Watercolors Beyond Loose Florals: 8 Unique Flowers and Pots Projects | Garima Srivastava | Skillshare

Watercolors Beyond Loose Florals: 8 Unique Flowers and Pots Projects

Garima Srivastava, Artist and Illustrator

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30 Lessons (4h 52m)
    • 1. Introduction

      3:27
    • 2. Class Overview & Downloadables

      1:13
    • 3. Supplies

      4:52
    • 4. Inspiration Sources

      3:47
    • 5. Watercolor Concepts and Techniques

      15:25
    • 6. Floral Warm-up

      12:16
    • 7. Intuitive Color Mixing

      10:23
    • 8. Ceramic Overview

      9:42
    • 9. Project 1- Part 1 Ceramic Vase with Cherry Blossoms

      7:25
    • 10. Project 1- Part 2 Ceramic Vase with Cherry Blossoms

      10:32
    • 11. Project 2- Part 1 Ceramic Creamer with Billy Buttons

      10:46
    • 12. Project 2- Part 2 Ceramic Creamer with Billy Buttons

      10:37
    • 13. Wood Overview

      7:09
    • 14. Project 3- Part 1 Wooden Bucket with Lavender

      18:29
    • 15. Project 3- Part 2 Wooden Bucket with Lavender

      7:49
    • 16. Project 4 - Part 1 Wooden Crate with Tulips

      10:37
    • 17. Project 4- Part 2 Wooden Crate with Tulips

      14:43
    • 18. Glass Overview

      8:19
    • 19. Project 5- Part 1 Glass Bottle with Lilacs

      11:26
    • 20. Project 5- Part 2 Glass Bottle with Lilacs

      13:28
    • 21. Project 6- Part 1 Glass Vase with Geraniums

      12:52
    • 22. Project 6 -Part 2 Glass Vase with Geraniums

      16:54
    • 23. Rusty Metal Overview

      6:55
    • 24. Project 7-Part 1 Rusty Metal Can with Alliums

      14:27
    • 25. Project 7- Part 2 Rusty Metal Can with Allium

      11:42
    • 26. Project 8- Part 1 Rusty Metal Pitcher with Peonies

      13:06
    • 27. Project 8- Part 2 Rusty Metal Pitcher with Peonies

      16:14
    • 28. Project 8-Part 3 Rusty Metal Pitcher with Peonies

      6:03
    • 29. Your Project

      0:31
    • 30. Conclusion

      0:21
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About This Class

Take a step ahead in your creative journey and learn to paint Watercolors Beyond Loose Florals: 8 Unique Flowers and Pots Projects.

In this class you have 8 choices to learn from start to finish how to paint beautiful flowers and pot projects.

You will learn how to paint the texture of wood, rusty metal and easy steps to create an impression of glass and ceramic.

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The class also includes my process of collecting inspiration for the illustrations and also how to work without references.

Although ideally suitable for intermediate watercolor skill level, I also recommend the class for beginners as I have also included lessons on watercolor concepts, floral warm-up, intuitive color mixing, along with tips and tricks that can be used even beyond this class.

These projects have been arranged by increasing skill level and can be finished within 15 to 30 minutes.

The 8 projects are grouped by material of the pots with two in each category (ceramic, wood, glass, rusty metal). Each category also includes a handy material overview lesson.

Here is the list of projects:

  1. Ceramic Vase with Cherry Blossoms
  2. Ceramic Creamer with Billy Buttons
  3. Wooden Bucket with Lavender
  4. Wooden Crate with Tulips
  5. Glass Bottle with Lilacs
  6. Glass Vase with Geraniums
  7. Rusty Metal Can with Alliums
  8. Rusty Metal Pitcher with Peonies

By the end of this class you will be able to paint any one of these lovely projects and also have the skills to create similar projects in the future.

These illustrations are great for stationery projects, such as stickers, greeting cards, calendars, etc.

I can't wait to see what you create, so let's get started.

Materials used:

  1. Watercolor paper 300 gsm Cold-press (Arteza)
  2. Watercolor postcard 300 gsm 
  3. Watercolor tubes from Art Philosophy, Winsor & Newton, Daniel Smith, Van Gogh (check the entire list of colors and swatches at Projects and Resources -> Resources)
  4. Pointed round synthetic sable brush number 4 (Escoda), Pointed round synthetic number 4 brush (Da Vinci brushes), Pointed round synthetic number 2 (Da Vinci brushes), Synthetic 5/0 detail brush.
  5. Tracing paper (optional)
  6. One HB/1H pencil
  7. Eraser
  8. Kitchen paper towel
  9. Mixing tray
  10. Spritz bottle
  11. Jar of clear water

