Loose iPad Florals - Painting with Watercolor Live Brushes in Adobe Fresco | Cathrin Gressieker | Skillshare

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Loose iPad Florals - Painting with Watercolor Live Brushes in Adobe Fresco

teacher avatar Cathrin Gressieker, Artist and Textile Designer

Watch this class and thousands more

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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

14 Lessons (1h 18m)
    • 1. Introduction + Class Project

      2:06
    • 2. Art Supplies

      0:38
    • 3. Setting Up a File

      2:07
    • 4. Live Watercolor Brushes

      8:28
    • 5. Building a Color Palette

      10:22
    • 6. Painting Focal Flowers

      19:51
    • 7. Painting Secondary Flowers

      5:02
    • 8. Additional Flower and Texture

      5:32
    • 9. Background Options

      1:55
    • 10. Fixing Mistakes

      5:51
    • 11. Finishing Touches

      6:32
    • 12. Extra Fun Options

      5:59
    • 13. Exporting a File & Timelapse

      3:27
    • 14. Thank you very much!

      0:32
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About This Class

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Would you like to learn to paint loose watercolor florals digitally on the iPad?

Do you love the flowing nature of real watercolor and would like to achieve similar results in a digital way?

The Watercolor Live Brushes in the Adobe Fresco App let you do just that and in this beginner's digital painting class I will lead you step-by-step to a beautiful loose floral. 

What you will learn:

- art supplies you need, not many obviously ;-), this is a project that can be done anytime anywhere without the mess of real paint and with all the colors of the world available to you within a click

- setting up a file in Adobe Fresco

- how the Watercolor Live Brushes work and how you can modify them to your liking

- how to build your custom color palette for this project

- and, of course, the most fun part - the digital painting, with extra fun options included

Sounds like fun?

Then please grab your iPad and let the digital flower magic begin!

