Painting Cone Flowers In Watercolor, Pen & Ink | Eva Nichols | Skillshare

Painting Cone Flowers In Watercolor, Pen & Ink

Eva Nichols, Watercolor Artist

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12 Lessons (2h 14m)
    • 1. Introduction Painting Cone Flowers In Watercolor

    • 2. Materials and Composition & Design

    • 3. Painting the Background

    • 4. Painting The Centers Of The Flowers Part 1

    • 5. Painting The Centers Of The Flowers Part 2

    • 6. Painting The Stems & Leaves

    • 7. Painting The Flower Petals Part 1

    • 8. Painting The Flower Petals Part 2

    • 9. Painting The Flower Petals Part 3

    • 10. Detailing The Flowers

    • 11. Painting The Final Details

    • 12. Class Project Description


About This Class

In this class I will show you how to paint the gorgeous Cone Flowers (Echinacea) I planted in my garden this summer using watercolor and pen & ink.

In the process you will learn some basic as well as more advanced watercolor techniques. Additionally I will be using masking fluid to create depth and texture in the stamen area of the cone flowers.  

Whether you are a beginner, or a more experienced watercolorist this class is sure to teach you basic, as well as advanced watercolor techniques to enhance and bring new excitement to your watercolors! 

  1. Introduction and sample of sketches inspired by the Cone Flowers growing in my garden. (See the reference photos in the Class Resources.)
  2. Discussion of composition and design, colors scheme and an overview of the materials used in this painting demo.
  3. Transferring your drawing onto the watercolor paper with an archival ink pen.
  4. Painting the background using wet-into wet technique.
  5. Using masking fluid and glazing technique to build up the stamen area of the flowers.
  6. Painting petals, stems and leaves using wet-into-wet technique as well as wet-into-dry technique.
  7. Learn to use glazing techniques to build up the depth of the flower petals.
  8. Evaluating and completing the painting adding in the final details, loosing edges and lifting out some highlights.
  9. For your class project you will paint your own composition of Cone Flowers using the watercolor techniques demonstrated in this class. Please remember to share your paintings on the Project Gallery page!

This class is best suited for more experienced watercolor enthusiasts. However, if you are a beginner, I do go over all the techniques in depth, so don’t be afraid to give it a go!

Always remember to keep an open mind and a playful spirit and have fun with your paintings!

Special Tip: Check out Melinda Wilde's Skillshare Class: Experience Watercolours: Tips and Tricks to learn how to make your own masking fluid!