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Transcripts

1. Introduction: people often ask me, Do you ever get bored of painting flowers? And my answer almost always is no. I find so much beauty in them in love, painting them in different styles. What is there to get bored off? You can paint just the flowers, people with flowers and all other kinds of objects with flowers. There's so much to choose from. Hi, my name is garish, massive. I'm an artist illustrator and a not educator. Some of you also know me is my little Basil, that studio on Instagram where Sherman our journey through our post short redo tutorials on daily paint, a long sessions. Welcome to this class on really busy days when I only have 15 to 20 minutes to paint. I love picking maverick colors and paint these small illustrations in my sketchbook, off flowers and different kinds of vases with interesting little details and textures. And I'm more than happy to be sharing my entire process of creating these illustrations with this comprehensive class. While this class might look Landy at first please to remember that you have a choice off atrial time projects off different flowers and parts that you can follow at your own pace. These independent projects have been arranged based on increasing skill level, and each one of them can be completed within 15 to 30 minutes. Through these projects, you won't just paint eight gorgeous lives, but also learn how to create the texture off rust I would and simple steps to create an impression off glass and ceramic, although this class is ideally suitable for students who have a bit of Oracle experience, but if you're completely new to watercolors, I would still encourage you to give this Cassa try. As I cover lots of Oracle concepts and techniques and share tips and tricks that you can follow and use right away in this class, I'll show you simple supplies you'll need. I'll share with you my process of collecting inspiration for these illustrations, along with a handy guide have created for composition reference. We'll go to watercolor concepts and do floor and warm up, followed by my intuitive color mixing tips before we get started with the projects. The ate projects have been clubbed together in pairs of two based on the material off the pot. Your project for this class is to pick any one of these eight sample projects and create something similar. I hope I've got too excited about this class and after you in the next lesson. 2. Class Overview & Downloadables: Welcome to the class. Before I share with you how the class has been structured. Let me show you where you can find the downloadable for this class. Under projects and resources, stop for the class. You'll find Resources section, where you can download list of art supplies, color swatch art with color, name and brands. You will also find my intuitive color mixing formulas along with my guide for popular floral arrangements. Now let's see how the class is structured so that you can navigate easily. We'll start for discussing the supplies have used in this class, followed by a look at my inspiration. Sources after this are the lessons of articular concepts. Floral farmer, an intuitive color mixing he are you choices for the project simply picked the number and navigate to the project. Before you attend the project, I would encourage you to watch the overview lesson for the material off the pot. Such a ceramic I would glass and rusty metal. Now let's get started 3. Supplies: Let's look at the supplies I'm using in this class, So I'm using Barnacle, a cold press paper. It's 300 GSM invade its wire bound. It's got a bit of a texture to it. So I like to use a little bit of tape over the edge just to stabilize the paper from moving too much while I'm painting. You can also rip it right from here just to separate the page. If you want to scan completely flat, I'll also be painting one project on this, a quarrel postcard. It has also got 300 GSM paper. It's lose from all three edges and only gummed on one edge. I again use a little bit of tape to stabilize it. If you would like to paint on a bit more smoother surface, you can always also paint on hot pressed paper. It's got very silky, smooth touch to it, and it's perfect for illustration projects. But if you're just starting up and you would like to paint on a student great paper that is a bit smooth. You can try this cancer in Excel paper. It's got quite smooth touch to it, and you can again separate the sheets right from this block. This one is also wire about, so try to find the paper that you like. If you prefer having all the edges gum together, you can obviously paint on that kind of a quarrel block as well. Now let's look at the brushes. I like to use number four pointed round brush for most of my painting. This one is from a Skoda. It's got synthetic sable bristles, has got a nice point and a very good snap to it and holds lots of water. A similar brushes Number four from DaVinci Kozma Topspin. It's got a nice point to it, and I'll also be using a number two off the same brand for details. I might also use a small, detailed brush, so these were the brushes. So if your paper is also wire bound, just use a tape to stabilize it for drawing. I'm going to be using these kind of tracing paper sheets just to create the halfs and then trace both off the sides because I like to create them a bit more symmetric. But if you would like to Handra oh, it, you can completely skip this paper. So it's completely optional. You're going to need a pencil, either one edge or HB pencil on the razor. You're going to need a spritz bottle to with the colors on your palate, some clear water, some kitchen paper travel. Now let's talk about colors. I'll be using two colors today, but you can very well use your own band colors. I recommend using professional grade of color because of the strength off the pigment and how nice and vibrant they look. But you can obviously start with. There are some nice student great brands that have very nice shades and colors that I still use. So when you're just starting to paint, try not to worry too much about buying all the professional great colors. Try to find nice shades that you like to work with and then later build your collection of professional grade colors. I'll also be using White Wash to stabilize one off my color that has got a bit off granule ation to it, and you can also use wide quash to add a little details to your composition. So now let's look at the color I'll be using Today you lead a mixing trey. I'm using a ceramic mixing tree. And now let's look at the colors. Have squeeze some two colors. This is in Dicle. I'm using cobalt blue, cerulean blue on a touch of paler blue. Here, this is gonna Crotone Magenta, This is Rose Matter Permanent. Carmine Crimson and Caroline Maroon for yellow. I've got some gonna Crotone gold and some yellow deep. I've got Vince er, violet dye axes in violent here, some lump black sub green. I'm burnt number here. So you do not need to buy the exact shades or the brands have used. I'll be attaching a color chart on the name off the color along with its brand that I've used so that you can find something similar out off your own color palette. You will find this color chart on this list of colors under the resource is section of this class 4. Inspiration Sources: I always get us. Where do I find inspiration? And the answer is, inspiration is all around you, whether it's the flowers in your garden or at the florist lifestyle or gardening magazines , our home decor store. If you have your eyes open, you'll find inspiration almost everywhere. You can pick flowers from your garden or the supermarket and create simple arrangement with household items like teacups. Cans are empty bottles. Simply click lots of photographs to use as reference for later. You can also go to websites like picks a B for copyright or royalty free images and search for flowers on Mother's. It will give you quite a few results, but even then, try not to copy the exact image. I like to pick my reference out of multiple images. So say, for example, I pick the flower from one image or the valves from another, and this gives me a unique looking illustration without getting into any copyright issues. Now let's look at Pinterest on Pinterest. I've got aboard off vases and vessels, and I've been lots of ceramic wood, metal and glass was is in there, so just look at this. Been, for example, it's got quite a unique shape. So if you will copy this exactly, you might get in copyright trouble. So for that, try to pick the just out of it. What is it? This is just a stylized freeze with some flowers in it to create something similar, but not exactly like this. For example, the cup here is quite a generous shape, so you can definitely very easily picked the shape from here. Create your own design for the glaze. I've also got lots of wood crates or buckets here. Try to find different kinds of decaying wood. I've got lots of glass. Was is here where you can study light and shadow. I also been a lot of metal jars, pictures or buckets, and I try to pick inspiration out of multiple items. So say, for example, I like the idea of having a motive painted right on top of this watering can, but I won't copy that design. I just like the idea off a motive, so I'll create my own motive. Maybe bigger shape from another picture that I like Big flash from another photograph. So when I combine all of this, I get quite a unique combination for example, I really like this big old milk can right here. So instead of a rope around it, I might add a ribbon around it. So say ever been like this instead off lavender, I might be in some other flooring it. So, for example, here I've been this because I like how the rest is forming here. So been a lot of different kinds of images so that you can study them. So I've got quite a few rusty metal here just to study. You can do the same with flowers, collect different kinds of flowers and once you paint them a couple of times, you will build a memory so that you can paint even without reference. So try to create a reference board something like this, and study them and it will be really helpful for the future. I've also created this little handy guide here, which has got different kinds of pots matched with some of the flower arrangements that look really nice with these bought shapes. For example, you have one of these while shapes and not a photograph off it with flowers. Then you can follow this guide. Do put some of your favorite flowers. In these arrangements, you can download this guide under projects and resources tab and then go to resources section off this class. 5. Watercolor Concepts and Techniques : Let's talk about some of the watercolor concepts will be using in this class, so they're a couple of ways off applying color on the paper. 1st 1 is wet on wet. Next is wet on dry and then there two more raise that is dry on dry and dry on wet. So what return red means is that your paper is wet, either. When you started, you have already put of wet wash. Their are you've already applied the color, and that color is still wit. And then you come back with the red color in your brush and added where the paper is wet. So you see in both the cases how this is so nicely spreading out, getting fuzzy so this technique is called wet on wet. You color will spread based on the moisture level off your brush and also the quality off your color. Now for veteran Dr What that means is, your paper is dry and you're applying wet color on top off it. Another application would be the color that you have applied earlier has dried completely, and then you come back in and then at the details. So I want these colors to dry before I show you another return. Dry application. When you're waiting for something to dry, you have to be a bit patient. Let it air dry. You can use a blow dryer, but I prefer to let my pains air dry. And if you want to check if it's still quite red, just tilt the paper. If you see some shine on it, then it's definitely quite wet. Wait for it to dry. You can also use back off your hand just to feel the paper. If it feels gold, it is still quite wet. So do rate. Now that the paper has dried, I'm going to show you another wet on dry application. So the paper has completely dried. My earlier paint has dried, and then now I'm going to add another red color up on top. So another red color on top off a dry layer. You can see how defined it is, as compared to how fuzzy eaters on wet on wet now for dry on dry. What that means. This paper is bone dry, your brushes quite dry, and you're simply picking ah, color right out off your tube or dry pigment and just dry, brushing it on top off a dry paper. You can do the same with dry pigments. Big Daniel Brush, and this technique is excellent when you want to create some heavy textures. Now for dry on vet What that means. His paper is still wet, and you're going to pick either dry pigment in your brush or, just like earlier, some dry or almost dry color and simply add details on top. As you use your brush, your brush will get red, so to get the dry on vet effect, you'll need to use another dry brush. So these were some of the techniques how we apply color, and you can use some of these techniques to add textures on to add details throughout the class. Now let's talk a bit more about at what state should we add? The details. So let's paint a few blocks here. Let's paint one more and another one here, So based on the material you're trying to paint, you will need to add sometimes some details. Sometimes some shadow on. Sometimes you will need the details or little texture to kind of really fuss out. Sometimes you would want them to be intact. Sometimes you would want shadows to blend very softly, or sometimes you would want them quite harsh. So you need to judge that how dry your paper is. So, for example, the right most block is still quite wet among all three of them. So now if I'll add any detail to it, it's going to bleed quite a bit, so it will become quite fuzzy. You can add this technique with very light shade off color to add some extra sort of texture. Very subtle shadows that are bleeding very nicely very softly in there. And now, if you want your little details to be very slightly fuzzy but not quite as much as the right, most one. Then simply pick you color. Battered on top of her kitchen, paper traveled to remove excess moisture and then on the little details so you can see how they are very slightly fuzzy, but they're not quite as fuzzy is the right one. Let's fate for this. Tied one to dry a little bit more, and with the second type off adding the details, you can add them fine details on wood on top, off metal on ceramic so you can add the final sort of shadows that you do not want to harsh , but also not as blended as the 1st 1 So this block is still red. We wait for to dry a little bit now that it's dried. I'm going to take some color in my brush but my brush drugs. And now I'm going to add details up on top and see how they're not bleeding at all. So this technique can be used to create prince up on top off ceramic or to add some final touches on top off would. So this is quite intact. While this one is slightly fuzzy and this one is quite softly blending and bleeding into the base layer, so decide the look that you want and then, based on that at the details while the paper is still drying. So now next, I want to show you something about how to spread your color evenly, especially when it comes to painting ceramics. You would want your color to spread evenly, so based on how big your brushes, what kind of moisture it holds, how rough your paper is, you're going to have either smoothed wash. Are you going to have a bit rough wash, so keep your brush really nicely. Wit you brush should be rush site, especially, should be related to the size off work you're painting. If you're going to try to paint a really big area with a small brush, you going to get brush marks there. So I've got a small shape here and I'll show you what that means is all. First, spread the color. I want this color to spread evenly, but now, instead off picking the color. If I rinse my brush, pick some more color without drying my brush, and then I'm going to simply add more color to cover the area. Look what will happen. It's going to create this kind of blooms right here because the moisture level in my brush was not the same. It is spreading the color. It will cover the area, but it will not be Ah, uniform wash. So now for that, you need to create a big puddle off same color consistency. Rinse your brush batter dry, pick from this big puddle and start painting the shape. Start bringing that water line down Now when you run out of color, simply picked the color from the puddle. It takes a little bit of practice, but this will give you uniform wash as compared to these blooms that you get on the left side. So it's important to learn how to control the moisture in your brush. So keep your kitchen paper travel handy on, and I also recommend picking from the same puddle. If you want to prevent this kind of blooms, so pick from the same consistency. Puddle. What you want to do is keep moisture level in your brush the same between both the times you add the color. Now let's see how to very softly create a Grady Int wash. For a small area, simply paint a dark site. Now rinse your brush, but try slightly. You want to prevent the blooms and simply soft. Turn up this edge and move the color around a little bit towards the right side. If you're fast with it, you can get even smoother gradation than this so you can create soft movement off color from shadow to light. But this technique can also use something like this to create soft touches. But before that, we have to see what hard edges are. It's right with another pencil. So what hard edges mean is you have created a shape and you've let it dry, so the edges that were formed with the brush are intact just the way they were painted. But for the soft edges, what you do is you create a shape and then the edge you want to soft in up. When's your brush, patty. Try slightly and ram along where you want to soft turn up the edge so you can see how the top lock has got rough but quite defined edges. While this bottom block has got to off its edges, defined while to off them are soft edges, so this was soft edges. You will be using this technique quite a bit Now. Let's see how to lift color, which you will need to either create some texture marks or sometimes to pick. Ah, highlight. So for that you have to first check how dry your papers. This one is quite dry, so I'm rinsing my brush, patting it dry, and now I'm going to, with a bit of pressure, rub off the color where I want to pick the color from, so you see how it picked the color rings your brush, but to try again, you can go back in on the same mark or big. More so based on how staining the calories and how easy colors lift from a paper, you'll be able to pick some. Highlight can also press your kitchen paper travel to pick even more color, so wherever the color was wet, it will pick the color. Now this one is still quite ripped, so I'll be able to in the similar of a big a bit more clear highlights from here again, it depends on how staining the pigment is. You'll be able to get the paper right back so you can use this color lifting, especially to add a bit more off texture on ceramics. Our pick highlight. Now let's see how to add another color or a shadow up on top and then softly blend it. So, for example, I want to create a slight shadow upon top. But I don't want it to look too harsh, so I'm going to add the color on top. This comes handy when you were not fast enough to add The shadow on your color has already dried at the bottom layer to simply rinse your brush. Better dry, untouched the added shadows one side, so this will kind of softly blend this extra shadow. We have added. My touch is almost like a feather. I do not want to scrape the color from the bottom layer and create unnecessary highlight here and just want to blend this extra color. I've added up on top with the bottom layer. So now let's talk about values. What they mean is how light or how dark your color is. So to get different values out off same color, you can simply change the moisture level or the color concentration in your mix to create different values. So if you add lots of water in your color and create the first layer, it's going to be one of your lightest value of that color. If you will add a little bit more color now, the color is more. There's still some moisture. You will get one level darker, and now, for the darkest one, I'm adding even more color so you see how dark this one is, so you can add a darker value upon top off a lighter one with boric color to add little details to add extra shadows. So these were some of the techniques will be using in this class before we get started. Let's to a small floral warm up and also look at some color mixing. 