Introduction to Botanical Art - Eucalyptus Leaves | Cheryl Hodges | Skillshare

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Introduction to Botanical Art - Eucalyptus Leaves

teacher avatar Cheryl Hodges, Botanical Artist

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

Watch this class and thousands more

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

Lessons in This Class

27 Lessons (3h 49m)
    • 1. Introduction

    • 2. Basic Equipment

    • 3. Let's Begin

    • 4. Specimen

    • 5. Sketch

    • 6. Tonal Study

    • 7. Transferring your image with a lightbox or a window

    • 8. Transferring your image using tracing paper

    • 9. Paint Consistency

    • 10. Wet in Wet - the highlights in blue

    • 11. Mixing Green

    • 12. Wet in Wet - applying the green

    • 13. Working up the colour and texture on a leaf

    • 14. Shadow mix on leaf

    • 15. Another leaf, and how to hold your brush!

    • 16. A tricky leaf, behind the others

    • 17. Touching up

    • 18. Stem

    • 19. Finished. Or am I?

    • 20. Buckled paper? We can stretch it.

    • 21. Really Finished

    • 22. Troubleshooting - hard outline

    • 23. Troubleshooting - hard edge within a leaf

    • 24. Troubleshooting - lost highlight

    • 25. Troubleshooting - messy, overworked leaf

    • 26. Troubleshooting - cleaning up spills

    • 27. Conclusion

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About This Class

Introduction to painting botanical subjects in watercolour. This class will focus on painting Eucalyptus leaves, however the techniques can be applied to many subjects. I teach botanical and insect illustration and through this experience I've learnt the problems that you might come up against when you first start out with watercolour.

Meet Your Teacher

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Cheryl Hodges

Botanical Artist


Cheryl is an award winning Australian botanical artist with over 20 years experience. She teaches botanical and insect illustration in watercolour. She uses various watercolour techniques to build up her detailed paintings. With a focus on Australian native plants and insects, Cheryl hopes to inspire others to appreciate their uniqueness and beauty.