1. Introduction Painting Cone Flowers In Watercolor: Well, good morning. I am enjoying my summer morning here in my garden, having a cup of coffee and contemplating another skill. Sheer class. And I am so inspired by the flowers that I planted in my garden in some pots and I thought rich to a flower class. We haven't done that yet on my channel. And I will show you how to paint a beautiful late summer flowers. And, uh, I hope you'll join me. Clap your brushes, scrap your paints, and it said ahead into the studio. 2. Materials and Composition & Design: All right. So I'm back in the studio, and I have played around a little bit with the inspiration from my garden and have decided that I think I will show you how to paint the Econ, Asia or cornflowers. I think they're just so gorgeous. It's a type of daisy. And, um, I have just played around a little bit and down some sketches to kind of familiarize myself with the flower and did a few one my little sketchbook here, Uh, with pen and ink. Haven't put color on the little sketches yet on, um, here I have been From what I've worked out here, I've come up with a little drawing. Um, and I've just changed a few things because when I looked at the composition and then I had here, which is the one I'm I want to work on with you. There's a couple of things I didn't like this one, you know, it was an unbroken line, and that's, you know, it's not so good to have that impinges. That's composition and decided just it's like a freeway for you. I so you just can't assume in, so it's better to have it broken up a little bit. And then I noticed that these three flowers they are on the same slant. That's also not so good, even though it might be like that out in my flower bed or in my parts out there. But that doesn't mean that's how I should paint it. So after having looked at that, you can see here, I blew it up and you can see what I'm talking about. See this unbroken line there? She I assume in there. And then you have this Stan and this stem and actually this stem, they're all going in the exact same direction so that I wanted to change, um, and show in my drawing here. No, if you can see it. Um, I broke up this line, so I let Distin break up that stem. So I put that on top, and then I also moved the leaf up, so it kind of interrupted Thies to stems and I put the flower head here, so that also interrupted that stem and leave here is interrupting that stem. And then I this is on a slant. And then I had used had this one on a slap, so that one. I straightened up a little bit, so it's not parallel, and then this one is on a slight slap. So they're all different. That's what I wanted to do. And so that's the composition were going to be working on. And I think I want to incorporate because I really like two. Were work with Penning sometimes. So I think this would be a good composition to use a pen and ink. So let's just take a look at the materials. So haven't eight by 10 sheet off just cold pressed watercolor here, and this is £140 so it's a light for me. Lighter weight. I often work on £300 but, you know, we're gonna go with 140 this time, and then I'm gonna use, um, my microphone pin, and, um, I have not decided yet. Should I use the black one? I have a syrup 10.3 here. I think I might go with that. One black pen would be nice, but this one is the syrup 10.1, and it's in a CBS Think I like the black better for flowers. So let's do that and you can choose. You know not to go with a pen if you don't want to, or if you have a different pen, Doesn't matter. So that's what we're gonna be using off course. I have my palate ready and it's my standard palette. Why, you know, half cobalt, blue, french, ultramarine blue and we're blue peacock blue indigo, transparent yellow, green, apple, gold birch, Jenna, quinacrine on red Permanent rose. And then I have the upper rose. And then I have permanent magenta. I just got a new color from Daniel Smith, the Aussie red gold. And, uh, I, um I feel that that would maybe be a good college ached to my standard palette here, So I'm gonna put a little bit off the Aussie red gold. She's kind of like a very bright orange. She color warm color. You think that go really well with the color scheme? I'm thinking so where? Let's try that out. And if you have, you know, if you have an orange different orange, your maybe, um, new gumbos would work or just a quick capital gold, which already have on here. I just feel like playing with a new color. Also shown I'm gonna add that And I have these little portion bold. So I guess they are portal and bulls that I got from my knees catcher on my birthday on Guy like to use those when I need a bigger part of off color. Or as here, when I need to just add on a color or true that I don't have my palate and not to keep my mixing areas available for mixing Show where? Let's try that out. I have a variety off round brushes. I like to use round brushes moved to the time when I paint flowers and then I have a flat wash brush. This one is just one inch, but I think that would be a good one for just two starts. And then I have Mike good old dagga brush that I like to always have on hand. And then the only other brushing might use at some point is Rika Brush A have two different ones here, a little bit fatter one and skinny one. So that's probably it on the brushes, and I'm thinking I want to use a little bit of masking food. I can use my PDO high position mark up in, uh, that that would work with them for this year. And then I watched another skill share artist here. Watercolor artist. She's fantastic. I really like her, her chatter, herbs channel or her her classes. So you should check up. Melinda is her name, and she's from Canada, and she has a little video where she gives a lot of different watercolor tips, and I learned something brand spanking new from her. I learned to make my own masking fluid, so I'll link it below so you can find out where you can look a Melinda's video where she shows how to make your own masking fluid from speed. So which is, um, my product? That's, um, kind of a blue fabric glue. So if you're too lazy to wear ham, your pants and stuff, you can use the glue and glue them instead of sowing them, and that also works like a charm. And I have tested it out and I love it. It works really, really well, so that's gonna probably be my new masking fluid because I've had some issues with the people I'm asking or drawing. Come, uh, masking fluid here, um, in the last couple of years. It seems like sometimes it stains a little bit. It's, you know, has a little blue tint to it. And it changed color a couple of years ago. Got more like blue would used to be great. And I've talked to other artists, and they had the same issue. So anyway, that's a little side note, but I just wanted to alert you to that. And then, um, we might use, um, a Unipol signal white jump in if we, uh, need to wear recap some highlights on the little centers on the cornflowers. I don't know if there's gonna be necessary, but you never know. And then, of course, if we're using them asking what I like to like to use Robertson meant to raise it to pick up masking que it, um, I might use my trusted credit cards that I'd like to cut across with this, um and then I have that pointy it tipped there, and I have wrong tips, and then I have the sides and stuff, so I'm not sure we'll see how it goes. Um needed a racer and, uh, number two pencil to do a light sketch. So those are the materials. And then, of course, you know, like to have my two jobs of water. I like to have tissue paper clinics, and I like to have my water control station, which is old terrycloth, and then some pick Tom on top, and I think that's that's it. So we'll go up your materials and get yourself set up and then we'll get started. 3. Painting the Background: So I already have my sketch put on my watercolor paper. And, um, now I'm going to go in and, um, put my think lines on, and I do them very light. And this is, you know, kind of like an extra chance to fix things that you see in your sketch that you don't like , because then we're gonna erase the pencil lines afterwards. So I'm going to do that. And that's not gonna be all that interesting to watch. So I'm gonna do that off camera so we can get to the painting part so you can see I got my pen lines in and I kept them very light and, uh, a little sketchy. And then the next job is I want to take my needed oration. Make sure you only usually needed to raise on your watercolor paper. And then I'm just gonna gently rub across my drawing here and pick up the graphite from the like pencils, kitsch I've done. And then we're ready to paint. So I got the pencil lines off, and, um, before I put any pain, Don, I want to get the, um, a little bit off masking food on the Stamos. Just a few of them and, uh, gonna do it fairly spares spots. I guess it is just a few and maybe a few in here. And I'm thinking about what college I wanted. Make my flowers. I don't feel obligated to do it. Exactly. Help? No, it is out of my garden. I'm gonna mix it up some way. I I feel like like doing it. That's how I always paint. So I don't know, maybe we'll put a few insight. These little have these two the bots that are opening, so just a little bit And then that'll dry in no time. And while that dries, we can mix our back, Uncle. So I sprayed my colors and, um, let's, uh, gets some cobalt blue. That's a great color for the background. I'm thinking, you know, my goal flowers here. I want to do kind of gold, and then I'm thinking, kind of like a purple color. Ah, warm people. Kind of a permanent magenta Slyke. So here, sir, a nice part of cobalt blue and cobalt blue, you know, so easy to wear lifted shooted get into places where it didn't belong. And so that's why You know, that's a nice forgiving color to use for background, because I'm gonna do the background. Obviously, your wedding toe wept, and I'd like to perk it up a little bit. So I'm gonna put some of that peacock, which is so much more took what you call up a much brighter call. Let's put some of that over here That would make for nice late summer sky, and, uh, then we're good to go with that. And then what I'm going to do is I am going to since I'm a painting hunt under 100 and £40 I'm not planning on taping it down because I don't know, for some reason I'm not, You know, I'm not too crazy about that. So I'm going to spray the back of the painting so that it doesn't buckle on me too much. So I just use my spray bottle for that there and anyone of flip it over, and then I'm gonna grab my wash brush. One gauge it holds a lot of water, and, uh, I'm not gonna worry about the stems, but I'm gonna try and avoid Well, actually, I'm not. I'm just gonna paint water over the whole thing. And then with a paint, I'm going to try and avoid the flower hits. That's gonna be