Cathrin 

Meet Your Teacher

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Cathrin Gressieker

Artist and Textile Designer

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Transcripts

1. Introduction + Class Project: Hello and welcome to my class, lose iPad Florence, painting with watercolor life brushes and Adobe fresco. So this time we're going digital. My name is Catherine brassica. I'm a floral artist and a textile designer. And while I usually paying traditionally with paint and real water color, I was looking for a way to translate my loose, vibrant watercolor painting style digitally. And I found Adobe fresco and the life precious, which mimic the water flow and the color bleeds just what I love when I paint with, we'll paint. In this class, I'm going to show you how to use Adobe fresco, the life pressures, how to set up a document, how to choose and build your own color palette, how the brushes work, and then most importantly, how to paint it and achieve all these loose, watery, flowing effects, the watercolor magic. So while there is no real magic trick to painters, you still have to do it. It's not like the iPad does the work for you. It's good to have a basic background of him painted with a real watercolor beforehand. But yeah, it's another medium. Try have fun like with every other art practice. And I can't wait to see what you create. This class is suited for beginners, intermediate students, and everybody who's interested in the process of using life brushes and painting digitally. And the good thing is you don't need all the art supplies here and make a mess. You can make this project anywhere, anytime. Just using an iPad and, and Apple pencil. For your class project, you can paint along with me, grep your iPad, your Apple pencil. And we go and we paint together. And I'll show you everything step-by-step or watch the class and then paint flowers of your own reference, something you would like to try out. I just can't wait to see them in the class gallery and please also share about your process and what you've learned. Maybe. 2. Art Supplies : The art supplies are going to need for this class. That's pretty straightforward. You need an iPad Pro. I used a twelv 0.9 inch version and an apple patents of, of the second-generation. If you have an older iPad or smaller one, you can use this of course. And also with them. Apple pencil off the first-generation. And then of course you need the Adobe fresco drawing and painting up, which you can download from the app store. And then you open it and see you in the next lesson to set up your document. 3. Setting Up a File: So let's open and create a new document. Click on the fresco icon, either here or here, if you've used it before. And then it brings you to the starting page. And you can see the projects you have done before. If you've done any and go to create new, which gives you different options. If you've worked before, you see the sizes you have used to feel safe something you see this here for digital. You see this here. Like a square or screen size. Web illustration. You can choose any of these or print size in 300 ppi letter for if you're used to this list, all possible. And it shows you also here, also here your use documents in the sizes and you can also create a custom size. So let's do this custom size. And I would like to use centimeters. And I'll take something I also use for painting. That would be 24 centimeters by 32. That's the height. Because I, you know, the size, I know how big it is. And I can approximately when I paint, No. How big the flowered B, or in proportion to the other. Orientation is portrait mode logically. And then I like to use 300 ppi DPI if I use it for printing or textile designs. So I have the best solution here. And the background is white. You could save the size of you would like to use it the later time. Then you would click here, and then you go to create document. And there you have it. See you on the next lesson. And I'm going to show you where the brushes are and how to use them. 4. Live Watercolor Brushes : So here we are inside our new fresh document. You can pinch it because smaller with two fingers, you see now it's 45%. It would be a 100% would be like this, so it's much bigger. Keep that in mind. And usually I would and the iPad vertically. But for this class, I'm doing it this here, like this. And yeah, let's have a look at the brushes. I'm going to show you what, what's important. And we're not going to use the pixel brushes. They are up here. So there are hundreds, thousands of them. You can import more and more of them. Like with any art supplies you cannot have enough. So here are the vector brushes, not using, deem them, but here. This water drop, we're using those here. And there's oil brushes and watercolour. And we click here a column and then we have five brushes. Five brushes only. So sometimes, and maybe even often, it's a good thing. If you're not spoiled for choice. If you can work within the mutations, you have those five brushes and you can do a lot with them. Let's try them out. Here. We have color, we'll talk about color and color pellets later. I'm just going to click on them because they don't want a black one. Maybe I'll go for, for something more pink in color pickup. And let's go try the watercolor around detail. That's the first brush. Looks like this. Then next one, the watercolor or soft, softer, small like a washing already widths meeting, you see, it's blending. That is the magic of this, of the live brushes here and Adobe fresco. Next brush, the watercolor wash flat. So you see the edge is a bit flatter and it behaves a bit differently than the soft here. Then the spatter, of course, we know what that is. And that 1 fifth 1 is the basic water color with a round edge. Behaving like this. So now we can modify these a bit here, other