Botanical Watercolor Series: Paint Tulips Like a Pro!

1. Welcome to a second part of my Botanical Series: Hi there, welcome to, but then it goes series. And this course is meant for a little bit more experienced artists, watercolour artists, and today we're going to paint to it. This is the second part of my botanical series. If you want to check out the first part, we're going to be learning how to paint tulips, but in a more simple way meant for beginners. This course, we're going to be painting tulips as well. But this time we're going to use more advanced techniques. Explore wet and wet technique, use more professional and high-quality paper, a 100% cotton, and use layering technique later on to create volume, depth and three-dimensional feeling of the followers will also be talking about how creating realistic tulips, how to create volume using shadows and lied. And also really discussing the qualities of color, one color and gold color and how can you use that to create realistic art? Welcome on this faint. 2. What materials will you need for this intermediate level course?: Hey guys, welcome to my water color class. And since this is the second part of my mechanical theories, today we will paint, painting tulips, but in a more complicated technique. So if you're not sure that you're comfortable with painting two lips as a follower, you can check my previous class where I explain how to paint this beautiful flower step-by-step very easily. And then you might feel more convenient to bend in this class. So materials that we will be using today are our basic materials. So we will need a few brushes. I like to use natural squirrel brush. Or in my case I have Galinsky. It absorbs a lot of water and also release a lot of water is very convenient. We won't need synthetic brush around, midsize. For working on DDOS. We will need sharon brush being like a mob to work on large washers and for example, painting or background. Or you can use this brush instead. So synthetic brush will absorb less water, but still is good enough to work on big washers. For the sketch, I will be using pencil for age. It's pretty hard, so my, my line will be sharp. You might need tape to a Dutch. This paper that you will be using. You can attach it directly to the table for, to cut the cardboard. Paper we're using today is a 100% cotton paper. Is very important for this particular lesson because we will be working with multiple layers. And the benefit of this type of paper is that it will be absorbing the layers, absorbing the paint, the way that it does not leave sharp edges. And on lines that you didn't need in your paint, in the paint will be very smooth. There will be no sharp outlines, and everything is going to be much more delicate and easier than working with it cellulose paper. So I suggest you use a 100% cotton. Also. The texture is hot operas. This means that there's almost no lecture on the actual paper. So your tulips are going to be very smooth and nice and they will be no texture on the leaves, for example, or the paddles. So this is how people looks like. The size that I'm using is 23231 centimeters. Or you can also see interests and my favorite renders Kansan because it's very loyal and very easy to work with, doesn't give you unexpected results. Like for example, other types of cotton paper like ours. And which I also love, but you really need to get used to it when you work with it. So this one is doesn't, doesn't surprise you with some unexpected type of weird behavior. When you paint. Then when you draw your sketch, you will be probably use an eraser. And I would suggest you use neither galleries are doing this because instead of irregular one. Because you double eraser and the way it works, it kind of picks up the that's a line. And you don't really damaged the paper when you do it. Because with this one, you have to really scratch paper surplus to get rid of the pencil line. Of course, we will need water color and I have my palette with Bain's coincident already everything is prepared. I clean it so I can mix by colors here. Meanwhile, you should have some piece of paper where your whole mix the colors we will be talking about. One particular paint. We will mix to achieve a specific shallow or specific color for the painting. So make sure you have a separate piece of paper. Also need some tissues like this to become the leftovers of water or paint. And also if you want, you can use some sort of spray like this to just pray your, and I tried watercolor if it's been in the palette for a long time. And of course, your reference which you can print on the photograph as a photograph, or you can use it on the phone, on your screen or on the computer or tablet, whatever is convenient for you. And this is pretty much, the most important part is paper. So make sure you have a print that you're comfortable with. And most preferably it to be a 100% cotton so we avoid the layers to dry with the sharp edges. That said, let's move to mixing colors. 