much easier. It's not complicated things here and can you see? Because I with the back seat of a nice and flat it it's lying. And it's like it's sucking through the sticking to the to my board here. I think I might have gotten enough in that corner. All right, so what I can do is I can kind of day about some of the water out of there statement area and some of the pedals here. Yeah. Um, and then I'm just going to stay with a big old brush. I think I'll just use my wash brush. Why not? And I'm gonna go in from the top, gets him off that Kobach may need the core polished up with the cobalt, and we go from there down. I don't mind if you get over the stem. That might be even a benefit. Believes the same thing. So let's just go down here and just put a little bit down here and you haven't. And then before anything, drawings on me going and load my brush up again. I'm gonna push on that peacock on my brush. Get some of that. In you go. I think I could usually a bit more that actually, you know, because it's wet into wet, it's gonna dry a lot lighter than what it looks. And, uh, there we have, That's and then let's just let that settle in just a little bit. And, uh, in the meantime, I could go in again if I feel the need to lift up just a little bit from the flowers. I don't really have too many problem areas here behaving itself pretty well, And, um, then we need to get some color on the bottom to, and I think I'm gonna go in with some more off the cobalt blue. And then, uh, let's use a little bit off that are, see gold and, uh, just, uh, get some of that color in here at the bottom, starting things up a little bit. And I haven't mixed it come 100% so there will be some little It's a little artsy gold stuff. And here I am, using my dad a brush and I'm doing from strokes up here again, trying to avoid heating there. Hits of the flowers. But I wouldn't mind getting a little bit off that color up here because, you know, there's vegetation behind these flowers and stuff, so wouldn't hurt. Getting a little bit of that going on and dark in a little bit. Yeah, there, behind here. And, uh, let's get a little bit off our French ultra Marine blue. Yeah, And get a little bit more that all she golden a little bit more, and this gets some grassy looking things up through here and again. So I'm, you know, kind of lifting up my brush a little bit. And, uh, as the paper is drying some of these tools shapes, they hold a little bit more. But I want everything nice and fussy out here, obviously, because, you know, we don't want to take away from the main the main stars of the show, which are, of course, our corn flush. You can these yet? I they They called also that I guess, and their type of daisy, Uh, and, uh, I had to do it up online how to pronounce euthanasia because I wasn't sure. Sure. There. I think this is good we take a look yet? Don't want too much light down here, so I'm just gonna Yeah, I like that. So far. I think it's pretty. Okay. And then see what? I wasn't looking school. Who's sneaking in here? This is, uh, focal flower. So I want that one especially right That one can have a little bit. So it's just with that out. Didn't the other so gonna be just fine? They have it. Okay, so now I need to let Dr. So I don't like to use a hair dryer on especially. I have a little bit of masking food. I don't have much, but, um, I'm just not a fan of the hairdryer. Eso you're just gonna let that dry and then good time to little break. 4. Painting The Centers Of The Flowers Part 1: All right. So everything is completely drive. It bubbled a little bit, but not too much. And, um, now we're gonna build up the layers in those centers off the cornflowers. And what we're gonna do is we're going to, um it was masking fluid in between. We put very light layers on, so we already put some masking fluid on eso. We're saving a little bit of white, and now we're gonna be saving the next lightest color, so that would be a very light, transparent. Yellow is what I'm thinking I want to do here, and, uh, it's very night. So not your water. I was gonna dab it in there and, uh, has to dry. You can check out a little bit here. What? I like to come from right top side there. So I'm gonna lift off a little bit there. I'm gonna put show water in here. I'm putting quite a bit of water and yellow to really flow up, flow out, and, uh, put that in. That's really the interesting part of these hours. I find this lease Centris with statements swift and, uh, I do a little bit in here. True. Just a bit and I came here. It's a little bit. We can just see a little bit off. He's centers on the butts. And then on this one here, we're also gonna put it in. Yeah, and then when you to get this try. But there you can see that was easy. Show my first quote off that transparent yellow has tried. And now what I'm gonna do is I'm gonna take my masking pen again and put some more off the little dots and live and markings on the centers off the flowers. And then I'm gonna put on a layer off the Aussie red gold color and in a little try and put another lee of masking fruit and still gonna build up Bailey s that way and and the texture on the on the little centers here. So let's do the second. Well, actually, yeah, the second coat. Um, just think going yet What's going and so little lines. And, you know, make sure that you do them in the right direction and because they're gonna show up. And that's the whole point. Of course. And so I do more, Dottie, you see, if I consume in so you can see better. It's not that easy to see. I don't think on camera, but I do more like dark, dark, dark, like right at the center here because they're you know, it's for short view off those, um, statements. And then as I go out, I do a little bit more lines and you can look at some of the reference photos and you can see they have the directional flow to them. So see here that looks more like DOT and then it should go up and food out on the edges. It becomes more little lines. So anyway, that's what I'm keeping in mind, because I wanted to have them read, Write wants to take all this off and hopefully not have to do too much fixing. That's my hope. We'll see how it goes, right? Um, and so more starts here individual lines. So I used to smith it before it's been a while. What I painted painted out of jokes no time going out, and I used this method for the you know, those hairs in the middle of the artichoke pure moves, actual blooms that I paint it to know they have their little spiky things. I'm sure your picture here, you can see what I'm talking about. And they use that method for those little hairs. And I thought that worked like a charm. And so that's good here in these little oops, but assume out again in these little, um, But the flowers are just dot and this one would also mean to be dust. A little bit of lines, but mainly dots. Okay, that's good. And then wanted that, right? And why we build this up, we can stop painting the stems and the leaves on these, um, cool flowers. Okay, so my masking fluid is dry, so I'm just gonna put some off this RC red gold on the I think it's very concentrated show . I think I wanna all of America, You know, it's a matter of getting these layers on. Not too solid, of course. The whole ideas, you know, to build up. You said Coach, what are you here? Go soon here and then rent it out. You know, I don't really want too hard a line. Same here. Don't really, really want to part of a line down. He of course. I don't know exactly how we're gonna do this. Attaching off those, maybe a little bit there. And I think before it drives on me, I'm gonna grab a little bit of a smaller brush and put a little bit of that on. And then I was gonna try and do some deal fuzzies around here before it's completely dry. Just like that. It's pulling it out a little bit and carry on. Don't here. And then I'm gonna put a day with water on and just kind of jacket out. That and then we have these here and now here in here. I want to be a little careful. But now I'm painting around those front pendants because they're gonna be a different college, nothing else. And probably also lighter. You could see like that. Okay, just keep that in mind. So there's that and then we're gonna get that dry, and in the meantime, you're going to start on this stems. So you're gonna go? We're gonna go green now. 5. Painting The Centers Of The Flowers Part 2: so the Aussie Red Gold has tried. And then I put on another coat off the masking fluid, same pattern dots and little lines in the direction, off statements on the centers of the flowers. Um and so then the masking food has to dry again. And I got my puddles ready for our stems. So I have my transparent yellow have two bottles of it here, and then I have And what blue Two paddles and French onto Marine blue. True partners. And then I have a problem here. Author Quinacrine are red because when I look at the stems, um, there's definitely some red films in the stems to in some of them. So I want to be able to kind of run that in for the interest. And let's see here, let's start with this stem out here. That's a nice do one. And the first thing I'm going to do is I'm going to put a little bit of water inside the stem, and you can see a little bit of it up under the head of the but And for right now, I'm just gonna do some water in the step and I'm staying within the lines, and then we have our light coming from here. Let's put a little aero, so don't forget there, Um and so I'm going to start with a little bit of yellow, transparent yellow, run it up here and there and just run it all the way down. And I'm putting it on mainly on the light side off the stem, which would be, you know, the right side. So they're sad. And now I'm not even gonna wins out my rush. I am going to wear David into some of the French art marine blue and put it up underneath here. So it mixes and mingles with the yellow. And I wanted quite back up there put more blue one because these little steeples, they're also green. And so they're gonna be adopt a lighter green than this. So I need to have the one green have here underneath really dark. That makes sense. She's gonna body in extra French ultramarine blue, and then good, pull it down here And now I'm gonna check some of all that blew off, put a little bit off yellow back in my brush, and then I'm just gonna dr my brush down before things dry on me. And I think I might put a tiny bit of Antwerp one also. I'm gonna put that on here on the dark side of the stem, and I make sure you get all this on back to a little bit off French Ultra Marine blue won't have that still dark down here. And it will be a little data up here. Course that, um but it's going to cast a shadow e in shock. My brush. Take a look at what I got. I dabbed off the water, and I'm gonna just take the tip in a little bit on off the