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1. Introduction: Hi, I'm Cheryl Hodges. I'm a botanical artist. I leave in Jerrabomberra, just near Canberra. I've been painting botanical watercolors for about 20 years and in recent years, I've also been teaching botanical and insect illustration. Through that teaching, I've realized that one of the subjects that students struggle with the most is leaves, and they are integral to botanical art. You can only avoid them for so long. So I've decided for this tutorial that I'll focus on eucalyptus leaves. There are many hundreds of varieties, but I've chosen something that I think is not to big, not too small, not too complex, but interesting enough to create a place in composition and still learn as we go. It is very much an introductory tutorial. So I will be talking about my basic equipment, setting up your specimen, doing a drawing and a tonal drawing, transferring that to watercolor paper and then beginning the painting process. with wet in wet, glazing and then dry brush work, also stretching the paper and then a few other tips and techniques along the way. I must say that for this particular tutorial, you do only need four colors French ultramarine, winsor lemon permanent rose and burnt sienna. In my basic equipment talk, I do discuss the eight colors that I use just for my general painting. But as I said, for this one, you just need those four or something similar. So whether you are a beginner or whether you have some experience, I'm sure that you will have something to learn from today's tutorial about botanical art and my style in particular. Please don't expect your painting to turn out exactly the same as mine. We could have 20 people painting the same subject, and the paintings will all be different, and they will all have their own merit. So you need to just work on developing your own style. I'd love to hear some feedback. You can leave some comments on this course. You can contact me through my website. I'm also on Facebook and Instagram. 'Cherylhodgesartist' and I do have some short videos on my YouTube channel once again, search for Cheryl Hodges artist. So I think the main thing is for you to enjoy the process today and practice, like anything the more you practice, the better you will get at it. So without further ado, let's get painting 2. Basic Equipment: I'd like to discuss the basic equipment required for botanical watercolor painting. First of all, you need to support a few paper. This is just a board that's been cut to size. You can use a thick cardboard. It's good to have this on a bit of fun. Lean a bit of an angle. Eso you need some sort of support underneath it just used a brush box. You can use a piece of timber paper. I use ash 300 years in hot press paper. I usually buy large shapes and cut them up. You can also buy pads in different sizes. It's important to buy hot pressed, also called smooth, so that you can achieve the detail we're looking for. In botanical art. Ash is 100% cotton rag. If you choose a different brand, just make sure you get 100% cotton. This allows the paint to soak into the fibers, and you can achieve nice, smooth washers, some papers or 25% cotton, and they find for certain applications. But for botanical art, you might be disappointed with the result. I think that it's your painting technique when in fact it's the paper that's the problem. You can get hip via a lotta paper. Even 300 years in paper will buckle if wishes, they replied. But a lot of paper will back arm. Or if the paper does buckle, you can stretch it at the end. Paints. I usually use Windsor and Newton artist quality paints. I do have a few other brands. It's just most important to me that they are artists quality. If you can't afford or don't want to purchase outers quality paints, that's OK, but you might be disappointed if you complete a really nice painting, and then you're not sure how long the colors will last, but just by the best that you can Ford In terms of color choices, you should be able to get away with about eight colors. Initially, you could mix most colors from warm and cool primaries. But as you go along your painting journey, you may find other colors that other artists recommend or colors that might be appropriate for a particular plant. You might be painting at the moment. The main colors. I use our winds, a yellow winds of lemon, French ultra marine, cerulean blue, Scarlett like permanent rise Ben Sienna and Permanent White Wash. What is used for details such as hairs, not for highlights. So there's air a good set to begin with. You should be able to mix most colors that you want from that basic sit with regard to sketch paper. You can use cartridge paper or photocopy paper. It doesn't really matter. Just make sure that it's the right size, and then you need some tracing Piper to transfer your image onto the watercolor paper later on. Brushes. I don't want to recommend a particular brand of brush here. A nice, round watercolor brush with a good Teepees find. I do use sable brushes, but they are often expensive synthetic brushes a cheaper, and they do a pretty good job. The largest brush over generally used is a size six. This is a six with a nice tip, and the next one I have is a four. I would usually use a three or four for a lot of my washes, and then when I get down to the finer detail towards the end, I use a small brush. This one's a 30 You might like something in between. These two, say a zero or a one. Just make sure they all have nice tips. Pencils, Uh, I have here a to H and ah B or an HB something hard and a soft, And then I have a blade to get a nice sharp point on the pencil. Of course, you can just use a sharpener, but the blade works better. This is just a plastic eraser that I've cut down and in a noble race that is invaluable for this type of work. When we have tape, it's a masking tape can be used just to tape your work to the board. And this is removable tape, which is very handy for when you're transferring your drawings and attaching the tracing paper with regard to pallets. This is just a china plate, and you place your paints around the edge. You mix them in the middle. Just be wary of plastic pallets as the paint conveyed, and it's difficult to say the colors that you're mixing also need just a rag or a piece of paper towel or a tissue. This is just cotton rag and a jar or two jars of water, and a rula doesn't need to be this big. So that's about all of the equipment you need to start. There are many other gadgets that you can get, but this should be enough to get you on your way. 3. Let's Begin: the leaves that have chosen to paint today, you could look dislike Koksal in. It's a fairly common species around here anyway. Eso Hopefully you will be able to get some live specimens if not off the eucalyptus Lou Cox Lynn, then something similar, and I will show you those leaves in a moment. It is much better to work from a live specimen if you can, rather than photographs. It's difficult to get enough information from the photograph. Um, also, if you can get access to a live specimen, if you're painting something that's taking you a few days or even a couple of weeks, it's good to be able to go and get fresh specimens so that you've got nice, fresh color. Having said that, sometimes we have no choice but to work from. Photographs were painting something like a threatened species or just a plant that we don't have access to all can't take with us. So in those situations, taken many photos as you can, more than you think you'll need, but also take a sketchbook along and take your water colors. If you have a little trouble, sit and get some color swatches down, try and get as much information as you can measure the different parts of the plant. Andi. Then hopefully you'll have enough information from all that. When you go back to your studio to paint a specimen. Now, you can also look online for more information or in reference books. Uh, for this particular plant, I have included some photographs, and I've also included my drawing, which you can copy if you wish, and I'm sure you confined Mawr images online that might help you as well. 4. Specimen: I have a few different cuttings here off the eucalyptus Lou Cox. Elin and I've decided this one is my favorite, so I'll put these two assigned. I'll put them in water so that I can still refer to them later. I have some phone call here that I can attach my specimen, too. To start observing specimen carefully. Take night off, where the leaves of joining the stem and what color of the leaves of a dull or shiny. Sometimes they a reddish edge to the leaves is the mid rib of the life. Prominent? Are the veins prominent thes ones? Not so much. Look at the ends of the leaves. There's some insect activity there and more on different areas of the life. It's nice to include a little bit of that without going overboard. Now we want to arrange a specimen into a placing composition so you can use tape or pins. Bluetec, whatever works for you today, I'm just going to use five waves, so I'll just remove these two. I'll start by typing the stem, and then I just want to work out what sort of composition looks good, and I can secure that in place. I wanna have that life going behind. That one's turning just slightly. I don't want to hide the end of the life behind to the other life. There are guidelines on composition, for example, odd numbers off flowers or leaves, so he we have five. Once you get over five, it doesn't really matter. But if you have two or four of something, it can be difficult to arrange. Okay, there are other guidelines, such as the rule of thirds the Golden Ratio. Um, I just like to have a balanced composition that's not exactly symmetrical. Just going to move the stem over a little bit. I think it looks a bit nicer having that flow down rather than straight from the top. If you do want a bit more advice on composition, there are plenty of art reference books around that you can refer to. Now's a good time to take a photograph. Your specimen may still move. The colors might change. If you've got flowers, they might well tore open. So I'll text photos with my phone, but also with my SLR camera that I can refer to later 5. Sketch: Now we're ready to Skitch. I just have added a little damp paper. Tell here to try to keep the specimen fresh, but as a settle, pop these couple into some water as well. Now you can use cartridge paper or a sketch pad. Whatever works best for you, I'll just attach this to the board here. I don't like to draw straight onto my watercolor paper because I want to keep that paper. Christine, I don't want to miss the surface, which could affect how it takes the paint. You may also see where you have a raised pencil lines on your final artwork, so I'm going to start by sketching lightly in a B or HB pencil. It doesn't have to be exactly the same as the spaceman, but it's up to you how close you want to get so you can measure the width and the length of the Les Aves. It just depends how accurate you want this to bay. I don't think I'll go all the way up the stem. It's a bit too long, so we'll just stop part way down there. So just sketching very lightly with my B pencil, you can measure the distance between where the leaves joined the stem. I'm just going to start by sketching just the mid rib of the labor. You can