King Protea Flower in Acrylic Paint | Jennifer Keller | Skillshare
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9 Lessons (1h)
    • 1. Introduction

      1:58
    • 2. Materials

      1:19
    • 3. Underpainting and Sketch

      7:06
    • 4. Background

      10:28
    • 5. Blocking in Color

      5:33
    • 6. Flower Center

      6:10
    • 7. Petal Details

      12:01
    • 8. Leaves

      5:47
    • 9. Final Details

      10:05

About This Class

Hello Love, and welcome to my King Protea Flower Acrylic Painting Class.  The King Protea is a magnificent bloom.  It’s big, bold, unusual, and has beautiful colors and textures.  It’s one of my favorite flowers and I even had one as the centerpiece for my wedding bouquet. 

My name is Jennifer Laurel Keller.  I’m an artist and instructor with over 20 years of experience in the arts.  I’ve painted a lot of flowers over time, and what I’ve noticed is that floral painting has become very popular lately, and rightly so!  Flowers bring joy to everything around them.  But to keep your florals ahead of the rest, it’s nice to be able to paint flowers that will stand out and attract attention.  

So in this class, I  share step-by-step instructions for painting the king protea.  You’ll learn how to paint vibrant petals, the magnificent texture in the center, lively, curling leaves, and a soft background so that the flower takes center stage.

In 8 lessons, we’ll cover materials, how to make a rich underpainting so that the flower has a glowing aura of color.  We go over sketching in the composition, color mixing, brushwork, perspective, how to loosen up, and how to make the piece pop by using details, highlights, and shadows!  Every move I make is explained in the class and you can follow along at your own pace.  

This class is right for you if you want to expand your understanding of floral painting.  I’ve seen beginner and intermediate artists do really well in my classes.  The key is to have an open mind and understand that patience and practice make progress. It’s all about exploring and having fun!

Once you understand how to paint this king protea, you can incorporate your new skills into your future work with more confidence.  Are you ready?  Let’s go! 

