Introduction to Botanical Art - Golden Wattle | Cheryl Hodges | Skillshare

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Introduction to Botanical Art - Golden Wattle

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

54 Lessons (7h 52m)
    • 1. Introduction

      3:47
    • 2. Specimen, finding different flower stages

      8:18
    • 3. Painting flower starting with yellows

      2:15
    • 4. Painting flower shadows

      3:55
    • 5. Painting flower final details

      1:14
    • 6. Painting developing bud

      3:39
    • 7. Painting smaller bud

      2:52
    • 8. Flower - adding dark anthers

      0:36
    • 9. Drawing leaf

      3:57
    • 10. Painting Leaf - wet in wet highlights

      2:55
    • 11. Painting leaf - wet in wet shadow mix

      3:20
    • 12. Painting Leaf - wet in wet green mix

      4:53
    • 13. Painting leaf - wet on dry

      7:19
    • 14. Painting leaf - building up intensity

      5:28
    • 15. Painting Leaf - dry brush, adding details

      8:25
    • 16. How to hold your paintbrush

      0:39
    • 17. Paint consistency

      6:00
    • 18. How to do your brush strokes

      2:07
    • 19. Deciding on composition

      4:16
    • 20. Sketching on sketch paper

      29:46
    • 21. Tidying final drawing

      12:47
    • 22. Transferring to watercolour paper using tracing paper

      7:10
    • 23. Transferring to water colour paper using lightbox

      13:34
    • 24. Painting the flowers

      37:50
    • 25. Painting the buds

      12:58
    • 26. Painting stems of flower stalks

      14:34
    • 27. Looking at tone, sketching in preparation for painting

      4:23
    • 28. Painting leaves - wet in wet - highlights

      16:09
    • 29. Painting leaves - wet in wet - shadows

      7:23
    • 30. Painting leaves - wet on dry - shadows

      2:33
    • 31. Painting leaves - wet in wet - light green

      9:44
    • 32. Painting leaves - wet in wet - dark green

      16:46
    • 33. Painting leaves - wet on dry

      3:47
    • 34. Painting leaves - painting midrib

      5:19
    • 35. Observing a leaf

      0:39
    • 36. Individual leaves - bottom right

      10:14
    • 37. Individual leaves - second from bottom right

      11:55
    • 38. Individual leaves - middle right

      12:58
    • 39. Individual leaves - top two left

      11:05
    • 40. Individual leaves - fourth from top left, plus other touch ups

      12:04
    • 41. Individual leaves - third from top left, working around highlight

      11:08
    • 42. Individual leaves - second from bottom left in shadow

      4:39
    • 43. Individual leaves - slightly tricky leaf with strong highlight

      25:02
    • 44. Individual leaves - tricky leaf with twists and turns - tonal sketch

      3:34
    • 45. Individual leaves - tricky leaf with twists and turns - painting

      16:20
    • 46. Stem

      14:41
    • 47. Details - joins, pulvinus, glands on leaves

      13:56
    • 48. Overview of painting - touching up where required

      15:22
    • 49. Final details - imperfections and dark edges

      22:46
    • 50. Lifting midrib - excerpt

      0:37
    • 51. Painting leaves behind flowers - exerpt

      3:37
    • 52. Stretching your painting

      6:51
    • 53. Signing and naming

      3:15
    • 54. Conclusion

      0:52
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About This Class

Introduction to painting botanical subjects in watercolour. In this class we will be painting the Acacia pycnantha, or Golden Wattle. The techniques you learn here can be applied to many botanical subjects. If you are new to botanical art I hope to inspire you, and if you already have some experience with botanical watercolours, I am sure you will learn something new here from the way that I approach the painting process.

I do have another tutorial "Introduction to Botanical Art - Eucalyptus Leaves". You do not have to have completed that tutorial in order to do this one. Because of the different subject matter you will learn some differing techniques in each tutorial, although some things will be quite similar, such as basic equipment and stretching.

Credits

Producer: Jack Hodges

Music:

Undertow by Scott Buckley - http://www.scottbuckley.com.au

Solace by Scott Buckley - http://www.scottbuckley.com.au

Meet Your Teacher

Teacher Profile Image

Cheryl Hodges

Botanical Artist

Teacher

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.