3. Color mixing tricks & tips: Alright, so for this artwork, we will be needing quite a few colors, but mostly we will stay in the range of being read. My eyelid and of course green for the leafy part. So let's find out the best colors that Ruby actually needing for this outward. I'll suggest you use a separate piece of paper and write down every mix that you prefer and maybe even write down the names of the paint you use so you don't forget and also stay more consistent. Okay. So for the pink flowers, I will be focusing today on matter, red color, which is actually Pink. Also, I will be using magenta rows and maybe read from Xing Han because red function hand looks like a very cold pink color, even though it's called red, but it's called is PR 17. And I'm painting mother read right now. This is going to be my most used pink color for this painting. But what's important to understand here is that when we will be working on our two lips, when you analyze a flower, you will see that in some areas there is light and other areas they're shut off. So approximately this part will be in light and this force will be in shadow. Those both parts are going to be pink. However, there is a special rule that says that if highlighted area and the area where the light drops on, if it's painted in cold colors, the shallow should be painted in warm colors. And reverse. If you decide to paint the area that is highlighted with the sunlight, with the warm color than the shadow will have to be painted with the cold colors. So me, today, I'm choosing to have colder area that is highlighted by the sun so that the shallow part of the tulip is warm. So this is going to be looking like this. For example. This is mother read, I take a little bit of green because green is a complimentary color to red. So if we want to achieve a darker tone, I need to mix those two. And you see that now I am achieving a really nice deep. Pink tone. Of course he can achieve this by mixing, for example, the same mother read with, let us say blue. But then most likely you will achieve rather purple color, violet, like so. But on the other hand, you can take your pink and add a little bit of neutral black. This is an easy way out. But most of the time what they call art is denote user black to create shadow because it's a very flat color and it doesn't really give it the depth of the tone that she would more likely to achieve if you would use green. So I suggest to you write down with your pen the name of the colors that she mixed and choose which one you prefer and which one you don't want to use. So this is going to be the pink that I will be using in the shadow. It's either mother read or mother red with green. And maybe even with black. Especially dark colors will be using, whoops. Excuse me. In especially dark colors will be used in Himachal did only lag. And this color looks more like a violent. So I would like to cool it down and I will do the same way by adding a little bit of green. So this is going to be the color of some parts of the tulips that are in the shadow. Here are the colors I am talking about. And on the other hand, the color data we'll be using in the light area, the area of the follower where the Sun drops and slide. This one. I will be using. Read from this one. Also, I have some followers that look rather purple. So I can use, for example, read from Xin Han with a little bit of indent trend blue and achieve beautiful violet color y I am going to use in the trend instead of any other blue. Because in the trend, this trend Blue is a very steady, calm, deep blue color. And if we use, for example, ultra marine. Determining blue is beautiful, but it has graduating feature. So after throat and try you will see a very specific texture, creamy texture that is caused by granulation. And I personally don't want to have any graduation effect on the petals. So I would prefer to stick with the color that doesn't create a runaway effect, this one market. So another combination that I would like to use would be also involving mother read. But with a little bit of cadmium red. Some of the colors have really nice tone. I mean, some of the petals on our tulip has very nice, interesting, kinda creamy tone. And I would like to achieve it by mixing red and cadmium red. Also some of the flowers have yellow in it. So I'll be using converge. And with the gumbo, there will be either red or red function. The one that goes with the lighter area highlighted by the Sun. Also, if you feel like you want to challenge yourself, you can include lemon, which is a cool yellow color. And you can use this color in the area where we see light. So it's the cold part of the tulip and with Xin Han cold pink color. And you can use this for the part of the to lift that highlight where the sun. And you can use this color for the shadow of the two loop, because here we have warm yellow if you can say that. And more pink. If you compare the two, you will see the difference that this yellow is much warmer than this yellow. Let's move to the green part of our painting. And I will be using emerald green. Some areas that are darker and we'll be mixing red to green to achieve a darker tone because we know this is a complimentary color. It is opposite