Gouache and Watercolor Flowers: Old Masters Approach | Ksenia Annis | Skillshare

Gouache and Watercolor Flowers: Old Masters Approach

Ksenia Annis, Figurative artist

Gouache and Watercolor Flowers: Old Masters Approach

Ksenia Annis, Figurative artist

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11 Lessons (59m)
    • 1. Gouache and Watercolor Flowers Intro

      1:31
    • 2. Painting White with Watercolor

      3:28
    • 3. Art Materials

      2:58
    • 4. Gouache vs Watercolor

      9:42
    • 5. Watercolor with Undiluted Gouache

      12:54
    • 6. Other Techniques with Undiluted Gouache

      3:40
    • 7. Historical Note

      1:27
    • 8. Combining Watercolor with Body Color

      8:37
    • 9. Additional Techniques with Diluted Gouache

      9:24
    • 10. Preparatory Exercises

      4:06
    • 11. Class Project and Final Words

      1:02
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About This Class

Watercolor is the perfect medium for painting flowers, but it can be hard to control while preserving white and light areas of your flower and defining edges. If you find painting complex floral forms with watercolor challenging, in this class we will learn old masters' approach to painting with watercolor. We will talk about the method of incorporating body color into our paintings, i.e. combining watercolors with artist gouache, as did such painters as John S. Sargent, Winslow Homer and J.M.W. Turner. We will discuss the differences and similarities between these two mediums, as well as technical aspects of painting with both. Video demonstrations in this class will illustrate the process of working on various floral compositions.

Meet Your Teacher

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Ksenia Annis

Figurative artist

Teacher

While in college in Soviet Russia, I was told  that I have no talent for drawing or painting. I  pursued an architectural degree and for about 20 years worked as an architect for various firms in Russia and the US. In 2009, my dream of being a  professional artist overwhelmed the practicality of a stable office job.  Fortunately, Russian architectural training mandates serious study in classical drawing and painting, laying important groundwork for the pursuit of my passion. I dedicated my time to systematic studies at classes, workshops, live model sessions, and regular studio work. In 2014,  I founded my company, Tummy Rubb Studio, and my art became a full time business. I created paintings, illustrations and public art projects. My focus now is on helping oth... See full profile