measure the pity home, which is the lace stork and the length of the life, and then transfer that to your drawing. If you're painting a plant that you're not familiar with, it's a good idea to research the plant to find out what the typical features are. And you know what the average length of the leaves are and the width of the leaves etcetera , so that you can make sure that your painting an accurate representation of the Spacey's. It is going to change the angle of this slightly just to make it flow a little more. That leaf sticking out quite a a straight angle. It's a funny little angle just there. I'm just going to make that midriff just flow a little better there, smacking with a late start. Now I can say these two leaves a parallel. Now that I look at it, that's a bit strange to May. So I'm just gonna move this one's slightly. I just care of it up a little more. And now that I've drawn all the mid ribs. I can start to draw in the margin of the leaves. You can see the two sides of the life are roughly the same. So try to keep that in mind here and there. That might be a little different, but generally there pretty equal. So there's some little imperfections, their little pieces off insect activity. It's important to include some of those. You don't need to overdo it, but there's another one very rarely in nature. We find eucalyptus leaf that hasn't bean eight and a little bit here and there is going to turn the end of that life slightly. So the slave coming behind just moved a little bit like to see the end coming out. It's also a little shorter than the others. And actually, so is that one just gonna make that one a little bit shorter as well? And I'm just gonna change the angle again a little bit further, make it come in towards the rest of the leaves. - So I'm pretty happy with these composition. I'm not add a bit more insect activity here and there, and we can talk about how to finish off the stem so that was all sketching lightly in the B . Now I'm going to go over all of this in a to H. I'm gonna add a little more pressure this time. I'm just going to demonstrate on this one life first. I'm hoping this would be clear enough for you to see what's happening. The idea is to get one nice firm outline rather than all of those little sketchy lines underneath. So a bit firmer pressure with the two h so that made rib gets a lot fina Towards the end, when you're doing these lines, try and swing from the elbow to get a nice, smooth sweeping motion. Now, with my notable eraser, I'm going to dab this to get rid off the be the sketchy lines underneath. And that should just leave one nice FIM to H at line. So now I'm going to go over the rest of the drawing with that with the two h, - I am having a little trouble drawing in this direction when you're working at home and you're not on video, you can turn the paper around to the right angle for you. That stem there is just a little thick sorry, I'll have to fix that. Now we're going to remove all of the sketchy lines and we lift without nice, clean to edge outline. If you remove a sketchy lan and you haven't gone over it in the two I hate you need to go back and touch it up with to age. If there's any more tweaking to do, now is the time to do it. So I'm just going to fix that stem now. So I'm going to use my plastic eraser and just to raise the bottom of that stem in public back in now, I just want to show you a couple off compositions using just eucalyptus slaves. This one here I did in 2003 a long time ago and and you can see I've just added some very pile waves in the background. It just gives it some dips. It's not the most detailed painting, but it really attracts people for some reason. My think it is that dips. This is a more recent painting, and I have used pale leaves in the background. But then I've also drawn in some pencil leaves in the background as well. So both of these air just to show you what you can do. Even though we're only painting leaves, you can still come up with a quite creative composition. 6. Tonal Study: Now I've set up a light here. Traditionally, the light comes from the left hand side, or sort of the top left at an angle, so this can help you find the dark and light on your specimen. And if you have time, it's really good to get a total study down. On paper, it doesn't have to take too long. This life here is very dark compared to the others. It's got some light coming from behind, so I'm not making this two day tiled. I'm just really It's just a bit of Ah map for me to look at later on and just decide where to have the lights and darks. You can move the leaves around a little to just get an idea of what can work on your composition. So it's a bit darker down the bottom, probably more amid tone down the bottom of the slave, and then they'll be highlights at the top. Once again, who moved that one a bit. You can just sort of say where you can popping the lots. This one is going to bay, but be DACA down that rot inside, and they'll be a highlight at the top here so more of a mid tone down the bottom and comply around with this. But it's just good to give an idea. And they'll also be a cast shadow. He which you can decide whether you want to put cast shadows in, and there'll be another one down here. They can just give it much more of a three dimensional effect. So if we have ah, um, a shadow down the side of that made read because those media rooms a quite prominent they will be shadows down the right hand side of most of those. I just keep that in mind. You don't have to draw them all in. Definitely. It's quite dark in the side of that one. So you've got the light coming from the top lift. So that decides where your shadows going to pay. So he will have a lot at the top and a bit darker down the bottom. But this one here is going to be much darker, so we're just talking that up even more so. That'll probably be the darkest on the whole painting, and then, of course, will be quite dark on the right hand side of the stem. And then just put this aside and you can keep referring to it as you're painting 7. Transferring your image with a lightbox or a window: Now we're going to transfer out, drawing onto our watercolor paper. This method is using a light box or a window. So first I'm going to attach my drawing to the lightbox. It's exactly the same process for the window, but obviously the window will be vertical. And then we get our watercolor paper and we'll tape that over the top. Just make sure that your watercolor paper has a fair bit of space around the outside off the drawing so that you have enough room for framing but also for taping if you need to stretch it. And I'm going to attach that using the removable type using a two age with a good point. And I'm just going to go Iva the outline off the drawing You need to be very careful with this. I'm actually going to put this tracing paper under my hand just so that the oils from my hand don't go all over the watercolor paper. So he would just transferring just a nice single line so that we have a good outline for our watercolor paper. We don't have sketchy lines. We don't have too much graph aren't sitting on the paper. Don't press too hard with your pencil because you don't want to have indentations in the paper. You don't have to go out and buy a light box. You really can do this on a window on a nice, sunny day. And if I'm working on something large, then I have to use my window. Anyway, just remember that we're only transferring. The outline were not transferring the shading. Okay, I think that so finished can just turn off the light books, take it away from the window and just check that you have when lines. And you could just refer back to that drawing just to make sure that you have transferred all of the details. It's easy to miss little spots and thats done. 8. Transferring your image using tracing paper: another method off. Transferring or drawing to your watercolor paper is by just using tracing paper. Now, this is very complex and time consuming, but it is worth it if you do have a very detailed drawing. So I've got my title study. I'm going to place my tracing paper over the top, but I'm going to write front on the front now. You will want to take this down. If it's a detailed image, I'm just going to draw one life just to give you the idea. So this first tracing that I'm going to do is with my two h and I want to follow the line almost exactly as close as I can get it being very, very careful, hopefully having a nice sharp point on my pencil. So that was with my to wage. Now I'm going to flip my page over, so this is the back of the life. That's the front flipping to the back, and I'm going to get my B or H B, and I'm going to go over the line exactly again, once again being very careful to follow the same line and hopefully have a sharp pencil. So we using obey or in HB because it's softer and will transfer more easily to the watercolor paper. So now we've got that image on the back. We're gonna flip it back to the front. Now we get a watercolor paper, and once again, if it's a complex image, you would want to tape it. Take the tracing paper onto your watercolor paper and making sure that you've got the front up we're going to use to H pencil and we're going to trace over that line one more time. So by using this pressure, we are transferring the B griffon it onto the water. Kala peta. Before you take it off, just lift it up and just check that the image has come through. Okay, that's pretty good. Now, with the to reach again, I'm actually going to go over the whole line again because what has transferred to the paper is be and it can smoothly move around. So you need a hard a pencil to go over that line again once again very carefully, going over exactly the same line. The reason we would use thes method is if we're drawing something really day tiled that where you can't see the lines through a window or through a light box so we wouldn't usually use it for something nonsense and simple like this. Now, using inedible robot, just dab gently and it'll take off. Be with the NH big run from from underneath, because that can result in a dirty painting if it gets smudged around page and then you live with a nice clain to edge out line, which is perfect for filling in. And this is an example off where you would need to use this. There is no way I could possibly see all of those lines through a light box or a window. Look at the detail in those flowers. 