color on the color wheel. I will not hesitate by adding a little bit of blue in the trend blue. Have a nice variety of tones. And also I will be using one color to work on especially dark parts of the leaves. So, so here you see this interesting combination of colors that can be in a single leaf. However, I will also add in a little bit of gumballs because it's a very interesting color that will break up our leaf. And on the reference you also see that some of the leaves, they have very special yellowish side, especially on the right side to the painting of the reference. And I would like to use that with the cabbage or you can use or c and m. So this is how it's gonna look like. Raw sienna. And emerald green, however, is not shining as much as yellow, so I will prefer to stick to the yellow color. And also there is one tulip that rather wide, but it kinda be perfectly white color. And because all the other tulips and leaves, they are accustomed shadow and reflected light on the white color of the petal of the tulip. So what we are going to paint is actually not the whiteness of the tulip, but all the shadows on top of that tulip. And I will be working with the shadows. And think with a little bit of a trend. And a and B are probably, I will be sticking to this combination through 10-year drop of random just to achieve grayish tone. Because we know also yellow. And so here we have yellow, red, and blue, which three of those create? Gray. However, now I'm getting more of green tone, and this is not the color I am looking for. So this combination is not going to work. I need to find another one. I think this happened because I use converge. So I will be using cadmium instead. Cadmium, yellow, cadmium, red, and blue. And now we are getting more of desired gray tone. Then before. I would also prefer to have more of the blue in it. For the shadow online to. This is going to be my preferred combination. And this is n. This is how it looks like. Make sure you test all the colors that you have. I also am considering to use surrealism for some of the tulips, but I haven't decided yet it's very nice, very calm tone. And also have a very special paint. And dusk bank, which has an interesting change of tone from pink to almost black. And I will see if I feel like I'm in the mood, I will be using this. But I think for now we have a lot of colors to work with. So let's move to scattering. 4. Prepare a sketch or download my outline: Okay. So I've touched my paper already to the cardboard. I usually call it a tablet, but I'm not sure that's accurate. It's just the regular cardboard and I used the tape I showed you in the beginning of this course that attached here to make sure that when I will apply water, the paper is not going to go wavy and buckle up. Alright? When we sketch, please make sure that you do not press your pencil two hearts that you did not push it. You do not create a very thick visible line. When you sketch, your line should be pretty much invisible. However, now I will be pushing the pencil harder because it's well, it's not very clear on the video on the camera when I'm doing this sketch. So for most of the students, it's not convenient because they don't see what I'm doing. So now improbable tried to push the pencil harder so you can see the line and hopefully you will see what I am sketching. Okay? So first let's start from the composition. We have a bunch of flowers and we need to thank where we will be placing them. Because if we start from a random flower, we will realize that the other guys are just not fitting in. So it's gonna look a little bit off. So first let us define that somewhere in this area will be our concentration of flowers. So I very lightly consecrated a line which I want you to stay in so that their followers don't go outside of this kind of frame, should say. Okay, so now let's just mark circles, which is simple circles, nothing special. Just to place tulips. It's rather almost none this ribose. So we have o here, o here. Then another one more like a circle is taken out here. One more here. And the final one is almost out. So let's say this are the general mystic kind of outline the placement of our future tulips. Now that I know approximately where I will look in them, I can go and kind of detail the line. So make it thicker and make it more visible and hopefully visible for you as well. I'll start from this. And now I'm pushing the pencil harder and I hope you see it. If you don't see it, please do not worry because I will be attaching an outline that you can download and print and trace on your paper. So if you are not feeling consonant with sketching your own flowers, you can just download my outlines and use it for your own drawing. So I have one here, goes in alone, then another to live. I feel like I initially placed. So I move it up. Then it goes like this. I also move it a little bit. So I feel like it makes more sense. Located in this area. Please do download my outline, trace it if you feel like it's going to help you more with sketching. And now I will erase all the lines that I don't need that and make my sketch much lighter than this because this is way too dark and we will be ready to paint. 