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Transcripts

1. Introduction: Hello and welcome to my king proto flower acrylic painting class. They came Proteus is a magnificent bloom. It's old, big, unusual and has beautiful colors and textures. It's one of my favorite flowers and I even had one as the centerpiece for my winning bouquet. My name is Jennifer rural Keller. I'm an artist and instructor with over 20 years of experience in the arts. I painted a lot of flowers over time. And what I've noticed is that floral painting has become very popular lately. And rightly so, Flowers bring joy to everything around them. But to keep your fluorophore ahead of the rest. To be able to paint flowers that will stand out and attract attention. So in this class, I share step-by-step instructions for painting the king proto gill. Learn how to paint vibrant pedals. The magnificent texture in the center. Lively curly leaves and a soft backgrounds so that the flower takes center stage in eight lessons, we'll cover materials how to make a rich underpinning the so that the flower has a glowing aura of color. We'll go over sketching in the composition, color mixing, brushwork, perspective, how to loosen up, and how to make the piece pop by using details, highlights, and shadows. Every move I make, it's explained in the class and you can follow along at your own pace. This class is right for you. If you want to expand your understanding of floral painting. I've seen beginner and intermediate artists do really well in my classes. The key is to have an open mind and understand that patients and practice make progress. It's all about having fun and exploring. Once you understand how to paint this king protein, you can incorporate your new skills into your future work with more confidence. Are you ready? Let's go. 2. Materials: Hello and welcome to the Materials lesson. So I have an 11 by 14 Canvas and a flat pallet, a one-inch bright brush, or you can use a flat brush, a five eighths inch bright brush. I have a half-inch bright brush, or you can use a flat brush. I have a quarter inch bright brush. I love this LAN. And I have a tiny round brush for details. I use a stick of chalk for the sketch and for the acrylics. I'm using the fluid acrylic paint by Golden. And I have titanium white, chromium oxide, green. Payne's gray, this is a lovely navy blue cadmium yellow medium hue and cadmium red medium hue. And one of my tubes is almost out, so I have a backup. I have a paint rag and a couple of pints of water. Alright, that's everything. Are you ready to get going? I'll see you next in the under painting and the sketch lesson. 3. Underpainting and Sketch: Hello and welcome to the under painting and the sketch. And you can see in this lesson, we do a very vibrant red under painting. And this is going to give the rest of the painting layers a lot of warmth. And it will give the leaves a lot of glow that comes through, which I call the aura of the object. And then once that under painting dries, we're gonna do a chalk sketch of our protein flour over the top. This wipes away with a wet rag very easily. And I want you to notice that the flower is at a three-quarters profile. So what that means, it's usually used in portrait painting, but I use it for flowers as well because we're not paying this straight on from the front and we're not painting it from the side. It's a three-quarters profile. So we see a little bit of the inside of the pedals, the outside of the petals. And we've seen that beautiful center with its point. And then the leaves are lovely and curly and they kind of just flow in the bottom of the painting. So you'll notice that we see a little bit at those curls on the leaves that will draw N. And those are a lot of fun once you get the hang of it. So let's begin. I'm gonna use my one-inch bright brush and I'm going to pour out my cadmium red medium hue. And I dampen the bristles and wipe the excess water off onto my paint rag. You don't want any drips. I mean, I suppose it doesn't matter that much for this layer because it's just the, the under painting, but typically it's just nice to wipe off those drips. And I'm coming in at an angle for painting the sides. This is a canvas panels, so it's really thin. And I don't want to get a bunch of red paint on my table even though I have a painting table. So I'm just filling it in. It's very simple. I come at the canvas from different angles so that I worked that red paint all the way into the canvas and then I do some smooth, gentle passes over the top so that aisle, the ridges of the pain are smooth. And so I want this to be completely dry. So test it with your hands before you move on to the chalk. And the flower is going to come out at this angle. So right about here is where the center of the flower will begin an end. So you've got this diagonal bowl and you can take a couple of passes here. I just kind of correct myself as I go along. And so we've got the point and then it comes down and it's like a bowl underneath. And so I'm still just kind of Trimming that up, I can take my rag and wipe away lines that I don't want to see. And I want to have plenty of room for my petals. So the petals are rather thin and they come out kind of like a, a point where here's this tapered point. And so I just come up and point it and then back down. And then as we get to the sides, they begin to curl in towards the flower. So you'll see this is the ones on the edges, on the sides have a little bit of a bow to them. And then back up at the top. Just in and out, up and down, give yourself enough room around the edges. And then that one has the curve of the side. And then the next one is going to overlap that just a bit. And then we can come up over. And it's going to overlap the center of the flower. Right? And then there's a second row that we see in the front because it's exposed to us. It's on our side of the flower. And these are short little leaves are petals. And there are foreshortened because they're coming out straight towards us. So we only see a very squished up view of them. And I'm gonna make one there that's really bowed and I use my finger to kinda correct that chalk line. And then I'm