transparent yields. Just kind of liven it up a little bit on that side here. Yeah. So hope you can see that makes for pretty interesting stem out. It's not like focal area, anything like that. We still want to have a little bit of interest. And, uh, I think I might just dip my chip in a little bit of the connected on red and just run that in a couple places just like that, just for fun. And you don't have to do that if you don't want to. I just like it. It just live into it up a little bit, track it a little bit, and then here want have it a bit dark down here, but this just strengthening the color couple polices. But I think it's pretty OK there fixing shapes. So there we have our first and that's how I'm gonna paint all the stems just with a little variation show where if you're painting along, you can get your partner's rainy and then we'll continue painting the stems and then leaves . So my masking fluid has tried on the on the colds there, the middle. And I think the next color put on is I'm gonna put a little bit off the capital, read on, moved up color that way. So just get that on, gonna do that at all, all of them. And while I put it on, I will pull up some little, uh, statements with the red also, just so it's not just a hard edged, even belong, and the brush I grabbed here it's a number 12 but it has a really nice tip, so it's not that hard to do that. I just have to turn it upside down which is easier to do these things this way and still a little bit in here. And now, you know, we're laying so much so you don't want to use a stiff brush. You use a nice soft brush for this and just kind of dab it on because we don't want their call us. We already put on underneath to strike lifting. That wouldn't be so good and get a little bit in here on the little buts that opening up. And then once this is Dr. We're gonna put on yet another little a bit off masking threw it in the same manner we have done the whole time. Um And then I think we'll do one more layer, and I think we're gonna use so permanent magenta for that, make them nice and dark, and then we'll see what it looks like. See if we need to dock in even more with possibly at Purdue. I don't know. We'll see what we think did it right here. Okay. I think that'll do have been a little bit more here. All right, then we can continue with the steps 6. Painting The Stems & Leaves: So now that the and last coat off watercolor paint, they're connected. I read that I put on top off here, has dried, and I wouldn't I did not put it right on top of peace. We used to hear, Boss, I think I want to leave them that color. Maybe give them a little bit of green legal on. I'm not quite sure. Um, but I put some more masking, threw it on all of them and let that dry. And then I'm gonna put the last the color on the, um statements when I have painted the pedals because I think I want to see what the pedals looked like before I decide exactly on what color they're gonna end up being. So we'll continue with stems and and I'll paint in, um, a couple more so you can see it. So again, first clean water inside. I don't go all the way out to the edges. And then I take some off my transparent yellow on my brush dab a little bit on the water control station, which is my paper towel on top of the terrycloth. And I paid the yellow in from the sunny side of this step, which is the right side in this case, Um, I don't even want my brush off, but I dab it a little bit on my paper towel, and then I'm gonna put a little bit off the French artillery blue on the tip of my brush. I'm not taping like the whole Russian back to the water control station just to make sure don't have so much on my brush that I'm gonna lose control. And then I go carefully around that one, people, that's overlapping. And I wanted really dark up here and then going to go back into the yellow, put a little bit of the yellow on the tip to lighten, and I go back on my child to lighten step as we go down. And now I'm gonna brings up my brush, um, and just find to the edge here, and that edge on this side is a little bit darker. So let's put a little bit more off the doing there, and then that Stretch it out again. And, um, that's gonna be more than Red National. Read that I have here that dad, my brush. And then let's put a little bit of that reading just to give it a little Yeah. So that's how easy it iss and it's a lot of fun. I enjoy painting their stems a lot. Um, so let me show you how I'm gonna paint one off the leaves so again, gonna do a similar style as I did with this steps. I'm gonna put a little bit of water inside, and I don't go all the way out to the edges. I go into the yellow, transparent yellow, get it on the brush and put some on the topside off this particular leaf, and it's gonna flow into the into the center of the leave. Um, and now I'm gonna go in and, um, let's put a little bit off and with on the titter southern tip of my brush And let's get a little bit of Antwerp here on the shadow side, and it's gonna mix with the yellow on, create a really nice screen. It's gonna be a little bit of a brighter green then. We have had so far because he ends with blue, leans towards the yellow side, so it creates much brighter greens. Then the French ultra Marine blue and I'm giving in a little bit of French ultra Marine blue here on this Jap side. And it's just, uh, let that mix and mingle for just a little bit. I can see good. Who carried away here upside here. Pick that up. Not that it matters so much. Did it just mix and mingle and see used by using that end work gives it a little bit more for Sonny, right? You know, and I'm gonna let it sit for just a moment. And why did sits. Let me paint this stem and that's them. Gonna take a smaller brush, clean water all the way up here, but clean water on, but it stay away from the edges from the lines that I drew with with the permanent ink. And I can continue down here, you've been in here should get a tiny bit of it showing up. Sure. And here's it. Extremely tiny area. And then here. So now I have water on the entire stem. Go to my number eights rush and do exactly like I did with the other two stands. Get a little bit of yellow on first, and I tend to put it on, um, 10. I do, and I can see that didn't get us much water. I'm sorry. I'm gonna move a little bit faster here because I can see you can see how the colors not really flowing. So must it would, cause I took that smaller brush. Doesn't have much water on it, so and here that you want the whole way down. And now, if you are very slow painter, you might want to just do one area at a time and not do the whole stem in one go. I might regret that I did that. But here we go. It's gonna speed it up. And then here on that one, I'm gonna again. Not with my brush pushed off that. Yeah, dirty. Now it's kind of going green, which is what I wanted to do. Anyway, um, French arch Marine on because I want this stem here to be darker because it's behind the other stems. Doc here, the doctor there, Um and so it's gonna be a little bit darker, so I might as well used to find shelter. Marine do right away. And I make it a doctor right here. What goes underneath and I got a little bit of the euro one here so I can make sure I don't get like, I don't want any hard edges inside my stem cell. Just smoothing those out when I'm here. And then I could do the same little bit more. Mr Tip, Miss Smaller area. And this little area will be very much in the shade, the chateau and the same with this little tiny piece down here so you can get that or dark with them French, A national title, Tiny corner here showing. And then here it will be dark Osho. So let's get that on there. Do you even here have been a little bit more that French ultra Marine blue, while it's still spreads on its own here, here, here. And it's gonna be very dark up here also because it's absolutely no light coming there. Put a little bit of the yellow winds. Of course, I wanted that green blue, but you can see how easy it is to make screens when you use a yellow and and blues, and you have green automatically and different kinds of greens, depending on what through your using the warm blue you're using and the warmer yellow you're using, the more muted greens are gonna be and vice versa. If you have really cool blues, like more like George to voice, um, they're gonna give you really bright greens and I'm gonna which up my brush and before anything drives on me, I'm gonna just dab in a little bit of rip and it's gonna spread on its own because everything still wet. So I hope you can see that. And hopefully my little leaf did not dry. It's because I want to take my credit card and then scrape out. Yeah, worked square about a little bit off vain, Vain. It's called in the in the leaf. There got a little highlight on there, and I already have a little bit of my Opinion Inc self So there you have it. So now I can paint anything that touches this stand because that's still wet. So this stem has to wait. However, I can paint this leaf, so let's do that again. I'm gonna take some clean water who did inside. Don't go all the way out to the edges and there's a little stem or the touches, and we can actually know what it's Just stay with that. Eva, Good to see you could paint this part of the state, but let's just not get carried away. Assist. Take it easy and I'm going to stop with the transparent yellow. Put it up here in the chop part off the leaf and let it bleed into the rest of the leaf. The reason I put it on here first is that's allied part of the leaf. So basically, I tend to put on the yellow on an area that's gonna be the lightest in whatever it is I paint, whether it's the stem or it's a leaf as it is here, in here, you sunshine. And then here I'm gonna put a little bit off that Antwerp on start down here with their centrist in, and then we can put it on here. That's also going to be a little bit away from the light. It's a turned over and then we're gonna let it lead in, and I'm doing some stroke gifts of blending strokes very soft in the direction off this leaf. Now I'm gonna to step in a little bit off that French ultra Marine blue dark in it. Dr that Tip Dr Down here and just let it slowly blend in. That's it for a little bit. And then on that one. Once I can see that it's beginning to sink into the paper a little bit, I can take the pointy part off my credit card, and then I can just scrape out that rib, that vein that's in the center, off the leaf. And because it did when it was really wet. The pigment runs back in to that group, and that creates a dark mark over here. It was almost dry. So when I scraped out, I got a little highlight. And so it's that's that's ideal. I like to get a little of this and a little of that. Um so? Well, uh, we will. What will we do? I think we can paint this leaf. It's do it. And in the first, let's