A to Z of Flowers - A Watercolor Floral Masterclass for Beginners

1. Introduction: I've tried. Usually I take lot of photos and videos of Flowers because there is a famous pro box around it when it's dollars. So does my job. Guys. I am dhritikana Nath and I'm going to hold my muscles. Webbing manufacturer makes much more. I do even have a use for section where you can find these subjects being covered. And once you have me for a lifetime, we are going to start out with the letter a and going to the end, which is set overall 26 speckles that we are going to cover along with it, full compositions. I will discuss a lot about point using simple, as well as how to transfer the full composition by pressing method. And then finally, working in Layers with what colors to complete the individual floral composition. It is a great add-on. We have an understanding about sketching and insights on watercolor. But even if you are a big nerd, there's a lot to lot as this can be your starting beautiful watercolor. Ultimately also and our V0 time. Hence, you can paint along with me. If you are convinced, stock-out, and then go and join me? 2. Class Overview: Let's understand pumping about what this class we're starting with. Understanding how to go about bronchi, each and every florals starting with alphabet. I'm walking consent. Every alternate day, I would be uploaded for project. So you can go watch that project has full as you have to be used to be both for yourself. Notice all section has the project of donors so you can download it for yourself and then trace it back with the help of a racing be Four and back off a light box. And other option is to draw along with me and paint in years. Louis has called the beauty in it can, hence we are going to go 113 finalizing compositions. Every day. You would be walking on one full composition. Before we start out with composition, we will get to know about all the colors that is needed. That is even given at the list in terms of the individual photos that you would be doing, as well as though people, the brushes, pencil, sketch, everything. You do not need to worry like array. In the next lesson, we are going to discuss only a buffering 3. Materials Required: Let's start out by understanding all the videos which we need for completing each of these paintings. The first one is basically our young people. So what, I'm going to use these one at five years people, and this is 31 ankle 40, 1 cm. What we can do is we can actually pick up out of these kingdoms of smaller size paper and use them for our paintings. The next is how a sketchbook, what I'm going to use is, again, for wanting effect GSM paper sketchbook. You can see that I have done a lot compositions on this. And we will be paintings, this particular composition in our final painting. Okay, there are two jars of water that I have, and usually I always keep two jars of water for our painting. The size of the people is around 15.5 cm into 10.5 centimeter. I am keeping or pencil and eraser cosmology tape. Then I have a small scale by my side along with it, I call compounds, Drawing sofas and three to four different types of brushes. Now, this is majorly the brushes which we are going to use for our smaller paintings, which are the flaws six paintings. And as we progress into the composition, I will give you all for the look at what we need to add on in terms of brushes, Kahlo, etcetera. I have other than C3 by zero peptide brush that I have a SCADA Paula size one brush is quadripolar size zero brush. You can also keep us quadruple in size two brush. I have a DaVinci size four brush, these are my brushes and in case sometimes these kinds of things to happen on your brushes. What your brush in water and just let it dry like this. You will get a nice tip on the top case. So that's all I have from the brushes. I have a ceramic palette by my side. I have been using this even in my paintings as you can use any palette. Just That's anomic pallet, will not have any color on it, which usually a plastic palette does. So I always preface ceramic palettes. I keep a tissue pretty handy by my side. You can also do that in terms of the color. As you progress through each and every painting, you will understand how about the Colors. I do love to use. Some beautiful squeezed out, nice paintings from the tubes. Hence, I will be using that for most of our paintings. 4. Painting in Layers: Okay guys, so I'm taking this cobalt blue from the brands in your and what we are going to do is we will walk in Layers. I've taken a rough paper because I could cut coffee. Which paper? From parent? This was a piece which came out. It is 100% cotton, 300 GSM paper. Fabriano, though you can take any other people for doing this exercise, just that I have taken 100% cotton paper. You can also use the people which you are going to work on for your final Painting. That's something which I always love to do. I'm pretty used to 1AD five GSM, hundred percent cotton arches people. I have been using one at five Js. I'm not just people for quite some time on hands-on, completely well versed with it. How to usually the watercolor spread on it as well as how much water I should add on it, etc. but for anyone who's starting out and a beginner, I would ask you guys to use the