Gouache Florals: Painting from real flowers | Sushma Hegde | Skillshare

Gouache Florals: Painting from real flowers

Sushma Hegde, Watercolor Artist

Gouache Florals: Painting from real flowers

Sushma Hegde, Watercolor Artist

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18 Lessons (2h 13m)
    • 1. What's this class about?

      2:24
    • 2. What art supplies will I need?

      2:47
    • 3. Gouache crash course

      7:54
    • 4. Warm up 1

      6:15
    • 5. Warm up 2

      10:36
    • 6. Yellow flowers - composition

      4:33
    • 7. Yellow flowers - painting

      11:30
    • 8. Yellow flowers - stem and leaves

      9:16
    • 9. Pink flowers - color choices

      8:38
    • 10. Pink flowers - composition

      8:27
    • 11. Pink flowers - painting

      8:22
    • 12. Blue flowers - color mixes

      5:17
    • 13. Blue flowers - composition

      6:59
    • 14. Blue flowers - painting

      10:56
    • 15. White flowers - color mixes

      9:01
    • 16. White flowers - composition

      11:20
    • 17. White flowers - painting

      7:43
    • 18. Final notes

      1:15
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About This Class

This class is all about painting from real flowers. Which means, I will have different flowers right next to me and I will show you how I interpret them. I will be going in depth into color mixes, as I show you how I choose the colors for the flowers.

I will also talk about how I break down the shapes and structures of the flowers and how I eliminate certain things so that the flowers we paint are loose yet resemble the actual flowers.

While I will be focusing on painting with gouache on black paper, all the techniques that you learn from this class can be used on any colored paper, with any medium.

By the end of this class you would not only have learnt to paint 5 different wildflowers, but would also be ready to paint flowers that you see around you.

No part of the class is sped up. Which means you can take your own time, relax and paint along with me.

I really hope you join me in this painting session!

Meet Your Teacher

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Sushma Hegde

Watercolor Artist

Teacher

Hi! My name is Sushma Hegde. I'm a self taught artist and watercolor lover from India, currently living in Germany. I mostly paint with watercolors and gouache, and try to immortalize what I feel about the beauty of nature. Painting creates a sense of calm in me and I wish to create the same sensation in my paintings.


I've loved creating and had a great interest for art since childhood, but somehow my creative side took a back seat while growing up. A few years ago, out of sheer boredom, I took out my watercolors and started painting some flowers, and I was hooked!


I love learning from other artists and have slowly realized the joy of sharing what I know, no matter how simple or difficult I think it is. It makes me immensely happy when someone tells ... See full profile

