Paint with Me: Abstract Florals in Gouache Echinacea | Brenda Knoll | Skillshare

Paint with Me: Abstract Florals in Gouache Echinacea

Brenda Knoll, Life is short, cram as much in as u can!

Paint with Me: Abstract Florals in Gouache Echinacea

Brenda Knoll, Life is short, cram as much in as u can!

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5 Lessons (1h 23m)
    • 1. Introduction

      3:08
    • 2. Materials

      6:51
    • 3. Composition

      30:20
    • 4. Dimension

      18:17
    • 5. Final

      24:15
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About This Class

Hi there, this is Brenda Knoll and this class is called Paint with me, Abstract Florals in Gouache Echinacea.  So what is gouache, well I've heard it called 'opaque watercolor' and it is watercolor… in that it is water soluble and water activated… so technically, it is watercolor but I have watercolor pigments that are opaque and they are not called gouache so what's the deal? Hmmmm.

In this class we will be painting an abstract floral arrangement focusing on echinacea in gouache using vibrant colors of purple, yellow, pink and turquoise. I am hoping to make this abstract floral easy enough that a beginner can follow along and be happy with the outcome. 

I love gouache for so many reasons that I am excited to share with you, I hope you enjoy this class and encourage you to post your finished painting in the class project section. 

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Brenda Knoll

Life is short, cram as much in as u can!

