Watercolor Painting for the Terrified Beginner! | Kate Bentley SWA | Skillshare

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Watercolor Painting for the Terrified Beginner!

teacher avatar Kate Bentley SWA, Professional Artist

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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 (48m)
    • 1. Welcome & Hello!

    • 2. Introducing Brushes

    • 3. Paper & Paint

    • 4. Practice painting on Wet & Dry

    • 5. Abstract Painting Fun

    • 6. Painting Petals

    • 7. Flower Time

    • 8. Bonus: Painting An Apple

    • 9. Thank You & Goodbye!

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About This Class


This informative class will help any beginner to decide what materials to buy to get them started!

Take this inspiring creative journey with Kate ,she will hold your hand and to help the individual to gain confidence.

Kate will initially explain the materials she will be using in most of her tutorial videos.(also listed below )

This video is designed for the absolute beginner but there are 2 class projects that the more experience might enjoy to gain more confidence. Kate will  discuss  and demonstrate a few basic techniques such as painting wet on wet or wet and dry,she will also help you with tips on paint mixing , consistency and application.Followed with lifting skills and paint control .Kate will share her scrapbook library of tricks and tips to demonstrate and encourage you to get started.

Finally Kate will demonstrate how to paint a simple flower and as an added bonus to help you practice some more she will do a demonstration of how to paint an beautiful apple

List of Materials .


Paint comes in 1/2 pan, full pan, or tubes.

I would  buy tubes from the Winsor and Newton or Daler Rowney manufacturers if you have a choice

You might  struggle using pans of colour  later as it is difficult to mix large quantities for skies etc but if thats what you already have then thats fine...you can always buy the odd tube of blue!


Paints I use in section 1

  • French Ultramarine
  • Burnt Sienna
  • Raw Umber (Daler)

Paints I use in my normal painting kit

  • French Ultramarine
  • New Gamboge /Indian Yellow (or¬† Quinacridone gold)
  • Aureolin/Lemon yellow
  • Burnt Sienna
  • Rose Madder or Quinacridone Magenta
  • Raw Umber-I only use Daler Rowneys version of this colour as it remains dark when diluted and is non staining.If you cant find this use the darkest brown you have.
  • Raw sienna
  • Manganese blue (transparent) or cerulean


  • *Cadmium red and yellow
  • *Prussian Blue/Indigo
  • *Crimson Alizarin
  • *Colbalt

*Not absolutely necessary but can be useful!


I prefer to use Acrylic hair brushes on the whole and they are cheaper than sable!. I recommend you start off with this type.

 Rounds; acrylic haired (not sable/hog)- No 12


 I use Rosemarys brushes Designer range for my No 12 round (only available from Rosemarys Brushes direct)

 and Pro-art  Prolene Plus  007 Acrylic No 12 round watercolour brushes are great, readily available but a bit more expensive funnily enough.

Flat; acrylic haired (not sable/hog)-  No 4 (and 12 or depending upon labelling- 1cm and a 2cm)


Mop headed brush (soft hair )


Drawing board-MDF or Plywood A2-3 size

Masking tape-2 inch wide- no less

Mixing palette¬† ‚Äďwith flat mixing areas or white china plate and old jar lids

 2 large Water containers(size of a childs seaside bucket is ideal)

Kitchen towel/paper

Pencils e.g. 2B and sharpener/rubber and watercolour pencils if you already have them




¬†-A selection of A4,A3, Bockingford ‚ÄėNOT‚Äô watercolour paper- or Seawhite or Langton

 preferably 140lb- 200lbs

NB If you go to any art shop ‚Äďask for advice- especially regarding papers- the whole business can be very confusing if you are a beginner.





Meet Your Teacher

Teacher Profile Image

Kate Bentley SWA

Professional Artist


 Kate Bentley S.W.A. is an multi award-winning professional painter based in the English Lake District.

She is an elected member of the Society of Women Artists and The Lakes Artists Society and her work is held in both private and public collections.

 When time and Covid 19 allows Kate runs private painting workshops in the Lyth Valley in the Southern Lake District.