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Transcripts

1. What's this class about?: Hi, my name is search my head day and welcome to my skill share class. One of the things that makes me the happiest, it's been think Florida's and landscapes. So nature is a constant and a big inspiration for me. In this class, I'll show you how I bring elements from nature into my beam things. And I'll also show you how I interpret them with wash. I really love how bright and vibrant washes, especially on black Bieber. So we'd be painting exactly that. Alter the class. I'll have different flavors right next to me. And I'll show you how I interpret them. I want you to take what you learned from this class into your other paintings. So keeping that in mind, I've structured the whole class in such a way that it focuses on three important things. The first and the most important thing is the color. I've carefully chosen flavors of different colors so that you are not just restricted to a certain set of colors. But get a better idea about different kinds of column mixes and also get a better in-depth knowledge into color composition. The second important thing that we talk about is the ship. All through the class, you will see me talking about how I understand different shapes and structures and how I bring them down onto my people. The third important thing that I'll be talking about is the brush stokes. You can see all through the class that I lay a lot of importance on breast sharks. For example, how I hold them, how I moved them, and how I turn them and so on. So that's a very important thing for me to focus on, since we are talking about different aspects of painting flowers. By the end of this class, you'll not just be painting what you've seen in the class, but you'll be absolutely capable of painting any flavor that you see around you. If you've never used Bosch before, that's totally okay too, because we'll be starting from the B6 and I'll be talking about washington detail and its properties and how to use it, how to mix the colors and the consistency that you need, and so on. And we'll be diving deeper and deeper throughout the glass. So let's get started. 2. What art supplies will I need?: Okay, so let's start by talking about the supplies that we'll need for this class. The first thing is the black people. Heard I'm using drawing paper called The black black people by Fabriano. And this isn't a four size sheet, it's a block of papers and it is 300 GSM. It does not specifically a watercolour paper or an acrylic sheet or anything. It's just drawing paper and it has a matte finish to it. You can use any paper, any kind of black people for this and washes really friendly that way you can use it on any kind of paper. You don't need very specific types of paper for this. The next thing is the Wash itself. And I'm using Winsor Newton designers wash. This is an introductory set of ten tubes such as a basic colors, and this is what I'll be using for this class. I have a valid to mix all my colors. I, I don't use my colors directly from the tubes, so I put them in my palate and then mix the right amount of water with it and then use it so you'll need a pilot. Any kind of palette doesn't matter for people. And then jar of water, clean water. You will need some kitchen towel so that you can dab off your brush, renders too much water in it. And of course, the brushes, I forgot about the brushes saw for this class. I'm using these brushes by our dishes. I add the link in the class description. I'm just using size to size four and say six of the round brushes, S1. And I'll also be using these Filburn brushes. I think these are great for getting the ships of the battles. You can use any brush for this. Again, washes not so demanding. Store only makes sure that the brush is stiff. Saw the bristles I've stiff, not like natural hair brushes. So this means you can use any kind of synthetic brushes which has little harder bristles. So yeah, any brand will do for that. That's it about the sublime. So we'll get started. 3. Gouache crash course: Before we start blinking the flowers, I just want to give you a quick brief introduction to wash because it's important to know though consistency of this beam so that you can use it in different ways among gonna take too much of your time for this because it can get boring ready soon. So I'll just tell you the essentials so that we can dive into the painting. And as we bend, we can further learn about guage and its properties. So one of the basic thing is how much water you add to the wash. So let me give you an example with this yellow color here. So for example, if I add, what DO maybe I'll mix mature. So I add lots of water and then I take some of the paint and mix it had owed. So what happens is like if your family overt watercolor painting and if you take the same amount of water, let me show you what happens. So this is, so if you're not familiar with watercolor painting, that's totally fine. I just wanted to show you the consistency of water that you need. So here I've taken lots of water and less of the color itself. And when I've been til, you see that? So half of the beam is absorbed because the water is Saturn into the paper. So you don't see the color being saw vibrant. It's not a bad feature, but it's good to know how we can use this. Because once we know the properties, we can use it in different techniques, in different ways. Know what I'm gonna do is I'm going to add more to this so that it gets a little thick guide. I want so much more to not adding extra Ward. I'm just taking the beam. You can see it's on my brush like that. And I take it. And so it's a little bigger and it stays on your brush like that. And this time when I add a word, you see I get these lines here. It's because it is much brighter than this, of course. But you get these lines here because there's more water than the pigment helium. And this is not what we want. We wanted to be uniform and a nice streak. So let me add a little bit more of a pigment. So I'm taking some more this time. And one of the mics and little bit more to the same mixture that we had. Omega. You can see how Bactrian creamy, this's. See you there. And some may scream for Jaffe. Luckily king actually. Ok, I wonder there. Don't worry. So I have this in my branch as you can see, Stephen, the brush Lake Dam, so that tick. And then it's so much more rampant than this. And you can see doesn't leave these lines. It's uniform and you can even go back. So that's how it is to kill him and do this. And you can play at home with this. So you get these nice street, smart streets with it. And you don't get a bridle leg this rape. No, you can go one level ahead and just dq DO beam in your brush directly like this, like a scoop of that. And then just do that. So you can see how ticket as heal. So yeah, there are so many possibilities would wash. You can make it thin like watercolors, or you can make it take leg this leg, acrylics. So you can actually get the texture on your being things. So you have a lot of opportunities to play around with squash. And you can use it in any way that you are comfortable with. And it's a little tricky to get the right consistency of water at the beginning, it was really hard for me because once I switched from watercolors to wash, I saw you were still using a lot of water. Along with my beans. It was hard to get this kind of effect. I always ended up with the watercolor effect, which wasn't an obvious that it's, war should look like a watercolor painting just a little brighter. So take some time to get the right consistency, but just blame it on and make these different tests. And you'll, you'll figure out what works for you. Sometimes it also depends on the BIBO as well because some people might absorb a lot of what DO. So just be aware of that and see what consistency works for you. I want to show you one more awesome feature about DOM wash, which you don't see in what colors. So for example, now, nice and green. Dig some of the yellow, mix it but the blue accurate window to look. Okay. So I have this re the best thing about this is you can go back and add a lighter color. For example, I can take white and you can go back or would a dark color, which you can't do with watercolors unless you use Gua shielded. So I loved that about Guassian. I make use of that pretty readily with my Florida's because that's one added advantage that I don't have with watercolors. So now I have white and I can go over this and you can see how I bent the weight is even though there's allele or for darker color below it. So that's the beauty of it. Yeah, I just wanted to let you know about it. We can try it. You're S1, S0. And even this, you can maintain how thick you want that white to look. So you add a lot of water. Shed off the weight or the yellow. So you can walk around with that as well. So there are a lot of possibilities with squashed artery. Okay, enough of this lead the painting and then we can talk more about Guassian. It features throughout the class. 