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Transcripts

1. Gouache and Watercolor Flowers Intro: We all love flowers, but painting white or light colors with watercolor can be challenging since we have no white pigment. But there are various ways to do it using masking, taping, negative painting. But in this class, I will show you my favorite and I think most versatile method, it's using whitewash though help us. My name is Catania ins and this is my class, go Ashe and watercolor flowers. In this class we will study and compare Guassian watercolor properties and learn how to decide which material to use to our advantage when we paint wide or brightly coloured flowers, I will illustrate each technique and each application method with the demonstrations. And at the end of the class, I will give you some exercises so you can get a better grasp of this materials and pain to our class project, your favorite flower or floral composition of this technique is definitely not something you'll, painters have used it for centuries, but this glass demonstrates some modern approach by using bright colors and free-flowing, expressive watercolor application. This class is about using Guassian watercolour paint flowers. But of course you can use this technique for anything you want to paint. Let's get started. 2. Painting White with Watercolor: Welcome to the class. We will talk about painting White and brightly coloured flowers with Guassian watercolor. Why did I start using this technique? And why do I think it will be useful in your artistic arsenal? If you've ever tried painting with oils or acrylics, you will know that painting white or light colors is usually not a problem. We actually start with mid tones and darks, and then we'll leave lighter colors to the last end, we add highlights at the end of the painting. If we were painting with watercolors, we don't have the actual white paint. So what we do is we leave white paper in the areas where we need white. Very often it can be easier said than done because watercolor is water medium. It flows and runs, and sometimes can be a little bit hard to control. So there are certain methods to preserve that white paper in the areas where we needed. The first method that you see now is using masking fluid, also known as liquid first-cut. It's a polymer material that we apply in certain areas where we want to leave white paper and after we're done painting will remove it in painting those areas. This is a very effective method, but this method also has some disadvantages. When I start painting, I wanted to start painting and if I use masking fluid, I can't paint until it's dry and that affects the level of enthusiasm that I feel for this painting. There are some technical aspects. You can't leave masking fluid on for too long because it will bind with the paper and then when you remove it, you can damage the paper. And the third disadvantage, in my opinion, is that because using masking fluid requires waiting for it to dry, it will be very cumbersome and hard to use if you're painting outside on location. The second method, the preserve of Y to work to paint the light objects in watercolor is negative painting. It means that we will be painting around the areas that we want to live, white or light color. I used this method a lot and I will use it in the demos that you will see in this class. But using it by itself can be little restricting because you have to be really careful how you show the ages. The border between the white paper and the Painted area has to be painted very precisely. And to me it's a little restricting. Elect to work with a big brush. I like my colors to flow and mixed together on paper. So negative painting works for me to some extent, but not always. In my work with watercolor, I started looking for alternatives to just masking or negative painting. And I found that solution in using white gosh. I find this method very effective, very easy to use, but using white Guassian combination with watercolor allows us very easily to make corrections. And you probably know that making corrections and watercolor can be a little difficult. It's very easy to ruin your paper in your painting. So that's another advantage of this technique that we will learn in this class. I showed this technique for painted flowers, but of course you can use it for any subject matter you would like to paint. Once you get the hang of controlling, gosh, consistency. I use it a lot for portraits to add highlights and some details like little strands of hair for painting animals, especially white ones, for landscapes, for still lives, for basically anything you want to paint. 3. Art Materials: The pink flowers in this class, we will be using watercolor paper. If you have thicker 300 pound paper, it will work great. But this technique is a lot more forgiving than just pure water colors. So even a 140 pound paper will work fine. I use tubes of water colors, which I squeeze into my plastic pellet. The two brands that I like a Daniel Smith and Holbein, we will also need some watercolor brushes with only both round and flat ones in the list of materials that are provided for this class, you will be able to see more details about my brushes, the sizes and the types of Bristol is that I use and just a regular pencil to transfer out drawing on paper. And of course, artist goulash, the brand I use is m gram, and the color is called titanium white. That's the only tuba gosh that I will be using. If you have a set of gosh, maybe made by Reeves or he me, that's fine to the wider to have There can be used for this technique. Some additional materials that will need a spray bottle for activating our colors and also for dampening paper. Before we paint, we will need some paper towels for clean-up. I use masking tape to hold my paper down on my foam core board that I usually paint on and also use pushpins to pin the paper. And we will also need a little piece of spines. I will show you the stippling technique that I will use this punch form, we will need, of course, a couple of containers for water, or you always use 21 for Washington brushes and one for clean water. And I wanted to mention a couple of other materials that can be useful for this technique. If you have white ink, like I have here, Dr. peach Martin's pan white, they think is opaque enough to work instead of gosh, if you'd like to try that. And another material is white water called Ground. It's a polymer material which are not within the scope of this class, but this material is great for restoring paper if you made a mistake or you want to redo a certain area on your painting. So I just wanted you to know that this option exists and you don't have to start over if you messed up something on your painting. And now let's take a good look at the materials we will not be using in this class. The first one is masking fluid or liquid first-cut, the technique I will be showing you does not require any masking acrylic wash, also known as a Crayola. I'm showing you a tube made by Holbein, just as an example, is not the same thing. It uses polymer binders similar to acrylic paint, is basically acrylic paint without the shine, and that is not what we need for this class. We will also not be talking about whitewater color or Chinese white. That sometimes comes with a set of watercolors, debt materialists used for Chinese brush painting techniques to make watercolors lighter. And that material does not have the body or the thickness of white glass or the coverage. So we will not be using it in this class. 