See full profile

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Transcripts

1. Introduction: I'm Cheryl Hodges, a botanical artist in Australia. I have about 20 years experience painting botanical watercolors. I've also been teaching for several years. This is my second online tutorial. The first was painting eucalyptus leaves in watercolor. These are stand alone tutorials. So you can do this acacia tutorial without doing the eucalyptus one first. Because of the different subject matter, you will learn something from both tutorials. In this acacia tutorial, I have two sections titled plant study and sketch pages, where I have focused on painting each element, the different stages of flowers and then the leaves in detail. Then I have a very large and long section where I'm working on painting a larger specimen to complete an artwork, I recommend starting with the plant study and sketch pages. And then you can decide whether you want to watch the whole painting from start to finish, or whether you are just interested in particular sections. I admit I have split the final painting into a lot of sections, but I hope this will help you to navigate to the area you wish to say. Now, here is a short video of me in my local nature reserve discussing my inspiration while competing with the wind and the birds. And I apologize for the sound quality. I'm Cheryl Hodges. And I'm standing here on Mount Jerrabomberra, just near Canberra. I'm standing next to an Acacia pycnantha, also known as the Golden Wattle. We see as Australia. These wattles are scattered all over Mt Jerrabomberra and the surrounding area. And in fact, in 1917, Charles Weston collected specimens from Mount Jerrabomberra, sent them to the Royal Botanic Gardens in Sydney, and one of those is the type specimen for the Acacia pycnantha. held in the herbarium. What I really love about this acacia are these beautiful big flower heads, they're so soft and puffy. There are many different flowers on that flower head. And they're just such a beautiful, rich golden yellow. And then these leaves, which are actually called phyllodes, they're flattened leaf stalks. But they're just such a beautiful bright green with a really nice sheen to them. So they're a pleasure to paint. And I have painted this wattle many times. So having these plants right on my back doorstep and when they're just so gorgeous, how could I resist but choose them for my next tutorial? I have included several photos of the Acacia pycnantha in natural light in the nature reserve. I hope this will help you see the colors more clearly, if you don't have these or similar species in order to obtain a live specimen. Finally, I want to say, please don't expect your painting to be identical to mine or to anyone else's. We all have our own style. And with practice, you will find your style. Practice really is the key. If you're painting a leaf, perhaps draw a whole page of leaves and work on all of them using slightly different techniques. This is how you will learn and improve and your confidence will grow as will your enjoyment. Speaking of which, I really hope you enjoy painting this beautiful plant, the Acacia pycnantha or Golden wattle. 2. Specimen, finding different flower stages: Here's a specimen that I collected which has a lot of different stages of flowers. So it has completely opened flowers, but it has some very small buds and then some developing as well. Now we're just going to examine each of these different stages. So I'm going to snip off these pieces. I'm not going to use these whole specimen. I'm just going to take off some individual pieces so that we can look at those and do some sketching and some close observation before we start real painting later on for this unit is small pace of watercolor paper, say about A5 size. I'm going to start with the fully opened flower head because they shrink really quickly, as soon as they cut from the tree. Even if they are placed in water, they do start to shrink. So it is good if you can actually get some measurements while things are on the tree as well. So this flower head is actually, and you can sort of tell from the developing flower ahead that there are actually a lot of individual flowers that make up this whole inflorescence. So you can use a ruler to measure across the flower head. So this one is about 12 millimeters wide. So I'm just going to roughly draw a circle. And each of those individual flowers is made up of many, many stamens. So it's important to draw those stamens in. Don't just draw or paint these flower heads as blobs. It's good to know what the actual structure is. And then where the sepals right in at the center, at the base of the stamens, sometimes they're dark. So you can put some little dark areas, little spots in towards the center. Now, traditionally with botanical art, we have the light coming from the top left. This is pretty important. So therefore, you have some shading down towards the bottom and up to the right. And that just helps define that round shape. Just snipped off one of those developing buds to make it sit a bit flatter. I'm going to turn it up the other way. And I'm just going to sketch it a little bit larger so that I can really have a good look at the structure here. So these developing flower heads, the shape of them is actually a spiral. It's called Fibonacci spirals. This is worth searching on the internet or in some reference books, Fibonacci spirals are fascinating. You don't need to know the formula. But if you look closely through a magnifying glass or a microscope, or even just with the with the naked eye you can see a spiral. So if you do these criss cross pattern and then you can put little dark spots where those lines intersect. And that will suggest the spiral shape. Now once again, because the light's coming from the top left, we have a little bit of shading down towards the bottom and the right, and then a little dark area on the stem underneath. So moving on to the slightly more developed flower heads, it's the same sort of thing, but those Flower heads, the individual flowers, are popping out a little bit more. So just sketching in those diagonal lines. Think I actually made these one's a little too far apart the first time. So I'll try again. When you find those sort of diamond shapes, you can change them to more circular shapes. But I still have that same structure. Spiral structure. This is still sketchy. But it's just observing each element. Really paying attention to what's going on there. And once again, some shading down towards the bottom right. And now I'm just going back to the fully flower head and just popping a little more detail into that. So here I'm just showing that each individual flower is made up of petals and sepals at the base. And then many, many stamens and one style. And then each of those stamens is a filament with anthers at the tip, so it's those anthers that really complete the picture of that flower head. 3. Painting flower starting with yellows: So we're going to paint one of these full flower heads. Just very softly going to sketch the atom, just putting some dots in so that there's not too much pencil to paint our eval. And I'm going to start with some Windsor lemon. And I'm using my number seeks brush. So I'm going to just start with a really lot top-notch. I don't want to just pi1 a circle and get hard edges. So I'm just using light feathery strokes. And I'm painting generally out towards the edge in the direction of the stamens. I can kind of blob in the middle a little bit at this stage. Then I'm going to get some wins. A yellow M, pop that on just to intensify that color a bit. Sorry. I'm just painting stamens with the Windsor yellow. And then just a few little dots to indicate the Panthers. 4. Painting flower shadows: When I painted the yellow, I tried not to pined over the pencil outline, which were only dots anyway. But if you paint over pencils, sometimes the pencil will not erase afterwards. So that's why I try to keep the pencil very light. Now I'm just going to erase that pencil from the outside. And now we're going to create some shadowy colors. Now, the opposite of yellow on the color wheel is purple. So a good way to make some shadows for yellow is to mix up a purple and then edit to your yellow. So here I'm mixing some permanent rose and some French ultramarine To make a violet sort of color. And I'm going to get my Windsor yellow. And I'll just put that near the purple and just put a little bit of the purple into the winds, yellow to dark and that APA little. Now very carefully with my fine small brush, I'm just going to add some of that shadow to the bottom and to the right. Just in very light feathery strokes. You don't want to solid block of shadow there because it's not a solid flour. It's very light and feathery. It's very subtle, but it does give the inflorescence some form. And now I'm just using some of that, wins the yellow with the shadow mix again, just to pop in a few stamens, not to many around the edges. Because that also helps to give it some form. Just dotting here. To have some Dhaka New I've just made that makes it even a little bit darker. So I'm going right into the center there to just pop some, just a few dark lines coming out from there around those individual flowers. Just to suggest what's really happening in there. I can make it a little darker down on the right and the bottom. To just help add to that shape. 5. Painting flower final details: So generally, a really nice shadow mix is French Royal Tour moraine and burnt sienna. You can get a really nice grey. You can get a brownie gray. If I ever need to suggest black. This is what all use. So this, this shed our makes is really handy. Now, I'm just going to pop that even right into the center of this flower head. If you look at the flower up to the top left, if you look at the actual photo of the flower, you can see there are some really dark areas in there. Not too many, but just a couple. So you need a very fun brush. You don't wanna make it too dark. But just a couple of those dots here and they really give it dimension. And if you just water it down a little bit, that shadow we mix, then you can just pop some slightly lighter lines coming out along the edges of those diamonds. 6. Painting developing bud: Now we'll paint these developing bad. And I'm going to paint it life size. So it is a tricky little drawing. Just popped in noise spirals made some circular shapes for the individual flowers. And I can just knock that drawing back a little bit with my native ISA. If it's too dark, I'm mixing some wins. A layman infringe ultra moraine For a lot grain. Just pop lady no larva. And the stroke underneath is slightly yellower. So I've got my shadow mix and I'm just going to pop a little bit of grain into that. So I've got a, a shadow, we murky grain. And I'll just use that on those criss cross lines. Just to define that shape a little. This is still quite sketchy. And it's a good way to work out which colors we need. And with tricky subjects like these, it's good to practice them before you get T faunal painting. With the dark shadow we mix, I can just popping noise, little dots. And I just define that even further. Just popping a little shed, I wonder they hash. So I'll just use a damp brush and just blend that out a little bit there. And I'm just going to round out the edges a bit more and adding a bit more shadow down. At the bottom right. 7. Painting smaller bud: Moving on to the smallest. Once again, I'm just going to sketch that live size. Notice much definition around the flowers as they haven't developed as much yet. So if I'm mixing a slightly darker grain, so a little bit more blue. And once again, popping a little more shadow at the bottom. And I'll wait for that to dry and then get my shadow. We mix some dot cn at the intersection of those criss crossed lines for the spirals. And the dark shadow underneath again. And he's a fresh flowers that I've just pulled out of the water. You can see the difference just by keeping it a motor. It does just hold it size a little bit better. You can say how much the other flowers have wilted already. 8. Flower - adding dark anthers: Just coming back to this full flower head again, just want to add some more enters in a darker shadow we yellow, mainly down to the bottom and the right. Just a couple around the outside on the other sides is fine. But more to the bottom right. 9. Drawing leaf: Now we're going to sketch this leaf. Once again. You can measure, if you want to. You can measure the width and the length. To sketch it softly here. It is only a sketch, but we're working on watercolor paper. And you want to look after the watercolor paper. So try not to arise to march or press too hard on the PayPal. It does affect the way that the pipa takes the pint. So a good thing to do is perhaps sketch it in HB and then go over the line in a 2h, and then lift the HB off with your notable eraser. I go into these in more detail when I talk about transferring your image to the watercolor paper, it's not true crucial at these sketching stage. But I just thought I'd mentioned that. But when you're sketching, Just do it softly. I'm also working on a funny angle here. So do feel free to tune the paper around to whatever works best for you. Often it's easier to do no sweeping strokes if they coming down the page. I'm just doing a rough outline at the moment. I don't need to worry about any of those imperfections just yet. I'm just trying to get a final outline. So I just went over that with my 2h and now using the native will arise. So to get rid of the other line underneath, it's still, it's a bit messy, but it's okay because it is just the sketch. We must take much more. When we come to faunal painting. 