Kate has broad teaching experience and has been teaching for 25 years and in the past has worked for painting holiday specialists Authentic Adventures, Solo Holidays and P&O Cruises.



Kate Bentley S.W.A.  

In the studio Kate usually works from her imagination often referring to sketches from en-plein air exp... See full profile

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1. Welcome & Hello!: Hi guys. My name is Kate Bentley. I live in the Lake District in the UK. And welcome to my studio is in a shed in my garden. And we have three brushes that we're going to look at today. And books, paints and some paper. And we're gonna get going. Let's just go now. 2. Introducing Brushes: Okay, so I'm just going to show you some really basic kit that will just get you going to make sure that, you know, you can make a decision. Is this what I wanna do? My gotta enjoy this. You obviously don't want to go out and spend a huge amount of money and then find that it's not for you, but you should have some great fun just playing with water and paint just on your kitchen table. So initially and this is actually what I started off with. I had just a white china plates and some jar lids. I've now progressed to a plastic pallets. So actually I'm going to use that today. And then the other three brushes that I started off with, we're talking sort of 25-30 years ago. Is a number 12 around this is from a company called grows mean Co. And it's a designer series 344. And why I like this is it has a really nice spring and bounce to it. Whereas if it's a nylon head, if you use a natural head one, it's a completely different experience, but this is a really good brush to learn with their other row. Oh, there are other alternatives. Pro art do a similar brush, but this is actually the cheapest and were handmade in the UK. And they ship all over the world. Okay, so that's a really key piece of equipment. And second one is a moped brush, which is, this is just goat hair, but you can't get sympathy. Synthetic ones. They're fairly cheap. Thickness is a date around me, one as you can see, I've chopped it down so I could get it into a painting back for outside. But they, stationers, light Reimann also sell them their student quality brushes. But what you're looking for when you buy one is a nice dome top, not a flat top. And that will help you to have control over and equal wash and volume of hair. So that's going to hold a lot of water for this is your wash brush. This is how you gonna lay, lay quantities of liquid down on the paper. And then a flat. I actually have got to here. So you might see me using one or the other, but you need probably need one, maybe one a little bit bigger than that. And not maybe as big as that. And the, so what I'm going to use today mainly for mixing. 3. Paper & Paint: If I okay, I need to tell you a little bit about paper is bit of a boring subject and I could go on for hours about it, but we're going to be concise and show you just a few examples of things that you can paint on. This is actually just a cartridge paper in a sketchbook. And as you can see from these quite old sketches of mine actually just take watercolour paint quite beautifully. But to what it will do is it will Cole-Cole, if you doing large areas because it's a lightweight paper, meaning that it's quite thin, but it's possible. So if you'd like to work on a small scale, then you know, it's something that you can start off with. Okay, that's first take sample. So second example, I'm pretty certain this brand is available worldwide, balking food. And you're looking, what you're looking for. This is this wording here that says not. And that means it's a good all-round watercolor paper. And the weight of it, it's more expensive, the heavier the way this is 200 pounds or 425 grams. Okay. This is what you would call a student quality part. But actually, I, I quite like this, this paper. I taught myself how to paint on this sort of 25-30 years ago. And I've stuck with it. So I'm guessing a, I've learned what it can do for me. It's fairly lightweight, a 150 pounds, fairly cheap. And that's what I'm going to be mainly demonstrating on today. And the paints that I'm using again, I've got a mix here just to show you that I don't always use the highest quality. So we've got to Dale around me artists quality, cadmium yellow. We've got a Winsor, Newton raw sienna. And then we've got Jackson's which are an art supplies in the UK. It is the artist's quality as opposed to the student quality. And we've got an ultramarine and a burnt sienna. And those are just the four colors that we're going to use today. 