4. Gouache vs Watercolor: Let's talk about Guassian watercolor, and let's compare this to mediums and see what are their similarities and what are the differences, so that we can make an informed decision which one will work better for artistic purposes when we're painting our flowers. Guassian watercolor, I made from basically the same materials. They contain pigment and they contain binder, which is gum Arabic. That will be true for artists. Gosh, only I am not talking about acrylic wash. The cheaper brands will also have some fillers, but we will leave that out. We will assume that we're talking about artist grade paint. The differences that go ash contains more pigment and also pigment as ground and to larger particles. That's what gives gosh, it's capacity and also makes it more viscous, thicker than watercolor. Workers have a little less pigment and the particles are ground very fine, and that gives watercolor its transparency. And I should mention that not all watercolor will be completely transparent. Some paints are made to be a little more opaque and you can find transparency information on the manufacturer's website or in their catalog. Or of course, you can test them on a piece of paper and try to layer them and that will tell you how transparent they are. Another quality that Guassian watercolors share is that they're water soluble so they can be diluted with water and they can also be cleaned up with water. After we've painted with question watercolor, we can wet them and lift them off the page with a stiff brush or a piece of paper towel. And as I mentioned, the difference will be that go ashes very opaque. And watercolour is transparent, moralists so but transparent and also wash is viscous. It's thick paint. We don't usually use it for wide washes like we would watercolor and watercolors flowing and easier to apply on large areas. Wash of course, can be diluted with water to certain extent and we will talk about it in detail in just a second. If you've painted with watercolor, you will know that when it dries, it lightens and it becomes approximately two shades lighter. So it's very important to take that into account when we paint with watercolor. Go ash, on the other hand, is a little trickier. Light tones of goulash, dry little darker and darker tones tend to dry lighter. We will not be used in dark glass in this class, we will only use wide by itself or tinted with watercolor to light sheets. So we need to keep in mind that what we see on the page will darken slightly so we need to mix it accordingly. And as I mentioned, It's very important to paint swatches so you get more predictable results. You become more familiar with your materials and more comfortable using them. And now it can be a little boring, but it's very important to test your colors before you start painting. So let's do that right now. I'm going to paint some swatches, indifferent consistencies with watercolor and go wash with water column. We usually don't use it straight out of the tube. We squeeze paint. A palette if we use in tubes and we'll wait for it to dry. And after that, we reactivate the paint with our spray bottle or just by sprinkling some water from our brush that softens the paint and then it's ready to go and ready to be used. If you're using watercolor in little pans like these ones. You don't have to, obviously this quiz everything out anymore, but you still want to spray them with water to reactivate them and they will be ready to go. So even though we can very water call consistency to certain extent, it really is not going to affect the result that much because would pick up the paint from our palette. Let's use some bright yellow. And you know, we do awash with our color. And eventually I can switch to a flat brush to pick up more pigment to kind of increase the consistency of pigment. But I will still get only partial coverage with watercolor in even if I try a darker color. Let's see what can I use? It can use maybe some purple. You see it's pretty dark shade. So when I apply it, I can change the consistent slightly by adding a little more water. So I'm reducing the concentration of pigment and I can do it here as well. So this will be higher transparency. But if I tried to lower transparency of watercolor in a add more pigment, no matter how hard I try, unless there is some addition of chalk or some filler will not get complete coverage. Water column will still preserve certain amount of transparency him, even if I use more pigment and use it in more saturated, thicker consistency. But washes different. It has body, it can have some texture even though it's possible to dilute it with water as well. And what we do with Gosh, there will be basically took consistencies that we will look at in this class. So the first consistency will be fresh squash out of the tube. It's very important to have something clean to put it in or put it on nucleon palette will damp on my brush with clean water and I will slightly drive on my paper towel. And that's how I will use my gosh, straight out of the tube so my brush is damp but it's not wet. And my gosh, it's fresh out of the tube. So I pick up some glass and you can see that it has really good coverage. And it completely covers the black. And also, if you dry your pressure and more, you can get really interesting Dr. Russian effects with it as well. And also we will talk about using a little sponge I usually wetted as well and squeeze it out. Really well. Can even drive it a little bit on your paper towel. And if you use fresh squash with no water and adage, just pigment and binder. And then you can get some interesting stippling effects as well. So that's consistent, number one. And just keep in mind that once wash dries and if you try to reconstitute with water, you can, but you will never get this consistency because the gum arabic that's binding the pigment, we'll be diluted and the consistency the coverage is not is never going to be the same on diluted goulash as it is fresh out of the tube. That's why I squeeze out just