5. Start with a background: wet on wet: So let's start painting. I would like to point out your attention that actually in our artwork, since it's a more complicated painting. In this lesson, in this class, we will have a background before in our first class where we were painting just a couple of tulips. There was no background, just whiteness of the paper. But here today we will be adding the challenge and create nice smooth background. How we are going to do that? We will use wet in wet technique, which means that first we will be applying pure clean water. So I hope you change your cup with water. And then we will let the border sink into the paper and start painting the background nicely, commonly and lightly, going all the way close to their outline of each tulip, but not trying to get inside. So before we do that, we forgot to discuss actually the color we're going to use for the background. And honestly, It's, it's up to you. Remember I mentioned I would like to use surrealism at some point. So this is the point, this is the situation where I will be using Simulium. This is my cerium and it's a bit too bright. So the tiny drop of emerald green, the same green that are used here. And my mix will be super light, super diluted with water. And I want to make sure that my background is really, really, really, really light. So lots of water and less pigment. I'm aiming for this type of intensity. Okay, so now I will suggest you first mix it in your palate so you have enough paint prepared and you don't have to spend the time on mixing your color. And then we will start working. Large. Apply lots of water generously. I buy water everywhere, on top of the flowers on the background, absolutely everywhere. And a lot. Also, you can see that I'm moving really fast. I don't spend like ten minutes. I do it really, really fast. And now we need to wait a second while the water sinks into the paper. It's a 100% cotton paper and in its time to absorb it inside, but then it will keep inside the water for a really long time, which will allow us to work on very soft washes. You see when the paper is wet, it also changes the shape and it start to get a little bit wavy form. That's fine because I attach it with the tape. So when the paper will get dry again, it will get straight again because the tape is holding it. And it's going to help us achieve more straight. Look at the end. So now we waited for like a minute and starting to start. This, I think is too much. I want less concentrated color, which means you need to add more water and diluted. Now this I think is much better. Now with this color, I'm going all the way close to the edge of each of my tulips. Don't worry if it leaks into your tulip. And the end of the day, it's not that color. And remember that gets trying. It loses the intensity. So the color you see now is going to be even lighter after it gets dry. Since I'm working with the nature of brush, it's pretty easy for me to work in between small details, like in between the leaves, stems to lamps because it has this point. And it's very convenient for me to navigate. It's okay if you touch the leaves. Because go onto the leaf. You will still be able to cover it later with the darker green tone and a little more concentrated blue. But you don't have to do it. It's just my preference. I like when the background is not flat but has different tones. So it's more interesting to look at it. If you feel like your paint still God, inside the frame inside your two lips, that's fine. Don't worry about it because your paper is still wet so you can fix it. You can take a tissue and lift the pigment that shouldn't need from tulips. Now this needs to get a 100% dry before we move to painting every single tulip and slowly build up our Luke. 6. First layers: tulips: Alright, I took a break and got myself some coffee. And now I am sure that the paper is completely dry. I can start working on each separate tulip. How do you know that the paper is dry? First? It's not shiny. So if you look at the angle, there is no shiny surface, no blinking, no glossiness, nothing. It's just met, met nice color. Then the actual color that little bit lighter, as I mentioned earlier. If you put your hand very carefully and touch it, the paper is room temperature. It's not cold. If it's not cold, admits it's Dr. usually if the water is still inside the layer of the paper, when you touch it, it's kind of cold, colder than you would expect it to be. So that of course, it's straight again. So as I said, the tape worked. And now when the paper got back to being dry, it straightened up and it's nice and flat. Cole. So let's start working on tulips. So I would rather start with this one. It's kind of front and it's already containing the challenge. This part of the tulip is in light and the other part is in shadow. And remember what I said in the beginning, that if we paint light part of the object with cold paint, cold colors, then the shadow must be warned. I already decided that my lighter part will be red color