4. Warm up 1: We'll start with this little cute little bunch of flowers that I got near our house. And then we can proceed to a little more complicated flowers. So I just wanted to show you how you can simplify this whole bunch. And being this, before we start building, we have to mix the right colors. So what I've done here is, here we had already taken the primary yellow, which is like lemon yellow kind of verb cooler yellow. And I've taken this permanent yellow deep, which is an orangeish yellow here. Because I don't want this lemon yellow for this one because I know this is a little warmer shade of yellow, a bit off the oranges shadow along with this lemon yellow. That's what my instinct says. So let's try mixing that. I take this paper from boxing and let me just take my brush. So this orangeish yellow that I have when I tried this, I think this is a linear Dhaka yellow than this. So I don't want it to be too orangeish. So I'm gonna add a little bit of this yellow to it. Added a tune of gene. So let me mix the dough. And then I'm gonna add a little bit of white to it. This has dried up, so I'm just going to add a little bit more of the water. It's okay if it's a little bit of yellow mix to the white. That's okay for me right now. So I'm mixing a little bit of white to this. Alright, this creamy consistency. And maybe add a little bit of lemon yellow toy it. Because I want to tell animal brighter. Yeah, this is a good color, right? So let's use this and a little bit we can add a few hints of this orangeish yellow Docker bits of this one. And for the green material already, but let me show it to you. So I have taken this green, which is which I like so much to us directly because see this, you can see that the screen is a very bright and artificial looking kind of green. And I don't like that for my plants because it's so bright and that's not what you've seen me to gently they'd So I want to make it a little bit already so I add yellow ochre, do it. And I'd really like this mixture. I love how yellow ochre leg down, down to an extent, but it still keeps it nice and bright at the same time. So I'm going to mix this and a bit of this together, making sure that the consistency is take and comes off on my brush like that makes the brush tip. And let me try this. I like this. I really like this green And I think it's pretty close to this one. And if I need a little hint of darker green and I'm just gonna take a bit of this and mix it, do it. And just pits of the Yukon C two, so clearly Medea and it's a little bit of darker green, and we could go and add a little bit of Bluetooth as well to make it a little darker. And you can see that Tim, so this is a little darker than this. We can draw that. So now we have the colours prepared. I want to talk about how I interpret these flowers. So for this one, it is always better to keep it on a black sheet of paper so that you get an idea of the colors about what it looks like on the black people. And for me, the distinct fee features in this are the things that I primarily look at is this shape here. This is very important for me and I think it adds a lot of character. So I look at this shape, this see kind of a structure here. Then I look at the leaves. And as you can see, the leaves are a little thicker at the bottom compared to the DOP. And here it's crowded and it's not and leaves at tiny Hill. And one more distinct feature is that the flowers at all on the top. And these flowers have these little whiskers on them. The statement looks Glick whiskers, Right? And I think that is very unique about this. And we'll make sure we add that. And you can see there are fourth level is heard and two bags here. What I generally do is I look at this as a whole. I don't look at each Flaubert or I don't try to replicate the shape of each flower. For me, I see what it looked like as a whole. So as I said, it's the shape and the number of leaves. I don't count the number of leaves, of course, but I see that there are a lot of leaves here. And all the flowers are just on DOB. And these whiskers, which I'm definitely going to add. So, yeah, let's get started with building this. 5. Warm up 2: I'm gonna take my round size for brush for this. And we have this mixture hill. We can keep mixing this as an when we need the colors. And it's okay if it's a little on the orangeish side and a little bit on the lighter side. That's totally okay. It'll make it look more natural to lift that are different dawns of the same color within the flower. So yeah, as I proceed, I'd just keep pulling the colors when I need it. So I'm going to load my brush completely and just start with the flowers first. Let me start with this one here and then go this way. So I just add these gentle strokes. I press my brush and lifted up. So as you can see, I'm not specifically drawing the shifts. I wanted to be so detailed. I wanted to be loose. And that's what I'm doing here on it was a little door light and more watery, so I'm just going back and adding bits of the beam. Okay, then let me go next flavor. And just mean these gentle strokes like how you would paint leaves. That's it. As you can see if you just look at this, it doesn't look like go flowered itself. But once you add those stem and the leaves and the stamen, and it's gonna look complete. So just paint along with me. Let's add this one in the background. It's going to be a tiny one because we can't see the whole thing of the one behind. So it's just going to be done. And this is a little big. So I'm gonna add that here. And you can see I'm just pressing the brush and quickly lifting just the way we been cleaned. And that's it. So we have the flowers now. Let me add the store little bones as well. I'm going to make it a little darker because the buds are still tender and fresh. So they have a darker color than not bloomed yet. And until and let it point D that drain. That's it. We can add the leaves. Now, let's leave this leg this. And what I do is my mixture full of green already prepared her. And then I'll just add the tips of these flowers so you get an idea of where they are pointing. Because it's also important to not just be the flowers with loose strokes. It's also important to point them in different directions. So as you can see, this is pointing like this, and that's what I've depicted here. And this one is. Pointing to the right, and that's what I've done yarn. So when you add these little green depths, it gives it a proper deduction. That's a little gentler marks. And now I'm going to add the leaves. And let's just mark where the stem goes up so that we can and the leaves correcting. I think I'm gonna switch to a tunnel brush because I want them to know strokes for the stem. Some switching to a size dual brush. Just bring it together and bring this onto this. And you want it to be a little curvy. So I'm going to take it like that and bringing down, okay, so now let's connect this to this. So I'm going to add this one to this. I could have added one more flour here. Alright, but that's okay, adam, 1to crowd too much. So we'll leave it like this and we can anytime go back and add more flowers if we feel like it. So let's see. I'm just going to start with the leaves on top. I'm just making very gentle strokes. And you can see that I pointed in different directions. Not just when they're not all just going like that. They go in different directions, just like the leaves here. And some of them are right on the stem like that. And some are really tend to show that they are, you know, like this perpendicular to the paper. So we can't see the full leaf. Add a quick few little ones here. Let me connect this as well. You can see this is not an exact copy of this and I'm not even trained to make it an exact copy of it. I just want to give the essence of this whole bunch. So I want, when somebody sees this, they should know what flour it is. But I don't care if. The stem is and the same angle as this one of the birds are in the same places as this one. It doesn't matter. What we want to do is to showcase what flowers we are building. That's it. So don't worry too much about that. I want to add this one as well as Armando. Just go here. Oh, yeah. Okay. Brush almost fell on the Buber. Yeah. But one good thing about galoshes. If you make a mistake, you can correct it as I showed earlier. You can just add a lighter Galloway, darker colors so no tension. See how I overlapped it over the stem, which makes it look more natural. Here. I want to add a few leaves here as well because I think the stem is long and baton at some places. So let me add some links there. And here I want to make it crowded so among two n bigger leaves. So if I want bigger leaves, I'm just going to press it harder. So press fully and then lifted. One good thing is, another good thing about guage is that these colors drive pretty quickly. So you can go over the leaves and add new leaves immediately. You don't have to wait for too long. So it looks like they're overlapping and I love that. So you can see him women making gentle marks here. Let me just sneak facility to come. You can see I'm holding it almost like a pencil when I want to add lots of details. So when you wanted to be very loose, Make sure you're holding it at a distance. And if you wanted to be the data, then you can hold it like a pensive closer to the bristles. Okay. That was just what dome. So it's fine. Now I want to add these statements which are like this cursed and so cute. So I've switched all go thinner brush as I said earlier. And it's pretty point D, so it makes it easier to learn this. So I'm just going to go over like Dan and these quick glands and I'm not straight gender lines, but it's going to be quick and roughly. I'll do that again here. So quick. And add a few dots. And that dips snot. Very accurate. Just sum here and that's it. We're done with this one. 6. Yellow flowers - composition: So I chose this flower because of its beautiful structure. And I also like the yellow in this. It's a little different from the previous one. It's brighter and more orangeish. And i told me like it, just painting this as a whole. So I chores or vertical format and so for horizontal