Watercolor Succulent Painting, Paint Along by Emilie Taylor | Emilie Taylor | Skillshare

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Watercolor Succulent Painting, Paint Along by Emilie Taylor

teacher avatar Emilie Taylor, Watercolor Artist

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

9 Lessons (1h 29m)
    • 1. Succulent Painting Intro

      1:02
    • 2. Succulent Part 1

      12:08
    • 3. Succulent Part 2

      14:24
    • 4. Succulent Part 3

      8:26
    • 5. Succulent Part 4

      6:42
    • 6. Succulent Part 5

      16:01
    • 7. Succulent Part 6

      14:44
    • 8. Succulent Part 7

      5:55
    • 9. Succulent Part 8

      9:51
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About This Class

Want to learn how to give your watercolor Botanicals a realistic touch? Then this is a class for you!

I spent years working on my botanical and object paintings, eventualy finding that landscapes are my favorite, But having a background here I thought this Succulent would make for a good class!

Cartoon Realism is the word I use to describe my style, I love having enough detail that the painting can feel real and almost transport you there, but retain the artsy bit that reminds you its a painting.

In this Class you'll learn:

- The art of layers, that my big secret lots of layers :)

- When to use different techniques like wet on wet and dry on dry

- How to get the powdery look of a succulent

I would suggest this class for anyone how has already done a little bit of painting and is looking to learn a new skill

Meet Your Teacher

Teacher Profile Image

Emilie Taylor

Watercolor Artist

Teacher

My name is Emilie Taylor, I'm a Watercolor Artist. I started painting in 2016. I developed my style that I call cartoon realism while painting botanicals, fruit, and other things. I avoiding landscapes not knowing my style could work for them too. I took some courses and found not only does my style work for landscapes but landscapes are my favorite thing to paint! 