fink. Well, it looks at being Sheehan from Shanghai. It's pretty cold. So this is the color we'll be using. But first, actually, I will be applying clean water on the tulip, but only inside this one tulip. Now after that, I can go back to my pink color. And with a very light transparent almost layer, I'm applying it here. This petal I'm working on right now on the right, I wanted to be very, very light, almost invisible. Now right away, I will take my, Actually I'll take 11 lemony yellow and a little bit here at the bottom, just a tiny bit. Then at the same time, I'll take red, the color that I chose to use, shadow. So it's a little warmer and also a little darker. And I apply it mostly on the left side where I see darker parts. I'll switch the brush because the handle shorter. Just more convenient. And we'll also add the same red color here, a little bit in between the petals here. To kind of separate those petals. For now, I would prefer to live it to dry because this whole petal has darker shadow and I will apply later on. Meanwhile, we can move to paint another petal, petal, not beta2. But the one that is not touching this one because if I start changing this one, the two layers will touch each other and leaking to each other, so I want to avoid that. So how about we move to paint the one that's here, the small one. And it's also open. So first pipeline of water. Then I am picking up light layer of my cold red. And I applied only on the right side, on the right battle. Verified. Then on the left side I will be using madder lake, kind of hiding behind them. White tulip case. It looks like that to me. So that's why the shape here is a little bit curved. At the same time, I will be adding green to my mother read to make it the altered the way we discussed before. And then at the bottom here right away so it blends smoothly without edge. Also allow it to link with my first petal. And right. And I think it looks organic and nice. Change the shape a little bit of the petal here. And we have another battle kinda in the middle and behind. So I'm painting it with my mother, read it slightly darker. And also interesting moment here. I'm actually not going all the way to my left battle. I leave white line in between to give it some space and some air, and I think it looks really nice. So if you want, if you're painted and leak yet, you can do the same. Since it's cotton paper there. It kind of eats the color or the brightness of the color. So we will be coming back to this follower later on and add in some more shadows. But for now we can leave it be. Instead. We can move to the flower over here, the big one. For this one, I think I will use my mix of mother, read and Kahneman will also apply. It's just pure clean water first to prepare to layer. Let's go. If you look at the reference, you will see that the top of the potato is kinda almost white, but the bottom has more bright pinkish town. So that's why I'm starting from the bottom and moving my brush up. So the part here up the battle is much lighter, almost wide. And this is the effect I'm looking for. Here. I'm kind of separate and one petal from another with darker shadow, mondo red with green, the one we already used here. And because our layer is still wet, it looks much more soft and organic. If compared to the site did that on a dry paper. And there's a tiny, tiny, tiny part here. The petals will also go their separate, the petals here with the stroke. But it's a bit too bright, so I'm cleaning my brush, brings in the water. I'm also very light line up. Make sure you brush doesn't have water on it. It's just human, but not. Otherwise, it's going to dilute your layer and create texture that you don't really want. And here we go. We have this separation of petals, just like a one. It can also add some texture here. Denote the edge right away with almost dry brush, just a little bit humid. And since we are working on called Thrace, sorry, on hard-pressed paper, we don't really see the texture around. That's why it also affects the way how fast paper gets dry. Then there's a lot of light and the shadow will be with a man started from the bottom. And also take my gun Bush. Remember the yellow and the bottom? Again just to make it more clear. On top of the petal just a tiny bit. Right away, I will make some darker tone to achieve darker tone. Because I kind of want to get this forward from one shot to dark. Everytime you need to fix your collar, you have two rings your brush and get rid of excessive water. So I make a very specific stroke over here to mark the area of the shadow. Because on the reference we can see that very clear how the Sun is pointing out this tulip and this petal is really, really high. And it looks very nice. So enclosure to achieve this effect, we need to create pretty sharp line ourselves. So I will leave this to dry. And when you're sure that all of these layers are DR, we can start working on those that are touching. This particular follows. 