6. Floral Warm-up: So before we get started, let's do a small floral bomb up. If you're completely new to flowers, I would say, Do try to take either my loose floral class or any other class from your the favorite artists on. Simply try to do a lot of practice off brushstrokes. We can do a little breaststroke practice here. So in my round pointed brush, I'm going to pick some nice I'm juicy color, as I always say, Big the color in your brush. Hold your breath straight down to create fine lines and push your brush gently down on the paper, doing grease the thickness of this line. It's a fine line and take line. Practiced this. So when you push the belly down off the brush, you get take lines. Also practice curves like this. Little girls going upward. They'll come handy for little stems. Now the breaststroke for petals, so touch, push and let go. You can create a bit more pointed leaf, so touch bush. And as you're letting go drag you brush a little bit. You can create one breastroke leaf or petals. Make them a bit wavy as you're going out. Now let's see a very simple. Five petaled flower. So nice amount of color, so each petal is made out of two brushstrokes. I always like adding a little bit of Kanak Tra. Don't gold in the center, so let it bleed. And now, with your brush, try to create little marks just with the tip off your brush. If you'll just touch it, it will create a little dots. If you'll press you brush a bit more, they'll be a bit elongated. You can create small flowers, so just for five petals clustered together, so these will be tiny clustered. Flowers will be painting in this class, so just tiny dabs club together. Now let's see how this style of painting will be doing in this class will be a bit different from lose florals, so for lose florals. When you look at it, you can see all of these flowers are facing towards you. Some off them are on their side, but most of these bigger ones are facing towards you, and the reasoning is that the composition is made as if you're watching it from up on top. Well, when it comes to painting something in a vase, you have to understand that the direction off watching the flowers has changed as compared to lose florals. You're sort off on the side of the composition, so let's create a few flowers. So you have to understand that some of these flowers are facing towards you. But ah, lot of they're married. They're facing upwards are on the side, some off them will even face away from you. So you need to learn how to paint different angles off flowers or at least given impression off that you also need to learn which of the flowers are in the front. Which ones are in the back. Based on that, you can decide who stock will be visible on which one will cast a bit of shadow. They should have a small understanding off which of the flowers are in front and which one off them are a bit behind. Based on that, you can decide their visibility on the shadow as well. Let me show you a quick example. So these air geraniums will be painting something similar in the class. So you can see how, with the use of shadow, I'm able to make it look as if this stop flower is above the other flowers here. It's facing towards you, and it also use off This kind of shadow in between the flowers is making it look a bit more dense. It's still not painted realistic. It's still quite lose, but you can see how it's not as flat looking as it sometimes looks in expressive lose florals. Now let's quickly see how the style differs so you can paint something, for example, to lips in realistic style. You will start with the sketch. I'm not going to spend my time here trying to paint a realistic looking to lips. But you can spend hours on pedals and create layers and layers to create something really realistic. Well, lose florals mean that with the use off one or two brushstrokes, very simple brushstrokes. You're able to create an impression off Ah, flower. So just with one brush stroke to breastroke covers, able to create something that looks like a tulip and its leaves for just one brush stroke. So that's lose floral. But now let's see how our technique today is going to differ, so I'm going to use slightly concentrated Rose matter in my brush, create a small dab up on top. So imagine the almond shape off a close to lip now with the soft, Princeton battered dry brush on bringing this color down really softly, blending that little dab we had created earlier but still keeping it a bit concentrated upon top, softly blending it a bit on the right side, making the shape a bit more refined. So I'm spending a little bit longer time on the flower, adding a bit more on the left side, making it softer again. And now let's add the green, letting it bleed a little bit. And now I'm going to create leaves. So instead of using just one makes off green, I'm going to create different colors. Sometimes I makes a bit of crimson in my green, or sometimes a bit off in Deco as well suggest a touch of indigo. So I'm trying to define the leaves a little bit more than loose florals. You can add a few bent ones, so they're not realistic, but they're a bit more defined than lose floral. Sometimes I add a little bit more deeper value, and this gives a look as if the leave has sort of curled up on top, and now to finish it off will pick same rose matter rail s war in my brush, and I'm going to create this fine Garv on the right edge. Make it a bit more defined. And this gives a look off this two lips slightly opening up. So now you can see how these three styles differ. We haven't painted the realistic start, but you can see how our today's style is going to differ from, uh, really loosely painted flowers. You can see how we're spending a bit longer on the flowers and with the use off deeper color or changing the color value able to create depth in our painting. So now let's see another example for any kind of cluster flowers when repaint them in loose floral style. What we usually do is simply paint a couple of five petal flowers placed closely together. So you're simply placing five little flowers joined in the center, and you simply place them all together. We do not worry about which one is in front. Which one is in the back, so that's a very simple they. You do add centers, you do add leaves. But now let's see how well create depth today. So we'll create one big flower first with all its petals visible. And now for the flowers underneath them, some off its petals will be clearly visible on may be one of them will be sort off on its side. So this is sort off our view off a flower bent away from you slightly so not all the five petals are clearly visible. You must think we're still not able to achieve the depth yet, but wait for it. So I'm just creating little flowers that are slightly visible there. Underneath this main flower, I've added a little bit of Canal Crotone gold for the center, going to add some greens first while it's drying. I'm just showing you a very rough example. Will be painting flowers like this today a bit later, and now, while the colors air drying, you can either wait for a bit more defined depth. But else you can simply mix up deeper read or deeper. Burgundy makes so a mixing some rose matter with the touch off indigo to create a really dark makes, and I'm going to add it in between the flowers, some still painting these flowers quite loosely, but you'll soon see how it's going to look as if there is depth in this whole cluster. So I've just added a darker color in between the flour, some adding some side petals, lifting some color where the colors are bleeding too much into each other. Some sort of trying to negatively define some of these flowers with this dark color. So just picking a little bit of center from some of these flowers. Now let's add a little bit of centers a bit darker center to give them a bit more of definition so you can see how this left one is looking different from the right one. The right one is a bit more defined, so if you're completely new with barnacle and loose laurel, try to practice lots of brush strokes before you get started with the class. Practice your flowers, practice your leaves. Make the leaves a bit. Rabea aren't even simple one or two breaststroke leaves. This will help you feel a bit more comfortable with the floral lessons in this class. 7. Intuitive Color Mixing: So when it comes to using dollars, you can obviously use them directly from your tube or from you pan set. But I like to mix a few colors myself. So let's first see the grazed neutrals or the shadow colors so you can create great by using a simple tube off pines gray or some other. Great. So let's see what that looks like. This great that I just showed you is sort of a cool gray, so simply let the color and let's see what it looks like. It's a great color if you want to right away, use it for shadow or want to have a very consistent makes so you can simply use it right from the tube or from the pants. Another way of creating graze, picking a black and diluting it enough to create a sort off a neutral gray shade. So if diluted it enough and it becomes great now, another way of creating grave would be first. Let's understand the color real, so you've got red, blue and yellow as your primaries. And then when you combine red and yellow, you get orange, blue and yellow makes green and red and blue make purple. So these are your secondary colors, so the colors opposite to each other, blue and orange, red and green, yellow and purple. They're called complementary colors, so a good mix off a neutral would be if you combine any off the three primaries so red, blue and yellow and he makes it will give you sort off a neutral color, depending on which read which blue rich yellow you mixed. You going to get different shades off neutral color. Another way off. Creating sort of a neutral color or a shadow color would be to use the color for which you want shadow. Add some complimentary off it and then add a touch of blue to it. This will give you a nice shade to create a shadow color this blue that we talk about here . I recommend using cobalt blue ultra Marine blue. But don't use Taylor Blue because Taylor Blue has got a slight greenish tint to it, and that will cause your shadows to look a bit more green than they should be. So try to stick with cobalt blue or ultra Marine blue for this. Now let's see it. We're going to first makes a little bit of crimson, a little touch of cobalt blue to it and then some yellow, based on how much off these colors you. And so if you've added too much yellow, your neutral will be a bit more yellowish if you have too much blue. So you keep adding these different colors till you reach, sort off the greatest shade. Now let's add a little bit more off cobalt blue. Getting there. You can keep testing if you like. Just a touch more cobalt blue and there we have it. Now let's dust it. So you see how close it is to the earlier gravy painted with diluting the black. Now I see if I add a little bit more blue to it, I get sort off a cooler gray. If I add a little bit more red to it, you can see how by changing this mix of gray, I'm able to create different shades of these neutral colors. So do change your mix around. Do create your own recipes to create these neutrals, and they will come hand even creating shadows. Now let's quickly see how to create a shadow color. So, for example, you want to create a shadow color for yellow. So what you do is you start with that yellow. You add the complementary off it and then add a little touch off cobalt blue just a little bit more off the complementary. Now let's desk this color, so it's a nice, neutral shade on. You can use this kind of color to add shadow toe a yellow flower so simply makes the color . It's complimentary and blue. Now let's see how we makes brown. So if you don't have a brown in your palate, try to mix red with some green and you will get a shade of brown a little bit more red. So you see you've got a brown here, but if you do have a color like burned number than it's much easier and you can get a consistent color. I like to change my brown around by adding a little bit off, sometimes a little bit off Conakry. Don't go to lighten it up, especially for a word that's a bit younger. You want a bit more brightness in your brown for a wood that's got a bit more raisin in it . I like to add a bit of crimson to my burnt umber for a would that sort of decaying a bit is quite old. I like to add a little bit off indigo to my burnt number, so it gives me quite the dark makes depending on how much off indigo is in there. It can vary from slightly greenish do a bit more closer to dark brown color. So by varying your mixes of brown, you can not only create interesting texture on vote, but you can also it create really nice looking branches with them. So these were some of our variations for brown. Now let's look at green. So, as you know, if you makes any kind of blue with any kind of yellow, you will get some kind of green. So depending on what kind of blew you mix with which yellow, you will get a different shade of green. So I'm right now mixing Kabul blue with a touch off yellow deep, and this is the shade I get off green now instead of Kabul blue. If I makes Taylor blue and then on to connect Tra, don't gold do it. I'm going to get a very vibrant very close to hooker's green color. You can also picks up green right from the tube. It used to be my go to color right away from the tube, but nowadays I like to now makes my sap green with a little bit off yellow, our corn acrid own gold to get sort off a green gold makes. So now I makes my sap green with other colors to get sort of variation in my green. I sometimes makes a bit off crimson to my sap green to get sort off a warmer olive green shade. If I want a really dark green than I makes a bit off indigo into the green, it's a really dark green, so these were very obvious ones. The one that's a bit surprising one is when you makes black with some kind of yellow. So I'm mixing lump black with a bit of corn acrid own gold, and this gives me a nice olive green kind of shade. And this is one of my favorite ways to create green. So when you vary your green instead of using same color green to create your leaves, for example, amusing the same color. And now I'm going to add another shade of green in there. So by adding different shades of green, you're creating again a little bit off depth in your foliage as well. So similar way the baby mix the green around. I like to do the same with my pinks so you can use the rhetoric to use from the tube Rose matter. But if you would like to sort of write in it up a bit at a bit more spark into it, um, adding a touch of magenta in it, if you want to darken it up a little bit, I like to add a little bit off Crimson to it are barely maroon to it. This will give me a pink that is quite close to read. So this was my way off, very intuitively, mixing some off the colors that I use. You can create your own formulas based on the shades that you have and the shades that you like you can find these color mixing guide, along with the exact shade and brand of colors have used under the resource is section of this class 8. Ceramic Overview: so ceramics come in different finishes. You can have them in different, unique molded shapes so they can be very unique shape, like this or something like this, so they can also have a bit of texture molded right into it. So based on that, you will have to decide if you want a smooth finish or a bit textured finish to it. They can also be painted like this so they can be hand painted, or they can have sort of a factory decal finished to them. They can also have a unique way off applying blaze to them, so this is an extra color applied on top off the ceramic. They can also have a design engraved on them. The technique is called scruffy toe, where you add another layer of slip and then kind of scrape off some off that new layer to bring back that original ceramic layer. So these were just some of the finishes that you can use to create different texture on your ceramic projects. Now let's see. The first technique that will be using for the vases or the most common one that we use is to simply create a flat wash so I'm just speaking a little bit off indigo for this one. Only thing you need to make sure is you do not create hard edges, value paints or try to kind of move the color around very smoothly. You can have darker parts and lighter birds, but try to move the color around without creating a hard edge in between them. So you'll need to work either from multiple directions or work pretty fast to cover your shape. With this kind of wash, I like to make sure I decide on a direction off light. So for this one, for example, the light is coming from the right, so I've left a tiny highlight here. But you can also rinse your brush patter dry too big. Ah, highlight. So this way you can create a subtle highlight right here if you want to add a bit more shadow and while the base layer is still red so that it blends in smoothly. So this was just this first technique. Try to decide the light and shadow direction. I like to have the little bit of darker color at the base. Since the light is coming from the right, I'll just darken up this edge just a little bit and then keep the right side dark, a swell lift up the shadow bit more. Now let's see the printed valves technique. So for that you will need to create first of base layer. I just use this magenta I have. So I almost always stopped over the edge and then bring the color, do the science. So this time we're deciding for the light to be coming from the left side, so I'm going to keep the right side edge a bit darker for printed vases. You do not need to worry too much about creating a very smooth finish wash, but still try to create sort of a highlight in there. Let's pick a bit more clear highlight for the rinse and battered dry brush, and now we're going to wait for this to dry. In the meantime, let's see how to and details off sort of fancy glaze. Walda base layer still vet. So let's first add a base layer of indigo, so these are just ready rough examples just to show you the techniques that you can use to create different finishes on your ceramic vases. It's dark in up the vast color because it's already drying. So I also want this base layer to be vet. I'll just add a little bit more off color up on top. And now, while it's still a bit, I'm going to pick another color, say, burnt number. In this case, indigo in bond number. Go quite well together and just add upon top and let it sort of bleed a little bit. So this will give that effect of glaze that I showed you earlier. You can also add little specks just to show up another way off. Adding texture to your ceramic Woz is you can also pick a little bit of color by touching a thirsty brush tip. If you don't want to add white specks, you can use this technique to pick color. Now that the top one has dried, we can start adding some detail to it. So wait for the top one to dry completely, and then simply pick your brush with some color that you want to add and create little details here. Only thing I like to make sure is how my designers towards the edge and second thing is when I'm painting near the highlight. I like to keep my print color a bit lighter, so every other place it will be a bit darker than where I'm putting it on the highlight. So these are all a bit darker. When l come close to the highlight, I'll make the color intensity a bit lighter. So for this technique, we added return dry and here we added details wet on wet. Now let's quickly look how you will paint something that's been created with scruffy, too. Techniques for that try to create a base layer off ceramic. So just a muddy or a grayish color being the whole vase with this color first. So just a very light color and then wait for this base coat to dry. Now that it's dried, I'm going to add another layer off design up on top first. So the idea is, another layer of color is added all over, and then only the design part is kept in rest off it is scraped off. So let's add first the design part. So let's ads sort of this leaf shape. You can create any kind of designs with it, and now to give it sort off a look where the rest of it has been scraped off. I go back to my same color that I used for the base coat and add these little kind of leftover marks off, sort of a scraping the way you use for lie. No cutting or wood cutting. You leave a little bit of marks after you scrape, so this gives an impression off. House graffito technique is used. You can add a bit of shadow to your base coat as well is to define the shape a bit better. So these were just some off the