get some water inside clean water and just not go all the way out to the edges going . That's and it's so nice. Clean rights a minute yellow. One. It like this leave to be even brighter than that one, because it's on top off here off all these stems and stuff. So and this side will be hit by the light more so give it a little bit more young to start with. Just run down like that. I still have a yellow on here. Gonna go into my Antwerp blue and just look the tip up hands see him to turn it around so I don't get my hands in any whip paint if I can help it, and then I'm just catching, Be that yellow. And I think I want to put some more on here. So I want to keep this light and bright a little bit of that and went down there. My brush, Damn it. So that it's just Damn, I'm gonna put a little bit of yellow on it, and then I'm just with the tip of the brush. I'm just encouraging college to mix a little bit more. It's quite wit. Yeah, we'll just let that I'm gonna hold it like this. So one by itself. And I'd like to keep that very, very light on right on that edge. That would be just ideal if we can keep that. And well, that's kind of settling in. Let's put a little bit more dark on this part of the leaf. And I did that with That's with the French. Ultimately blue just put a little bit of that on my chip. The brush. See how that's just give some nice old texture. I like that. And I think I might just bleed it out to your little bit just so I won't later get like a heart itch like that is my favorite way of painting this, you know, put some paint on with lots of water and move your paper around. I swear, that does a better job than in breast strokes. Can you see that? And plus, it's super fun to watch, so just let that sink in a little bit. And while we wait for that, it's just a Continue with this leaf up here, put some clean water in, and then the next step yellow on the lightest side where we apply it. And then it kind of flows into where put the war obviously and and touches truth there. It's been a little bit more yellow here. Yeah, and then I'm not even gonna winch up my brush. I'm gonna go over here in the end, which is pretty much going green now. Precaution already dipped brush in there with yellow on. And then we better get the shadow side of belief painted and it bleeds into the yellow, which is what we want, and we'll just connect them there, and I'm gonna go in and grab a little bit of my friend shock trauma. We do see if I can catch you with that and just barely barely touched my brush So some of it runs into the leave here on the shadow side, and then I'll did it blend on its own there. See how lovely that IHS and let's take a look at this. We paint it down here. Gravel credit card. It's still quite wet. So when I scrape kind of trying hit the Penn Line, did. But see how nice got that new vein ing there? And let's put the vein in here, too, there, And, uh, it's moving right along. Now we have to wait for just a second because Sha this has to dry before I can paint. This one are I think the paint that one. Just this one dry yet Let's try. I just want to make sure you don't paint areas next to each other that are still, you know, one area still went. So here. A little bit of water. Clean water on. Sure. Careful around that little pedal. And now, here on this particular stem I'm going to stop. Wet gets interrupted by that leaf. Um and that's what I said to you Could have done that here, too. And now, doing exactly like I've done on all the other stems Put a little bit of yellow on the sunny side of stem down to here and gonna win shit out. I'm gonna put a little bit off that green with the end That on my brush tip of my question gonna dab it a little bit, Conceal a little too much for me to control, be able to control. And I'm gonna dab a little bit of that up there. Of course it's gonna be doctor stems gonna be doctor here with disappears under the the flower head and so just tapping in a little bit of that green. But I want to make sure that it I keep this them lighter where crosses the other stem underneath. But I'm gonna dab in a little bit more and whip right underneath here and around this pedal that's overlapping. And where it's out of the gonna put a little bit of their French ultra marine blue want to right up there down here and a little bit here yet. But then I want it to be really light where it crosses over. So we'll do that. And then one more thing I can do, Yes, I can give it just a little hint off the red on that side, just like that. Just makes it a little bit more interesting. Okay, who dreams up my brush, and then we need to paint that little area here. One little areas showing. So I'm starting out since you're such a small area. Just went straight in with the yellow and gonna get some that Antwerp green. Put that on the shadow side and let it bleed into the yellow. It needs to be a little dark darker here because the it disappears underneath a stem and leaf. And, uh, just to make sure it matches up. Gonna put a tiny bit off the red on the tip of my brush. And just do little Dad there. So there's a little repeat off that red. Put a little bit more there. Just so they are speaking to each other, so to speak. All right. And let's see. This is strong enough yet, so we can continue with the last part of that stem water there. And then let's get some transparent yellow one stop on the right side of the stem. Could that on and all weight down. And then, without wrenching out, we're gonna put some of that. And green, it's that end whipped. It's turned green because it's been pollute it with transparent yellow. And, uh, so make sure it matches what's on that side of this town and then, which is gonna try? Get down. Oh, the way down. Get some more on here. Good. Clean up a little bit. And I really like what? That how that looks. So you don't even need to do anything to that. I don't think, but I am gonna go in, get a little bit of that connected all red on my brush and just go in and get a couple bits in just like that. And I winced up my brush and just gonna try and smooth it up just a little bit. No, too much. You hear what judged? And then I think I'm gonna take a deal. Bit off French automobile, blue on the chip of my brush here. Just adopting down here and maybe talk a little bit here a little bit here and a little bit here. Not too much, but what I wanted lighter than one that's underneath there. I have too much fun painting these stem, so it's hard for me to stop, but, uh, less is more have to remind myself. So now all we have left is this stem and that leaf, and we have to wait for the other stems to dry before we can continue with that. 7. Painting The Flower Petals Part 1: okay. It's dry and ready to paint the last stem in the last little leaf. So let's get the water. Understand? Gentle, interrupted here by that leaf. And as usual, you should start with the transparent yellow. Put it on the sunny side, get it up here to around that people's there, and let's go in and get the, um, and with blue, that's now turn green before shit spin contaminated with yellow. But since I'm using it for greens, it doesn't matter here. So when you paid the stems and the leaves in this manner, you don't have very much tweaking to do. Um, later on, there will be a little bit off a push and pull where we need to die in a few areas and maybe like a couple of areas. But in general it should be. It should be pretty well done, get a little bit more what, on a little bit more. And with blue because they wanted really dark up here. Course it's behind those Sequels, and they're also green. So where we need to distinguish. So let's put a little bit off the French ultra Marine blue one. Also really dark. That's the blue That's gonna give you the darkest and most saturated green. Not Shuba bright. And she abs I'm skipping with Doc right there which is crossing over that other. Stay here. Also need to keep it a little bit later. Then the stem underneath. And I can do that Ultra by putting a little reading. What? It couldn't there kind of dark here would be good. Course it goes under that leaf. There goes under that belief, so needs to be darker than that leaf. Take a little bit of red and put some red in here, and I'm gonna rinse it out. The brush and vacancies. You saw what you're trying on. Go over with damp brush. Just kind of You want if I a little bit there and I want it really dark down here on this part. So yeah, that worked out. Okay, Doc. There. I like that. Can you see? You know, you have to always tell what's on top words. The blue and light and warm brings forward dark and cool pushes back. And I think with the 30 brush, I'm just gonna lift up just a hit there to see that it kind of brings it forward. Okay? Dokey. Then we just have the leaf left and we'll put a little bit of water inside. It's not touching anything wet, Wilkie. I don't know that. And then let's get our yellow. One yellow has been polluted a little bit, too. It's OK down there. I think I'll wind my brush out and just get a little bit more. You want your just short. We're here to get so you want it. How did they leave? That's, you know, reaching for the light next. And let's get some. And with blue one down here and here and now, it has to be lighter off course. And what ISS crashing over so we can put it back on right here. It would be good and a little bit down here. Maybe I don't get it. Yeah, and they will reach my brush out. And, you know, just with the two off the dance with a damp bruscia, just move it out a little bit. And I think I'll put a little bit more yellow right in the chip. Here, make that a little bit more sunny. You go that just have a chance to sinking a little bit. And God pull out with a thirsty brush that means a cleaned, barely damp brush. Let's pull a little bit right there so that it's lighter. I think I might even put a little bit more that yellow in there. She was true. One that up she please go. Let that drive for just a second and then tickle trusted credit card and just scrape out that bean and Allah. We have all the stems and the leaves painted. Now comes the super fun, and that is painting in the heads of the flowers, all the pedals, so that's gonna be a blast. So, um, I've been playing around a little bit in my sketchbook here, deciding on a color scheme for the various flowers. And I think do these two here in glowing oranges and then thes three here are gonna be more in the purple pink realm and whatever color she would like to do. Um, just go for it. You could see here again. That's kind of like the color scheme I had in mind shall keep these two kind of orangey and then these here more purple pink and leave the centers here more your orange And then these centers here in Dhaka more real rich, Dark purple E Um, So there we have it. Let's get our collars ready. So