9. Paint Consistency: going to talk about our palate and paints and mixing our colors and also the consistency off the water color, which is one of the most important aspects of watercolor painting. So I've place the pain to ran the edge off the pallet, and then we just going to mix it in the middle. It's will stop with the largest color using a wet brush. It's pulling that pint into the brush, trying to scrub too much with you. Brush, rent, see brush and then deep into the French ultramarine rain. It doesn't really matter which color were using at the moment. I'm just more talking about our techniques. I'm just bringing across my clean water jar. So this is why I have to. So just using water. We're doing wetting wet first, so usually I would have an outline to feel in, so I've just placed water onto the watercolor paper. Now you do need to let that try a little bit. It needs to soak in a bitch. It needs to have a kind of a certain Shane, so you do need to just wait a little while and then we're going to get out Paint, which is still quite watery and just drop it in where we've placed that water, you can move it around there a bit. I'm just dragging it out to the edge was a bit hard to see the outline, and you can actually drop some darker pigment in their while That's still went. It will still spread. This is a really good technique to practice, with different levels of moisture on both the paper, ending the paint that you apply so that will spread now and blend quite nicely the next we're going to do wet on dry. So we working on dry paper still quite watery paint was starting with and you you need to work pretty quickly and just well, let paint down. Just blend it and there you go. Now we're going to use a dry paint, so if you deep into the edge off that puddle of paint, it'll be a bit more intense, a bit darker and a bit less moisture. More pigment. And that's a little darker again then the final technique that we have is called dry brush , but the brush is not actually dry. It's a damp brush, and it just Maine's a dryer paint so much less water. So this is where you need to really go to the edge of that puddle of paint in dry brush. He usually are using a fine brush, and it's for generally for adding detail at the end. So I'm using little strokes there. It's building up some dips so you can get some really fine lines once again going from the edge so you can use it for building up things like veins. I'm getting darker there and building up texture, and I really feel dry. Brush is very handy for fixing up mistakes at the end, just for giving it that little last bit of fitness so you can see how much has blended the waiting, which, and now how the wet on dry has dried and just building up the intensity of the color as you go from wet to a drier consistency. 10. Wet in Wet - the highlights in blue: Now I have my tonal drawing here, so I'm just going to pop that up in front so that I can keep referring to that. I'm going to start by mixing some paint. The first color I'm going to use is French Ultra Marine, so I'm just going to make a very watery mix of that blue. So just dipping in the water, pulling some paint out, I'm mixing it on my palette. I wanted to be fairly pile. Now place the tracing paper down. This is to protect the painting from drips, but also from the oils in your hands. If you have your hand resting on the watercolor paper for an extended period, it does affect the paper, and the paint won't be absorbed as well. I have learned this the hard way, and there were always use are the tracing paper or photocopy paper. Something is always under my hand, so I'm going to start with a clear wash just brushing clean water onto the life. Try to cover the whole area, but avoid the mid rib. Be careful around the edges. Try to stay within the lines. You might need to move your head around and with the paper at different angles to see where the water is actually going. It can be difficult to see what's happening If it's really warm inside, you might need to put several coats of water because the paper will absorb the water quite quickly so you can build up some layers of water. You wanna have just the right amount of water. Not too much. Did you don't want water sitting on top? It should just be a nice Saturn. Shane. This is with practicing on a practice shit. You could have a whole page of leaves, for example, and just practice. These waiting went technique. Now we're going to drop in the watery blue paint. This is mainly with the Highline is going to bay, but we will be blending into it. So it's actually fine to cover the whole leaf as the green will also contain French Ultra Marine. But I'm mainly focusing on the top area where the highlight is going. Now you need to leave it, let it dry, don't feel with it while it's which now we're going to move on to the next life and do the same again. Hank water onto the leaf mainly into the highlight area. So just one side of this leaf once again avoiding the mid rib, it's better to have a large highlight area and paint back into that later on, then to leave the highlight too small. I usually use a French ultra Marine or cerulean, or sometimes cobalt for highlights on shiny leaves. Usually, the highlights aren't watch. Now we need to leave that again. Let that dry. Now we're going to continue doing the same with the other leaves. So just bring some water on the top side of this life again and dropping that in. Now this looks like it could be a little too, with the paint spreading quite quickly. If it's to it, you can end up with the hostage that sometimes that's okay. It does depend on the subject that you're painting. Generally, you don't want a hostage by, so try to get try to get the water level just right. It's going to put some water down here. Highlight at the bottom is quite dark at the top, this leaf. You can also use masking fluid for the mid rib. These are quite large, so I think painting around it does work. Okay, In this situation, I'm not a huge fan of masking fluid. I only use it when I really have no other choice. Once again, this is probably a little too wit. Always keep your cloth handy so that you can just dab you brush off on it, stocking up that blue a little there and now just using a damp brush. I'm just going to pull that color out a little this and we don't have a hostage. Now I think I can put a little highlight just on one section of that life. So we'll just wit that area that it that is a little wet down there. Entities forming hostage on there, just dropping some more blue, these rules starting to draw on air. You can see that it's blended quite nicely. Can do a little bit of fixing, but try not to feel too much when it's wet. I'm just gonna touch it up here and there, and then I'm going to leave it 11. Mixing Green: No, we're going to mix up some grains. Just make sure if you're right handed that you have your palate and your water on the right hand side off your painting just to avoid carrying a whip, brush across your painting any more than you need to. Now I'm going to start with some winds of lemon. Try to start with the lighter color just dipping into the French ultra Marine and just makes it on the plight with quite a bit of water. I'm using a piece of tihs paper, which is the same paper that I'll be painting on. It's very important, so that's a nice like green. You can just add a little bit of water to show how that looks diluted. Just add a little more from child to marine to that mix now are popping a little bit of burnt sienna. It just adds an earthy nous, especially relevant for many of the eucalyptus slaves. Just mutes that grain a little. So now I'm adding more blue and more burnt Sienna. Okay, it's sort of getting a madia earthier color nail. Don't bring one of the late stand. Okay, so now you can compare will be larger than the life, but you can still work out the color this way. So that's getting a lot closer now. Still, just using those main three colors. More French culture, more rain. More been seeing a. So it's a lot bluer than I had initially anticipated. Okay, that's getting close Now. I better water, and it's a little bit to pile, so just make up a bit of a darker, dry mix here to get a bit close. So and drop that in and that's really close. Now I'm pretty happy with that color, but if I just grab another life here, you can see there is some variation. So this is why I think it's really important to mix your own grains so that by adding a little more blue or yellow or red, you can achieve that variation in color. Okay, I think we've got something good to start with now, 12. Wet in Wet - applying the green: Now we're going to start painting out grains. So we doing waiting wet again. Just start with a nice clean wash once again avoiding the mid rib. Just trying to leave that want working up to the ages. This'll blue paint has really soaked into the paper so it won't move when we add water to the top, so dropping in a grain that will spread and blend beautifully wherever the water is. - Be really careful about those edges. You don't want you leave to grow because you've been extending the edges where your painting see that's blended beautifully up there. Then we have these two jowls of water so that you can keep one nice and plain. So it's that nice, clean water that we using here. If you accidentally put the waterway, don't want it. Just wait for it to dry and start again. Okay, so you can paint the water all over that blue section, - so again, dropping the graining it's a bit too wet. There you can see it flowing down the page again, a bit to wait on that side. Each of the paint is drawing there, just inside the pencil edge, such as with a damp brush. You can just sort of pull that paint out again. So remember these theory was gonna be quite a bit DACA so we can drop some more paint in there. We can build it up later, but it doesn't hurt to add some more color nail. You can see the paints granulated. Here we can see a separation of the paint that is, um, an effect off blue paint. I actually quite like it, especially for painting you clips. I think it's a really nice effect. Now I'm going to paint this life in behind. This is a little tricky trying to work between these stems. Keeping the edge is nice, but you can touch it up with a little bit of dry brush later on. Just try to be careful trying not to go outside the lines and just leave those stems if you can months again, this is a little too wet. Is a bit too much water sitting on there, so what I'll do is I'll just dry my brush a little, and I'll just pull that pint back up. So it's just absorbing some of the paint back into the brush, and I'm just ah, damaging on my cloth. Now that that's a little dryer, I'm going to just pop a little of the pigment back into that area. But once again, we don't want to feel too much. It's building up some more color down here. I'm just gonna do the scene. One section. It's not going to be fairly lot, so I can attend to that vein later. It's hard to do wit on wet in very small sections. Hopes I've spilled some paint here so I can show you how to fix that later. There are a couple of little spots here where the paint's not psyching in so well, but that's okay. Um, we'll be able to sort that out with some dry brush later on. Now, I've also smudged from point here. I haven't Bean very careful here with these little spots of paint, but it is a good opportunity to show you how to fix mistakes like that. So I'll come back to those I'm going to keep this highlight here and just add a little bit of pigment to the top on the bottom of this section. Keep that. Highlighting now is the highlight of the top, and then it was going to be darker down the bottom. Same process again, - which blend up there nicely. So we want to keep that highlight area. - The's grain down here is going to stop mixing with the other side, but that's okay. It's pretty launch, and the media gets quite narrow at the bottom. - It's dropping that grain in again. - Just stop that water pathway down the leaf there. So we leave the highlight at the top, - and now I'm starting to fetal, so it's time to stop and let it dry. So now that I've given that time to dry, I need to do some or waiting which and I need to build up some color on this leaf here, starting