just making a few loose guidelines. That's the direction that the center of the flower is going to go in, all coming to that point. And here I go back and I decide that my petals should be just a little bit shorter so that we can really see that gorgeous center because that is really the wow factor in this painting. So there is the flower. And then I'm going to bring in my stem soy. I come out from this angle starting at the point and then carry it through. And then the leaves are very waving with these rounded edges. And there's a stem on each leaf. So they don't connect right up into the main stem. They have their own stems and just follow along with the line work and the shape of mine. You can look at the reference image that I supplied in the class. Some of these leaves are going to be facing towards us a little bit more. So you're gonna see that curl back on itself. And it's fun. So you just make an interior line that's curved and an exterior line that's the shape. Here's one that's kind of overlapping the other and I just let the lines overlap. And I'll figure that out later with the paint that one kind of looks like a bowling pin. And then another little curl. So it's really just an extra curved line. And then we'll come out with the stem. This one's going to go off the page kind of an a teardrop shape. And this one will go behind that other leaf. We'll do one more at the bottom. And this one's gonna go off of the canvas as well. Like so. Alright, so remember to look at my reference image and how funds getting this out. I will see you in the next lesson where we're going to work on the background. 4. Background: Hi, welcome back to the background lesson. You can see in this lesson we are going to cover up the background of this painting with a very soft light background so that there's lots of contrast between the background and the flour. And we're just going to paint right beside all of that chalk that we used in the sketch. And I'm going to use a lot of white. And I tend some of the color. So we've got more yellow up at the top, are blue down at the bottom. Really giving the feeling that light is hitting this scene, but it's very calm and soft. So let's get to it. So I'm going to pour out some white onto my palette and a little bit of green and all go down a brush size. I'm going to flip my brush over in the edge of that white paint to get a nice coded brush. And I'm gonna use the brush, the narrow direction and get in between these petals. So you can use a fairly large brush to get into tight corners when you're using a bright or a flat brush because it's narrow one-way and flat the other. And then once I get those details and into those tight spaces, I can use that paint while it's still wet and bring it out into the background a little bit more so you don't have a harsh line between your line work and you're more full coverage. Okay. So at this point I was just using white. And right around now I decided, hey, you know, let's tint this. Let's use a little bit of color. So I'm just bringing in very small amounts of color and using a whole lot of white so that it's very light. And this is just gonna give it the color and not be quite so, so just like straight out of the tube. So we've got a lot of brushstrokes showing at this point. And that's okay because we're gonna layer our background color just a bit. What I mainly concerned about right now is outlining the flour. And that chalk is just going to dissolve right into the paint. Sometimes a little bit gets picked up on the brush, and that's totally fine. It doesn't change the color of edit at all. It just dissolves right into the acrylic. And with these tight spaces, sometimes you have to change the direction of your brush depending on how large of a space you're using and what direction it's going into. And then I just soften up my edge on my line work so that it's not such a harsh transition between the line work and the background color. So here I've added some yellow and some Payne's gray to my palette. And I can just keep adding a little bit more white and a little bit more color as I move around. And I'm going to use more yellow up at the top because jello really gives me the feeling that there's sunlight present. So a little bit more warm light up at the top. And then as we move down, it's gonna get a little bit more blue. So I'm just outlining these petals and then bring the color up to the edge. And taking that down in between the petals about halfway. And then filling it in. At this point, it might seem like you're brushstrokes are showing a lot. It's the first layer of a different color, so no worries. You can touch those brushstrokes up a little bit more. And at this point, you just get a nice flow. And the more pressure you use on the brush, the thicker the line will be. So when you're really getting into those tight spaces, you wanna use less pressure on your brush. And as you lift up, it's kind of like you're releasing that pressure. You're not just using a firm brushstroke and then abruptly pulling the brush off the canvas. So that's how I get those nicely tapered in-between spaces. So light pressure and then bringing it back up. And then softly bringing that color up to the edge of the canvas. Once again, getting in-between those petals. And then using the paint while it's still wet to reach the edges or else you're going to have some harsh brushstrokes if those dry with that line there. And now we're moving down on the canvas. So I'm going to use whatever yellows left in my brush and do a few touch ups here. And the more you use your brush in different directions, the more camouflaged the brushstrokes will be. Here I'm adding a little bit more grain to the mix along with some white, just a small, small, small amount. We want this to be almost wait to get that light color for our contrast. And then doing the same thing down here. But we have a few more little cracks and crevices to get into. So if you want to use a smaller brush and some of those areas, feel free. I just kind of tought it out. But I have a good amount of confidence about getting into those tight corners. I could use the corner of the brush in the smallest areas, but right now