same people that you are going to work on for your final painting. Okay. Let's go ahead and have a good and decent amount of water in our Watercolors. Something that I've always told you is to have good amount of water in watercolor. What is all that we are going to use for our painting? I'm going ahead with real flat wash in this case. And you will see that there is only one single wash. This is one layer that I'm like, Well, I'm working on. You can walk around with as many layers as you want and him florals, the more layer you whack them. What? Theft? Nicer details. You can push you create. Hi, continue to work on it. And had the caller was just running my fingers with violet go to the bottom. Okay. No, I will have some more water in pigment that I've taken. And then I will run through the entire painful. I see this scholar to has degranulation in it. So if you are looking forward to some pink, like a Watercolor that has condition, I guess this can be also used as a granulating thing, watercolor. Oh, okay. I guess so this looks great for posterior what we were to, we will make it dry and then only we will go head width later. Let's see how we can continue to work in VRs. So let me take my brush, some veins on it. And let's work to the second layer. There's a very simple painting where there's a small lake and the ground. Mountains along with it, of course, has to be poured Lake also to exist. We need to see how we go ahead and paint it. So all those things are there. What rest is a very, very simple and easy to go for painting. Its just came in my mind and I went ahead and added painted, nothing. Like I have seen something and I'm painting from that. Sometimes you do even paint from your imagination. It's a very simple, easy exercise for anyone. Even if you are a ignored the sandy or create help us. You just need one single payment for completing the whole of the painting. Though this might be a landscape painting, but hold the learnings that we have even in a landscape painting can be used. Gentle floral painting is all what I'm going to show you today. If the knowledge that you've gained always has a future use in your own paintings. You can continue to add some dry clouds just exactly the way I'm doing. The top right-hand part, of course, is way more broader. And as we come towards the bottom on the left-hand side, it would become thinner. Though I always love to paint clouds in wet on wet method. I know many artists who do wet on dry method and they do it very well. This is just a quick example and it is one of the ways you can use your knowledge that you in go anywhere, whether it be a landscape, Floral portrait, any particular place in your future. Paintings, continue to do this. And then we will add a third layer to add more depth into our original painting. Almost time to gear up for our layer three, the top part of the cloud is done as well as the bottom part is almost dry. I will go ahead with my full crown mountains and add another layer on by full ground mountains. Right now the speed of my video is 2.5. I have altered the speed of bit goofy here as there was not much to explain. It is just for an understanding that I've created the video. While I go towards the bottom, I do understand the paper is still not fully dry, but I guess we can apply another layer and have a clear understanding of the whole Painting. While I always say that Layers to have a story to say, as well as the magic lies here, I must tell you that when you work in Layers, it's more forgiving. As the first layer which you apply is always pretty light. And as you progress, you will figure it out that you Layers either are becoming more and more darker, lighter. Do you need to apply another layer or is it fine just to keep exactly the way does. Hence, working in Layers gives us more opportunity to play around 5. A - Anemone - Colors: I'm going to discuss all the colors which we need for completing the painting to fosters the permanent yellow. The second is permanent red. You can go hit with any rate of your choice. Greenish, yellow. You can make some bit of yellow in your olive green or in your sapling, get her calm exist. The next is paint it green on the last one is Kindig. Now let's want to do Fine Painting 6. A - Anemone - Painting: Here we also false reading from the CDC to set up florals, we have to start with the Lego E. And I have chosen animal as my flower for the letter in meeting stack by making the so-called I'm using haul compost. I would ask him to just with the washy tape in the sandal and then had compounds, metal particles. What happens is sometimes we have or we get this small hole which we do not want for the flower do the middle part isn't absolute value, but still going ahead with smallest circle again. And once you are done with the smallest circle, then we are going to mark off few lines. Now, these lines are basically a guideline for adding to our petals. Something that I've always, always wanted. Each one of you to follow is half-full, very simple and easy method of adding flowers or petals or anything. Use as many resources that is available with you. Go ahead with complex ascii or lines and try to make your work more and more simple and easy way of approaching your florals gives a lot more confidence as