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Transcripts

1. Succulent Painting Intro : welcome to my skill share class. My name is Emily, and I'm a watercolor artist. I'm self taught aside from some online classes, which is why I'm so passionate about teaching here. I paint with the style that I call cartoon realism, and while landscapes have become my favorite thing to paint my rights and starting point was all botanicals, flowers, fruit and stuff like that. E get my style from a technique of layering. It takes a little more time, but I love the finish In this class. We're going to be painting a PV en succulent will be slowly building the layers to create the different colors and the powdery texture that a lot of succulents have. You get to follow along all the while getting to see my paint palette in the color mixes joined my class, and I'd love to see what you come up with. 2. Succulent Part 1: welcome to the class. We're gonna be jumping right in on the painting. But before you get started, you probably want to get a sketch drawn up like mine. I provided mine, and if you want to trace it, you can go ahead and do that. Getting a good sketch before you start painting is really important when you're painting a realistic like subject sketches going to provide boundaries and limits toe where you're painting and help really contain what you're doing. So I'm going to jump right in with color mixing. And honestly, when I started mixing up the colors for this, I was kind of a little lost. I'm used to painting landscapes now with my core landscape colors that you'll see laid out on my palette. But I reached out for my old paints and found a nice purple, some pinks, a very light blue, and I knew I could mix him with some of the landscape colors. I have to create the purple and greens and other colors that are in this PV en succulent. Depending on the paints that you have, you might have a purple that just works a little better, and you don't have to mix the college together. But here's what I did. I have a nice violet purple, and I start to grab some of that both in a thicker and a water your consistency. E I added. A little bit of my light blue to the watery one have a natural grey up here, and the pains great off to the left used a little bit of these in both. Then I grabbed my darker pink, more like a permanent rose. If you're using Windsor and Newton a little more of that natural grey and just adding more water to the light one. Because I want this color to be a very light color, it's going to kind of cover the whole succulent in the fact that it's our highlight color that's going to maybe pop through later, but just going to take that nice and watery and get started. So because I know we're going to be layering, I'm just painting in each succulent, not really worrying too much about the direction that my brush is going and needing to go in the direction of form of the succulent leaves, just kind of getting it painted nice in solid but very light. You'll see the color is just barely showing up, and the reason I'm not just going over the whole entire succulent is because I am leaving. Those sketched out tips because those are not going to be a purple color because we are painting so light you don't have to be super scared of running them over. But just know that any bid that you do get over later when your color mixing and maybe putting over a pink or yellow your purple may come through later, so you'll see. I'm just moving slow and detailed to carefully avoid those edges when working this light. Sometimes it seems like we're not getting anything done or covered, but this is really already helping separate those edges from the leaf that we're painting. And it's going to really help us. Later, as we start building layers to know where those edges are without just the pencil marks. You know, - I really like painting succulents. I did a series of four kind of pastel succulents, uh, least over a year ago, in kind of meant to continue and try some other ones, and the PV en was one on the list. And when I thought about another skill share class in teaching something outside of a landscape, it felt like a good opportunity to teach and create another succulence e really like the idea of having succulents as plants indoor. But here in my Minnesota basement room that my succulents don't do that. Well, I have had quite a few then quite a few died. Um, but I've had a good, good six plants that have been alive for over a year. They just don't look as happy as you see those beautiful California succulents. But we do have some outdoor succulence, the chicks and hens that do really well, Maybe I should paint those sometime, but I like to paint them because their succulent that will continue to live. And it only needs watering ones. Yes, that was a horrible pun, but these succulents getting going a wall and stay beautiful as this succulent leaf has dried off little. I'm just painting this darker line that I had sketched. I know that the succulent that I was looking at had some nice dark spots on some of these leaves, so I'm just coming in the same pain. But painting over the layer of paint I have, and it shows up a little darker. Back out to these outer leaves, continuing on with just the light color and just making sure I'm skipping those edges. I am just going to speed up the video here because I'm just continuing to do the same thing . You can pause if you need to catch up later here on this leaf with a succulent whole pedal being what? I decided to take a little bit of my darker color and just create that bit of a shadow line . So I want to make sure that the pain underneath is what it's going to create a nice, um, kind of lead out into the color instead of a sharp line. This is keeping everything really soft, and you can follow along and do the same to create that shadow line. Getting this next, leave what, and I'm going to do the same thing, grabbing that darker color and and just kind of letting it bleed out into the lighter color - getting a couple leaves what here? But I am going to keep continuing that shadow technique now, since I know that that paint is super wet. I can grab one more leaf with the Web brush before I grab the shadows