a little bit every time I paint, not to waste my materials. I use it and then the rest of it can be used later. But for different application that I will show you right now. If we dilute, go wash with a small amount of water, it's losing. Its capacity is becoming a little more transparent, which has its purposes as well. That consistency allows us to mix goulash with watercolor. So if I add some water color to my gosh, And obviously with a little bit of water because I can't pick up water called paint without using at least a little bit of water, then we can paint with tinted by color. And basically because I can mix any color of gosh, I can have a lot of pigments and now also can mix them together and I can mix them with white guage. Might, possibilities are endless. I can pain basically anything I need with Beida color. And another application I wanted to show you. If you dilute your body color a little bit more, you can use it in calligraphy pen that you see now. And you can draw. I need a little more than this, but I can load up my page. And I can draw even sin lines and the levels flattering because this is too shallow to pick up without the brush. But you can also use Guassian water column mixture mm in a calligraphy pen to do something like this. So these are the two main consistencies of guage that we will be working with in this class. So consistency one is straight out of the tube and consistency to is bidet color diluted, gosh, by itself, or mixed in with watercolor pigment. 5. Watercolor with Undiluted Gouache: Let's just go wash and its first consistent cis straight out of the tube and pain this wide basis. If I weren't using masking, I would have to mask all the white petals, weighed for the masking to dry and then start painting and then remove masking and finish my painting with this technique, I can start painting right away. Let's start working on the background because I don't want the pain to sink into the page right away. I sprained my paper with water and I'm painting wet on wet. I'm using the flood brush. It will release a LACMA pigment on the page, then a round brush. And I wanted a lot of pigment because I want my background to be dark. That will make my wide basis stand out a lot better. I'm using basically every shade of green I have on my palate. It triggered doesn't matter which one you use. I think the most important thing is to have variety of greens that makes our painting to look more interesting. And also some blues will work as well. They will add depth and grade the illusion of space there the foliage is behind the basis. And now that I have some pigment on the page, I can sprayed from my spray bottle and kind of make it move and mix on paper. That's the greatest advantage of water color that you can move it around. And basically your background faux paint itself. I'm using a 140 pound paper, a 100% cotton. So it's predicts started in it can withstand a lot of water and a lot of regression and the wiping with paper towel. And next thing I need to do is pick up color in the areas where I will have my bases. So if color doesn't come off really well, I can reweight those areas and just pick up color with a clean paper towel. So I didn't use pencil drawing. I'm kind of drawing with my paper towel because I don't want pencil lines to show. And I can add if I'm a figment of the background now, I know where I need more pigment and trying to work around those areas that I've dried with my paper towel. But again, or can very freely, I don't have to worry about the edges. I don't have to paint very exactly between those flowers. So that's the beauty of this technique that gives you a lot of freedom and spontaneity. Again, sled brush is important because I want a lot of pigment. And you can start working on the stems a little bit in a few details here and there. Let the water called a flow and do its thing. But what it does this and now I need to let all this dry before I continue working. Okay. So we have Dr. background and now let's work on the flowers. I need to paint the centers. I didn't draw anything but. It's pretty simple composition I think. And I mean, if one flower is a little different size on no different place, it doesn't really matter, right? So we can make it work. So I'm going to paint all the yellows centers and using a smaller brush. And I'm using watercolor straight out of the pan because I want a lot of pigment Again, I want everything to be brighten, juicy. And every time you touch a pallet, you adding additional water to your watercolour and that's what adds transparency to your paint. The little yellow to the background as well. It gives us routinize kind of sunlit effect. And you can see some of the leaves in the background have some sunlight on them. And again, I'm not worried about details or painting things very exactly because that's not the style of my painting. And I see that those centers of bases have a little like a green band around them. What are the petals are attached? So I need to pay him that as well with my small brush. So at this stage I'm working around my flowers. But like I said, I'm not particularly concerned about edges because it all is going to be done with whitewash straight out of the tube. So some details but not traded Warren about details. And again, I'm just going through all the greens that I have on my palette to throw the blues and yellows. And it all adds variety in interests to my painting. That's the beauty of what a call because all these colors will mix and work together. Okay, this is the second stage of my painting. I'm going to let it dry. And then next stage requires my palette to be clean and my water typically and I went and changed my water because I'm going to work with white glass. If you remember, we're going to test consistency. Number one, I wanted to have maximum coverage and for that, I needed to be fresh out of the tube with minimum amount of water, just a damped brush. This goulash is very viscous. It says viscous. That can be, I am applying gosh, with a pointed brush to paint the pedals on those bases. And again, I'll remind you that my background is dry. If I start doing this on web background, wash will run and I will not get those sharp edges on the pedals. And you can see my painting is starting to take shape, or this phase is magically appearing on the page. I forgot the little green band on one Daisy. So I'm going to go back to watercolour and painted. I don't have to work on one and then the other can go back and forth very easily around the pedals. A little bit easy was pretty huge. Okay, and I don't have contrast in my painting, but I don't think it's enough. I want my basis to really stand out. So I need the background to be darker around the daisies. And now I'm going to do negative painting. But it will not