layers. So this would be here. If you just click on it, they disappear but we want them. So yeah, the layers. And if you click on the layer, we also have different options. For now, I'm using Hide Layer because I'm putting on here creating a new new. They're just not to be disturbed by the ones on underneath. And I'll go to the watercolor round detail again. So this is how it looks now. And what's important for us is this here, the sizes and the colors and the flow. So this is the size of the brush. You can manipulate. Manipulated. So it can be small. Or of course bigger. Can just go here and go up and double slider. Same. You can also do with them. The soft one, of course, that is not oppressed, colored here on the size smaller or bigger than its blending happening. And this can be little bit controlled, not too much, but it's something else. So that is a bit unpredictable, like we'll watercolor. If you go here, that's the flow. It's set to a 100%. So it would be the highest amount of pigment on the brush. That's a 100%. And if you go down like less, you see it's getting lighter, less color pigment on the underbrush. So you can control the amount of pigment and you can also control the amount of water. So I just go up again with that flow. I like it really punchy and it's an all my art. And then the water flow. So it can be high, like, like here. And you go down. Maybe you don't see so much, but it's not merging together as much as here. Let's try this with a different branch with around detail. If we go to the waterfall though is not so high, like 11, put it in here, it's quite big, so you always just press all those controls here and see what, what you need. So this is not really merging a lot. How would be in here already more because this is wetter. There was more water. And if you even put more water on your brush, it's even merging some more. So this is the way how you control it and you just do it. I just showed you with one color. So the magic and the interesting part happens if you use, of course, different colors and different mergings. And here is like brush settings. If you're used to this in, in Photoshop, you every rash can be changed. The angular spacing, scatter shaped dynamics. So everything can be changed if you would like to experiment with it. And if you don't like it, you can always go back to the original settings if you click here. But I'm quite, quite fine the way they are. Just wanna show you one more thing here. So we have like this color, a 100%. And now I go back to 0 opacity. And this would make it like water. Have a high flow, maybe also flowing brush, watercolor, soft, quite big. And then if you come here, it would be like water, maybe even a bigger like water, touching, not working. What's going on? The flows, right? Has no water flow. C, we want o water flow. Then you have the water. You see it would be like if you put water on the paper and it was still quite wet, everything would merge together. You can let it work. But if you want, you can stop it. If you go here and here, dry layer. It won't go any further. This moment is, it has stopped, but can go and again with a new brush. And if you put on and is still this transparent, if you take the brush and go in again, it starts spreading again. Obey me, not done that. It's dry. Interesting. I thought it would be spreading, but it's not. But with a water does so experiment with it. It's always some surprises. And see you in the next lesson. To create some color palettes to work from. 5. Building a Color Palette : Let's talk about color and picking color palettes and Adobe fresco. Now, we don't need this pink one here at the moment we could deleted. But I'm just going to to hide it. And you can see the color picker is here, the colors. So this will be a color picker. This the colors and just click on it. And you have different options. So you can choose all your colors are the color wheel. You also can use the HSB sliders. Here, color wheels here. Then all your recent colors are shown here we have the paint and we had the, the, the water, the 0 transparency here. And then there's one problem with Adobe fresco, because usually I prefer procreate for digital work and it's very easy to make color pallets there that stay there, you can use them. And the only thing I use Adobe fresco for ISL alive watercolor brushes, so they don't have them yet and procreate, procreate at the moment. So with a color palettes and procreate, good could create them and they would stay them. You can use them in any project with Adobe fresco, you can create a color palette, and then it will be only there for this project. So if you open a new document, you can't save the color palette and use it for something else. What you can do, I can show you when you go to All, you have to fresco colors. So fresco gives you a couple, a couple of options. Here. You see it did this because I have no layer, output layer here. But these colors, yeah, it's only a few, and there's other options. So I have other colors. I have my cat lab library and my library. So that's where I have lots of switches, but this comes from my years and years of working in an Adobe draw, an Adobe sketch. And I've made these swatches in Adobe capture, and this would be a completely other course. And they come through your creative cloud libraries. So I have all these colors to use, but they won't be there unless you have your own color palettes made, so you cannot save them. Ok, that is the problem with Adobe fresco. But we want a color palette for our project. And we'll do just for our project. And what will be our project will paint crow classes. I've been walking through your neighborhood recently, yesterday, the day before yesterday and after snow and frost, spring started here. And on February in Germany. And it could not be not inspired by all this color of the caucuses