7. Covering more tulips: Now we can start working on our previous flowers. First, clean water. I use for shadow. Leave a tiny bit of whitespace here because the reference I see there is kind of dropping on it. And it looks pretty. So I'm gonna keep it the same. I will be using mine dark green. I can leave this to try and move to the one here. It's a smaller flower, so I'm not applying first layer with pure water. And I paint dried up. Semi web crash because it's small. I can create the watch. Without preparation. I'll take a transparent layer first. Then more concentrated orange color. We can move to this one which is rather which I can mix as well, but myself. In them trend, trend blue, red, green color. Very, very light. Layer first, the follower is more interesting, more different. The shadow is done. And we can come back to it. While I was working on this part. These guys got a yellow one. Same logic layer. This is two. So I'm diluting it with water. This part here on the right, I keep it keep it white so I don't even go with the paint in there. It's going to be nice. Highlighted area. And the same time I'm using orange that are mixed before. And applying here on the left side where the shadow is. And also where two petals are separated. Remember that there is another follower here in the middle. So that's why my yellow tulip is a little before I'm hiding behind. And I'm also taken dark dark shadow tone that I used before to add shadow right away here. Okay. And I think there's two lip is done. I'm not even going to go back to it to correct anything. Meanwhile, we can work on the white one. As I said before, it should be very, very, very gentle. Actually takes tellurium and I add a little bit of blue in a tiny drop of pink. And a very, very light layer will be alkaline in my supposedly White to live. But In order to make it. Now we can leave this to dry, given though pretty much everything is right. So now we can move talers paint in the green part. And then we were concertos. 8. Painting leaves and stems: Now the eaves leaves stamps. I would prefer to start with down sexually. So I'll take probably take rho, rho CEN, the collar mentioned earlier, but for the stem, not for the leaf. So with my first, I will outline the stem, then brings my brush and make my lines. Then at the same time, I will take a little bit of do to make it darker and darker. And darker. I can even add a slightly bit of green just for the variety of tones in our stem. So it looks more interesting, deeper. Tried to not overdo. It shouldn't be a nice touch, but not the main, the main part. Also try to keep it light. The stem supposed to be pretty light considering the other stamps. So if you overdid it was shadow, you can lift the pigment with a semi wet brush. Okay. I think I can leave at beam. The only thing that I would add is that I'll take a tiny, tiny drop of black edit at the root of the stem, exactly where it's touching our flower bud. Then I'll take darker brown or you can make source Yana with green, sorry, bloom. To achieve darker tone in our work on the stem. Flower. So this should be darker. Make sure it's not getting too dark. Is hotlink come in black or sometime. But also remember that when it will get dried, we'll use the intensity. Pain total listing cancer TEN. Before look lighter. On the other hand, I will take a tiny bit of green, paint, a stem of this Tulip with mix of green. And I will even drop a tiny bit here at the bottom. And just to connect to the flower bud with its own stem. Then we have a stem over here. This is the big one. I'll take CNI again. Pretty light color. I will even add a tiny bit of it looks like at this time was illuminated by Sun. But of course seeking its shadows whilst taking tiny bit of blue, mixing it with mostly. And in the shadow. Also if it got too dark and can always lift the pigment with the semicolon brush. And I will quickly Marc stem of this flower. And from here there will be leaves. So that's why I'm not extend into holes demo there. I think I marked all my stamps, so now I can work on leaves. I'll take a little larger brush like this one for example. It's also nitro, so it will be easier for me to work with desired washes, like more water, more paint and foster make sure it's clean. And I'll start with those that have a few tones inside. So first I will apply water, then I'll take them Butch. Not super bright. Oh, then I'll take green. Makes my green with converge. Then I'll take green again, but add, commemorate dOmega Parker. Remember what proportion if you want the darker green, This means that proportion of green should do more than read. Otherwise, you will get darker red, and green. Then I'll take my previous brush. Right away. I'll take a tiny bit of green trope, another shadow only on the left side. I'm also kind of messing up the shape of the leaf of the o over here. So try to correct it. But for that I need relatively dry brush so and rinsing the excessive liquid and trying to create the shape of the leaf that will better. Yeah, like that. Then can leave this to dry and return to a little later. To add the final shadows. We're going to continue doing the same thing but other apes. So this leaf is interesting in regard that here it's banded and it has kind of