4. Practice painting on Wet & Dry : Hello again. So we just discussed or materials. As you can see, there wasn't that many really. And what we're going to ultimately aim for is something like this. Now don't all run away. This is a huge piece. It's abstract. But equally, use the same techniques of used here to apply to some small pieces which I have inserted sketchbook here. So this nice little flowers today's think there's even some trees we've got there. They're all the same techniques that we're gonna learn in this next section. So let's go. Okay, so the only other thing that I've added to my kit is smarter. I can't stress how important it is to have enough water and have a massive pot here for rinsing out a brush and a smaller one for picking up clean water. And I in my studio would normally have another one as well. And I guess I'm a bit lazy as well. So I get huge book. It's actually children's book. It's a great seaside bucket. Fantastic. Some of the yogurt pop type. They tend to crack and been horrendous. Accidents going on in people's studios with those. Okay, so I'm just going to use this as the wash brush. So this is the goat hair, this is what you're going to lay the water down on paper with. And when then you, if you get a new one, you actually are better off getting a bowl of warm water and a little bit of dish soap and rinsing them over and over again until they stop resisting the water. There's like a natural resistance to the to the hair. So I'm using clean water. And what I'm going to do is I'm just going to show you four different consistencies of paint that I'm going to refer to in a, in a further on in this video. So I'll just put water down randomly. And you can choose any, any of these colors. But I tend to choose the ones which are cheaper as I'm just demonstrating. Okay, so I'm using ultramarine here because every patient has a different coding on it and different pigments, different prices basically. So it goes on this series number. So I'll just show a quick example on the raw sienna here. It says it's a series one. That actually means it's quite a cheap pigment. So you can choose according, choose your paint practice with accordingly. If you color like Rose matter, which we might use in another video, is a series five and it's quite expensive, so you don't want to be using that for messing around with okay. So we've got we've just wet the paper and were little puddle there. And I've used my flat brush to pick up my paint from our well. And I've mixed a little puddle here. And that's sort of the consistency of like a milky coffee. And I actually wanted to be a little bit thicker and I want it to be the consistency of currying. So I'm squeezing some more out. Use your flat brush to pick up your paint. If you use your round brush, what you're gonna do you're painting with. Often, you'll get clumps of paint stuck in the Faroe, which is this metal bit here. And in the bottom of the hairs. That then means your flow of painters in inconsistent as it comes out. So just get into the habit of using your flat brush to mix with. And you can see as I'm pulling that up to the side, I'm hoping you can see it's a slow fall down to the bottom of the well. And I'm going to apply it with my number around. I've rinse my brush, so damn, you don't want to pick anything up if you brush is completely dry, just taking off the excess. And I've got my paint. That's the consistency of cream. And I'm just going to drop it around the edge if that wet patch. And so surprisingly, it doesn't flow immediately into the center because the paint is quite thick, which means it's heavy. So we're just now just do another example here. And I'm going to water down this paint. So it's a lot thinner. More the consistency of milk, tea maybe. And I'm going to rinse that Russia had dry a little bit our pickup this. And you can see hopefully. So obviously these things don't always work towards it's a bit of alchemy that goes on with a water color paints. And she can do the same exercise day after day. And one day it works and this and another date doesn't. And often it's to do with humidity or climate without actually having to her birthday sometime. So there's a bit of alchemy that goes on. We can't always blame your tools. Okay. Sorry. You can't always blame me tools. You can sometimes blame your tools. Okay. So that's on wet and then if we were to do both those on to dry paper. So this is the center one. This is the t, which you shouldn't do down here. Again and try and be clean. And this is the thicker one. So what you can see here actually is that when you're working on a wet surface, your overall tone is going to be lighter. So you sometimes have to accommodate for that when you're laying a wash onto a wet surface as opposed to a dry surface. Also, the spread of the paint will spread on a wet surface and it's pretty stuck. Take all the dry surface. Okay. Just fast. You've been away. I've just been drawn around square, which we're gonna go and fill in a second. But I just wanted to go back to this blob here. And I wanted to show you how to create tone by layering. So in this example we added more paint and that creates a dark tone. This time we're going to layer it. So to do this, this needs to be dry. So this is the one that was the consistency of milk tea, I think I've said and I've still got some left. So it's exactly the same. But we're going to do is just put a layer over half of it. Say this doesn't need to be dry. And we can create tone here. Okay? If can you see there? Right when I'm doing that, wherever left my brush, I can create a darker tone as well. So it's slightly darker here, slightly darker there. I can still keep popping mappers. And that creates darker, darker area within that. And then we've got a hard line sometimes