Whimsical Faces: Almond Blossom Girl Inspired by Van Gogh | Jessica Sanders | Skillshare

Whimsical Faces: Almond Blossom Girl Inspired by Van Gogh

Jessica Sanders, Artist, Instructor, Designer

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17 Lessons (1h 21m)
    • 1. Welcome

      1:22
    • 2. Supplies

      4:44
    • 3. Techniques

      7:04
    • 4. Tracing with Light Table

      2:43
    • 5. Mixing Skintone

      3:02
    • 6. First Layer of Face

      5:24
    • 7. First Layer of Hair

      6:53
    • 8. Shadows of Lips and Eyes

      3:22
    • 9. Reinforce Shadows

      5:57
    • 10. Background

      3:34
    • 11. Hair

      4:37
    • 12. More Depth

      7:41
    • 13. Branches

      3:05
    • 14. Lips and Nose

      1:11
    • 15. Blossoms

      10:55
    • 16. Final Details

      7:32
    • 17. Project and Thank You

      1:33

About This Class

Hi, I’m Jessica Sanders, a self-taught watercolor and mixed-media artist who loves exploring art and sharing it with you!

Whimsical Faces: Almond Blossom Girl Inspired by Van Gogh

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Let’s paint an adorable, whimsical, watercolor portrait inspired by Van Gogh’s Almond Blossom painting!  

In this class for all students, we will explore watercolor techniques, such as wet in wet, achieving different values, dry brushing, and layering washes of wonderful color. :)

I will walk you through painting a beautiful, whimsical watercolor portrait in a loose and free style, step by step -- inspired by the master painter, Van Gogh.   

I’ve provided a printable drawing for you to trace or draw in the Project Section.

First, we will chat about the techniques, and then we will dive right in!  I will demonstrate the painting from start to finish, sharing helpful tips and techniques along the way.

I encourage you to paint along with me. :)

We will focus on building up light layers (washes) of color, to create depth and contrast in our portrait. When we are finished, not only will you have a beautiful, loose, whimsical portrait, but you will also have gained valuable experience painting with watercolor.

As always, we will wrap up the class with a project using the skills and techniques we have learned in the class.    