well as they are very less chances of making any mistakes. And yes, people, it is a handy try to have really light lines on the paper because it is watercolor. And watercolor is a very transparent medium, as it is a transparent medium. So if you mark darker lines, they will be seen and we do not want that. Again, the next partners, we are going to walk in Layers which will make your life more simpler as per my understanding, that is way less work or we list, I would say if we calculate because you are going to finish off one layer and then go ahead with the second layer and then go ahead with the told you we did two to three years or Painting between them. And frankly, this whole painting is going to take you about 22:20, 5 min. That extra that you see is majorly to mark all the different kinds of color sheets, etc. which we have use for the paintings. These are kind of small, small costs that you can also use for gifting or else you can also use them. Has please cards for any of your readings etc. that you want to, if you are writing on kanye also plays cards for wedding invites. They can also be used in this particular way. So once you actually understand how to paint all these kind of florals, not only it opens up one single do it opens up many other tools even for your own purpose of painting or creating or business grading a channel, having some side hustle of your own, etcetera. Okay, then let's on some Jake on our drawing, we are making those which are actually below. So these fads, the top ones and now I, the ones which are beneath them. Once I'm done with the spot, I wouldn't want to leave the stem and some loose leaves. Though there is one definition, but I paint my florals, whereas this definition when I play in my only leaves. Now, this is the kind of approach which I did choose for my first Painting, which might be very different when we are going ahead with the quad auto paintings. Three, painting that you do not only give you all understanding of the flower that unique, but it could also get you ready for final composition that we are going to Vietnam, but of course six individual florals. So what happens is once we're done with, of course explore those, we can pick up any of that Floral and then go ahead with a final compensation. Along with the leaves background. At second, you will get a complete hang of it as we progress. Stopping. Yellow, red You can go ahead with any rate that is available with you. No need to go with this particular read. Anything and everything is great. The next is the yellow. Now this is permanent yellow deep which I'm using. You can also mix it with any other yellow that is available with you. And then I will keep blending it with my blending brush, the darkest value I'm applying to the side. And as I move towards somebody, I will make it 100 more lighter. Okay. My brush had some paint and paint. That's absolutely fine. You can wash it. Again, take some water in it, and start taking it towards stomach. I am practically pulling the paints to goods, the middle part. It is nothing but an exercise which I have done even oligo in many of my other paintings. And you would have seen that I worked a lot with water. Has all these see all your paintings or Glisson's Watercolor. Water is somebody and Colors comes second, which means that we are going to use more often what'll, whenever you're painting with watercolors, you walking with this particular way or in this particular way, only tell what the Floral. Once I'm done with the first curator of the pleura, I will even take some light green and start off with the bottom part where I have to green as well as the stamp of the Anemone. I know that the initial part where we were drawing and sketching, if my copy on top. But if you have a clean brush available with the pad, one brush to add your colors, it is quite good enough. Continuing with the first step, every painting that you do actually happens in Layers. And as we progress and journey, we get to understand how much would be work to get the perfect outcome. Working in Layers actually gives us what Unfortunately, to not overwork. Because in the first year you are only adding have very light color. And once you are done, you get to understand how much you want to go ahead with for your secondly, we're not going to touch all the areas. Which means once you are done with your layer one, you already know that majority of the pot is already worked on and there is only but another area which you will be touching, the ghetto, depth as well as the highlight. So the highlights Anabaptist something which is very, very important in our painting and we continue to do what? For all our Watercolor florals. If you haven't taken any of my other watercolor floral painting classes, I would request you to go ahead and check out the class seven days, seven different florals and it is seven different styles. It is Watercolor Floral Masterclass. I hope that you would be in a position to gather a lot of knowledge from that class and it can be even applied in the current class. This is, I would say more beginner friendly and you get, wanted to stand more. I'm glad some greens now, I'm starting with cold greenish-yellow kind of a color. You can go ahead with me, green or any other green that is a