Paint Expressive Florals with Thinned Acrylic Paint | Heidi Cogdill | Skillshare

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Paint Expressive Florals with Thinned Acrylic Paint

teacher avatar Heidi Cogdill, Writer and Artist

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

10 Lessons (1h 11m)
    • 1. Introduction

    • 2. Supplies

    • 3. Finding References

    • 4. Create Your Color Palette

    • 5. How to Thin Acrylic Paint

    • 6. Practice Brush Strokes

    • 7. Drawing Flowers

    • 8. Paint with Water-Thinned Acrylic

    • 9. Paint with Flow Medium-Thinned Acrylic

    • 10. Project

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About This Class

In this class, we’ll be using thinned acrylic paint to create an expressive, almost watercolor-styled, floral. With Expressive Florals we aren’t trying to create a photo-realistic flower, instead, it’s about creating florals that are sketchy and fluid…and full of your own personal expression.


You will begin by gathering inspiration and creating a color palette to use as a reference. Then I’ll show you how to use those references to sketch out the flowers and then how to use that sketch as a guide to paint your expressive florals.

For this class, you’ll need acrylic paint, of any kind. I’ll show you how to thin your acrylic with water and also with a flow medium and how each reacts on the paper. 

The key to this style is the use of brush strokes. In this class, I do recommend using long bristle brushes, like liner brushes. These brushes offer the best strokes for this style of expressive florals.

Meet Your Teacher

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Heidi Cogdill

Writer and Artist


Hello! I'm Heidi Cogdill, a Writer, Artist and Teacher. 

I live on the beautiful Oregon Coast. I spend my days drinking too much tea and hiding the chocolate…from myself.

I can't wait to share all the fun projects and techniques I've created over the years. 

You can always visit me at my website, Heidi Cogdill

Also, come meet me over on Instagram, where I share all the latest updates.