for starting out with the ones that I'm gonna go in the warm, glowy, orangy yellow color scheme, I'm going to start with light place off, transparent, yellow to kind of get that under painting going. So that's gonna be the lightest part off these flowers up here. So we'll give them a glaze, and, uh, it's gonna treat the whole flower in one goal. This for this first go around from just putting a little water inside all the pedals. And I'm starting with this one. Have a little bit of yellow on May brush still, and, as always, a don't go all the way out to the edge of the lines because and things have a tendency to creep past. So here we go. Just let's just put that yellow in should get started. And, uh, be careful. I was careful that you want to be. You can also be more lose if you like a lot to you should put that transparent yellow in. And so it's very deluded because transparent. Yellow is it really is a transparent color. It said P y pigment yellow 1 50 And there's no white in this, you know, That's why I love it so much. And it really, really close. And it needs its super heavy Pickman load. So where did you need a lot of water and not very much pigment. Sorry. I'm turning it around the course. That way I don't get my hands in wet paint here, so that's, you know, a very easy first step. Just placed the whole thing in a unifying color, This case yellow, and, uh, there we have it winds up my brush, and I'm gonna have a 30 Russian. Gonna just left out a little bit on those parts. They're gonna be the lightest. So some of the tops here lift out. A little bit of that yellow got outside line here. Not that it matters that much. Here we go. So there it already has. You know, color on. Let's do the same with this one back here. Him a little bit yellow lift on my brush doesn't matter, since that's the color. I'm going paint and then let's go in here. Beautiful. transparent, yellow on all the petals, and we'll do the same as we did in the for the one. We're going to just lift out a little bit here, there for some extra highlight. So this one will be a little bit lighter. And this one and then help me. It's one in this one. Yeah. There you go. So we already got some color on there for this conehead I want and then these here, I want them to be in the picks Last Purple realm. So I'm going to get some permanent rules you can also use connected on Rose's best what you have on your palate and I'm gonna do the same thing. Wit all the pedals be the water. And now I'm just gonna go in with sanlih watered down permanent. Rose is gonna go around the steam in the area here, center off the flower. That's where the colors are going to be the darkest I'm gonna go in here, and then I'm gonna get a little bit more water on my brush and pull the color out to the h of the pedals again. I'm not gonna worry too much about what's what in this go around. Do you have sketch car? It's gonna be the lightest call on pedals. We're gonna go in later and build up the colors and separate the pedals as we build the death and there shadow areas. But for now, this is good. And let's rinse out brush, wipe it and then go in with the thirsty brush and tears, pick up a couple off areas where you think I would like to have a little bit of a highlight . So again, we have a light coming from up here. And that means the light's gonna hit some of these Trump's these pedals go. That's good enough. And seed already has a little bit of shape on it. So for their little buds, I think I'm gonna go with a smaller brush. My number four and I'm gonna go to my permanent rose here. And since these are much smaller areas, I think I'm just gonna go in on dry and get that little bit of color on. And I'm going to start with those pedals peeking up in the back. Put those get him painted first, and I do the same on this other one, giving them a little bit more intensity of color there. These over here on this side. I'm gonna keep them a little bit lighter because they will be hit by light. We left out a little bit there to Yeah, okay. And it swims out my brush, and you can go to the ones in front. Okay, Call on them and again using my permanent rose. Put the step and we can continue over here. Yeah, and so now we got all the pedals. Paint. It's with the first glaze. 8. Painting The Flower Petals Part 2: So while we let the pedals dry, um, let's paint all these people's that we have around the flower. But they're not quite, um, open yet. So I'm gonna make myself a very light spring in green for my transparent yellow and the end with blue. I'm just gonna give them a very light coat off this very springy green. So there we have it, and we're gonna do the same from this one here and again. This is just a place. It's just the first layer. The lightest call on these Cibeles here, and we'll build him up later on. But now we have color on everything, you know, painting. And I was find that helpful. I can kind of start splitting up and building the volume. So now that this is strife, I can go in and put on, um, another layer off color on the, uh, pedals here. So first, I'm going to start with the ones that are in the back, and I'm using my Aussie gold, and I'm putting on that are see gold in the corner like that in a little B and then with a team damp brush, I'm gonna pull that color out like this. So that's the first step I'm gonna do and then this, you know? So we'll find all the little peeping up from behind and, um, giving them that orange blow and that will separate them from the pedals in front. We'll get to them later, but this is just, you know, step one. Find it easier to do it this way. Kind of gives me a yeah, like a road map for how I want to tackle these flowers. And it just before we know what it's gonna be all beginning to take shape and volume. I like to leave there. Tips quite light with caution of their student Gonna get some of that sunlight. And in this one back here, a new bit of that She called What's your read? Cold? It ISS on like that. And then with a damn rush, not dripping wet to stamp. I can live that flew out. Lucy Edge. Let's give it a little bit more off here. See how slowly but surely and then here this we can see the back side and then we can see inside. So, on the knees you could very, very, very thin line of that Aussie gold, and then I'm gonna rinse out my brush. My number four brush. Precaution of the numbers that I was using to Lucius steps too big. And so now I have a damn brush, and I could just before it dries it, just gently chanting lift and move that color, you know, loose th and move that color a little bit like that. And then we got a little dry and we do the exact same thing on the top one. So let's see here. I have one here, and you can do a couple at the same time. Just give them a little bit of that orange Aussie red gold in those little corners here. And then I take my number eight brush. I have a clean and damp. Just gonna pull out. That pigment showed that it transitions into a lighter orange on these pedals set up behind . I don't want to go too dark too early. Always go dark. But here and then I want do this one for a little bit. Then this one not. And then we also have a corner. They're gonna leave that for now. I think there's something going on in here. You see it? And I hit one more that I wanted to get something dark on this one here. And it brings up my number four rush and just pull out. Did you get a call here? Can. Okay. Can you see how it's like building up a little bit? And, uh, next step is we can do something similar on this one show for the come flower here that I'm gonna keep more in the pick slash purple rain. I'm gonna make myself it pink. That's a little bit darker by adding on a little bit off the permanent magenta. Have a nice, rich, dark but still pink call, and let's go in and find the little dark areas. So, Doc area there, that's just peeping out. Yeah, and then I want to just treat backside off these pedals here as one shape right now. And so I'm just giving them a little bit of that color, and then I got it. Pull it out. Yeah, And there's also gonna be some of that dark color here. Show these you nooks and crannies. And I'm just gonna go in a direction off the pedals and pull it out that way. So no, I already got a little bit more shape on them and that's find some of those other little dark areas. It's a little one here, hiding in here to do that. So, darkness, this one behind here, this one behind, he was gonna be dark and then brush out. And then on these little guys, you can go and do a little bit more. It was closer to me. Center off the flour. It's gonna be Doc, Of course, you know, goes down. No, si ich Make sure you brings out your brush show. You don't keep transforming pigment, but you really do look see edge dark areas there underneath that one. So we're just trying to separate the pedals a little bit. Stop giving this flower somewhat death. She'll find all the little pedal set up behind peeking out from under another pill. They would be darker. Can you see how it starts taking shape when you do that? So you always have to. I always have this like a man mantra. Doc pushes back lightnings forward that pushes back night brings forward. So you just have to decide which pedal is in front that will be lighter. And, you know, the pedal that's behind will be doctor. And, of course, remember your light short. My light source is coming from here and he's back here, okay to decide which one sticking up more than the others, you know, give them a little texture, witty these some more character back here. Lighter. All right, so I'm pretty happy with that for now. So let's go in and work on our little flower butts. So let's assume in a little bit. And then I work on the butts. So I mate my portal here with my who knit rows that has been darkened in with a little bit off permanent magenta. And I'm just gonna with that in here at the bottom off these little petals, you at the back, you can actually do a few at a time dabbing the pigment, just a bottom. And Tim, it winds out my brush and then gently pull that up and using the edge so that there bottoms are darker and the tops a lighter off these pedals in the back course, you're going up towards the night, so they'll be nytr and be a lot of wrenching out your brush so that, you know, you know, get them all, Doc. Yeah. So these a tiny little area, this but there. And then we could do the exact same thing with same color at the bottom here. So I do. This one who's the edge and keep a little high, like that side a bit more. Okay. And I skipped the next one because they're going, you know, run together, and then I'm gonna go over on this one, and I think I can do two at a time, maybe even three. You don't have to do that. If you feel that that's no too much and then just blended out soft edge disappear and no more here and then pull it out and make sure you keep those tips vital. They became jumble, which, with this one here to same exact thing. Which me? Brush, dab it on the child and then pull it up. Change this. Yeah. Go. And then I'm just missing this one. I skipped. Yeah, they would be that Dr Pink color I lifted out. Okay. Give them a little bit more shape and will do the same with this one. over here. What? We have that color. So talk at the bottom and then we go back in and she often and out that edge. Make sure you've been shipper shop so that you don't keep transferring that DACA pink column. This one, this one, this one and that one. Go show off in it and we could do the same at the bottom of these Neil pedals down here. Just do them all at one go. Oh, I feel with that. I just And then we have the cyclical wrong on those pills. 