10. Painting Leaf - wet in wet highlights: We're going to start with what's called wet. In wet. This means starting with just clean water and applying it to the whole leaf. And I'm using, my number seeks brush initially. I'm trying to follow that edge as best I can. You definitely want to do that on your faunal painting. And you may need to move the paper around in the light or move your head around to actually see where the water is covering. It can be difficult to say some covering that whole area with water. And then it should just have a SHA1. You don't want it too wet or too dry. So this is something that's worth practicing. Okay. So I could say that there was an area that I had missed, all that had dried. So I'm reapplying the water to that area. Now I'm going to put some spirulina in blue into this, which I have mixed with water. I've just watered the color down. So I have a Water Research Boolean mix on my palate. So spirulina is in the highlights, but it's also going to be through the rest of the life so I can actually cover the whole leaf. Insert Julian, Not just the highlight area. So you can say I am just sort of using some strokes. There's some longish strokes you can just dotted in. But the strikes are working quite well at the moment. Just depends whether the paper in the Pioneer going to play the game. So that's covered really well. And as that draws that we will be very smooth and blended. Covering on that leaf. Just dropping in a little bit more. Fiddle with it when it's width. I wouldn't do any more to that now. And you need to wait until it's completely dry before you do the next step. 11. Painting leaf - wet in wet shadow mix: Now we're going to use the wet in wet technique again. And this time we're going to pop in some shadows. So I'm making that shadow. We mix again with friends while true moraine and burnt sienna. So it's quite a neutral gray mix. Sort of mixed up the pint first. Now I'm going to use nice clean water. And with that leaf again. And I am going to wet the whole leaf and just place the shadow mix into certain areas. When you are building up in several layers, you do need to be careful of the edges. These edges might get a bit messy because it's my sketch page. But you do have to pay particular attention to that. Just making sure that the whole area is wet. And then I do need to let it dry a little bit before I pop the coloring. Okay. So I'm just looking at my life and I have a photo as well that I'm referring to to see where the shed. So here I'm just popping that color. In particular areas, not covering the whole lake. Just looking at the different the folds in the leaf where it gets a bit darker. I'll still be painting grain over the top of this. And it's good to have some dock on mic's coming through from underneath. And once again, I need to let that dry completely before I put the next layer on. 12. Painting Leaf - wet in wet green mix: The next color that we going to add to the slave, still using awaiting wet technique is a nice bright green. There are different types of grains in the leaf. So I'm going to put a bright one underneath and then we'll add a darker green on top. So I'm using a mix of Windsor, Lehmann, and Cerulean Blue. So I've mix the color up. Now going back to the leaf and covering it with nice clean water again, sinks into the pipeline. So even though we are adding this water over the top, it doesn't tend to move the paint around. Now, I've made these quite wet. So what I'm actually doing now is amazing the brush to pull some of that water back off. And now I just need to let it dry to the right consistency again so that it has that SHA1 on it. And now I'm just going to drop this bright green in. And I want to avoid that highlight area because I want to keep that blue. So I'm being quite careful about where I'm dropping that grain. This can start to look a little bit messy, but just remember this is all like the undercoverage is gonna be a lot more pint applaud over the top. And it does spread out as it dries and tends to look a lot smoother. And then what it does when you first dropping the painting. Now while that's still weird, I've decided that I can actually add some darker grain size on mixing. Some wins with french alter moraine. So it's a bit more muted grain. So now I'm dropping that into the darker areas, either that shadow mix. And you can see that pi1 is still fairly watery. Sorry, this whole leaf is getting very wet now. It's kinda take a while to dry. Messing around in a while it's wet. If you do that, do it with caution. You really need to be careful because you can end up making quite a mess with that. Okay, so I'm just going to let that drawing now and we'll see what it's like when we come back. 13. Painting leaf - wet on dry: Okay, now, here it is, now that it's dried. And our think that's created quite an interesting leaf already. So I think we done with the wetting wet. Now, it's up to you how many lines you want to try and do with wet in wet. Some people don't like it at all. Sometimes the paper can't handle too many layers of wedding when. So it's just a matter of practice and learning about your materials, I think. So now we're going to go, went on dry. So on mixing French ultramarine and wins a yellow, but it's still fairly watery. So early on in the painting stage you have a lot more water mixed with your paint. And as you go through, you have less water and more pigment. So using that Meeks, I'm going to start here. I've also got some Missy edges. So I'm going to try and clean those up as I go as well. So as I said, the papers dry. And I'm just adding this fairly watery makes a French soldier moraine and windsor. So I'm just kind of blending that in with that same brush. It still has paint on it. And just pulling all the wine to the dream. Either to the other side, just smoothing at the age of the leaf again, you can see my brushstrokes are actually going in the direction of the veins, the vines and not very prominent. But you can just still suggest them with some lot feathery brushstrokes. Also, you can say there is some granulation of the pint on the leaf, so you can see some little blue dots. Blue paints do tend to granular. And it just depends on your subject or I guess, but I actually quite like the effect. I think it looks really interesting. Now with that highlight is you can have a little bit of a suggestion of veins within the highlight. It's not going to be today tiled, but just some soft, feathery strokes in. Just break up the Highline does make it look a little bit more realistic. Coming in a bit dark and now trying to build up that shadowy area. So it's darker because it's a little dry acid is a bit more pigment. So I've probably taken the paint from the age of the little pint paddle. I do go in fairly softly initially because I think it's easier to add more pain than to take it off if you put too much on. Our build up in a lot of liars. Once again, you can see some strokes, they are in the direction of the violins. I'm still using the number six brush as well. So this is all still wet. So I'm still I'm kind of doing a little bit of waiting even though I started out with on dry. So just hope star is there is strokes blend mode. And I can say it should be Dhaka towards the tip of the leaf. By the, why I am calling this a leaf. I have to say that as the seas and Acacia and acacia picnic into, this is actually not hold a leaf. It's called a film, which is actually a flattened leaf stalk. But I will probably keep calling it a leaf because it's easy to understand. See I'm just gently brushing into that highlight. Just very softly. I'm just trying to blend all those strokes around the edge. The slave has quite a painterly feel about it. And I quite like bad. I think it's interesting. Alright, I'm going to let that dry now and come back. 14. Painting leaf - building up intensity: So continuing with wet or dry, but I have let the leaf dry completely. Starting again at the tip, wanted to build up a little bit more of that broader grain with the throughly and so on, just popping some of that in the TPP and then on blending that down. So now I'm just drawing my brush on the cloth. They're pulling some of the paint down and just blending into that highlight area. I just went and got a little bit more of that paint to drop it into the tape again. Really want to stop building up the intensity of the colony. Going back towards the base. So I'm just adding a little bit more color all over really. And just sort of finishing the edges. Blending it a bit. If the highlights too big, you might need to add a little bit more grain into that. But it's better to leave a larger highlight and be able to come back into it than not have your highlight large enough because it's hard to bring the highlight back. Some darker grain into that shadow area. I'm starting to add some dots on the side of the midrib. Do tend to jump around all over the place. The thing is you think it's dark and often then you stand back and have a look at it and realize that you need to add. And now I'm adding a bit more of a bluish green. So there's a bit more French ultramarine into that. Building up some more dots here. I'm using pretty lot brush strokes, just building up carefully, trying not to disturb the other layers. 15. Painting Leaf - dry brush, adding details: So I've switched over to my smaller brush now, which I have to admit doesn't have the greatest TPP, but it's still pretty small, so it's doing a good job. So building out the color of the midrib, just making that a little bit dark. And just going to focus on some areas here and there. So once again, back to that shadow area. So it's that french alter moraine and winds and dry, sorry. The paint from the edge of the puddle of pint where it's started to dry out a little bit to the side of the midrib. So the meter is quite prominent. And when you add shadows to the side, it just makes it pop up a little bit. Now this little area here is a gland, which is one of the distinguishing features of the acacia peak NANDA. The glands are usually on the upper side of the yard and they all have it. So it does take close observation, makes sure that you do include them. Have a look at the shape of them. They'll have a little shadow. And sometimes there'll be more than one gland on the fuel load. This area at the base of the film is called a pulvinus. I think that's how you say it is a swollen and it's usually lot reddish brown. Quite important to include. So when you're first observing your plant, it is good if you can actually research the plant on the internet. There are some really good reference sites so that you can actually find out what are the distinguishing features of the plant that you're painting. And things like the average leaf length or, you know, so that you, if you have a freak of nature in your hands, then you know you, it's better to paint something that is sort of a general representation. The plant, I mean, it does depend on the purpose of your painting. You might have painted all these Floyd's without even including glands. Perhaps you might have thought they were insect activity or something like that. So research is always a good idea. So now I'm using a much darker paint, sorry, I'm really using a dry brush technique now with my small branch, I've got some dark shadow mix. They're popping in some imperfections, but also there are some dark edges along the leaves. Of course, there's almost always some insect activity. And I think it is nice to include a little bit of it, but you don't wanna go overboard with that. Just a few bits here and there. When you doing that, make sure that you do it really fine. You don't want to be thick outline. And with those imperfections, they don't all have to be the same color. Tends to be on these acacias only acacia peak naphtha. Some of the outlines are red. So I would use a burnt sienna mixed with a permanent rose or just burnt sienna. And then sometimes I'll use my shadow mix and make it a little bit bluer or a little bit brown. So just very, very that across the life. So that's swollen steam at the base was sienna mixed with a little bit of permanent rows. I'm just doing a little bit more blending in that highlight. A few more darker brush strokes just going into the midrib, making that pop a little bit more. Now you can see this leaf is actually quite a bit lighter. Then the real life that sitting beside it. I think it would be very difficult to get the true color by, in a painting it would be very dark. And my style is to paint things a little bit lighter. And it's still a recognizable representation of the plant. It's just, the color is not quite as intense, but you can certainly see all the variation of colors within. So I think this leaf is just about done now. 16. How to hold your paintbrush: I just want to talk about how to hold your brush. You need to hold your brush like it's a pencil. Okay? And you're working like this. You might want to hold it a bit further out. Like that. That's okay. You have more control when you're closer. Don't hold it like this or like this. You know, you don't have enough control when you holding it that way, you need to hold an up-close, just like a pen or pencil. 17. Paint consistency: I wanted to talk a little bit more about the consistency of the paint. I have a couple of examples at the bottom of this page, but they weren't in focus. So I'm doing it again. And hopefully this will look better. So you can see here that there is quite a bit of pigment, but it is still a watery consistency. Now, I'm going to just brush some water onto the paper first. Now I'm going to get some of these watery paint and drop it onto the wet area. And I'm just dabbing at on that will spread out and be blended. Now with that same consistency of paint, I'm just going to paint a square. So now DC's wit on dry. And while that is still wet, you can drop darker paint into certain areas if you wish. So now, this is getting to dry a brush. And that's what it's called, but it's really a dry paint. So I'm taking the paint from the edge of the little pool of paint where it's just draw it out a little bit more. And then you can use these paint for fine lines and for more depth and for more detailed work. Now I'm going to do a couple of wet on wet leaves. And what I want to show you is the pi1 will behave differently depending on how wet the paper is. So the more water that's on the page, the more the playing all spread. So you can actually control it to a certain extent. So I'm just mixing a little more paint there. Now, both of these leaves have actually dried a bit too much, so I'm just going to add a little more water. You just need to watch these depending on how warm the areas you might actually need to apply several coats of water and actually let it. So again, I certainly need to do that in summer. I just found it draws out too quickly. Having said that, you do need to be careful that you don't have too much water sitting on the top of the pile. Because then the paint will just spread too far and it will spread out to the edge. And it will create a hardline. Sometimes that can be handy in, you can use that to your advantage. But in this case, that's not what I'm looking for. This is fairly wet, but the paint and the page, but we'll still get some really nice coverage with that. I have just gone outside my lines here. But just for this exercise, I'm not too worried about my edges. And with this bottom one, I just want to wait for that to dry a little bit more. Actually made to wait a few minutes for that. So I'm just experimenting here. And as you can see, the pints not spreading too far. So you can just like get some nice soft ages without running away too much. This is not a great example on this leaf that has no color underneath, but if you already have a grain lay, you can then add some color that white have definite sharp lines. And so that can help give you the suggestion of veins or the suggestion of undulations, things like that. So you can see the paints just not spreading as far. Sorry, these green leaf is probably a little bit too wet now, but I'll just try to drop in a little bit of a darker grain. And you can see how you can just get the suggestion of veins with that nice sort of soft edge. And this is something that's a really good idea. Practice just on some scrap paper. Just to find out different ways to work with the paint, with the moisture level in the paper, and then different consistencies of paint as well. It's probably better to practice something like these on a practice page rather than on your final painting. 