Painting still life with red tulip flowers - watercolor tutorial | Agnes Bodor | Skillshare

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Painting still life with red tulip flowers - watercolor tutorial

teacher avatar Agnes Bodor

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (1h 24m)
    • 1. Introduction and project description

    • 2. Tools and materials

    • 3. Drawing the tulips and adding the masking fluid

    • 4. Continue the masking fluid application

    • 5. Start to paint

    • 6. Continue to paint

    • 7. Finishing the wet on wet part of the painting

    • 8. Removing masking fluid and start to paint wet on dry

    • 9. Finishing up

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About This Class

In this tutorial I will paint a loose still life using real flowers. I will use watercolor and lot of masking fluid, and mixing wet on dry and wet on wet watercolor painting techniques. The painting will take about 1-2 hours, starting with sketching  and masking out many of the outlines of the flowers. The painting part will start with wet on wet techniques putting down the main colors, then continue with removing the masking fluid and finishing up with wet on dry painting style. I will show every brushstroke from beginning to end and although it is not a beginner painting I think it can be useful for student at any level. I provide a reference photo, but I think to get the most out of this tutorial is better to get your own tulip bouquet and paint from life.

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Agnes Bodor


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1. Introduction and project description : Hi, my name is Agnes. What art? And I am from Hungary. I move to theatre in 2007, and since then I wave here and work in neurobiology. But to keep balance, I always adored to make art, especially painting. But also I made during origami photography or whatever occupying my mind. My favorite technique was always watercolor and ink. I love to paint landscapes and portraits. But nowadays I mostly pay tax. When I paint cats. I wanna catch their SIM, their beauty, their movement, not just copying all, what are Alice takes place. Also when I use watercolor or ink, I want to use the potential of these materials that their own UT, I don't want to use all yellow and I'm going to use them as watercolor. I think soon be used very slowly, very three. Let us do is diffuse. Am a loser on paper. Because to make good, is it water color? It's very, very important to understand the material and to be able to control. Because otherwise it won't work. And on my watercolor tutorial, this is exactly my plan to make you understand this very complicated math area, the water colors, and be able to use its beauty. But B, if Master. Hi everyone, thanks so much for choosing my tutorial for today on Skillshare. My plan is for today to paint this tulip flower bouquet. I uploaded the image to the, to the tutorials so you can use it. But actually, I really suggest to buy your own bouquet and paint that with the help of my instruction, it would be much more fun than using a photo. I think. So that's my suggestion. Show how my settings were. Actually I have the bouquet front of me in a jar, approximately. That's a meter and a half away, with a white background. As you can see here on the image. In this tutorial, I start with the outline on dry paper with water colored pens there. Then I used a lot of masking fluid. After masking fluid dry, I start to use wet on wet technique entirely. And then when I'm done with that part of the painting, I removed the masking fluid and this is the reason that I got quiet like it, but I continued. I'm just showing if you wish to stay with it, you can you can keep it as it is. I think it's quite interesting. So as I said, the first almost, I don't know, with the drawing and a masking fluid together, the first hour is mostly about wet-on-wet technique. So if you're not familiar with wet-on-wet technique, I suggest to check this tutorial where I introduce wet on wet technique a little bit. You can see on the image titled blooming cauliflower and the curly DAP cat. And section 23 is about introducing the wet-on-wet technique and what is blooming or cauliflower. So if you want to have some background that's helpful but not necessary. And in the second part of this painting, after we remove the masking fluid, we will be more paint wet on dry because we're not rewet anymore the whole surface. And these tutorials about how to paint wet on dry. But for this painting, it's absolutely not necessary to watch this tutorial. It's much more detailed than what we need for the tulips. But if you want to look into that, That's where you can find information about wet-on-dry technique. On the end, I got this result. I hope it looks something you want to try with me. And if yes, see you in the next section where I introduced the necessary tools and materials for this painting. So thank you again for choosing me and I hope to see you in the next section. 