Transcripts

1. Welcome: Hello, my creative friends. Let's create a beautiful, whimsical portrait inspired by then goes Almond blossom branches painted Hello, Welcome to my skill share class. I'm Jessica Sanders. Color me. Create art dot com in this class for any level, I'll take you step by step through. Creating this adorable wins a gold girl. We'll discuss several techniques that are used this painting, including wet and wet exploring value, dry brush, layering washes and using a rigger brush. I've provided a reference sterling for you to trace or copy or to draw on your own. I also include a demonstration of sketching on a light table for you. Once we've transferred our drawing, I'll take you step by step through layering your washes, building up color, keeping it loose and whims cool. We're going to use water coloring wash in this class. That way we don't need to use any masking fluid to create this lovely one school girl. I'll talk you through each step and I'll share helpful tips along the way, so I can't wait for you to join me for this class. We're gonna have so much fun. Let's get started 2. Supplies: the supplies you need for this class will be watercolor paper. I recommend that you have at least £140 300 GSM paper as it is much more stable. 100% cotton is nice to have but not required. I love the B watercolor paper, and in its class I'm specifically using Kilimanjaro, but you may not be able to get that where you are, so use what works for you. But the main important thing is cold press £140 or 300 GSM paper. Also, you will need the principle that I provided for you. It's in the project section under the project Tap. If you go there, you can get this probable and you've printed out and use it to trace or two. Just as a reference for drawing. You'll need water color paint. I'm using Mission Gold. It's fairly affordable, and you get a lot of colors for the money, and it comes in tubes, which I squeezed into this palette and you can see my palate is messy, but I kind of have areas where I keep my color. So that's those of their watercolor paints I'm using and you will need a variety of brushes a lot of the time for this. I use this synthetic watercolor brush. It's a mixed media brush. It has nice. It comes to a nice point when it's wet and it's around and it doesn't hold too much. Water makes it a little easier to control the water for big areas on this painting you could use, and I did use a flat brush. It's just for fun. It's not required. You can use a round brush. You just have that and don't have a flat. It was just fun and a great way to try out and practice with this flat brush. And then I have a larger round brush. This one is a prison Neptune and holds a lot more water. So I also use this for bigger areas or when I'm laying down first washes. You will also need a small brush now for this class. I used to rigor, and that means this is a brush with very long bristles. It wouldn't sweat. It comes to a very fine point, and it's great for making and painting hair and long flowing lines, which is what I use it for in this class, but you don't have to have this. You can use a small paintbrush. It's just not as saluted, inflexible as the rigor. So if you have a chance to pick up a rigger brush, go for it. They're so fun to use and try. But if you don't have it, that's OK. You can use a small round brush. This was actually a zero for this class. You will also need some white quash or white ink will work. Um, just so it's nice and opaque white to use for our flowers, and you will need a white and black paint pen, particularly the white one. I use a lot now. You can substitute the white wash or white water color and use your paintbrush instead of this white paint pin. But it's just convenient to have this, and it doesn't re wet because it's acrylic. I used the black just a little bit, and I also use a fine micron pin. It's a fine line, er, just to add some little details to painting. You also need a pencil for this class. You could use a mechanical pencil if you like. Optional supplies are watercolor pencils and color pencils. When I traced my drawing, I used the watercolor pencil instead of a graphite pencil. Keep in mind if you use a watercolor pencil, it is going to dissolve and mix with the other colors that you use, but it's fun to do sometimes. So I included that in this class, and then I also used colored pencil. I only used one colored pencil out of this, but I have this set here. I used actually just the brown to add some texture, some shadows and some lines. But again, this is optional. You can use a regular pencil for that, or you can use the fin. Or you can use your very small brush and your Weber color. Okay, so that's it for the supplies. Let's talk about the techniques. 3. Techniques: techniques will use in this class are wet and wet. We'll talk about three values will use Dr Russia fax will use our rigor, and we'll do layered washes to build color and depth. So let's talk just a quick minute about with him with, and that simply means for those of you who are new. We wet the paper first, and then we add the color and what this does. It allows the color to mix on the paper and also makes it nice and soft, and it was spread out and flow across that wet area. But it stops at the edge of the weapons. So that's the wedding. What technique? The next thing we'll talk about our three values and want to use this trade to demonstrate to you three values. So let's pick up paint that's almost straightness, just barely wet straight from the pan. Now I have a small beginner class on the three values that I tend to use for watercolor painting and how they get light medium dark. So this is just a short version of that. A shorter version of that, but basically depends on how much water and paint you add you're ratio of paint toe water, so this is paint with very little water. It doesn't move a lot, and you'll see as I add water, it will move mawr and faster, so this would be our dark value. Usually we had our dark values last in water color. It's usually the case. At least now. I just did my brush in and add more water. Now I have more water and less paint. It all becomes watercolor paint, but there's just water, and you can see it flows more, but still not completely thin and watery. It still has a little bit of thickness to it, so I call this the medium. This may be considered just right. They think I applied the just light idea to the amount of water you put on your paper, but the same applies. You'll still have more water, less paint and get a medium value somewhere in between the darkest and lightest color. And then we will also add more water, and I'll just makes it over in this area so you can see it's very, very light. Now it's mostly water and very little pigment, and we'll get a very light value. So that's a demonstration