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Transcripts

1. Introduction: Hi there. This is Burchenal. In this class is called paint with me abstract florals and quash. So what is Gosh Well, I've heard it called opaque watercolor, and it is watercolor in that it's water soluble and water activated. So technically it's watercolor. But I have a lot of color pigments that are opaque and they're not cold wash. So what's the deal? Well, simplest way that I understand it is washes like water color with white or chalk added, like watercolor. Wash also uses the same gum Arabic as its binding agent. However, the pigments and wash our larger in both size and number than in watercolor. And this gives quash much higher density, making it thicker, brighter and heavier than water color and mostly opaque. And I see mostly opaque because sometimes it I have some wash that's translucent until you add the white, and then it becomes opaque so briefly the characteristics of wash compared to watercolor. According to why I enjoy painting and wash our that unlike watercolor, which has to be painted in general, from light to dark to preserve your highlights washes opaque, and it acts more like acrylic in that you can paint from dark to light, or like dark or mid tones too dark to light. Or however you want to paint it. And it reminds me of acrylic in that techniques that I'm familiar with an acrylic apply reasonably well in wash. Another characteristic of wash that I find really enjoyable is the unlimited amount of blending with watercolor. As long as it's wet, you're good, but if you continue to try to plan this, things start to dry. You're going to run into some unsolvable problems if you push it so with wash, though you can let it dry, you can go back. You can blend some more. I also find that washed be is more vibrant, and I love the vibrant color. And so there's that as well. That open blending time is really nice, especially when you're doing portrait, it's or florals or anything that this is a little fussy on the just getting the transition just right, his traditional wash. I do not know how this information applies your acrylic wash, because I've never used a girl quash. I would probably use acrylics before I used to curl look washed as I enjoy the OpenGL any time of traditional wash. And I just don't understand how that would be the same with the crew it washed. But anybody who has used acrylic wash that takes his class. If you have more insight into that, please post in the discussion, then let us all know your experience and what you think. So if painting along with me and obstruct florals and wash sounds good, I hope you will enjoy. And along this class Thanks. Huh? 2. Materials: So I have the following brands of quash. Combine Windsor and Newton, and, uh, I just picked up the Korean Dash Brand and others do brands that I've tried. My favorite by far is the ones you're needing designer goulash for a right of with reasons . When I was preparing for this class, it was going to recommend the ones urinating primary color set, which I had picked upon Amazon for less than 22 dollars. But when I want to scream, jump my figure it for you, I realized that it's now $40 that may be more expensive than you desire to invest in a new medium. So with that in mind, I recommend that Karan t s palette that I just bought as a more flexible, on affordable option because it has a lot of colors and it's only $32 it comes with a nice brush, and that's the brand that I'll be using in this class. So I have used less expensive, um, wash brands like the royal playing field. I think it is, or not sure how it goes, but I'll say that it wasn't a good experience, uh, in my opinion. If you want a relatively, you want to make sure you're using a relatively professional brand for the best results. The whole buying brand was real nice to work with fresh, but I didn't wasn't crazy about the colors. But then also, I like to reactivate my painting, use it from a palette, and it really doesn't perform very well that way. You really want to use it fresh from the chief if you're going to use the whole bind. But one thing about the whole bine is that that 18 color set that I had picked up was all light fast. And that's great. If you plan to sell your original paintings or display your artwork outside of a sketchbook for longevity of your work, you wanna make sure that you know light Fastness of your paints. The Windsor and Newton primary set, which I love, comes with the read That's Not Life asked. And so I am in the process of replacing that my palate with a permanent red, our permanent rose, which is like Fast and Windsor Newton being a professor professional brand will list lists all of their pigment information and light Fastness information on their tube, so that's really helpful as well. I'm unsure of light Fastness of the palette that I'm recommending. This clan this'll class that Karan Dash brand as I just now puts watches in the window. And I like to wait six months and see what it looks like before. Consider it, Ah, light faster whether I know and it doesn't really give any pigment information, so I don't know about that part of it. So if you your budget allows for it, I would recommend purchasing the ones urinating primary sent replacing the red, which is not light fast with the chief of permanent rose to uses your primary red. Other than that, if you have some quash, go ahead and use what you have. If your results are not a satisfactory, as you would like, you might consider your brand and upgrade is your budget allows. Also, another tip that I have is that if you have a tube of titanium, white or zinc, wake wash. You can add any of the those either of those two your watercolors and use them a squash. I know, right? You're welcome. That's my hot tip. You have a favorite watercolor and you have a tube of titanium white wash. Mix them together and use it. It squash. And I think it worked just fine for you. Okay, so for brushes, I'm going to be using my granddaughters and expensive large round brush. I think it's like a size 12. I'm going to be using the brush that came with this Karan dash palette, which is a size eight and enough smaller, probably Pimentel Aqua brush for detail because washes made with chalk and it's gritty and has those larger pigments. Uh, it's really rough on your brushes, so you don't want to use your sense of watercolor