2. Tools and materials: So here I introduce the two with the new materials are used. The paper was Arches, watercolor paper. Block. Exactly the same types as you can see on the image. Beside. It was not 16 by 20 inches as in the image, but it was 18 by 24 eight chairs. But otherwise, any cold press watercolor paper approximately the same size would work for this tutorial. After that, you will need some big water bowl. As I said always, it's much better to use transparent or white so you can see how the, how there is a water. So you know, when you have to change. After that, you will need a few brushes, not so many. The only important thing that you use, watercolor brushes, you can see now the silver brush black well, that I like and I use it. But my favorite actually is Princeton. I like the acquirer elite and an abdomen. And you need probably if you use round brushes, you need probably want around 21, around 121, around 46 or something. So three different sides. And you are fine. On the top of this image you can see a big MATLAB brush. That's a cheap no-name brush that I only used to wet the paper. So this is, I think it's good to have or something similar. But since I only use to wet the paper, I think any kind of brush, Twitter, smoother hair would be just fine. So don't buy Motley brushes from big names because you will pay a lot and that's absolutely networked it unless you wanted to use for other purposes like painting directly, then probably you need the quality, but for wetting the paper, you can use any kind. Regarding paint. I don't sell. Just buy any new paints that are stuff. If you have any watercolors set at home, I think you are fine. Although I prefer over this kind of have bands. I prefer tube paints. If you, if you want to buy tube paints because you don't have watercolor paints or you only have one small sat. I would suggest either harassed or Danny as males. But these are pricey. But any, in my experience, any artist quality, watercolor, or even student grade would work really well. So on paint, you can save some money, but don't do it on a paper. Paper, you really need a real gold watercolor paper. So here you can see a dot card from Daniel Smith, but it turned out for Adam also have dot cards and Winsor and Newton also. So if you want to buy paints, I think the bus, if you buy this dot cards from your brand, whichever brand new you decide, and it's pretty cheap. I don't want to I don't know the exact price, but approximately 25 bucks you can try all the 238 color of Daniel Smith, for example, the one you can see on the image. But as I said, other brands have similar stuff. And then you can really make your palette. You can choose the colors you like. And these pallets or this dot card contains many, many useful information about the paint itself. So it tells you how transparent is a given color house staining, how, how it's resist to light. So there are tons of information also you will see how easy to rewet the dry paint. Actually in Daniel Smith, many colors not react easily, but this is why the dot-dot-dot is really useful. The only by the colors you like and the colors behave based on your preference. If you do that, you need to have either a big palette or a big white plate key template or anything. You can put out the colors from the cubes because it's not possible to use directly from the tubes. So you need pallets do and then I have wipes with my family to skim by. But I started to use kitchen paper towel and worked out pretty awesome. So don't worry about buying fancy wipes. Kitchen paper towel is good. The only thing is important that your paper towel or whatever you use is not falling apart from wetness and not leave fibers on your painting and peep and jan paper towel. Pretty good. And I also use the water butter, the spray bottle to wet the paper. So that's pretty useful when you need to add a larger size paper, but it's not necessary. You can just use your being MATLAB. And very important thing, especially for this painting is the masking fluid. This is my brand. I used the PBO drying gum. I'm pretty happy with it. And I use that read stake. You can see on the image, or there are several tools on the market. Just go to YouTube and search applying masking fluid, people use many different things to apply it. I tried few, not all but few. Also, there is a trick to use a brush to apply it. I also didn't try so, but you can see videos on YouTube about it. If you really don't have anything. But I do is I take an old good chopstick and I make a tip of it. So you can see that on the image. It's a little bit tedious because you need to dip it so many times to make larger line, but it's working pretty well for me. So that can be a solution. And as I said, there are many tools or even you can buy pre-prepared pans with drawing gum In. Never tried them. So I cannot give you advice on it. But I use the Swedes take forever and it's working pretty well for me. So that's what I said. Just and if you are ready to paint, I see you in the next section where we start to make an outline with a watercolor pencil, which I didn't mention so far. So you need a Notre cooler water colored pencil and start to use the masking fluid and after we were pinned. So I'll see you in the next section. 