like the previous one, because I think I can just painted like this and I'll be done at a building like I can even framed as an end. So yeah, I just wanted a painted like this at eight in the middle and almost the same size as this one. So first let's start by observing this whole bland. So first distinct feature is that there are a bunch of Legos here, then tiny ones here, and then tinier ones here. And you can see that here the distance between this and this, this model then slow leads, gets, it gets bigger. And then again the difference, the gap here is a lot. So you can see that. And one more thing is that the leaves are drooping downwards and we represent that. And even this actually look at this, this, this part is so much longer compared to this. And then this gets smaller, and this is like really small. And all looking at these, tiny believes her little q dead. So we'll make sure we add that. And we can see several barges where Linda's. So let's remember to add that. My beans have died in my ballad, but that's totally okay. With quash. You can leave wet the beans and you can use them. So I'm gonna take everybody and I'm just going to add little amounts of water over it. Not too much. That's it. And if you don't never stay body, you can just take your brush. The bidding war, Dian, just add the word over that. So you can see all of these head cracks in them. And that's totally normal. And once your rebate it, it'll get back to normal. So I wonder mixture of this primary yellow with this orangeish yellow with more of this. And then I can add some highlights with this yellow. So let's mix that monopole mode of this. Maybe a little bit of this. See how it cracks. It's totally your care. But actually it's preferred to use fresh B. But this is fine to mixing that with this. Let's see if we have the condo that we like to think it's a living to what tree date. So let me add a little more of this. Try it again. So you have to do this desk before you actually being, And it can take awhile to get the right consistency. But once you get used to it, you will know what consistency you want. Otherwise, it's always better to test it. We can add some white as well to this, given the way it has dried up. Okay. I think this is a nice consistency. Yeah, I like this. See that? See the difference between this and this. So it dries up like that. Actually. 7. Yellow flowers - painting: Okay, really start from the top for this. So basically I'm going to make this bunch and these two diamonds, and then these three and then these three. So wanted like this straight downwards. Let me keep it here. And I'm gonna paint exact flowers here. I'm not going to count how many of them are here. And then I'm just going to make random marks to depict that as a whole bunch. So I start from here, I want to keep some gap from the GPIO. Slowly, just gently meet these marks with your brush. You can see this doesn't look like a flower dog, but once you bring them all together, it's gonna look good. Hopefully. Okay. So I'm making it does sub cooler. And you can see I'm left gaps in between not making it into one big blob. Okay, then we can go downwards and just want the stall here. So I'm going to miss one small molecule. See how I meet marks in different directions. That's important. As you can see, even this is an odd directions till. And as we go down, we want this, which is that I don't DOP. And these are on the sides. So I'm gonna work right in the middle girl. I mean, middle of the stem which is going to come down leather. Again, just marks. Nothing fancy. And we're going to make the two lines here are as well. Not do much. Somatic and summer then. And add these little dots and lines and drop. Like that. I just feel it adds a lot of character that real. Then as we wrote down, that we get better. As we go down. We want to add one in the middle, a little bit to the side, right? So I remember that. So here's a big one, then tiny ones just in different directions. You can also observe that I'm holding the brush here, almost like a pencil. Not so close. Not too far. Right here. If you're making this bending on a bigger sheep, then you can actually hold a tour together with strokes. And because true. Okay, then the ones on the sides, like meat. Okay, this one is bending like that bit. So L pointed this way. And this one is bending towards the top. So these lines pointing up. Okay. So now we're done. You're dumbing structure of the flowers. I'm just gonna go back and add a little bit of the lighter yellow mixed with a little bit of white. Something like that. Just to add some highlights over it. And go to random places. Basically, the dartboard at the tip of the flowers. These marks just don't make it look a little more interesting. We don't want it to be completely one color. You see again, I'm not making any specific flavor or anything. I'm just making these marks, a lot of mark making. And remember to keep it loose. Don't worry too much about the flower as a whole. I mean, don't worry too much about each flower just treated as a whole, as one big structure laid back. And that's what you want to achieve. And switch to a smaller brush size to brush, to add the greens stem and all of these which connect to the main stem and beliefs. So first let's mix the green that we want. And we'll take the same mixtures last m. That is a bit of this Brumley yellow that we have. I don't want to use this green. Sorry. I only use this green that again because look at this. It looks so our division there is not even close to this. And if we want to make it look more natural, we have DO like dial it down a bit. So amino acid. Class them. I'm gonna add the yellow circle. I loved this combination of green, especially for this, for all the wash paintings on black people. So I'm Dick, yellow ochre recurring. This delta Donald law. Now I'm gonna add a little bit of this yellow that we mix earlier. Do this because I want it to have a tinge of yellow in it. Because I, I always mix a bit of whatever color I used for the flowers, for my stem and leaves as well. Because I feel it's easier for me to keep track of what gleans I've used. And also I feed it that some elements of the flowers are there in the US as well. So a plant looks organic and beautiful because the colors are so harmoniously together that way. So I, that's the door, I think. So. I prefer to add whatever color I used for the flowers and little bit of it to the greens at least most of the time I do that. Okay, now we have the green greedy or let me first tested. Yeah, I like this little brighter and a little warmer Washtenaw for green. I'm going to first start by connecting all of these together and just adding little lines. Nothing Street and nothing well planned outdoor entertaining. So I'm going to bring these together like that. And maybe these together this way. And then I'm going to connect all of them together. So just bring them together, maybe this in this first. And then I connect this together. And I want to add these little, tiny little cutie leaves. So I'm just going to guess my brush and quickly lifted. And so the same thing, the same lifted, that's it. Okay, now let's join these together. Also. Remember one thing, we're not aiming to get an exact copy of this, that's not what we want. What we want is appealing thing to give any sense of this flower or this gland. So when somebody sees the bending, they should know what flour and trying to depict. That's all. I don't have. Don't make these flowers in the exact same angles as this. Or the leaves in the exact same angles or the number of leaves has to be exactly same. No, we are not going for that. So even if somebody sees this much is absolutely different and structure from those, but both are the same flowers, right? They should know that this is this flower. So you know what I mean? So, yeah, let's just keep that in mind and not put too much pressure on ourselves. Store, make this look exactly like this. So the angles may be the friend and leaves, maybe a little different, but that's totally okay. Okay, so let me join this and this one. And let me add these leaves yard. So I press my brush slowly lifted. That's it. So I don't draw two lines and fill it in with gallo. I used the capability of the brush to press and lift like that in store from drawing two lines and selling it m. That's it. 8. Yellow flowers - stem and leaves: And we'll do the same thing with this connector. Little flowers first with these kind of structures down together and then join them. That's the same thing here. Let's do a little faster this time so that we don't get very stiff lines. Lead be Ansel's as possible. Okay, that's it. Now, let's meet the tiny leaves around this first. So let's start from this one. Tiny, tiny needs. I think some of them don't have those. Tokyo. We'll add that on some of them and leave the rest. So and again, pointing in different directions. I just press it late baton lifted. You can see these two are pointed in different directions. And I did that just by placing the proportional of app. So sometimes when I think it's dual light, I just call voted again quick Team and it's still red. Breast and lift. Okay, now it's time to join all of them together. Let me add the main stem first, enjoying these to the stem. So I want this to come here. You can see that I hold my brush like this at a 60-degree angle maybe. So that I get a ticker line. Yeah. And with the same brush, I got 1090 over them getting a ticket because it's the angle at which I'm holding the brush for this when you want to lines Hold it almost perpendicular and just move it according