to place on there and knowing those leaves there still wet, just getting those shadows slightly in letting it kind of fan out with the witness. It's right along all those edges where I know the other leaf or petal would be shadowing this part and you'll see that I'm not fully drawing straight lines that sometimes I'm just dotting down a bit of color toe. Let it spread in just a more different shape thing. - So here I'm trying that technique, and I can tell that what I'm working with this very dark. So I'm just leaving that little corner and moving on to a different one, and I'm gonna come back in and kind of pull that with a clean brush right here. I want to keep all this very smooth and light right now, as this is the first highlight later, just using a damp brush to get rid of any hard lines on that one there. And this leaf here the same thing. Just smoothing that out. Those lines were a bit too harsh for me or the start of the painting, especially, and then more smoothing on that one here, too. So that is our first very highlight layer, and we will be back to keep working in the next video. 3. Succulent Part 2: so jumping back in. I like what I had started on the later leaves in the last video, and I wanted to add that to the's beginning leaves that I had just painted solid. So taking a very pale color. I was just running over the whole leaf again and continuing on with that shadow color still pretty pale and getting that right at the base in on the ones where I have a little more dark lines running through, getting it to go up a bit. So starting on another pedal, just keeping that all very light and then adding the bit of dark right at the base and kind of going up, just stippling it down and letting it kind of flow into the light color all on its own. I am working with dual brushes, so I just switching them out, keeping one in the hand. They have a bigger brush just toe. Keep it in the light and a smaller brush to keep it in the dark. Then I don't have toe rinse them out or dry it off in between. So you notice me just switching back and forth which brush I'm using them, which color paint on some of them. I just grabbed my damp brush. That's a lot more watery and just kind of clean it up a bit. As much as I'm just letting it do its own thing, I'm also keeping control over the paint. So it's funny that it is kind of both ways letting it do its thing and having control. But that's kind of my style of painting. There's some bits that I let go free and some that I need more control over. And because I don't paint as loose as a lot of painters, I tend to be on the more control side. And I think that's a cool thing about painting is that there are people who are able to just put down paint and let it go super loose. And I love that style, but I tend Thio more micro, manage my painting, and that's how I ended up with my style of the cartoon realistic. So if you like it, I know that you will need a little more control over your paint and brush strokes, and that's what helps give it style. So I'm just continuing on as we're edging out just doing that light, watery layer to what the pedal and then that dark layer going out. I may speed up here a bit, and you can continue the same in positive or whatever you need to do so in need for mixing up some more paint on my palette. I did not mix up enough, and I'm going Teoh, try to get the color of the green I'll be doing on the outside. So I'm just grabbing my Matthew Palmer natural green. It's a darker green and my natural grey mixing them together, And I'm just gonna leave this consistency super watery. And then I'm also going to mix up more of my purple because I did not have enough of that describing that violet purple putting some of that natural grey, which is a very blue grey. And I like to have to a lot more watery ones that you'll see me just kind of grabbed from the main one and put it on that next spot, and I'm going to keep watering down the lower one, grabbed my read, actually think it's more of Ah rose pink and the light blue again, so I'm noticing it looks a little more pink than last time, just adding a little more of the natural grey more of the purple. It's just kind of a balance of figuring out the color that I needed to be using all these different colors, so kind of mixing, getting a little more of that rosy colored pink, adding a little more water. And here I'm starting 1/3 purple just straight from that color with a bunch of water. This is gonna Nick, take it nice and pale and be able to give us a little bit of a different purple to add to this succulent. So I'm taking that more reddish purple, but in the very pale form, and I'm doing that same thing we've been doing just taking it completely across the leaf. And then I'm adding in the paler, more blue, purple and just continuing that shadow line, stippling it in and letting it spread with so many leaves and petals on a succulent, this becomes a little monotonous, but it is a cool, finished painting, and if you enjoy it, it is kind of relaxing. So here I'm just grabbing the very pale of that bluish green, and I'm just stippling it in very lightly all the while. This is still nice. And what? You're just barely seeing the change of color and tone up on the tip off this leaf and then back down to my bit of the darker purple. And I'm just stippling that in to continue that shadow line in a darker way. So I'm going to be continuing this process, the very light purple over the whole leaf, getting it, what? The dark purple and this purple that I'm working with is pretty dark. So sometimes I'm just grabbing a little bit of the more watery purple to get on the brush so that it can go in and not be so dark. I'm taking that color about halfway up and then grabbing that bluish green and just stippling it in. Then I could tell I wanted it to be a bit darker. So once I got the first layer down, then I'm just adding the darker version. I have this color right over the top, and I'm making sure that I'm stippling this in. If you're gonna be painting it with full brushstrokes, you're not going to be getting quite the same color mix and spotty nous that we're going to be looking for later when we're trying to get the powdery texture. So