3. Drawing the tulips and adding the masking fluid: So let's start to work on the red tulips now. So I have my settings as you saw previously. And here you can see my 18 by 24 inch paper. I will use my watercolor pencil to sketch out the view front of me. I suggest you to, for you to use your own tulip bouquet. But if you don't have just used the photo I attach to the lesson and we can start to draw. So as you can see, I'm just loosely make an outline which is quiet important because then I will use a lot of masking fluid to to draw this outline. So it's a sketch but still quiet fine. Because when I'm overlaying the masking fluid, that is more permanent, it's not like you cannot remove it, but if you start to paint over that, we gave you a drawing into your painting. So so when I'm trying to say it's a scared but it's quiet final, if you use the masking fluid on it. So I tried to draw every Tulip had a lot of the leaves, also the Stam and the jar holding flowers. If you look carefully, you can see this very, where the edge of the leaves, you can see a very thin, very light color line because it's shining. So that's what I definitely want to draw over with the masking fluid. Also the stem between the two lips. Tulip had very light yellow. So I want to draw doors where it's visible because I want them to keep light so I don't want to accidentally overpaying. And the truly pads also, I draw especially where the petals and on the top because those are if you look carefully, those are light yellowish color. So when I remove the masking fluid later, this can be used for the basis of the light yellowish color. Also how the leaves forward, going downwards with the NGO or curled up on some places, or how it's coming out from the Stam. Those, those details are important, I think so on those I would be criticized. How big is I had or how long is the leaves? It's not that important, but I think those little areas are important to make the paintings. Painting looks real. So I'm trying to make the drawing quiet right on, especially on those places because those are the places where I will redraw with masking fluid. With the watercolor pencil. It's it's not important. If you need to change, you don't even need to remove the watercolor pencil. Just make sure you remember which one is your correct line because they will disappear when we wet the paper. So only the only the areas where the masking fluid is, we'll be kind of permanent. So don't worry about it. If you need to redraw, its fine. You can either remove, but I suggest not to remote, just draw another line and make it a little bit maybe stronger or just try to remember which one is the finer. So you can see now when I have all these dal, I take my masking fluid and my read stick. You can see my hand. And I kind of shaking the masking fluid up a little bit because it's tend to separate via sitting. I also use the paper next to my big paper to to test my mistake if it's dripping or not, or how is it working? So I just always test the Arabic to be sure it's working right. And since I drove for a very long time with it, because I drew a lot of masking fluid line. Now. It starts to dry and build up on the ridge sticks. So eventually I have to clean during the process. So if you have multiple, you can just pick up a new one. But I I clean with a piece of paper towel and also scratched off with my hand dry masking fluid building on it. Because then it started to be very dripping and where it takes or I wasn't happy with that. So you can see I tried to require precise about later details to make sure they look real or right. But other details, I don't find that important, so I kind of ignored it or make, make my drawing less precise about that. So as you can see, I always try to be particular about the pattern, how they folding on top of each other, and also how the leaves coming out from the Stam or how the leaves going front or behind the two knee pads, or how the leaves folding. So that part I tried to be precise, but for example, how long is the leave or how big is the truly pair? That's, that can be a little bit arbitrary. You don't you're not precise about it. It's still fine. I think. So as probably you remember, I have to cut the video to approximately 10 minute long parts. Since I may make a lot of masking fluid drawing in on this pain before this painting. The next section is still will be about putting down the masking fluid. So be prepared. It will be a lot of masking fluid drawing. With the masking fluid. What is a really awesome thing if you really think you screwed up or you don't like it, you just wait until it's dry. But it's very, very important to wait until it's entirely dry and you carry move easily and you can redraw it. So my tactic, if I don't like something, I just redraw it right away and then just continue drawing. So I'm not waiting it to be dry, remove and draw again, but I just put the correct version there too. And then I went and did the whole thing dry and I just removed the one I don't like. So as I said, I'm not stopping, just I have to cut the videos. So see you in the next masking fluids action. 4. Continue the masking fluid application: So I just gave going to draw with the masking fluid. It's kind of a slow process because you always have to put your applying the masking fluid liquids. Make sure it's working correctly. So you can make just a tiny line with eight sika because as much as their tool can hold, mine is not great on that. You know, there are a lot of other tools you can use. But I either not familiar with them or I tried, but I am not a big fun. If you search on YouTube, you will find all kinds of tools. People use. Calligraphy pen also, but you can just sharpen any kind of sticks. It also working pretty well. I usually when I do this I use just oiled would chopstick. But there are also drawing tool suggested for masking fluid. I find it to use too painful, but I can imagine working for someone. So if you if you want to look up other tricks, oh, so I saw some people just use old brush. So you can solve your brush and you can use that to. I never tried, so I can give