techniques that you can use to create different kinds of finishes to your ceramic. Woz is now. Let's get started with your projects with ceramic. Woz is in them. 9. Project 1- Part 1 Ceramic Vase with Cherry Blossoms: Now let's get started before starting. I want to stabilize this paper. Since its wire bound, it's going to move. So I've got a piece of tape here. I'm just going to stick it here in the corner and just cover it over the edge of the block . And now this is pretty stable. I've got my tracing paper here, and I'm going to use the factory cut edge to create half off the valves shape. You can create any shape that you like. You can also freehand draw it. But I'm not very good with symmetry. So I like to use a tracing paper to trace both the sides. You can first draw a shape on a piece of rough paper and then finalize it on your tracing paper. But this works pretty well for me. And now let's trace it on the paper. Dis refining the shape a little bit amusing Vonage pencil and that will give me very faint lines and not too much graphite on the paper. If you're planning to hand draw your valves, you can skip this step and fast forward to the part. Very start to paint it. So now I've turned over my tracing paper, and I'm just tracing the other site. I'll just refine the shape a little bit more and darken up the guidelines a little bit. We're going to be painting Jerry Blossoms in this van, so I'm just adding a couple of fine lines to give me guidelines for the branches off Cherry Blossom. These are just framed guidelines for me, but to remove any excess graphite, I'm just going to touch on push my Gummi razor on these lines to pick any excess crif I from them. Now let's mix the colors for the months. So I'm going to start with pure indigo, and I'm going to create a very consistent makes with it. That's the most important thing for ceramic that you wash should be consistent if you're aiming for ah, plain waas without any texture on it. And now I'm picking very small amount of color, not too much water in my brush and starting with the Edgware in the direction of flight. So if light is coming from left, I'm starting with the left edge. Now rinse my brush patted dry, and I'm going to soft in this edge very quickly. Now I'll pick a little bit more color in my brush and I'll start on the opposite side a bit more color this time for Notre Contour. So in between these brush strokes, I'm not rinsing my brush and picking from the same model to keep it consistent. If you find that you have to make too many brushstrokes to cover your the shape off your tumbler or devise you've baked, then you probably have to up your brush. Sites are create a smaller shape. I'm just adding a little bit more color over there edge so that it's a bit darker and not let straightens airbrush dry it a little bit and soft in this edge, some softening the agent, pulling it over to the left side where there's barely any color. Just blending it in now lets out a bit more color to our left site. So we're building the colors from both the sights, and then we're going to leave a small highlight in between them. So I'm putting the color and then softening it, just a small highlight in between. Now let's pick a bit more color and added, or the right side on top edge. I'm working without a reference photo here. But if you have a reference photo, just look at the darkest shadows and place some extra color there. It gives a nice effect. I'm adding a picnic color in the center and now pulling it over from both sides a little bit more to the left as well. When's your brush patter dry a little bit and then bring it. This is the highlight in between and then simply blend from both sides a little bit more color on the left side. I like to add a bit more color at the bottom into its the dark side, a little bit at the top and very tiny amount off it on the edge. That's towards the light side. It's often the lighter side, a bit more. So now this Roz is ready, you can wait for it to dry, and then we're going to later put the flowers in it, so just refine the shape. You can add more shadows to it. In the next video, let's paint the flowers 10. Project 1- Part 2 Ceramic Vase with Cherry Blossoms: Now let's start painting the flowers, so I'm going to make some connector. Don't magenta. We do not need too much color for these flowers, so I'm just starting with a little bit of color, and I'll add some water to it. Magenta is too harsh off a color on its own, so I'll tone it down with the touch off Rose Matter to it. Have got a nice, pretty Bink. Let's test it will strengthen the color a bit more so a little bit more off magenta and some more Afros matter to it will also create a mix of corn Astrodome gold. So just a touch and lots of water in it. Well, all to prepare mix of cobalt blue. So just read it. Keep it ready, and now I can see a small, harsh line forming on the left side. To which the bottom. So I'm just picking some more off my indigo, not too much water and just creating another line there, and I'm going to soft in that one up, some, basically adding a little bit of moisture and color there. That harsh line had formed to remove that harsh line and create a bit darker shadow there to hide that harsh line. Let's often it up a little bit more upon top. Serena's my brush better dry and then just run it along where have added this new color. So just keep an eye out on your walls while it's still drying to be quick with these kind of things. Now let's pick a little bit off. Our bank makes for the flash a very tiny amount of color, not too much water in my brush, and I'm going to create just small dabs clump together. You can also paint these flowers pretty well defined as well, but I'm trying to paint quite a few of them on these thin branches, so I'm just keeping them too little dams. I'll change my mix around to create an impression of density there, adding a bit of yellow in between these flowers. It brings in a bit more off light and then also a little bit of cobalt blue for the playlist off the pedals back to the pink mix. I'm just following the little guidelines off the branch we had drawn earlier and just adding little dabs very close to it. Changing mimics between pink yellow and very watery cobalt blue. Let's add a little bit more off Rose Matter in between some of these flowers. For a few darker petals, it's add a few more up on top, just little damps and that do it just the tip off your brush, not the full brush. Now let's move on to the other branches. So with these dabs and changing the color and the value, we're just working in sort often Impressionist way to create an impression off multiple flowers behind each other. Don't forget to keep changing your mix, to prevent it from looking flat, and also leave some gaps in between. As you go up on top, try to reduce the number of flowers or, Dobbs says, the right side is going to be the shadow side. We're going to add a bit more color towards the right side of each branch and especially the right most brunch. So just keep that in mind, but we're still going to keep the flowers pretty light. So whenever I want a bit darker mix, I pick a bit of fresh rose matter, not too much water and just touch it where the flowers are still red to let it bleed. Keep your kitchen paper handy to soak excess water. Now let's paint the branch on picking some burnt umber and mixing it in the original Indigo makes. It will give me a nice color for the branches. Not too much water in my brush, and I'll start right from the top where DeVos has ended. And I'm adding a few in between the flourish where I had left the gap and reducing the size off these branches and twigs as they're going up. Don't worry if they're touching the wet flowers. I like how it bleeds in, but you can wait for the flowers to dry completely If you do not like that look. So add a few branches or little twigs jetting out from these main branches as well. Make them a bit wavy, so just look around and see where you can add a few more off these fine little twigs coming out. And now let's add a few more flowers. So rinsed my brush. I'm going to add a few more little flowers to these new branches, a little bit more color to the left. Most one says, well, a few more flowers to the new twigs, so the same makes off bank change, with some yellow now picking some rose matter for the darker flowers. So I don't have too much water in my brush, just the color, and I'm touching where the flowers are still ripped, amounting thes dabs almost everywhere but keeping them a bit more concentrated towards the right side off the composition. Let's paint a few more upon top. Very light here because they're towards the lightest side, adding a touch of blue there. Cobalt blue, it very small amount of color in it, almost watery mix. So here's your final project on Do you convince? It's dried user eraser to re raise any kind of excess graphite, and I hope you enjoyed this one. 11. Project 2- Part 1 Ceramic Creamer with Billy Buttons: for this project Amusing this post God here of taped edge the similar way. And now, with my tracing paper, I'm going to create a small shape off a milk creamer so bit wider at the bottom and pretty small. If this is the first project of watching, you can skip this part. If you would like to draw the shape freehand, I'm just using a tracing paper to create a symmetric shape when H pencil doesn't give me too much off graphite on the paper, so just fine lines to guide me. Now let's refine the shape and darken up the lines a little bit. Let's create a small spout towards the left side. Under handle towards the right, we'll be putting billy buttons in it. So little circles, a few off them behind each other. They're really cute flowers that you can add quite a few of them in this kind of short Woz is, and I tried to keep them sort of uneven in number, a small line for the back edge off this milk creamer. Don't forget to add the stock for the belly buttons. I like to leave them pretty scattered, but you can also create some kind of asymmetric arrangement with them. In real life, you would need a piece off a florist sponge at the bottom off this creamer. Now with the Irizar, I'm going to just pick a little bit off the excess graphite from the and drink. And now let's start with the vast. So I'm going to pick Rose Matter as the base color, just standing some water on some color, and I'll stop almost as always, from the left side from this about following this shape. Now, rinse my brush, but to drive it and soft in this edge Most of the time, I consider their light coming from the left. That's how I paint my first brushstroke towards the left side. And now, with a bit more off color, painting the right side, bringing the color down, we're going to be adding a print on top off this creamer. So I'm not too much worried about uniform wash but still trying to follow the same rules and take a bit more color, bringing it towards the left side. Now softening bridge, creating sort of a natural highlight area a bit more color. The base that sound a little bit more color around here, so just a little bit. Not too much water, also to the handle of a bit, so it takes a little bit of practice to maintain the teller consistency. Now add more color to what's the right side? A little bit more do. It's the top edge, just going to add a bit more off color Wherever I'm seeing these harsh lines forming it sound a bit more color, dark and upthe overall color of devices and simply blended in towards the left side. So by the end, I moved from both sides and simply softer the words where they're meeting At the highlight , I'm also lifting a little bit of color with a moist but thirsty brush the rings, your brush patter dry and then push it along where you want to lift the color. Picking a small highlight near the handle as well again, look at a reference picture just to make sure where to place the highlight on the shadows allowed a little bit more color upon top here near the highlight and a little bit for the back edge. It would be hard to add this color once we have already added the green stock. So already add the back it. Now let's start with the really buttons. So to make them look like small balls, I try to create a gradation. So I start with the darker side that's the right side, and then rinse my brush better dry and bring the color towards the left side. You can also left a little bit of color. You want the left side of this circle to be a bit lighter than the right side. So anta color to its the right Renzi Brush better dry, um, pull it over to which the left side, so sort of a Christian, shape off a darker color towards the right. Now let's paint a few off these in green color, so I'm just picking a little bit of sap green, and I'll do the same with sap Green. We'll start on the right side and then pull the color over by softening the edge towards the left side. They're usually yellow in color. I've only seen it once or twice in a reference image where I've seen a combination off yellow and green. I'm being just a bit careful around here. I do not want this green to go bleeding into the yellow we had just painted. You can obviously rate between the two, and I'm painting one behind each other. I try to make sure I do not touch the vet one. So now this yellow, when we have to paint will start with. It's anyhow going to be a bit darker, since it's on the right side and also behind this green one. So I'm not too much worried. The vase is still that, so we'll wait for it to dry. In the meantime, we can add little stocks to the Billy buttons, so just lines simple lines, trying to keep them uniformed. Take Miss. Also keep in mind which flowers in front and which one is behind. Based on that, you can decide whose stock will be completely visible in which one will be partially visible in the next video. Let's continue adding more details 12. Project 2- Part 2 Ceramic Creamer with Billy Buttons: now for adding the texture to the bellybutton. Amusing the small brush, the detail brush and I'm mixing a little bit off its first makes the color with a bit bigger brush. It's easier. So I'm picking some burnt number with some Kanak Crotone gold, and I'll also create the similar mix off green. So I'm just picking in my fine detail, brush this Quran accurate on gold and burnt umber mix and adding where the shadows will be so right behind this green one. There will be shadow, but also since it's on the right side, a little bit more burnt umber. So I started the bottom and follow a little bit towards the right side. So just little dots. I am leaving the lighter side. For now, I can add a bit off. A paler yellowy makes their but for now I'm just adding thes darker burnt umber and Kanak Redon gold makes. And now, with my bigger number four brush going to pick some of the yellow mix simple yellow. It doesn't have any burnt umber in it, rather closer to the deep yellow that I have and adding it to its the light side and also touching a little bit off the burnt umber and Conacher Adan gold dots that we had added earlier just just often, them up a little bit. This last one will be incomplete shadow. So I'm just adding a bit darker color there. No, let's to simply blend it a little bit more, make it look more spherical. Now let's do the same with the green so bit darker green on the right side, touch of burnt umber to it in just little dots allowed a little bit more here, right behind this yellow one. Now back to this one. Now let's pick a little bit of sub green. Very light makes for the lighter side little dots and then just touch everything a little bit with this red brush just too soft on up, everything we've on the impression off texture, not very clearly visible texture. Now let's add a little bit of shadow. Do is the right side of its stock, so that same burnt umber and green mix just a fine line towards the right. Now we can start working on the creamer again. Let's first start a little bit more of the shadow, so I'm going to pick the Rose Matter mix. I'll start right underneath the spout. These are some of the places I always add, a bit of shadow. So underneath this about at the top edge near the handle and also at the bottom. Egx Rinse my brush, but trying just soft, turn it up very lightly. We do not want to be lifting the base color, so be very gentle and very light here, also having a bit darker color upon top at the end of the spout as well. Now let's simply soft in these shadows a little bit more so my brushes not shop event. So I just rains it and dab it dry on my kitchen paper towel, just refining the shape. And now we have to rate for this one to dry before we add the baton. Now that it has dried, I'm going to create some mixes for the little polka dot pattern, some creating the same Rose Matter makes. But this time I'll use a bit darker color. I'll also create another mix off Rose Matter, and I'll add just a touch of indigo to it, very tiny speck off indigo just to create a very light purple e mix, and I'll start with the Rose Matter color first, not too much water in my brush, and I'll create little polka dots. I'll create the lighter polka dots rare. The highlight is, and for rest I'm going to alternate between light and dark. Vary the color around to create interest, so here's a highlight. Either don't paint on it or, if you're painting, created a bit lighter. For this polka dot I've left the left side a bit lighter, so making that indigo and Rose matter mix a bit darker for a few of the bulk of dots just creates a nice, interesting pattern. You can be quite precise with the pattern that you trained on these vases, but you can also create something lose and just on the goal, as I'm doing right now, so you can create a whole uniform pattern like I'm doing right now or something just in the center. So it's entirely up to you what to paint on these little vases or tumblers. Let's add a few darker funded the bottom. It's just a bit of indigo with the rose matter, so making the darker ones a bit more dark, adding a few more. And now let's add a little bit more off color to the handle do. It's the inner edge, so I'm just adding little finishing touches now. Let a bit darker color at the end of the spout as well. So some indica mixed with that rose matter a little bit for the inner edge Israel, where it's meeting the outer edge, and this pretty much finishes our a little illustration. So here it is. Once it's dried, you can. If you still have any pencil lines left. Just use any reason to pick up excess graphite. Just make sure your color has dried, so here it is, your little project, and I hope you enjoyed it. 13. Wood Overview: when it comes to would. It can come in all different kinds. So based on the age of would it can be really knew, would can be old. It can be in the shape off tumbler or a great like this. It can have a bit of paint on it. It can also be sort off really decaying wood. So based on how the wood is, you can decide the base color and then what kind of texture you would like to add on top off it. Now let's have a look. It an easy way to add some wood texture, so we're going to start first with sort off on new wood. So for that, I like to start fit some burned number, and then I makes a bit of connector. Don't gold in it. This is the recipe with the colors I'm using. If you have some other shades, you can try your own recipe, so I'm just painting a blank with would. You don't have to worry too much about a very uniform wash so you can have a bit a small place, which has a bit of darker color. I like to add a few textural details right away when it's wet. So sometimes I add a bit of that same color that I painted. The plan quit and add a few ripples like this, and they get blended in quite nicely. You can also paint with directly a brown or a burned number that you have all the shades of brown sepia. They all are nice to just use directly from the tube. You can always use them to paint would if you would like to create something richer. I like to add a bit of crimson to my burned number, so a bit more raising a sculler, richer red for a would that sort of decaying a little bit. I like to combine indigo with my burnt number based on the amount of indigo in my mix. It will vary. It's shade, so it will move from sort off a dark black or great to slightly green so you can start adding little details right away. So I picked the same color I painted these planks with, and simply add a little ripples right away. They will get blended. Some off them will retain a bit of shape, so let's see how these reporter add it. So I'm just using the tip off my brush with a bit of wavy motion, sometimes pressing my brush a little bit and creating these lines very close to each other . Also, these sort of concentric ellipses you can change the mix around. For these. I went a bit sharp here. Add a bit darker centers to these concentric