I'm just kinda filling in the background. And then as I move along, I can come back up and do some touch ups up at the top. And there's more green in my brush right now, but that's okay. It's good to kind of mix it up a little. You can leave some of the colour that's been painted on already. And it'll just make it a little bit more dynamic as you move around. Now I've got some Payne's gray in with the white and you can see that it makes a lovely blue color. And let's begin on the other side around the leaves. Nice curving lines and give the stems of these leaves a little bit of space. So try not to pain over the chalk. Especially when things get really thin around those stems. And I'm just filling in at this point. If you make a mistake and you paint over something that's supposed to be a leaf. And it's not the background. It's not the end of the world because you can paint over it with the actual leaf color that we're gonna paint over the top of this red background. So you can make any adjustments are fixed things up if you if you goof up, so don't be so hard on yourself if that happens. K, bringing that color off to the side. And I use a lot of pressure on my brush once I have the ones I'm following that line hearing mixing some more blue and green in. And this is a nice exercise in brushwork and just working with how much you load your brush. You want a good amount of paint your brush, especially as you're filling in more area and loading it up. Once again, I make sure to flip the brush over a lot when I'm loading it up and then curving around. And you can really practice these smooth curving flowing lines. And I want to see some of that red show through the layer of this paint. Just to give it more of a painterly look like a human made it and, and not a robot. And filling in. We're almost there and doing some touch ups every once in a while. And I make sure to hold the canvas down in a place that's not wet. Alright, good. And then see here how I'm using the angle of my brush to really get into those small areas. And just paint from the corner sometimes as if it's just a small little area of the brush touching down. And that's looking pretty good. Here's another little small area. Get that. Just give it my best. And that's looking pretty good. I'm going to bring in a little bit more yellow now to do some touch ups, up top. And also on that area where I began doing just white, I wanna make sure that that has color over it. It doesn't matter so much. But anything that is standing out to you, you can kinda blur your eyes and see where there are more brushstrokes showing through and just kinda soften those up little bit, but you don't want to take the whole thing away and make it completely solid unless you really want to. But I like the look of a few brushstrokes showing in to give it that texture. Looks great. And of course, this is sped up a bit at the end here. Okay. Yeah, getting in between those leaves where it was a little too stark. Wait. And that shocks just gonna stand place for most of the painting you'll see. Okay, that's it. Up next, we're going to block in the color. So I will see you there. 5. Blocking in Color: Hello and welcome back to the lesson where we block in the color for the leaves and the center of this flower. Nothing too tough in this lesson, we're just blocking in the color and then the petals are already read, so we're good there. I'm gonna go down a brush size once again. And I'm picking up some white. I had some red that was still wet on my palette. But if you need more interests, pour some out. And then I have some green and red and green are opposites on the color wheel. So when you mix them together, you're gonna get a really nice neutral. You can make it more of a red or more of a green neutral. But essentially we're getting into some gray and brown areas. And the more white you add, the more of a gray it looks like. So just getting that all nicely put together on the palate. And then we're gonna fill in the center of the flower. And I'm using the narrow side of the brush to get some more detail. And then I use the broad side of the brush with more pressure when I'm filling in more area. And you can see how this gray looks really green next to all that red. And that's kind of an optical illusion because there is a lot of red in this mix, but when opposite colors are next to each other, they make each other pop. So even though this is a more of a grey, it's just very vibrant because of the green that's in it. Ok, so just filling this in really, it's pretty simple. And getting into the area that's between the pedals, it's okay if a little bit of red is showing through. This is just the base color for our, the detail that's in the flower. So we're not going to see a lot of it. It's more of just the shadow that's under all of that texture. Okay, so that looks really good. Next I'm going to make a dark green with Payne's gray and the chromium oxide grain. So it's more of a blue-green. And we're going to fill in our leaps. So I'm using the brush the narrow way on the stem. And you can be pretty rough at this point. I want a lot of that red to show through because this is the aura of the under painting that I was talking about before. So it's just going to create this nice glow around the limbs and make it more interesting. And give that some nice thickness there. And then the stems on the individual leaves are going to be thinner. So use less pressure there. And you can see how that chalk is really getting picked up now, and that's fine. So here I'm going to win the leaves overlap. So here I've picked this top leaf to overlap the bottom leaf here. And so I'm going to fill that all the way in. And then as I come around it, I'm going to leave a little, little gap of read. Not only around the outer shape of the leaf, between the leaf and the background, but between the leaves that are overlapping. And you can leave some red showing through. It doesn't have to be perfect, coverage doesn't have to be very thick. So here's the bottom of this leaf. This one has a little bit of a curl to it. I'm leaving a gap, a very tiny gap between this leaf and the leaves above it so that we can tell that they're