of light, medium and dark or three values with difference. Amount of paint ratio. Toe water to give you an idea, and you see it's much more loose and runny. What it's got more water and more paint. It will be a little bit thicker as you go now. Let's talk about the dry brush effect now. This brush holds a lot of water, so I tend to use a different brush for that. I used this synthetic brush this synthetic also, but it's a watercolor brush. I use this mixed media brush. It holds less paint and what I will dues. I will still load it with paint. Wipe it off there and I will even tap off the tip and maybe this side a little bit. And then brushing across the paper and you'll see a dry brush will pick up the texture of the paper. This particular paper that I'm do this demonstration on doesn't have a lot of texture. Still, the dry brush will pick it up. Now that doesn't mean your brushes completely dry. It just means it has less water, less paint in it. That's why you drive this way and go across your paper lightly and pick up that texture. That's a dry brush. But now let's talk about the rigor. You may not use the rigor. You may have a small brush, and that's okay. We just want to show you the difference in the length of the bristles. So if we line these up or the Farrells, or even you can see quite a bit of difference in the length of the bristles, and that allows you to make a more loose and free and longer line, so I'll just show you. So I'm going to hold it really loosely and at the top and lightly drag it across and even click it, and you could swirl it and move it. I love playing the rigors so fun and get really flowy lines. So this is going to come in handy when we're painting her hair. But like he said, you can use a small brush, so using this small brush, you'll still hold it really lightly. You're just touching the tip. It's just a little bit less flowy feeling, but you could still get a nice line with it. So don't worry if you don't have the rigger brush, you could still do this class. Now let's talk about layered washes. Now this is a dry wash of paint, and this is said Main technique will be using in this class because we'll be using layer washes to build a color and depth in our whimsical girl. So you get my paintbrush. Now I have a dry wash of one color, and when you layer washes, you can see through them because this is transparent watercolor, and I'll show you also how gosh looks in a second. So I'm going to layer this pink over it. It's already mixed a little bit, so me later, this pink over it and you'll see we'll get a more purple color because the blue is underneath it, but you'll still be able to see that blue. But you could also see the pink so we get a nice mix there now for gua shit, so pay will be using wash or white paints. All just take a little bit from the to the to peer my brushes, clean or mostly clean. And let me just paint a line so gosh is activated with water, just like water color but it's opaque, so you cannot see the blue through it. Maybe you can a little, but not very much. So we'll be using the wash for flowers instead of masking before we paint. And we'll be using layer washes to build a color and depth and light and shadow in our painting. Okay, now that we've talked about the techniques, let's get started. I can't wait. 4. Tracing with Light Table: so the first step for our painting is to transfer our image to our paper. Now you can either draw it or you can trace. It is totally up to you. I provided a printable for you so you can use that position everything where you want it on your light table or with your tracing paper. And be sure and secure tape so nothing moves around while you're trying to trace. It's really difficult if something moves to get it lined back up again. Once you have everything put in place, just take your pencil or your watercolor pencil and go over the main lines and kind of keep it loose. Remember, we're doing a loose painting. It's not tight and very strict, so don't worry about making mistake or messing up or anything. The main thing this will help you do is to get the proportions right for space and kind of get that hair flowing in the direction you wanted to get. Of course, feel free to change up the drawing as you like. It's totally up to you now. If you don't have a light table, you can always tape it to a light, bright window and trace it that way. Or you can use tracing paper. Or you could also use transfer paper. Any of those methods would work. If you need to check your progress on your drawing. You can always untaes 1/4 and lifted up and check it once you're finished. Just removed everything from your light table and I laid my drawing on here so you could see how it turned out. 5. Mixing Skintone: So let's get started with our whimsical girl inspired by bancos autumn blossoms painting. I've left this painting inspire this girl with the color and with flowers and just I want to get that feel that then go has in his painting. I don't know if I will succeed or not, but we can try, right? So let's start with a little bit of flesh tone. I'm going to add just water here, and I have a brush. The synthetic version. It doesn't hold a lot of water. I don't want to go water crazy right now. And for skin tone, you just need a little bit of red and a little bit of yellow, sort of making orangey color. And then you just add a little bit of blue. Remember Blue's of very strong colors. Ultra Marine blue is often used to neutralize, so we'll just add a little bit more until we get that covered that we want. That's not it. Now it's properly right, so I need to add something. It still looks red and blue, so let me add a little more yellow. It's pretty brown now. We wanted to be more orangey, so let's add a little bit of that grid. Now it looks pink. Let's add a little, Really. That's how you makes any kind of paints. You keep testing and trying until you get the color that you're looking for, and you can use the red, yellow and blue different in different combinations. Now this is a very I think, with a lot of paint and not much water. And I don't want I wanted to be the nice and light. So I'm going to take some of that and just add some water to it and see what I have here. Looks like a pretty nice skin tone. Maybe a touch more yellow in there is to brighten it up a little bit. No, let's test it. Now you see me mixing over my painting. That's probably not the best idea. Some of the nice skin tone. It's very nice and watery, so it's going to be nice and light and remember, watercolor drives, lighters. It will be even later than that when it dries. So I'm liking that skin tones. I'm going to go with that Also, I used to remember the watercolor pencil, so we're going to be having that blue Mixon, which is going to make it even more 6. First Layer of Face: So let's just add this