the dotting stippling nous that I'm doing with my brush is a big thing that you're gonna be wanting to do. And this leaf was very watery and it mixed together. So I'm taking just a clean, damp brush and just patting away just a little bit of it. Um, letting that highlight that's underneath come through a little better. - So you'll see as I'm working on this next leave, I left a little more space in light parts when I stippled so that that light purple that we have on the bottom is still kind of shining through. And that's a little more what we're going to be looking for with each one as we continue, Uh, yeah, and that purple has got a little more of the rose rosy pink color shining through. And that is OK. I like the difference because when you look at a succulent, it's not one solid purple. It's got a bit of kind of multi colors going through it. So and because of where this pedal is sitting, I'm not going to do the blue green on it. I may add it later if it feels necessary, but I'm going to stick to a little more of the outer ones. So moving on to the next on this one will have that bluish green way . And because I'm working with two brushes, I had the bluish green still loaded up on one and decided to add that color first on this. But this pedal, then grabbing the darker purple and a more medium purple to blend the two spots together. And I've come back over to this one because it got super wet and just using that damp, clean brushes today about a couple spots. And on this little one, not much of it is showing. So just gonna what? It down and add that green color just gonna fast forwarding it. One more pedal done, and I'll see in the next video 4. Succulent Part 3: Welcome back to Part three. We're discontinuing that blooming technique of the light, the dark and the bit of blue screen. So I'm just jumping in by mixing up some of my green. I have my natural grey that's a little bit more of a blue color and my natural green. That's a nice start, green. Just keeping one to a more watery consistency in one, a little thicker. So I'm going to speed up as we work on the outside of the succulent, and you can just continue on way coming to one of the succulent sets more in the second row. I'm not going to do the blue green here, and this was one that kind of had a bit of a cool, dark shadow on it that was running upwards. So I'm going to make sure I account for that, and I'm just gonna continue the stippling motion and get a little bit of the pill color on the top of it instead of the blue. So just thinking about what needed to be done next These paintings are all filmed in real time and not completely planned out, and I'm figuring out on the go what's happening, So just mixing up the colors. And I'm planning on continuing that bloom technique because, as I worked it on the outer flowers, it got darker in these inner ones do not have as much of the shadow in bloom. And I'm going to start doing that a little more on the inner flowers were building up that layer and knowing what we can take darker now. So it may seem a little monotonous. Like, why didn't we take it that dark from the beginning? But what we're doing as we staple is going to really help continue to leave some of that lightest color that just barely shines through in parts. And that's really gonna help with the powdery color that are powdery effects that we get in the end. Uh, so this one here I did want to add some of that green blue color to the tip and coming back in, you'll see when I do run completely over the whole succulent with a smoothing brush that it's a very pale color or just even water on the brush alone. Here I took the color and without first wedding the pedal and then I'm taking a very damp brush. And I'm just completely smoothing out that color and still doing the stippling technique. So just showing kind of different options on how you can get the same results working it again here on this pedal, just that in right at the base and then smoothing out with the damn breath. Some of these leaves that I know are bigger here. You can see that I'm just kind of giving some weird dots that are going up, and then I'm gonna be smoothing it out again. And I am kind of enjoying this second technique that we're doing, um, not happen to what the holy first. So I'm going to continue that on in just stippling around the darker color and then coming back through now that I've got that part web with maybe even more dark color and then the super just stamp clean brush to smooth it all out, all in kind of simply and smooth the motions of the brush kind of. Sometimes I don't really have the words for what I'm doing, but hopefully you can see in the video what my brush is doing. Yeah, so at this point, I'm kind of happy with, um, the more beginning signs, I can tell where the shadows are in. We are certain to create that powdery texture, but I know in order to know where to take these mid tones, that I have to get some of the darkest colors. And so in the next video, we're going to be creating some of that really dark purple color on that will really help us in knowing where to take our mid tones for the tonal color. 5. Succulent Part 4: Welcome back. As I said before in this one, we're going to work on trying to find close to the darkest color in this succulent, and that's going to help us. You know how to have dark to take the rest of the colors in the image. So I'm just taking this darkest purple that I have. And I'm mixing more of the natural grey, that bluish gray just on a little side spot here. And I'm going to just test it out right in the center where I know we have some really dark leaves. And I keep referring to the succulent as petals or leaves. And I believe I've heard it both ways. Maybe a succulent lover who knows more about them could correct me. But I do love succulents. I actually have my first bloom stop growing on one of my succulents, so I think it's healthy. It is a very small looking succulent, but it looks really cute. So I am taking this start color and I'm just painting thinly around each petal, and this is just going to be right where the shadow line is. This is going to create the depth or the space in between them. So I'm just following the outline of