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1. Introduction: Welcome to expressive florals. In this class, we'll be using thinned acrylic paint to create an expressive, almost watercolor style floral with expressive florals. We aren't trying to create a photorealistic flower. Instead it's about creating for those that are sketchy and fluid and full of your own personal expression. You'll begin by gathering inspiration and creating a color palette to use as a reference. Then I'll show you how to use those references to sketch out your flowers. And then how to use that sketch as a guide to paint your expressive florals. For this class, you'll need acrylic paint of any kind. I'll show you how to send your acrylic with water and also with the flow medium and how each will react on the paper. To the style is the use of brushstrokes. In this class, I do recommend using long bristle brushes, like liner brushes. These brushes offer the best drugs for this style of expressive fluoro. I can't wait to see what you create. So jump on in and let's get started on Friday. 2. Supplies: For this project, we're only going to need a couple of different supplies. First, let's talk paper. We're gonna be using acrylic paint. So we need a paper that's going to be substantial enough to be able to hold the weight of that paint. My suggestion would be to start with just even a basic watercolor paper or mixed media. That's another really good paper to use. I'm actually going to be using this paper. The other thing that we're going to need is acrylic paint. Now, the type of acrylic paint that you use is really up to you. This, I don't want you to feel like you have to go out and buy some expensive acrylic paint. You really don't. You can use anything and I'm gonna be using a different, a couple of different types so that you can see how they behave. So the next thing that you're going to want is acrylic flow. I've got two different brands here that I'm gonna show you. The other thing that you're going to want is paint brushes. For this particular project, we are going to be sticking with the long bristle brushes. I have them in 136. Whatever you have on hand, usually one or two will come in a packet of brushes. You can also buy long bristle brush, brushes that are considered and called liners. So a lot of people will use them in calligraphy and fine line type art. The next thing you'll need is some sort of pencil. I'm using a mechanical pencil. You want a harder lead because you don't want it to blend in with your paint. Any sort of HB pencil is the best. The other thing that you're going to want to have on hand is plenty of paper towels. And then you're going to want a dish of water, which I have a big giant dish here, and that's the clean my brushes. Then you also want to have a jar or little cup of clean water. And the clean water is because we're gonna be sending some of our paint and one of the lessons with water, and we'll be using the acrylic flow in another lesson system, the paint. We want really clean water and this is just to be used to mix, so make sure that you keep that jar separate. I also like to keep a little eyedropper in there because that helps me pick up the water, but you can always do it with a brush as well. 3. Finding References: Let's talk for a minute about finding inspiration for your expressive florals. And there's so many different ways to find pictures of flowers that can inspire you. And I brought out a few different examples here. One of the things that you can do is you can actually look in seed catalogs. Inside the seed catalogs are gonna be lots of different pictures of flowers that might inspire you. And then by seeing the names Instagram, you can then do a further search for other images that are closed and show more. But these are a really good way of seeing different flowers that might actually be of interest. The other thing that you can do is look on Pinterest. Pinterest is going to have lots of different images of flowers that you can use to inspire you. Then there's books. This is a book for paper lovers and it is all different florals. This, again, I'm not suggesting that you copy the way that these look or even to copy the shapes it just to find different images of flowers that speak to you. And then begin your search from there. There's that one. And then you can also, if you don't have any flower books yourself, goes to the library and look online some of the different books that they have. Maybe you can even look on. Your most libraries have digital books that you can check out and you can also look at images of flowers that way. Here are some websites that you can use to download free stock images. If you ever wanted to use some of the expressive florals, your business, or you wanted to sell your art in any way, it's better if you aren't using somebody else's image as even reference unless you're taking your own pictures, which I always recommend if you've got any flowers in your yard or you're visiting a botanical garden, or your mother grows an amazing flower garden and take lots and lots of pictures and use those pictures to inspire your expressive florals. So some of the websites that you can use to download free stock images or Pixabay Unsplash Pexels, stock snout, the IO free images even pick wizard. 