where we have some sandals and I want to be nice and soft. So add water and soften it and pull the color out notice. I haven't reloaded my brush with paint. I'm only using water right now to move that pigment around that we've already at it and that softens this blue edges. Which is nice, Really nice. I like that. Now I'll get a little bit more paint and continue. So I add the darkest where I have actual, the actual dark areas of my painting, where would have shadows under the nose, around the eyes and around the outside of the face. And then I'm adding the water to thin that out and soften those lines and make it lighter in the other areas. And I'm leaving a little bit of white there on the nose and on the cheeks. Not this chick to the allergic, mostly the nose, and I skipped the lips. But you know, you don't have to actually even go straight in over the lips with that paint. Just leave a little white on the bottom lip in the middle and then continue down with the neck. I have a little more paint here is you could see because going to be shadowed underneath the chin. And I'm also blending out that pencil mark. We have there a little bit more mixing the color step off my brush and soft in this nice it's off and even can pull that out like this. It's okay if that s shown overlaps in some areas. Now this is water colors, so that means that we'll show. But But it's okay, so that's pretty nice. Let's add a little shadow here, Still wet, going to blend out a little bit. If the paper is dry already, then you'll have to repeat the process of softening it again. So this area needs to be softened. The little don't go ahead and add in more our flesh tone over here. And while we're at it, let's just pick up a little bit of pink added to her cheeks. And I also like to soften that at that same pink to our lips, trying to leave a little white for the fight. Don't it's a it's okay. We can always come back and add it later. Maybe even a little that pink on top of the eyes there. Yes, that's nice. And here from her head. So that brightens up there. But skin town, that orangey color that we have brightened, set up a little bit looks really nice. I left some hard lines here on the nose, some hard highlights there, so I think that actually worked just fine. Okay, there we have all the skin tones on our face, and we may or may not need to add more shadow. Maybe it's maybe add a little bit here, just around where it goes by the nose over the eyelid. I want there to be a highlight. Underneath this I makes. It's going to make her look more happy that way, so be sure don't dark in that area too much. There's always a shadow under the nose, so just continuing, and I'll soften that a little bit. This shadow goes up to the eyebrow there and down by the nose. Maybe add a little bit of pink in there. It's like a pretty nice and just carry that over the cheek. But leaving that highlight there. So it was sort of painting wet and wet because it's already wet a little bit more shadow there. Darker skin tone. Let's pull out some of that with the dry brush to make sort of that highlight that you find there on the neck. There we go. So so now we need to let the face dry, and then we can come back in and add a little bit more interest or details. 7. First Layer of Hair: Now let's in bond to the hair. I think I want the hair toe actually be the's blues and blue greens we have here kind of all mixed together, and I'm not really worried about covering over my lines, although all of these little circles are actually the little white flowers. So I'm thinking, actually, rather than trying saving all that white space, which we could do with masking fluid if you like, or you could just work around it sort of meticulously. But because I'm not really that kind of a minute meticulous kind of person, I think that I will just go over the entire thing and I can come back in with Wash where we have the flowers, which would be just simple and easy way to do it and a lot of fun. So that's where we're going to do so. Let's get some blues and greens. So I haven't what Mission Gold caused this peak on blue. It's basically sort of a halo turquoise kind of color. I love this color. Look at that. It's beautiful, Beautiful. Look at that. Okay, but want to mix the colors of Mexico blues? So So let's pick up some ultra Marine. I'm making these quite thick right now, and I'm just wet quite a bit because I know I need a lot for the hair. And then I can always add more water. Take more, were at more paint. That's nice, ultra marine blue, and then I have one more blue that's a cobalt blue. So let's do that one here. You could use a cerulean blue if you wanted there many, many options. You can add some white wash into your paint toe. Lighten it. But you could just also add water. Now for this. I'm kind of not going to worry about staying in the lines or anything like that. Okay? And I want my primary sort of the main idea of color to be the peacock blue. And for this I'm going to get my Princeton brush that holds lots of water and is very big. It's like I said, we're not going to fuss over the details right now, so I'm going with this peacock police start and I'm going to chest. I don't want to get it on her face, so I am going to be sort careful there, round her year and just straight over everything and think about the movement of the hair and I'm leaving some spaces. I'll go back in with a different color, and I want this to just fade away. I just couldn't add a lot of water there. Look, when I added that water, get that lighter color looking nice. Okay, lets go in with the Cobalts and just sure just put it in there. So it's going to mix on the paper and let's go ahead and go on with the ultra Marine notice . This is a lot wetter, a lot more wet, then my other colored mix, and I'm continuing to make those strokes. That makes me think of what hair flowing in the wind with look like. I'm going to wet the back, my paper really quick. If your papers ducklings and always with the back and it will help it to be leave bladder, see how it went nice flat. It's a fun, fun technique and trip, and you'll I mentioned it plenty of time. So and then we have this like to think I'll just put water here to encourage that painted flow there. So in this mix, the pain is not even the water is not even and it's going to be have some blooms and movement and all that kind of thing. You could even put salt in here, so I soften this edge a little bit. Just soften this one a little bit, too, just by adding some water there. And I use a lot of water so that pain is going to flow. So if you need to, you can pick that up. Now I'm going to just go back and add in war of our Peacock balloon because it's kind of that dominant color that I want in here thinking again of the hair now because I drew my lines with the watercolor pencil, they're kind of gonna disappear. Remember, you can always draw them with a graphite pencil if you want, and I actually made go back and draw more with them. They're not hard to draw their very intuitive and scratchy and fun. So actually reading and loving this here so much it's going to try really pretty call. Just soften this just a little bit, pick up a little bit of that color right around that area and also overlap. That's kind of the year there, but I didn't add any of the flesh just and some flushed down there. See how much more water this brush holds here? No, it's okay, Fig. It's on your face a little bit in the back. Me something that a little. I don't want harsh lines everywhere, but it's OK overlaps a little to the mix of hard and soft lines. 