and the spring and the air. So this just caught my attention. I thought this would be a nice project to try out the brushes. It's easy shapes, it's easy colors. And you'll do just that. And for this, I'm going to Google and just Google caucus for reference pictures. Of course, it would be the best of the best to make your own pictures and to use from them. So there'll be no copyright issues involved. But what we are going to do for the sake of this project and have their slots of caucuses, all, all stuff, all kinds of beautiful images. The purple and the yellows are very typical. We're just going to take a screenshot here on doing this. Okay? And what I'm gonna do now. So I go to fresco and I insert a picture, a photo with this little icon here. And this picture, you can go to photos. And then I'll just go to this one. And then we have a tail. Okay, done. Why did I do this? I will use this to pick colors. And maybe I'll do this in a fresh layer. The color picker would be this little icon here than any other program. So you can just use it. Can also just use your hand, of course. And I'll just choose some random colors. So we need some purple, some yellows. You see the color that comes here. And I'll just took, take a brush, I'll take a pixel brush, just a regular brush like basic brush, Ahad, round to get all the color. And I'm just going to append a little swatch. And when I do this, if you go to the colour to our recent, you'll have the color in your and your library here. Okay? So we need this kind of color. I'll just picking randomly all kinds of of purples now. So we have lots of varieties to choose from, can always modify the color also later on. And the sliders. Just for the moment, I want my purples. So you can also use caucuses for your reference or any other flowers. He would like to paint it darker, blue, maybe even darker. Can we get on hand? So I'm not doing this beautiful enough, but you have to work with the color you've chosen. Just one brush stroke is enough that it will be in your swatches. That's nearly the same satellite one. So we have lots of purples now. So let's take some yellows. Nice. Just picking my different colors are really light. And the green is to somehow white and white is now really white. Can have like a great tin, yellow tent, blue, bluish tint to some of these tones. Let's find some more yellow maybe for those centers until really orange. Orange hotels. Can we take just doing more than I need? Actually, these are the yellows and then of course we know we need also some green, some yummy fresh spring green. So if you're working from lots of different images like this at the same time. So there's absolutely no problem with copyright. And do not come from one picture. But for many, Has your inspiration source. Maybe we need a darker one also. Cme. And so really light some I have already done. So I'm just I'm just having fun trying out my, my colors here. Finding a pellet. So for me this book's verifying because I'm not so good with the color picker here for the wheel, and better if I do it organically this way. So if you have a look now, we have all these colors and our color palette. And it will always stay in the project. So you cannot say that you cannot exported to other, other projects. But whenever you close and open this again and put always be here. So now we have our colors. And let's start the exciting part now and paint in the next lesson. 6. Painting Focal Flowers: Let's paint our flowers now so we don't need this. I can hide it, we could delete it, but now we need some more color sampling. Later, I highlight this and I see this. We will hide this, but still I want to erase this for aesthetic sake. He is the eraser. Can just erase it and hide this layer. So you click on it, tests the blue square, and then you hide it. And we still have this fresh layer and we can just drag it up on top. You can always press this plus icon here. And venue also would get a freshly. Okay for the reference, painting pictures, photos. Best thing would be to have your own photos of your beautiful flowers if you wanted to paint caucus with me or any other flower for. So you have all the copyrights, but I don't have the photon out. And I'm going to work from Google images again, but I'll do it this way. So I am just going up and taking this internet icon here. If it, sometimes it works. Kay? Drag it here. Okay. Just make it smaller. So I have all the images here. And then I will not work from one image but from different ones. And then this is not the copyright problem because you will not copy exactly one, but different ones. You see, then you can use them all him, whatever catches your liking. And I'll start with this one. I'm just such a pink girl. And let's do the first croakers like this. And now the exciting part starts. Let's pick a color. So we have this from the beginning. So maybe I'll take something like this. A brush. We have them, He is alive pressures, the watercolor self, the watercolor round detail. These are the ones I used the most. Just find what works for you. So let's just try soft one. Size was quite big. How is the flow or like a 100% for pigment? I also like it quite watery. Well C, And then I'll just place it here. And to couple of brushstrokes trying to get the shape you see. And it's lighter here, stock a here. So maybe we should go down with the flow, just see what happens. Okay, like this. And then go up at somewhere here. So now it's the experimentation part. Just try. What about if we took the watercolor around some more to get these edges? So I'd like to have a little bit of a sketchy look too. So I'm looking mostly at this one, but again, I'm doing this very briefly and just as a reference. So let's try some color here to leave and a wash. See you just have to try out and see how this behaves. Churn should more purple, pinkish