4. Create Your Color Palette: In this class, I won't be teaching color theory. There are some great Skillshare teachers that have wonderful classes that can teach you all that you want to know about color theory. When looking for a color palette inspiration, I usually go to Pinterest first. Just type in a color that you want to start with. Let's say that you really like pink type in pink color palette, or even certain things like sunset color palette. Once you find a color palette that you like, just match your paints to it. Over the years, I've actually created this little journal. I handmade this journal and it's got different types of papers in it. And what I do is I actually gather paint samples and swatches. I even will save some of the color swatches that you can get from the hardware store. I'll find images that really inspire me and I'll include them in here. I've just started gathering essentially a little color palette book. They have color palette books that you can buy. Do a search on Amazon and you'll see some really great books out there. But this one I've just created myself, and it's images and washi tape and all the different paint palettes that I've used. And I just start collecting them. There's pretty paper in here. Different things that are going to inspire me when I'm actually looking for a color palette, I can come back through and go, Oh yeah, that's how these paints reactive, That's how they looked. For this class. I'm gonna be using a magenta, a deep red, and orange, the yellow ocher, maybe a little of the bright yellow. I've also got the rose pink leaves. I'll be using this hookers green or a sap green. Then I've got a deep green, which is seaweed and a lighter green which is leaf here, we're going to create a little color palette reference that we can use it by our projects when we're working on our paintings. I've got just a little bit of a torn piece of paper. This is that pallet paper. Then I'm using a old book cover and we're going to be attaching those. Now when we actually go into the lessons, I'll show you how to thin out your paint with the water and then how to thin it out with the flow medium. But for right now, I'm just going to swatch out the colors that I have. The colors. Use those for reference. I don't need them send out just for the color palette. The top of it. Down. Then we can always add a very cute little clip. Now, we swapped out Oliver colors. This can sit as a reference guide as we move through into the later lessons. 5. How to Thin Acrylic Paint: The technique of painting expressive florals is reliant on thinning out the acrylic paint. Thin acrylic paint, you must add a liquid such as water or another medium that will slowly dissolve the paint. Sending the acrylic creates a lighter consistency and viscosity. Thinned acrylic looks like watercolor, but the benefit is that the previous layers don't reactivate when touched with water. The way that watercolor does. How much to thin acrylic paint is really just a personal thing and it will depend on the look that you're going for. And it will also depend on how thick your pain is to start with. Thinning acrylic seems easy, but thinned too much and it actually won't achieve the effects that you're hoping for. There are three major components to acrylic paint. There's the color or the pigment. There's a binder. And the binder really has three functions, is essentially to assure the waterproof minus, this is what separates the acrylic from watercolor. Then how much gloves there is and how fast or how even the paint is going to dry. That's what the binder is due. There's also other agents that's in the paint that is going to essentially provide your ability. Now the difference between oil and acrylics is that the acrylics are water-soluble. Acrylic polymer emulsion is a binding and pigmented agent that makes acrylic paint essentially water-soluble. Basically, acrylic paint is glue, just full of colored grit. The right ratio of thinning is important. I typically work with a one-to-two ratio of water to paint. Ultimately, it's anywhere between 30 to 50% water to the amount of paint that I've put out. If you want to create more of a wash, you're going to want to go more toward the 50% water. Now, with thinning with mediums, using a thick, thin medium is the best way to thin the acrylic paint. Mostly because you don't have to worry about the ratios. You don't have to worry about any eventual appealing. How do you go about actually thinning your paint? One, you always want to start with a small amount of paint on your palette. Acrylic paint dries quickly, like I said, you want to work with smaller amounts. If you need a larger amount for larger project, then you can make it upfront. Otherwise it's better to start with a smaller amount. Then you're going to add water or you're sending medium. Mix it together, and then you want to rinse out your brush. Let's prepare our palette. I'm going to show you how to sin it with both water and then with the flow medium. Let's start by using the yellow, yellow ocher. I'm just going to put a little bit in here and I'm actually going to put a little drop in this. Well, not coming off. Then I'll put another little drop and this will taking our water. Again, I'm going for a one-to-two ratio. But as I'm mixing my paint, I can always add more. So it's better to go less first and then add more water as you need to. Again, this is going to depend on how thick your paint is. If you start with a very thick paint, you're going to need a little bit more water. So you need to just look at how your paint comes out of the tube, how thick it is. You would have gotten a sense of how thick your paint is when you did your color palette swatches. In knowing that make a note to yourself of this is a thicker paint. I'm going to need to use a little bit more water or it's a new medium