what hard line? Sometimes we do. So this is something that you can practice over and over again. And so a clean brush, wipe it on your tissue so it's damp. And then what you're doing is you're just literally just tickling the edge. You get halfway along and you feel like you're not getting anywhere. Take the paint off. You're just softening that edge. Ok. So we've in within that little blob, we've got sort of, we've created three tones, but in, in a few different ways. Okay? Right, so what we're going to do in the final square here is to actually have a bit of fun. 5. Abstract Painting Fun: Okay, right, so we're going to wet our box. Obviously, I'm using a tool she isn't that accurate around the edge. Say is only there if you could actually do this, show you he wanted a really accurate edge is to go in around the edges with your flat brush. So if it was something that was critical, needed to be accurate member into. The other interesting thing is in you probably won't be able to see from the camera angle. But if you BOP down, you can see whether be more water in one area and less than another. And so you put what you aim for actually is to be fairly consistent. And sometimes you just have to go back and just do another layer and even it out. Say if you pop down, you can see the light reflecting off the surface, the paper. And what should it do? Not actually first was to make some my paint. But we're going to have something which is the consistency of cream. We have in here straight tube paints. So why would I tend to call that pure pigment? And we're gonna introduce another color which is burnt sienna, which is here. Out. I actually need just a little bit more squeezed out there and just a little drop or turn that right, that just run. So if you did what I did and you got all excited and wanted to what your paper first and didn't mix you paint than you might if you live in a hot country or it's a very warm day, you might just meet again up, down and see whether that still still wet and it won't do any harm. Just rewetting area. I always get excited when I'm doing this. So hopefully you will too. So she could apply this with and your flat brush if you want to. But I'm going to stick to the ground. And we're just going to basically have fun and watch what happens when we put these colors next to each other and over each other. And then I'm going to drop a little bit of pure pigment into some of the areas to increase the tone and also to stop the flow. So we've got a dry etch, so we've controlled it. And we've got wet in a I'm just another little lovely thing to do on a rainy day is to draw water into the shapes. And that again, will increase the flow in some areas and even just slight drag some of the thick pain into the areas. And just have fun with that really. Why this is really good, as well as being good fun, is teaching you about color mixing on the paper rather than just in the palette. And that's a really interesting skill to learn. Equally. Do another box next to it, do exactly the same exercise and work on dry paper and just compare. What you'll see is that you'll have more control. But what is the most interesting thing for me is that use, you've seen how these two colors create so many other colors from mixing together. And if we were just mix them, I'll just do it quickly. In the pellet. Basically, we get a warm Brown where there's slightly more red than blue. And if I just put a bit more blue into there, we get more of a bluish dark. So we have the mixture between a warm dark and light dark or a gray will tell whether you would want to call it just by mixing the burnt sienna with a ultramarine. So you're also learning about mixing colors. And so you could do this with any of the code that you've got and you learned enormously from doing it. So this is now dried. We've got some lovely, lovely effects going on there. Sort of an abstract. Let's start with an abstract piece which you could tighten up or you could use it as a background. Lots of different things. But what I wanted to show you is this is my, a library of ideas and like a scrapbook really, I guess. I've done quite a few samples here. I, I suggest that you start to do something like this, practicing on different pieces of paper. This is a hot press paper, which means it's lovely in smooth. So the paint actually and flows very differently to some of these other more textured papers that we've got here. In fact, I think every paper on there is a different sort of paper. And you can see how the paint has behaved differently on the Mall. So a really good thing to do. Just start practicing. Practice on different papers. If you have access to different paints, even different brushes, just go for it or just play with what you've got. So whilst you playing, I pretty much can remember what I've done on most things nowadays. But when you're learning, it's not as easy as that and it's easy to forget. So bright notes underneath each one. If I use a new color, I will often flip over the sheet of paper and write on the back what brand it was, what color it was. And often just some of the qualities like whether it was transparent or opaque and all these things, or whether it staining on