brushes When painting with wash, I recommend using acrylic and or synthetic brushes or kids and expensive brushes thes air abstract floor arrangements that we're gonna be doing, so the roughness of your strokes will be a benefit. As long as you have a small, medium and large round brush, you should be able to complete these part paintings without any issues at all. So I'm gonna be using a nine by 12 inch cancer and Excel watercolor paper. I find it inexpensive and satisfactory for the job. I pick it up, up pad of 39 by 12 inch watercolor sheets £140 watercolor sheets for less than $5 at Wal Mart. And I just think it's a bargain. The other thing is a micro fiber tell or water color. No sorry microphone of hotel or paper towels. She controlled the water on your brush and a water container to use water continues are less than $10 on Amazon, and it's a real nice system. You could have your clean water on one side and your dirty water on the other side. And then it's got riches on the bottom that you can clean your brush off real nice, and you're never gonna mistake this for your coffee cup and accidentally drink your paint water. So this is the system I recommend to my students. And like I said, you could pick these up for less than $10. All right, all right. So it's my hope that you enjoy this class and you create a painting that you could be proud of. If you appreciate the class and you have a positive experience, I ask that you would be positive review and or consider following the on social media. It costs you nothing, but it makes a big difference on the Internet. Also, if you would please post a copy of your finished painting in the final project section, that would assist me in developing content as well. Because I try to make these classes as beginner friendly as possible and without the feedback, it's difficult to assess if I teaching its effective or not. Okay, so I will see you in next module. Where we will be sketching are composition and blocking in our color. 3. Composition: Hello and welcome back classes is Brendan Nolan. This class is called paint with me obstruct florals in wash and we're going to be working on this back in Asia. So as I was developing the composition for this class, I did a couple of Rutgers so that I could figure out the best kind of methodology used for teaching. I wanted to make this simple enough for beginners. And so, through the course of that, I I actually completed quite a few paintings. And the reason I'm showing that me too. You hear this? That I want you to understand that your painting is gonna be slightly different. Thes are abstract. Really. What kind of color carries this composition is the color. And that was really what was exciting me about this class and doing an abstract floor was I really wanted to capture this kind of a knowledge ist color scheme. And if you don't know, never discover schemes that would be when you have colors that are adjacent to each other on the color wheel. And actually, my style is very colorful. So if you look at this, you could pretty much see I'm using the whole rainbow. But the majority of the painting it is really focusing around this cobalt teal turquoise color. Yeah, purple on the pinks. And I really like the play of the red and orange and yellow and then the pink and so in this module will be sketching out our composition loosely and blocking in some color and just going over the color scheme. So it'll be cobalt till, or turquoise will be making mixing our colors. Although I guess in this grand ash it's science. But it will be a turquoise color and then a purplish more towards a red violet. And then you're kind of grass screen orange, some pinks and some yellows, and that's gonna be very colorful. And then we're going to be going with some geometric shapes, so just keep that there. My So actually you follow along with me. Yours is going to be a little bit different, and that is perfectly fine and desired, actually desirable. How fun would it be if yours was exactly the same as mine? It wouldn't be that much fun. So don't expect that your painting is gonna look exactly like mine, just you. So I've got to shoot a watercolor paper here and love times I like to use well, pencil or so you to sketch out my design, My composition, Orel used water color. It's what? Over on hand. So since this is a really kind of at least abstract, I am gonna go with that watercolor and we're going to be doing this composition. And so I tried to make this a simple is possible for you. So the first thing will be doing is drawing in our circles for the Econ Isha heads and then kind of the shape that we're going to be following for the skirt. And then our thieves were gonna be diamonds and then basically two lines for the base, and that will be slightly off center and about 1/3. So if you imagine this paper, this rectangle, this is a nine by 12. But whatever size you have, if you imagine that being broken into thirds, we're gonna put our first circle appear in this quadrant. So fact, I'm just gonna my major all that man, you could see it. So just imagine that this wasn't there. You know, we're gonna place one here facing that way, and it's just going to be a circle. Please don't appear Circle. And then one here circle. And then they're gonna have a skirt skirt and then are based will be off center and basically straddling this and that looks pretty. Get there. And so now we're going to draw the shapes as diamonds. We're just gonna drawings and diamonds off the page and just for balance and symmetry have come to sway him to go diagonal here 10 and I like to use three compositions. That odd number two second. What if I was doing home decor? And I just feel like odd numbers or easier to deal with for the eyes? Because if you do pairs, your eyes are constantly looking to pare things up. So do 135 just, uh, some diamonds. And so that's my proposition. At this point, hopefully that's not too complicated for you. Just take a look back. Your competitions will be slightly different than mine. This is abstract. So it's not meant to be perfect or, uh, the same. So then I just kind of think about just lying coming down here. This is just down this then all of these believes have stems. This just kind of get an idea off stems that they're gonna be in there on this would be my composition. So the first thing we do is flushed with color. And as I was developing this composition