to what thickness you need. The more your goal down. Though, pedal to the people you're gonna get a ticker stroke because it's gonna use the full potential of the brush. But we don't want that tick. So I'll just hold it like that and bring it down. Okay, it's a little trickier right on that takes oranges. Just making it look natural. Go down. Then my dad. And as it goes down, it gets, because you're seeing this hero, it's deny hair as you would on it gets thicker. So let's remember that. And as I go down making it thicker, okay, that's gotten the end of the paper. Now, let's connect this to this. I want to add a leaf here. So I'm gonna switch back to my site for brush because I want big leaves. I think this blushes enough. So I'm gonna add one leaf to the side maybe. And then I'm gonna add another leaf here. Okay? And then one hero, properly, down to that, you get a take, take leave. Let me go over it because it's too light. And take more paint and press stirred. And maybe I'll make it a little thicker here. And that's it. Let me just join this. Maybe I wanted to go down like that. And this and this was a little unexpected. I touched it with my hand and that OK, we'll fix that later. We'll add the big one, the big liens. So a lag one leaf here. Like that, just press it and lifted. You can, you can also use a thicker brush for this. You can do the whole thing in one stroke. Ben. Just wiggle your brushes, vinyl moving it so that you get these nice jokes like that. Connected like this. Let me make some paint. Now the color you get could be a little different from the shade we got earlier. But that's totally okay because leaves are not all one exact color. There is so many tones of green. And a little bit of this pretty close. So I'm gonna go back on this because it's still ten. Press join it. That's it. And now let's connect all of these together into this one line here. Just to make it look like it's connected here under the leaf. And this one comes this way and the leaf. And let's try this one. I think this looks a little bit. So I'm just gonna add something like that just to cover up that space, even though it's not dead. And this may be an added little leaf here over this connectors. And this looks almost connected. And that trip, let's wait for this to dry and as we can correct the start. And just go and pick some Bordeaux. And just use that to take it off. Since awash is like what the colors, it is water mixable so you can actually like the Met and more glad lipid off every time that trip. 9. Pink flowers - color choices: Next we'll be painting some pink flowers. I think we had enough practice with yellow flowers. So let's switch to preparing different kinds of colors now. And I think these pink flowers are really gorgeous and they have a purplish pink mixture. And we'll try preparing pins that are similar to this color. So in my set of cubes, I have to that. And one is a primary red and another one is a spectrum red. So always when you get a new set of colors, it's better to watch them out and find out what each color looks like because you can't determine what the scholars based on what's shown here. So so that you don't get confused. Let me just show you the difference between the two and then we can discuss which one do you use? Some didn't very little of the two colors. And we can see which is the closest that we can get for these flowers. So I'm gonna drive the spectrum red forest. You can see it's bright. Scarlett. Let's try that one. And this looks like a cooler red. So if you actually see my ballot, you can already see which is a pinkish red and which is like more warmer read. So I can see that it is so pinkish hint here. And that's what we want for this. This is a cooler color and we want that kind of a mix. If you're going to use this red, it will give a DOE Walmart Dawn. And that's not what we want, right? So I'm gonna take this red, which is the primary red, and we'll be using that to mix this. I'm going to add it here so that it doesn't mix with my Scarlett dread. And we also need a bluish color. To make this purplish pink. I have to lose in my palate. And one is ultra marine and other one is primarily blue. And just looking at these scholars, I think it's obvious that this is a Walmart Blue and this is a cooler blue. But you can you can do the same test like this and it will be obvious to you. Or you can even mix it with the pinkish red and you will see what kind of value get and whether you like it or not, ultimately is generally a warm blue. So you will get Walmart mixes with that. So I'm gonna take this primary blue. Okay, let's agitator. Now, I'm going to mix that tomb by taking and dig a little bit of this blue into the red because we want a more dominant than the blue red. So I'm mix these two. You can see we're getting ready beep bubble, tightly visible on this black paper. Let me just push this so that I have more mixing spares. Okay? Now, I think this is more reddish, but again, it's not visible on black people because it's a dark color. So I'm going to mix a little bit of the white, do it. My wife has dried up, so I need a little bit of water to activate it. Now it's lighter. Think something that I like. But let's see if it's close to this column or not. I like this girl, I think this is pretty close to this. What do you think? Yeah, I will go with this, maybe in-between. I can even add little bits of the red whenever I need and mix and just pulling all of this pinkish red. Or if I want a darker, I'll just pull a little bit of the blue. So we have our colloquia bed now. Let's just make our glean as well. So for the green, as I told you earlier, I'm gonna take this lean. You can actually prepare your own green as well by mixing the blue width along with them. Any different kind of yellow that you have. And then you can add a little bit of this color to make it a little brownish. So you can try out different combinations to see what works. Yeah, let's do that together now among mix, a little bit of the yellow ochre do it. I think we need more yellow cone. This greenness. Not as bad as what it was earlier. But still it's too bright for us for the screen. So let's try adding a little bit more of the yellow ochre. You can observe how the colour changes after drives rape. It was initially when both of them hard to distinguish between the two, but now you can see such a big difference. So, yeah, that's the thing with black paper, the colors end up looking different from what you make. So it will take you some time to realize what to make so that you can get a certain effect on the paper. And let me try this now. This is much better of brighter green, but it's more OT. And mix a little bit of this to the green. Just a little bit. Just to make it a little brownish. Yeah, I really like the screen. This brownish matcher looking green. So we'd be using this. So I'll mix the screen along with yellow ochre, a little bit of this bubble that we've already mixed. So let's get started with the painting now. 10. Pink flowers - composition: For this painting, I'm gonna use a Filburn brush, a size. Do I really like the shape which is a little grounded, but it's also flat. It makes it much easier to get strokes for flowers without getting hard lines. So let me show you what I mean by that. So if I take a brush and I'm going to be something, I get these sharp lines right? Now we can try the same thing with the Filburn brush. And you can see that when I press it around dish as well as it has a form. So I can even do this. So not just flat like this, I can hold the brush like this as well and get the thin strokes and flat and get these trucks. So you can get a variety of strokes with this. And if you just do that, you get nice little ships. So let's play with this brush. Mad. If you don't have awful broad brush, that's totally okay. You can even try with Iran brush. And I, as I showed you, there's not much of a difference. Only thing is you lead broader strokes so you can drive the bigger brash and work on that. So let's get started. I'll start with this one. And I wanted to like this here. And then maybe I'll paint this one like this as it is, or I can just being one of them. So let's see. So if I want to teach, what I'm gonna do is I'm gonna start from the top and then work my way downwards. And if I wanted length this, I'm gonna stack from your, I don't want it to be too much on the top nor too much at the base, somewhere in the middle. So let's start this. Let me mix a little bit of the color. Okay, since we're starting from the top, I've been these flowers first. And we leave this just like bad because we're going to add green. Yeah, I'm going to meet these ten strokes. And let's do the same thing here. Just pull it down. So if clean the sine. And again, very irregular and random, but we want to keep it glows like that. Then let's try one here. With this brush you can, and so you'll get a different effect if you paint this way and if you've been this way, you'll get a different effect. So make use of that. See this nice shape you'll get and fill this gap you're a bit. As we go down, let's make it a little broader. We wanted to go like this, right? So I'll make sure I painted somewhat like this. There are some flowers and odorless words, so I'm going to add some color here so that it doesn't look too empty here. There's one here. Maybe here. Maybe. Just to make it tonight on top, will add the green here later. Just to make this ticket at the base and just fill the spark. I think that's enough. You can see this is bigger than this. That's because we want to cover this whole sheet. So we can't