8. Shadows of Lips and Eyes: take a little bit at your glows in just really under her chin, but that really soft. But it will just tie that together really nicely, and I can take my small brush. Her face is dry. Pick up some of that turquoise and bring and also across the I would there and soften it at the same time. So this is going to connect our features with the hair just kind of cool, because in water color we tend to like tohave lights and shadows connected. So this kind of a cool way to do it challenge that flow out a little bit there to you onto her face and just around. Now, remember, this is the first layer. We're going to add more layers. We're going to define some things. We're going to go in with Posca Pin and we may go into the black pit we make going with our graphite pencil. I was just going to see how this develops. I can work on her lips a little bit more. Have this pinky red color. It's a red, but it's pink toned here, which I think looks nice and go sort of will with her inspiration although our painting is probably going to be brighter than Ben Cousins. So I had a little bit of that there, there, well groups and then soft in that and I went outside. My original drawing just wanted to do that way. I think I just felt like her mouth was a little bit small. I may come back later, and good snow was too big, a little bit under the bottom of the lip. There, this is the same color. Reacted to the cheeks. Remember, I don't want to stop painting that, you know, I probably need Teoh. It's a little bit under the nose, that shadow under the noses triangle shaped so I can make that triangle shaped and a little bit here. No, I already know from painting that I'm going to be going back in and working on the eyes to like them up, so to speak. So we need to let everything dry and then we'll come back and work on it some more. 9. Reinforce Shadows: I want to do now is just defined the shadows a little bit more, and I can use my blues to do that. I can use my flush trying to do that. I can use for my read to you that I think what I'll do is mix. Here's our flesh tone that we mixed up that was really dark right. Mix a little bit of red and pick up a little bit about flesh tone. So sort of pink, pink and peachy little peachy and make it really thin and watering. It is going to be a very light value, but we're glazing. We're layering our paint, so that's still going to affect our so see how light and watery that is. But it's still going to affect our painting. It's very settled. Little adds a nice shadow. So let's on just a really thin shadow under the nose, and we'll add to the lips. I'm tapping this off to get some of the water off the brush, the bottom of a corpse, a little tap there with the corners of the mouth, just a tiny bit. And then let's let's add in a shadow here. That's the crease line and go along the edge here and be sure, get a year, then not softened this. I'm still using that pink peachy color that we made from the from the two colors we've already used. I want to do the same with this. I add a shadow where we want increase and carry that out and around. It's OK if we go over the blue here and along shadow area along the edge of the face and let's go ahead and at a little shadow here around the chin. That's messy. I'm going to soften. So I have very, very little water on my brush and softening that area, picking that up a little bit, even tap it a little there. Pick up somehow. Order Athens. Often this Elvis free So nice. A little drop here, Drop there. I don't know why that seems like it needs it. You can want to soften this under the edge again. My brush is quite drive. Just picking up edges of that paid their underneath the nose and then this area around the hairline definitely could stand to be darker again. It was soft. I like that nice soft look can also add a little shadow right about the eyebrows here. We haven't put in our eyebrows really yet. You've only have from drawn in and maybe more shadow here and go back to your sort of heavier flush Chung, even at a little bit more over here was your area under the channel. So we're using the same colors of pain. We're just adding to the layers. And because they're transparent, they will darken. It's often that about the chin and maybe even a little bit of that watery flesh tone right along the hair. One. It's already wet there, but you just don't want to make sure it's nice and soft. Now, if you like to see the lines of the shadows, then don't worry about softening it. That's just something that that I like to do. I don't feel like I should make the cheeks more pink. I think I like them the way they are. What do you think you like the cheeks away there? Okay, that's okay. We'll leave it that way then, but feel free to add more. Pinch your cheeks if you like. So you've had a lot of the shadows, and here we left some lights like this. Part of the nose hasn't even been touched at all. So it's the white of the paper. We have our nice flowy hair like it's just really blowing in the wind, so to speak, I think, and we've added some shadows here, so let's work in the background a little bit. 10. Background: The question is, Do we want the background light or dark? Or maybe a mix some debating between dark and light, and I think we'll go with the light. I think we'll just use a nice pink and purple kind of background. The idea that there, like maybe some other kinds of flowers but sides the almond blossoms that are starting to peek out. So what we'll do is we'll do wedding wet. So I'm going toe wet, wet from sort of here. This whole section on paper, right around your hair and touches her hair. That's okay, and I'll continue here. And I don't know how far down I'm going to carry the color so you can use your round brush for this. I just thought it be fun to use my flat one flat brush and I'm just going to drop ins. Pinks, little taps and Cem Smush is remember, it's going to dry, lighter And what other color? Maybe even a little bit of green? I have a bright green. I'm sorry Institution. Here's the green sort of a Hillary green, a