for this class and working through the process that I was going follow in this class, I didn't realize that what works better for me to do my background first? Because that, for me, is a really important part of this of these. A different photo chases. We're going with the three really important part of this composition. Waas my really like the better was the that took place in the background. So since I'm using this grand es Brams, they've got a pretty good intercourse, but I'm going to fix it with a little bit of green to make it more secrecy. And I'm going to go with first thing I'm gonna do is mix my oh, next room color. That's funny. Makes my greens and blues and get a trick wise. Okay. And so here's another thing. The color does not need to be perfect. It's more interesting. It's not perfect. Then we're gonna be throwing into yellow and some purples and just pulling that around so blue and green. And I'm gonna make sure that you can see this. I'm using the brush. It came with this palette that is not dark enough. Commit Mix in some white to that This white came with this. Okay with that. And so the first thing we're Jews block in the background this turquoise color mixing a lot of it. Just go. I don this Karama Sheets. And so I think we talked about this in the materials. But what I like about washes you don't have to worry about covering everything, because in the end, it all covers pretty good. I'm going to use a bigger brush so that I can go a little bit faster on this. Think you can get these for less than $5 at Wal Mart? They're like Creole. A brand or something. Don't use get brushes for this because the main thing is to get this turquoise coming in the background and the turquoise that I am using leans a little bit towards the great side . And remember that just kind of have to, you know, relax. Put these brush drugs and don't get crazy about anything. So one thing I remember when I painted in acrylic and this painting wash nous somewhat reminding of it is that you're pains will go through an ugly stage. Cannot get discouraged by what it looks like at the moment because it's gonna look better at the end and shape their rough. This is abstract floral. Nothing's going to be perfect. Maurin Perfect. The better as far as I'm concerned, which makes it easier, right? And like I said, for me, what carries this composition is color. Actually, these colors And that's what inspired me to even do this class and wash. Do you really enjoy Quashed Because it's so vibrant. One thing I wanted Dimension waas that in the material section I talked about my favorite wash being the ones who in new designer quash. But how I discovered that the red it's not like best. And then I recommended that you replace that with, uh, perm. Is it permanent? Rose and I that was a mistake, not permanent Rose permanent Rose is not a good substitute for that primary red that could substitute for that primary. Red is actually we're knackered on magenta. Uh, the better substitute. And in this Korean, the ash palette. Even though I got this my life fast test fading in the window, I have already discovered that the magenta is not like dust. And so, from purposes of this demonstration or this painting me wash class, it will be purposely flying to use us. So I'm gonna continue to use it in this class. But if you have, the resource is to upgrade your wash. If you care about light Fastness, which if you like this painting at the end, you might want to spit. Oh, but then you really want you change out of that magenta with something that's more like Fast and the singer Newton when after dark magenta, I think fills the bill will nicely and that is sitting right here. Otherwise, it grab it, show you. But it does work. Oh, sir. Could see and not Euro. Careful about what I'm doing. Just wanna make sure that I got everything blocked in and wanted to start with the background because when I was practicing, it seems like that developed better for me. Problems don't cover that. The more white you add, the more opaque the paint will be so if you find that it's not covering Pence Alliance as well as you would like. But you're not really concerned about it right now in my walking into the main colors because I'm gonna be going over this again towards the end. But you could have some more weight to your mixture, and that'll make it more opaque. It's not the colors in this painting. It's actually been a couple of weeks since I developed this composition for this class. I'm hoping that over work out this video, but may end up having to paint it again. So I remember. But I do remember that it's like a whole lot better when I started with the background. For whatever reason. Okay, so I've got my trick within seriously. And now I want to add in a little bit of just awesome yellow over this area and over down here in the bottom, just to give some dimension and interest to the beating. Yeah, so I'm just gonna usually do that. I like to just dab it in there and kind of fun. The chisel out a little bit to kinda I don't want to lose my yellow, but at the same time, I don't want Teoh. Have it be weird. Says of use some random things here, but stuff you don't get that green in there yellow, that green things that happened at the yellow to the workers background. And I'm not concerned about my birth strips. So much will. I am sort of concerns. I thought I'm telling you about this over here. Not really sure that I like what's going on there, but I'm not going to stress about it right now because they do. You know that I'll be putting the pedals in here, and that will mostly be covered up anyway, So I'm not gonna worry about it right now. Right now. I'm just gonna work up walking in my color. I've got some young when they're probably yell over here person balance. Do you trust because that I don't want you relate to that yellow green. But if you want to have some, um, transition the blues and and the purple get some purple into this area and it did you a little bit more towards the purple sights. A little bit more play in this article. No, it's nice, right? you just have doubt that in there that in there you grab some weight and doubt that in there and then I'm just kind of blended out a little bit, Yeah, to like we did with the yellow. I don't want to totally get rid of all the purple, but you wanna kind of make it blend into the background, So it's not so that's a big purple