again with water and, as usual, being very careful of marriages. - I'm dropping quite a bit more dark into this area. Just remember that watercolor does dry lighter. Then it appears when it's wit, I'm told about 25% ladder, but I don't know how accurate that figure is, but it's certainly match lighter. It's quite a lot of water sitting here, which I'll just pull further down onto this life, this area to be very dark as well. - I noticed that the paint is still not moving because it has soaked into the paper. So will I'm actually going to pull these paint all the way down here. I'm just gonna tweak these edges. But no, I need to stop and let all of that dry. At this point, I wanted to drop in paint at the top of this highlight, but the papers not wit enough, so I've stopped. I'll just blame that out with the damp brush, and I'll leave it for now. 13. Working up the colour and texture on a leaf: Yeah, I did a lot of work to a life on the right of the painting that it wasn't captured on video . So I'm going to do the same amount of work on this leaf, and at the same time, I'm hiding the other leaf. This paper with a hole cut out of it isn't even better way to protect your painting from drips. Especially as you know, a splash paint on my work before. And that wouldn't have happened if I had done this. So I'm gonna keep using these now and we'll call that a happy accident. Now, I'm just going to build this up using some wet on dry. So I'm not going to paint water on first. But I'm just going to take a bit of the graphite off with mine notable eraser just to tidy it up a bit, especially where that high larges. So I'm going to take some of my grain paint and stop on the right side of this life. I'm going to paint right up to the mid rib. So if you haven't got a nice sharp line through the center, there now is an opportunity to touch that up. If you need to. I'm still using fairly watery paint, just building up a bit more depth. I'm not too concerned about the ends because the bottom of the leaves orbit gnarly so we can add some grays and browns and make the tips look black. They're a little insect atan. No, you don't want to paint to dry at this stage or will sit on the surface of the paper. So while that's where I can still drop in a little more color and just brush it on to suggest the direction of the veins, not too much data. I'll as they note prominent Bynes. I am so following this edge. But be careful about doing that too much. You might end up with a line. A thin line is OK, but you don't want to end up with a peak outline starting on the other side. There's a bit of a wonky edge here. This one's OK, but I'm not just touch up these top edge a little. Straighten that out of beach, starting to hit up into the highlight now, so I'm just gonna be a little bit careful. Thesis mid Rabies too wide, so it needs to be finer, so I'm just just gonna pull the pain in towards the mid rib a little bit more. I am starting to fiddle a little bit now. If it gets too missy, just stop and come back and fix it. When it's dry, feel free to turn your work around. I'm struggling a little bit with the angle that I'm working on at the moment. - Still just moving that pain around a little more just to try and get it into the mid rib. I'm gonna turn it around now, Okay? I've turned this around. Now I think this will be a better angle toe work from for a little while. Anyway, I just want to build up a little more color besides the mid rib. As you can say, it's still very pile. I do 10 to build things up in many liars, just going to feather that line out of it. Paint still quite watery. So it's still blending nicely. Its defining that edge a little more now and then just suggest some veins coming through the highlight. They don't just wash my brush and just with a damp brush, just blend that a little bit more It's very subtle, but it's just showing me the way, and we'll add some docks to the bottom of the life, said the paints. Just getting a little drawing now a little less water, more pigment. Still using quite a watery grain mix, I'm continuing to build up color here. It's very subtle building up in Lyons. This area needs a bit more color, and I'm going to add a darker shadow to the rot of the me dream. - Ending a bit more color to the other side of the mid rib will make that Madrid pop up a bit more. It is quite prominent and building up some pale color here at the top of the leaf next to the highlights. I need to build up some more color here to make the change more gradual, adding some local here a little bit darker to suggest those lines again, just defining that edge, even mu now feathering that out and back to the side. I do like to build things up slowly, so there is a lot of going over the same area, but still we have managed to keep this highlight area, which is good. - This is really settled building up of color. I do have quite a lot settled style. That's just how I paint. Turn that back around now. I'm really happy with that. I could just make that blew a little DACA. There is a fair bit of pigment sitting on the paper there, so I'd be very careful about touching that with water. It could just move the paint around and we could make a miss. So proceed with caution about that area. Could have a bra. JetBlue. So I'm just gonna add a watery French Ultra Marine over the top and just blend that in gently. Now we're getting down to the detail. Sorry. I'm going to use my smallest brush of the triple zero. Gonna add cem really dot grain and feather that out again. That is really Doc. And it has made that meat rib stand up. Now, looking at that, I'm actually thinking that it's a little too dark. So now I'm going to do what I said to be very careful about doing. I'm using a damp brush and I'm just taking that top bit of paint back off again. You can see that. It's sort of going down onto that. I'm just blending it into the bottom of the life. There. Don't miss with it too much. It's a little bit wet, so I'm gonna let that dry and work on the bottom. Now here I have some examples of mixing burnt Sienna and French Ultra Marine, so they spent Sienna, French Ultra Marine. So there's the different colors that you can make sense quite a gray, shadowy mix. You can also do some very fine lines with the dryer paint and a darker color mix we can use at the bottom of the life there. So I'm going to add watery grey to the tip of the leaf. Now I have a dry mix of gray and all very lightly. Paint that along the edge of the life, he very lot pressure to get a fine line. This might form a bit of, ah, hard edge along there, which will actually be useful if that happens now, I'll show you the red toe edge to the side of the life. I've mixed some burnt sienna permanent rose and a little tiny bit of French all terrain for a dark red. So once again, a big try a paint very lot pressure. What life That saw it and paint it brown. I'll carry these shadow Dan the edge of the lake shadow from the stem. A little bit of brand on this side. The color doesn't need to go all the way around the leaf. And there is variation of red brown grain. Now we can add some imperfections here and there. You can have small dots, big dots. It's good to have variety just here and there just to show that bit of insect activity. You don't want to ever do it with the dots. I will put some along the mid rib, but I haven't painted that yet, so I'll leave them just for now. Well, they don't will generally be lotta in the highlight area. This area of the mid rib is too hot. So we're bringing some grain to narrow. That in this whole area can be a little bit DACA. I'm going to mix a lot of grain and puppet on the mid rib. I don't have to go all the way up is there will be some red coming from the top, blending Dan into the grain. Now, this is a watery mix off permanent rose and burnt Sienna. Very pilot moment, a little bit DACA. And we had the darker rig that has the French ultra rain just to the bottom of the steam. There is a shed. Are that's just blending in there a little bit where it's to wit. I think it's still a bit light the mid rib. So I'm just going to add a slightly darker grain, a little bit more shadow under that mid rib there and just adding a really fine dark line to the left side of the mid rib. And finally just adding a few more dark lines there, once again, just suggesting those fines. This leaf is pretty close to finish now, right? Well, as usually happens, I've had a bit more of a look at that leaf and decided it's still not finished. I just need to do some more tweaking, so I'm just going to build up a bit more color there. I've added some burnt sienna to my green mix. I'm just going to make that a little earthier and darker down on the right hand side, so this pain is still fairly wet. But I'm being careful not to move the underlying paint around too much. And I'm just gonna add a little bit to the bottom of the left hand side of the life, a little bit on the meat rib. Just building up some more dips, bit more definition to the side of the mid rib and figuring that out again. This is the time when it's OK to fiddle a little bit. You just need to be really careful, Dr. Back in there again, going at a much darker shadow to the bottom of the pity all now and a little bit to the top there as well, still leaving a slight highlight through the center, just blending that Dan into the mid rib. And I did say when I had finished the mid route that I would like to add some more imperfections so I can pop a couple of those on now. And that video actually is quite bright. It's a beautiful red, so I'm just popping a little permanent rose over the top again. And he's quite a bit more detail down in this section. Just pop some more dots, a little bit of color variation there. This and brown, some gray, all nice black at this time. I really think it's almost finished 14. Shadow mix on leaf: so we're just going to mix a nice shadow. We mix for one of the leaves that is a little darker facing away from the sun, so we'll start with French Ultra Marine wet brush. It's getting some of that color down there. Once again, try not to scrub your brush. Some people use a different brush for mixing, which is a great idea. I'm just not that disciplined. Just trying to look after the tip of your brush. Now clean off your brash and we'll get some burnt Sienna just letting that paint soak into the brush. OK, that's a little bit too blue. We'll add a little bit more burnt. Sienna. That's a pretty good color. We can just test it now. This piece okay? And that is a pretty neutral sort of gray. It'll be just rot. So referring back toe atonal drawing. You'll remember that this section here is going to be quite dark. So that's what we're going to use as shadowy mix. Just gonna pop these protection over here again. Hopefully to stop me making any more spills. Now we're working on dry paper nail. We've got to start on the right hand side It's a dock shadowy makes, but it is still quite went. As you can see said, Just keep pulling that wit pint down the life we want to blend it down into the rest of the life, so I'm still using my number six brush here. Wanna blend that in? So I'm going to clean my brush. Just wait it and then just dab it on the cloth. So it's just damp and pull that paint further down the life just to blame that Lawson smoothly. I don't want too much water going up