non-sustaining all these things will help you compile a lovely library of techniques and ideas. So on those days when you don't know what to paint, this is what you do. 6. Painting Petals: Okay. So our I'd just have a little break. Hope you have to. And my paint on my palette stride a little bit. It's just handy tip. I've got just a spray bottle will have detergent in it there. Suddenly features lightly spray your palate. And here to do this before you go away and have a break for when you come back. I tend to do when I come back. To be honest, you also could put a piece of cling film on or a plastic tray, something like that over the top. If you went away for an hour or so just to prevent things drying out, but you don't want particularly dilute things. Ok, so what we did in the last little clip was we're mixing colors on the palette. Sorry, not on the pallet, on the paper. And we were learning about tone and we were learning about working on what surface and a dry surface. So now, but I will apply what we've learned to a small project. I believe I've just been out, pick that flower. And I'm just going to go over the few techniques about how to start. So we're going to practice doing some petals first. So we're looking at that. So white flour and we've got white paper and we don't use white paint in most color. We use the paper that creates our life. So what do we do? So we're looking for the shadows. And it's also actually quite useful if you can't see any shadows is to put something dark behind a light subject. So if I was setting up a still life of a jar of white daisies, I would probably be looking at putting something quite dark behind it if I just shift that so that the leaves, so just catching that blue, you can see something like that is going to work really well as a background, but we're just going to concentrate on the petals for now. Backgrounds will be for a different video. So this is actually the color that I make stuff. He can remember I mix the two, the blue and they burnt sienna together. And I created a dark here and we said, yeah, didn't molest slightly more brown. It was a warmer, dark, slightly cooler. It was a grayish blue, cooled. Ok. So I've got this color here and just use your paper and just experiment just by putting wet to it. So not to immigrant shown dry paper. So we can now do on, on wet paper. Quite lots of watch or Massey considered just try your brush. But a kitchen row. And just to pick up, if you think it's too, I'm just gonna drop it on the edge. That's similar to what we did before. If you remember, when we did the purples. And a few lines, that's under the technique. And I'm going to do all on dry. Again, take a look a bit with the pain tough. This this kitchen role is as useful and it's important to show brush. So all about controlling the amount of liquid on this. It's going to do another one. When dry. This time we're going to actually lift some of the pain of. So the technique is a clean brush, dry off so it's damp. Put it on your wrist. You don't want to be pulling your brush through your tissue. Here. I'm lifting off the paint, remember to wipe it off. Otherwise all you're doing is just transferring. So this edge is almost disappeared, gives us a really effective 3D look. So I'm quite happy with that. Okay, since a few little details that you could do on these that would just improve, so improve it. So there's some, if you look at the daisy, there's some slightly darker shadows than I have on here, so we could add another layer of tone. So I'm looking at the same concentration of paint really. And I'm just going to o, and that's just dark and one edge like that. And then I'm going to wash my brush. I dried it and just wanted to soften that edge a little. And we've increased the tone on that side. So now we can put all these little techniques together. Actually, there's one other thing that you can do and that is to lift out when something is dry, which I haven't shown you yet. And you can either use the tip of your brush. So I'll just show you on here how I can lift up this color even though it was a thing which is practically dry here. I'm just going to say if I wanted to lift up the color there. Now I can, I can do this because these colors that I'm using a non-sustaining color, colors and people get confused as to what that actually means. All it means is the pigment doesn't stain the paper. And if you do some experiments with your swatches of paint, you can work out which ones are going to stay in the paper and which ones aren't. But actually, if you go on to the manufacturer's website like details, they should give you that information as to whether a painting, whether a paint is staining or non-sustaining. And that will help you also the paper. Some papers are easier to lift off than others. And the ones I showed you at the beginning of this video with the ones which make it easier for you to lift off the paint when you've made a mistake. So it's ideal for beginners. 