be as restricting and scary as if I had only watercolor on the page. If my paint Ryan's somewhere or a smudge it accidentally, I can always go back, wait for it to dry and go back to my goulash and restore the white and the sharp edges on the petals that I have so small brush, I'm going back to watercolour and I'm just darken in the background around the bases because I want them to be the focal point of the painting. And the ones in the distance. I don't want to do too much to them because I don't want them to compete with the ones in the foreground. And now I added a little water to my Glass and I'm splatter in it on the page. It works really well because it gives an illusion of depth, sunlight on the leaves, a little splendor. So here while moving into consistency number two a little bit. And now you see that once it's dry, it kinda blends with the background a little more in those platters. Don't stand out quite as much. The Little League, I had watercolor run into my wet wash. So I'm just going to touch up a few petals to make them sharper. And some of them, I will leave not quite wide with little blue tint because in a light falls differently on those petals. So some of them will have like little pendula shadows on them. You don't want them all to be uniformly wide. Alright, the last thing I need to do is in the stems. Here we are going into consistency number two again, into body color. I mixed some sap green watercolor with whitewash. And I'm going to pin those stamps on the daisies with a small brush. We will talk about mixing goulash and watercolor in more detail in the next video. But just for now, in this painting, I used it very sparingly just to paint the stamps and a few grasses in the foreground of my painting. A few final touches darken in just a few small areas of one those days is to previous. And to achieve that, I need a lot of contrast. So I need the background to be very dark in the petals to be bright white. But basically the painting is done all those details. You know, it's just icing on the cake, but important for overall effect. I have a little diagonal movement in the painting with the daisies. Some just enforcing this, my dark accents that diagonal and bring it into viewers attention and guide the viewer's eye to my focal point, my basis. And again, I'm very migraines using greens, blues, and turquoise to add those exons because you don't want to use the same paint everywhere. It will look too boring. You need a ride him. I really need to stop. The painting is done. And here are the daisies painted with the first consistency of goulash that we look at in this class, Guassian, it's consistent, says straight out of the tube with as little water added to it as possible. To summarize what we learned in this video, it's important to keep your past clean in the field, working with whitewash, even slightest inclusion of watercolor pigment will darken it. It will not dry, bright white. And we're using what goulash to bring whites back to our painting so we need to keep everything clean. Use into water containers is very important. I use one to wash my brushes and the other one for clean water. Because as I said, I don't want any pigment and collusion clouding my bright white Guassian. And for this technique, we need fresh squash straight out of the tube because that's the viscous, very opaque consistency will give you bright white, sharp edges and good coverage. If you tried to reconstitute dried glass, you're bringing water into the gum arabic Bender, and it's not going to work the same way as fresh squash. 6. Other Techniques with Undiluted Gouache: In this video, let's take a look at that. The techniques with pure white goulash in its undiluted consistency. I'm showing this orchid as an example of how you don't not have to pay in the whole petal width, wide goulash. You can paint the flower with watercolor and then just make small corrections of the ages. And we all know how important ages are in painting with white goulash. It works great and it's going to make your life as watercolour artists a lot easier. So I painted the background with watercolor. I left white paper where the market flour it going to be. I did not worry about painting around the edges very precisely m, I painted those beings centers on the orchids with watercolor as well. But then I lost a portion of those big white petals on the core kids. So I took and diluted void go Ash and I corrected just the age of the petal. And now also Hoover darkened those buds that their kid has. So I made a small correction there with white goulash mixed with green watercolor. And then I continued painting my background, doing negative painting around the flour and was able to successfully finished my painting. And here's another example. Those pianists will completely painted with watercolor. But again, I lost some of the edges and made small corrections with pure white wash. And I also edited a few highlights on the crystal vase crystallised kinda hard to pain because you have to save the highlights in it has a lot of highlights because of all the facets. For me, it's much easier to restore them instead of trying to paint around them and try to save them. And thickest consistency of guage gives you good coverage enough to cover even dark colors that you might have in the vase. And this third example combines several techniques. Again, I painted the background with watercolor because I wanted it to be soft and blurry. I painted white flowers on the lilac bush with pure white gosh, fresh out of the tube. I'm mixed white go Ashe with a little bit of blue watercolor. And I painted the blossoms that are in shadow. So i used by the color for that because some of them overlap the background that already painted. I also used a bit of green body color to restore some of the branches. And the last technique I used for this painting was stippling. I want to make sure that you know that you can apply. Think gosh, not just with a brush, but also with a sponge. And you get great results. You get dabbled sunlight in the background. You can paint small flowers with it. And if you have a large flower, you can paint Poland that you sometimes see in the center of the flower. Respond works great for that much better than the brush. So that's another type of application that we can use for our flower paintings. Let's summarize what we learned in this video before we jump in and start painting, it's important to look at your reference photo op and analyze it to decide which areas need transparent watercolor, which areas need semi-opaque material, and which areas will be painted with completely opaque, fresh squash. After we decide that, we can also think which application techniques will work best. Do we need to use a round brush? Do we need to use a flat brush? Maybe we should use some stippling With his fine. And in subsequent videos of this class, I will be showing some additional techniques. So let's move on to the next video. 