lime green, almost so we'll drop in some of that here and there again. It's going to dry lighter. I'm not mixing that with the red. It will turn brown if you do that. So don't mix it with the red. And then because we were going to have all of this blue Let's take some of the Cobalts, but watery. Good splatter this, but I just don't want to get spotters on my hair right now. That edge cover her face. We get so little splatters of blue going on there. So this will be blue green, A little bit of pink, just soft background been. Let's repeat that on this side. Wait, did the green? Now we could have done this, maybe at the same time. But keep in mind that our paint paper, my dry that and then let's go back to her cobalt blue. I haven't even decided about this shit. Let's just take some of that flush town just mingle in this all together. We don't want this to detract from the focus, so that's why I kind of wanted to just let that angle and then we'll also just do a little bit of tapping here. Just to be too dark, not just adds a little bit of texture and takes a little bit of the water and dry 11. Hair: Okay, so now I think that while this background is still drying a little bit, it's mostly dry. While it was dry, I took away and refreshed my water. I have clean water, so do suggest that you clean out your water, getting water every now and then just to freshen it up and get a nice and clean. Say your water colors will be fresh and clear and unclouded. E. So now let's add a little bit of detail to the hair. We're not going to add a lot because our main focus really are. Besides the face, are are flowers. So let's just have a few sort of strands and stripes of hair. We're going to use the same colors all over again that we use before we're using that peacock blue, which is what I'm going to start with. But if you notice the mix is starker, I am going to add a little bit more water to that. But it's still quite a dark mix because I'm just going to add in some shadowy strands of hair. We have this sort of mid tone and light area background, so let's just add in some shadow and I'm just squinted. Imagine the hairs flowing. Flu's I don't want to go all the way to the edge, so I kind of have nice flow here around that year. Here we can and again, I'm using some dry brush techniques, so don't have a lot of paint. And that just adds that. What's that picture? Pick up the texture of the paper and so announced, like hair strands. Who isn't that pretty? What do you think? Like that. Going to just go over this Going over all the colors we have in the background, Remember? I wanted this peacock blue this teal blue green to be the focus of the color. And this here Don't say Let's go over here actually really like that just the way it is. I think the only thing I will do is to dry brush using the side of my brush here. Sort of blend that in going over the edge actually looks like the hairs flowing there. Then maybe a little dry brush here, strand not painting all the strands. You notice we're painting the idea here. I love it. I love it. I do see here where I have a lot here on the face. So let me clean my brush really well and dried off and pick this up because that's too much there. It's okay if it's a little bit, but I don't want it to be too much, too hard of a line there. What's often a little being that color out? I would love that. I think that's fantastic. Now I can't see many of my lines from before. That's OK with me. If you want to see those lines, be sure and do your drawing in pencil. We're even in ink if you prefer, But I don't mind that they disappeared. I I can. I know it's a very sketchy look and I can recreate it. So stopping this a little, Carry that under the chin. Look now, and it just appeared. Did you see that Magic? No need to let her face for her. Her hair 12. More Depth: going now with my rigger brush, even a darker, thicker mixture. See how it doesn't move as much. It's nice and thick and dark, and this brush now has become very, very pointed. See how tiny see how dark this pain is? So it's going to make some nice hair strands, and I'm just going to again. I'm imagining that the hairs flowing and I'm just going to drag the surround through the painting and even outside over here, and it does as it gets to the end of the paint that's in here. It makes that dry brush effect because it's running out of paint, which is actually, I felt, Take this brush in Berlin and a little bit. I can press down on it and make it have more dry brush effect from two. So I don't really want to do very much of that just a little bit, and maybe even go in with some water on my rigor and just add in a few strands. This is just Clearwater, but it will make a difference because their opinions not completely dry. It may even pick up a little bit of that pain here in there and soften some of those lines that I just put in also because I'm going over them here, in there. So very nice, very flowing. Perhaps she's a mermaid. This is just me playing. This is not part of us. Something to too much. Let's go ahead and add some pink to her lips. Just building up that color. Okay. You can use a smaller brush for this if you like. Do you have a little bit more? Thank you to some little knots since we went over this with the flesh tone. Then I also feel a little bit pink. I kind of want this to blend together and not be so solid, harsh of line and then a little pink or flushed home dots here. No, that's too big. It should be using a smaller brush there we go to bed and we can just government and I think I'll go more shadow that same are thick. Make sure thicker makes your flesh tone right under the chin. Getting softening that and here on the year base here. So these are just little small changes. And don't feel you have to do these Caesar. This is my festive side showing. Do you want a little more pink? Just a little and a little pink on the nose right there. We need some eyebrows, guys. We already have watercolor pencil there. So let's take our small brush. It's damp, tapped off all the excess water. And let's just sort of dissolve this a little blended out just a little bit. And in the process, we can add some of our skin tone. Sure, the idea when I will do the same on the other side, take our ultra Marine with a lot of water. Very light. Knicks. We can use this as your shadow color. Just a tiny bit under the nose. Tiny bit under the here. Here even dropped that inner I really area. That's still wit Andi. A little bit here still doesn't feel like starting up to me. So I had a little bit there, noticed it spread out because it's wet, so she's starting to come together, but she's still not there yet. We're going to be adding some details. Don't worry, we're going to get there. We can have a little bit more dark there on the lips. Really lips beat. I don't have