color. Now, this is just our fun part here. Together. Doing it like this. Maybe adding some more of the dark up here, which Prussia API, using the round detail now, just add some more color here. So you have to get a feel for Dolby Fresca. Good. So something like this. And then of course, let's add some yellow. Let's see what happens. Normally want this bright orange and use this round detail brush and add some C, It's really bleeding. So if I would like to add some, some lighter yellow here, like this one on top. It would totally bleed, which is fine. But I will try another way. What I haven't showed you yet, it yet is the undo command. So you can just go to this arrow and then it goes back. And if you decide, oh no, I would like to have this back. Then you press here and then it comes back. So you cannot do this with regular water color because the all in one go. So that is the advantage and sometimes also disadvantage of digital working. And you could also use your fingers. If you which like to undo it, you press two fingers. And with three, everything comes back. Go back. And then what you could do if you wanted more crisp pier, could add another layer. And if you now come in into it, sometimes things happening and then you see it would be right on top. No merging. So if you would like this, maybe you don't like this. Look, it looks too harsh. You could leave it like this. Then you could decide, Okay, I would like to have it together in a painting that's merged some more. And you go again to this layer. Then you have merged down here. Too much down, it's now here. It's one layer again. And if it just took some, some water or maybe a softer brush, touch it, you know, merging but it's too much actually has obviously pit of doing and undoing with with fresco. I'm just adding some more here. And so we have this one. And maybe for fun, add something a bit more like this. And this color that looks quite funky here with space lookup at dawn, these colors. And what happened here? We have a little, little accident, which we can just erase with the eraser. Good. So let's go to this one. Do we have any nice blue? We have, but we don't have the two class. We can just make it up. So let's take some of these. Yeah, I started with a watercolor wash solved for this one line starting with around detail. And what I'm trying now is just to sketch it out a bit in a way. So let's say like this, this is just took shape of it. Looking at this one where it touches, it bleeds already. And I would like to have some turquoise maybe just collapse or just try this. Usually I'm not good for picking colors like this. And just try to bad, just adequacy this way. Looking a bit strange. But now I'm coming in some purple maybe. And watercolor wash soft brush, the big one and just merge together. So let them cross bleed. Take this now detail. So I'm switching from one brush to the next and trying out things. What works, what does not work. So a lot like in regular painting. So what would happen if we just displayed more? How's the flow here is quite high. So let's have some some statements here. And they were totally bleed. So we repeat the procedure that we add a layer, takes some orange here, watercolor, round GTR. So basically I'm really just using those two. I don't know why I just find them best work with for me personally. But try the others also, if you would like. And just spending some here, top sketching it. And this has already become very mushy pitch here. And it's too much. So like this. We will like to merge it some more. What would happen? I think I'm much it down again, down. So what would happen if I take it back to 0 capacity? We have one here. And tomato soft interested in that. You see that's too much, I don't want this. So I'm just going back. With less water flow. Still too much. Going for the slope right now, sum, maybe just to just to digital. Okay. The turquoise maybe I'll just time he in this watercolor round detail so you see switching, he impair. Just trying out how it works. Ok, so we have these here. Whenever we add some of these stems, they have these grass like Stems here. How this behaves. Something fresh. Just sketchy here. I'm not that detailed painter with the traditional paint. And I'm also not very detailed. With Toby fresco, as you can see, the water flow. It's just measured a bit. Trying things out as I go. Ok, so that's this one. And now what would be nice contrast because it's complimentary purple and yellow. We have the yellow here and the insides. Applies it nice. Let's make something that is closed him. Where would we add this one? Maybe up here. So let's take a yellow or orange. So let's start with a yellow. I can always add orange later on. And maybe I'll try just for fun them basic water column. Maybe this mimics the shape. What has happened here. Erasing it. Back to my brush. It's the basic water color. And again, it's just happening here. I can erase a beta that's quite a big size. I could undo it or just leave as it is. Looking at this one. Always kind of simplifying them, abstracting them like I would in my traditional painting. That's how I work. And you have the flow effect here of water color. Anyway. It could just something that's even know which season there is where you are at the moment. It's really spring now. Just adding this for pure funds, it says become quite big. Maybe I'll just go back. And now it's also time to erase. It. Just cannot see it. And add some green, nice fresh green lawn, the eraser, big branch. Take the detail that it bleed in any ways. Just at some of this green goodness. Just capture this basic, the basic feeling and shape and they essence may be of them. Of the croakers. Soft, split out a bit because I like it. So because we have all the fun here with them. Could fresco. So what would happen if these would touch a 100? Start with looking at