7. Historical Note: The combination of Guassian watercolor is by no means a new technique has been used for centuries. In this video, I'm showing you some examples of Old Masters paintings where they used watercolor with white go Ashe, and I'll set the bidet color in those days, this technique was a natural choice for those painters. When those artists worked, they didn't have masking fluid. It's a modern material. They did use wax. Pencils is resists to preserve some areas of the painting, but especially when they worked outside, what goulash was easiest and most natural choice to restore whites and lighter colors in their paintings. Acrylic co-designer Bosch, is also relatively new invention at the period in 19 fifties. So the guage that old masters used was artist goulash. It had the same binder is watercolour, gum Arabic, and so it worked perfectly with their watercolor paints. Here are a few examples from a modern masters. Steven Kotler, Qi is a landscape painter from Colorado. There's examples are combination of watercolor in Galatia, but he actually works with all water Media, acrylics. Casey in watercolor, goulash by themselves and in various combinations. And I think it will be important for us to learn from this great masterpieces in the believe it's worth our time and effort to try to apply these techniques to your own artwork. 8. Combining Watercolor with Body Color: In this video, we will talk a little more about bidet color. As you saw in the daisies demo. By the color is in a pink color. It's whitewash, tented with watercolor pediment, and it's used to paint non-transparent areas in our painting. In this demo, I will be painting rose HIP flour, and I will be using body color depicting the pedals. So it will be much larger areas of body color and you will see you how I will mix it with water color and also how I will be using watercolor on top of it. I will start this painting executive, same way I started daisies. I will paint the background with watercolor and working wet on where to very loosely with a large brush. I tried to paint a little bit around my flower, but I'm not too concerned about the edges on not letting paint run into that area because it will all be covered with a pink color. I'm going to speed up the portion of the video because you already saw in the daisies demo how I pay in those backgrounds. This one is very similar in the way that I started. The biggest difference that I'm going to add a few more details. I have some leaves that are closer to us, so I need to detail them a little bit. But the principle is the same. It just pure watercolor, lighter tones for sunlit areas and cooler tones of green and blue for a shaded areas. And before I start working on the actual flower and get to do two things, I need to let the background completely dry. I don't want any paint seeping into my flower. So I need to clean my palette and change water because I don't want any green paint. Mixing accidentally into the white glass and paying quarter column mixture in a even squeezed out a little bit of fresh author pink watercolor onto my palate also won this pigment to be very pure without an accidental inclusions. And also using this fresh pigment will help me to reduce the amount of water in watercolor and goulash mixture and give me better coverage or will not be breaking up the binder in those paints. But before I start working with violet color, I need to paint the center of the flower, so I'm using pure water, call for that. My yellow, that's called new combos. And now let's start petals. Now the edges become very important. I'm looking at my reference photo and trying to carefully follow it as regards to the shapes of the petals and the ages. At the intersection of green and pink, you see one shiny area on the green there on the leaves. I waited for the background to drive, but one area. So I have to be careful when I paint around it. So important not to let the green to sip into paint. Okay, now I am diluting or my watercolor little more. I'm used no ECMO pink because those petals, they get darker. You see on the shaded side song, I need more water color. So the Vita Cola kind of gave me the basis for further development of those petals. And now that I have good coverage against which the pure watercolor and applied in the areas where I'm most saturation for core shadows. And also where I need to paint all those little cast shadows between the pedals. If I didn't use body color to start the way I started this painting, it would be very hard for me to work with pure water call at this stage because it's transparent and has no coverage. The focus shadows, I'm adding a little bit of cobalt blue to the mixture to cool it off. It's a close-up of the flowers. So there are a lot of small Neil answers, small shadows on the pedals that there is no shortcut sewing it to just paint all those details. It will take awhile, but hopefully the result will be worth it. And you can see I used up all the dark pink that I squeezed on the pigment, I mixed it with blue. So now I'm going back to my wells to get pure offer pink, but I already have my basis over the flower. I covered the area with opaque white colors. So now it's just a question of painting all those small nuances on the pedals. Because all those little shadows we'll take our flour from being a flat kind of illustration style of painting to a realistic three-dimensional painting. And with protocol, it's possible to work wet on wet as well like we do with pure water color. The petals didn't dry yet, so I am mixing and colors into that web mixture. And I can add white and certain areas where the pedals are lighter. And if any of them to the darker, then I will get drop-in and some water color. This technique of fainting flowers is kind of similarity traditional Chinese painting technique for flowers. But instead of Chinese white, white water color, I use whitewashed. There's a little but down below. So I'm going to add that real quick because I don't want my flower to be the only Pink sang painting. I want to balance it out a little bit with their low Bob here on the bottom. Alright, this is our flour. It's in place now, a lead and drive. And all I have left to do is add a little bit more details on the flower. You see the famine in the center. They cast shadows. So I need to pin that with a small brush with very saturated watercolor, basically pure water color pigment. So just a few small details. I'm adding a little bit of texture to the parallels because they have like little of ranges from good to add that, but that's just really fiddling with the flower is radial, but just a few more