ellipses, so these are sort of the textures we're going to add on the wood. You can study different kinds of woods to notice different kinds of textures. Let's start adding a few. I like to add the's textures in layers, so some of them I add vile there. Still that and some while they're dried. So the stop one is sort of almost dried, so when you will create the texture, it will almost retaining its shape. You can go a bit darker, so just a few ripples and also a few concentric ellipses can also add little nicks here and there. I like to soft in these marks a bit, so I rinse my brush batter, try and just quickly dubbed over these marks so they get slightly blood. We can do the same with other woods This one is almost right now, so the same makes but a bit darker value. Create the waves. Try not to create too many of these concentric circles. Sometimes I go back in and add a bit of darker value. It sound a few more to these bottom two planks, so just use the tip off your brush. Try to press the brush down a few places, so just a very easy way to create woods texture. You can obviously spend much longer and create them in quite realistic details. But this is just a very quick way. And then let's often all of these marks, so rinse my brush. But to try and just quickly double were the color to create little cracks. I use a darker color and run from the Enge, sort of in a baby fashion into the plank. So this flammable to create sort of a look off a crack in the wood. Now that we know how to create an impression of wood, let's get started with your two wooden vessel projects 14. Project 3- Part 1 Wooden Bucket with Lavender: for this would project. I'm going to create a wooden bucket with lavenders planted in it. So for that I'm going to use my tracing paper. But you can very easily draw this shape freehand as well, so smaller at the bottom and quite wide upon top. You can create bucket or even barrels. It will be made out of planks, so I'll just first create the whole shape. And then I'll add the planks, so simply tracing it, you can skip this drawing part. If you would like to freehand draw it, let's make the lines a bit more clear. Now let's start adding the planks so the center plank would be quite straight, but the rest of them will be at a slight angle. I'll also add a little handle here, maybe a bit more center. Now let's also create two metal bands holding these blanks together. So one down here as well. We'll be putting lavenders that come out right from here. So I'm just creating a small guideline for myself off sort of a dome shape just to give me an idea how long the stocks off lavender should be. An overall shape should look like And now let's create the mix for wood. So for this would I want to makes a color that looks a bit sort of a decaying wood, since it's an outdoorsy kind of planter. So I'm picking some burnt number, and I'll add a touch of indigo to it. When you're just starting, you can keep trying to test these colors just to decide which makes you like said. This makes us right now a bit to green for me, so I'm just going to add a little bit of crimson to it. This makes it thoroughly wanted to be consistent. And now let's test this color a little bit. So this is almost the right color so we can get started with it in my number four pointed round brush just speaking it, starting from one corner. This time, the highlight will be sort of in the center. This brush holds a lot of water, so I don't have to dip it in fresh color that often again. It's what I'm not so much worried about creating a very uniform wash, so starting from both the sides, so both the sites will be a bit darker, and there will be a little lighter color in the center and now simply soft in up these edges, slightly moist brush for a brush that holds a lot of water, you have to be careful about how much water it contains and how much drying it needs. So just a little bit of practice will help you get you through with your brush now, adding a bit more color towards the top edge on both the side edges as well, just to give it a nice sort of decaying would look. So, keeping the center area bit lighter, I'll keep adding more color to the edges. It's still red, so it will spread smoothly. I'll also add little faint lines for the planks they will get softer as it dries. We can now let this dry and work on lavender. First will be adding more details to it once it's tried. So for 11 time going to mix, start with my violet. That's dioxins in violent or Vensel violet, and I'm going to add some rose matter to it. It's also create another mix going to start with. Dex is in violet and handsome Good ball blue to it. You can make your lavender quite detailed if you're painting just a few, but if you're bending so many of them as we will be, you can paint them quite loosely. So it's nice to have different colors off purple and violet ready to alternate. We'll be following the dome shape, so I'm just going to add little dabs very close together, going upwards. So just little dabs going up. Right now, we won't be adding stocks. I'll shift to a bit smaller brush number two so little dabs going up, changing my mix as well. Sometimes I'll pick a bit darker. Makes a little bit off that pinkish purple. This is going to be pretty repetitive since we have to add a lot off lavender here, So I'm following that dome shape. You can create a bit more clear guideline for yourself. Changing my mix between that bluish shade on a little bit of that bank is shade. You can also change the value off it by adding a little bit more water. You can fast forward this bunt. It's simple, pretty repetitive, just adding little dabs going upwards. Let's add a few lighter ones so you can see I've changed my pink makes a little bit made some off the flowers, a bit lighter that are sort of in center bit. And now we can start working on the greens, so we're going to paint the greens and layers. So let's first start with the lightest green. So I'm going to make some sap green with a little bit of corn Astrodome gold. This will give me a nice light green gold color, and I'll just start from the top here. Straight brush just using the tip of my brush on afflict motion to create these fine lines connecting to the lavender. I'm not adding leaves at this point, simply adding little stocks connecting from the base to all the lavender up there. Just using the tip of my brush. Just make sure you're attaching all of these stems to the base. Don't worry if it bleeds into the food right now, we'll be fixing the would later. Let's mix that same color with a little less water this time, and I had a few more stock will be darkening up the base here, but before that, let's add a few more lavender, so picking Dax is in violent mixed with some rose matter to it, and just to add a few right here just to make it a bit more dense. So some of them a bit more softer than the others. - And now I'm going to pick some peer sap green another to my earlier mix just to create a darker green and add a few stocks. We want to make this bottom part look quite dense and dark, so I'll be using different kinds of greens. I'm just feeling those white gaps in between because we want to make it look like it's quite dense in that a few hanging over the edge, and now let's makes a little bit of indigo to are green. So starting with some indigo so you can makes it with green or use on its own. And this time I'm using it sparingly, more just towards the bottom. You don't want to completely remove all the lighter greens we had painted. Also, a little bit of sap green, mixed with the earlier brown makes we had used for the wood is to create a few darker leaves. So your aim is to make this whole dome shape look quite dense with flowers on the stocks, adding a bit more off the darker indigo color, indigo and little bit of green that was in it. Just little dots on little dashes in the next. Read every going to add details to the wood. But before that, let's quickly use this darker indigo color to add tiny dabs along the imaginary back. Most edge off this wooden bucket, the just little dabs where the edge would be. Let's continue in the next video. 15. Project 3- Part 2 Wooden Bucket with Lavender: now that we are ready with the lavender, be going to work on the wood. So for that, I'll need some darker mix. We're going to create the same mix that we created for the wood, but a little less water this time. So starting with indigo going to add some burnt umber to it on itself, this will have slide green tint to it. So I'm going to add a little bit off red in it. So I'm using the color crimson to add to this. And now this is sort of the perfect color for me, a bit darker than the earlier shade with my number two round brush. I'm just starting from the edge on the top, egx hundreds. My brush better dry and run it along this extra color I've added to soft in it up, making the top it a bit more demarcated. And now I'll just use this darker color to create these long dashes running along the blanks that we had drawn earlier, leaving a little bit of gap in between them. The centre one would be more straight on the side ones would be at an angle a bit more color towards the side. Once. I'll also define the base a little bit more and now rinse my brush and very slightly dried . I'm going to use this wet brush to run along the earlier marks we have created. This will not only soft in up those marks, but also create some extra a little lines there and now, using a little bit of color on the side of my brush to create these little dashes. So vertical marks on all of the blanks. You can even create a few cracks if you like, allowed a bit more color to these planks that are on the edges. Side edges soft. Turn it up with that brush as you go along, so I want the site blanks to have a bit more color than the center once. But if it's too much color, I simply rinse my brush Better dry on left a little bit of color from them. I want the stoppage to be quite nicely defined, quite darker color there, also at the base. Now let's create the little handle so with that same mix, will first create the little triangular shape. It's softer gardeners and a little dot in the center as well can darken up the planks a little bit more, the gap between them so you can add as many details to this as you like. Work on layers. Let some of them dry. Come back in, lift a little bit more color from this edge. It's getting too dark here, so rinsed and slightly dried brush pressed along where you want to lift the color. Let's define it a little bit more if you've lifted too much. We also need to add the metallic band from the starting little bit off into go to the earlier mix we had created. And with slight pressure, I'll create a particular line so different curved one. Another one right here allowed the same color at the base as well. I'll also add this color to the handle a little bit, but I want a small part of handled to be a bit lighter, so I'm just lifting a little bit of that color back, and now I just have a look at the bucket and decide where you want to add a little bit more detail, refined the shape a little bit more. It's dark in up this area here a bit more. Let's add a few more darker leaves in stocks on a few more 11 deer up there just to make it look even denser. Fill any kind of gaps that are there also a few darker stocks. At this point, I'm just adding little finishing touches. You can very well stop right here. I'm just adding little darker stocks here and there, a few leaves hanging over the edge so I keep stepping back and having a look at it. This to decide, very want to add a few more details. I want to refine this side edge and this band a little bit more. Also, do this band. Now let's step back and see Very ALS. We need to add more details, softening up some of them. So this was your wouldn't bucket with some lavender in it, and I hope you enjoyed this one 16. Project 4 - Part 1 Wooden Crate with Tulips: for this project. We're going to be painting some tulips planted in a wooden crate, so I've got three centimeter by six and Demeter Rectangle on have also divided it into two butts. Now we'll just create a 10 border around along the three edges, and now let's make some color. So I'm picking some burn number in my brush, and I'm going to add a touch of Canal Crotone gold to it to lighten it up a little bit. And now, with my number four round brush, I'm going to add the sculler to this rectangle to speak any excess graphite. And now, just starting from one side, I'm going to spread it towards the other. I'm not too much worried about creating a very uniform wash. Rather change your mix around to create a bit of variation. Sometimes add a bit more off water to create a lighter wash. We'll be adding plenty of texture later, so for now just concentrate on adding color and changing the mix around a little bit. Now, while it's still read, we're going to out a little bit of texture, so I'm going to pick some burnt umber and conductor don't go not too much water in my brush and just adding these fine lines, letting them bleed and get blurred places where the paper has already dried. They will be a bit more defined, but don't worry. Try to keep adding them, especially where the paper is still vet. Now we'll just get a little bit off the side edges on the back edge to give us an idea off the depth. We'll also get some guidelines for our two lips were to place them. If you're painting them quite loosely than you do not need to worry too much about where to position them. I do like to keep them almost the same height, but a few of them behind each other as well. And no, as we had breakfast earlier, we're going to paint him two lips, so I'm going to pick some rose Matter. Not too much water. Initially with my number two fresh, just a small dab up on top prince. My brush better dry and bring the color down. Brings my brush, but to dry soft. Turn it up. Let's see it. Let's give it a little bit more color up on top. Sort of an almond chick a little to keep my green makes ready. But now let's create a few more so droz matter without too much water. Prince, my brush. Better try. Bring the color down first towards the left side and then friends my brush, but did try again on soft in the right side. Create a nice almond shape. And now, with the take color, not too much water, I'm going to add a fine line towards the right side, following the curve to give an impression of the petals that are behind this front. One also touched the green. You can let it bleed or prevent that from bleeding, so I'll just rinse my brush batter, try and just run it along where there's too much moisture and the colors are bleeding and it will stop that. I wouldn't be creating the full stocks, just attaching them to the flash. For now, let's create a few more the similar way a deeper color first dam and then softening the color, creating the almond shape. You do not want to wait too much between the first dab and while you're trying to soft turn it up, but you can obviously create a few dabs and then soft in a few off them wooden crates. They're also good to plant lavender, so just look around. You will see different images on Internet or around you as well. At your local gardening nurseries, you'll be able to see different varieties of plants and crates. Now let's at the darker center line. You can also add it right in the middle that just say's the angle of flowers a bit different than the other ones, Or you can add it to its the side like we've been adding, It's also add the stock. And now let's continue adding a few more. I tried to keep them all almost same height, but not exactly all at the same level, these two hour one right behind each other. So I have to be a bit careful around here. Just add a little bit off the darker line at the one behind and to spring it along a little bit between the two. It's on the green stem. You can make them as dunces you like. Just be careful when you start to reach the flower that is in front. I don't have too much water in my brush, my brushes just very slightly moist. It's the number two round brush Flotus paint one more here, sad. This stocks in the next video, let's continue adding more details to the great onto the flowers. 17. Project 4- Part 2 Wooden Crate with Tulips: Now let's work on the crate again. So I've got the point number mix, and I'm just going to create the back and the side edges just some light color there and now with same burnt umber, without adding anymore any other color to it just a bit darker. And now, with my number two pointed brush, I'm going to pick this color and just start with just the tip of my brush and create fine lines. A little baby breast the brush down just a tiny bit, too. James. The thickness of the line also create these concentric ellipses, so one inside each other, not completely round are joined, just little curves inside each other. An alternate between the two. Don't add too many off these carbs. Just one or tube will be adding the details in layers. So don't worry about adding all the details right at this moment, we've already added some while the paper was still red, and you can see there faint lines of that one. And right now we're adding this layer. You can look at wood texture to understand how these lines work on their different of the kind of textures as well so just study them a little bit. If you want to create something with a bit more realist minute and now with some more burnt umber, I'm just darkening up the centers off these curves, suggest a dot and then darken up the first few curves around it. And now, with, uh, the burnt umber mix a little bit liquidy, I'm going to simply color this border that we had created. It's a simple Flatbush. And now to soft in up these marks that we've created, I'm just renting my brush, batting in trial a bit. This is a number four brush and just dabbing it over these marks. So that way I'm not lifting any color. But the water will soft in up these marks just a little bit. We do not want them to stand out too harshly. So just little dabs. I'm not even running the pressure long just tapping it. And now, with my number to brush, I'm simply picking that color and just adding it up on top just to give it a bit more shade . Let's work on our green, some picking the South Creed, the one that would to drive ivory work on sap green, so sap green and green a Crotone gold. We want the greens to have different shades, So the first green I'm working with this quite light, So sap green and green occurred on gold. Another makes a sap green along with a bit of froze matter. So it will give me quite a former green closer to brown. The first start with sap green and Garnett Crotone gold and just extend the little stocks we made at a few leaves. So touch press on left for the leaves at the bottom, they will get quite dense, but right now I'm just adding one or two leaves, with each stock also alternating between the darker, mixed, recreated with rose matter. So if you will create lease with different kind of greens, it will create quite an interesting look. So try to create different greens composed with at least one same color. So here have used sap green as my base on the rest to greens I'm going to use are going to be created out off it, so I'm just alternating a few leaves with lighter green makes on a few with the darker one that we created with Rose Matter and see. Now we've almost got it quite dense at the bottom. Now let's create a few leaves that are bent over so just the leaf shape and curved around the edge, using the tip of my brush. That slight pressure. Now let's add a little bit darker brown color mixed with a green at the base off thes stems to make sure it looks like there is mud or soil, Whatever you call it, um, at the pace. This and greenish brown makes us starting to bleed a little bit, so I'm just going to lift a little bit of moisture out from the good part. And don't worry about it. We'll fix it later, so just rinse your brush battered try and run it along where colors are bleeding too much. Now let's also add some color to the gap between the two planks, some just picking some burnt umber the touch off indigo to it to darken it up. Now, using that mix to create a small gap between the two planks, this capital remained quite dark because off the soil filled inside the crate, also using the same mix to create sort of the border a bit more demarcated. We're going to create more shadows around here later, but right now I'm just using these marks, too. Make this border bit more pronounced, also adding a little fine lines on these parts as well, says they're also would. Let's not worry about the stoppage right now, but we'll quickly given impression of the bat. Most edge, with just little dabs between the greens. So just on impression and now will reinforce that green again so