advice on it. But on YouTube there are videos on On this. So as you can see, it's quite slow and tedious. Actually the big part time-wise of this painting. Because after application, even when you are done, you have to wait a decent amount of time, probably 20, 30 minutes, at least until all the masking fluid dries. If it's not, please don't start to paint. It will not work. It will destroy your brush and it will be a very different result. If you start too wet your paper. It most probably won't be a good result. If you start to add the paper too early. So just touch with your hand when you think it's dry to make sure nothing sticking to your hand. That's how I test. Usually. Also don't forget to remove the lines you don't want. If you have any. You can see that now I'm drawing a little bit the jar. Only where the highlight is on the, on the, on the highlights means almost white. But also you can draw or paint very light area. What do you want to keep very, very light. Also, not just the highlights. There is a small child to change after I mean, changed the lines made by the masking fluid after painting on above it. But it's still will leave a mark even if you over painted. So it's important to be at least a largely happy with it. Before you start to paint on, on it. I usually paint very, very realistically. I stick with the view as much as I can. So I always look the flowers and I always try to keep the ratios and the distance between the heads and the number of the hat. But I don't think it's that important. If you don't want, that way, you can skip the flavors. It's too, I don't know, too high or too sideways. And getting very close to finishing up. So now I have all I have all the flower heads and almost everything else. So it just needs final corrections. So just to make sure you get that, I'm not drawing over every line at all. I'm not drawing every single leaves. And I also, for example, when I draw the head, I'm not drawing everywhere, just where I want the little sharpness, the little edges. So I draw a lot. It's through, but not everything at all. So you can totally put tulip leaves there without the masking, fluid, drawing and stuff, even truly pads. So it is just where I see sharper lines are. All very thin highlights which is not possible to leave light with what, with the wet on wet watercolor technique. Because that's what's coming after this. So please wait until your masking fluid dry and then come back to the next section. And when we come back, it's good if you have the colloids need prevented, like the greens and the yellow and red and maybe a little pink, orange, stuff like that. And and also we will need a big brush and maybe a water bottle. So we will wet the paper and we will start to work wet on wet, but only when the masking fluid is dry. So when you think it's ready. See you in the next section. 5. Start to paint: So I am back, I checked and the masking fluid is dry. So what I'm doing next, I'm using my spray bottle and spray water all around my paper. And after that, I also use my clean big moat lead brush and I kinda equalize the water reverb. I want the paper pretty bad but not dripping or I don't want puddles on, on a top. And it takes some time until the water goes into the paper, but only few minutes. So I just make sure it's wet everywhere. And slowly but surely start to paint. Just wait a tiny bit to, to the water sinking to the paper. So this is one of the color I use a lot. This is this yellowish green, usually called something like spring green or may green. But you can also just use green with yellow. If you don't have this kind of color. Then what I'm doing, I just start to add the colors everywhere. It's okay if it's flowing outside of the lines of the masking fluid. Absolutely. Don't worry about that. I want the whole painting kind of flowy. It it will be kind of something between wet on wet and wet on dry. Although with a lot of masking fluid, there will be less, less flowing into each other. So the colored in some places will stay separate because of the edge, the masking fluid edges. I'm using my colors pretty clean from the palette. So I'm not really pretty mixing colors and mixing them on the paper when I'm putting them next to each other on top of each other than they get mixed. But i'm I'm not premix saying anything. So for the tulips, I just use the most generic red color. Something like cadmium red or Any generic basic red color you have. But I also adding some yellow into it and a little bit of pink sometimes. And for shadow, I add a little bit of a purple here and there. Not too much, just or dark blue even if you don't have purpose. Just when it's darker because the light is not hitting directly the tulips. As always, I use a lot of wiping. I consider my vibes as a tool. I don't use my kin wide, but that's pricey. So I also started to use kitchen paper, towel. It's working really well. The important thing, make sure your WIP is always clean. So you just turn around until you have clean surface and then you get a new one. So just make sure you take a brief look when you use it just to make sure to net spreading unwanted colors. Sometimes when you wipe the colors are get more. When you wipe with a dirty paper towel, somehow you just push those colors from the paper towel into the paper. I don't know why, but they stay there more permanent then the colors you put with the brush. So as you can see, I keep using colors, predict clean. But I'm using many colors. I