my, my painting, thinking about it, where am I goes? Sometimes a bit randomly. Then i made me think. Maybe no. Maybe this needs a little bit more detail. Okay, so I'm just going to take my detail fresh and add a bit of detail to it. So you could always go and add a new layer if you would like to have the lines more crispy here, like this. So a sketchy him pressed accidentally. So for more detail. And now the picture has disappeared. Do we have anything else we can work with? I'm just setting it up here. Merging it because I would like to get in a bit more here. Was there adding and then goes away? We have this here. Nice. 7. Painting Secondary Flowers: What is happening? Maybe. Before I go for a little more bit more sketchy touches here to them. The first one doesn't even know which was the reference, just hitting some pink. So we have these little veins here. Would it work on top? Well, it's too much. Too much. But maybe I'll leave it just for this for the look. Merging down again. Ok. Assessing it. We have three of them. And what about adding some that have not really opened yet? To have something here, these hand. So it's nice to add different stages of, of flowers to give it life and dynamics. There's one here. And I should add it around here. And I'm taking something darker. And then also again, I will wear, will work with my sketchy shape here. First one and this color. And that is a bit more like this. So that's two. So that's the difference to regular water color. You wouldn't make the sketchy Mark's first and then let it bleed. Okay. Take the soft one. Lives too much. And maybe smaller. Played him and had some some more purple tone here emerging. Maybe you had on home pad. So there's definitely some, some back and forth here. And I paint digitally, which I could never do in regular water color. And green. Ok, very flowy. So it's not really the shape units not going like this here. So I could correct it, but I leave it as it is. And maybe also adding a yellow 1.5. So we could just use this and pretend it's yellow. But we can also use the yellow. Just so it, now it has disappear. Let's take this here. So you have some little bit of color variation. And this time I'm not using sketchy brush. I'm just trying how would it look if we start with our, what we call a soft domain of basic watercolor and editor here. Some pays, but maybe now with this shape, with them, sketchy shape. And so I'm going of course, is also little bit brownish. Pink, green will do will merge together and also some of the grass. For sure. She's such an important feature of Caracas and it gives this spring feel of it. So that's how it's looking for the time being. 8. Additional Flower and Texture : Yes, some people say digital painting is faster than regular painting. Definitely not the case for me. Let's see. So you have this catches my eye is something that is a little bit lighter here. Maybe even a bit more open. Like this here I wouldn't be nice. Maybe even like this. One's interesting. You learn a lot about flowers. If you paint them. There's also interesting with this texture. Maybe we'll go back to this. But let's start with something and a lighter purple. It's calling my name now. And I found this basic water column is not too bad for this. And add it maybe around here, which is the size. Bigger. Mu two becomes quite big. And just the shape house the flow hits called Heinz make some move. It's always nice to add a little bit of color variation to it. So it's not only one color, but you see how the light is reflecting here. Beautiful Lee for all these different areas. And I just can't help getting my little brush out here for some of these touches that that will merge. And let's risk putting them the stem and on this layer, maybe I will change. It is not too bad though. Certainly has more leaf here or a petal, of course. Who has that? Maybe. And this, again, this is the magic color coming just by itself. I don't know, by Chuck. Just heard me that I want another color, green one. That's a bit more even brownish here. Water part. Here we have some kind of strange some darker parts and then go back to them. Soft. Just at some softness here comes the whole things softer. And they asked an Alice has played in here, so this softer, okay? Not thinking too much about composition, but maybe a little bit. Why is this here? Just erase it. But of course you don't want to mess too much with the organic nature of the rest. Cell Crocker swaths just had snow last week and snow has melted and then the focus is here. So maybe you could also put this a bit in the picture. So this kind of color, melting snow trying how would this look at this just to some areas? Pretend. Maybe only I know that it is snow. What happen if we just had some hand? Just making fun again? Well, that's, you know, those in procreate fresco tablets. Cause we wanted a bit of this happening here. That's why I use it. What? That's why I love the live precious to have these effects. Okay. 9. Background Options : Okay, so of course we need a little bit more here, but here maybe just thinking about composition. And, but I'm also thinking you could leave a white background course, but you could also add a background here. And it's just try some options just to see how this works. So we still have this background layer here and we could just paint on it. We turned happens on this. And I think that is because we have to convert it to a pixel layer. So press on it. Convert to pixel layer, I think was a vector layer before this. So now we could painted on it the background wouldn't even merge. Just to, just for fun. But we could also put color into it. So if we go to the bucket tool here, choose a color. So maybe like this grayish, press on it. Ok, it looks like this loses a lot of his vibrancy. So I'm not doing this, I'm just trying out things just for fun. How would like a really bright one? Losing a bit? Is it best working on white though? I don't know yet. Let's see. If we use one or just lethal white or add something later on. Purpose might work. Maybe it'll really lighter tone of this. Can also decide this leaf, this decision to the answer. This is not too bad here, but still amplifying it on white. 