keep it as smallest if so, we have to scale it up a bit. Let's do the same thing for this one, because I want to paint two of them together. So let's keep this a little on DOP, something like this. This will have some green. So start from here. So you can observe, I'm pointing this, this side and this side basically, and some in the middle pointing upwards as well. So observe that even within the flower, this one has fewer flower extend this because they've all fallen off after drying. Let's keep it that way. Okay. We can add a little bit of the book. So let's make it a little darker. I'm taking the scholar itself and mixing it here. And I'm going to add it here in the warmer it, okay. It's not that busy. So let's add a little bit of the white dwarf. This is still bluish rate, so let's make this a little bit of this. Yeah, I think I'd like this. We can check it. So I'm going to add a randomly. It's not very obvious that I added this. And let's keep it that way. So it should give just subtle hints of given on this. Just Lipton strokes on a lead someone to the green now. 11. Pink flowers - painting: For adding the green, I'm gonna switch to assign store down brush because I want thin strokes. So let's start from the top, but this thing here. So just again, lose strokes that are bonding little outwards. I just want to connect these things together. And you can see there's a lot of green in between. So I made sure the tip of these flavors, it's fine if you don't connect all of the flowers, that's totally okay. Just make sure some users will. Not. Just adding some tens on the flowers. I think I'll switch to a bigger brush for this. But before we paint the leaves, let's add the stem and you can see that the stem is brownish in color. So let's make that two square into date, the same green because we need very little of it. This pink. That fear dynamics, Danio. And I'm going to add a little bit modal vector, the green. To make it Brown. I can connect this c that I don't want it to be too dark, a little bit more. Now, let's try a little bit more clear dish. Little by little and drank daughter everytime. So it'll take some trials and errors obviously to get the right color. But be patient and try it out. I think this is much better than this. So let's use that. We can go back and add a little greener as well if you don't like this color, or would it connect all of these just some random lines. I'm not drawing one street Lang, I'm just making sure they're all connected. But there are gaps for the flowers there. And now as I go down, bring it down then Berg, and now I want to go this reader. So just 110 Swift stroke and you'll get it. Okay. Make it a little tunnel. Now we need to add those leaves and I'll switch to a bigger brush for that. Switching back to my Filburn crash, which are used for the battles. Let's do this one. Right on top of the stem load some holding it like this. Not bad, almost perpendicular to the paper because I want a sharp dip. Then I press a collector. You can do the same thing with dead-on brushes. Well, let me do this side, one which is not visible, just lay that. This one is pointing. And on the other side, you see that this one is just right on top of this stem, right at the store and opposite state. So I think it's, it's alternating leg that so-called wrote many things which we don't observe when we just look at the plant. When you're painting, you do see so many more details. And I just enjoy observing all of that. So I'm gonna go back on this Brown and add little hints of the green because I don't want it to be too much of a different color from the rest of the gland. And hints of green over it might crash. You can still see the brown, but just adding little bit of green touches to that leaf here because I feel this part of the stemless bulging. So I just covered it up with the leave even though it's not there. And that's it. I'm gonna do the same thing with the other flavors. Well, and I'm going to skip that bad because it's very similar to what we done with this one. And I'll meet you after that. So we're done with this. I've added the leaves here, and I've added a brownish stem and added her little hints of green on this. And you can see that this flower is a little looser and there are fewer flowers on this compared to this one. But actually when I got in when epic these flowers, which was a few days ago, it was filled like this and that's what I wanted to debate. So that's why this looks so like a big bunch and actually like this. And these have dried up and so lots of them have fallen off. And also you can observe that the green I've used here as a living the fringe from the screen because I was out of the color. So I mixed a bit more and it's not exactly this green, but that's totally okay. It is very organic and I really like that. So we're done with this one. 12. Blue flowers - color mixes: For this class, I BEG these gorgeous bluish, purplish levers. I loved those structure of this one. Look at how street this and these branches. I think all of these had flowers in them and they're fallen off now. But I still like these structures. And that are a tiny birds yard and the flowers on the side. And I just love this colloid saw braid and publish blueish, very mild color which I totally like and I'm very eager to being this. So let's start by mixing the color that we need for this. We know that this is a bluish, purplish color, so we know that there's more blue and then Brink, but it has a purplish under, Don't do it. So I take the blue that we previously used. That is the primary blue, along with a little bit of primary red, which is this pink, pinkish mixture that we had earlier. So let's try mixing the two. So I already have the color here in my palate. And if it's dried up, just to add a little bit of water to it. So I'm getting a nice juicy blue here. This primary day desk where you can take any color that you have. Any blue and cool, blue and cold read, mix them together to get a nice purple color and, and a little bit more of the blue to it so that it is prominently blue, like this one. I'm going to put the color here so we know exactly what Columbia mixing. And a little bit of this to me, we need only a little bit of the pink. We don't want it to be more on the pinkish side. Let's test the scanner. I think it's too much of a dark blue red compared to this. But let me just show you what it looks like. So it's a pretty dark blue and it's also a log water. You can see how the colors D's and a burden. We don't want that. So let me also make some white and I'm gonna take my white wash becomes a little. Then the tube after some time. You'll have to put a little bit of force when you're taking it out. But it works well. It's not like the quality is compromised. It's just just needs to be the red again. So I added the white. Do this a little quicker. Now, as you can see, let's try this. I like this, but still, I think it's now do light and not this purplish color that we need. So I'm going to add a little bit of this pink to it to make it more purplish. Okay, this is pretty close to this acting. Lets try this. Unless this colored very close to this. But again, it's to war. So let me make a bigger portion of this mixture with so that they don't add more water, more alive, more pain to it so it becomes thicker. Let's test it and add a little bit of thing. Director, publish storm, stole bluish. Yeah, I think I like this. So let's get started with painting the flowers now. 13. Blue flowers - composition: As we did in all the other lessons, we'll start off by bringing the flowers and according to the placement of the flowers, we can adjust the stem. I'm not restricted by it. So I'm gonna take a big brush size then brush for this one because I want this to be as loose as possible. And since these betters our bloomed out like that. So I want to keep these gaps in between and on to dorm dawned make it look like one whole batch leg that I wanted to be spread out like that. So we'll keep that in mind. I'm gonna start with the topmost level. So maybe I'll do it here. So if I consider that, I'm gonna stack this hero, my stem hill, then MATLAB will be here, but I can't end it properly at all. No, ended with store flowers at them, but I want a little bit of the stem. So I'm gonna move my flowers a. Let me bid on the dock. So I'll meet the shot and add this flower here. So I'm gonna start my flower here. This one and this tool also more in front. So maybe I'll place them here somewhere. Ok, so don't take too much pressure about this. Just do what you feel. But just remember you don't want your flower to be right in the middle leg, but it has to be distributed over the paper, but not too much on the ends of the bid. But I do want the focus to be on the syllabus. So, okay, let's get started. So I'm going to start this one here. And I'm gonna just swiftly Preston eyebrow, brush downwards like that. Just like we paint the leaves. And since it's closed like that, I'm going to try to keep the steamship. And this one is a little coming out lambda. So that's it. So you can see how I've left gaps here in between rate. That is really important and that gives a definition to our flour. And you can see how i made these ends also sharp, just like this one. It's not the usual flower way does covariance mood that has these sharp ends here. So tried dorm, capture that as well. But I'm also making sure it's loose and it's not very precise, it's not ready to your lipstick. I want to keep it that way that it does quick and loose. And I'm going to add this one here a little bit to the side road. Okay. So just