that it looks like the green is ahead of those Brown's. And now I'm going to makes a little bit of indigo and burn number for darker shadows at the border and also create thes cracks in the wood. Using this darker makes on the border between the gap, also reinforcing that top edge a little bit. So just a bit of indigo mixed with born number and start from the border and run sort off a baby line into the plank so this darker border kind of differentiates. That, too, would nicely a bit more darker color for the gap between the two planks, just adding a few more details. Duties site blanks Here, I'll give them a little bit more color. I'm just using very slight pressure to add the sculler so that I don't remove any details. Let's add one more crack, maybe up here. We can also now reinforce the top edge, so simply agreed to fine line there and add a bit of color to where the colors had bled earlier. But darker color for the top edge, the side edges as well. Now I'll keep working on it. Just this, waving a few darker shadows here and there, emphasizing the gaps and with the same color. Let's add these little dots on the side planks here just to give an impression of nails. So little round dots. Now let's go back to the greens and mixing a bit of indigo with my sap green to create a much darker green. So this will be sort of my darkest green in there. I'm not going to add do many off them. Just a few here and there. Now I'm going to pick my rose matter, and I'll mix it with a little bit of couple blue to create a very faint shadow on this to lip that's right behind the front one. It's often adopt with moist brush and with the deeper Rose Matter color just at that little mark we left out thes one. So I'm just adding the starker mark on these few, So I'm just giving a little bit of finishing duchess to some of the two lips. Now let's work on the base off these plants, so I'm just adding a bit darker. Brown colored the base again, repeatedly demarcating the starting off the wood because the base is also brown. But you want it to look different from where the wood has started. Just little dabs and touches here and there. If it gets too dark, you can use moist and slightly dried brush to lift a little bit off color. And now I'll just have a few more touches. Let's have a look and turn this page a little bit to see it straight and see where else you need to add a bit darker color. So same indigo and burnt umber mix for the darkest of shadows, from just starting a little bit on the border here, softening it a little bit. You can decide to stop here. I'm just making this side would a little bit more colored. So now with this breastroke, I'm going to call this project done. And I really hope you enjoyed this spring special a crate with some tulips emit. 18. Glass Overview: Let's talk about painting glass. I find it quite a tricky subject and consider myself a work in progress regarding this skill. But there are a few things I like to notice when I'm looking at a reference image. So one of the things I like to notice is whether the glass is tinted or not, so that I can decide the base color. How and what's the water level? What's the direction off light, how you're looking at the water level. This is a great photo. So, for example, here you can see the shadow, the water level, the light direction. The highlight is also very clearly visible here. You can also see refraction where the stem is a bit distorted underwater so you can use thes images just to remember how to place highlight where to place shadows, how the water level is. So These were just some of the things I like to notice on remember, especially when I'm painting without any reference image. So for painting glass, you need three different values a really light value, a medium value and a turned value for the shadows. So for the lightest value, you'll be using the white off the paper or in case off tinted glass, a very light color off the glass for the second value. I use a light shade like a bold blue, or you can even use a very light great. And this color is meant for the edge. That's towards the direction where the light is coming from Now for creating a shadow color , you can use a grey, but you can also makes your own grey. So for that, I like to start with a bit off indigo. Then I had a bit off bunt number to it. This is my own recipe, so you can makes your own gray. This way. I add a bit of Grimson do this makes. And then finally, I add a bit of cobalt blue again, and this gives me sort of a cool agree. So now let's see how to place thes colors, so the slightest light. For example, if the light is coming from the left, the lightest light would be sort of the highlight sliver quite close to the left side, so this liver would be your highlight at the water level. They would also be a sliver off highlight. There the number to the middle color would be on the edge that's facing towards the light on the shadow color. The number three color would be on this edge. The shadow color will come all the way down. You can also have this number two color spread out round here. Another thing that you have to pay attention to is how the stems get a bit distorted and look a bit blurred on a bit broader underwater. So instead of going straight, try to put them at sort of an angle. Now let's apply these colors just to see. So let's first apply the middle value. We're going to leave the lightest value as the paper, right? So first, the middle value over the edge that's facing two words. The light light is coming from the left. I'm leaving a little bit off right in between, sort of a C shape off writers left in between. The color is very light. You want to paint class quite light. I'm just morning this cobalt blue, leaving this right here. Now I'll mix Kabul blue with the shadow color every mixed and apply it on the right side. You can see a bit of Kabul blue separately because I think the color wasn't mixed properly . And now bring this shadow color down all the way to the bottom. Soft in all of these shadow colors a little bit. Try to leave a bit off white sliver up at the reem Israel. Now let's decide on the water level. So say, for example, what your level is here. Start for dear Shadow makes first create the water. Sometimes I like to add a secondary highlight on the right side. I still like to keep it a bit light on the left side, and sometimes I pick a little bit of color off from there. And now, before I add the other side of water or sort of complete the water level, I like to leave a sliver of white in there. This water level might look oval, depending on sort of the elevation. You're looking at awas, so just make sure if you have a reference image just to know that it's dark in up a little bit more so that you can see a bit better. So I'm applying the number two shade sort of the middle value. I'll apply it all over the glass will soft in this shadow a bit more. It's got in a bit harsher, so I'm blending that color, bringing that shadow color down. I'll refine the highlight here, so pick a little bit more color. So you're middle value is here your lightest value on the darker value on the right side, which you can build up a bit more. The last thing that we have to do is add the stem. This is still that so I won't added. Here, I'll show you how to add. So bring the stem down all the way to the water level than instead of going straight. Change the angle. Lippett. Let this one dry before I show you how to do this and that it's dried. Let's added so all the way to the water level. And then, instead of going straight to start it for a more scientifically correct distortion because of refraction, try to look at reference images. I also like to soft in up the stem a little bit underwater, so you've got your medium value in the direction off light. After that, you've got your highlight, a small highlight and the water level, and then the darkest shadow. So these were just some off my tips to create an impression of glass if you don't have a reference image. But if you do have a reference, try to pick the same dips out off it. Now let's get started with your glass walls projects. 19. Project 5- Part 1 Glass Bottle with Lilacs: Now let's start working on this project. Were real paints, um, lilacs in a tinted glass jar. So first I'm going to use my tracing paper to create a small glass bottle of glass jar shape with the bitter for define dream. If you would like to hand draw this part, you can skip this tracing part, painting glasses always tricky, and I find myself always trying to improve every time I paint glass. But the trick is try to find a good photograph, a simple photograph off glass and decide where highlight and shadow czar on create sort of a principle of that and tried to apply it on little vases that you create without any reference. And the more you practice, the more you'll be able to place them correctly. Now let's trace it on the paper. If I want to reduce the width of the glass, I try to move the other half a bit more closer than where it should have been, and it works pretty well for a shape like this. Let's refine our guidelines a bit more. We'll also be adding lilacs, so I'm just adding a few leaves, look guidelines for myself to add three composite lie like flowers, their stocks as well. I'll also decide water line for myself, and now we can start with the flowers so we'll be creating different shades off purple and violet. I'm starting with a little bit off rose Matter allowed to touch off. Connect Raton magenta to it as well. A little too create a mix of Dax is in violet and add some magenta to it. Another makes off crimson. Mixed with dykes is in violet, so wearing shades of purple on violet, a little bit of Kabul blue added to this rose matter and magenta mix. And now, with this mix, I'm going to start creating little four or five petal flowers or little flower shapes. They're not even very well defined. Just the baby used to create little flowers when we were kids. So just small flowers very close to each other. Few four or five petals days the mix around. Use a bit darker mix, sometimes a bit lighter, sometimes very close to each other. Just little circular shapes, little dabs, little four pittle, five little flowers and sometimes just little dabs. Here and there. Overall shape is going to be conical, So the side flowers, we're going to have just a few petals visible, so do make sure to change your mix around. You want a bit of variation in the shades for these flowers, and as you're going up on top, try to taper so it's getting a bit tainer up on top. So just a few dimes. Now let's pick up it darker mix. And while the florid zehr still with just add the starker mix at places and let it bleed in , creates a nice lose effect. Now let's create the 2nd 1 so big the light makes first. A trick to create sort of the lose look is to pick darker color. Paint a few petals. First, rinse your brush, better child up it and then soft in up and create a few more dabs with it that will be much lighter in shade. Then add a few more touches of darker color. So you able to create variation like this. The simple dabs and touches going back into the 1st 1 adding a few more darker flowers there just read, roughly defining a few of the flowers there as I'm going up, I'm going to taper it. While the colors are still ripped. Make sure to add a few different colors in there, but darker violet or purple in there. I'm trying to keep the right side of thes flowers a bit darker than the left side, based on the direction of light. I'm just trying to make these stops. A bit more tapered would be adding more colors to these flowers later. For now, I'm just creating the overall shape. Now let's pick a bit darker color. So our crimson and taxes in violent makes. And I'm just going to add a few dabs, mixing a bit off Rose matter on taxes in violent to that makes for this purpose. Use your darkest violet or purple mix that you've created trying to concentrate on the right side of each composite flower. You can also make it darker by adding layers off the same darker color on top off the earlier one. So little dabs here and there. And no, the flowers look almost complete so we can start working on the greens so I'll just start with some sap green, and I'm going to make some indigo to it to create dark leaves first you can create a leave that sort off bent over the edge instead of one stroke lead if I tried to make them a bit gravy at some stock. Right now, I'm just adding the stock up to the level off the glass on a few more leaves. A few tweaks here and there connect some of the leaves. In the next video, we're going to start painting the glass. 20. Project 5- Part 2 Glass Bottle with Lilacs: and now we can start our tinted glass. Before that, I'm going to pick Texas crucified with my syriza, and now we can makes the shade for our glass. So to start with, I'm going to pick some sap green in my brush. It's a number four round brush, and now I'm going to add quite a bit of cerulean blue to it. So it's more blue, then green and then add a little bit off indigo as well in there, adding a little bit more of water and with very tiny amount of color in my brush, I'm going to start keeping my kitchen paper towel handy. Just a tiny amount of color going to start upon the top. Create the rim, going to keep the right side a bit darker. So right now I'm leaving lots of white space between friends, my brush. But to try and then soft in these marks up a bit, still, leaving some natural right highlight in there taking that same color going along the left side edge Prince, my brush back to try and quickly, soft in it. Soft in this whole galler up. Let's pick a bit more color for the right side. Now rinse your brush, but to try and bring the color a bit more to the center allowed. Some color the base as well. So a bit more darker color on the right side, the back edge off the base. And now we can start defining the water level. So just create a line, don't touch it on the left side, completely leave a highlight and simply blended down a bit, bit more colored towards the right side. Friends airbrushed often it all up and now, using the same color, create another line on top off water line, leaving a fine right in between at some more color up in the center, it's a tinted glass, so most off it is going to be colored. Just make sure to leave the highlight on the left and also the water line visible. So I've got highlight upon top at the water line as well, now adding a bit more color on the right side, but more at the pace at the water line at places on the rim. I also add a little bit more color on the left side, but very sparingly. Most of the darker color would be on the right side. I'll create another highlight here by lifting a little bit of color from here, so rinsed and slightly dried brush pushed onto the color. Now let's makes the similar shape, but a bit darker. So in Deco sap green on some cerulean blue to it and I'm going to aunt discolor the water line. But I'm part if it at the base on a bit more, towards the right side as well, and now we're going to work on the stems. So I'm just adding some burnt umber to my green, and I'm going to add this color to make the stems a bit more visible. Give it slightly different shape than green. Now bring this Demps down at their natural angle, all the way up to the water. It will bleed where the color is still wet on the class, but don't worry too much, so it will come straight down, up to the water level, and then it will go at an angle when it's underneath the water to show refraction. Also where the rim issue will need to show sort of blood stem there. So I'm adding some stem there, but we're going to lift this green up from where the rim is so just slightly wet and then dried brush run along the rim part and also picked this excess color that has bled here, giving a bit more color to the stem both underwater and above it. So instead of going straight down the stem are at slide, deviated angle on a bit broader at the bottom. It's well will be defining the stems a bit better once they have dried here. For now, let's add a little bit more color to the rim on a bit more shadow on the right side, near the rim and also a bit on the right edge. I'm going to beg some color, so I'm just vetting this slight line here, and then I'm going to push my tissue paper there to lift some color out. This will give me a nice, subtle sort of secondary highlight there, refining the shape. Now let's pick some Kabul blue some indigo on that touch of green just to create our original mix again, just to define the darkest spots again, lifting from the centre at the base. So if you have a reference image this part would become quite easy. Let's add some greens, so I'm going to add sap green and add a touch off burnt number to it to create a few more leaves. It asked them with fine twigs. Recreate the stems a bit more. The color has sort of dried here now, so it phoned. Bleed as much. Great to find doing going up. And now let's lift the color back from the room again. We want the stems to look as if they're behind the rim, so pick the color from the room and then redefine the rim color. That sort of our blue is shade off the glass. And now let's add a little bit more final touches to our lilacs. So a little bit more color some places a bit Thank you. Shade a little bit more violet at some crimson to it to create a darker color and added a few touches here and there, still trying to keep the darker color towards the right side. So variation of shades and also keeping one of the sides a bit darker makes thes flowers not look flat. So just little dabs blended in. And now let's add a little bit more details to the leaves, not too much detail. So I'm just speaking some green and adding it to the darker green mix with a little bit more of burnt number. Discreet little fine rains in there. Not too many details here, giving some of the greens a bit more shadow. There. Just instead of one simple brushstroke, leave just giving it a bit more color, defining the stems a bit more as well. Let's make this leaf a bit more longer, sort of bent over. I'm going to step back and quickly look at it to see if I need to make any changes. I'll just make the stop off these flowers a bit more tapered. It's a very small amount of color, and this finishes your first glass project, and I really hope you enjoyed it. 21. Project 6- Part 1 Glass Vase with Geraniums: Now let's paint a glass waas with some geranium in it, so I'm going to start by creating half off the vase shape. So it's got a bit of her room. You can create any shape that you like here. If you would like to Handra. Oh, you can skip this part now that I'm happy with the shape outline. I'm going to trace it on my watercolor paper. - Wait lines a bit more to make them a bit visible. I also like to define my water line here, so a simple guideline for myself bringing it straight up just to see if it looks symmetric to me. I'll be adding to clusters of geranium in this once, so I'm going to create the guidelines for myself. Stem leaning more towards the edge, going straight into the water and then deviating at an angle for the refraction, allowed the 2nd 1 on their left side again. Make sure do make the stem it and angle when it meets the water, just giving little guidelines for myself off how big the cluster flowers is going to be. And now let's start mixing the colors for the glass Waas. We're going to first start with the shadow color. So for that I'm going to mix a great. So I'll start with some indigo. I'll add some burnt number to it. This is my go to mix for gray and then add some crimson to it, a little bit more off indigo. And now I will also add a touch of Kabul blue to it. Since my medium value is going to be cobalt blue, I like to mix it a little bit into the shadow color. I'm adding lots of water to make. This makes quite tend out in one of the area, just testing it, and now we can start with the left part because that's where the light is coming from. I'll start with very light. Mix off cobalt blue, right on the edge off the rim. Bring it towards the right side, leaving some natural white in there. Add a bit more to the left side. Friends. My brush better try and soft in this quickly, bringing this color down all the way to the bottom, but keeping it nice and soft. And for the right side, we're going to pick the darker mix off cobalt blue or even mix the shadow color a time in touch of shadow color with the cobalt blue to create the outlines on the right side. Just follow your drawing. Bring the color down all the way to the base, then rinse your brush. But to try and soft in this line that you created, add a bit more color. But more cobalt blue on that shadow color. Create the base as well, and now, soft in this color that's up on top, sort of bringing it down all the