that in there. So it's just a little actually little smile and pull that cupper out just a little bit. I actually think soften this bottom match a little something not to come to their dropping a little bit more color where we that and a little bit underneath on the bottom of lip, they're trusting belongings. So details. Those are details and then again adding a little bit more the top of the lips here and will soften that as well. 13. Branches: So I had a bit of Tink technical difficulty and didn't record all of this. But I can show you very quick how we did the branches. So you go home with a brown. This is a warm brown. We're going to make just sketchy, lined with our rigor and sort of swirly lines to. So we'll just go and swirl our brush around, and I'll just add a few more here to our branches and just continue to make sketchy marks. If you press down with the brush, then you'll get these wider lines like that, which makes this very sketchy, loose branch very rough, uneven, just like in our inspiration for them. So you just do that sort of all over in her hair. And remember, we're going to go back and add the flowers later. You can add little dots here and there just because it's fun and we're here to have fun. And you can even darken up your brown a little bit with some black or some darker brown to go in and create some shadows. I apologize for not having that recorded, but I think that you get the idea and you can get it. So make the swirly sketchy lines. There's nothing about them being perfect or anything like that. It's really fun, really sketchy, going every which direction but flowing with her hair. So keep that in mind and also have some of them flow off out of her hair. Just kind of nice. You want to be thicker, just go back and press down. It's kind of a weird thing going on there, but I'll just add some sketchy marks. Have it go off of the paper. There's more here in just her right. Overlap the lines a bit here and there. Just have fun with it. That's the most important thing. We're here to paint and to have fun. Just enjoy the process. It was a lot here that's OK. And don't forget down here on her neck. It's very squiggly again. There's no science is just fun play. Let your brush dance around and do its thing and make some really interesting marks. Let's let that dry 14. Lips and Nose: while the hairs drying, Let's work on the lips a little bit more. They're just not. They don't have as much depth as I want them to have. So well, just and then I am. I want to look like they're smiling, so I'm sweeping that up to the corner, but not all the way out to this. But so it looks pretty nice, Does dry lighter. So let me just drop in a little bit more color. It's sort of a smile. Shape there and then sweep it out and soften as you go. 15. Blossoms: So let's this lovely girl dry overnight, so it's really, really dry, and I want to now add some flowers. Are you ready to add some flowers? Just like our inspiration photo? We'll add flowers. So I have some whitewash. You could use white acrylic paint. I may want toe wet it and mix it. So that's why I'm using quash. In this case, you could use white EQ. I'm using this white cross straight from the tube. I have clean water, so my wash will be white. It will not be contaminated with color, and I have a clean brush as well. So I'm just going to make sure my brushes clean and I have the brush that doesn't hold as much water. I don't have my biggest brush. I don't need as much water for this, but I do want a wet brush, and I do want to activate my wash A little bit. Wash is very similar to watercolor, except it's opaque so you can do all the things you do with watercolor. You could do with a wash pretty much except the transparent layering. So I have this very white white and I'm just going to remember our flowers were just little scribbles on our inspiration drawing so you can't see them anymore on my paper. But I can see them here. They're just like little scribbles, and I'm just going to just then dab in some white where I want. They're to be little blossoms and they could be different shapes and sizes. And I don't want them to be perfect by any means. And so I'm just going to play and have a little fun, adding some little dabs off white. See how you cannot see the blue through it. Now it may activate that blew a little bit and that's OK and I may go back and add a little bit more color and I want a lot. So I'm spreading my now more than I want to. I want groups of flowers, so let's dab more a little more careful here around her face. It's okay if some of the background close shows through, then it makes it look more like pedals. So I'm just dabbing, tapping the tip of my brush and sort of dancing around. And so this say this shape could be one flower, or it could be several group together does. It doesn't matter, because we're doing this impression of this flowers in her hair. And so it doesn't have to look like you're so perfect flower or anything like that. Okay, While I'm doing the stabbing, I will speed this up a little bit so you can still watch. But he's so repetitive for you. So while I have the squash on my brush so you know how you use a posca pin a lot, right? But I can use the squash for the same purpose. X and I can choose the size of brush to get more accuracy that I'm just going to use what I have right now and just add a little bit of a highlight here. Now, the difference is the squash will re wet if I go over it with water. That's the difference between this and say, the pasta pin. But both are opaque highlights. So I'll probably end up just using both in here. But I'm just letting you know this you can use either one. Either one works and I do still have a few things to add to the the girl's face. But while I have this out and working with. There's no reason not to go ahead and add a little bit here and there, and the other thing I'm going to do is mix this with a little bit of water color. I want to use a different brush just because I don't want to get the white in my watercolor . You can use the same brush. Doesn't really matter that much, but I just don't want to mix it. So I'm going to take the pink we've been using for her lips, the red and add a little bit there. I don't want any. Okay, I'm just being a little bit silly. You don't want to use my whole mixing area because I may still want some white. So I'm just going to add. So it's very slightly pink from the red that we used, maybe even a little bit tied together with our painting because it's the same colors, her lips, right? So we're using the same colors to keep our painting nice and cohesive. We're going to add a little bit of pink to our flowers now. They're still sort of kind of wet, maybe, and it may mix a little, but I'm just going to add the little pink dots, and it's going to be very subtle. It may