mean that not that many, but amusing. Different red, orange, yellow, pink on the flavors that this is like this code operon. This is a very bright pink. But any other pink would be fine if you want to use it. A little blue, dark blue I used for for shady side of the tulips. If something gets too dark or too much, it's better to wipe off early than later. If you want to wipe something which has started to dry, it's better to take a clean brush, clean water, and loosen it up before you wipe. If it's already started to dry, if it's pretty wet fresh, then you can probably just wipe off without loosening it up. Make sure you leave. White area on the jar area. Especially the edges of the gyri usually appear very shiny white. But if you have your own ways, That's of course the front end. But if, if you paint the photo of mine, What do you use a jar. Take a look where how the reflection is on the glass, because that will help a lot with the expression that it is a piece of glass or jar. Also I said just to paint loose and not with the big vary. As you can see, I am not like size or very slow or, or, or things like that. I'm painting pretty fast, just putting down the main colors without too much hesitation. And that's what I said just because that's what gave you more enjoyable painting. And also the style need to go fast because you don't want the paper dry up. Because when it's dry up, It's behave very different. As you can see, I use like middle-sized brushes or one on a bigger side. Actually saw. I think what I'm using right now is a quill six, which is approximately the same as a 16 round. For the background for the flowers. I used a little bit thinner, probably size eight or so to have something like that. So what I'm doing right now, I just mixed, Actually, I just mix the blue and red, but it's kind of a purply gray color. That's what I use for the background. So that's the only color I pre-mixed. It's more like I just mix or the left towards on my palette. But you can find this kind of colloids in paint sets do so. Whatever Notre color for some shading in a background you found it would be fine. So as usually, I have to cut the video again. There will be, I think, two more tech 10 minutes painting part before we dry the paint painting and remove the masking fluid. So I just continue right away. I'm not having a break here. So I hope you do the same. See you in the next one without stopping. 6. Continue to paint: I'm back continuing right away without a break. Make sure your water boys are clean. So if you have to get new water, that's pretty important to have a dirty water or at least have one clean around you. Also, as you can see, I develop everything together as usually. So it's not like I'm starting with one thing and just finishing and then go to the next thing and finishing. I start sketching with my brush everywhere, same time. And I always just look for places where the most interference need from me and that's where I go next. So nothing special. I just look where I need to start. Especially when I see I need to wipe that's or is priority because you want to do that earliest possible. Sometimes you know, you want to paint somewhere, but it's too bad that there then obviously all you keep in mind and go to another spot and wait until it's in the right condition. But overall, I always just go where I just see I want to, I want to change the most. So you can start, you can see I start to leave the white space on a jar on the right side. Side, keep, keep it very wide for the highlight. But of course things will flow that diffuse there because the paper is pretty wet, so I have to keep it in my mind to wipe if it's getting too much color in it. So I'm using a little bit darker. Blue is on the background to put Dan shadow from the tulips on because I have a white paper sheet behind my bouquet. Also I keep the I tried to give a 3D space, so I keep Laika liter surface, horizontal surface around the jar. Also adding the shadow of the tulips also to the jar. It's helped to keep the whole view in 3D so mad, just flat cut out. But I tried to give some 3D sense for the whole painting. And that's one of the trick to do that. It's the shadow. The shadow really helped things, put things to 3D as it's dry. Slowly, but surely. You can give more details and more precise lines. You can see I start to add some definition with a thinner brush with darker paint here and there. Which is probably still flowing a little bit too much, but it's always, you go from bigger brush, more bigger shapes to go to the direction to smaller brushes and more details. And so we are somewhere in the middle now. It's not as leaky as before, but it's still not wet on dry for sure. But especially for given places where you can see it's dry, you can start or semi dry, you can start to add more little details. As you can see, I'm using a big brush now to add some light background colors. Still. I'm not doing this very, it's not like I'm painting a wall there. I'm trying to go buy structure that tool. So I tried to look for real shadows and lighter areas. That's the point where you can still do really good vibe being and lifting colloids if you need to. So think through if you want to eliminate something is still pretty wet for that. And as time goes forward, it will be had there and have the after this section, I still have another painting section. But between this section and the next one, I had a little break, but only really few minutes. I I