blob here, competing with whatever a little bit. So I want to take a minute to encourage you the end of this class, if you wouldn't mind, too. Please post photo of your finished painting on. The reason is because I'm trying to make these classes as beginner firmly as possible. Oh, and it's really hard, Teoh. If it's effective and not, I don't see some results. And so it helps me to be a better teacher. If I can see the product literally appreciate that. Now I'm just gonna makes up this green coming to go for a mid green with the some green and some white and just get me in like a middle green. And then I'm gonna paint in those diamonds with the middle green manning weight because they do You want to start being opaque on? That's a little bit later than I want, but it's all right right now. I'm just getting these colors blocked in. Not getting crazy about anything right this second. You wouldn't know it by this demonstration. This payment me? I'm just putting in those diamond shapes. But I actually hate my colors. Beheld a sea like this. But you know what? You can fix it just by waiting over the top Anyone water like over the top and clean out. Let up. Do you like my I don't want my Yellowstone. The very clean I'm going to get before going to the yellow. Okay, eyes. So just beginning the diamond shapes, representing leaves. You don't have to have short edges. It's just a representation. So we've got 33 and then we've got four. I don't know what went on there, but I'm going to add another weeks out. This way s off the page. So I have an odd number. Sort of even number. Okay, so with the Asia, can I talk to you a little bit about how we're going to paint this? But basically, we're gonna have the red, very red, kind of in a half circle with like, a comb shaped right. And then we're gonna build up orange, and then yellow at the very top is gonna be yellow and pink. Okay, that's we're gonna end up. And then after the painting progresses, this will get deeper purples. I will add color all around painting. So in the beginning, we're just gonna block in some colors. Start with my Oh, I'm gonna makes this magenta with this red because I wanted to be rolled kind of pinky red because I don't know, I like it, That's why. But it's just kind of composition that I'm just gonna I have been trying to that shape, which is there's a bottom, then and, you know, release because it's all gonna be we're gonna go over it. But just get those shapes blocked in there like that, and even start with my put these shapes in here too. Those pedals. But you're going Teoh NFO after that skirt. And I'm just laying the brush down and pressing, impressing. I'm laying it down and pulling it back and just making a petal shape with my brush. And hopefully that's not difficult for you. And I just picked up but purple. Anyway, we're just and get her initial Plett pedals in there, just laying it down and pulling it. I just want to get some pink in there while I had it on my brush or cleaned off, and I'm going to go into the We're gonna skip over the orange and just go right into this bright yellow because you don't mix with that red to be lunch. Just come right around the edge. Remember that. This is just the blocking in stage, you know? So it doesn't have to be pretty. You're nicer. It's gonna were gonna develop the composition more as we go along. Not gonna mix it some weight with this purple. So I get a nice pink who on the top, And this will just be the background. Let me start developing her flowers a little bit more. And next module, things like that. So now between these flowers, you know where it's Wait. I'm gonna cover that with my your queries background. Real. Just so there's not this Look at me right there. You could also use green if you wanted to, but I just need background for right this second start their way going over all this again , Just walking in the initial colors and okay, I know I would that be purple in the end. So I'm just gonna put in some purple here. You knows, there's I'm gonna block in the water with this ultra marine blue here. It's a white just the face. Real life. I like flowers to be just a splendor base. Clear base like this. You could see the flowers stems. So it kind of works for me in this drawing his composition. So you want to get that in there a little bit deeper here with it would be in the shows beside being deep around the corners. All right, so this will be our initial blocking a color Put instant stems. I guess I just use all the colors toe astounds to scrap something on your pellet and use it . Yeah, that'll be great. Okay, So that would be the initial blocking in stage really is dry if there's anything that's really bothering you. Well, like this is bugging me at the moment, but all of this will disappear later, so you don't have to worry about it too much. But if it bugs you like right now, you can just grab some opaque and white wash, just kind of give a little all those at the ends. In the end, it's gonna work for in your favor and I'll be really pretty in the end. All kind of come through and shutters line. Fine, of course. Wholesome. Okay, I will see you in the next model where we're going. Teoh, France, and Dimension to our elements. Right now it looks pretty messy and it is an abstract floral, so it's gonna go through some uglies phases. But that's OK. You know, we'll come back in and we'll put some highlights and some little bites and just dimension and work the color around and have a little process. And the process goes sketches blocking in the color when I come back in at two shadows. And then I had some highlights with the color around the painting and just kind of do that whole process on, um, which we will do together. And then at the end, you come out with something that's, you know, really pretty fabulous. I think I really like them all. They're all different. Yours will be different, but they're still real pretty. And I hope you enjoy this class and I will see you in the next module by 4. Dimension : hello, class and welcome back, Brendan Ole. And this house is paint with me have struck floors, egg wash and working on this recognition painting. So the last one will be with you, sort of divided our, um, surface up into third. And we put our first circle for recognition flower in this intersection and then who put another one on one another and then this one here and ideally, it would have