9. Painting The Flower Petals Part 3: So we're let's get a really dark on those See people's we have around the little flower butts and sure what he got Two more off my and with blue and my transparent yellow Um and I'm gonna take a hint off this orange reddish orange I have over here and get that in two. Take the green from true, you know, super bright to a little bit more muted and dark, you know, as a child. And then let's go in and we get them dark at the bottoms again. Everything's at the bottoms. Go up a little bit here and especially here. One set up towards the light good at the bottoms and on the underside. And we still want to leave those highlights on the chop off them. And then here on those that away from the light, we can talk in a little bit more on the side, away from the light. No dabbing and cleaning my brush. And I'm just gonna go in. And as you sure show often and using those high edges and, uh, nets to the ones on this one as well Bottom and then away from the light range my brush to have it. And there people over here on this side were there away from the light. Yeah. Okay, so I have one more I want to fix here. Course I feel that. Make sure strike. And then, you know, with the stem that I can see in between this Sequels here, I need to dark in that because right now they're pretty much the same color. So I am going to go back to my, um, orange flowers here and now I'm gonna go in with the queen app adom red. And I'm just gonna take the hint off that orange. And I'm gonna go in for the darkest areas and build up the layer one more time just to really get that dark where I need it in there. And that's loose. The itch. And Lucy, it's here. No shame here and here. And remember to clean your brush. Course, not him. That's a lot of people. And also, I have a very light touch because now we have quite a few places on players off paint on, and, uh, we don't want to risk lifting up. I'm also gonna put in a little bit here. We don't want to risk lifting up the spin off pigment and call it a little course there's gonna be a mess. One. Yes. All right, that worked out very well. So let's do the same thing over here. Pretty news to having the leaders built up the way we need to a little bit in here. Yeah, and then I mean, Butch the edges. Good. I wanted to just separate, but here was this Hillary is going under right here. So I think I want to go around and separate a little bit more in between these other pedals . Sure. Just put a little bit of color on. And I'm using that. Really? Truth indicate what Pittle is on top and which one is underneath. Keeps living life paper around because, you know, I don't want to get my hand in the whip pigment trying to take a look and seeing where way have areas where it's not really clear which oneness on top, Which one is below more underneath. So I wanna make sure I've got all that take care off. I just want to give this a little bit more shape to the individual petals to So now I think we can go down to this pink one down here and, uh, give it one more. They are. So to get one more layer on this peak slash purple corn flour, we are going to get some more off our permanent magenta out. And then we're gonna dock in that with a little bit off and would do It was too much. We don't want that. You want it still to be a little bit of a warmer triple? Think pretty close there. That's what I had in mind. Okay, here goes upside down. I want to go in. Oops. I can see you have a drop. You gotta watch out. We have dropped on your on your failed there That can spell disaster. So now go into all those stock areas again. Comey been shot, My brush Get back through them. What? I can Lucy itch, but really haven't just to lose all these edges and no said it many times, but make sure clean that Russian between Unwise. Just trying all this pigment all over the place. And you don't want that just talking more right here. Areas okay? Yeah, my brush. We have. So now we're going to give a little bit more character to these pedals, and, uh, you can see Look at them closely. You know, they have a lot of Ford's and stuff, so we haven't really indicated that yet, so let's so, um, this be brave and see if we can do something about that. So we go in, we put a little bit of a line on maybe 21 and I don't go all the way down. And then I'm gonna lose the edge on one side off these little lines again with a clean brush and can you see that we're creating some of those little foes? So that was kind of fun. That's do it again. So I think I could do one more right here, little one. The key is don't do it the whole way. Just indicate a couple of places that they have those fools and you will be good. Go to a little bit up, you know, here the bottom is kind of fun to do, too. So, you know, you could spend some time doing this. It's lots of things that could be done on these little guys, but we're not gonna go crazy, we hope, and also make sure that they are in the right, you know, direction, a direction off, how these pills growing, how they afforded and stuff. Otherwise, it's gonna look really strange. Can you see how that getting getting a little bit of a groove and you can vary the color? The call I used here was a little bit of a dark off, uh, orange that he was previously. So you can also use one that's a little bit later and make sure you have a nice tip on your brush, so they're just no too fat. Sometimes you don't even need to loosely edge made them so faint that one and even also would on a couple of these behind, even though you won't see too much from those and sure you lose yet, so they're not like too harsh a few more year. I like it if we get a couple going up this way, actually, so let's do it. I can push. The edge here is huge. I think that ship, I think that's pretty much enough except for one place, and I need to go even darker there from hopping over here into even a little bit of the permanent Rose. Let's do a little bit on this little guy from the inside. All right? I like that. So if you don't like it off course, you know, there's nowhere obligation to do it, but I think that where that gives him a little bit more process. You could spend hours doing this. We don't have to, um and so I really like that. And, of course. And I'm gonna repeat it on this one here, Since this was not as much focal area, quite a much time. The individual it was here. That's good. Okay, I don't really think I want to do it on this one down here, because it is this my focal area. And I think I have done enough with details down here. So I'm gonna leave those alone and the same with these. I think I did. Enough. It's always a matter off, you know. Don't overdo it. Don't tell too much. Um, that's really what it was down to assume. Now I took a little tiny bit off that purple a build over there and put it over in the orange here, and then I'm gonna go and and do just a couple Dr Markings here on those pedals way. See the back side much, Doc. They're, you know, on the other side of the flower. And so just putting a few of those in there and again, Lucy and Lucy at Sietch. And, uh, do you hear? Maybe. And then a couple year, very faint. That's it. 10. Detailing The Flowers: I think we're ready to win. Put the last coat off color on our steam in areas here. The centers off cornflowers center call. Now, what did you get? My A little masking pen ready? And with the last and coat off. Masking food on. There's not many empty heiress left. It doesn't feel like And so up here also just I want to save some of these oranges, the lines with dots mainly on the sunny side. So that's on the right hand side, accused in my paper. Just to make sure we save some of that, we can always go in and back in a little bit if we have to. If we got too much masking food on, I have no idea is gonna work out. But time will tell. So let that dry. And then the car we're going to put on is going to be permanent magenta. So we'll put some of that over here. Yeah, and wanted quite concentrated. Here we are. And then we do have some of that a little bit darker, permanent magenta that we darkened up with our and what blue Land would blew up there a little bit more here, There we have it. I'm asking for somebody try. So you goes Nothing. Start out with a permanent magenta, so it's gonna look more brownish on top of all this orange, which is to be fine. And I'm actually gonna go in while it's still wet and dab in some that really dark with and what blue. And it stops a very dark purple and it's wouldn't set out and then just go back in just some straight who, minute, magenta, and do this side the lighter side with that and then did just blend exciting. So gonna take my little tiny brush. And I'm just gonna soften some edges down here that with just barely damp brush and I'm gonna pull out a little bit my brush again and just back down. You some of this here as a little additional shadow right in those areas. Where would be extra doc just to give it a little bit more pus ass? Lend it, then I'm going to make sure has a really nice tip. And I'm gonna just pulled out some little here some little statements while it's still damp . Sotus. Very light touch, very light, touch and a good tip on your brush. That's what is required for this there. Good. Look at that. I like it. So that's still do it. And I can see you just travel down too far here. Didn't want that if that out. Peace. Yeah. Don't go overboard. When that was super fun, Kids do it again with Jim Tom, and she just kind of damning it in about who's pitons. No gonna pick up that really dark version. It's a permanent magenta. Make it you radical. Don't with bottom. Yeah, and then winch it out and then I'm gonna go in with pure permanent agenda and combine it. I assume that you what I did on that one. And again you can see, of course, of the orange underneath it looks a little bit of brown side, which is ideal. And get some more. That doc, just And now I'm gonna winch my brush and get a really nice tip on it. No grips. And then I'm gonna pull out