changed water, I rinsed my brushes, so I just start to prepare for another painting session. And you can even see between the tooth section, it it's a little bit drier. I absolutely didn't wait for drying or anything. But even a few minutes can cos drying up and you can see the drying shifts so the colors, they're not as bright in water color when it is fully full VAT. That's called drying shift. So it will sell it or drying shape, but it's probably really like few minutes, five maximum 10, but more like five. If it's dry up too much, you can't continue. I mean, you can, but it's a very different way of painting. Then it's, it's, it's where it starts to get wet on dry. Every brushstroke have a hard edge. So it will be very different when it's wet on dry, which will be actually after removing the masking fluid, but that's not coming yet. So after removing the masking fluid, there will be some wet-on-dry section. So I'm finishing up. You don't need to stop for 510 minutes if you don't want to, you can, especially if your paper is drying just continued either way. So see you in the next part. 7. Finishing the wet on wet part of the painting: So I don't know you can see the drying shift or an ad. I think it's lighter. You can see a little bit. And it's not flowing as crazy. But it's not dry at all. It's like semi dry. So now you can really add literal definitions to places where you want a little more precise brushstroke. But I still prefer this loose style, so I won't be ever that that particular for sure. But it's more precise than in the beginning when everything is just flowing when we started on a wet surface. So this is very different. Now, like you see, I can add the green leaves front of the tulips without melting together. So you can see I'm using a smaller brush and I'm more like drawing them painting compared to the previous two sessions. This is also a perfect and wetness for adding just clean water to places and generate some blooms and carry failover. If you're not sure what is it? Actually they are the same thing, just people use different names. But if you, if you don't know what is it? As I said in the project description section, please check out my older tutorials, specially the one which died. I think blooming cauliflower and the curly dab cat. That, that tutorial contents two times ten minutes. Technical introduction, which is probably Section 2 and 3, if I remember correctly. And they contains a lot of information about generating blooms or cauliflower with another world. And that's really a part of watercolor that on wet technique and it's beautiful. And besides watercolor and ink, no other pinned can do it. So check it out. It's a beautiful technique to emphasize, and I did it here a lot. It's, it's happens usually naturally when you do wet on wet, but it happens kind of randomly. So when you, when you learn the technique, you can direct the happening of the blooms in a California to give them places. We'd given size, given shape. So it's a really good thing to learn if you like watercolor and you want to paint loose and flowy. So how this painting, we'll continue. I will paint a few more minutes. But then, because it's the end of the first part, the first painting part. And now just concentrate on last minute little details and, and checks. And the next thing we are built to live under painting to dry. When I'm saying dry, I mean completely dry because then we have to remove the masking fluid and that only possible when everything is fully dried. Otherwise it will be just steal your paper. So I don't suggest to try before, before your painting is completely dry. And then we remove the masking fluid. The drying takes hours or overnight. So keep in mind, don't continue before it's dry and full dryness stake VIA. So when it when it's dry, we remove the masking fluid and we will continue with a little bit more wet on dry, but I also will revert areas completely and so I will continue bought wet on dry and wet on wet. In the second painting part. As I said, the result was quite interesting after I removed the masking fluid. I like that. So that's another way to keep it as it is. But I, I had an idea in my head how I will do this painting. So I wanted to go with that, so I continued. But if you like it, I think it's it's something interesting to stay with it if you like it. Because I use so much masking fluid, gave a really interesting drawing on this very loose wet on wet painting. And in this drawing is byte of course, because it's there generated by the masking fluid. It's, it's quite interesting, I think, at think about it, how I can use this in another project. So I'm really just doing last minute changes. When you wait for drying. Keep a little ion and the painting, keep the painting flat. Don't, don't stand it up because then it will flow down. So keep it flat. Keep it on something smooth. For example, another piece of paper or, or things like that. Because if you put it down to something which has patterns, the red watercolor paper will pick up the pattern under it. So keep something under it until it's dry and keep a little ion. If it's something flowing increasingly, you can interfere, but that's only the first 20 minutes or so. And when it's dry. See you in the next section for removing the masking fluid. 