been facing. They were all been facing different directions. But that's OK. And, um, the way first locked in colors, starting with the background, which is a turquoise Chicago. Up till then, you know what your quash that issue might have to make set with blue and green and my request Well, most of timely towards a greenside. But here that it did lean towards the loot side. That's perfectly fine as well. And our color scheme that we're keeping in mind this is going to be mostly this analogy ist color scheme of this turquoise blue and this sort of red violet and this grass screen and these pinks, most of our being you'll be those bright colors. So this is dried. And what kind of work. I didn't take it down or clamp it down. That's okay. I don't get crazy about anything. No, I just kind of muscle the paper back into shape. So it's flat again. Bush is not a real let me him. So get too bad. We started with this large round, probably in the size. It's a six, but this is probably a 12 and it's thes air, inexpensive cry like are just, you know, Crayola fiber brushes, because washes difficult is difficult. Yes, quashed does not like your brushes. It's a little more clarity like Sandy, no chopping it. And it's of the textures, little hearts, even when he is your spends a watercolor brushes just use cheap brushes, and this is abstract floral, so it's not going to be nasty. Uh, so the first blocking in of the color We use this big brush to just get color on there next the next and this layer. We're going to be adding some dimension and interest to our painting, and we're going to start by, um, adding in shadows and highlights. One thing I forgot to mention is usually well, these paints reactivate real nicely, but most the time when I'm paying, I put a little drop or two of water on the paint's just to get it going. You could missed it with the bottle like this. Just activate it. But I felt like I needed it with these, but I would do that now. Originally, this paints. I came with a whitewash here, and I put in some full pants and put in, um, the primaries from ones You need to know that I'm not use them in this class because you don't want to use paint that you might not have. So we go down to a small aggression. This is this the brush It came with this, and it's a size around size 81 thing. I, uh when I watched the other video notice was you might not be familiar with these brush strokes, and so I wanted to encourage you to practice. If you're not piece of scrap paper, this practice, um, strokes with your brush. If you're not, um, comfortable with them with doing the pedals and you just lay how did you could see that? I'm gonna try and we actually could see it. You slay it down and you pull it And that just cause you this release our petal shape and those with the strokes will be making when we do the, uh the petals of a flower. Nothing complicated. And as we get smaller and brush size, these strokes will be smaller and just let the brush do the work. That's truck doesn't have to be perfect. So we're gonna start by mixing up a bluish, darker blue screen and use that to just go along one side of Oliver leaves. So it makes a blue. I wasn't green, and I'm gonna use that, too. Just starting out one side of my lease like that. I made you that on all the leaves. You noticed some of them are sharp. It's were sharp. It's the other. Some of the workers curves. It's all right. Whatever. Just go with it. Now we're gonna mix up by yellowish green and use that limey color lady to just do the same thing on the other side of that leave. Keep when you could do these shapes. I've chosen to do them in the street with diamonds, but you could actually do them in teardrop shapes or actually shapes. If you like whatever you feel like doing all right to make law already. So now we go into our agony. Asia. We're not going to be just dabbing the color in because we sort of established the background there. But we're going to do is just the tip of the brush. We're gonna g dots. It's gonna be war of dots. And you do want to be mindful because the paints what? Not to touch the dots? Because otherwise the colors will mingle it more than you would like. So we're going to start out with the purple right along the edge here. And they were to work up to that reddish majid dish red in that sort of cone shape center like this. And then we're gonna go around that with the orange, and then we're gonna end up with the bright yellow, and then as that drives a little more, we're gonna put in pink at the top. Okay, so you start with the purplish I am gonna be leaning more towards the blue on this purple. No, I wanted to be the reddish. Want to be more of a bluish purple and we're just going to use do you dot Just touch of a particular here. Brush the base of that knows that coat that, uh, recognition knows. And keep those little dots separate. So you have dimension. We were just hit some dots, and that's gonna farm face of our home. Our regulation. Now we've done the purple. We've been going with that reddish magenta color. Oh, I took this out because this is the wonder notion. A new designer corner credo, magenta, that I think you should replace that primary with. That's colored light fast. And it's about the same color. Is this magenta here? It's, but it's, like, fast. Okay, so that's a pretty color. Just puts us stocks in remembering not to touch the purple is for dimension, but if they touched, it'll be fine. Sorry about that. Do you have ones parking out? But probably my great kids. Yeah, they're all slope, you know, trying to get this video. Okay, I do apologize for that. Okay, So that was the red, then the next layer is gonna be these this orange and I am using orange this time, but I might make a little more or injury with the yellow. Just tired things together not that it's not large enough, but it just introduces color for no. And you do want to keep in mind this round shape because it's sort of what makes the mechanization so cute. Okay, so now we're just working with coming shape of these flowers we put in our purple dots now and then the deep red. And now we're just putting in some orange darts. Being mindful, aren't you? He can't stop so that the colors don't necessarily planned at this moment. Yes, that's what you would like, but what makes it really cute is these little dots I love dots. Right on what? We got the orange on my brush. I'm just going