light blue tone in it. So i'll take calm. To create this feeling of light. I should have applied water first now is pretty hard to dilute my paint, but it worked so it's fine. And then I'll take another blue here. Just around the area where we see the highlight. Almost like a moonlight or something. Of course it's not. The multiplication is the sun. Make sure you don't have too much water from the tip of your brush, otherwise, you might lose the shape of your eye. Here's my leave together. And thus get directly to foster that. I was trying to recreate this kind of feeling. And I feel like I colored it with paint too much here, so we'll pick it up with a brush. This branch should be completely dry, rains it to be able to lift the pigment. The same time. Mixing darker tone of green, almost back to show the direction of the IV. Thank you. 9. Working on volumes: Then just slowly continue. Those leaves, they don't have to be very dry. We can add more detail. Also at the same time. Not petals. To let this, well, technically those are also the tulips, but the ones that are out of focus. We don't really care how precise and realistic they are. We just showing them as a shadow on the back. They should be darker in tone. Then the rest of our tulips, because we need to create a feeling of depth. So for that, we need to have followers that are not important. Darker and more, well actually not darker with more blurred, with less details. Some leaves are dropping. Leaves are connected in terms of tone and have similar everywhere. For consistency. When you're painting your moment when you define the shape of this town. And psi using negative space technique and something else, you actually define the shape of blank space on purpose. I would like to have this feeling of air in between the leaves. I always use the same colors. Sometimes. Make sure when you write the leaf and goes behind the none, the one that it logically continues, the one you didn't paint. So if you start here and the line continues, doesn't go different direction. This is important parts of keeping unrealistic. As you can see, most of the stuff we actually painting from the first, some of the leaves and flowers. Additional decaying or shadowing. Something. Especially in the US and it's cold. Leaving this space to try because I don't want to paint into each other and the shape of my leaves. So we'll wait for this to be a 100% dry. Between law can work on this one. I went to. That is very important as well because I'm defining the shape. So you can make it thinner or correct, the actual shape. Maybe make it more straight through something. Using negative space technique allows you to even create some light area, like white area. Finished. Let's finish up this article. 10. Final touches: Okay, so final, final, final steps. We need to add shadows on our followers on the leaves to create three-dimensional feeling. Well first, I would like to intensify the color of this tulip. So I added just another layer of the same paint I've been using before. Just to make it more intense due to layering. Right away, I am diluting the edge with the semi-log brush because I don't want to have sharp line. Make sure you have the water on your brush, otherwise it's going to dilute the previous layers. We're going to have to spend more time trying to restore them. Here in the bottom, I'll add, literally had troubles lack because most of the groups that have this dark area in the bottom direction. As I said before, I wanted to create more of a shadow. And with that, I am applying. But it turned out that bit. To pilot. No, no, no, no. That's that's a big problem. That's the way to save your Painting by lifting, lifting the paint with the tissue. But first you need to add water. Well, that's especially sad to destroy your fainting just because the last Dutch you are adding. Successful will try to mask it right now with added more Fowler and create a texture. Intensifying. I am creating a separate area. I'm carefully creating those veins. Then I will wait. One is missing some more intense shadow. Also, the shadow is actually created by believes that our nature, they drop into shadow on our tulips. So I'm gonna show it like so. And generally just make this part darker. Okay. That's got this white to labor. Just keep it light. On the contrary, a tiny bit. I might just add carefully diluted. And I will add a darker tone and the bottom. And in the stem to grind up. I'll also use dry brush and I will drag a line from that dark spot on bottom. I literally just push it up and didn't have any paint on my brush. This is done. Then. This particular line. Make sure when you draw too much organic matter, too diluted. Intensifying the color. Just a little bit of a shadow. That looks about right. You can see I'm using I added in some places, not everywhere to give the feeling of the structure and what is the host leaves made from. But at the same time, I don't want to overload. This painting showed time to stop and don't forget to sign for painting. And one of the most important last moments. And that's it. I am very excited to see your tulips.