10. Fixing Mistakes : I think a little bulb here would also be nice in this stage, maybe also in this purple color. And it's quite interesting, maybe childhood in this shape here like this. Maybe we need more of this shape to balance out this side. So I'll just have a look at my reference. So you can choose, of course, your reference beforehand. But I pinned as I go and I decide to, to put what you put as I go. Oh, who always very spontaneous here. Testers have an end. I mean, they're so easy the shapes you can actually make them up. But still, you always think you know how they look on them. They look differently. Okay. I'm just using this shape, but I use it for another color. This pride. And found that this precious, not too bad for it. Called picked AU. Going down the side. Pick up here, then gets smaller like this. And I think some of these touches here at the base. Who says I'm flowing one newly translucent and then some, some stem, some green. What about just for fun? Sun touches PM, So here and then in the snow and just playing again. Not thinking, not overthinking things. That's how I love it. And always, you know, this is just a little appetizer, how to work with it applied to your own style, to your way of painting. I'm just giving you IGS and show how I work to just do it in your home away. That it makes sense for, you know, tried to see how this works. This app. Good, OK. Not too bad. Then I have this one here. And here, the main flower, something happening here. I want to touch of snow baby here. Gray sky, blue sky. Maybe I will, will not like it. Doesn't even bleed too much. That's interesting. What's doing? What flow. And you see, now something happened. I did a mistake. I put this. I was working on the background layer and I stayed there. And now it's here. And I think this is a problem and we put it up here. I cannot put it up there. And how we could. But then you see it has the white background. Just doing it, getting putting it away. Yeah, so high is not merging. And you can just delete it. We just leave it like this. So there will be no column merging. And yeah, if we do a background, all of this would disappear. See no way to tell what is what would happen if we don't see it. See I player, the white background is gone. Also our work here. So mistake happen, happen all the time. And yeah, I think I will just undo it. Now comes the big undo because it was not so much so we can and everything goes away to we're back where we are. That's how you fix a mistake. Cannot do this in regular watercolor. 11. Finishing Touches : So what she could do to never paint on this again, you could lock the Layer if you would like some stood. So then you cannot pay that, you cannot fill it. You can always unlock it. Go up here again. Starting it again. Say this is real life painting here. Still on this one. But sometimes, you know, by accident to find interesting ideas. Also has a patent designer who's could be really interesting. Filling areas like this. Always be open to happy accidents. Going back to my life, brushes till when this, once again, colors, right? Brush is this one I wanted. If I could do it once, I can do it. Again. That's a thing just tells. You cannot step into the same river twice, but some things always cannot come out. Mbc, this is brighter than the one we did before. Looks differently. And this is just a suggestion. Here's some and drying happening, some layering. And so bleeding. For touchy. Who draw like this too much. I'll just leave it like this ok now. So it just took us a minute or two to fix that mistake if it even was a mistake. So you always find out stuff by doing so. And now my snow comes back. Snow. I wanted to give it this bit of pain to the feel of letting it merge. Being a bit behind glass can also be too much. So I'm just trying. So what about if it was just water? Now everything merging together uses just, just for fun, just seeing what happens to it. Happening like this. So we just always just seeing where I go, what I can do, how this will evolve. Who's maybe too much? Just leave some areas that are more, more pronounced here. And let's also add some more color. Some more green here. Mooc with the snow. And I would like to have a really bright green like this. Screen. Fresh contrast him. Just making this up here. No reference picture. I like to use this sketchy Prussia, which just adds another touch to the painting That's kind of grounded here and the known. So you see, I just made up a color and everything shows that our color palette here. Everything we, we use, then it will stay in this pellet and this project, but you can unfortunately not use it in any other project. Okay, so let's have a look at it. There's some subspace that are left, but I kinda like it. Just put some more snow there will be soft like this. So I'm just calling the snow. Making up my mind. Like it away but not too much. Editor here, a bit of it. It's still not good. So I don't want to touch too much glucose for like a touching here but not there. Has merging happening. That's okay. So what would happen if I just had some matching? You can always undo what you do. You just want to bring this turquoise color up a bit into the painting? Was really first feeling of spring, crispy air. This feeling painting is a lot about feeling for me and getting this the field right at one to have for my painting or what I would like to show. Even in such a project here. I am just showing you what I do. 12. Extra Fun Options : I think for our purposes, this