into the top section. That's why it's damp, not wet. So work on the left hand side of the leaf now, a little bit less up there. Okay. And once again, we want to blend that so we'll get rid of that line. Wash the brush, just have a damp and pull that pint down, feathering that out there. Now we need to let that dry completely. Before we do anything else to it. We're gonna continue building up the calla here. The life is dry, so I'm mixing up a grain again. You can say it's still quite watery, and it's more of a bluey grain. So just painting that own just keeping it nice and went and flowing. Being very careful of the edges, he's made ribbies getting a little wide here. So just bring that pint in Ted there, getting a really good dipped of color here because it's going over that shadowy makes same again on this side. It's such just a little lighter, - and I don't think we need to keep this highlight here. It could just be lighter rather than a bright highlight. Just slightly lighter, - you recall Earlier, I used the short, flat, broad brush to lift that little bit of paint that I spilled there that I smudged. Now, this time, I'm going to use it to lift a little bit of that vein out where it's become a little too narrow there. So I'm just going to with the brush. Just step it on the cloth. So it's just Dan, and we can lift a little bit of that point just by going over that gently. It will disturb the surface off the paper, so you do need to be really careful with it. We can come back in later with some dry brush and fix that up. We're gonna add some grain to the mid rib now yellowy green. Just getting my hand in the right position for this stroke. We'll be rid coming down there, dropping a little bit more dark, darker grain into the mid rib. It's in shadow, so it will be a lot darker than the other mid ribs. Gonna add some more color here if we compare it to the other leaves. It is Doc, but it can go darker still because that was supposed to be quite a bit darker in shadow compared to the other ones. So I've mixed some more grain. This time. It's a slightly yellow a grain, same story again, just rushing on reasonably watery paint, building up more color. While that's when you can still drop in some some darker colors there just to add to that depth even more so you can see there are quite a few lives here now, and they've all soaked really nicely into the paper, and that's because I'm using 100% cotton paper. It probably helps that it's the 300 GSM piper as well. I think it would be buckling quite a bit more if I was using a lot of paper and again, I'm going to let that dry. Okay, now we're going to add some more detail. As you can see, the paint is getting drier, so it has more pigment, less water. We're going to start building up those vines and just tidying up a bit. This is my number four brush. Find an hey in age to get a bit Athena. I couldn't quite a bit of pigment built up around there now, so you really want to be careful about adding water to that now? It's not feeling natural for me to brush in that direction, so I'm going to turn the paper around, and that feels much better totting up the edges. This made rib needs to be much DACA. That's a much better shade of grain now. Okay, it's quite dark. We'll take this off and we'll compare them again. It's quite dark. I can either doc and that a little more. Which arm I do lighter or I might lighten that part of the life or both. Now I'm going to get my small brush and the red mix, using permanent rose and burnt sienna and actually a little bit of French ultra Marine will use the dark one here because this whole life is dark because it's in shadow. We can make that red come down further on. These life does vary across the leaves. I don't have to be uniform. I'm just going to add some final details to these life now, so my pain is quite dry. Well, there's a lot more pigment in it, and it's quite dark. So I'm going to use my dark rid mix to add a shadow to the right hand side of the pity Oh, then a brownish color for the tip of the life. And now I'm just going to teen, continue adding a lot more detail with a dry brush technique to the wrist of this life. I think I've built up enough detail on this leaf for now, so I'll move on to another one 15. Another leaf, and how to hold your brush!: Now we're going to stop on the top, right? Leaf? Once again, just building up some color with a watery mix. By the way, look at the way that I'm holding my brush. I'm holding it like a pencil. I have much more control that way. I'm not holding it up. I'm not holding it out a long way in front of me. You just don't have enough control that way. Just hold it like a pencil. You're drawing with your brush. So we're keeping that highlight. There were just painting into the highlight or painting up to the edge of us drops, um, darker coloration again. While that paint is still wit, then I want to blend the edge with a damp brush, damp plane brush. It is pulling that paint slightly into the highlight. You don't want to lose the highlight. So do be careful. They would like to add a little more up there where I tried before. So now I'm going with on dry just popping a little color up there, Dan along that made a rib and just blending that out, popping in the suggestion of veins again. My edges aren't very need here. I've made a bit of a miss. So now is the time. I can try and fix that up. The mid ribs, a bit wonky as well. So fixed that too. You can fix all sorts of things, - right ? Made Rip just needs a little attention there as well. I can come back and fix that again later. Another message. A little bit of touching up at the top. And I'm gonna let that dry again. I'm just going to clean up around this life with the native ELISA. It could be a few little pencil lines, especially that steam that was a little too thick there and around the highlight. Now, from here on, I'm doing the same for the sleeve as I have for the others. So I'm going to be quiet now and just let you watch the process for a few minutes. Probably around 10 minutes. - No , no, 16. A tricky leaf, behind the others: right. We're going to work on this back Leaf. Now, this is going to be tricky because there are so many small areas, so it's gonna be quite fiddly. We're gonna move down to my number four brush here, so you sort of have to work a section at a time because you're working behind those stems. It can be tricky to get the color to flow through those different areas, but pay attention to that. We have a life going behind. Make sure that that line flows all the way down it shooting the drawing and also in the painting. Also, make sure that need rib is flowing through to so trying to keep that color uniform as it passes behind the steam. - There's a little mess there that I made earlier. I kind of went outside the line a little bit. I think I can fix patch just with a normal brush. A fine brush you can lyft paint off if there's not too much and depending on what color it is, I'm trying to get the two sides of the leaf the same there. Now, here. I need to build up beside the highlight. I'm just making a little darker there, and then we need to blend that into the highlight, - so you don't want to lose that highlight. But it's It's pretty soft, one behind. Those are believes there. Just blend that in again a little bit of a wonky age on that life there. But I'll just point out, too, that just taking particular care here really need to get that detail right. Alos edges No awesome plane behind this steam there, popping a little more French Ultra Marine into the highlight area. So I'm just going to fix up this little spots where I went outside the line just using my small brush, awesome plane to stamp and just lifting that little pace of pain. So we just look at it compared to the rest of the painting. It's coming together. It is more blue than the other lives, but that does push it into the background a little more. The other paints getting slightly darker, a little more pigment, less water, building up some more detail, right slowly but surely, - and once again, going a little DACA and ending those veins. While the suggestions veins, which you're probably sick of hearing by now, - Now we're moving to the final brush so that we can pop some grain into the mid rib darker. That looks better. It's blended in a little more. 17. Touching up: once again just looking at the whole picture still blew up. But it's all being tired together that much need a bit of darkening. I'm going to stop building up the Kela on that right life. Now where I said I could make it a little bit darker. Back Teoh. Bit of watery paint Just popping a little more pigment on is to build that up a bit. - Every time you think it's dark enough, it's usually not because I'm coming all the way across the painting. I'm going to that protective shape down again, this leaf. I just can't decide whether I want it light or dark, so I'm darkening it again. No, just moving back down to these bottom life. I'm going to take some of these pigment off just with a damp brush. We are getting very close to finishing now. I'm just going to look at the painting as a whole and see where we need to touch up. So this leaf is almost finished. Just need a little more detail on the stem. A bit more detail on this one will detail here. That's just a back down. And of course we need to finish off the main stem, so I'm just gonna add Ah, whole lot of little imperfections. Now, - some of these dots of DACA at some of them a lighter if I just show you on this leaf, here is a lot of patch. And of course, there are some holes as well. But we can make a couple of these lighter dots so it just using a damp brush, small brush, you can just work it a little patch to lift an area of paint. So just scrapping over that same area and then just carefully dab it with the cloth and then just leave that to dry. - Of course, I'm making a lot of these EPAs. I go just using the leads as a general girlfriend. So that little dot will do another one similar Dan here. But because this is already Law Ridge, we're just at a dark at lone first. And then we'll gets, um, watery burnt Sienna and just put that into those lot areas. Just add a little more shadow to the root of that made rib. - Just a little bit of cleaning up of these mid rib here, just with the damp brush. No, just use a damp brush again. Just a little tiny bit of water this time just to blame that area a little more. Just a little more work just to blend the color out there. And I feel like I've fiddled with this life more than any of the others. It's time to leave. It really done too much to the tip of this life, so I'll deal with that. Now finish that off. - Just continuing to add these little imperfections. You don't want to put two on too many on there, that it it looks really diseased. But he just you need a few to make it look really stick, just heading a little more shadow under that pity Oh! 18. Stem: Now it's time to get to work on the stem. So mixing up some permanent rose and burnt sienna building up the calla own the left hand side. Mind if the steam and now with a damp brush, blending that in a little bit just to soften that inch. - So just looking at the stem, it's nose to have Kela on one side and then blend that to soften itch. And then he have a highlight and then a Dhaka culo on the right side. So that's