press it. And very swiftly move it like that. Because I want this to be pointed in this direction like this one. So that is important. Notice in which direction your flower is pointing. If you capture that, most of it is done. And that's it. Let's not make it too much with this. Now the third one, just below this, just random strokes, but I'm trying to define a flower like bad. Press it and swipe. And that's it. And it's not make it. You can also observe that the flowers start smaller and then they become bigger. So I've tried to capture that also. Okay, we're done with the flowers. I think three are enough. I don't want to add more. Okay, before we switch to the leaves, I just wanted to add a few highlights for these flowers. So when it's still semi wet, Digg or darker mixture of this, look at how this has crumbled up here. But that's totally okay. Just a little darker version. We'll take a little bit of white. And I want to add to the, to the end here, as you can see it a little darker there. So think it's not so simple. It's more population. So just hints of this. Only at the beers. Do the same thing to some gentle strokes because I want these lines, those tricks to be seen. And I'm not going over all of it just mostly at the BIS. And that's it. 14. Blue flowers - painting: Okay, while this dries up, let's make some greens for this. So I'm going to take the same mixture that we used earlier as the base. I'm gonna make some of this green. And I'm gonna add a little bit of yellow ochre to it. You can try this with any dream that you have. Mix a little bit of gentle or counterweight to dial it down and make it look more natural. And like this. But there's a little tighter than what we need here. So this is more than the brownish, pinkish side. So I'm gonna add a little bit of this pink. Let's check what this looks like. I think it's a little too dark, but let's just test it. Actually, I think I like this. Let me add a little bit of the yellow. Let's see. Yeah, I think this is good. I mixed a little bit of this pink along with this green and little bit of yellow ochre. And I got this nice green. So Dr. aiding the Armando from all the three colors that we used. And you'll end up getting different kinds of greens with just that. Let's get started with painting the greens. Now. I'm going to start by adding these base greens for our lost flowers. So I'm taking the size for round brush for this. Remember we have to keep this loose, so and this real quick. And the same thing here. I feel the side as protruding a little bit. But don't worry, we'll cover it up with this so that it's not obvious. So one good thing about painting flowers or painting in attaining nature is that you can just cover it with something else and make it look like it's part of nature. And that makes life so much easier. And you can't do that when you're painting buildings or something like that. Because one thing with nature is that it is imperfect. And that's what makes it so beautiful. And we can use that to our advantage and hoping things. So here I'm starting from the top, this one. And you can see I'm not made it rarely accurate or just mean these ten strokes and just join them. And let me bring it down. I want to bring it to the side so that it reaches this flavor. And I think I'll keep this Legato, this side. Let's see. So I get it down. And as we go down, meaning to make it a little stiff and see exactly like that. So it's not really curvy. That's what you can see in this stiff, hard stem. And let's show that. As I go down. Do this again. A little bend becomes thick. At the base. You can see doesn't look exactly like this. But as I said several times earlier, it, what we're trying to achieve is get the essence of the blind itself and not copy the exactly. So now let me, and these things here to cover this line. So just ten strokes. Join it, as simple as that. And these Bart press it fully like that for the bird. And the same thing here. And draw 1090. Then let's join this. And it's also ruffled here. So and that's it. Let's do that here. We can add this tiny ones. Just something strokes. Join some strokes here. And let's add one more here. Make it a little could refer it and leave these gaps in between somehow. And as we go down, maybe I'll just add this one, going like this. So just a line just so that I can distribute the debate. And this connects to this. That's not exactly walk at this hero, but that's okay for us. We want our composition to look beautiful. And we can make a few changes that Tolkien. And there are some tiny leaves here and there. And let's make this hall so a little spiky. Now. This one, you can see it's not waiting need and precisely done. Just giving a hint of this. Try to keep it that way. Because that's what this plan shows, that it has a lot of these ends which look roughly then spiky. So making sure that for creativeness, we can add one branch here so that it doesn't look like that. So let me add one here. Tiny leave some of these flat-footed and let me make this a little bigger. And that's just because I DO crooked. So I'm just collecting it. And, and then maybe add a tiny leaves. Even though it's not there. And that's it. 15. White flowers - color mixes: Let's spin some white flowers in this class. I've kept the white flowers for the end because weight is a little tricky to paint on black people. And getting your weight on this paper needs a little bit of practice. So now that we've done a lot of practice with different kinds of flowers, I think we are prepared to drive this. Should this jazz, I'll be using a Filburn brush. This is a say, store filled boat brush. I think this would be very helpful for getting these rounded ends of these flavors. One more thing I want to tell you why I chose specifically this one is that if you see these, they are all pointing in one direction on the flowers. And for example, this one is slightly upwards and click all of them are upwards in this and even in this. But if you see this one, you can see that some are pointing this way and some here and some are pointing towards us and some in this direction. So there's a lot of potential to learn with this one. So I chose this one. So we can also learn not just taking the flowers, but also beating them in different angles and in different ways because we can't see, for example, in this one we can see the complete flower. But in some angles you can't see the complete picture of the flower. And in some of them like this, underneath you don't see the flowers or clearly a doll. So I want to practice all of that in this class. All getting mixed the colors that we need for this one. But we'll mix it again so that I can show it to you. So first thing is obviously we need white. So let me clean my brush thirdly. And I've put some wind TO make sure brushes completely clean so there are no traces of any other kind of mixing but this white. So I'm gonna take a little bit of this white. I like this consistency of paint. But what you can observe is that as it dries, it starts getting transparent and the black of the people can be seen to it. So this is the same consistency is what we used for other colours. But why'd it doesn't work that way. So we need to take a little bit more of the white with lesser water. So a tickle piece then usually lets try it this time. So it's a little thicker. And I think this is better than that one. You could also take more beamed and make it to know pasty like almost like two based. And it's better to use fret of fresh paint when you do that, because it's easier to get to print when it's fresh then when it's dry because you have to add some more to make this weight and with that div and the consistency will change. But yeah, I got a thick consistency here. You can see how it stays on my brush. And let's try this. And this. You can see that this white is so much better than this one. But you can also go over this one. For example, just this. But, so when you go over it, and it will automatically make it tick and make it whiter. And it will also give you this layered effect. So if you want to short dew petals overlapping on each other, then this would be a perfect way to do it because then you can see Leo's clearly. And yeah, so maybe even this I'll make this a little tick. Yeah, I like this consistency, so we'll keep that in mind to get something. Really take what we generally painted previously. So that's for the weight. And now when you look at this closely, we can see that it has little bits of yellow here, almost orange. And you can also see that there's a hint of green on. So you see here in between the orange and white, there's a little bit of Greenland, a brownish mixture there. And yeah, so let's mix those two colors and also the green for the stem and the leaves. So I'm going to take this orange, yellow that we previously used for one of our flowers. So I'm contradictory. Just reinvented. And I'm gonna take a little bit of the white, clean your brush before taking the weight. And let's try it out. Similarly, ten. Let me just make some little bit more of this. Yeah, I think this is good. Maybe I'll add a little bit of white to it, eta. And yeah, I want you to observe one more thing, that this region is not completely orange. This, and there's a base layer of white. You can see that more clearly here. So there's white and then there's orange on it and then it gets darker here. So we want to detect that. We have to be careful with this because this is almost the same colors, this and to distinguish these battles, and obviously we need to search and have a closer look at what the other colors are