18. How to do your brush strokes: One more thing that I would say is when you are applying your page, just do nice strokes. So okay, if we have another life here, roughly sort of shape. Apply your pain in nice smooth strokes. Okay? And you might be okay, so I'm sort of holding it a bit differently. You might do this. You might want to turn it around to be in the direction that you're going. And even when you're doing small strokes with the small brush, you still just doing nice strokes like this. So when we're doing some dry brush, we might do something like this. Sometimes we do different directions like this. So we might be, or we could be doing some stippling like this. Okay? So they different, why is building up the color? But when we get to this stage, it is much dryer. Okay. But what you don't do, don't do that. Well, that nothing new. Door do that. You want nice, smooth strokes, controlled. Lovely use of watercolor. This is gonna make a mace. 19. Deciding on composition: So I have a first specimen here, and I want to work out what is going to be the best composition. So I'm only going to take one section of one of these. And I'm probably going to change it a little bit. Because I think there's a lot of new bad up here that I don't want to have. And I might add some flowers up there. These are wilting rapidly in front of mile Hines, which is why it's handy to have your notes with the actual size. Okay, so I'm going to snip off. This bit. Can be a main composition. Put this into some water. And then they get a ward. We might have on a bit of an angle. And you use some type property into a pleasing composition. So see how this goes. Maybe another one. Okay, there's a leaf. Hmm, difficult or ofs or not. Put this one up here. Pop that into place there. Now, what you need to pay attention to is, and this is where it's good to do some research, is how these are being placed on the stem. So each of these inflorescences, where are they coming off? And they're coming out of here. Then we have a little swollen pulvinus here. And then of course we have glands. So there's 11, they are on the upper side of the leaf. Some of them could be on other areas of the leaves. Now, this is atan, some of these leaves out perfect. So it's up to you how much of those imperfections you want to include. We might put that life behind there. Actually this is probably, or we might put some flour and change days for some flowers. So we have a bit of balance. Flowers, flowers, some flowers here, and then some new growth here. Now, some of these twists and turns are going to be interesting. To pay it. They could be a bit tricky. And then looking at where the light is hitting the leaves here. So will get some photos straightaway. And we'll set up the light so that you can see where the light hitting for me. I can definitely say some light hitting here in here. Not that allows you to see the video. Let me see if I bring it up so you can see it moving around a bit. 20. Sketching on sketch paper: Now we working on scratch paper. Now, I've using an A3 sheet of paper. This composition is a little bit too large for I4, but you could just type two pieces of A4 together for these part anyway. So we just working on sketch paper, photocopy paper, whatever you have. So I'm going to measure and looking at the stem here and I'm going to measure from the bottom of the steam to the top of the stem, straight up. So and then I want to measure across from the bottom of the steam to line it up with the top of the steam again. So it's about 16 centimeters high and about 12 centimeters across. So if i psi, I'm just going to start at about there and measure a spot 12 centimeters across and then go up 16 centimeters. So that sort of shows me the top and the bottom of the steam. However, I've gone a little bit too high on my paper because that'll push that top leaf of the paper. So I'll just move everything down a few centimeters. This is pretty rough. Just so that I can work out where that line of that steam should go. The steam does kind of go in and out, in and out. But I'm just going to sketch in one sweeping line. And then I'll worry about those little angles to the right and to the left. So just do a nice sweeping line to get that flow. So I'm doing all of these sketching in my HB at this stage. So starting from the bottom, I'm going to measure where that first leaf is coming off. And it's about five centimeters. So I'll just mark that in. I'm going to mark all of these leaves with the coming of the stem first to the second one is about 1.5 centimeters up from the first. And actually they all look about 1.5 centimeters, 1.5 to two centimeters. So I'm just going to mark in where they're going and then which why the leaves are coming off the stem so that I can just keep track of where I'm up to. So that's coming off to that side. Just marking them all in. Just softly and gently at first. So when you sketching with your HB, sketch softly. I'm just gonna see how these measurements are just made to extend that a little bit at the top, I may not include all of that. It's a little bit messy. Coming back down, we need to define the shape of this. Might seem a little tedious, but it's really important to get your drawing right. There's no point having a beautifully rendered painting. If you've mopped up the drawing and things, look at a proportion or just a funny composition. You really need to think about things at the stage. Preparation is very important. So there's a definite angle coming out. If you need to move some of the leaves into a more pleasing composition, you can do that. You can do it with the type or you can just decide that you're going to change it on your sketch. So that leaves actually broken. They about, I think I will make it a full buffer. Okay, so now that I've worked at where all of those leaves are coming off, start to sketch. A little bit more data. Is a flower stalk coming off. And then we'll add one. So I'm going to turn these developing a flower into full flowers. You can make changes. Just try to make sure that they are technically correct. So now I'm going to start drawing in the full leaves. I'm sorry, this one is actually running off the edge of the screen. But I'm just getting that midrib sorted first. It's most important to get the line of the midrib and then draw in the rest of the life around it. Sorry, I'm just adjusting that and then I'll erase the ones that I don't want. And then I'll draw in the rest of that life. And also paying close attention to all of the leaves and the folds. So I still just sketching softly with the HB. And looking at this flower stalk, just taking narrative how, why that is and where the flowers are coming off in relation to each other. And with the day facing the front or the back, I am at a slightly different angle to what the camera is. So that bottom one is facing the back for me so you can just see part of the stalk. And then the next one is just slightly in front. So I'm just drawing these as circles. We don't need any more detail on that at this point. And you can measure if you want to, to see how far apart these flowers are, where they coming off, what angle the Stam is, and which one is in front and which ones behind. So I can actually say another one in behind there to show that in the painting. So it looks like a flower has fallen off. You can just have a little dark area where running behind. These stems do tend to have some angles in them as well. Just making sure that you can really tell which ones in front, which ones behind. Now you can try to decide which leaf you want in front, which angle you want them on. You can move it around. You might want to move it down or up. So I'm just trying to decide what to do with these two leaves at the moment. That one's coming forward in front of the other. So it's probably best to draw that. Well, these twists and turns, this is going to be a very tricky leaf. You could exchange it for a strikes a leaf if you wanted to. Just really pay attention to where the lines are going, where the edges outgoing and the midrib. With the lights heating. When we come to paint these leaf later on, I will come back to the sketch and we'll have a closer look at the live inside. This is going to be a very tricky leaf, but we'll work on the other leaves first and leave these one to last. When you're well practice with your leaf painting techniques. It will be the And shy. So now I'm going to place the beehive. And we'll move on to the next step. Once again, just working out. This one's going behind. Which ones are behind. Making sure that you don't have any flowers that are just floating in the middle of nowhere. I should all have something connecting them to the end. Including insect activities side, passionately appealing. Slaves going behind. And it's actually going to go. So the age of the leaf is going to be wider, so it is going to go in front of that. Now, if you have something coming very close to another leaf, you're better to go in front or behind. Don't have them but rod up against each other. It can be a little bit confusing to the eye. So I will put that top layer or the bottom one and then arrives in the drawing. And this is why we do sketches like this. And actually the reason that we are doing this ONE, sketch paper rather than the watercolor paper, is because with all of these arising that we're doing, you can really mess up your watercolour paper. The paint will not go on to the pipe and nicely, if you've been erasing with either a hard plastic or rice or all the native. But Orissa, it just changes the surface of the paper. So we really want to keep a watercolour paper pristine. And this is why we do all of these sketching business on the sketch paper. First, the cameras battery went flat and I didn't record the rest of module boring because it's the sign as everything else up and doing really, but I'll just talk you through it. I've decided to take off the developing flowers, which I mentioned before, and I'm gonna put some full flowers. So I've just used this as an example. And I think I'm just going to pop and another little flower in behind, you, just fill it up a little bit more. But I think this gives a good balance with the flower stalks on the other side. You already saw that leaf go on. And now there's also these developing flowers here. And there's a few different stages. And then there's a partially IPE and flower head. He is. So some of the flowers have I been done some habit. So that's another interesting stage to include, is coming in front of the other one. Just clean that up. Another life going behind with a little flower stalk lets trying that hasn't done very well. Now, must have that little gland. Pretty easy to add, lighter on because they are a reddish color and you can add them to a green leaf quad easily. But it's better if you can include them in the initial drawing. Is a little developing, but there is some behind those other flowers, but I think that'll get too complicated. So I'm going to leave those ones off. But I will just pop another little one and maybe another one underneath. Just to fill that out or be it directly have to paint it exactly as per your specimen. Okay, I'm pretty happy with how this composition is looking. Noss Florio and balance with the leaves. Going to fix how that one is tuning. So the overall composition, I think, is looking pretty good, uh, like the balance along the flow. 21. Tidying final drawing: Now that we have this whole composition sorted out, it's still looking pretty sketchy and messy. So what we want to do is make sure we have nice, clean outlines. So using your 2h pencil, you need to go over every line of this drawing. And then when you rub it with the native will arise psi, you can say it takes off the HB that's underneath and just leaves the clean line of the 2h. So hopefully if you were sketching softly with the HB and now if you're pressing a little harder with your two h, this actually works very well to give you a nice clean line. The reason you want that clean line is so that you can trace. So you can either try sit on a window, on a light box or using tracing paper. So that will be the next video. This process is going to go for another ten minutes or sorry. So I'm not going to cite anything else now because I think you've got the idea and you can watch it if you want. About all we're doing is going over these lines with the 2h, then arising with the notable eraser. Wow. Hi. Yes. Yes. Yeah. Okay. And the TechSmith? Yeah. Yes. Okay. Okay. Yeah. Okay. Okay. 22. Transferring to watercolour paper using tracing paper: I'm going to show you two ways of transferring your drawing to your watercolour paper. This first way is very time consuming and tedious. And I would only use it for very detailed drawings where we not going to be able to see the image through a lot box or window and sometimes drawings that detail that this is the required method. So it's using tracing paper. I've typed with removable type my tracing paper over my drawing. Now using my 2h, I'm going over the lawn. I'm only going to do a couple of leaves to show you here because I don't need to spend all day doing it this way when there is a quicker way. So just going over those ones, making sure that I'm really following the line very carefully. It is crucial to get the speed right. I'll just do that little steam just to join it. Now would take the tracing paper off that drawing. Now this doesn't really matter, but it just needs to be applying piece of paper that you're that you're using for the other side now, so that's the front. Flip it over, get your HB, and go over those lines once again, precisely following the lines. So that actually will transfer some of that during underneath to the paper, which is why you just want scrap paper on, do they not your watercolour paper. At this stage. There is a PDF in the attachments that details how to do this as well. Just remember you're on the back of the drawing now annual using HB watercolor paper. So your final paper that you're going to do your painting on. And once again, it is best to type you drawing to it. Now, I'm just working out because I am actually going to use this. I'm working at exactly where to place these two leaves. Just using my sketch. Then once you have it placed in the right position and typed on, go back to your 2h. Just needs to have a good point and try sorry about all of those lines again. Before you get too far into it, just makes sure that the lines are actually transferring to the piper. So to do that and just hold it in position, but lift up the edge so that you can see if there is an image coming through and there is verify and that's okay. If you want it dark, you can use it to be, but to be can leave a lot of graphite sitting on the paper, does need to be a bit careful going over all of those lines again. But once you've done that and take off your tracing paper. So you do have an image transferred there, but it's in a soft pencil because it's the HB that's transferred there. So at my smudge. So once again, using the 2h with good point. All of those lines, one more time. A deed site was tedious, but they really are situations when that is the best option. In this case, however, I think our easiest option is to use a window or light box. Okay, so that's the transferring method using the tracing paper. Once you've transferred all of that, once you've gone over the whole lot with the 2h, you go back to your trusty notable arise. And that will get rid of the AHA underneath and leave you with a beautiful claim line in 2h which weren't smudge too much. Ready for painting. 