separate. And I'm just gonna cover over this curl that we drew and before we drew it, once we remember it. And we'll paint it in later and we'll just remember to do that. And I'll be doing it and it's also in the reference image. Okay, just mixing up some more dark green. And I use my pinky for support when I'm reaching over wet paint. And so I'm just leaving a little bit of that outline of red. I'm not painting over all of the chalk. There's some chalk that will be exposed. And just filling this in. And I'm going to do the same thing over here. I'm painting over that little curl in the leaf and bringing all the way over. So this one is leaning more towards us. And with this one, I'm going to leave a, a red gap between this leaf and the leaf that's overlapping it. And it doesn't have to be perfect, but it's a nice guideline for, for us when we're painting, but also for the viewer to see that difference. Okay, get that outline down and then fill it in. It's always nice to have something hanging off of the edge of the canvas. I like it when things are cropped. It's not. It's a little bit more professional. Great. So there is the block of Green for our leaves. It's more of the shadow color. And up next we're gonna give our flower center more texture. So I will see you there. 6. Flower Center: Hi, welcome back to the flower center lesson. In this lesson we're going to work in some texture for the flower Center. And I just want you to notice before we get started that the light source is coming in from the left side. So I left a little bit more of the shadow color exposed on the right because it's not getting as much of the sunlight. All right, so let's see how this looks. I'm going to use my quarter inch bright brush for this. And I'm going to pour out more white and red onto my palette here. Because we're going to mix up that gray color again, if you already have the gray color mix step from doing the under painting are blocking in the color of this area. You can just use that. But we're gonna make this grey a little bit lighter. And I I was having a little bit of a struggle with getting this as little to purple. So I mixed it more yellow to make sure it was more of a neutral because purple and yellow are opposites on the color wheel. Helped a little bit, but somehow I was just like having a challenge getting this color right, and I was overthinking it too much. So the main thing you want to look for is a grayish color that is lighter than the block in of the color that's already down. And I wound up with way too much paint mixed as well. So, you know, it's okay. But it took me a little bit of time to get there. So really if you just put red, green, and white together, you should be able to come up with a lighter version of the grade that's already down. So I'm going to start off at the point, and I'm going to use these small lines to fan out around the point. So they're all pointing at the point and they're all expanding from that point. So I'm going to work in these rows that kind of overlap each other. So it's not just row after row after row, and they're all together perfectly. They overlap the row before. We'll cross over the previous role row. And we're just fanning it out. So this gray is kind of Armenian talon for this area. So I'm beginning the texture. And so all of the line work in the uppermost part of this area is shorter lines. And then as we get down to around the point where it starts to turn in towards the stem again. It's going to be longer line work because all of these little textures in here are actually little miniature, fuzzy flowers on their own. So it's just gonna take a little bit of practice to get the right texture for you. Everyone's is gonna look a little bit different. We all have our own signature brushwork. But just as long as you make sure to have lines kind of lining up and contouring the shape contours. Another big thing, you want to kind of have them come out and down so that we understand that there's a curve here. And anywhere where you have less coverage, you can come back over and kind of layer more lying work over the top of that. And now I'm going to work with more white in the mixture and do another pass over that. So I'm going to come right over the top of the line work that we already did. And I'm gonna give it more light. So there's more light hitting this area where things are more raised up on these little individual parts of the flower. And now I'm going to work only in white. So this is going to be our highest highlight. In this lesson. I do come over it again in the final lesson where we do our final touches. But here we start to see a stronger amount of light and it started to pop quite a bit. And a non this part, I'm focusing more on the left side of the center of the flower because that's again where the light source is coming from. And I'm just reinforcing that contour, those lines as they curve down. So you want the angle to change a little bit as they slope around. And notice on my palette I'm working in a different area than the main area of white, so I have my own little area for loading the brush. And that's going to help me from overloading this little tiny brush. Alright, so I'm gonna come around and do a little bit more highlights on the right side, but fewer. So you'll see, actually, I think I add more highlights on the left first, so we'll get to that. And the more layering you do, the more texture is going to build up. And now we're going over to the right side and I'm using less of the brush, less of the surface of the brush, less pressure, more delicate brush work, and less coverage on the canvas. Alright, that looks pretty good. Next we're going to work on the pedal details. So I will see you there. 