small details. I also mixed the yellow water color pigment with a little bit of whitewash to give even more definition and details to the center of the flower. Somebody color in this painting is used not just for the petals, but also for the Center for the stamen. And the is not all yellow. There is little green shade in the very middle of it, so we need to pin that as well. And details are important. Ok, so my painting is ready. Here's an example of kind of reverse painting. The flower, I painted the background first and at Painted the flower on top of it, the flowers much lighter than the background. It was possible by using, by the collar and mixture of white goulash without propinquity or color. And then adding some details with other water color pigments and achieving very detailed, realistic crews out fairly quickly. And the things I wanted to bring to your attention one more time, because they're very important, we need to remember that watercolor will lighten at least those shades after an dries. So when you work on the background, keep that in mind. And also whitewashed mixtures will slightly darkens. So you might need to go over certain areas with maybe pure white glass, but also if you have a slightest inclusion of other pigments in the white wash, you will not achieve that luminous, bright white effect. One glass drives. 9. Additional Techniques with Diluted Gouache: In this video, let's take a look at a couple of other application methods that we can use for diluted Guassian. And now this subject does not strictly speaking, a flower and just some dry weeds or dry flowers, I guess. But I think it's a very suitable subjects for the technique that I'm going to show you. Depend them. I will need to use very thin white lines. So I think using a calligraphy pen with diluted glass will work great for the subject. I will start in my usual way. I'm going to activate my watercolors, spray my paper. So my watercolor will flow in max by itself. And I'm going to paint the background. I wanted to be colorful, but at the same time I need pretty saturated colors so that my white lines will stand out and be visible. Important they use a flat brush so I can pick up a lot of watercolor pigment. I'm using lemon yellow, permanent orange. Again, here it's not about using some specific pigments, exactly the ones that I'm using. We can be very creative with the background and just use our favorite colors. It's important to have a high saturation of those colors. You see I'm adding some turquoise and some cobalt purple. And it's important to work fairly quickly. You will see here in the second of a lead, all those colors float and mix together And they won't do it if I let them drive. The bottom portion of the reference photo is quite a bit darker than the top. So I'm using a fellow Blue, which is a very staining intense color. And once I mix it with permanent orange, I get a really nice dark green color that works for my subject. And I'm going to spray all this from my spray bottle. And I'm going to tilt my paper so that the colors will all float and mixed together. And I can add a little bit of water where I needed. Okay, this is the first layer of my background. I'm going to let it dry. Of course, after it dried, it lightened quite a bit. So I'm going to do second layer because I need more instances, Tim, I think this time instead of purple, I will use our corruption. And I think I'll add a little more yellow just to make the yellow more intense. It always gives your painting more cheerful mood. It kind of as a little sunshine to your background. And I'm also going to darken the bottom a little more with fellow blue and maybe throw in a bit of cascade green. I am using a big round brush for the second layer. And it can even turn my page upside down so that dark color will float towards the top of the page. It's really impossible to reproduce this with a brush. You really need to use a lot of water and let the colors do their own thing. Next thing I'm going to do. I'm mixing my favorite dark mixture. It's magenta with tallow green. I get really nice dark, kind of purplish color, but does it dark colors or color combinations will work as well, of course. And I'm going to paint the stocks, the dry seed pods and the leaves. I'm using this small Mach brush and I'm holding it kinda vertically, so I have good control. This way I can make my brush strokes more pointed and have more energy. And similar to the style of Chinese brush painting at this point, just using the reference photo is inspiration. Because I mean, it just Swedes. We don't have to be super precise. I'm just looking at my painting and trying to do what's best for my composition, keep everything balanced. Those stalks there in the photo don't really have any leaves, but I think it in some leaves will give more variety of the form. You don't want just to have like lines every layer. So I'm going to add some leaps in again, I'll remind you my background is drive this point. I don't want anything to flow DMX anymore. Ok, and now it's time to work with our whitewash. Have a clean cup where I'm going to squeeze out a little bit of fresh squash and also have clean water. So I'm going to mix it. I'm going to mix it in a couple of wells. I'll try to make one mixture alone more glass and there the mixture more water. So one will be a bit more a peak and the other one will be a bit more transparent. Okay, so I'm loading my calligraphy pen. I have to use a brush to loaded because they use those shallow wells. But if you have like a little carpet will be easy. You can just dip your hand into the cup. Again, I'm kind of using my imagination, drawing all those white clusters, I guess we'll call them those dry flour heads. And then drips some. But that's okay because I will be using sputtering technique anyway, so I just pick up the drops when my paper towel, it's no big deal. And one side of the stock also has some light on them. So I added that is well, OK, small liner brush. This flower has, have little dark seed pods. I'm going to do that with a small brush with my dark mixture. Painting, something like this is really fun because you didn't have to be super precise and you can be really creative and just let your imagination takeover. Those sunflower heads have purple centers. So I mixed a little bit of mineral violet into my white. Wash by the color will work great for those and get light purple color. Maybe I'll add if he'll lidar leaves and just for variety here and there, I think I need more like lines against switch into my calligraphy pen. I could've used a small brush for those Flower heads, but calligraphy pen gives you really good control of your life. I think it's easier to use than the brush. Don't listen, you have to reload it pretty frequently. Okay, let's do a little