23. Transferring to water colour paper using lightbox: So the ABA, method of transferring your drawing to the watercolor paper is using a light box or a window. If you don't have a light box, really, a window will work just as well. Type is very important though and your arms may get tired. So make sure that the paper that you're transferring to has that you have enough room that it's large enough that you have some room around the image. Because if you need to stretch these paper afterwards and put tape on there. And if you want to frame it, you want to make sure that you have enough room would be a real shame to do a masterpiece and you put the painting right up to the edge of the paper. So I'm taping down my sketch and then I'm typing my watercolor paper over the top and wanted to move now because I'm going to spend a lot of time putting my hand on this paper. It's best if I can get a piece of tracing paper or some kind of paper just to put under my hand. Because the oils from my hand actually do affect the watercolor paper. And once again, they affect how the paint will be absorbed into the paper. So it's best to try and keep some tracing paper or other paper under your hand most of the time when you're working on your watercolour paper. So during the drawing and painting stage. So now I can say a pretty clear outline, although you may not be able to say quite as clearly on the video, but I can say a good clear outline to follow. And I really want to try and make this a nice clean line. I'm using Machu h. So this is why it's only really one step. Rather than tracing with the tracing paper, which is, I don't know, three. Yeah. So this is much better if you can get but don't don't press too hard with your 2h. Just you want to learn that you can say well enough to paint too. But you don't want to put indentations in your paper. Yeah. Because at the surface. All right. Yes. Yes. Yeah. Hello? Yes. Yes. You know. These little developing flower heads. With, that's the kind of detail that I couldn't really say through the light box. So a kind of rough the mean. I'm now just going to refer to my sketch and just finish adding those extra details. I could have gone with the tracing paper transfer method. I'm just going to quickly detail backing, which will just take me a couple of minutes. Ready for. 24. Painting the flowers: And we are ready to start painting. I'm gonna start by painting all of the flower heads first. So if I just start with this group at the bottom left here, hopefully you haven't pressed too hard with your 2H when you were doing those outlines. But I'm just using the native soil array so now to make those lines as alive as I possibly can, whilst obviously still being able to see them. It particularly because we're working with yellow, we don't want to be able to see those pencil outlines Through the paint. So I'm going to paint these the same way that we did with our sketches initially, our, our practice ones. So I'm using some wins, a lemon to start with. So kind of filling in the middle there and just feathering strokes out. Just in the shape of those stamens. Just remember we don't want a hard edge. These are not solid, they fluffy and light. So I'm going to go over all of these flower heads using the Windsor lemon. I have quite a bit of paint on my brush. They, so I've just dabbed it off and the cloth. But I can spread that paint around more flowers. Or I can just put my brush on this too much paint. I can Vilnius spike up the plane and then debit or from the cloth. So whether they're in front or behind, just starting with the Windsor lemon. Now I've let that winds and lemon dry. And once again, when I was painting, I didn't paint all the way to the pencil line. Well, I tried not to anyway. So now that it is completely dry and I have to stress, it must be dry. I'm using my plastic eraser to completely get rid of that pencil outline. And then we can continue on with our painting. Not having to worry about whether we'll be able to get the pencil off later and just use the cloth to get rid of those, those rubber beings. But a feather is actually really handy to do that because you don't want to keep rubbing your hand over the paper, even though I know that I've been doing that through this tutorial. So if you can get your hands on a good feather, just anything you find as long as it's clean. Yet that's a really handy tool for that. I just can't find mine at the moment. So now I've got some wins, a yellow, and I'm reverting to my fine brush. These really detailed little flower heads. So you need to find brush. So I'm painting in stamens. I mean, I do find it easier to paint from the center out to the edge. But to do that on the whole thing, you need to keep turning your painting around. So you are welcome. And I do recommend it. Sorry. Sometimes you find between the left side and painting in towards the center. And then when I get to the right side, I'm painting at. Right? Okay. So still using wins a yellow, I'm now dotting In a few anthesis. Now I'm going to add some darks. Today's flour hits. So I've mixed some of the shadow we yellow using the purple mixed in with the wind CLI. And I'm just dotting it onto the block. Are going to be behind. So it's just going to bring the ones in front. I'm just going to pop forward because they've got shadow is next to them. So just still using very feathery motion, just trying to add some shadow to push those other ones to the back. Also the ones that are behind the steam will need more shadow. Making sure that you use really feathery strikes. Don't want any lines. Sometimes it can be tricky doing shadows in yellow. I think the tricky is to make sure that you don't put those shadows all over. Make sure that you still have some nice claim yellows here and there. And they will look really lovely, embroider next to the shadow areas. And now just using a lot of shadow color. Here, I'll just show you the blossom that we did before. So I remember we put some shadow to the bottom and to the right of the flower ahead. So I'm just feathering in that shadow we color which is not as dark as the ones that I've just put in way the flowers are going behind. So we just giving each of those Flower heads some form by using those shadows. Then once again building out more, more shadow in more depth on the blossoms that are behind. This. Remembering to keep incorporating those stamens and keep doing brush strokes in those directions. So I'm getting quite dark with those blossoms that are behind and that's fine that we're doing that we didn't need to do it initially. It takes time to work out where to have the different tones. To split the ring some dark lines into the blossom that's in front. So it'll push those diamonds forward and have the shadow is in behind. So you don't want alive outline around blossoms that are in front. I'm starting to build up a little bit more definition here, especially that layer here that's facing the back where the stem mates that it's gotta get. There's going to be some definition around there. Will start to build up some more color in some darks. Okay, so now I'm dotting some more and the zone a little bit darker and putting them on blossoms that are at the back and the dark areas. And then also a little bit as we did before. On the right and the bottom, the ABA flower heads. Now to add to the roundness of these flower heads, just putting a little tiny bit of the darker yellow around to the top and to the left. Just giving them that nice rounded look. It's not as dark as it is on the bottom right. About just building it up, slightly. Going dark or again, adding more docs to the ones at the back. There's some real depth happening now. This is looking right. Now it's time to start getting some real docks in there just to finish them all. So using the shadowy mix, but Sienna and French culture moraine, just popping some small dots in there. And then a few little lines coming out just to indicate shadows next to the stamens, particularly the flowers that are facing back roots is a very dark line at the top of the little stem that's joining them. But don't be afraid to go dock with the flowers behind as long as you keep some nice brought in the flowers. The front. And now I'm back to dawdling on a few more just to fill in the gaps there. Don't want anyway, that's too light, especially around the edges. Now I'm really intensifying those darks, little teeny tiny marks just make it pop. The rest of this video, I'll be painting the two more sets of inflorescences. The one on the right hand side does have that partially opened Flour. So you might want to look at that. The rest of this is pretty much the same as what I've just painted. Sorry. If you want to skip through it or if you want apply it at twice the speed or even five or ten times the speed that spawn. No more talking for the rest of this video. Okay. Right. Yeah. Yes. Yes. In in this case. Yes. Thank you. Thank you. Right? Yes. Yeah. Yes. Okay. Yeah. 25. Painting the buds: So now we're moving on to the developing flower heads. I haven't transferred a lot of data here, so I'm just going to draw that in now. So I'm drawing some diagonal lines crossing. And then I'm going to draw those little circular shapes of the individual flowers. Just doing this in 2h. Or do you think my pencil could be sharper? I must confess, I did have a bit of trouble saying the date style as I was drawing this because I couldn't put my head right in front of the camera. So at one stage, I do bring the magnifying glass out. And if you don't have one, I recommend getting one because I'm finding more and more that way. Tiny detailed subjects such as this, the magnifying glass is really handy. Of course, there's a lot of different types that you can get. I just have a little handheld LA day one, which I found really useful. Now that I've drawn in or is little circles and putting those crisscross lines and dropping some dark shadow mix into the intersection of those lines. Sorry, in between all of those little flowers. So this is the one I'm struggling with where I get my magnifier out, but unfortunately it's going to get in your way. But you've seen the bottom one. Ok, so now I've finished the second one. Now I'm using a shadow in the eggs just to put a little bit of shadow under H0, those inflorescences and down the right-hand side of the steam. Okay, so now I'm using light shadow mix just to define, allows a little bit more. Up to the top. This time, I'm just using my brush, criss, cross lines, green mix, but the shadow going through developing flower heads doing the same thing. So back down to these full of one's. Just a rising all those pencil lines because of painted over them. And it was in the shadow we mix anyway. So it wasn't like the flowers that had to remain a pristine, beautiful yellow. These ones are a little bit darker, a little bit. So now I'm just dropping in some Windsor yellow. So now I'm just dropping in some mixed with a little bit of French ultramarine pile greenish color. Now back up to the other developing bads. Once again, just taking some of the pencil from underneath. And I'm using that grain mix again. So these are a little bit I'm just popping them. Popping it on these patents. Exactly. Correct. It's just a suggestion of that crisscross. The Fibonacci spirals. Just going over all of them and building up a little bit of shadow. On the bottom right. Just by dropping in a little bit more. Understanding, a little bit more shed on now to the early abouts. That's probably enough. For now. We're going to start on the stems and the little tips here. Developing flower heads. It's hard to tell exactly what's going on there, but they look like they could be a little bit of brown, black bit of grain. I'm using a failing muted sort of light green mix for these little tips. The French ultramarine wins a shadow mix here. 26. Painting stems of flower stalks: Now I'm just going to paint these flower stalks that relate to these bags. So I'm just doing noise in a lot grain. This is going to be a fairly long and tedious 15 minutes or so. I'm just building up all of these flower stalks. I'll start with the light green. I need to add shadows to the side. I'll add shadows below the bouts. And as I'm going, I'm going to also touch up the bands with a little bit of shadow towards the bottom right, just to build up that roundedness. I'm also going to be adding some little dark areas where each of those little stalks joins the big stock. So you can keep watching. You can watch it at double speed if you like. I'm just gonna keep moving around all of these different flower stalks. So for this whole section, just kinda be working on the flower stalks. The finite. It's true. Hi, right. Two. Okay. Okay. What? Okay. Okay. Okay. Okay. Okay. 27. Looking at tone, sketching in preparation for painting: Before we start painting air leaves, we need to have a really good look at where the light is heating the leaves. So where there is light and shade. I'm going back to my original sketch and I'm going to do a bit of a tonal drawing on this sketch now. So I can refer to my original specimen and also photographs. Just to work out how I'd like to paint this. So this bottom life here, there is a definite highlight in this area. So I'm going to put a circle where I want my highlights, which are going to be in the Cerulean Blue. There's a couple on these leaves on the left here. This leaf here is very dark at the end. So I'm just going to sketch that in. And it goes towards the base of the leaf. This here has quite a dark area down here. When I have twists and turns, it's really important to get the light right so that you can see the shape of the leaf and how it's turning and folding. And you can still refer to the specimen and photographs. A tunnel sketch can be a really handy sort of roadmap for you. Sorry, that's just so you get the idea, that's very dark. Shadow being caused by another leaf on top. The darker side, this one was going to be tricky and we're still going to have to come back to the sketch again when it's time to paint these life. It's very good to observe with a lot and she is. Now with this, you might want to just have a user window with the light coming in from the left-hand side. Or we might want to try to set up a lot that has the lot coming. If you can. Like it's coming over your left shoulder. Otherwise, just sort of coming from the left. Unless you are left-handed, in which case, you will want to have the light coming from the right hand side so that your hand doesn't put your work in shadow. So just continuing sketching in darks and lights as I say them. You don't have to stick to this exactly. But some way to start. 