for that. Let's now mix in some of the flow so you can see the difference now again, I'm using the liquid X1, so it's real thin, watery and clear. It's going to look just like water. And essentially it really does create a very similar look. Whereas you'll see in a later lesson when I use the creamy one, it actually doesn't look quite as thinned out. Piece of paper here. Let me show you the difference. Here's the one that has the slow medium in it. See it's very thin. It's easy to move. Now let me show you what it looks like with the water. Pretty much look the same, don't they? So you don't have to use acrylic flow. You really don't. You're gonna get a very similar effect, whether you're using a water or a flow medium. But depending on what you're painting or what you're painting on, or how prepared your surfaces, you might need to consider using more of a slow medium in order to send your paint. The water works just fine as long as you're not thinning it too much and losing too much of the glue by breaking it down too much with the water. But working on the paper is going to allow us to use a lot of water more than it would if we were doing it on a different surface. 6. Practice Brush Strokes: Now that we have our paints thinned out, let's practice some brush strokes. I'll be using the long bristle brushes in 136. Let me show you how I do some of these brushstrokes. Since we've got the yellow mixed with the flow. Let's start there. Holding your brush the same way you would a pencil or just regular paintbrush. It's all just about how much you let those bristles drag. I could go real light just at the tip of my brush. The harder I press down, the more that those bristles can fan out. All of these techniques and all of these textured strokes are what's going to play into how you make those expressive florals unique to you. We all hold our brushes differently. We all have Different likes of what looks good to us. I want you to just start playing with pushing and pulling and dragging your brush. How hard you can press, what it looks like. If we try pushing, we're gonna get a different effect. You can keep your brush very wet or you can let it start to dry out as you pull away. Then has less paint and so you get a lot of drag look to it. Another way I like to hold my my brushes between my index finger and my thumb. This is held very gently. I don't have a lot of control and that's the point. Again, I'm dragging. There's pushing. There's a lot of pressure or a little bit of pressure to this. I'm just on the tip. Now if I press down and up and down and pin down, one of the other things I love to do is I spin my brush in my fingers as I move it. If I'm coming up hard with it, I might spin and pushed down and drag. Or push and spin and drag. When I'm creating my petals. It's a lot of what I do is I'll push and I'll drag and I'll twist my brush around so that I'm able to create shapes and looks to it. And then you can always come back in and mix paint by doing the same brush techniques. Just take a piece of paper and just play. Again. Hold your brush. Don't hold it tight. Be gentle with it. Try different pressures. What does it look like when you drag your bristles out? Again? Each brush going to have a slightly different Here's the three. I was just using the one, so it's not quite as long. The three is going to create a different set of looks because the bristles are longer. The other thing you can do is just drag it from the side and spin it in your fingers, twirl it. Just spend a little bit of time with your brush getting to know how each fields what it feels like to turn it in your hand, hold it to spin it, to push it. Just let yourself play because this is a free, free piece of paper. I'm using a watercolor here. I'm gonna switch to the canvas paper when we're actually doing the project. So you can even just do this on a regular piece of paper. But I would suggest using some sort of paper that would take the paint a little bit better, just so that you can see how it absorbs. And watercolor. Mixed media paper is a really good one to start with. Just start playing with your brush and see what you come up with. 7. Drawing Flowers: Now we'll explore what it takes to draw a flower. It might seem a little complex at first, but it's really simple. The first step is really to break down the flower into shapes. The second you're going to add details, refined things. Define the petal shapes, how they overlap each other. Then the third is really refining everything and adding smaller details. For the expressive florals. We don't necessarily need to go through all three of those steps. I'll show you how I do things now. It's really up to you about how defined you want each of your flowers to look. So the first way is getting some of your inspirational images printed out is a really good way for you to be able to play with the shape. Let me show you. Let's look at the different parts of a flower. General structure of a flower is the root, the petal, the leaf, the bud. When you look at your reference photo, we're going to break each piece down into just a basic shape. There's a lot of little shapes inside of, let's say just this center. But as a basic shape, it's just the circle. And then each of these petals are not going to be identical because it depends on perspective, how you're looking at it, how the petals are turned, how they're bumping into each other. For instance, this one not only is turned on its side, but it's also in front of this petal here. We're looking at just the basic shapes of each of the petals here. By tracing