blending in where it's wit and you can drop in a little more doc, which will blend in again and create some really nice Petain's. They got a light coming from the top lift. That's your highlight, and that's your dark. They steams a failing narrow, so there's not a lot of opportunity for variation in them. But I have included a document with the diagram on light coming on the stems and also on Randall objects. So coming in with the much darker mix, which will have the French trauma rain mixed into it as well down the right side and blending that again with the damp brush. - So there are some little dark bits at the junction here, probably where ads have fallen off. I just use a shadow to push that behind. So there's some little spots along the stem, probably where leaves of full enough. These are details in my note of picked up in your initial drawing, but now is the time to pop in all those little extra data files. Finish it off. So just with a damp brush, I'm just lifting at the middle of the eyes. It's making that a little lighter in the center. There he could dab it with a cloth. But if you do, just be really careful. It's up to you half. I You want to take this detail. You may not want to go to the same level of state of detail as I do now. I'm just dropping a bluey grey into those areas. Let's do the top of the stem. Now just remove any pencil that's left there. It's up to you. How you'd like to finish the stem. I'll just sketch in pencil so you can just have the end. Fighting away or another option is to show it as a cut stim and 1/3 option is to show it as being ripped off. Tourney off. It's not a great example. You can just have a little tone area there. I'm going to go with the cuts. Tim. Um, it's not very big data. Little just have a little bit of grain on the inside, so just a really fine line around the outside in the rid, and then we'll come back to do the grain. Such is touching up the read even more. As I said, What a color does tend to dry and be light us. So you may think that you've got the right level of intensity, and then when you come back and look at it dry, you might want to build up a little bit more again at a little bit of a Dr Brown where the lake has broken off. - So I'm popping on a bit more texture here and there. This stain is not perfectly smooth. I now little dub off a launch limey grain inside the stem. So I think this is just about finished. I will hang out somewhere for a couple of days and keep looking at it. Usually I'll find some other little things that I feel I need to do to it. It does come a point when you just need to say enough is enough and it's time to stop. 19. Finished. Or am I?: if you have some spam mats, they are really useful for I hoping you visualize your painting in a frame you're painting really does look much better with the addition of a Matt, Um, and bay. It can help you decide where to place your signature, so you need to decide whether you want it on the bottom right? Which is kind of the usual spot, I guess, or the lift. Or you might want it running along a stay more life. So if you're not sure, you can write it on a pace off tracing paper or even normal paper, I suppose Stewart the size that you normally would. And then you can just move that around your work and decide where it looks best for you. Now some people do use paint for their signature. I have done that in the past, but I've really decided that I prefer pencil. You can add the scientific name of the plant along the bottom of the painting, Um, but that's a whole other topic. So now that I'm happy with the placement off the signature, I'll sign that in a nice shop to H. Pencil 20. Buckled paper? We can stretch it.: now we're going to stretch appointing. There is a slot bit of buckling, and it's because we've placed washes on the leaves and no water on the wrist of the paper. So often there is some buckling. You can see it a little bit clearer from the back. It can affect how it looks in the frame. It's not very nice to see walking down the side of the painting, so I usually stretch most of my work at the end. So just gonna place it onto a towel and we're going to wet it now. Festival. We need to cut some type. This is water activated type. You can get it in white or brown. We need to cut pieces to fit around the edge. So you wanted to extend just a little beyond the edge. So I've already cut four pieces for this. Now, using a spray bottle or paintbrush, we're going to wit the back of the painting, being careful not to go under the sides off painting. So you want that pretty much saturated a lot of a lot of water on there. Don't let it go under the edges. Now that is going to buckle a bit more before it settles down. So don't panic about that. It will flatten out again. I am just going to use a brush just to make sure all of that water is covering the paper. You don't have to use a brush. It just seemed to be a lot of droplets sitting on top there. So just let that seat for a couple of minutes. Now, this is a piece of glass out of a picture frame. You can actually use a window. I will often use a window, especially for larger paintings. Just make sure that it is completely clean. Just give that a little bit of a wipe to make sure there's nothing lived on them. Now I'm going to pick up the painting. There is a bit of excess water on there, so we'll just let that drip off. Transfer it to the glass. Now I need to get the type and just spray that toe. Activate the glue. Now you can go half and half. It depends how much space you've lived around the outside of your painting. I don't usually leave quite enough, so I'm just going toe. Put it along the edge is a better a sin tomato holding it on there, and that's sufficient now pop aside. Pace on. If you are doing it on a window, you may need some help. Anybody's on a window. Try not to put too much water on that tape. You might want to just debit off of it so that the watery glue or the gluey water doesn't fool down. Um, between the painting and the window, you do have to be a little bit careful. You will see it may back a little more, but before too long it will flatten out. You won't even see those little marks anymore, and it's great when you can see it completely flattened. You do want to leave that for about 24 hours, so it's the next day now, and you can see that the paper is completely flesh, so that's a relief for everyone. It's not quite 24 hours, but it's been nice and warm, and I know that it's dry enough. So now we need to cut this away very carefully, so you need to insert the blade under the pointing and cut the type. Do these very carefully because you don't want to scratch the glass and especially if you have it on a window in your house, so just gently cut that type all the way around. I apologize for the focusing issues here, but you get the idea. When you get to the last side, you can lift the painting up, and it's much easier to cut that last edge. And now you see, we have a completely flat painting. You will want to cut away the tape from the edges so you can cut just inside the edge. There. It's acid free, but I think it is best to get rid of it. And this is why it's best to use more paper than you need to make sure that you have enough room around the outside off your composition. 21. Really Finished: just a couple more things to mention here. I did say that it's a good idea to just pop your painting aside or something. You can see it and just keep looking at it over the next few days, too. Just decide whether there's anything else that you might want to add or change. Sorry. As it happens, I, um, realized that when I went back to look at my title study, I had wanted to put in some cast shadows, and I've neglected to do that. So I think I can do that now. I have already stretched the painting, but this will be very dry brushwork, just a bit of touching up. So just referring to that tonal drawing now, I'm going to use a shadowy mix with my friend Charles Marine and Burnt Sienna. You can say it's quite dry there. It's there's a lot of pigment, not very much water. And if I just take the paint just from the edge of that little pool, it's even drier. So just put a little bit on my very fine brush, and I'm just gonna pop a line across that leaf. So the lights coming from the top lift. So it's just casting a thin shadow on the leaf underneath. The size of that shadow depends on how close that stem is to the leaf underneath. So this is not too close, so it will have a bit of a soft edge. It won't be a really hard edge. Sorry, I'm just gonna feather that a little bit. Just make it a little bit blurry and soft, and I don't want it to be too dark. And then down the bottom Here there'll be another one, and it's more towards the top of the leaf. Not just the pity old there, so it'll be a little bit wider. And once again, I don't want the age too hard, so I'll just soften that a little. It's really up to you whether you want to use casts shadows, they're not really traditional, but they do add an extra dimension. The other thing I talked about was signing. As I said, I like to sign in pencil and, you know, we use the piece of paper to decide where to put that signature. He's a painting where I saw Indian Pin. I really don't like that. I have gone back to pencil now, and I don't put the year on the front anymore either. But what you can do is flip your painting over, and you can just make this painting yours. You can write the Spacey's name on the back if you know where it was from, and if it's relevant, you can write the location. It's great to have the year that it was painted and you can sign again on the back. And if you have some kind of a story to write about the painting, that's even better. It can just prevent people from pretending that it is. 22. Troubleshooting - hard outline: So this is the troubleshooting section. I'm going to show you a couple of mistakes that can happen. Problems that we can come across, uh, that I don't want you to just give up and throw it away. There are differently wise that we can fix things. This leaf has a missy edge. It's become a bit hard. The paints being pushed out to the side. Um, too many layers. Well, not too many layers. But the lions aren't going on in the same place, so it is lots of different little lines around the edge. So we're going to soften that weaken blend to weaken live to that age. So just we've my number four brush, which I've dipped into some water and then just walked on my cloth. Sorry, I'm just really gently with the tip of the brush, going along that edge and on pulling it towards the center. So what's happened is it's been pushed out. Now we want to pull it back in. Just it does depend how long it's been sitting there. If it's if it's being there for a few months, it might take a little bit more water and a bit more work. But as you can see, very delicate and careful with that brush, you can pull the paint away from the edge now because it's not too much pigment sitting on the wrist of the leaf. I can actually just blend these paint into the leaf, so I'm really just moving the paint around. You have to go clean your brush over now and then and get some loss. Clean water. Wipe it again. - Once again, you just have to be really careful along the edge. Otherwise, you're just going to make the leaf even wider. You trying to just stay just inside the