way to the water level. Try to keep most of the color on the right side and keep the left side brighter, because we'll be creating a highlight there. So in keeping most of the darker color on the right side, let's lift a little bit off color from the rim to define the highlight. A bit better. So rinsed and dried brush run along where you want to lift the color from, and now let's define the water line. So from where the color has already ended, I'm just adding some cobalt blue and shadow mix, living a tiny sliver off fighting between and then rinse your brush. But to try and soft, Turn it up, bring this color down. So there is a very tiny white sliver between the top color above water and the bottom one. And now I left a little bit more off color from this right bottom side here. Suggestions and slightly dry brush. Just lifting a little bit more color from here, and I'll define this highlight on the left side by coloring the water a bit more. So just a little bit more shadow. Next to highlight makes the highlight a bit more visible. I'm also going to add a little bit more color on there. Left side highlight. So leaving a white gap between the edge on the highlight and giving a bit more color more towards the center. So it kind of defines the highlight. So you have edge and then a bit more color in the center, leaving a tiny white sliver. In between. I'll take a bit more cobalt blue and defined the left edge a bit more upon top. A swell. I keep defining that highlight a bit better, since the color is so light, a bit darker, shadowy cobalt blue color for the rim, just defining it a bit more living lots off light in there, keeping the shadows mostly for that right side, giving the basis well, a bit more color again defining the sort of the secondary highlight on the right side the bit more color, giving a bit more color to the water. But then also softening this color up back to this highlight a bit more definition for the glass sparked against Often it up now lets out a little bit more color to the right side. So this time I'm just picking the shadow color that we created without any extra cobalt blue, and I'm just adding little touches to the rim on the curve on the right side. So just find touches now, and also add a little bit more color at the base, using just the tip of my brush right now, softening this color up slightly. Yes, so often it up. And now let's makes this shadow color with some cobalt blue and add a tiny amount of shadows on the left side. Just start cleaning it up a little bit, self Turn it up. It's slightly moist brush and a bit more color on the rim to it's the Left side a little bit more color at the bottom, soft in this little shadow you created. I'm just trying to blend in that shadow of it. And now let's straighten it up just to see where to add. A few more touches will be adding geranium up on top in the next video. But before that, let's quickly make this highlight a bit more clear. So again, a little bit off Kabul blue and some shadow color just on the glass side, leaving a tiny sliver of highlight in there and rings your brush, but it dry and soft. Turn it up a little bit now see in the next video, every being the flowers. 22. Project 6 -Part 2 Glass Vase with Geraniums: Now let's paint the geraniums. So before that, I'm going to quickly sketch small guideline for myself for both the stem part and also the size of the cluster that I'm going to paint. So I'll be painting two clusters with some leaves around them as well. So just very framed guidelines for the size of the cluster. And now let's start mixing the colors for the flowers. So my first color is going to be simple Rose matter. I'm just going to mix sort of a light mix on for the second color. I'm going to pick some crimson, and now I'm going to start with Rose Matter first in my number four pointed round brush, and I'm going to make sort of a five petal flower shape, followed by a couple more just quite close to it. These flowers are a slight angle, so all of their five petals won't be very visible, so you can make four petals quite visible in the 5th 1 a bit smaller or it an angle. And now let's add some canal Crotone gold in the centre while the centers are still wet and let it bleed. That's big grows matter again and create more flowers around this time, the flowers won't be complete. So sometimes make four petals, sometimes two or three petals. I'm aside Pittle flat like that so they are more towards the edge so you won't be able to see all the petals. So idea is to just show ah, couple of metals that are visible and like this, try to make it set off a round spherical shape. Let's and the Quran Astrodome golden, the centers here as well. And now, with some pure crimson without too much water, I'm adding little centers again to the flowers. Since there's not much water in the brush, this won't bleed as much, and now we're going to let this dry a bit. In the meantime, let's quickly create the mix for the greens on the gig's up green. I'm going to add a bit of crimson to it, and now with this, we're going to create first a little stock just all the way up to the rim. For now and now, with a slightly moist but dried brush, I'm going to pick this color that was bleeding in, and now let's add a bit more defined centre to these flowers from picking a bit of indigo with some crimson. I don't have too much water in my brush. And let's just add the's centers. The papers almost dried, but not quite yet. And now let's fill the gaps between these flowers. So I'm going to pick a bit off crimson and bit of Rose matter and at touch of Indy, go to it, create a really dark sort of burgundy color, and then, with tip of my brush, I'm going to fill these gaps between the flowers, so sort off negatively defining thes flowers a bit better suggest that tip off my brush, going in between the gaps. If you've tried my lose floral class, you'll see we use the same technique for creating hydrangea, so just going in between. And as I reached the edges, I make a petal shape. It's bleeding a bit too much in here, so I'm just going to rinse and pat dry my brush and pick a little bit off color from thes flowers. Here, you want to create a bit of variation in your flowers so some should be light. Some should be dark. I'm going to soft in some of these lines that we feel just now and for this edge, we're going to add quite a bit deeper color. So I'm just picking some indigo on crimson on adding little touches just over the edge to make it a bit rounder shape and also make a bit darker. Just using this color to define a bit more negatively. Some of these flowers I left a little bit off color here, and now we can create the other cluster. So let's recreate our mixes. So a little bit of crimson and then rose matter to start with. So just the way we tried earlier 1st 5 petal flash with rose matter quite close to each other. So the petals are simple. Dab off my brush. This time I'm making all of them. So the ones towards the edge won't have all the petals risible some off them four petals visible, some of them one or two. And now, with some gonna Crotone gold centers do all of them. This brings a bit of light and now it's, um, crimson a bit in the center. I did not big water in between so crimson will not bleed too much. And now we'll let this dry while we work on the leaves. Some picking that same sap green and crimson makes to create little twigs on may be a leaf . Israel geraniums usually have around Did leave, but I'm just going to given impression off it with the same sap. Green and crimson makes for now a lot, a little bit of indigo to this green mix and added more towards the edges and let it bleed for now. Now we can go back into the centre's add a little bit of crimson and some indigo, not much water in my brush. Quite deep burgundy mix to the centers. Give the flowers a bit more definition, and now we can start adding color in between them. So I'm going to recreate that dark makes by adding maroon to indigo that was already there . So the color is quite close to deep maroon or burgundy, and now it just the tip of my brush. I'm going to fill the gaps and again trying to define the flowers negatively. What that means is you're simply going outside the Floren, creating the shape of flan soft in up some off thes lines with rinsed and slightly dried brush. Just touch them a little bit as you're coming close towards the end. Just make a simple metal brushstroke or little dabs you can even pick plain crimson Are Rose matter towards the edges because the edges are going to be a bit lighter on this site . You want few of these flowers to be a bit more defined than the others. And now, to prevent it from looking like hydrangea, we're going to add a few bud strike at the bottom. Now let's at that same darker color towards the bottom of this second plaster. Now let's add the greens to our but so just a touch of green. Create the stock and then attached all of these little buds you created to the stock. And now let's add a few more leaves. So one of them, I'm going to add right in the middle so that same sap green and crimson mix and one hanging over the edge here, let's add a little bit off indigo, so sap green and indigo mixed just around the edges, and now I want to add a bit more darker color, so I'm just mixing that same crimson on indigo, and I'm going to go around the flowers again and at the darkest color, more towards the right side. So this darkest color, I'm not adding towards the left side, more towards right, just defining some of the flowers again, too much indigo. So I'm going to pick just from the side of it and added to this right edge for the darkest shadows. And now, with some rose matter, I'm going to create a few more buds, so just little dots. Add some green to them. Let's out a few more, and now we can start working on the stem, and we'll bring it all the way to the water line first so that same green and crimson makes . So bring it straight up to the water line first at its usual angle. Connect the tweak, and now we're going to soft in the color where it's meeting the rim. So a rinsed and slightly dried brush, I'll run it along the rim. It will soft in this green, up a bit, sort of blur it. And now, with the rinse pressure, I'm going to quickly touch these stems we have created to give the mouth slightly blurred. look, and now for the stem that's underwater. Instead of going straight, deviate the stem it and angle. So instead of going straight davey ated, quickly rinse your brush better dry a little bit and touch this vet stem and sort of blend that color under the water. Now we'll go back in on the upper stem and add a little bit more color. If it's starting to bleed in the room, quickly rinse your brush, patted dry and pick it up my long off. This is still drying. Let's quickly work on our leaves again. Give this fun a bit more shadow and also add a few finishing touches to some of the flowers . So either it crimson rose matter give a bit of definition to a couple of them, and now I want to redefine the rim. So I still have that shadow color in my palette, and I'm going to add some Kabul blue to it, so sort of the same color be used to create the Vance, and I'm just redefining the room again. Soft in this lineup a little bit. I also want to add some finishing touches to the stem here and now. Let's turn the composition around just to see where to add some more touches. I would like to define the bottom part of the stem a bit more so the sub marsh part And now rinse my brush and touch this part again to again give it that sort of blurred look. And with this breastroke we had done with this project and I really hope you enjoyed it. 23. Rusty Metal Overview: So now let's talk about painting rusty old metal so metal can be quite old, like this one. With or without engraving, it can have some kind of paint on it, which is new or is chipping off. It can also be sort of an enamel there where it's a metal shape, but it has got sort of a ceramic coating on it, so it starts to chip off a different places. So try to collect different images for yourself, just to remember where the rest is forming to get an understanding. So, for example, here it will dressed almost everywhere where the painful chip off, while for an enamel there, let's see an example off it. So this is a good example for an enamel where the painful usually chip off where sort of its face is a bit more wearing tear. So you have to make sure you add that there's a bit of highlight here, sort of shiny pain. So do remember to put that in. So I do have a lot of images like this, and I just notice either the shape from them on how the rest is forming so that I can apply that then I'm painting something without reference. Now let's see how to paint rust on. We'll also see how the rest forms on enamel. Where are other kind of metal bear? So for painting rust, rust can be all different kinds of colors, But my go to color for rust is usually it starts with a little bit of burnt umber, so I'll just makes a little bit of born number first. And then I'm going to add a touch of corn. Akra. Don't gold to it. I make my first marks off rust, usually near the edges. Prince my brush but it dry and then soft. In this mark up that expands the size off rust, but also soft ins the edges a bit, so make the initial dots and dashes and then soft in them up by rinsed and patted dry brush . After this, you conveyed for a bit for this to dry. Or you can also go back in with the darker, burnt umber mix and add another layer off little marks for the darkest spot off the rust. Now let's see how rest forms from two different kinds of metal where so the 1st 1 is your pure metal bucket. So for that we're going to create a mix for the metal. So for that I like to makes a cool gray. You can use binds. Great for it, but let's makes it here. So I'm starting with indigo mixed with some burnt number. Then I like to add some crimson to it a bit more off in Dicle. A little bit more of bond number. I'm trying to create a great and then add some Kabul blue to it. Let's test this color. It can use a little bit more cobalt blue. But for right now I'm just trying to show you the difference between how rest will form between a normal metal bucket on an enamel there. So this is just a normal metal bucket, A very rough sketch. Now I'm combining a little bit off into go to this cream mix to create little rooms, handles on the bottom, most room. So this is just a very rough sketch just to show you how I create trust. Now let's create the enamel wear pot. So for that I'm mixing a bit of crimson and rose matter. Just a very light makes you can right away start creating highlight and shadows in the shape you're painting. But for now, I'm just creating a flat color for this little part. We'll also paint the handle. Now let's see where to place the rest. So for this metal bucket, rest will usually formed literally all over the place on the edges, but also only inside part of the bucket shape. So I start with my burnt umber mix. I'll just start adding it first on the edges around the rims, just little dots and dashes and then soft in them up by our instant patter. Dry brush this expanse, the rest area a little bit. So you see, I'm also painting little marks right on the inside part of the bucket as well. You can go back in with darker, burnt umber and then add more duchess, So now you can see it's literally all over the place. So for enamel wear, the rest starts to form, usually at the base. That's where the top most ceramic coating starts to wear off or chip off, so you will see rust there, also up on top, near where the handles have been joined. Sometimes some edges or little nicks now softening this up. So I'm just placing the initial marks after that, just softening them up. So this initial makes you can create out off burnt umber and canal Crotone gold, but also just burnt umber based on the base color, adding a few marks on the handle as well. So it depends on you. How war enough off vase you want to show. You can also create some kind of motif in the centre, some sort of hand painted motive. You can pick vintage colors for it. You can see the difference between the two. 1st 1 is your pure metal bucket That's rusty, and this one is your enamel. There will be painting rust more in detail in the following two projects. 24. Project 7-Part 1 Rusty Metal Can with Alliums: for this project. We're going to paint a rusty metal can with allium in it, so I'm just creating the half off the middle can. If you're just starting with this project. As I've said earlier, if you're going to hand draw it. So the Freeh Android. You can completely skip this getting part and fast forward to where we start painting. And now I'm just going to trace the two halves. I'll refine these traced lines a bit more so that they become a bit better visible, and I'm also going to make these horizontal dreams a bit curved. Let's add a little handle on one side. You can add two handles or one. It's all up to you. We'll also be adding allium up on top. So round spherical shape two or three, they're quite big. So I'm just going to add three. And now we can start coloring this metal camp. So the cerulean blue I use granny lates quite a bit, so to stabilize that, I'm going to use a little bit off white wash. This also gives that sort of chalky paint color that you sometimes see on metal cans. I'm going to pick a lot of cerulean blue, and now let's add a little bit off quash to it, a little bit more of cerulean blue. So this will make sort of how gosh works, but it will still be a bit more easier to spread than pure gua. Sh. Let's simply start on the left side, just at the rim up on top. Let's keep our kitchen paper towel handy and with the rinsed brush, I'm trying to spread this color out a little bit. It's not going to be as easy to spread as watercolor, but you can still move it around with water. So I'm just following the guidelines, adding the color on the edge and then also blending the color a bit inside. So this is giving me a bit more off transparency for a change. Light is coming from the right side, so I'm going to keep my right side a bit lighter. Let's out a little bit more color to the left side. I'm also going to lift a little bit of color from right here because I want to create slight highlight here. I'm trying to keep this area nice and light because the light is coming from the right side . I'll also create a bit saturated makes now for the edge on the left side, first over the edge and then also added on the rim. Also, add a little bit on the right side. Let's out a bit more off this deeper color towards the left again trying to leave that highlight soft. Turn it up a little bit. Let's not forget the handle as well, just refining the shape. Now we're done with this base coat and we can start working on the rest. So my go to makes for rust is a base layer off some burnt number, and I'm going to add a touch of Conakry. Don't gold to it. The just a little bit of corn Akra don't gold and I'm going to first start on the top edge . Just little fine touches places where the base coat is still wet. They will bleed a little bit, and I want that. But the places where the color has dried, they will sort of become a bit hard edged. So I touch usually with the slightly red brush, just to bleed them a little bit more so the color is still right here in the middle. It's going to bleed and more towards the right side. It started to dry, so it's going to remain a Bitar. Sure there. So just add a line and then simply Terenzio brush, pat it dry and then touch it up a little bit to help it bleed a little bit more. So just a few that is first. Then rinse your brush on. Just retouch the lines you have created. This gives them a bit more softer. Look to show how rust spreads a bit more corn Astrodome gold in the burnt umber mix, redefining the bottom room a little bit more and just go along that dream. Little dabs and touches prince my brush, but to try and slightly touch it. Let's fix this corner a little bit with a bit more burned number into our earlier mix. And with this deeper color, I'm also going to add a second layer off rust. So wherever we have added earlier, the rest color, I'm just adding little touches off this darker color there, not all over. Just little touches sort off in the center off where we had added the earlier rust marks going back to that makes again to add a few marks on the second rim. Soft. Turn it up a little bit, so you want some off the rest to spread a little bit and then add a bit darker part in the center off it. Let's add a few touches on the left side as well, especially around where the handles air added so see left side is quite dry, so the color is not spreading at all. So do make sure to touch it with your slightly wet but battered dried brush. If your brushes to wet the color is going to spread quite a bit and you don't want that some more rest to the handle as well. Now let's add a few darker marks off rust at the horizontal rooms from simply picking somebody number a little bit at the bottom here, also at the base. So any new places where adding rust for the first time, I'm always remembering to touch it a little bit with slightly moist brush. Let's add a few more rest spots more in the center, so picking a little bit more of burnt umber, mixing it into the earlier mix and adding little dabs and touches into the center. Quickly rinse my brush better dry and touch these dots a little bit. We can define these dreams a little bit more so that simple rust color. I'm just creating sort of a fine line. One of the mark that is on this right side is quite hard, some simply softening it up with slight, moist brush. And now let's create a big, deeper color. So I'm just mixing indigo into the burnt number mix, and I'm going to add a few rest spots, quite dark ones. So some places will have three layers of these rust spots you can soft in this color up with slightly moist brush again. And also add this color a little bit more in the center. So tiny dots here and there a little bit up here. So I keep adding this darkest rust color at places also on the handle and where it meets the can soft turn it up a little bit more. Let's define the handle a little bit better. I'll also add a bit more rest at the base here, so it's entirely up to you. How much rest you want to add to your Jaro camp. So we're almost done with the can and we can start working on Ellie, Um, in the next video. 