8. Removing masking fluid and start to paint wet on dry: So welcome back. I hope you're painting is fully dry. And as you can see, I'm using my hand, my clean hand. Make sure your hand is not oily or creamy. I'm using my clean hand to remove the masking fluid and I'm not showing the whole process because it's stake of IR. So just make sure you work on this and you go all the way. Start to use your hands to to feel changes in surface and stuff and do it until you remove all the masking fluid and then just shake it off from the paper and then see you back after a while, Dan. So this is my final result. I find it quite interesting. Almost. Feel sorry to continue, but it just a good idea for now. Actually on the end, I didn't regret it to continue. But I really love this, this effect of the masking for this, this under drawing of the effect of the masking fluid everywhere. So now I'm starting on a completely dry surface. And what I'm doing is I don't want to keep this very even line, very even bright white line of the masking fluid. I'm kind of over painting them. So if you want to know exactly what I'm doing, maybe it's good to take a little look on the, on the final painting. How I made the masking fluid line disappeared, but it's still very visible. It just not look any more like a masking fluid under drawing. It just give this on the leaves. It just give those shiny edges of the leaves. And on the two lips on the Tulip had it just give that bright yellowy edges of the petals. So I'm very, very happy with the effect. The only place where I left it is the jar. So on the jar I left the bright white lines that gave a really good impression of the of the highlight on a glass. I really liked how it come out on a jar. I am not over painting. Those are just a very little bit excellently. But on the leaves and on the truly pads, I'm working on them, particularly to, to make them disappear as a right as a thick white line. But they are not disappearing. I'm just going to make that clear in a disappearing, but they will appear very different. So sometimes I'm not truly pads. I use yellow to overpaying them. And then I flow a little read into that yellow or the opposite side flow the yellow into the red. So I don't want a sharp edge between the yellow and the red. If if you want more flowy, which I prefer personally, I sometimes just take a bigger brush and I pre-vet the whole area a little bit. But I never read the whole paper as in the beginning, I just wet given smaller areas if I want more flowy appearance of the paint, which I really love and cherish with this painting. I think. What I recognize then I'm doing and I don't like it sometimes I because it's I don't know how many tulip they are very similar to each other. Sometimes I just go and do the same thing on each and every of them. And I don't think that goal. So when I recognized that I I made made made it sure that I'm looking each and every of them and I changing accordingly. What I'm seeing on my real bouquet. I didn't wanna go like just repeating the same hats everywhere because they are inquired different angles. So they look different. And I recognize that I'm doing this thing just using the same brush and do the same thing with every of them. In the beginning when you just put up the order, the red a tulip heads. That's okay. But but later, I think it's very important to watch them and, and paying their individual appearance because otherwise it will be just a boring painting, I think. So I have to cut the video again, but I continue right away in the next section, and that will be the last one. So see you there. 9. Finishing up: So I'm continuing to paint. I'm really looking for where the masking fluid marks on the right from the masking fluid. I had to take too obvious. And and I go directly there and I'm working on those masking fluid lines to make them look more natural. In some cases where you really don't like the line from the masking fluid, like it happened to me on that flower on the lowest one on the left side, I just tried to oil paint and I hope it won't be too visible. Yeah. That's what I said. So the masking fluid lines are quiet, permanent. You can make disappeared very brief liter, few ones, but overall they had very defining. So it's good to, in the beginning, it's good to put them down, right? So I'm adding some yellow edges and tried to make sure if they kind of flow together with the red. I'm using a very thin brush, as you can see for death. For over painting, the yellow edges of the petals. As you can see, I'm still working very flowy and kind of fast. While I've tried to make sure each Tulip had has a reasonable stamp, not just hanging there, but just tap with reality. Same with the leaves. I just not everywhere but in some places just gave some edges to make them more exact. And of course, Liping, as always as my light color tool, the wiping. So now I'm starting to add this ClO is greenish color into the stamps. And when you look the tulips, they have the betas, the bottom of the petals also yellowish, greenish. So some delay pads is in the anger. You can see the bottom where the stem come out. There. You can see the color or the greenish yellowish color on the, on the petals. So that's also I added in some places where it's visible. You can see I kept the white of the paper right on the edge of the jar. And also kept the paper right off the masking fluid on the jar. And now just few more finishing touches and I kind of finishing up. I don't want to overdo it. So if you feel the same way, finished up, be careful with overdoing it. Thank you so much for painting with me. And I hope to see you on my future tutorials.