7. Flower Time: Okay, so I'm just going to do the center. I'm going to use the introducing two of the colors now. So this is raw Sienna on the right here, and cadmium yellow. I'm going to introduce a few more terms now into my vocabulary. So this paint, the raw Sienna is transparent and the cadmium is opaque. And I know you can walk to the opaque ones down and make them transparent. That's the property those paid to, to paints. And later on in other videos, it's quite important that you start to learn which of your paints transparent, which uptake and ugly improve your painting. But we'll discuss that later on. Something that you just need to be aware of but not worried about too much when you're learning. Okay. So I burnt sienna, sorry, Rossi, and I'm going to just on dry just looking at the center of my days either. So don't worry about that. And it's a slight greenish tinge isn't literally around the periphery of that center. So I've just got some blue, maybe doesn't meet to be as strong as that. So I've just diluted a little bit and I'm just going to dot that in to try and emulate some of the texture that's in that central dome. And then I'm going to pick up some of the bright yellow to drop into the center. And there's a little dip it in the middle, but I might actually leave until it's dry because I think it's so white in the center it will just disappear into the wet. So now let's have a go with the petals. You can draw this out if you like. I've, I'm, I just use my brushes, a pencil. But if you have peer to draw, do a drawing first, then go ahead and draw a couple of petals. I, I just find it easier not to let me just get that paint my my hand. So I don't get it everywhere. Okay. So we've got very dilute. So half a scrap of paper on the side and see whether you think it's too dark or too light. Is an old painting or something that you just practice on. I'm just gonna go and what I don't want to do is touch this edge whilst it still works to bleed back in. But of course if you wanted it to, if it was a petal that did have a flush of that color through, then that would be ideal. In fact, I will do it. So you can see what happens if I let that feed into their nice yellow edge, bleeding into there. Once it's wet, so I'm going to lift a little bit of color off on this side. What sham wiping it off for lift anything. I'm not one wiping it. And I've actually, I've, I've stopped looking at this petals. So it's not actually very good shape, but you're gonna get the idea. And I'm gonna do it again. So this is just on dry paper at the moment and we'll do it, we'll do a few different ones so that you get the idea. And the lift a little bit of light of that. But right off that. And so we go on and we go around. You can see that I'm deliberately leaving a little bit of a gap here. Because what happens we joined up is that the colors flipped together, which isn't a bad thing always. But you just need to be aware of it. And it means to be a deliberate decision. Just rushing that through. And then this woman could even drop a little bit if dark in there. Are you recording? Okay. So there's a few things already that I've done wrong that I can put right. One is to get rid of them around Mach, which was on my hand, the paint was on my hands. So a nice clean brush. This is friction. So when you buying your shares, you're looking for a brush that you can pinch to the end and have a nice sharp edge to it. And that there's some friction there. So that's why these nylon head brush is good for the so the friction enables me to lift. So I'm just going to get rid of that. Hopefully you can hardly see that now. And the other thing is that my petals as I've gone around, I've been talking and I haven't really been concentrating fully. My petals have got a little bit too long, so I can see that. But you could just do a little bit of measuring either with your pencil and just see yes, that's probably going to get too big. So my next we're money to bring in. You even just do a little bit of a mark either with a pencil or your tip. And we could even do that as we go around. Just give us a little bit of a guide if you'd like to Free pay, which I do. So I've just speed it up. Resection here where I'm repeating what I've already done. You can see here I'm lifting away some of the paint to create highlights on the petals. And here you can see why I'm mixing a slightly darker tone here using the same colours to paint the shadowing petals in the background. Which gives us a sense of, sense of depth. Just had fun with these techniques and see what you can come up with. I've uploaded a reference image here, which you can use but feel free to paint any of your own flower images to. I'd love to see some of your work, so please upload paintings you've done here. Feel free to ask me for any advice. 