beautiful by Tim. It's great to mix call but also all of green into what you can get calling Panther something concert with this one. If you are having a yellow, then you can make some amount of light green into what I'm good, a color that's similar to this. I would be using the tip of my brush just to create some of the leaves. Because the US and approach I would say I'm also going to leave a few dots urine there. Now these dots will actually continue to get the impression that the leaves are loose and usually you can add a lot more in terms of the Drawing, etcetera. But I did not want to complicate the first painting for each one of you. And hence, I wanted to keep their leaves easy, simple, so that you guys will be motivated to continue with, okay? Okay. The top of the partners already dry and we need to go ahead and work with our red. Now, I am starting with my red. I'm adding it. The bottom of the flower petal that you see. I am only creating a few lines. It's not that everywhere I keep painting along with it. I am making some darker lines are darker tonal values for petals which are beneath it, which means that we are not going to darken each and every part of the flower. It's just few petals which are going to be taco and few petals which are going to be lighter. One the lighter petals there will be highlights in few opaque areas and they will be areas where we are not going to touch even. Hi, thank some amount of think into the wreck to create a darker value. Now, this is very important so that the top remains in the highlighted area, looks different than what we have to put some bottom area. It is all important aspect of creating depth. And I hope when you are also starting out with any of your Painting, you get to understand that few of the places will be darker to not only create the contrast, but also create the depth hand we have to showcase or just take you the areas where you want to highlight and give more importance to rather than giving importance to each and every part of the pleura, we're going ahead and creating some of the importance and only the areas which we want to go ahead and focus on. If you focus on each and every part of the flower, what will happen is that the person is having a look at your flower, make it continuous. We want to keep the focus on the tension. One of the area had control of attention, often spectator or die for the whole of the attention of the spectator only to that particular area. Let's continue working with our second year. Again, the second layer is very simple. You have to go ahead, touch your brush and then pull it to what somebody while you are going from the outside towards the inside PBOC. This is how we have been doing it for all our petals. We will go from the outside and then go towards stomach. The outside part has more area to work on. Enhanced also gives me more confidence. Wildlife Live from the outer ear to the inside of the bottle. The whole watercolor medium is not to do with how you handle this medium, how you partner with this, meet him, and you should never get scared of this medium. This medium is a beautiful medium if you treat it with love, respect as the last. If you start enjoying it, to be more precise, when you start enjoying this particular medium, you will get to realize that many of the things just simply fall in place and you do not need to give any extra effort to walk around You can go ahead and make some sap green or olive green arch when I think Jamie into your indigo and start with them really Patoka flower. The left part of the flower is a bit darker compared to the right path, which is the area. So I'm going to even approach our particular painting in the seminar week apart. A bit more darker compared to the other part of the whole of tau Painting. Let's add a second here to the greens that we have. Now, you can go ahead with any doctrine of your choice. What I think the spot, I am going ahead with me or few ads what adding the darker value or cream every time whenever you what adding an auto New York. Who should keep in mind that we had walked going to cover the first. When we are going overboard of us there, we have to make sure that most of the areas of the posterior is saying yes, maybe in our small space like a stem that would not be possible, but in all the other areas, whether it be your leaves, coordinate petals, the first knee, or should be seen properly. The intent of finding news is to create the light and shadows hospitalized. Know that it in terms of Colors. Then the EDS, which needs more concentration and focus. So overall, when you have a look at flower that you are watching, you would be in a position to understand that this floral has. So I'll focus area which is in the middle, or it has a focus area which is just around the petals only. We're not going to focus on the entire ads that you, what, those are the aspects that you need to keep in mind now, going ahead with our darkest value of the pink. And I'm just highlighting a few ads for our petals. Many of you are more experienced into Watercolors. We have walked through the light and shadow part adequately, yours very often. But many of you might be starting out. You may not be Valois. She went this method. Just be more patient. I would say that can help