over them like I am, it helps you to see what those basic shapes are. Now here because this petal is slightly turned up, we can see both the inside and the backside of it. Here is the inside, but then there's this little shape on the side which shows us that that petal is tilted up and we can see the backside. Then this one sticks behind both of them. Then of course we've got our stem here. The same can be done for here at this perspective is a little bit differently. It's going to have a slightly different shaped center. And then the flower has some very jagged edges that's going to create a different shape also. Again, this petal is in two pieces because it's got the facts I'm showing here, it's doing it also. Just take a few of your reference images and just trace them out. You'll get a sense of how these shapes play into each other. Here's this done. After you do this a few times, you'll start to see the shapes emerge versus looking at the whole entire, instead of looking at the whole entire flower and being overwhelmed with my mechanical pencil, I'm going to show you if you stick really close to your reference, what it looks like. And then I'm going to show you how I actually get real sketchy with mine real loose lines. First looking at this one here is our center. And I'm gonna start up here on this petal. Again, we have 12345678. It's skinnier down here as it meets the middle. And then it widens out of top. Then there's the one that's underneath the second one. But let's actually come over here because this is the next petal that shows up. And then this one is connecting off the side here, meeting over here. Then this funnel. You want to look where it starts to, starting in the middle, but it meets over here and touches the pedal. They're looking in how things connect, where those shapes meet. That's going to help you to get more accurate looking flower. I'm actually going to come back up here and do this one now. All of these are shaped very different. This one's very rounded compared to some of these other ones that are a little bit different. Now again, remember this one is going to meet here on the side of this petal, is going to loop down and connect into the middle. But then there's this little side piece that comes off of it. Then this one tucks behind all of them. Actually. The stem is coming off of about this. That's a more drawn reference. I'm mimicking and copying my reference. But I like to get looser with it. So the way that I do that is I keep my pen moving. I don't stick to one petal too long and I'm just letting my eyes follow the shapes of these flowers and these petals. Again, I'm going to start with my center. Then I'm going to just start putting in the basic shapes and I like to go over it a couple of times with my pencil. The more that I work out the shape because I'm moving quick. I like it because I like it to be sketchy. And this allows me to do that. Then once I've got it down, I can come back in and I can reshape them by going over the lines again and again. Until I essentially have what I'm looking for, I use a lighter pencil so that I can go over them. Now, let's try even doing it a little bit different. Now I can hold my pencil and my thumb and my index finger and do the same thing. But I'm going to do it. Holding it different. It changes the way that it looks. Again, that's what's so fun about these expressive for roses. It gives you a chance to really try different shapes. The other thing that you can do is because this is expressive florals. It's really just about implying that the flower looks a certain way. You can always take shapes that you like from other flowers and kind of create your own. You don't have to necessarily follow really strictly to what a reference is showing. You. Just start playing with shapes, petals, and see what you come up with. 8. Paint with Water-Thinned Acrylic: Let's paint our first expressive floral. We're going to take our paper again. I'm using a canvas paper. You can be using a watercolor and mixed media. We're going to sketch out a flower. And then we'll use our water, send acrylic to paint. I've gathered some of the sketches that we did in the earlier lesson. And I can use these as inspiration for, let's sketch out. Then I've got some leaves here. I want to add in. Now that I've got my sketched flower, I'm going to start applying paint. I like to keep a paper towel will close by. I'm gonna start with the six. When I start my flowers, I actually like to start with my mid tones. So I'm going to start here with my magenta. If your water has thicker, if your paint is sticking at all, you can always come back in and add more water to thin it out. What I like to do when I first start is I just start pushing and dragging. I like how my bristles spread out and it creates that texture. You can always go back over areas that you want a more defined. I'll try not to move my paper too much, but it's really good if you can actually spin your paper around and get the angle that you want. I don't want to make you guys to six, so I'm going to try not to turn it around too much. Just keep moving over your paper until you've got the look that you're going for. It's just practice it. Then the next color I'm going to use is this rose pink. This is the lighter tone. And I just want to start establishing where color is going to start to go. Highlights are gonna go. I like to leave white areas also, so it's not about filling in every piece, every part of your petal. You can go back over even the magenta and let some of those colors mix. Want to go back over