drop in a bit of blue. Some areas like this, the fully water can also wait to be lighter sometimes if you do it now, you risk having other bits of column mix into it, but I'm not really fast. Okay, let's leave this to dry. 11. Large Flowers - Final Touches: Okay, finishing touches. And really it's just adding a few more bits around the vase if you want to cut around the bits and pieces. But one of the big things is, again, just some detailing here on the vase is standing these bits. We call them slates or what have you here as well. Just keep it pretty simple. The trick is just to go and do it, and then That's it. Just leave it off to that. Please. There are some patents and things on the wood. So you can sort of drag the brush, dry brushing areas like this to help create more contrast. Move it of coloring here. To hopefully draw out some of the petals. Just pick a few petals and just outline them. Like what I'm doing here. In S, In areas don't do, don't go overboard that just in some areas and what we want to increase the contrast and make it look more like an actual pedal. Sort of just going around some of the edges a bit as what I'm doing here. Just bring some of those further inwards like that. Like that. Okay? Okay. It's just very basic, very, very subtle detailing. Now once it dries, you barely be able to see that there will be little m little bit of a difference is just in little bits and pieces I forgot add-on like running down the sides of it and stuff is a bit of this little light detailing work brings everything together because we've got all these softness in year. So if we add in a little bit of hashes sort of looking shapes, it really helps to draw out the details of these flowers and create more of a shape with them. But what we don't want to do is get rid of that beautiful wash. These yellow flowers, for example, we want to keep that original color in there. So some of these little bits that I'm adding on and on top and stuff like that. It's not. So now to go over the top of the previous color, It's just two days, but just whatever parts of it. So we're preserving still parts of the parts of the initial wash using some purples and things in here as well. See what I'm doing here. Just a bit of indication of some petals going further up and maybe some little bits of that leaf and things like that coming out from areas like that. Here I believe we need a bit more contrast with the yellow flower is to bring out some more petals. Sometimes this works, sometimes it doesn't, but we, the main thing is just keeping at keeping that yellow, you don't get rid of it. Complement that with a bit of this purple running through it. That it could be another flower or something. So light. Barely tell it's there. And it's the way you want to. This is white flour as well in here in the center. So you just using this brush to just bring out some small details. And the petals sort of just going over the edges of some of the petals to create more detail in the petals shadow shape. Just like this one in the center, that's turned out quite well. And the edges of that flower as well, quite well-defined, but still soft and loose enough to match everything else that's going on. Over here we could go certainly do with a little bit more and a little bit more detailing the petals that are kind of going up like this. Let's go look in the stems again. Let's kind of draw it up a bit. And there's gonna be some darkness in the Java vase. I mean, in some areas, light wash of this order down the bottom. Use a larger brush so that it doesn't step too much. Soften up the top here as well. I want that to be too obvious. That line where the water starts, just smudge it that seat. And just like that pneumo here at the base. Just to sort of age there with a line, sort of cats console. If it's just drawing out the boundaries of this phase. Is. These are just some imaginary stems that I thought I'd put. And going up through the flower is just some areas of them cutting through them bit. I'm hoping this just helps to break up the section a bit more. And then the top of the vase here. Oh, I've just tried to indicate that with a rough line there. This I'm not going to do it as low. Good. And I think we're almost done. I mean, the velocity is just looking at maybe some areas where we want to lift off paint and employ some softness in areas of the scene, but really pop from that. I'm quite happy with how it looks. Some areas like this, you might want to just soften off that H of that flower. If DOF, then we can soft and some edges, yeah. Help it blend into the background more Any we want we want parts of it to blending. But we also want pots of it to appear HOD and have a hard edge essentially. So here I felt all soft in and out there. Dab off with a tissue and continue on. You might want to even think of softening up a bit to this side of this B here. And okay. Bit of white here on the vase, sort of forming, cutting into the background a little bit, but I'll just remove a bit of that. Even maybe here. It's hard but also I think changing part of it, making part of it a little bit soft, that would be nice. Okay. And Destic and I'll call that one finished. 12. Class Project: Congratulations on finishing the class. Your class project is to draw and paint urine flower arrangement. This can be as seen featured in one of the class demonstration videos or based on your own photographs or scenes you've observed outside. You can also refer to the scan drawing and painting templates attached below, which will allow you to trace the drawings if you choose to do so. I recommend drawing each arrangement, free hand. Drawing is an important step in improving your painting skills. It provides you with an opportunity to compose and plan your painting. Once you finish the drawing, use the watercolor steps and processes included in the class demonstrations to complete your painting. Finally, share your painting and progress shots with the class by uploading to the projects and resources section. If you have any questions or need more tips, please let me know. I'm happy to help.