snu. Here's she'll stainless. I try very hard not to get my hand in the paint, the paint trying to hold the stress while you do that. I just noticed myself. I'm holding my breath. I wanted also put a little bit that fashion has done here. Think it's organ helping together nicely. You were okay. Could have to live. Try. I think it looks pretty good. And, uh, kind of got encouraged with that call there and sure think I wanted Doc in a little bit here. Just like that. Shall live it. You gotta let dry. Then we can take the masking off. That's gonna be the exciting part. Okay, I think the time has come. Did see what we got? Use this, um, former Celinda razor or masking fluid picker upper to take them asking food off. So short. Get it all off. Yep, that's it. And over here, it's she was getting those highlights. And then on this cool flower. Yeah, and they are drying up. We will put so much pigment on here and there's so many layers of masking fluid. See, I'm going in one direction. Don't go like scrubbing back and forth just in case you know, he might smear. They're still masking. You know there, sir. Paint on topical, that masking fluid so we don't risk smearing anything, right? You definitely build up many layers and all those different colors that we have good on. So that's the whole point of doing it this way. That's it. All right, so, um, that looks pretty good. I think now, off course, that doesn't mean that that's the end of it. Now we want to go in with the last darks and just fine tune. The statement centre said the cones, they're here and here and maybe throw in a dark or two in between the parents. I think this one is pretty much done, but let's take a look and see what we think. 11. Painting The Final Details: So for that fine tuning off these little stay min center stay man heads, you call him. It's, uh, time to go in and get our finest little detail brush. So I had to dig into my supplies because I hardly ever used these little tiny brushes. But, uh, let's go in. And so what? I put on Wasit put that really, really dark people on, I want to do you see your first. And so I was gonna call in and do some more. There's little hairs, dark hairs just to break up these light areas because with all that masking fluid we put on , I mean, you can't you know, when you put it on as you're building up the layers, you can't see the mask abuse that's already there and how all comes out. So you always will have a little bit of fixing to do fine tuning, trying to get a really good tip on this brush. Sure. The final tip you can get on your brush the better. So I just want to break up all these little areas. And of course, these little brushes they don't hold much pigment for water. So you have to go back off and we load. And so I roll. I rolled my brush and make sure you get a good find Chip wanted going and break up some of these little areas, which you know too much light was wrong. Shape again. Remember to breathe. I see it's holding my breath. It's a reminder to myself and to you, Let's not forget to breathe. We'll pull out a few little yeah, yes, over the metals. Also kind of. It's a big deal with you. Shannon Side, of course. Might be some little shadows cast could move it. More talk on this side here at the bottom. So I'm just gonna dabbing. I think that looks about right now. Used. All right, call that one done and then we'll go in and do the same on this one over here, especially with you in the shadow side. Make sure that you know it's not as highlighted as whose side for the light sitting it. She constantly have to look up your brush course. It's a tiny, even though the one I have years convincingly Russian. You don't get out of my first rule have used it for God knows you know, it should probably hold a little bit more pigment then. My regular brushes Detailed crash. That holds true a bit more. She had a donkey on this side, so I just have a little bit more water mix. So once it dries, Still gonna show those highlights, But just not a sprite on this side here? Yeah, I think that's pretty good this side here. I actually want them to look more greenish so I'm gonna, um, the highlight. You want the highlights? A little bit more queens. I put a little bit of light green on. Good. That in between here, that works pretty well. I want the same on this other one. Good will happen down here. And then, finally, this one had the same idea here. I want to get a little green men on these here because I just went out in My God, I looked at them and some of these they actually have kind of green at the tips more than yellow and orange soldiers. Get that in, have it. And I'm gonna make myself a real dark. So I'm gonna dip into my purple here and over here in my green puddle. I'm trying to get almost a black, but made from the colors that we have in the painting, That's always best. Okay, I think I'm good. So then I'm gonna go in and have a little bit of the stocks in, especially on shadow side here, where they're cast a little bit of a shadow and so good. A little bit of those in here to special shared inside Go down here, Help bring up some of those little pedals that are unfolding in front by putting a little bit more Doc in between them and do the same over here, starting a little bit of that dark and then go in, just kind of pull out of that darkness from the bottom and when set out, and it's going to take a little bit of this very light green and just put a little bit on the shadow side here just for a little extra. And then I'm going to go in with a little bit off the permanent magenta and just deepen a little bit. A little bit a shadow in on those pittle sitting in the background here. You can even do so little line work if you want same on this one. This is just too good. A bit more drama. And this one backside here where we have it and let's see, what else could we could we possibly think off? Well, we could think off just lifting out a few highlights a couple of places if we feel the need to So it on the stand there. And I could put a little bit of yellow in, Just brighten it up. I could lift out a little bit here, and I could lift about a little bit here, understand? And put a little bit of the other one was a little sass. Oh, and then see me really dark green with whatever I have left in the palette. This is a great, you know, time to use up all this stuff you have, Of course. And you're sure that you're staying with the color theme that you already have Could dark and a little bit here, Mr. Bring a little bit more contrast and the same here on this. We've been talking brush. I'm sure you don't leave any. Were hard edges on and hear what you did. That one. And she one other little area that could be a little darker. And that's here. It's on my brush. Go and this one stand down here to lighten up a little bit on this area. Put a little bit off your alloys green. We could talk in right here. That and then I think, would be this one school. I saw it, sir. Gift out. Highlight Right here. Across with light would hit this leaf. These are just subtle little things. And this is just, you know, just to finish it off. That's what I used to like to go around and do my paintings just kind of find those little areas. That could mean a little lift or little push. So either lift a little bit of color out. What document? A few areas or both, depending what I find is necessary. And this is not strictly necessary. What I think it is an improvement go. I think pretty much we said what we wanted to say with this one here, I could within a little bit of darkness, couple places. I mean, you and Dr Couple places here just to give this one a little bit more process. It's not necessary but teaching your class I should go out on a limb for you and, uh, show you how far we can push this. We're getting pretty close to absolutely done. You know, there's also there's also the time where whatever else you do is not an improvement. It takes away, and that's, you know, could be hard to find out. What? What? That point ISS. But I think we're getting pretty close. So where? Why don't we just lived a couple morning highlights here, Right on the top of thes couple pedals, I think would be good and then call it a day here. And then I think, would be this one still So it, sir, Gift out. Highlight right here across with light would hit this leaf. These are just subtle little things. And this is just, you know, just to finish it off. That's what I used to like to go around and do my paintings just kind of find those little areas. That could mean a little lift or little push. So either lift a little bit of color out. What document? A few areas or both, Or depending what I find it's necessary, and this is not striking necessary, but I think it is an improvement Go. I think pretty much we've said what we wanted to say with this one here. We want to say any more. I don't know. What could I come up with? A. Could put in a little bit of darkness, Places I mean, you and Dr Couple places here just to give this one a little bit more process. It's not necessary, But I'm teaching your class. I should go out on a limb for you and show you how far we can push this. We're getting pretty close to absolutely done. You know, there's also There's also the time where whatever else you do is not an improvement. It takes away, and that's, you know, could be hard to find out. What, what that point ISS. But I think we're getting pretty close. So why don't we just lived our cover? Morning highlights here, right on the top of thes couple pedals, I think would be good and then call it a day. We'll call this done so that wraps up my demo on the cone flowers. I hope that you will post your paintings on the project gallery page so I can see what you have painted. And I'm really excited to see what kind of composition she'll come up with. And please feel free to use your own color scheme. Um, this was just a suggestion. And, um, I hope you have a lot of creative fun with this happy painting. 12. Class Project Description: So for your own project, come up with your own composition off cornflowers and you can use the resource is that I have listed for you. I have a couple of my little sketches on and and then a step by step guide and then try toe , make your own arrangement. And remember that I told him that in this sketch here I changed up a few things because when I looked at it, I was like theirs. Visa to parallel. This one's two parallel with that one, so I changed the ankles a little bit. So keep that in mind and come up with a good composition yourself. That's part of the X ice, and I can't wait to see what you're painting and make sure you posted for me and make sure you posted on the Project gallery place to share with all of us and look forward to seeing what you are doing. And I'll see you soon in another class. Thank you for watching