some of the magenta areas and lead the pink and the magenta mix together. I'm just spreading out my bristles and letting the bristles grab the paint and mix where it can. And again, it's light pressure, It's hard pressure. But I'm looking to fill in areas of my petals, but I don't want to necessarily fill it in. I love the texture because as I add layers, those textures are going to blend into each other and create a really, really cool, expressive floral. I just drag and I lived and I twist my brush around. Now, I can also switch into a different brush. This is the three. I can add. The yellow ocher. You can also switch into the thumb, index finger because that's where I'd like to get these really thin lines outside of my petal. And that brings in with paint, the sketchy field that we were getting with her pencil lines. It's really pretty to be able to do it with your brush. As you come towards the edge of your petal, you're just going to lift up and spin it around in your finger. And let the sketchy lines kind of form. Each petal is, can be different. You don't have to try to recreate the same stroke and every petal like this one, I left a little bit with less yellow. These are heavier set with yellow. I'm just gently dragging my brush around. That one dry for a little bit. And I'm going to move back into my six brush and grab some of this Hooker green or sap green, which one? Whatever one you have is essentially the mid tone of the green. I'm going to paint in. I'm going to do very similar to the way that I do with the petals. I'm just gonna start putting in color, dragging and moving it around, spinning my brush. Not trying to fill in the whole thing because I still have two other colors I'm going to add. See how pushed onto its side and then I drag to a point. And all of this kind of looks weird is when it's wet, but as it starts to dry, you will see that the way that the colors mix and those textures and those brushstrokes really started to show through. It's just really, really beautiful. I'm actually going to switch into the number one. And I'm gonna grab my darkest green. I like to do this one between my thumb and my index finger. And I place I started to figure out where I want the darks and the lights because this is where those darks in those highlights, the shadows and the highlights, we're actually going to start to give the flower dimension and you start to see it. So I'm gonna start to put down where I think those shadows should be with this darker color. I like to come in real gentle and areas and I just kind of push those colors together. Then as a kid to the very end of the leaf, I like to lift my brush real gently and just twist, spin it around. I love how it just brings out a lot of sketchy file's going to turn my paper around, sorry to get dizzy there, but I want to get this at the right angle. Sometimes you don't know. I think I might've overworked. That's why I should've left it. Because the way that it was mixing there was really actually pretty cool that it's okay. You can always come back with more green and you're going to get different effects the more layers you add two. Okay, I'm gonna switch into the light green. See what I can do with this one. Again, I've saved this area a little bit for some of the highlight area, but I'm going to drag the other grains into it. Let's do the same thing over here. Get that green in there and not filling in the whole thing I like where the white shows through. Some of these colors mixed together. You can always clean your brush and come into and see what happens if you just start to drag out those colors. Now that those are done, I'm going to switch back to my six and I'm gonna come back into my petals. Actually, let's not go to the six yet. Let's try the three. And the reason is because this one has a really long bristles and I'm gonna come into this red magenta that we mixed. And this is obviously my darkest color. So I'm going to use this sparingly, but I'm going to add it into parts of the petals where I want a lot of the deeper shadows to show. Again, I'm holding it really gently between my finger. And I'm going to use this sparingly, but I also want to help create some of the darkest parts. And so I'm going to. Do very much that I've done before. It's pushing and lifting and twisting my brush around. I'm not putting a lot of paint on it just enough. Maybe a little bit right there in the center. Do you want to define this area just a little bit. It doesn't have to be a really bright stroke. It just needs to be a little bit of a pop of color which is going to help define those edges. See how it mixes with some of the wet paint that's underneath. Whereas some of the layers, some of that early magenta has dried but the yellow was still wet. So as I moved my darker colors, It's blending a bit, which is just beautiful. Just keep adding where you feel like you need to. If I make this area a little bit darker. Now let's go back to our six brush and I'm actually going to grab some of the orange and see what I can do with that. It's a little thick and don't want a lot of Orange, it can overpower what I'm doing. So again, I'm gonna come in with my finger, index finger, and my thumb. And I'm just going to put some orange in a few different areas. Letting your brush be dry is it can really get some cool effects. So don't be afraid of having a dry brush and seeing what it looks like, the scratch that paint on there. I'm going to do the same thing, but just with a little bit of the yellow going real light with the don't want to lie. I'm using this dark red