edge. So now I'm just showing you that you can actually pull a bit of that paint off, but I'll be showing that in a future life a swell. So the idea here is to just sort of fix them a stake that we've made, let it dry, and then we'll come back and start again, and we can just use more a dry brush technique to build up some more of the life again. I'm really only worrying about the outside of the leaf. For this demonstration, you can see it's getting missy towards the mid rib, but I just sort of prepared this one to show you how to fix the the margin of the leaf. This is a very common problem. When we're building up in Lioce, - you can buy all mains. Use a fine a brush. It might be better. I just haven't really noticed. Tip on these brush I'm very happy with, and it's doing the job quite nicely and once again, turn the painting around if you need to. You need to change the direction on you know what? It is comfortable for you, so that's looking a whole lot better in terms of that, I think age. So I do. You have my phone brush nail just so that I can actually toddy that edge up, blend the paint around a little bit more. - So actually have a tiny amount of paint on the brush now, just to finish off that edge. That's enough now, and when that's completely dry and still come back and add some more texture with a dry brush 23. Troubleshooting - hard edge within a leaf: so this leaf that I prepared earlier has a bit of a hard edge inside the leaf. Now it's still got a bit more working up to do, but I would like to get rid of that hard edge before I do any more painting over it. So I'm just going to get a damp brush again. My number four. I just need some clean water. Wipe it on the cloth and start very softly. Just try and soak up the edge of that Paid. Their now may depend how long the paint's been sitting there. It may depend what color it is. Some paints a more staining than others, but you don't want to put too much water into that green area. So I'm just starting very carefully with the damp brush and light pressure. But I can add more water and more pressure if I need to make it move. It's fairly lied up the top here, so I can put quite a bit of water there and moves that around, so just shifting that color and I'm moving it into the highlight. I'm trying not to mix around in the grain area too much, because even if I stop to miss around now in that green area, I could make more of a missing is there? So that's pretty good. Now I am gonna build up more color around it, but it's removed that hard age that was there. 24. Troubleshooting - lost highlight: now for these life. I've built up a lot of color, but I've lost the highlight completely. What we're going to do is lift some of the paint back off. We need to be very careful, and it's certainly not going to come off all the way. It's not gonna be Aziz light as the highlights in our other painting, but that's okay because it can be some variation in the highlights. But I'm just going to show you how you can lift off some paint. So once again, I got my number four and it's damp and I'm just going over that same area. You can see it lifting already. It's gonna push the paint around on former hostage, so I need to be careful about that. Now I'm dabbing with a tissue. Be very careful. Dabbing, dabbing can be very dangerous. You can smudge lines a smudge plane outside the edge of your leaf for whatever you're working on. And always make sure I try to use a tissue rather than a clock so I can make sure that it's clean. So I'm not dabbing paint back on. It's a risky business, but it is effective. Okay, so you can see that's coming back, that this was just very gently with the number four sable, So I I'm still just continuing with that, So that's come off quite a bit. This is going to fix the surface of the paper, so just be careful. Go easy. You can see it has pushed the paint out to the edge a little. So if I just really carefully go over that edge with damp brush, yeah, and then with the tissue. If I push it in towards the center of the life a little, there we go. That has lifted that line. It doesn't always work that well all that quickly. You might need to find a brush to do that, so that how lots come back fairly well, but you can bring it back further with the scrubbing brush. Start gently, though you know, if you really, really want to get quite a bit of paint off. This is the brush to use, but it's so harsh on your paper. You know, I only use it if you if you have to, so you can say that's pulled back quite a bit more paint. What I would say here is if you lose a highlight, don't try to paint it back on and white. Very rarely does that go will. You're better off leaving it out. So back to my number. Full brush. I'm just trying Teoh. Soften the edges of that highlight just to make it blend a bit better, look a bit more natural, and then when that is dry, it can publicly more color in, just to build up the color around the highlight and make it months again. Look a bit more natural side . Just blending that edge a bit more. It's not perfect, but it's better than it. Waas. It's not too bad really turned out. Okay, The highlights. A bit a big grain. So I would just pop a little bit of French ultra Marine in there, and that looks pretty natural now. 25. Troubleshooting - messy, overworked leaf: Now this life is a bit of a miss. It's been overworked. There's too much pigment sitting on top. It needs a bit of an overhaul, so I we can taik it back, sort of take it back a couple of steps so that we can start again. Um, it's kind of being fiddled with 2 March. It was where the color is going out to the sides. It's just pigments sitting on top. It looks pretty revolting. So just using a damp brush, I can move that paint around and just blend that back in. That's what I'm doing from the same to their I'm just waiting that pulling the paint back out to the wrist. The life. There's so much pigment on there. Make sure that you keep washing your brush and I'm lying the whole brush down All of those bristles down, which is soaking up that paint. And so then I'm actually pulling that off and walking it on the cloth, some sort of getting back to the paint that has soaked in taking off the paint that's sitting on top. I'll do a little bit over these side to show you suffering that edge. There lifting that paint off. I am continuing toe work while this is all wet because it's just a mess and I just want to get it all off there. But as you can see, it's starting to starting to look a little more uniform. So some of the paints coming off some of it's just sort of spreading. But it's not seating on top the way that it waas. You do have to be careful when you're doing these, moving the pain around because you might end up with more hostages if you push it out to the side. So just be careful about that. This is not going to be perfect. But I just want you to know that when you make mistakes, really, most of them can be fixed. I'm still lifting and mating this rand. There really waas a lot of pigments sitting on top. It's okay to have pigment sitting on top at the very end and if it's sitting in the right place, so I'm not going to completely finish this leaf right now. But the idea is just to get it back into a position where then I can come back in with some dry a paint and start to pop a little bit more paint on top again and suggesting the direction of those vines. But when you do get to that stage, just make sure that you let it all dry before you start again. 26. Troubleshooting - cleaning up spills: So if you've had some spills on the white area off your paper, you can fix that. It won't be perfect, but you can make it reasonable and acceptable. So we're going to start with lifting that back with a short, flat, bright brush. It just has very stiff bristles. It's quite harsh, so you need to go easy to start with. So I just went that and just dubbed it on my cloth. And now I am scrubbing at this. I have a couple of different dots on there. This one was quite pale and doesn't take too much work. You can still say it a little bit, but we'll let that dry and come back with some sandpaper afterwards. Just keep cleaning you brush, so I'm moving on to the darker one that's coming off OK, it does depend on which color you've used some colors and more staining than others. I'm trying not to spread that paint around too much, either, to make that problem area even bigger. Now, on this one here, I just wanted to show you that you can't actually sort of tidy up on edge if you've gone outside to the edge of ah, leaf or petal, for example. So if we just pretend it was meant to be with inside that pencil line, you can just very carefully scrub up to the line. And then you need to let all of that dry before you come back with the sandpaper or you will really make a big mess. So now that that's had a chance to drive, I've given it about half on hour or sorry, but it might made more. I've got some really fine sandpaper. I think it's called P 400. It's just from the hardware store. Just practice on a scrap pace of paper first, and we're just going to go over that area again, and it will just take off any little stain that's left there. Go over the other one as well. Once again, try to keep it toothy area. That's Stein, because you don't want to create a larger problem area there. With that age, you can actually fold your sandpaper in half, and you can just work up to the edge. Sometimes you may just want to use the sandpaper and not the brush. It'll so that started that up so you can still feel that the surface is rough because the fibres have been disturbed. So just using something like a piece of maggot, you can push those fibers back down just by rubbing over that gently. Some people use their Finger Nile or the back of a spoon, and then you can feel that that is much smoother, probably still not good enough to paint over, perhaps with a little bit of dry brush if he needed to. But you wouldn't be able to do a wash over that. The other thing that you can use is just the tracing paper. It's really nice and smooth, and you can just rub over the area with that. Once again, pushing those five is back down so the eyes tricks can come in handy. But I do recommend that you protect your work with tracing paper or with larger pipe with a hole cut out of it. 27. Conclusion: I'd like to thank you for following this tutorial. I hope that you're feeling a lot more confident now with your watercolor skills and in particular, painting eucalyptus slaves. You might want to go out now and find some slightly different eucalyptus slaves to paint or a completely different talk of life. Just berry mind. They're all going to have their own challenges. Please don't think that you have to come up with the masterpiece every time you paint it really ease about process. And hopefully, as you go along, you will find turning points where you've learned a new technique. Or, you know, you've just given yourself more confidence in a particular area off your painting. It really is about the prices. I can't cover everything in one tutorial, so I do hope to create more tutorials in the future. So if there's any particular subject or technique that you'd like me to cover, please let me know. And I appreciate any feedback, comments or questions that you have. Please get in contact with me and please Kate painting