each one, and I'm using this color. It is a little bit watery, but not so watery that is pale, and I tend to keep everything on the peeler side. And it's because I know I can always take a painting darker, versus if I pink too dark. There's not a lot of going back, so if you feel brave enough and you want your color to be a bit darker, you can do that. But this is just my style in How I achieve the right colors is through this layering process. So you notice on a couple of, um, I'm just drawing these in little lines, and later, when I come through, I'm probably going to smooth them out. But it's just helping pull out a bit of that shadow, and I started using my dark purple that has a bit more of the rose color, just giving it the shadows just a bit of different tonal colors. So you'll see that even though these lines are popping out quite a bit, which is obviously not what I want, it is already helping create the bit of death that you can tell that makes makes it more three D that these leaves are literally sitting on top of each other. - So this is a pretty, um, but not in this same task. So I'm just going to speed it up and finish up. So you don't have to continue to listen to me talk, and I will see you in the next one as we build the more of the mid tones now that we have this dark color down. 6. Succulent Part 5: welcome back in this video. We're going to start working pretty heavily on these mid tones in getting really the base colors, and it's going to start to come together and start looking more like the final project. So I just mixed up my light natural green and, like, naturally, yellow at the bottom of my palette. Unfortunately, my camera did not capture that part. It's just a pale consistency. And I wanted to try working into right part of the succulent, that white. But as I got the 1st 1 in, I just knew I wasn't quite right for that. I knew that I needed to work more on the tonal part. Come back to that because I didn't know exactly how dark everything was going to be and how how great. I wanted those yellow and greens to be so just about the one in and decided to go back to my purples for more of the actual this planet. So in light of getting the darkest parts down did in the last video, after I decided to skip that like greens, I grabbed my very dark purple and a very thin brush, and I just decided to start getting in some of these lines and imperfections that you'll see in a circulate, maybe look like little nail marks or something that happened when you touched them. It's just like a very smooth spot that's coming through the powder. So I'm just creating some of these and horizontal little around this shapes and are really paying attention now to the direction that each leaf petal thing is going. So you want to pay attention to that direction form and just going to start putting me in a couple everywhere. Sometimes it's a couple of just little dots, but most the time they're going to be those horizontal lines bubble. Zoom in on a couple down here so you can see how they are kind of dotted. And and I'm not really following anything specific. I am just going from the fact that I've seen a lot of succulents, and I know that they have different imperfections on leaves, and this is really gonna help AB to the realism at the end of the way. So happy that I got enough of those in. I am just going to be taking that like, not light. It's watery. That color down on the bottom of my pal and not bottom at the bottom. People start adding that end in the way we work early word so straight in without wetting the whole league. But then, with the damper brash, wiping out most of paint, then I'm smoothing it out so you'll see that here. Stippling is really big help in this, that I'm randomly dropping the brush down. And it's helping really create that powdery texture that that I'm looking for. I'm here. I decided to grab my scraggly number five brush that I use for sibling a lot. It used a lot in landscapes, and I just wanted to have two brushes again because I thought it might be helpful to get the stippling of the coloring. Oh, so you can see that I just kind of switch back and forth between the Russians, the one that has a little more paint on it and the one that's a bit rougher and nice for the text oring. So as I'm starting on this next pedal, you can really see that because I have those straight lines drawn to create the distance between the pedals. I really don't want to continue with it being these straight uniform marks. I wanted to look realistic, so I'm just putting in these marks that are spreading outwards, and it's gonna help kind of pull the paint and give us the look of it fading out instead of these very harsh lines that I have right now. - So I'm really just continuing with a lot of what we were doing already before. But like I said, this is ah, building up layers. So just working with colors that may be a bit darker or it's even using the same colors. But when you apply a new layer, it gets darker. And as I was working on the last leaf, I just wasn't liking the way that my five kind of scraggly fresh was doing its job. And so I decided to switch for a three. That was just more of us. Smoother point tip, like my core that I'm working with and just continue that dual rush holding process, the one that's damn and the one that has color on it. Just adding a bit more darkness in back to the damp brush to smooth. It's all kind of a back and forth process But as you can see, we're starting to create on these last ones more of the final looking color rather than that such a pale color. So I am going to speed things up again as we're just continuing this same process. But I will rejoin the video as we start to add some of the green to the tips, - you know, - and just mixing up a little might purple again. It's just all those colors of the purple, the pain, the natural gray and the light blue. Okay, so back to real time here, as I am going to start adding some of the more green blue color to this tip, just stippling it in in places, making sure I'm leaving. Some of that lights faces coming through, and I'm taking that color just about halfway down the pedal, kind of mixing it in with the darker purple. When you look at PV