is quite enough. So you can always add more, do more weight for that in a click to happen. But I think I'm fine with this. Maybe it's a green here saying that doing the opposite. That's what I do. My husband always says this, just set it and then do the opposite. Okay. Let's call this a day, a caucus painting for the moment. So we could add a background or not. I just wanted to show you a couple of things just to play around here in the app. This is already quite punchy because I like punchy color. You could make it even more punching. You take your, your layer and the Duplicate Layer, and you'll see it's small, but sometimes it loses all big radiation and the color. So you see this would be without the other layer. And this is here with the layer. So you lose a bit of it. What you can do just for fun. We have not talked too much about this site up here. Pair those sliders here. This is for look here for the blending modes. So first you could take this layer and vary the opacity, you see what it does. And then you have the blend modes if you nurture them and Photoshop. So you could play around, darken, multiply, Color Burn, such as c. What happens sometimes just also here, happy accidents happen. So you print it in one way and then clogs differently. I'm just starting with this black and white version. So suddenly we look strange. Sometimes you find goal g, m. So if we just want to take it further, but I leave it as it is because I put it in mind, shall EBIT like this. Images press again and this they call it and you'll have it back. Okay? So we have this. And again we could do a background. Click on it and unlock layer. So we have this tour course here, made it really like a light one. And just trying things out. I have not painted this painting before. It's all for you. But I need to go on this link and cannot fill this type of way are this becomes like a deflector layer. Again converter pixel layer. And then you have something like this. You could do that. You see, I still have this on. It's hot, it's hidden. Yeah, now we have our layer again, but I think all of this I don't want I also hide the layer again. Think I'll even deleted. I just wanted our painting. Okay, how does it now look? Okay, you could do this, you could not do this. Watercolor is often on wide. So experiment with it. If you feel you would like to add a layer, sometimes it just loses. Its punch. Can also try. Funny stuff. Sometimes the best things happen if you just let go and the yellow would be nice. So it all gets, gives a different feel. I'm just, I'm just going back to byte for the moment to show you that that, and then just one more thing. Just for fun. Just to show you what you can do. Just to mess up our nice glucoses. I'll take again my, my water or to call a soft brush, big size, biggest sides here. Then I just put it everywhere. Let it become one. Like that's an effect like, like stained glass maybe Tiffany class. So this is also just a way of playing around, just showing you what she could do within waterflow. This is something that could be done just for fun, just playing around that to undo this. Still in there. And we're back where we are. Yes. We do it. We just didn't fit this. So we have again, our our painting. Let's have a look at it in all its glory. 13. Exporting a File & Timelapse: So how can you save, how you, can you export your, your painting so it will save automotive automatically to algebra fresco. If you go back, it is saving it. And it's there, you see it. And then I just press on it. And it will be, it will be there again with all your colors. And if you want to just say that to your camera roll or exported to another app. I need this icon here, this square and rho. There's different options. So you could do a quick export, just cherish, snapshot, save image files, air droplet, put it to Instagram, uploaded there, whatever. So it will be at a lower capacity and also without the layers. Or you can publish an export. Do Quick Export. That's just what we did. Just showed you before. Or you could exported, then you can name it, can emit caucus, you can choose the format PNG, JPEG, PSD, food shop file PDF. And then you can export it again to all those places. So I'll just take a JPEG and save it to my files. Export complete can just. So if you would go to your pictures, it would be right here. Good. So let's go back to fresco. Just to show you one more fun feature here. You go here again to export. And then you have the time-lapse export. Can just go to it. You can export the travelers, but have a look. If you press on it. It shows you everything you've done in your document. So the whole painting comes to live again, everything we did, so you can just export it and load it. Uploaded to Instagram for example, time-lapse is always fun to watch. Can edit it, of course, before cut out the beginning or the end or make it faster. So you see everything you did is, is here and that document and could export it, save video. And it would be there for you to watch and deal with it what you want. So thank you very much for watching and seeing what I did and Adobe fresco. And now I just can't wait to see what you're going to paint in a fresco which you cannot come up with and can't wait to see your beautiful flowers, caucuses or whatever flowers you're going to paint in the class calorie. 14. Thank you very much!: Thank you very much for taking my class. I hope you have your own beautiful, lose vibrant painting now with colored leads and merges and all the beautiful effects you can achieve in an Adobe fresco with a live brushes. I can't wait to see your projects uploaded to the class gallery. A bit about your process. Maybe you could share this and then see you soon in my next class. It might be traditional painting, it might be Vishal painting or something about textile design. See you soon guys.