7. Petal Details: Hi, welcome back to the pedal details. This is a really fun lesson once you get the hang of it. So I want you to look first at the pedals. I would like you to notice how each individual petal has a few different layers of color in them. So for the pedals that we see the inside of the interior facing, petals go from a lighter color at the bottom, where it's closer to the center, and then they get darker and darker as they go outward. So the points of those petals have even a little bit of blue in them, making them more purple. And then as we go to the pedals on the outside or the, we see the outside of the petals that are faced away from us. Those are lighter at the ends and darker at the bottoms. And this is the actual coloration of the flower. It's like this in real life. It's not just a lighting trick, it's the actual pigmentation of the petals. So we're going to work in this painting from light to dark. And let's see what that looks like. So I have my small bright brush at this point and I started mixing up a darker paint because I wasn't thinking. So. I'm gonna come back to this color. Don't worry about that. I'm not going to waste that paint. But first I'm going to use, I washed my brush and I'm gonna use white. And I'm just going to pick up the teeny tiny is bit of yellow. And then some more white. We want this to be really light. And it's gonna create this glow like this glowing light that's coming out of the flour. It's really, really pretty. So let's start right in the center of these flowers are petals. And I'm going to come really close to the inside and then bring my brush strokes up until about halfway up each petal. And this is pretty soft here. I have a stronger line towards the inside and then carrying it up. And you can see a love of the red coming through and that's actually encouraged. It's going to give this pedal that kind of striation. Like some of the pink is down below. Alright, so one wide line at the bottom. And then I come up and faded up a little bit. So I leave the red showing to give that little shadow area. There's a gap in between the petals and the center of the flower. Which is gonna give that a little bit of contrast and definition as well. Ok, so coming around and just bringing this up and I sped this up because it's a lot of busy work. Just filling up about into the halfway point and we're going to layer over this with the next pink. So this isn't the way we end this area. It's just the base. Okay. For this one, I went around the pedal that's in front of it. And adding more weight. Looking good. And so the two on the sides, you can see both the inside and the outside. So it's curling around on itself. So I'm using white up top on the outside. And that's, I'm going to show that this is a three-dimensional pedal. We're looking at the side of it. And I carry that down quite a bit just to give it definition right now and then I'll layer over it later. And same with this one. I'm going to show the red on the interior and the white up top on the exterior. And then on the ones that are facing inwards that are in the front row, I'm just going to paint the top of each petal white because they're even a little bit wider than the ones on the inside. So we're just painting the ends of these petals. That one also is a little bit pivoted away. So I'm showing some of the inside of that one as well. And you can leave a little bit of red showing around each pedal to give it a little bit of contrast in between that and the center. Pulling that paint down. And this is starting to look like it has some form like we have the contrast between each individual pedal and it's starting to come to life. Okay? This one is also kind of coming out towards us. So I'm painting the top of the, the pedal in a very different shapes. All I want you to pay attention to that second row and the shapes that I'm painting. Okay? Now I'm going to use a lighter pink, much lighter than the darkest red we're going to use. But also just like one step more pink then what we just did. And I'm going to paint the center of these petals. And that goes for the front and the back because it's kinda like the middle point here. So on the back row, the petals that are facing the center that we see the front of. We're painting this pink asthma are moving up. And on the front row, it's going to be kind of the reverse idea. Kay? So this is starting to look really nice. I love this color. And it's almost like there's light radiating from the inside of this flower. Like it's, it's bright in the center. Okay, so now I'm filling in and you can look at my reference image if you get a little bit lost here. We do a lot of layering. So it's not how it's going to look in the end. We're just each layer in acrylic paint kind of supports the next layer. So it's just building up, building up momentum. And the, the, the richness of all of these colors. Great. And so the pink goes below the white. These petals that are facing inwards in the front row. Okay, so that's looking pretty good. I'm gonna add a little bit more red now. And now we have kind of a dark paying, a dark bubblegum pink. And I'm gonna get higher up on this back row, covering up a little bit of the pink that we as before. So it comes in, in stages. They're not perfectly blended. You can see the brush strokes. But the, I will translate this as a nice smooth transition, which in art terminology is a gradient. And a gradient means that you have a smooth transition from one thing to the next. So it can apply to color, it can apply to light, it can apply to texture. Any element that you're working in can have a gradient. But I use gradients a lot, quite a lot in working with light and color because it's the form that starts to be built. So we see the contour of these petals shaping up. And we can see red lights hitting them. And the shape of them. And form essentially just means a three-dimensional shape instead of just a two-dimensional shape. Alright, so using that dark pink in the front row down further. And I'm just playing a small amount to these front petals. Now I'm going to begin adding blue. So I added a little bit more red and a small, small amount of blue, red and Payne's gray here. And both are very strong pigments. So a little goes a long way. And I've got this nice lavender color now and I'm just applying it to the very ends, kinda like the point of a pencil. It is kind of hugging the outside and then I bring it through. And a small brushstroke, very light. I am using the bristles just kind of curving around with the shape of the ends of these petals. And when you get to the sides, you wanna just paint the inside up at the