ends, the some of them have a very complete purple look to them, but most of them that are healthy are starting to the ends are starting to green in those very bottom ones. I think, as a age, maybe they start to turn green. There are really cool. Succulent. So for this one, I knew I didn't want to add green, but I just was adding a little more of that war of the pink purple to the outside. And same with this one over here on the left, just continuing to step will decreed that texture. And now, for all the ones that I knew, I didn't want to take that green color to. I was just taking that pink purple and getting those tips darker by adding that texture. Then hear the purple that I grab is very dark. So I'm just keeping it pretty close to the edge. And then I know I'm gonna take a damp brush toe help kind of smooth it and added around back again on a pedal that we're adding green too. And as we're getting out here, I'm feeling more confident in the dark colors. So I know I can take these mid tones pretty dark. So it was getting late as I was finishing this painting, and I decided to finish for the night and start off again tomorrow. So I will see you guys in the next video 7. Succulent Part 6: So with my palate having dried off overnight, I needed to mix up my colors again. So I have them up here above so you can see him a little better this time. Have my violet, my permanent rose ish color and a more light, rosy color and just kind of getting a couple of her variations again, as when you're mixing purples, you're not necessarily ever gonna get the exact same one. And because none of these pedals are completely finished, I was okay with changing the colors up a little, giving a little bit of different final colors and just going to try out what I have way. - And this vehicle that I'm starting to put down was definitely coming through a lot more pink than some of the couple that I've been working with. More of that, um, wine color looks like a pink purple. So I just knew I wanted to take that bit of damp brush and kind of pull some of it out. So it wasn't too too much of a stark difference way . So I'm just kind of stippling and working on a few of the ones that I may have touched on yesterday before I get started on some of these bottom and left pedals that we haven't worked too much on. So moving into the new ones, I am just gonna take a wet brush and get that whole pedal dam and start stippling in dark color and letting it kind of cool out way way. And I'm continuing this same technique on the next few pedals. Just doing that damp brush that's an eight brush and getting the pedal damp and then, with my four brush stippling in the darker color, kind of like we were doing on some of the first stuff when we were working. Really? Damn. And you'll see that I moved back to pedals with already worked in When I know that they're still damp and I can use the damn brush just kind of reworked some of that paint in small things. So there are a couple of these pedals that are very stiffly that the colors are sticking out way too much meat in the dark spots, and so I'm just taking that damp brush, and I'm smoothing all of the pedal. It's not doing too much as far as making all the colors blend together. It's just adding a nice softness. And once I've got a pedal completely what I can come back through one step a little more and even out what I'm working on. - So every once in a while you can just see that rubbing. And that's just kind of reactivating the paint that I know is dry and kind of pulling it up so that I could get it to smooth out. Okay, happier with the smoothness in overall of some of these pedals that air darker. I'm going to move on to the left side, where we haven't gotten them very dark yet and continue on what we were doing. So, uh, damp brush getting the pedal wet and with my four topping in a bit more color, and I'm working pretty fast with my hands in the stippling motions, sometimes watching the video, I unlike Wait, this isn't in fast forward. I can tell. But, um, it's not fast forward. That's just kind of how we get those erratic staples. You just kind of are going up and down in a fast piece, erratic motion, and it gets it. So you're not getting these perfect straight dots and all in the right placement. It's kind of weird, but it just works. So I'm just going to be re working in a few of the shadows, getting them to the really darkest point and defining the difference between the pedals. Like everything with my paintings. It's just continual layering. The more color we get in, the more we can see where we can take it darker. So I'm just going back through and touching up the darkness on all these inner pedals. Back Theo . Way, way, way, way. So the succulent is definitely coming along, and I've decided that I want to start adding in some to the spots that we've left. White and I originally had mixed up a yellow green and decided When you look at the PBMs, the part that is on the inner part actually looks a little more pink. So mixing up that really light pink in a pale consistency and I'm just lightly brushing over everywhere that I have, that's this white color, and I'm not honestly being too careful because I'm OK because it's so light. I'm OK with it, kind of blending into some of that purple we have because pink is inoperable mixture, so I'm just running over all of this and I know I'm going to take it a little darker, but I'm just getting that first layer it honestly, really showing a very pale and that is OK for now because we're just making sure what we want. And there's going to be spot so that that we take darker. But there may be spots that will leave. You were pale, so make sure to not go to dark yet for these outer ones, I am just taking the pink about halfway up on the sides because I know I'm going to preparing that yellowy green color in for the tips of those ones. No. Okay, here I'm coming back to the inner ones and I'm just finding aside or part of it. And I'm just taking that pink right over it. You can see it starting to show up more in spots, and I'm not running over the whole entire side or both sides, just little parts. So you can't see because my camera did not capture the very bottom of my palette. And