you to east to the spot very easily. Patients is lucky in Watercolors, as I always say. Literally when you are working through the layers, you need to be more and more patient. As well as one important aspect that I can tell you is once you're done with you for so you can easily take a break, come back, do your second layer. And then again, if you were done within second-year, you can go ahead and work on the third layer later on. So practically you can work for ten, 15 min, leave it, you can get back to it maybe in the evening. You are doing another session in the morning, get back to it in the morning. So overall, you can have multiple sessions to complete one single floral that I have been doing very often for many of my compositions. Because compositions are more longer compared to what we have. Now for our individual neurons. I told you you put the paint. I need to be very short, but I'm not having it everywhere. One or two lines within the petals had pen. I'm going to mark the border. War. Videos hold the petals which are on the outside. This is still makes sure that individual petals are seeing well. The have the required amount of focus and tension which we need in the Painting. Time to add the statements and ponens in the Murray Park continue working with your indigo works. You can also go ahead with Payne's gray for this particular part. I'm very open to you using any kind of color that is available for you, but I'd like to use the black as it is not the color that really entices me or who knows me towards the painting much. Go ahead and use all these shades. So for your Painting, while completing this particular painting, I would ask you to go with Payne's gray oriented go for the middle part. Individually, you have to make these colons. And once you have made these Poland's smaller or bigger, do auto those sites. Now, altering the slides also gives you a lot more randomness, just the way you did. Your petals. All of them are not of same size and they are not having the same kind of lives, as well as they do not have the equal number of areas in darker like a week, keep altering all of that nature as random as I always say. And hence, when you walk Painting nature, they will have its own randomness appearing even in the Painting. Embraces, as I say, do not try to fight with it or do not try to have a symmetric. We are not here to create a cemetery. The I here to just go ahead and enjoy the process of painting. All the paintings that is taught in this particular draw series car in Layers. As I say, the magic is in Layers panel. That's what we are exploring in E2 is no florals. This is meat easy as you progress in the paintings, this might confuse, good tough because it's the first painting that you weren't doing. But as we progress when you paint on the Daffodil, ischemia, etc. and many other photos. You will understand that how easy it is. It's just more concentration and some more patients, that's all you need. And those are the key ingredients for any Watercolor Painting. Continue to add these textures to the middle part of the flower. And then we will just add the colors that we have used for those painting. I love to add that information when I am making any kind of cards like this. It's a really small people and hence would be in a position to even finish it up into stipulated time. Hope 22, 25 min, maximum, half-an-hour irrespective of the drying time. So that's all. And let's pad all the colors one-by-one to power EVL, which we have added in the bottom. Once that is done, let's just write Anemone and we are done. I am super happy and excited to see your Painting do uploaded in the project gallery as I'm waiting for each one of them. Can't wait to upload the letter P, which is up Bloom, Balloon Flower 7. B - Bloom Balloon - Colors: Let us know all the colors which we need for completing the painting. Again, this is all kind of a limited palette exercise that you are doing. We are only taking four Colors, greenish-yellow when I K green, bright violet, and ultramarine deep 8. B - Bloom Balloon - Painting: Today we are going to paint a Bloom Balloon. It is one of my own favorite flowers. And if you see here, we're going to work a lot about how you can actually fix the angle alpha flower. Now, this flower is actually opening towards the left corner. If you put a straight line from the left corner angle, you will see that the flower is moving towards that direction, drop them in becoming absolutely straight, or it is not facing upwards, it is not facing downwards. It is facing on the site towards the left-hand arrow. So that's, that's how I am going to actually go ahead and work it out. Since this particular flower is working at an angle, it's important for us to not make equal soccer on both sides. Now have so-called that you see towards the top left-hand side is off because radius compared to the one that we Drawing towards the bottom. According to my understanding, 30 of the florals, it's very important to decide where exactly your flower flowers opening and at which angle you want to draw it. This might be a tough decision right now for many of you who are starting out. But believe me, as you progress in your journey, this will be one of the most important decisions that you take. The contour