28. Painting leaves - wet in wet - highlights: In this video, I'm going to be doing wet on wet on most of the leaves. Just dropping in the series alien for the highlights. And I wouldn't be saying anything else for the rest of this video. Okay. Okay. Anything? Yeah. Yes. Okay. Right. Okay. Yeah. Yes. Yes. Period. Three. Okay. Yeah. Yes. Yes. Right. Okay. All right. Yes. 29. Painting leaves - wet in wet - shadows: So because I've identified my dark areas using my tonal sketch, what I'm going to do now, now that I have let these leaves dry completely is ongoing to do some wetting, wet dropping in some shadow mix. So you remember the shed I mix is the French ultra moraine and burnt sienna mixed together to make a graph. Okay. Ok. Okay. Now, let's look at that. Hello. Okay. The afterthought. And now on this topsy-turvy leash, I've just popped some shadow mix scene without waiting that area at the tip. So now with the damp brush that off just dipped into some plain water, just blending at the age of that. 30. Painting leaves - wet on dry - shadows: Now I'm going to be adding shadow mix again to a couple of other leaves. But I'm gonna be working on dry paper. So I'm doing wet and dry with the shadow mix. So these couple of leaves fall behind another leaf, so there's a sharp edge. So we have what we call Lost and Found edges. So that found ij is a sharp edge where the leaf on top goes over the leaf underneath. The last stage is what I'm figuring out now. It is being blended a y. I'm just using a damn brush to pull that shadow mix down and blended into the rest of the life. And now I'll do the same with these leaf at the top. I'm popping that shadow mix in, still fairly watery. Got a hard edge on one side where it's going on to that other leaf. And then we'll further the shed our mix back out. This leaf is a little trickier because it's going behind the flour. And that's why I haven't done any other weighting where it on there. Just blending that back out with the damp brush again. Therefore, when I get to the flowers, just dropping a little more pigment color to come. 31. Painting leaves - wet in wet - light green: In this video, I'm going to be doing Whetten where again, this time using Windsor lemon mixed with Cerulean. So we're adding our nice bright green. And then afterwards, when this is all dry, we'll be adding a darker grain. And once again, I won't say anything more for the rest of the video. I will say however, that when I'm adding this grain, I'm making sure to avoid the highlight area. I'm waiting the whole leaf, but I'm not dropping the paint into an area where I want to keep the Cerulean Blue highlight? No. That is the total time. Yeah. Ok. Yes. But in order to protect OK. Ok. 32. Painting leaves - wet in wet - dark green: This will be the last lot of wetting wit application. And I have lived everything drawing completely. It is so important to do that and don't muck around when it's wit. So now wearing to wet the leaves up again and this time Add a mix of French culture moraine and wins a yellow. And I'm going to do that on most of the leaves. Avoiding the highlight once again. Now, there may be large areas of highlights. Don't worry about that. It's better to leave a large highlight. And then we can paint back into it when we do our wet on dry. And I wouldn't be saying anything else for the rest of this video. Okay. Bye. Bye. Yeah. Ok. Hello. Okay. The first one. Okay. Yeah. Okay. Okay. And that's of course. But the real problem. Right? First, okay, two, combinator and so forth. The first one. Okay. 33. Painting leaves - wet on dry: Now we're moving onto wet on, dry on the leaves using French ultramarine and wins a layman. When it comes to painting the leaves that are behind the flower heads. This will appeal throughout these videos, but I have also made a separate video of how to paint the dark green behind into those blossoms. So you might want to check out that video too. And during the build. Because oftentimes educate them. Yeah. Yes. 34. Painting leaves - painting midrib: I'm going to move on to the mid ribs of the Floyd's now. So I've mixed some French ultramarine with Windsor lemon, just making a lot yellowish green. And I'll just go around the whole painting and paint those Mead ribs. Just painting to the main steam. We will be adding a little bit of red for the base of the stem later on. But that can go over the top of these pile grain. And we can define the edges. As we go around. Each individual. Stop working. Turn the painting around to suit the direction of your brush stroke. I'll just work that out. A bit of a shadow along the bottom. Just to fill that in. 35. Observing a leaf: Now if we actually look at these furloughed, you can see that the midrib is actually not too wide and the dark green carries wrought down to the base of the stem there. And if you flip it over, the midrib is a little more prominent on that side. There is also an edge along that side of the leaf. There can be a brownie color or 3D color. And the secondary values are not very prominent at all. 36. Individual leaves - bottom right: It's time to really start building up the detail in each of these filler words. Now. So I'm using my small brush and putting a little bit of shadow at the base of the stem. And we need to add some shadow to either side of the midrib. The midrib is quite defined, so a bit of a shadow line along the side of that and a nice clean line will help make that pop and hopefully make it nice and crisp and clean. So ongoing down on either side of the midrib with a bit of a shadowy grain. Now here I can keep referring to my specimen that's in front of me and took photographs and to my sketch where I did draw marine Some of the tone. So that little shadow we bid down the bottom. I've used some of migraine and edit some shedder and next to it, I want to claim this edge. So when we building up in lions, as I mentioned before, you have to be careful of the edges. So if they're a bit untidy, just go along with a fine brush and just paint over them. Is still a B. I can actually move around some of the points that I've already put down. Building up a beat mode dock at the bottom of that, and back up to the top and just come out from the age of the midrib. Adding some more color to the top and blending that down. A little more shadow. Moving to the other side and just going back and forth, building out the colour gradually. Turn here will have the line heating it. So it's quite a lot. I'm still trying to keep those brush strokes roughly in the direction of the veins. Will sometimes I am doing the brush strokes down along the edge of the I'm not doing any sort of going up in the opposite direction to what? For example. So that's still a bit width down the bottom. Just dropping some more pigment into that. Which I can still do at this point because there's not a lot of pigment sitting on top of the pipe or right now. So I can still use wit. I'm popping gland. Just using Sienna, permanent rose. A Beautiful reddish brownish color at the base of the steam, and it's slightly swollen. It's called the pulvinus. Think of mentioned that before. So I just need to remember to put that in at the base of h as well. And just building up the color of the midrib a little bit more. And a lot of tooling and throwing, coming back, checking that something's dark and finding that it's not building it up a little bit more. And there'll be shadows at the top and the bottom of that swollen base because it is rounded. So that helps give it form as well. So that's most of that leaf down below. I'll move on to the next one, but I will come back to put some final details on that. Some little imperfections at the very end. 37. Individual leaves - second from bottom right: Moving on to the next leaf up. Now, I'm doing the same thing with my fine brush. I'm going to build up more color, more depth, starting with some color on either side of the midrib. This is going to be pretty much the same as the last life in terms of techniques that I'm using here. Except in this case, are not really having to labor highlights. So these leaf is quite dark. So a will be building up more tone. Other than that, there's not much that's different. So I'm going to not speak for the rest of the video. If you want to play it at double time or something, you can do that. Okay. Hi. Okay. Yeah. Hello. S. Two. Okay. It's not the same. Okay. Wow. Sorry. Yeah. 38. Individual leaves - middle right: In this video, I'm going to be working on the next three leaves. Once again, building up intensity and daytime. The one thing that is a little different in this video is that the second leaf that I'll be working on is behind a flower. So you will get a bit of an insight into how to do that. Although I have created a separate video where I show how to paint around a flower. So you can have a look at that too, which is also in this tutorial. Okay. It is very important. Yeah. Mm-hm. Okay. Okay. And most of it. Thank you. Yes. Of course this time. Yeah. Yes. Yes. 39. Individual leaves - top two left: In this video, I'm moving on to the next two leaves which are at the very top of the stem and still building up in the same manner as the others. One of these leaves is quite dark. So I am really building up the shed. Are there. Other than that, the painting technique for these two leaves is the same as the others. Okay? Okay. Okay. Right? Good. Two. Yes. Yeah. Ok. Okay. Okay. Okay. Okay. 40. Individual leaves - fourth from top left, plus other touch ups: In this video, I'm going to be building up the tone on the leaf that's on the left-hand side and four down from the top. So it's going behind the other leaf and it's also behind the flower. So it needs a lot more intensity. And then also, partway through these video, I've realized that I haven't added the red base to the stem of some of the other fields. So I go back and do that and just add a little more detail to those with a bit of shading. Okay. And it is symmetric. Yeah. Okay. Okay. Okay. Yeah. And we're done. Thank you. What is time? Do you mean? 41. Individual leaves - third from top left, working around highlight: Now I'm going to work on the leaf that's on the left-hand side third from the top. And this one has a high light. And at the moment the slave is quite large. So I need to do a fair bit of work to this. Back to my seeks brush and using a watery paint again, French ultramarine and wins I yellow. And so I'm just painting mainly over the green area. At the moment. I'm trying to avoid the midrib. And also know going into the high LOT area too much. Just dropping a bit more pigment in the buildup, that intensity. Now I'm just feathering that grain back into the highlights on just using a dam barrage of just plain water and just feathering the grain into the highlight to blend that out. Now there's a little bit of grain paying. So I'm just hoping that along the edge of the highlight there, just trying to define the age of the leaf. The grain is still a little bit damp, but not as weight as before. You can pop some slightly darker lines along the edge of the midrib, but also in the directions of the vines. Just to suggest the pint will blend and just have a soft edge. So it's just to give the suggestion of those veins. So I'm going back up to the top where the high lot begins and I'm just doing a light line along the midrib. I need to put a little bit of detail into the highlight now. So with more of a blue e grain, just popping in once again, the suggestion of valuations within the highlight. That is not quite as much definition in the hall I, but you can still see some of the vines. So you can see the colors are very subtle within the highlight. I've let that dry for a few minutes now. And I'm coming back to popping a bit more detail. So I'll just go to pile grain on my brush, starting at the tip. Just working my way into that highlight again. Just building up more and just blending it out to the edges. So just paying attention to where the leaf is going up and down. I decided to put a little more grain into the highlight so that it gives that sort of undulating effect. Now on may come back and do a little bit more to that lighter. But I like to work my way around and then come back and look at the painting as a whole before I make my final adjustments. 42. Individual leaves - second from bottom left in shadow: Now I'm moving on to the small leaf that's just behind the other one. Dot grain makes applying as a fairly watery consistency. Initially dropping. While it's still wet. Realizing I need to put a bit more. Dropping even more shadow in wallets wet so that will spread. And that was quite wet. So now I've let that dry. What I'm doing quickly now is just lifting out the midrib because it got quite thin there. So I'm using my phone brush and it's damp. I waited and then I adapted on the cloth. And I'm going over that line and just pulling the pint off. And then when our debit with the cloth, that just gets rid of the rest of it. So that's pulled that pipe back up to be a nice claim midrib. Now, do be careful when your dabbing a cloth on your painting very because you might have paint's still sitting on the cloth or you may SMED smudge something else that still wet. So just type K when doing that. And now I'm using a bit of a dry mix with a fine brush and just once again, building up a bit more doc around the mid rib. And just with that shadow is caused in doing a lot of fiddling around at the top of that. Because I just want to make sure that it is doc and then also I need to make sure that it's a nice, clean. 