I'm sorry about that, but I am mixing up that it's just that green that you can see on my palette and like natural yellow, and I'm taking it to a nice pale consistency, a little more of the yellow then green. But I'm just running over those outside one's kind of the same thing that we did with the pink and then the ones that I only went halfway up taking those Teoh tips. So I'm just going to speed up the end as I apply in around the rest of the secular way. In the next video, we're gonna focus on getting that greenish color a bit darker in popping a bit more. 8. Succulent Part 7: all right, jumping back in. I'm going to mix up some more of my green blue color, since I do kind of still have some more of the blue color here. I'm just going to mix in that dark, natural green and take it to a watery consistency. And I'm just going to start applying it in that stippling motion pretty much all over some of these very bottom petals. I am wedding the pedal first and then stippling in the green, and I've got a cat hair here on the paper. Sometimes it's better if you can't get a hair off without smearing too much to let it dry and pull it off later. But because I know the consistency is very pale and able to just grab it off. Here, here, this one down here. I decided not to what it first and just start applying it, since it's such a watery consistency. But this one is darker, and I am going to what it before I start adding green, and here we are again. I moved over to the one and then came back to this one as it was a little bit more dry and pulled some of the darker paint into the spot that had no paint and just to help even out the tones in this bottom one. Down here, I have added a little bit of the green, but I knew I wanted more. So just coming back in, what it first and some more of the green. And there are a couple of these that I had previously thought I wasn't going. Teoh turn green that I just want to add pill bits so that you can see that they start to turn green. And all the while any of these that are staying damp, I'm just able to kind of go back through and rework, just adding the smallest amount of bringing on this one because it is a little closer to the center and I've still got my eight. And for Brush, eight is just basically loaded with water. Not really loaded, more damp, and the green are the four. I just keep putting in the green. So this painting was pretty funny that I was kind of dual wielding. I called it throughout. Not a really normal thing for me when I'm painting landscapes, but kind of worked really well for this to have both. So once again, none of this has been passed forward, just working really fast. And in these sibling motions, because I just know I'm just adding the smallest amount of green toe all these. And I'm not too worried about extreme preciseness because what I'm working with it's a pretty pale consistency. But it's just adding these color pops that you see on a PV in that turning off the green. Yeah, - so I've just about got the green everywhere that I wanted to be the actual succulent with the purple and green color is pretty much done. And in the last video, we will just be touching up those outer edges with that pink and the light yellow green color. So I will see you over there and we'll get our succulents finished 9. Succulent Part 8: So welcome back to the final video. We're going to jump in and start working on the very tip of these pedals. I am grabbing up the more pink off the purple e mixture, and I'm just grabbing a little bit of the light pink on its own as well. And I'm just taking this to some of the sides part of the tip and just making that bit of pop and difference right at the edge because we have pretty much our darkest colors in I know how dark Aiken take thes now, and that's why we waited to do it. I just want to create those nice, um, very firm edges and make sure that they're really colored so that the read the way that you would see one. Make sure when you're working on this that you have different spots that are bits darker and still some spots that are lighter. It's just kind of the way that, um, the plants grow and also the way different lighting makes them look. It's gonna help with that realistic nous. So I'm just making sure with the pink that I'm not taking it on these kind of mid ones all the way to the tips because when I look at them, they don't really have pink on those outer ones because they're starting to turn green. So just taking it about halfway up on these more mids pedals so pretty satisfied with the pink tips, I'm going to be taking that yellow green color and start working it into these edges. And for these ones, I'm doing it very much on the very outside of thumb. I'm helping for any of the lines that kind of started to. The color kind of started to bloom out of the pencil lines. This is just helping create that definition between the white paper and the edges again. So I will just continue with that color going around the edges of this succulent with that of it. Does that mostly finished out putting in the color because of the way I was painting earlier and not being as careful. Some of these edges are a little messy, so I am taking my lift out brush basically just a straight edge, and I'm taking it with some water and just damp, and I'm just moving into some of these spots and scrubbing and I'm helping lift out some of that color of maybe purple that got in there. That shouldn't be just smoothing out a couple of these succulent edges. And then most of the outside got a little too yellow for my liking. And since we are working with lift out brush, I am just running it over and dabbing out a little with a paper towel, just pulling up a little bit of that color so that the yellow ish green color is more of a hint, like what I see in images. - So there we have it. I am finished with my succulent. I hope that you have enjoyed this class and maybe learn some new techniques, but most of all just that it was relaxing and fun for you to paint along. I would love to see your finished succulents in the last project section, or you can take me on Instagram. If you share them, I will share them in my story. Thanks again for joining me and have a good day