of the flowers now becomes important. What do we mean by the contour? It is basically the outline of the petals and how you design it at this moment practically defines the whole of the flower. It might not sound very exciting at this moment. But has we progress to our Watercolor florals journey? You will see that when we paint or Daffodil, full blown competition, there will be angles that is very much important for me sketching, drawing or tracing DO for these particular flowers. I am not asking you to trace it. You can, of course, go ahead and trace. I have holiday uploaded the flowers on the projects section, but it's great to draw it with your own free flowing sketching pattern or howsoever you want to do it, try to make these lines as few progress, we have to get to a situation where we are drawing the contours on our own. Though we will have a framework like a circle or square or lines, but they help offer scale. But the final contouring or how you define the petals will be upon your own freehand line drawing. Initially, when I started out my journey of watercolors, I only did landscapes. And it was mostly free flowing landscape where I had to really sketch lot, lot less than what I usually like to do now. I love to have a bit more control over my landscapers. That was never the case earlier. Stolen steadily as a progress tend to florals as well as urban sketching, I got to realize that there is a lot of importance that we have to give tours sketching. Though there are various tools that are available for us to measure, to understand, like we have scale or compounds, so-called. There are many other tools that you can use for drawing lines, etc. but the final sketching out, the final join that I always say has to be done by you and never tried to break alike. So if you are moving, you will see I go straight though. I might not make it correct, but I still try to make the whole line or make the whole goal, rather than breaking it. Breaking it actually gives us we more or less confidence in this process. And slowly, steadily what happens is that we keep breaking our lines and then only keeps catching it. Whereas if we go with the whole confidence that yes, I'm going to make a correct line, but me even make it incorrect and we have to go ahead and erase that later on. That's absolutely okay. Eraser is for your own use. Only one thing that you need to make sure us that you are not doing all the experimentation of the Drawing on the paper itself. Now what happens in a final paper? Our paper is watercolor paper and the pace are also transparent. Your graphite parks or the pencil marks that you might have done all you will show up, which we really don't want him this case. Okay, let's come to do, to make some colons and the statements. This is an important aspect of a flower. Every flower has pulled an and statement mostly. Yes, I'm also adding that along with it. I have to cover this molten as well as the statement a year with the help off my masking fluid. But what I usually do for my masking fluid Will dip the brush in my soap that I have my brush soap and then pick up my masking fluid with the brush added on the people. Again runs it will wash it that way. I can really preserve my brushes well and they go, You're on your. In the meantime, I will continue with my sketching part of the flower. Now. I have a small part that is on the right, as well as I need to make some leaves. Let's continue to do the sketching part, and then we will move on to our painting. The painting will be again done in Layers, which gives us way more opportunity in terms of it is more forgiving, I would say. Because if I even make a mistake in layer one, I can cover it up in layer two, though you have to understand that the intensity of the pigments or the amount of pigments that you can use in the layer one has to be 3D less compared to the one that you use. And layer 2.3. That way, you have to keep a control over the whole of the Painting. For this particular flower, I've ever been big S2 important Colors. One is my ultramarine blue are the second is my bright palette. Now, if you do not have these colors, but you, you can go with any other blue of your choice and some amount of violet. You can also go ahead and mix the pink and blue to get a color that is similar to the one which I am using from main color does have some kind of granulation and it's so be sure to not go ahead and add a lot of in your first year. Therefore, it has to be more watery, it has to be more diluted in terms of the pigments that we're using. It should be really, really less than the first cool. I'm going ahead with a flat wash, right? Tell, but you will see how I add more and more depth into what as we progress even without were firstly, I am going ahead and finishing off the sides of the florals and trying to have one single color throughout. It is more like a flat wash. And you guys have all the great knowledge about the flat wash. You might have gone ahead and seeing how I have used the flat wash for our Layers section. And in case you did not, please go ahead and have a look at it. It's very important for all our paintings as we progress going with the darker value of the mix, which is mutually my ultramarine and go bright violet. I will put it in the