top. So just see inside to hint at that color being in there. And then at the bottom I'm reinforcing the bottom most parts of each petal. And this is just a shadow. This color is not on the actual flower as a pigment. It's just a darker color that I'm using to recognize that there's more shadow at the bottom of these petals. And then they're underneath that front row as well. So kind of in the cracks and crevices and the underside of the front, that front row. And you can pull a little bit more in to the sides of the flower, just touching up little areas that I want to see with more shadow. And I'm gonna go one more step darker. This is the darkest shadow that I'm going to use in the flower. And just one little small area at the end, not covering everything up. Just the darkest darks. And this is really just gonna make this flower pop. The more dark and the more light you go in your painting, the wharf form will take place. And the more finished your painting is going to seem. It really gives that a professional look. And a lot of students shy away from going really dark and really light. And I always finished paintings in this way to, so I'm working on this area now. But you'll see at the end of the painting we, we work on our contrast a little bit more still. So I used some in the back row, very, very small down at the bottom just to give a little shadow back there. And this is looking really fun, really grade. So up next we're going to work on the leaves and do a similar thing. I will see you there. 8. Leaves: Hello and welcome to the leaves lesson. In this lesson you can see we're gonna give our leaves more farms. So in the last lesson we worked on giving the petals form. Now we're gonna do the same thing with the leaves there. A little bit more loose, a little bit more chunky. They're not the focal point of the painting, so we don't have to work as detailed on them. It's kind of nice to let them just kind of flow. So let's have a look at what this technique is like. So I'm using a bright brush here. I think I went up aside from the last lesson because we're working in a, with a bigger area. Okay, so I'm coming up the stem with the chromium oxide grain. This is straight out of the tube. No mixing. And I'm doing a deep dip right there where the leaf is curling and you can see the inside of the leaf a little bit. And then I'm just going to fill in underneath that and then smooth it out, kinda feather it down in a soft, misty way so that we have a nice transition into that bottom shadow color. Same thing up top, I'm doing one clean line and then leaving a little bit of that interior exposed. And I'm covering less and blue leaf at this point and leaving some of that shadow exposed up here. I'm starting at the very end and then bringing it down in the soft way, the paint is getting used up on my brush. So there's a little bit of a dry brush softness happening here. And I cover less than the length, leaving some of that shadow exposed. Ok, let's work on this one little bit of that stem and then dip way down. And I'm gonna fill in the top. So it's curling. You can see the lighter side curling over that under Neith area of the leaf. Same thing with this one. This fun little heart-shaped leaf and going way down and around the sides. So it's like an M shape. And then just filling in the top. Really cute. And you can really have a lot of fun with these. You don't have to make them perfect. As long as there's different shades of grain on these leaves, they're gonna read likely is they're going to look like leaves and it'll be fine. On this one. I left to center gap to give the look of the spine of the leaf having a little bit of shadow. Over here. I'm going to hit that stem of belief a little bit very light, leaving some of that shadow showing. And then straight down the center with a little bit of a curve. And then on the other side, leaving a gap and filling it in. Cute. I love how these look. They're really flowing there, very loose and waving. Okay. This one, I think. Yeah, just fill in that half of it. Okay, next, we're going to do another layer and we're going to add some white and some yellow so they're getting warmer and lighter. Taking it up a notch in light. And this one, I'm going to follow the edge there and then widen it a little bit so it's tapering. Some of these lines are thin, some are thick. And you can work with the thick and thin sides of your bright brush to do this for you. So pushing more and when you want it to be thicker and not worrying so much, you know, it's really just about where the light's hitting these leaves. But there's very, there are very many right answers here. So that when I left a little gap for the center line of the leaf, this one, I'm doing a little bit on top here, just a quick line on either side. And less pressure on the stem or pressure as I fill in more space on that leaf. Super cute. And one little brushstroke down at the bottom. Okay, a little bit more white on my palette, had to reload my palette, and I'm going to bring in a lot more white here. We're going for a higher highlight. And this is going to make these really shine with light a little bit more yellow to you want your light, your, your highlights to seem like they're sunlight in them, that yellow sunlight. Okay, so we're gonna do a very similar thing now but with less coverage. So I'm just going to bring this up at the end. Bam, one little swoop there. Swoop contouring with the leaf. And where the end of the curl of that leaf is very flowy, very curvy, very fun. And that looks great. Very happy with these. So up next we're going to work on the final details of this flower. I cannot wait. And let's get into it. I'll see you there. 