not show up very well on camera, and I'm not going to add it everywhere. Just here, there, in places I could add it, like on its own. This is still mixed with quash, so it's still going to be opaque, really liking the effect we're getting here now probably actually do the same thing with some yellow actually almond blossoms. Do you have a little bit of a pink hint to them? Not as much as, say, cherry possum similar. So it's just going to add a little bit of a subtle color to some of our little flowers and even a little bit more here through a cow. I will do that with this yellow we've been using same yellow. I should have used a smaller brush mix that with the course, so we get a nice opaque yellow by mixing it with a white quashing loco, soft and buttery, that looks that's beautiful and tap that around in some places. Also again, not everywhere. Does it matter if I put it where I have a pink? No, it doesn't. It's just going to warm the flowers at a little bit here and there. Do you know almond blossoms? I intend to bloom at the very end of winter, getting a spring, So they're actually kind of usually in a kind of a colder light, so you may not see a lot of worth to them when you see photos of almond blossoms. But this is our painting, and me can do what we want. So you had more or less yellow. You could have even made the blossoms yellow or pink by mixing that color with the quash. Okay, that's nice, you know, a little bit that they're just because I don't feels like I should Same Here. Here. Oh, look, I missed the spot. I missed it for the pink on the way. I'm a little bit, and I still have pink, so just go back and pick a little bit of that up. These don't show up very much. That's okay. Just kind of wrecked there, right around her neck. Come phone. Can you believe I've made it this far without getting doing any splattering? I can't believe it. I'm just like some tempted now to just splatter with the squash. I think I'm going to so a little bit here and a little bit up in her hair. So there's some little blossoms floating around here and there. I'm not doing too much, though, because this is opaque, right? Have a little bit on her face. And I think okay with that, actually, kind of like it. Okay, now we've done that. We're going to let that continue to do its thing and dry. 16. Final Details: only a tiny bit of tweaking we need to do with the face. You could use a colored pencil or you can use. Continue to use your water colors. I still have my skin tone here. This is the dark version mixed with the brown. I need to add some shadow here in the year area because it just looks kind of weird there and a little bit on the eyes. And I'm thinking that rather than using watercolor, I will use the colored pencil. This does have to be very dry for you to do that, and I'm just going to just make that sort of backwards C shape there for the year and just defined face a little bit here. That's why we're over left, and I looked sketchy lines, so it's good for this month's media Girl to have a little bit of texture. But you can smudge it also. So waxy colored pencil and even at a little bit more definition there, careful not to hit your quash. I just want that to be I need to be more scribbling there, counterfeiter, okay? And then let's little shadow here find that knows just a tiny bit I don't want to find I don't want it very defined and me a little dots here, let's do the lift. Its on using all the same color it doesn't. The color doesn't really matter as much in this case because it's a neutral colors, just kind of blend and some of those others handsome depth. Like I said, if you prefer, you can do this with watercolor and then her eyes. They're very happy and a little eyelashes there when they're smiling, this happy kind of smile, their eyelashes, kind of cooking go in both directions, up or down. Some have just munching that out and just want the idea. I'm maybe even a little bit here. Smudged, scary. That's too much. See, if I could pick saddled with I don't know. It's really there we go. It hasn't been there long enough to drive very well. It's a little much, but let's make it match, and we can go back with the color pencil and work out the details there. Don't assume now with their pasta pin, and we're gonna get a highlight here and there. Highlight here much that one brow bone area that's kind of covered with the flowers doesn't matter as much. Tommy. We're pretty happy. We can also add a few little highlights on her limbs. Just add a little bit of that pasta pin or your wash and smudge it. Don't do this until you're lose your dry. You don't want to smudge your blooms just out of more dimension to those limbs way. So they were dark. I mind and see this is not very precise, and it doesn't have to be on all them or anything like that. It's just an impression can make someone swirly months. It's much those out, so they go toward a search for in the background a little bit kind of the idea of vines. Not that their vines and almond trees, but this is my painting. This is your painting. You decide. She looks very happy. So I'm going to go in with this thin micron pin now and sort of to find. Make sure this is try find some of her eyelashes. There They go in all directions, some up, some down. I don't want them to be very distinct. Just want them to be the idea again. Impression, right? Let's do that here It's very fine lines. So see idea there, and we'll also define this even a little bit more if you made a look like this little tilted line here looks even more like she's smartly. Here we go, she's often. 17. Project and Thank You: for your project. It would be amazing if you would create an almond blossom girl painting inspired by Van Gogh's Almond Blossom. Now you can use the drawing that I provided for you, or you can create your own almond Boston inspired painting. Either way, it would be fantastic. And this is in the project section for your use. Just don't forget to do your wet and wet. See how your paints work as values. You could do a color warm up, as I've shown in some of my other classes to make sure colors will work together, you can try out a rigger brush or a small brush and make some nice fine line so I cannot wait to see your almond lost girl inspired by Banco and thank you so much for taking my class. I truly appreciate it. Can't wait to see your work. If you enjoyed this class, please leave and review. It really helps me so much to know what to teach and also helps others to know whether they want to take this class or not. So that would be fabulous. If you would do me that favor, would really appreciate it and thank you so much. If you have questions or comments, don't hesitate to reach out to me. I will get back to a soon as I can. Thank you so much for watching. Thank you for taking my class and I will see you very soon.