and I'm actually going to put it in the center here. I've used each of my colors that I had laid out. At this point, I can let the layers dry and then come back and add more. Or I can keep adding layers and letting them colors mix. But you got to be careful not to overwork your paint either because by doing that, you're going to start getting things muddy. But I know that I'm losing some of the colors that I had originally put down. The orange and the red are showing through a lot. And so I want to bring in a little bit more of this yellow to calm down a couple of the areas that are a little over strong. I'm gonna do the same thing with the pink in the magenta. Just wanted to bring back a little bit more of those first layers. Then this is also where I can start to come in with my thin brushes and add in any other sketchy lines that I feel like are needed to. Just keep adding in sketchy lines. Agenda here. I'm being very careful with this because again, it's very possible to overwork your paint and let things get muddy. There's just a few wet areas still in this painting here. But look at our, look at how it starts to blend together these strokes, the way that the, the sheer newness of some of the layers will show through the others before. Now if there's any areas that feel like it needs more color or, you know, lines need to be added or whatever. This is the point where you can come in and start adding. I want a little bit more. Sorry, I'm turning my paper. I want a little bit more darker over here. And it's still a little bit wet, so it's going to blend really nicely with the new layer I'm adding. I don't feel like this one pushes back for enough because it was underneath the others. I'm just going to add a little bit more red to it. Over here we're at this petal meets the leaf. I want to make sure that the, the edges is a little bit more defined. Kind of like when you're using pencils to sketch. Now you can use these really thin paint lines to essentially create little bit more of a sketchy feel. 9. Paint with Flow Medium-Thinned Acrylic : In this lesson, we're going to now thin are acrylics with the flow medium. The previous lesson we were able to send with just water, but this one, I'm gonna show you how the flow mediums work. We've got this liquid x, which is a thinner, watery liquid. And then we've got this flow medium. And this one is a little bit more creamy. So I'll show you the difference in those. Let's prep our palette by thinning our paints. So we're still going to be sticking with the same color palette that we had in the first lesson. We're just going to be thinning them out. I'm going to show the difference between both of these flow mediums. Some of them I'm going to do with the premier and some I'm gonna do with the more watery version just so you can see the difference. Let's just put some of this in a few of these wells and show you what the differences between this more sin, watery one of them creamy one. See, the consistency is very different. You can tell that already. This one has a milky or look and it also has a little bit thicker. So it's less watery than the other flow medium, which you actually can tell when it's mixed with the acrylic paint when you're painting with it, you can actually see the creamy. It kind of creates that consistency with it. Here's the one that has the liquid x, so it's more watery, similar to the water. And I had showed that to you in the previous video when I was thinning out the paint and we did it with the yellow ocher. It's very similar. It's just a very watery, very much like the regular water is. Whereas this one is the other flow medium. So it's milk IIR. See how it's got Jack creamy and there's a thickness to it. It's not quite as watery. It essentially is thinning out the paint, but it's keeping it more milky, creamy type of texture. Unlike the other flow medium or the water. Now with these, they actually slow the drying time. So we have a little bit longer to work with these paintings also, because it takes a little bit longer to dry. I'm just going to get these all mixed up. And then we'll get started on swatching them out. For this next expressive floral. I'm actually going to use a watercolor paper. You can see how the watercolor paper plays in with some of the thinned out acrylics. So we're using the flow medium watercolor paper. I'm going to create a sketchy flower first, just like we did in the other lessons. And then we'll begin painting. Again. I'm gonna start with my six brush because I have a lot to cover. I'm going to stick with my mid tones like we did in the previous lesson. So that means I'm going to start with this magenta. And I'm gonna be using the same brush strokes and the same technique that I did with the other one. But the flow, the Athenian agency reminder, we're using flow for this one. We've got a thinned out watered version of flow with a liquid eggs and then we've got more of a creamy. So this is the flow. That's the liquid x was water. You're definitely, it feels that way on this paper. I'm allowing the because this paper actually is a little bit more absorbent than the canvas paper that I was using in the other lesson. I'm actually using that to my advantage with this one because of the way that this moisture that appears in this particular flow medium. Is I'm allowing some of the paper to really absorb that. And the watercolor papers actually doing a really wonderful job of absorbing that. So I'm gonna let some areas stay wet, but I'm letting the paper take on as much of that of the hand, like watercolor. I can also come