43. Individual leaves - slightly tricky leaf with strong highlight: Now that we've had all these practise painting always different filleds. I left the two trickiest ones until last. So first of all, we're going to work on the one brought down the bottom, which just has some nice curves and a highlight. So it's got lots and docs. So on starting with a watery mix of french alter moraine and wins a yellow. Just painting over the whole right side of the slide. I'm very careful around the edge. And just realize that was a little too wide. I am just bringing that line to make that narrow. While that's still wet, I'm going to take the opportunity to add darker grain, build up the color a bit more. Okay, now on moving either to the left side of the leaf and starting with a watery mix again, just started above the highlight. A nice clean line along the midrib. I actually I have it on my phone, so I'm sort of looking at the photo on my phone. That can really help show you exactly where the highlights and the colors in the Highline. I'm just waking into that whole lot now. It doesn't look like I'm losing some of that Hamlet and a much larger area than are needed to. As I said before, it's better to have a larger area and then not have enough. And then try to get you highlight back. So the green area is still a little bit damp. Once again, I'm just pumping some slightly darker lines which will blend psi become Lawson salt. And the suggestion of things. Working quite quickly as my brush strokes. Quick. Because I'm working with such a sort of pigment. I can easily fixes. Still dropping more painting when it's getting closer and closer to that highlight. Still working with my number. Just Just some very pile. And just the highlight is another little. That's even a big data. So that's why that has more intensity. It is getting some real personality is probably 25 minutes, but I really think it's worth it to get some interest and character to make sure that it's nice and tidy is really just finessing it. Now, I'm using the small brush, just cleaning up any areas that I think. Without losing, It's getting close to finish. Blended into the stack. Burnt sienna and permanent rose mixture. The little gland which is o so important on these floats. And then there'll be one more. Go at these flowed in a little while. 44. Individual leaves - tricky leaf with twists and turns - tonal sketch: Brought, I've left the trickiest leaf to last. We really have to have a good look at where the High Line is, where the shadows are. And I think for that, we need to go back to our sketch and have a really good look at the leaf, at the photos that I talk and really map it out on the sketch before I start painting. I'll just use my notable arise or to clean it up a bit first. So I'm observing my subject really closely. So that's a fold in the life there. So you need to, you need to work out light against dark. One surface should be lighter or darker than the other, and it might change partway through. So here, that's a little bit darker than the fold in front. And then It's going out to a midtone. And that's darker in there. Down to a midtone again. So that's quite a lot, but it does go down to tiny shadow under there. And there's a little bit of color along the edge next to the highlight. So that's lotta under they're going to Dhaka. So I'm just looking at where that line is mating up. I think I actually need to move the line of the leaf. It's tricky because it's not the age of the life, it's actually the fold of the leaf. Okay, and then it gets quiet dark under there. And there are some veins heading in there. Then of course we need to make sure we need we leave the midrib at the right width. So this is a pretty good roadmap to work from. And now we'll start our painting. 45. Individual leaves - tricky leaf with twists and turns - painting: Our final leaf is trickiest life. I think. We already have left the area of the highlight, which is great. Now, where I change the line on the sketch, I need to change it on the painting. So what I'm going to do is just lift a bit of paint off. So this brush that I have here is a short flat bright. It has stiff bristles which can lift paint. You do need to be careful. So I'm just dipping it into some plain water, damming it on the cloth. And now I'm just brushing along the area that needs lifting. It is going to change the surface of the paper so I need to be super careful. So I'm just trying to adjust the line and lucky, it's where the highlight is, so there's not a lot of paint to lift off. Try not to scrub too much, but just enough to get rid of it. Okay. That was a tricky little spot. Now, I don't want to mess with that area while it's wet, so I need to let that water dry. Now with malleable arise. Just clean up that little edge. Okay. So I'm going to an area that I didn't touch with that water. So I need to build up some shadow here. I am referring to the drawing that I just did. This is weighed on dry and so I just need to blend that out then. Sorry, now, that brush is just damp with just some claim water and I'm just pulling that shed our way out to blend it into the rest of the leaf. Now down here, there was some more shadow on pumping, some shadow mix on there as well. Just working out where that line needed to go to follow the fold of the lake. And then I want to get rid of the other line also that one was a big dog. Ok, so now just carefully, I have a smaller brush Nao, amazing. And number one, there. And I'm just going to define now is I'm going to come back to the top, go over that shadow mix and I've got a nice doc grain mixed up. French ultramarine wins. Just covering that whole area. Remember the shadow mix has soaked into the pipe. Sorry. It's not really going to go anywhere as long as I'm quiet, gentle. Just make sure I blend that area at the top. On the bottom section. Just covering it with the water remakes. And the more of the blue. Just pumping in some lines again, which may end up blending completely. It was a little bit of spirulina. Just want to soften. Blending that thoroughly an app. Once again, just working out which areas Docker, which pigment down. That's going to be rotten eggs to a highlight. So I'm just being very cautious with the Man of paint are put on. That's a highlight that underneath needs a tiny bit of shadow, a line grain, and blending it into the highlight in the shadows. Ok. Really working into that shadow area now, building up more time. So that was a bit of a line had filmed. Blending. You can really do so much with a dry brush technique. As before. I'm just going back and forth between different areas of one areas dry before I come back to it and then I can work on a different area while I'm waiting for that to draw. Just taking a step back, looking at the time. So hopefully by now you can. Hopefully that makes sense. And these last few minutes of adding these dry brush, you could say that that line was to shop. Just blending it by adding a little more pigment to just make that a smoother transition. Okay, I think that will do for now, and we'll come back and add some more details at the end. 46. Stem: We're going to move on to the main stem now. So there's actually quite a bit of variation in the coloring of these stems is there's some nice greens, yellowy grains, browns. Moving through the reds. The red would probably be a bed Sienna with some permanent rose again. Depending on where the sun is heating the steam. This one is a really deep rich red. So what I'm going to do is paint the stem with some grain and some read. Uh, certainly think the RED really gives the painting interest. So I'll probably do some grain on the left-hand side with some of the red on the right-hand side. I'm just going to make some last minute adjustments. I think that was a little bit narrower. They just move that line. So I'm mixing quite a pile grain, fringe, realtor, moraine, windsor lemon. Okay. And once again, it's quite a watery mix and I'm putting it stride onto the dry steam. And so I'm just pushing it up on the left hand side and now I'm just pulling the pine up for ahead. A lot of pain at the bottom layer, so I'm just pulling it up through the rest of the steam. So I am actually going all the way over to the right side now because I can add that red color over the top. Because this color is quite lot. Adding this stable really pull the whole painting together. It really makes a difference. And once again, feel free to turn the page around depending on what works better for you, the flow of your hand and your brush. So the green is still a little bit wet down there. So what I've done is I've mixed up my bird CNR with a little bit of permanent Rose and I'm just popping that down on the right-hand side so you can see where the paint is still wet because that new Ready Brown is really blending in. And it's quite a nice effect. Just going a little bit darker up there. It actually has a bit of pharyngeal true moraine mixed in as well, just to make it a bit darker because it's on the right-hand side, which would be the shadow we saw. Because the light is coming from the lived down to that width area again and I'm just dropping a bit more pain internet. So as you move up the stem, you can say it's dry so it has just just going on as a hard line. I'll just show you on EL practice pace here. If, if you had a nice wide steam, this is what you can do. So you kind of have you have some time on the left two, then you have a highlight, and then you have dark as shown on the right-hand side. Now I'm just brushing the wit light grain onto that steam. I put too much on this or I'm just pulling that back off with the branch and I'm dabbing it on my cloth. It was all a bit wet. So once I've let that dry just a little bit, then I'm going to get them ready brand mix, and drop it into the right, right-hand side. So you can see how that spreads. And blends and it's really pretty and at all as it dries, it will be a smoother look. Now while that's still where you can add a little bit more grain back onto the left-hand side. So once again, this is something that's really worth practicing because you can get some really nice effects. I may know I still tend to go over it later on with some weight on dry, but maybe you don't have to. And now I've just popped another dark brown back in on the right-hand side. And that makes a really pretty stamp. And back with some more grain on the left. You didn't have to do this so many times if you mix up a really strong pigment in the first place. So once again, that's worth experimenting with. So now I'm going up steam again and I just have water on my brush. It's just clean water and just waiting just that section because I'm going to try and get a little bit of these blending going on. So now I've dipped into the brown and on popping that onto the right-hand side and it's not blending Very much. So perhaps I didn't make that quite wet enough. I'm going to try again a little bit further up. Once again, popping on some water and now dropping the browning on the right-hand side. And that's the most successful that's spreading. And be more than the last time. That didn't go all the way to the top. Paul does tend to go to a more of the green at the top. So I'll just make a shadow green on the right-hand side. When I get to the top of the same name. So I'm going back to the bottom of the stack. Putting on some insect is joining me on my painting journey. Okay, and now I'm dropping some green pigment over onto the left-hand side of the stage where it's wet. And you can say that that's blending in really nicely. And that wasn't quite as weight where I can just painted green on the lift and now I can blend it with just a damp brush. Popping small grain on the left-hand side. And R will blend into all of those filler words and the flower stalks afterwards. Small damp brushes just blending the grain age just a little bit through the middle. Now a little bit of grain on the right-hand side as well to give the steam that rounded shape. Just touching up the green here. And now building up some more reddish brown. Sorry, once again, this is Betsy and some permanent rose and a little bit of French ultramarine just to make it a bit darker. Lending that again with the damp brush. He's looking really nice now. And then we'll need to do some blending into the flow. 47. Details - joins, pulvinus, glands on leaves: We're getting close to the finish line now. And I want to just tidy up the area that I'm going to be working with next, which is where all of these filler words join the stem. So I'm just going to take away just in case there's any pencil left sitting around there. So I can make some really difficult marks with the pint. Just get rid of all of that. I need to put a little gland up there. Another gland missing. So I will leave that little pencil MAC then. Hopefully that will remind me to do that. Obviously everything is completely drawn. Yeah, you don't wanna do this when it's a bit wet. I want to finalize where these nodes and leaves, stalks and mating the Mynster. Don't want it to be ambiguous. You really want to show what's happening. Name, sorry, this little swollen eyes of the film is the pulvinus, which we've mentioned before. And they are a little bit red and you just want to blend that in so they are red, but then I join a green stamps, they just need to be blended. Blended out. On the right-hand side. It will be easier because the right-hand side of the steam is already a reddish brown. Sorry, I'm just softening that line. And put a little shadow under all of the 0s because the light is coming from the top left. And if that fluid is coming out, it's sort of coming to the front of it. So if you put a shadow just behind the base, that that will sort of explain that. A lot more sense. So down here, I just want to say what's actually happening. So I'm going to refer back to my specimen. So even though it's getting old and wilted, it's still really handy to be able to check the structure. So I can say that how this is joining here. And he is going to be a little dark line where the flower stalk joins. And then I'm just feathering. Feathering at the base of the fillers. They're blending it into the stem. And once again, a little shadow underneath all of these little details that really matter. Just as those heavy dark line with I join this one needs a dark line as well. So just a dark shadow. We mix almost black line across the middle, made one up there too. I need to work a bit more on that whole area is more of a shared array because this one is coming from behind. So you can't really say the join. And then a bit more shadow. Moving up to the next one. A little bit short. Just with my damped brush and this a little bit of paint on there. I can just soften that line and extend that out. What, but just going through all of just focusing on particular areas to be disciplined rather than just working on one at a time. What but what what? What I'm looking at now is where all the glands and I need to put a little bit more definition around them. Sorry, this little gland and I'm now adding a bit of a darker brown just kind of around the outside and just to give it some dimension because they're a little bit. So this approach, it's not necessarily the y that I always paint, but I think it is a good way of making sure that you don't miss something. So making sure I get all of those glands as I'm doing all of the glands at lumps. So I think I'm just about done with touching up the pulvinus. The glance to just add some final touches to the whole painting. 