splattering. They're also give our painting a little texture and interests. And you can see, I spray just a little bit of water on some of those trips and they started floating and got softer and some of them I left on dry papers. So that will drive with a little more defined ages. And I think all this contributes to visual interest because you don't want everything to be the same and you're painting, that's too boring for the viewer. And we'll get splattered are the colors may be used, little orange, watercolor and splatter it on. It's all up to us as the artist would just look at the painting and decide what looks best. We're not obligated to follow the reference photo or anybody's instructions. I think the bottom of the painting can be a little darker. It will make it more dramatic. It will kind of grounded. So I'm going to darken the bottom with my dark mixture, magenta with yellow, green. But basically everything's finished. And here's the final result. Colorful dry flowers painted with watercolor and white goulash. Let's review a couple of points that we'll learn from watching this demo. When we paint with water color, we don't have to control it all the time. We can get very interesting effect if we just let it flow and mix on paper. And we get that by tilting our support, our paper. And also, when you look at the subject that you decided to paint, Find the best tool for the job. I had to paint a lot of thin white lines with a lot of control. So I decided calligraphy pen will be the best tool for this. And also the size of my painting was relatively small. It's only ten by 14 inches. So fine tool work better than a brush. And also instead of trying to paint every single seed pod with my brush or a pin, I used the sputtering technique, which added a lot of energy and spontaneity to my painting. 10. Preparatory Exercises: Throughout this class, I mentioned a few times how important it is to do some preliminary work before you start painting your subject. And in this video, I would like to briefly summarize the things you can do to get more predictable results with your painting and also to have better control of your materials. If you paint with Gosh, it's a good idea to test it in various consistencies on a scrap of paper, like I showed you in the previous video that will give you a better feel for the material and better control of it. Because watercolor and goulash darken or lighten when they drive, it's also a good idea to paint color swatches, let them dry and see how they changed and if the mixture that you used will work for your chosen subject. Also, before you jump into painting your favorite flower, I know we all get excited and want to start it on our painting as quickly as possible. But it's a good idea to pause for a second and analyze your reference and kind of in advance, decide where you're going to use column washes, where you're going to use pure goulash to bring back the highlights or add texture in. Where would you use body color, which will give you good coverage? And that way the result of your painting will be more predictable and you will probably save yourself a lot of frustration and wasted paper. Here I'll show just a few examples of my paintings and I will briefly analyze them for you so you have a better understanding what it means to analyze your reference before you start painting though this apple blossom, when I look at the reference photo, I see the background is very blurry and soft. So water color will be an obvious choice for those soft washes where you can drop color wet into wet and achieve that soft defect. So that's what I did for the background. The flower petals semi-transparent. I tried to save paper there and they painted them with watercolor. But of course the edges were a little messy. So I made small corrections of the edges with wide goulash. It worked perfectly for this purpose, the leaves are not transparent, they are pretty thick, so body color, white goulash, mixed with various shades of green watercolor works really good for that. And also the branch itself. I painted it with watercolor, but it was way too dark, so I was able to slightly lighten it and bring it to where it needs to be with a lot of dark water column mixed with just a little bit of white goulash. Here is another example, sunlit background, watercolor is light and transparent, so it works perfectly for that. I lost some of these stamps in the process, so I brought them back with body color, whitewashed mixed with green watercolor and yellow watercolor as well. Darker areas were painted with watercolor using negative painting. And then I added leaves and small grasses with Beida color as well. And then I used pure white goulash straight out of the tube and spines to add texture to pin those. I think they're called blow balls on the dandelions. Thick white goulash on a sponge was perfect for adding texture to the dandelions. And the last example is this bouquet background is watercolor again, because it's soft and blurry and needs to be pushed back. So I needed really dark color there. The jar itself is transparent, so that's watercolor, as well as those semi-transparent flowers, the white and pink ones. They were painted with watercolor with small corrections of the edges with white goulash. But the stems and all the grasses and little leaves would be very hard to paint with just water colors. So I used body color, began whitewash mixed with various shades of green watercolor. And that's how I painted all the leaves. And then I added those little white flowers and the UN, a little bit of texture that I have on the background kind of imitating dabbled sunlight. I added that with diluted whitewash that I splattered on my page using a brush. 11. Class Project and Final Words: After you completed the exercises as suggested in the previous video, I hope you give this technique and try and paint your favorite flower or a whole floral composition. Ostia painting in the project section, or just on social media and tag me and I'll be happy to give you some feedback if you want to get to them. If you would like to see more examples of Guassian and watercolor flower paintings head over to ten reps to use YouTube channel. There's a whole playlist called How to Pay in flowers and landscapes, where you can see these and a lot of other tutorials. And I hope you subscribe because I publish new video tutorials on what a media sketching and drawing every week. In the class materials, I included a list of free image resources, as well as list of my art materials in my favorite watercolors. Please visit them Arab.com to see my art information about all the classes that I teach, all the links to time, Arab studios, social media accounts and much more. Thank you so much for taking this class and they'll see you in the next one.