9. Final Details: Hello and welcome to the final details of the painting. I'm so excited to show you how this winds up. So in this lesson, we are going to finish off the stem. We're going to add some line work to the leaves. And then I'm going to bring in some high highlights to the pedals. I kinda forget which order I do it and, but that's what we're gonna do. Let's see what that looks like. Ok, so I have my small bright brush right now, and I'm just going to work with White at this point. And I'm just going to add some high highlights to the ends of my petals. And this is going to give them lots of light. Does a little much soil wiped it off with my finger. And I'm doing these kinda curvy V shapes at the top of the petals that are facing away from us. So the back of these petals are really white up at the top. And I just want to make them really licked at this 0.1 nice brushstroke on these, that second row petals. And I'm really paying attention to that outer line. Okay, a little bit more over there. And here. So they're really starting to pop. There's lots of contrast. And that's what's going to give it that finished look. Okay. And now delicately bringing that white along the side of these leaves, of the petals that are pivoted away. Nice and gentle, curved lines with those. And then on the inside I'm grabbing in this area that's kind of pointed going up the center. So more coverage at the base and then kind of pointed up so that it seems like it's shooting out of the flower. And if you think about it, this color on the petals is kind of like a beacon to insects to come in, pollinate the flower. Okay, so it's like bees, spearhead shapes on the inside of these petals. And a little bit more there. So it's really glowing at this point. Looks great. And any little touch-up that you would like to do. And now I'm going to go down to size. And I have my tiny little round brush. And I'm gonna paint in some yellow around the very edge of the center of the flower. And then I added white to the yellow. And I'm going to come over the top of that with some small language. And I watched my brush and I'm just working with white. And I'm gonna go over the center of the flower with more light and more texture. So I'm using a smaller brush stroke than I did previously. Want to make this really uniform, so I'm letting a few of the gaps show up. But I just wanted to texture eyes this a little bit more to give it that vel video and look contouring down. Now, really pay attention to the direction that your brush strokes are going. It's not just straight lines going out the curve, but each line is straight. So together they curve, if that makes them ok, longer lines now, filling in some of those shadows, you don't want it to be all white. But I'm being a little bit more bold with how much light is coming in on the left side now. And you can start to actually feel this texture. It's so soft, coming around to the shaded part of the Center. And I'm just gonna do very small amounts, just this line is kinda broken up. The coverage is not very much. Just a few little extras, a little bit more at the bottom. And that looks great. Let's move down to the leaves. So I brought some yellow and white together. There was a little bit of green just resting on top of my white area on my palate, so I grabbed it. But if you want to add some green and you can do it right from the green out of the tube. And I'm going to hit the ends of the leaves with one nice flowing line on this one, I started at the stem and came through there. I left the shadow exposed. Pick decide. Here we hug that lighter area. Okay, reloading. And I decided here to show some of the veins of the leaf. This is a very light brushstroke and I lift off with a nice tapered line. I like that. Okay, this one, I just do one nice line. On the highlighted part of the left side of the leaf. There's not one right way to do this is when I chose to do it right at the top. This one I did the top edge. Where are the most light is at? One line down the center. Now I washed my brush and I'm going into that old gray that I was using, which was still wet. But if you want to mix this up, you can do red and green and white. I am bringing that down the stem. The stem on the protein is a woody stem, so it's not a green color. It's more of a woody color. And letting some of the shadow green show through though, just as a dark color. Just use a dark color for a shadow there. And also the red. And I'm not going to carry it all the way up to the top because there's a shadow under the blossom. So it's shading the stem a little bit. And now I'm using some of that grain, the light green that I used as the lightest green on the leaves, except for that yellow line work. And I'm bringing that grain into my petals because I always like to exchange colors within the painting and makes it more well-rounded. So I'm adding it to kind of like the midtone and lighter areas. And I'm adding it in very strategic little hidden places where it works as far as how much white is in it. And I'm mixing these colors into unexpected places. And I just love the look in the end. So kind of on the side of each petal. Just small, tiny brush strokes. And you can use this color to do any touch ups as well with outlining or filling in. Okay, one last bit of painting. Don't forget to sign. This color was a little too similar in light or value to the background, so I added some white for contrast. Don't sign your work too close to the edge people. This is a common mistake among even extremely professional artists. And this is because of framing. If somebody puts a frame on this, the lip of the frame will cover about a quarter inch at the edge. So you want to sign away from the edge of the canvas by about a quarter of an inch so that it's not covered up. Now I'm gonna take my rag and wet it. I'm wrapped around my finger. And when everything is dry, you want to make sure all of this is dry. A 100% dry. You wipe away your chalk. And it exposes all of that beautiful or that lovely red glow coming through. Okay, so now we are done. I love how this lugs. It's got such a richness. And all of these colors are working so well together with the reds and the greens and the paints mixing up with some of those grays and then just some little bending yellow for our sunlight, warm, loving it. And thank you so much. Thank you so much for joining me for this class. I had a great time creating this piece. If you enjoyed this class, please consider following me for future updates on new classes that I offer. Remember Art is meant to be fun. So if you show up and practice with an open mind, you'll learn something new every time. Happy painting, much love.