48. Overview of painting - touching up where required: Getting pretty close to finishing this now. So I want to look at the painting as a whole and see how it's all working. This leaf at the bottom right was the first leaf that I did. And it just looks a bit lighter than the other leaves. It doesn't have as much contrast, perhaps a bit blue. So I feel like I just need to do a little bit of work on this one in particular. Some going to darken it up in areas. So I'm using some French ultramarine and when the yellow and just adding still once again pretty watery, adding some more color over on the right-hand side. Building up that shadow area of it. Moving to the left, adding a bit more to the other side of the midrib. Just with some light feathery strokes, bit more color down the bottom. Few lines. Suggesting vines again. So there'll be some dark lines and I'll have a little bit of shadow on them, making sure that's blended. Still know quite dark enough. Going over that again. Just darkening up that need rebuilt a little bit. There was a bit too bright and prominent. So that was just with a bit of grain mix but it was pretty watery so you can it didn't cover it up. There is light shining on that bottom area or that was a bit too broad. We'll move on to the next. And as I said, the grain the grain does go all the way to the base of the free load. I'm just darkening out the edge of this one. And I'll have to do that with a few of the others as well. Come back down here and realize that I need to do it on that one as well. Don't know how many times I come come back to that leaf. Moving up. Once again doing the same, darkening the edges. Just slightly darker grain to meat, that little gland. That whole area just feel like that was a little bit to line and especially where it's going behind that leaf in front is dark. I didn't want to have that really LOT line. That leaf in front just even a little bit dark or light is a bit lie. Just doc and I realized that I haven't been using the tracing paper under my hand. Getting a little bit nervous that I'm not making a bit of a mess here. I can definitely say that I hadn't finished this one. Needed to put down. I'm not very happy with this leaf that's behind. Another one that are filled with a lot. Just really wanted to blend that shadow of the bit of entities and have a bit more. Underneath. This tricky. Just using really teeny tiny brush strokes. I felt that there were too many different brush strokes. They just try to blend that a little bit. I'm feeling like this highlight is amazing, like grain, which would be French ultramarine and winds up just around the age. Just building up the color beat moldy. Before that fold. Could just be built up a little bit more and get a little bit darker towards the base. Just trying to get a bit more contrast in there. I'm using mesh, short, flat, broad brush again to lift a bit of the superiorly and out of this highlight because I feel like the blue is two blue and it's just a bit too intense. Psi. I am being very careful with that brush darker because as I said, it can damage the surface of the pipe. So you have to be careful. From here on, we'll just be using dry brush over the top. Shouldn't be too bad. And then I'm just painting into that highlighted dark, getting that out a bit more. Into developing bonds underneath, whether in front of the stage. And then we're ready to add the final day tiles. 49. Final details - imperfections and dark edges: We really on the home stretch now, final little teeny tiny details going in. If you look at this here, you can say there are colors on the edge. Could be a dark brown or I could be a reddish brown. There are little imperfections all over it. So you can do with a smattering of these, not too many. He can say a more of a reddish image. There's some insect activity in little imperfections. And there are definitely worth including because it's not going to look realistic if you don't have a few of those on there, but you don't wanna go overboard. You want to apply it to look reasonably healthy. I've just realized that the end of this Floyd was a little bit messy. Sorry, I've got my little stiff brush out again. The short, flat, broad, and chess tidied up the age. Once again, do be careful with it, but it can be handy if you've sort of gone outside the lines. I mixed up my French culture, moraine and burnt sienna just to make a bit of a grey brownie mix. And there is some variation, so you don't have to use one color. In fact, you shouldn't use one color. You should mix it up. So this is just kind of a probably more brown than a gray. And doing this outline, it has to be fine. And it doesn't have to follow the whole margin of a consort of common god. If there's insect activity, they generally will be a bit of a dark line around that area. But other areas, some of them might have a line such as mix it up a bit. It's good to put a little line around the gland. And if you do have some untidy edges. But as I say line. So as you can see from these little leaf here, sometimes they don t. So now I'm going to stop pumping in some little imperfections. Some of them are quite dark and this is still just using the shedder mix, but it's quite dry and take it from the age of the little paddle obtained. And then you get a really intense in around if you want a really dark brown or black, that's how you get it. So just putting some little dots here and they are, they'll be different sizes. Some will be close together. Then there'll be some letter just on their own, just mix it up. Some will be along a vein. A lot of them will be along the edge. Just mix it up, try to make it look natural. Okay, so moving on to another leaf now, definitely there is little areas. They will be some docs. Generally there'll be some kind of dark at the tip. 30 is a lot touch, even if you're doing a larger sort of a circle. Try not to put your brush down too heavily. Is too wanted to look delicate. This is a very insect eta and psi dot line is going to go I pretty much all the way around it. And I'm continuing to work my way around the whole painting. Just putting little imperfections on these filler words. Just little dots, little dark bits and pieces, little edges here. Yeah. The finite. It's true. Hi, welcome back. When I get to this folded, twisted and putting some imperfections. But what we can do here is we can add some dark edges. And this will help define what is an edge and what is a phone. So that's a folded edge. This is the actual edge so that I can get some color and we'll leave the fold clean. This is also a fold. So down the bottom here, we can put a line along the edge and we can put it above the near this definitely a bit of insect activity happening here at the tip. And back to this shadow again. Amazing my fine brush here, but I'm just putting a little more shadow under the students. Doesn't feel like coin enough to me. Okay, so if we look at our specimen again, you'll see their imperfections on the steam as well. So we can add a few of those here and they're just little random dots. And sometimes they will be where we can actually say that one is Bolen off down here. And that'll be a doc. But you don't want too many of those you kinda wanna say, well, that's where it would have been. You don't want to have them all live in the place. I'm just dotting some sort of dark grays here so that it doesn't look too pristine and perfect. I mean, how many times you look at something, you can still find more detail to add. The really is a time when you just have to call it quits and say, that's enough. Now having finished this base here, I'm just going to make that as the steam has been caught. So I'll just make a bit of an blend, lie down the bottom of that state. 50. Lifting midrib - excerpt: Very short excerpt shows you how to lift paint, in this case, a midrib. What I'm doing quickly now is just lifting out the midrib because it got quiet theme there. So I'm using my phone brush and it's damp. I wet it and then I dabbed it on the cloth and ongoing over that line and just pulling the pine 12. And then when I debit with the cloth, that just gets rid of the rest of it. So that's pulled that paint back up to be a nice claim midrib now. 51. Painting leaves behind flowers - exerpt: I've pulled together all of the video segments where I'm working on painting this leaf behind some blossoms. I felt this might be useful if you wanted to work on that particular area. Okay. Okay. What does it mean? Yes. Yeah. 52. Stretching your painting: Obviously this is a different painting at the stretching process is the sign. So I've used the video from my eucalyptus tutorial. Now we going to stretch and painting. There is a slight bit of buckling. And it's because we've placed washes on the leaves and no water on the rest of the paper. So often there is some buckling. You can say a little bit clearer from the back. It can affect how it looks in the frame. It's not very nice to say warping down the side of the painting. So I usually stretch most of my work at the end. So I'm just going to place it onto a towel and we're going to weight it. Now. First of all, we need to cut some type. This is what activated Type. You can get it in. Watch old brand. We need to cut pieces to fit around the age. So you want it to extend just a little beyond the age. So I've already caught full paces for this. Now using a spray bottle or a paint brush, we going to wet the back of the painting, being careful not to go under the sides of the painting. So you won't that pretty much saturated. Lot of, a lot of water on there. Don't let it go onto the edges. Now that he's going to buckle a bit more before it settles down. So i 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 droplet sitting on top there. So just like 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 keep that a little bit of a walk to make sure there's nothing left on there. Now I'm going to pick up the painting. There is a bit of excess water on these old Just like that typeof will transfer it to the glass. Now I need to get the type and just spray that to 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 enough, so I'm just going to put it along the anxious about a centimeter holding it on there and that's sufficient. Now pop Assad pace on. If you are doing it on a window, you may need some help. And if it is on a window, I try not to put too much water on that type. You might want to just debit off of it so that the watery glue or the gloomy water doesn't fall down. Between the painting and the window. You do have to be a little bit careful. You will say it may buckle a little more, but before too long, it will flatten out. And you won't even say those little marks anymore. And it's great when you can say it completely flattened. You do want to leave that for about 24 hours. Sorry, it's the next die now. And you can see that the pipe is completely flat. So that's a relief for everyone. It's not caught 24 hours, but it's being nice and warm and on either it's dry enough. So now we need to cap this away very carefully. So you need to insert the blade under the painting and cut the type. Do this very carefully because you don't want to scratch the glass at an 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 app and it's much easy to cut that last edge. And now you see we have a completely flat painting. You will want to cut away the type from the edges so you can cut just inside the edge there. It's acid fray, 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 of your composition. 53. Signing and naming: So now that you have stretched your painting and you've kept the type of the age. It's time to sign it. Now. I have a couple of pieces of met that were full mad and I've just cut them so that I can adjust the sizing. So I've just cut them into two pieces and then I can move them around the painting. So I'm just going to sit them on the edge of the painting just so that I can work out roughly where I would want my map to go within the frame. So you want to have a good gap between the painting and the edge of the mat. And that's why it's really important to make sure that you have left enough room when you're working at your composition on your watercolour paper. Because you need room to have the type for stretching the paper, but then also so that it doesn't look like it's right up against the mat. Now with the composition heading up like that, you probably want a bit more space at the top of the painting rather than at the bottom. So I'll just move this up a little bit here. You can decide where you want to sign. You might want to assign in this gap here, some people like to sign a long stem. But to balance this whole composition, I think also over here, I just want to make sure that I get it straight. So I'm going to line it up with this mat. And I'm just signing in my 2h. The other thing that you can do is you can ride on the back. I don't usually put on the front of the painting, but I think it's good to write it on the back. So any models, I want to write a little story about your plan to your painting or who you've painted at four. So I'm just writing acacia peak net. Can right where it's from Sowell right from Mount Jeroboam broke. I'm not that good at writing stories, so I'm just going to ride. Painted by Cheryl Hodges. 2020. So now the painting is finished and ready to frame. 54. Conclusion: Well, how is that? I hope that you've learned to lie in this tutorial. If you made some mistakes along the way, don't worry, you probably learned something from them. Usually that's the best way to learn. You may have been at that stage of painting where everything looks terrible and you think you can't bring it back. But if you persevered, Hopefully you did bring it back. Please feel free to leave feedback on the tutorial. And if you'd like to share your work with me, I'd love to say it. You can contact me through the tutorial page or Weimar website, Cheryl Hodges.com. Of course, you can also follow me on Facebook and Instagram. Most of all. I hope that I've inspired you to continue your watercolor journey. Thank you so much for joining me.