there. So we have one of the colors now. The other one is this brownish, greenish mixture. For that, I'm going to take my green first, let me mix my green so that we can create the Brown from that. And I'm taking this dominant green. And I add a little bit of blue to it so that it has a color. Don't use this yellow ochre that we've been using in the other lessons as well, makes it. Let's test the green now. I think that's a nice green for this one called the Dream. You can see that item to add white to the screen to make it lighter. Because adding the yellow already makes it pretty light. And now for the brown, for this, I want to keep it more on the greenish side. So I'm taking a little bit of this green and I mixed it previously here, but I want to show it to you again. So it takes a little bit of this green and I add a little bit of this red, though warmish. Read that we have. Okay, I took too much of the red. I don't want to be so Brown. I wanted to be more than the green Greenish side. So let me take a little bit. This looks good. It's not too much of Brown, greenish side but a little darker than this one then this green and that's what I want. 16. White flowers - composition: Okay, we can pin this flower as a hole here in the middle of the page. And as usual, I'm going to start with the flowers first and then come to the stem and the leaves. Here. You can see that this and this leg in the same line. I don't want that. Maybe I'll just move them a bit while I'm painting so that it comes like that. Let's see how it works. You can see that some of them are pointing upward and some of them are pointing this way. And some of them are hardly seen. So we keep all of that in mind. And yeah, we'll start painting. Let me put this hero. So I think I'll start with this first and then move to this and then this. So I take my white a little more than usu. And before I start with the pedals, I want to create the head of the flower first so that I know where to point these two words. So just as a reference point and also because this has a little bit of white in it. And so you can see here. So if we add white first and then we go over it with the yellow and the green. Then it do look better, I think instead of adding the White later. And it loads obeys, give a reference point. So let me start here. So that there is some gap here from the top. And I'm going to make a very quick tiny semicircle just as a reference point showing this upper thing. And I'm gonna keep some offered black because the darker regions, we can use the black of the people to depict the darker regions. And let's leave it like that and stack with the petals. So I'm going to take my brush like this and bullet upwards. I'm not going to pull it down once like this because the brushes broader and it's day board here. So I want the ends of the pedal to be tapered. So if I do this, the ends of the pedal will be broader. And I don't want that. I want the ends of the pedal to be the code like this. So and do this. So let me explain that a little better. So for example, the same thing. I did this, right? So it's day pod here and it goes here. But if I had done the same thing like this, then the lenders heard. And this is broader. And it looks, it doesn't look neat and code like this. So we can use the potential of the brush in soft going back and making it around here. So we can directly do that. So that's what I'm want to do. So let me do that again. A little bit of it can overlap with the other one, just like the pedals overlap with each other. And coherence. And I hold a book bender color this time and the later one like that. That's it. I'll do the same thing for this one. Just nick. Em, so cool. Yeah, that's not really accurate or anything. Then just better. Swift came forward and said, let's try that again with this one underneath her and this one, the one she's a friend from these because the head does not seen only the bark from behind the scenes. So I can directly add the better. So let me add that from on-site. And that's it. Let me add one tiny, one hill, small semicircle. Then quickly. As you can see, none of these Class a perfect shape or in a thing. What I've been told. And that's totally okay because look at these, these are not all aligned neatly together, they are haphazard and we need to depict that. Let's go to these now. Lee's Hill. Again, I'm go small semicircle here. Swiftly. That's it. And we fixed it. So good. Let's do the same thing for this one. And it's blinding. So same, so Cu and one that goes up like that. And maybe ones. As you can see, all these flowers don't look complete trade now. They look in all beautifully shaped. But that's okay. Once we add darker colours, it will slowly take ship and add one here, pointing upwards without the head being seen. Maybe I'll add them here and add a small semicircle. Quickly pull up, make it overlap a bit on the previous one. This one has already short head. One more time. Big ones and then some smaller ones. Okay, I think that's enough. Will continue by adding these yellow dots. Do all of these. So I'm going to use my yellow mixture that I've already prepared. I'm gonna take a ten brush size still brush for this. And we'll start with this one. And just add two dots. Only at the dawn of the semicircle that recreated. And we leave some gaps so that the white is seen. And outside that semicircular, add few dots that we'll do the same thing here. Outside the semicircle, not semicircular shape should be visible. I mean, should be obvious visible. That said, I'm leaving the bottom part of the semicircle For the darker color. Let's do the same thing for this one, this one hand swearing. Let's do the same thing. Just some tiny dots, some gaps between the dots so that the white is seen. You don't want it to become one big blob. But this one doesn't have them because we needed very little yellow for this one. For this one. Okay. Given this one doesn't mean because we'll be adding directly. Then we'll switch to the brown mixed earlier, the greenish brown mixture for this, for some of the excess water. Really clean. Just step the bees merging a little bit with the yellow and little bit on the black span so that it mixes with that. Okay, I think that looks good. I just wanted to go back and define these white submit the stem and everything. 17. White flowers - painting: I'm taking the green that we already mixed this one. And let's start by connecting these together. So let me and coming to this one, taker to Nebraska for not come to the store, it's easier to get ten lines. If you take a stone, you can see that I'm warning it almost like a bend. And if I want details strokes, I tend to hold it closer to the depth. For this one, let's add the green Coulomb. So this semicircle gave some gaps. Then bring it down. So it makes it look like it's facing the underside. Connected. I like some of the leaves here. Building these games are super easy. Just press it and join it. Then brush for this because we don't mean Ready Big Leagues for these very tiny leaves. Let me connect this one. Let's do the same thing. For this one. I'm going to connect it like this fun. Let me bring it on down. Then what I needed, but that's okay. We tried to fix it later. So let me bring this connected. Join this somewhere here. Doesn't have to look exactly like this as I've said many times before. And then pull it down. This time as I go down, I want to leave some gap here. So I'll just add. And now let's fix this part. I don't want it to be so take a leaf out of it. And that's it. So I hit the stem mature stick with your brush. Maybe here because the Spark looks for me, saw and corner. And add one. Just a little bit good. Vbn, just trying something. And maybe add a few leaves here because I feel this is just one long straight line. I don't want that. So I add a few leaves here, not just one drooping, trooping this side. Going over the sticks them as well. And as we go down, the number of leaves increases. And it's also one big one. Maybe. It's actually just up to you, what you feel about it. Just based on your extinct. That's a major part of this is done. But I just wanted to go back over these weights and add a few layers audit because for example, this one I feel it's too crooked. So I'm gonna pick copies to this time. Just wipe off some of the Watteau and just go over it. This one. Let me do the same thing on this one. I wanted some more battles. For stem. We've finished this painting. 18. Final notes: I really hope you enjoyed watching this class and you painted along with me. Before I wrap this up, I just want to mention a few things here. All the techniques, the column mixes, the compositions and everything that we learned all through this glass need not be just used with Guassian black people. You can take this to any kind of colored paper and with any medium you can use watercolors, you can use anchor links, you can use crayons, colored pencils, anything, but the technique remains the same. So I'm very eager to see what you'll pain and don't forget to add it in the project section so that not just me are those can see and appreciate it too. If you share your pin things on social media, especially on Instagram, don't forget to tag me so that I can see it and I can also share it. Saw, this is my Instagram handle and I shared with some of my daily life and Video Tutorials and lots of inspiration if you're looking for flowers and landscapes, also, please let me know if you have any other suggestions of what you would like to see in my next classes? And I hope you'll join me. My futures can share classes. So happy painting by