to start carrying that color around my painting by during one of my studies and orange, he had wanted to go around the paintings. I'm also gonna do a little, uh, dimension by just putting a little orange line in that Leave maybe over here in relief. Just think about how anywhere just proved. Always like, bring that orange element into other areas of her painting. Maybe. Okay, so now you to the yellow, and I really want Jimmy a bright kind of a bright yellow at the top of this. So I'm going to fix this like this Yellow with some white throughout my way. Ok, so to be and you could see a little bit, but so it's a big fat and dots, and that's all right. It's gonna make a little bit more difficult, but in my pink, because but dry Just because I do want to maintain that round shape and they probably will , as it drives a little more bright yellow in here. I just wanna think of sort of like a radiant going from the purple to the red to the orange to the yellow, and then it will have some pink highlights at the end. I like to make elation fat around. Okay, I'm a let that drive because they don't want to work anymore and risk messing up those colors. Okay. So far, we've poor little shadow. A little highlight moved color around the orange. No, you come down here to the water and put in this Demas. I forgot to do that in the last module. So be Let's see in various paintings I've used, you know, some oranges and pinks. And that was cute here Are you some Rina's dark blue that was going to so it doesn't really matter. It's gonna end up cute either way. But I think that well, I think since I got purple on him, I go purple. You just start working those stems. Incas just think about connecting easily, used to the actual drawing. You know, just hanging out there, Christians in there. So we started putting a little shadow and there on the water, I'm going to deepen that up a little bit just because that's what we're doing in the shadows and can soften that edge. Because how is that? We put in just okay never to go back in on these pedals on. We sort of talked about shapes that will be using you. Take your round brush and you spread it out and looked back up. And it makes a little like sheep, and you should practice that it's a stroke you use often you're not familiar with it, really? Using a smaller brush and going over these drugs first in the darker color for some shadowing dimension and then a lighter color. And I do like my econ. A should be towards the right side on the purple, so I don't know where. Come as getting a nice big stroke in there. My little I like that a lot, and I really like what went on when we added that Wait to try and get rid of the edge and cover that too much and strokes being different colors. It's gonna work for your favor, so don't don't worry. Think it makes up enough paint because we're going to paint again and again. Burnham, since it's on the brush, just kind of driving around a painting. Just put it every a couple of the user stammer somewhere else in painting in a dragon room and the next I was going. I would like to put in some highlight valleys, pedals in a duct, with the highlight on the face. Some highlights in the base, but I do need it to wait for it to dry, so we will do that in the next module 5. Final: Okay. Hello and welcome back. Class, this is Brendon. Well, this cost is paint with me abstract florals in wash assassination pain. So in the last module, we had started having some dimension by putting in some highlights and the lights, and we're going to continue that in this module pains during a little bit army. I speed up the painting part of the process because they don't want to bore you. But I thought that I wanted to do this in real time so that you could see kind of the ugly stages that it goes through on its way to this beautiful little concept. And so, um, the other thing, the reason why I had to stop and let it dry was that I wanted to start putting in some highlights start putting in some brighter yellows, some pretty pinks, and, um, this texture in this head of the econ Asia. Right now it's a little bit dark, and I needed the under lying layers to drive. So I wanted to show you this texture that we hope to end up with on this second Asia. And so those little dots, I just think that's a curious thing in the world. I just love it. And this one's got green and purples. And so, in the end will be ending up with that, uh, towards the last layers will be using even smaller brush to tiny dots. Okay, so I'm going to freshen up my weight, despairing a little bit more. And since we've been gone from this painting for a while, it's pizza drives have going to give a couple drops toe. Activate those colors. Did they get a chance? Toe clean my water butt? You'll be all right. Okay. So now I want to start putting in some lighter areas and I'm going Teoh, I do like to end up my painting with the last highlights that Aaron Weight. But for now, it's a little diluted. It would be OK to just sort of add a little background. Teoh. Um, some highlights. I mean, Lady Yellow is what I'm thinking. And then, of course, the so we don't know cover what? We've just done those beautiful dark colors. But we do want to start adding some dimension and contrast, which is wet in the end, Makes a painting more exciting. And is it that just pretty look, actually, so all these layers come together to just make the painting. So I'm gonna go through and just put some a little bit of white, but not as in the final, but just is it under live for the pink and the yellow that I want to bring into this painting. And I'm a start putting in the highlights on the base, which is just a straight down the side street on this side and you know, three. No, come this way. Just your brush do strokes. So I want to get back to this reconnection head. That's a little bit wet. Yeah, that awful little bit. Don't want this to be that wet and start adding it's a yellow docked in here breaking start coming clean. What's already there? And just because. So what? Terms of highlights? I'd like to use yellows. Well, yellow and white. Nice. I think this with great care. Okay, so probably met. Put any start mixing in this yellow to get the yellows in here. Didn't you need add contrast dimension to these pills? Okay. And then I'm gonna get that paint worked up, and it's going to be this magenta roping compute pick. That's pretty. 