25. Project 7- Part 2 Rusty Metal Can with Allium: now a rusty metal can is ready and we can start outing Allium to it. So I'm going to first start one right up here, So a spherical shape. So for that, I'm going to make stew mixes one with magenta quinacrine own magenta, and I'm going to add some di accessing Violet Winsor Violet into it, and I'm also going to create a separate pure magenta mix. I'll first start with pure magenta. Just remember a spherical round shape. So to start with, I'm going to start near the edge and just a little cluster off dabs together. So tiny flowers little five dabs together and start creating these flowers really close to each other. It's a little cluster five dabs and follow that car if you have created so their little dabs, not even full petals in sort of a cluster form, sometimes pick a bit deeper mix. So these little flowers here creating they will start changing color as you run out of color in your brush. So that's good, because you want a bit of variation there. So sometimes big, simple magenta for these little petals are flowers. I'm trying to leave a little bit in the center, and now I'm going to pick the darker color. And I'm going to connect all of these little florets to the center, sort of Howard and lion looks like so simply connecting with fine line with just the tip off my number two pointed rush. I'm connecting all of these little florets, refining the shape to a bit more spherical shape. And now, with this deeper color, I'm going to add little touches a bit more towards the left side. So you want to create this darker color for the flowers that are facing towards you. This also gives up it better definition to the globe shape, so I'm trying to concentrate this darker color on the left side. Now let's work on the 2nd 1 here. So simple magenta initially starting over the edge, little dabs Do you keep changing your mix around so that you can get variation in your floor IDs. And now let's pick the deeper violet mix, create a few little dabs on the left side and now start connecting all of them to the center with fine lines at some more off the deeper color. So a little bit more of magenta on and Winsor Violet and start adding little dabs first in the center and then go around adding more lines. More little dabs, so the colors are still read on the paper. They will bleed a little bit, but that's all right. Let's add a bit more off that deeper violet. So little dots. Not much. I'm not making petals or flowers with this darker color. Simple little dots. I'll also add a few more of these darker dots on the 1st 1 and then going back in onto the 2nd 1 So while alternating between the two, you giving them slight time to dry to add these layers of dots. And now we can start working on the 3rd 1 that's partially visible. So first with the magenta makes Lester off five dabs together, and sometimes just one or two dabs, this flower will be sort off slightly in shadow right behind this first flower repainted. So right now I'm connecting all of these little flores with the darker color, and I'm going to keep this flower slightly different in color than the front one to keep it a bit more visible and demarcated, just adding little touches off the darker color a bit more off, the deeper while it makes, and I'm adding it close to where it meets the first floor and also to the left side. - And now let's on the stock. So I'm going to mix a bit of sap green with some corn, acrid own gold, and I'm going to add pig stocks So simple straight lights. And now with the rinsed and dried brush, I'm going to pick this excess moisture right here where the colors are bleeding too much. I really like how this guy Naqura don't Gold, has mixed with or rather pushed the violet out. So I'm just speaking. Some conductor don't golden my brush and just adding little dots all over the flower shapes . It will push all the red violet color away, and it's giving it a nice look. Let's redefine this area where the colors had initially bled a little bit, had a bit darker violet there. Let's also define the stems a little bit more so a little bit more off that sap green and give a little bit more off that color to the left side of the stem. So with this final touch up, we had done with this project, and I really hope you enjoyed it 26. Project 8- Part 1 Rusty Metal Pitcher with Peonies: So now let's get started. With our last project. We're going to be painting an enamel ware picture, and we're going to put some opened up Younis in it. So I'm just tracing half off a tall pitcher. And just like I said in my earlier projects, if you're going to Freehand Draw, you can simply skip this part and fast forward to where we start painting. - Now that we had done with the major part of it, we're going to add a little bit off, neck up on top, a bit wider neck on the left side. Give it a bit off a wave. I'll just defined the bottom lines a little bit more so that you can see the shape clearly at the bottom rim here and also add a handle starting right up on top. We also going to place a small floral motive right here, and then we're going to put three opened a peonies right up on top here, so I'm just giving myself very faint guidelines. And now let's remove the excess graphite before we start painting now for the base colors. Pickling to makes first a little bit of burnt number and now Let's add a touch off crimson to it a little bit more off Bryant Ember. Let's testes shade a little bit, so the shade is close to Armand, and I'm going to start first on the left side, just as we have always done bringing the color down, going back on the upper room and now Grinspoon brush. Better try and soft in this color out. I'm using the number four round brush. I left a little bit of color right here and add a bit more color next to it to sort of create the highlight there now, simply spreading the color softening that extra color I had added spreading all over the shape. Now let's often these keeping the color but darker at the base. The softening this area a little bit more. Now let's give a bit more color to the left side. Self. Turn it up, bring the color a bit more to the center. Now let's give some color to the handle. I'll keep the color a bit darker at the border. Also, give a bit off a shadow, do the rims so right here where the neck starts to widen up soft turn it up quickly. Also create two rooms at the bottom. I'm keeping these quite light, so now we can work on rust. So for enamel ware, rust usually forms wherever the paint chips off. So I'm first, starting with simple burnt number, so you can definitely add some rust spots up on top and also at the bottom. But also remember to add a little bit where the handles are attached on sometimes to the sides. It depends how the paint has chipped off from the and I'm over, so I'm simply adding this time first layer of burnt number, softening it up a little bit at places. If the color is too wet, I won't touch it immediately. So just a few places on the edge and then where the handle is attached. Also add some at the base. - Let's sound a few more doctor spots, so right now I'm simply picking some burned number, and now we can soft in all of this up a little bit. It's slightly moist brush. Soren's your brush patter dry and then touch these colors. I have not touched them earlier because they were too wet and they would have bled quite a bit, so just rate a little bit before you soft in them up. Add a bit deeper color where you have already added some rust. So just a few places add another layer of rust, but just a few little dabs there. Keep softening the color now for a special touch and mixing a little bit of rules matter into this rust color, and I'm just going to add it at a few places. Soft. Turn it up a little bit. Give a bit darker color so often it up. Bring the color out a little bit more. Do the Knick here is felt soft and it up. So I really like how this other touch off bank looks here. But if you don't then stick with simple rust color bar in number, let's add a few more. Duchess. Do some older rest spots a little bit more at the handle this soft in a few of these spots . And now let's pain the little floral motive in the center. I don't have any pre planned design. I'm just going to create tiny little flowers and a few leaves. If you have a particular designer, a vintage design in mind you can completely changed the design. I don't want to give it too much color right here because I want the attention to remain with the flowers. But adding a little detail like this gives it a nice effect. So I'm just very loosely painting two or three flowers and some leaves in sort of the loose floral style. Let's touch up trust at a few more places. So just to finding this dream a little bit more soft, turn it up in Our picture is complete in the next video, Let's get started with the ponies. 27. Project 8- Part 2 Rusty Metal Pitcher with Peonies: Now let's get started with the pio knees. So they're completely opened up ponies with the petals almost ready to fall off. So I'm starting with some deep yellow and touching it with some Kanak Crotone gold. And with this makes I'm going to first make the little statements. So just fine lines starting from the center. And then I'm going to rinse my brush and pick some rose matter in my brush. Quite light makes off rose Matter. Quite a bit of water in there. And now let's create five petals. Quite take each petal made out of two or three brushstrokes so quite wide five petals, leaving some gap in between them. If the yellow is bleeding. Letter plate While this one drives a little bit, we can start with the second flower bridges on its side. So I'm picking a little bit off deep yellow for this statement again. Fine lines leaving a bit right in the center. This flower is on its side, so not all the petals will be visible. So same rose matter create a few petals on the side and a few at the bottom and skip the top. Now let's go back to the first flower with a bit deeper rose Matter color this time and fill the gaps between the original five petals. So we're trying to create layered petal. Look now, another layer right underneath this 2nd 1 leaving some fight in between. So just like how Ah, layered frill skirt looks like I'm also adding a bit of color on the first petals, so giving them also a bit off layered look but trying to save the original color in there. It's often these petals a little bit now. Do the same with the second floor, a bit deeper color right underneath, the first petals still quite wet. So we'll come back to the first flower. So we're going to keep adding these extract itches off Rose Matter in layers, trying to define a bit off the inner petals a little bit more. Let's out a few more touches. So with each touch off Rose matter that I'm adding, I'm still trying to keep the earlier color in there and not cover all off it up. So this will give me layered Look, Now let's work on the third floor. That's again on its side, on the left side so with some deep yellow color. Some statement first. Now let's add the petals. If they're bleeding, let them bleed. Now let's go back in on the 2nd 1 with a bit darker rose matter. Add a few more touches on a bit more definition to the inner petals. It's still a bit wet, so what I can do is alternate between all of these flowers and give them time to dry. So I'm picking a little bit of crimson on the touch of Berlin maroon to add a tiny center between these statement and also some anti dots with it. So a little bit of center and then a few anther dots. Now let's makes a little bit of rose matter with some deep yellow to create slightly orangish color for these second layer of statement, so giving it a bit more deeper color where the statements are and now go back in vits um, Rose matter work on those pedals again. Add a few more gars. Don't spread them too much. You want the bottom layer of color to be visible. I'm trying to define the inner petals a bit better, and now I'm going to make some crimson with the touch of indigo to add to the center and also to a few antidotes, touching it with slightly moist brush to let it played just a little bit. I'll go back in with Rose Matter on a few more leered petals, so just little touches curves. Let's pick some more rose matter to start working on the third flood, going around the first layer off petals with another layer off skirt petals, keeping it quite lose this one. Now coming back to the second flower. This is dried slightly, so I'm able to give a bit better definition to their petals. Going back into the third wants to see how I'm alternating between all three of them, so it gives some time to dry. Try to leave some white between your petals. Let's touch up the 2nd 1 a bit again. It's slightly dried now, so I'm able to define the inner petals on a few outer petals again back on the 1st 1 Let's add a few more adults on the 3rd 1 alternate between all of these flowers. Now let's add a bit deeper center to the 3rd 1 so some crimson with the touch of indigo added to the center, and then a few enter dots. Let's often them up with the moist brush. Too much water fell into there, so I'm simply going to lift this moisture up. So lift it up and dry your brush. Lift a few more highlights, and that is also one way to create this layered better look. So simply rinse your brush patter dry and push it where you want to lift the color. After lifting the color, I like to go back in and add a bit more color just around where I had lifted the color. Now let's start working on the greens, so mixing a bit off sap green under touch of crimson to it and will first start with the leaf on the right side. I'm keeping it quite broad, so you can either make them with do breast strokes or even three brushstrokes. Let's add a little bit off stem that's visible for this 2nd 1 along with the leaf. It's also attach the little stock for the 3rd 1 on the leaf, one more leaf visible, so I'm trying to give the leaves a slight wave. One more hanging right here Now let's step back and quickly have a look at the whole composition and how the flowers are looking. I'm going to check if this third flower has dried or not. With the back of my hand, it still feels a bit cold, but it's getting there. So I'm just starting to add a bit more off Rose Matter, defining some inner petals and also adding a few more skirt metals. So just little curves, some kind of drawing with my brush adding a bit more deeper color in between the petals. Now let's go back in with this deeper Rose Matter color on to our second fly, just adding a few touches here and there. Now let's go back in on defined the statements a little bit more with some green Astrodome gold lifting a little bit color here because it's bled too much, so rinsed my brush, better try and then push it where I want to lift the color. Now let's go back in onto the 2nd 1 again. A few more touches to the 1st 1 Now let's at the darker center, so for that we're going to first big, a little bit of crimson added to the center. A few anther dots now makes some integral with crimson and added to the center untouched a few of the anther dots. Let's add a few more touches to the antidotes with some crimson. Now go back in with some rose matter to define a few of these petals. Again, I'm increasing the height of some of these statements a little bit with the yellow mix, adding the crimson and the dots up on top allowed it on the second one's and the dots as well. For the 1st 1 I'm going to add a touch of indigo for the center. Let's make some indigo with our green to add another layer to our lives, so this just makes them a bit more interesting. So little rains and sometimes a little bit of shadow. I'm not defining them too much. Let's touch up the center again with a bit of crimson, a few more anther dots, so they're just little dabs and dots. Now let's go back in with a rose matter onto this third flower defined the battles a bit more, just little touches here and there. They already look quite layered, so I'm not that worried anymore. You can come back in on the 1st 1 with a bit deeper Rose matter and define some off the innermost petals. A few on the outer part else. Often these up that slightly moist brush allowed a few more touches also to the 2nd 1 So this pretty much completes a project. But in the next video, I want to show you how I add the final touches on Also fix a few things I would like to change. 28. Project 8-Part 3 Rusty Metal Pitcher with Peonies: so I'm just going to straighten this stem up a little bit. So with that green color, I'm first going to correct the left side edge and for the right side edge, I'm going to blend it with the leaf. So picking the color slightly to 10 down the stem a little bit and making the leaf a bit broader, I'll do the same with the second floor. I'll have to lift the color from the other side a bit, so I'm just reading the color to make it easy to left. Now I'm going to simply lift a little bit of color from here and then, with some deeper green on a touch of indigo, I'm going to redefine this leaf a little bit here to prevent this green from creating a hard edge here, simply going to blend this color into the petals. We'll be fixing the petals a bit later, so simply soft in this green color. You can leave all of this entirely if you're satisfied with your own composition. I'm just showing you how to make a few changes. If you would like to. Now let's redefine the stem in the 2nd 1 a little toe and a small leaf on the other side. Now it looks like it's hidden behind the first flower. Now let's add some finishing touches to the second flower. So with some rose matter, I'm redefining some of those petals, softening it up but slightly moist brush. Now I'm going to makes a touch of crimson with Rose Matter, and I'll on final touches a bit darker, petals quickly soft in there. So just defining some of these inner petals a bit better. It's also add a few duchess to the other two flowers. Now let's add some final details to our greens. So indigo and sap green mix, just adding final shadows and some veins to some of the leaves. - Just some sap green on indigo mix. For these final touches, you can create these leaves as defined as you would like, but I like to keep them slightly lose else. They take too much attention away from the flowers, so this completes your final project, and I really hope you enjoyed this one 29. Your Project: your project for this class is to pick any one of these eight sample projects we have painted in this class and create something similar. If you have any questions, please feel free to post it under the discussion tab of this class and I'll do my best to answer them. I would love to see what you create, so please make sure to upload your projects under this class. And if you're sharing them on instagram, please tag me and use the hashtag model basil, underscore skill share. 30. Conclusion: congratulations. You reach the end of this class and I really hope you excited to get started with your project. Please share your progress on project under this class. As I would love to see them. You can also follow me on skill chair to get updates about my future classes. Thank you so much for watching until next time, stay creative.