back and drop in color in places because again, it's wet and it's going to take a little bit longer to dry, even though it's acrylic, it's going to take a little bit longer because of the flow medium. And so by dropping some of this color in, it's going to continue to mix as these layers dry. Okay, let's go into our next color. I'm gonna be using this. This is the premier version and this is that rose pink. It definitely is an S transparent. It has a different consistency. It lays on the paper a little bit differently. It feels just like a very creamy acrylic paint. So it's not quite as thinned out and watery as the other versions that we use when we use just water. And it definitely doesn't feel as thin as the liquid x. So it's got a thicker feel. There's some substance to it. It's not quite as watercolor feeling. It's just milky feeling. I'm gonna see if I can use some of that to my advantage by placing it in places that will allow it to mix with other layers. For me personally, I liked the more sinned out watery feel. This particular thick, creamy version is not necessarily my favorite. Going to put a little bit of color on here and I'm gonna start with this pink. Then I'm going to go back in and magenta, I actually want the magenta is that I think on top of it a little bit because it's watery or it's going to mix in and fill in some of those holes a little bit. Now let that sit for just a little bit. It's going to take a little bit longer to dry because of the flow that's in there. I'm going to move to my leaf here and just put some of those color down. Again, this is the, the creamy flow. And so you can I'm not sure if you can see it on camera exactly how the thickness of it and how it kind of lays out onto the paper and just a different way than the thin down water version of paint. This also has the creamy flow in it. I'm gonna be careful with where I put this because it's a thicker consistency. I definitely am gonna have to use my brush to create more of the brushstroke look than I want. Versus the thin DO water version or the liquid x, which actually they flow a little bit more like watercolor. This is actually allowing me to use a lot of the brushstroke texture that can come, which is really fun. Really spread out your bristles. If you're using this thicker version, definitely let your brushstrokes kind of gets scratchy and see if you can create some texture with that. With these, I think I'm definitely going to be using a lot of layers to help did this all blend in the way that I would want to switch to a thinner brush. Actually, let's go with the three. I'm going to bring in just a little bit of that color on top of some of those yellow. Just because it's a thinner version. So it's going to flow and mix a little bit better. The creamy version. And again, I'm just dragging and mixing where I can with my long brush here. I'm still using the three. I'm gonna pick up some of this deep red and magenta that we've mixed. And I'm going to create some shadow areas, but I also am going to use these long thin bristles to create that sketchy lines that I use around the edges of the petal. It actually will really continue to add a lot of depth and dimension to your painting by coming back in with additional layers and laying down more color. Because of that transparent nature, you're going to be able to see some of the previous layers underneath it as those layers dry. I really like some of these sketchy lines and I'm just going to add a few here and there because they're going to dry really pretty. Dropping a bit of color there in the center. I'm switching to the number one. Now I'm going to use that to put some of this red in my little down here. Let's add some of this yellow. Since the yellow over. Let's go work a little bit on our leaves again, I'm going to pick up the deep green. This is that seaweed. I'm going to add some of that. Here's a better angle. I'm going to switch to the thumb and index finger. I'm going to let that paint brush just drag real gently through, spinning it in my fingers as I move down. Let's pick up a little bit of this light green, this leaf color. I'm just dragging my brush through the paint so that these colors and tones mixed together. Over here this way. Me use a little bit of this orange. Just an abuse places. It's a very different tone. Orange then the orange that we swatch. I'm just being real gentle with it. I don't need it in a lot of places because it's changed the tone a little bit. Let's let those layers dry and we'll see what they look like when we come back. Now that a painting is mostly dry, there's just a few tiny little wet spots here. You can start to look at it and say, okay, is there more than I want to add? Is there areas that are over dominating? Do I need to add any more color? I'm actually going to leave it. But one of the things I wanted to show you is that you could actually come back over this with pencil or charcoal. Or you could do soft pastels. You can even color in the background like I have with this one. So here's an expressive floral that I did. And then I came back in with a charcoal, black charcoal and I did some more sketchy lines. Then I actually used soft pastels to color in the background. Then I added some little marks and some little line with some soft pastel as well. You can actually continue to add to your layers by using other mediums. 10. Project: Private first-class will include two parts. The first will be your pencil sketch, and the second is going to be your acrylic paint over your sketchy lines. I cannot wait to see what you create.