8. Bonus: Painting An Apple: Okay, so we're going to just show you some of the same techniques about an apple here. And just observe and painting it from an aerial view. So it's probably not the best angle for you to try. So I'm looking down onto my arms, my paper. You'd probably be sitting down and you'll have the Apple a different level. We're just gonna go for it. So I've also got some pans of color out so that you can see different ways of applying different paints. So little bit, I think it's a little bit harder work using the pans here. So again, I'm using a flat brush. And we can see that's what you call a cool yellow is quite sort of greenie exhibit two Cu so I'm adding a bit of a warm yellow and that dilute it should give me a decent collect. And that's a cadmium yellow and this is a lemon yellow that was cool. And they, cadmium yellow would be warmer. And then we're just looking at the reds. I've got cadmium red here, which is a warm Red, Alizarin crimson here. And she's a cool read. And I think try and mix those two together and we get about the right color and slightly separate at the moment, so that the colors mix on the palate like we did with our test square earlier. So this is actually still, still wet, fairly cold day in studios. So I'm going to start off with the pale yellow if you're not sure about your color. And just do a little swatch next to it. Make sure you wet it though first and quite happy with that mix of colors. So I'm gonna put it on this area of my apple. So this wet in wet. And the colors do the work for you really. So it's actually a little bit more of the pinky red, what I would call the CPU read. Then you would imagine and, and how you set it, this is sort of almost done, isn't it? But how can we improve it? Works, make it look more 3D so you want to add a light direction to it. And maybe a little bit more color strength. So I'm just setting a little bit more warmth to that little yellow per Louie got there. I'm just going to push that over. If you're paying dry eyes any point, don't keep working over it. We need to stop and let it dry completely. And then you can really wet. An area and then go back on it and working wet in wet. So I'll just show you a goat or just go over where we have this petal here. So I can rework that petal. Just pick a random dot color out there and just show you. And I can go in and paint over the top and you still get that same wet in wet effect. Ok. This is that she got really a little bit too wet here. So if you have that problem, you actually can pick up some of that color just with your, your brush. And the center is a little bit more greenie, so we're just going to add a little bit. This is a bit of cobalt to that yellow mix that we had. Or you could drop it straight in here. And maybe a little bit of brown or yellow. Just flick it a little bit of a corner out. Remembering to I'm wiping all the time to control. Okay, so you can see that that actually has now dried a bit because the gloss is gone effect. But in actual fact, it still damp. And I just want you to see that I'm going to hopefully turn it on one side. And I'm hoping what you can't see is the bulge in the paper where the fibers of expanded. And that's an indicator that it's still damp. So there are some things you can do when it's damp. But one thing that you shouldn't really do is to work on it with more layers of color. And because you'll end up getting yourself in a bit of a pickle because some of the paint will remove and some will stay and it ends up being a bit of a mess. But one thing you can do is to continue to lift out some of your lights. So again, damp brush on the tissue. And if I wanted to lift anything out here, I can lift some lines. Look, see if I wanted to do a little bit of detail in their reform to lift a bigger area. I see I'm pressing down. And this is something again that you can practice and practice again. But just remember about the dampness of the paper. So here you can see it's really wet. I could lift that off. They can flip paint conflict backing. Here. It's damp. It's not going to flip back in, but you get a softer lift. And then when it's completely dry, you can lift out. And in actual fact, what I did there was I picked up And that really could remember, I picked up a staining color. So it's not actually lifting off very well. And these are all things that you learn along the way. Okay. So just need to let it dry so that I can put in a harsher line to represent this central area here. Okay, so that's dry notes. Scholars still, it's got a little bit of a hump on the paper, but I know from just touching it, but it's dry enough for me to put a little bit detail on. So I'm still using my number 12 round because the tip on this is no different really to tip on a smooth brush. The difference is it's just learning how to control the amount paint. So you probably notice that I use my tissue all the time. So I'm just gonna put the dark with a stalk. Keep it. Agreed. Th there's coolers are now touching. And then we're going to just drag that to the side where there's light hitting it. And that's pretty much it really just lift a little bit more of on the inside. Here. The light's coming from this direction set would be hitting just the top edge. And that will help. And if you wanted, you could go back again. When that's dry. I'm just gonna do a little bit well, since we're just drop a little bit more dark in along that edge. Okay, so just in the last few minutes, I've just pop to shadow in underneath, which makes therefore like look like a set on something. And I just tightened up a little bit of the stalk on dry, a little bit more. 9. Thank You & Goodbye!: So we're all done. I hope you enjoyed that. I'm off for another Brew, and I hope you have enjoyed it. Thanks for watching and see you in the next video.