01 thing I noticed. I get to new equipment so I don't miss my camera settings. I'm not sure how they're working, but the vividness of the vibrancy of this painting is not coming through in the video, I I just got to tell you that it is much more vibrant than what you're seeing. If you make a mistake, just dab it up with paper toe. Uh, painting is much more cyber. It's actually almost worse in your life. Labour, Mathes, pinks. Can you just let the dots my waters a little bit? My color is a little bit of paper should a little a little too wet. You don't want to be that What? So what I do when that happened? Just touch the paper towel to the base, not where the color is, but it just draw that water out and you can see that makes quite a bit different because I'm not looking to have the blob look into how some delicate darts think in here. Okay, Now, in Assam pink to these stunts, this is just however you feel sober again started to pull this color around the painting pinks and just put it dropping him in various places where it looks like it had a little pink and adding some dimension. And sometimes I like to repeat these dots. I actually just really like dots and huh? Put well over here for balance. Put it on the green. Do that book. Okay, so under work on these pedals a little bit, So highlights pink in there. Twits end more love. Wait. Not going to be a little bit more intentional with these pedals comes together just as dimension. But I want this pink right up and just kind of gives it a fact that the purpose darker purples in the background. Oh, yeah, a little bit more penalty. Okay, looks looking at this painting. I'm thinking about developing contrast and dimension and detail to bring it from where it's at to somewhere closer to this on that states that I'm at this painting, so just kind of looking around and seeing what areas can be improved upon. And I think that this could have a little bit more contrast in it. Do that by adding some white dots in here. Just let me light meeting up, start caring, but right around. I'm also gonna add some more. I also noticed that in this composition I have this little bit spread out more. You might not. But if you do and you're like me and you think that need something, put some green in there. Kind of like leaves. I feel like it needs I need something. Do that Tries greenery that space little Not that Durkin. To one side green, this tons still about the contrast in pain makes it interesting and work signing. Get it to start. And I'm still using this the brush because you okay, puts a lions here. Stackable interest separation a little bit. Except you accentuating moments the pedals they wanted essentially. And I just go back and forth with the dark in the light, the dark in the light and different colors and chill. It's looking. I think something on my one called on. So would you like to add a little yellow into my econ? Anxious because I liked it. I like the way the yellow just kinda just like, you know, a little flick here. There at the code really set out that purple. Not too much, because strong for this composition. But get that color around Vic PD, right? Yeah. People need a little bit and always been able to see that under laying layers come through painting for interest in dimension and excitement. Put this yellow around my painting starting to look pretty. No, that dries orange. Dr. To get one. In contrast, she makes a painting or more exciting, do that. Awesome. Your exit. Right. - Okay . I actually feel like I'm nearing the end of this painting. I like what I'm seeing, and hopefully you like what you're seeing as well. Now what I like to do in the final stage is to do my final details and white highlights. And that's when I would break up the smaller brush, do my find out details and white highlights. So to start here, work my way down. These are my greatest breaks. Tides, wherever I think, make it have the most impact about this little thoughts. - So a lot of this is just intuitive where I think you want that drop some more attention to. That's where I would put the weight and I kind of like it, like, works out when they think it's good. And I'm gonna put Scrabble though this blue draw it around the, um, move the color around the painting was to tender create some excitement. I think at that in here I love that Quashie could just labored over the start purple and it's gonna show up. Put the I see going on here Practice blue around Clue use model of this dark ultra marine blue great outs and pedals Misha, A little interest. What's going on here? Look here in there. Just go home hunting wherever. So I think the last thing that I wanted you before you just call this done is I want to grab a little bit more this orange because they don't have much of that in there. Full that around the training. Mix it with this yellow. A nice bright orange. I'm just gonna start up here, get a little bit more of a color there like this. Pull that color around pain right to we're blue. That's it. That looks pretty good. I like it. It's cute, colorful, and I hope you've enjoyed this class and I would love to see your interpretation. Some of you are going Teoh even do a better product than me. and I look forward to seeing that I'm so excited. And I thank you for taking this class. And if you've enjoyed it, please consider leaving a positive review and or liking subscribing, following all that kind of stuff you do on social media cost you. Nothing means a lot in the Internet world, and it really helps me out as I try to rebuild my art career. Thank you so much for taking my class. I hope you've enjoyed it. And I hope that you are. Sergeant, enough with your final painting that you will posted in the final project section. One last thing that I wanted to you before us because I just feel like it needs it. It might ruin the whole painting. I don't know if I want to fix some some weight all over, like splatter. It reminds me of its a little bit expressive of, um, baby's breath E little duck. And this is how I do with yeah, I think it has a little something and I get and the people probably good with that too. Just go with it because you know what? Why not like it? Thank you for taking my cost hope. You've enjoyed this class. And if you like what happened and you like your results, the next class that I plan on doing will be the three roses and then I'll finish up with daisies. See you next time. Bye.