center. Now, as I add this in the center of what usually happens on a wet surfaces, the Colors keep moving. The colors with more intensity or they have more Depot value, will move to more lighter value, that is towards those sites. But if this doesn't happen so quickly, then you can also use a brush to go ahead and add these types of lines. Once this part is done, we will go ahead and I'm can add some darker value in the middle of the flower Trying to even out the scholar of wet from the sides. Once I'm done with the equal proportion of colors, wherever I needed, I will go ahead and add some more taco values wherever it is necessary and make some lines. Now, this makes, of course is truly dependent on you. You do not need to have only blue or only purple. We are mixing two colors to get a color like this. And adding these lines basically helps us to define the direction of the flower. To a great extent. I will let the colors dry off. Now we are not going to touch this layer anymore. Our first layer is completely done. We will go ahead with the greens. Now. I will continue adding absolute flat wash. The whole of the painting that you see is real-time. Hence, you can follow along with me. It even takes me a lot of time to complete any Painting and hence, I like to keep it absolutely. You time for each one of you. All these cards that you see or florals on a smaller paper is usually the one that I love to eat for my references. Now, these have been great for references whenever you are going ahead with full composition. These small cards which you have painted might come pretty handy of how you should think of Bloom Balloon or any other flower like Anemone. And maybe if you are going ahead with the bigger size paper, then the approach might change a bit. Still. They are helpful in the complete understanding of the colors or off maybe the size, shape, how you have done it, how you did approach the whole of the painting. All of it makes a lot of difference to your future paintings too. I always see this, that every exercise that you do is never wasted. Whenever you try to go ahead and paint something more, or try your hand on something like florals for landscapes or urban sketching, etcetera. They all add-on to your whole process of practice. Am your whole process of Watercolor journey. All are Watercolor journey is different, but still, we do keep making progress as we practice. That will not change as such. I am going ahead with another layer for my Bloom Balloon. This is one layer darker than what I did add audio to my painting. I will go ahead with three layers for the School of the floral painting. You need to see that I missed out a small part of the green former posterior, which sometimes does happen for me. Even like it, it does happen. I do miss out at some point in time and then I come back to what and again, paint that area and whole kit going with free flowing lines in the middle, it is darker and it is Prato. As we progress to what's the auto side of the contours are towards the outside. All these petals, they become less so as well as Theano. You can see me again getting back to the green that I did not add as I did tell you that I forgot it while I was working through dreams. It is the yellow green, which I am adding. You can go ahead with any other green of your choice. Practically do not need the same green. You can go ahead with the Van ****, a green or any other darker value, maybe some other green, viridian, etcetera. They can also replace even a sap green is good. You can use a bit of yellow into your sap green and yellow of your choice, and your yellow, lemon yellow will be preferred. But get a color that is similar to this one. Of course, going with my second layer now for those stem and few of the areas, I'm adding a darker value and then I am blending it with clean brush Of course have been brushes, the one with which I did apply the color, but I'm washing the brush and using the water to blend it. You can see that the top right-hand corner either add or taco value on my leaf. And now when the paper is still wet, I am adding some lines for the wings of the leaf. This you can always do and going with the thinnest brush that is available with you will be helpful in this case, investing on good people, brushes, paintings will never go for a waste. The most important aspect of a Watercolor Painting is to have a good paper. Even if I'm using a one at five GSM paper, it is 100% cotton and it is one of the best that is available in the market, which is Arches. Do invest on grid paper. If you even have two to three brushes, That's great to cook. They should be good brushes which can help you to hold a lot of water, even make these thinner lines whenever it is needed. I am adding some lines for the bot of prime, but now this bot will open and you can see that there are paint, some petals which I want to show right now. If I'm trying to add these lines, it's not of much use and hence I'm just blending it with the entire part of the button. My paper is still wet and hence am going ahead to meet these lines, which was what I wanted to do volume. It makes more sense as of now to do these so that you get the depth which you need for the spot of been. Of course it has to. You can see how much more depth we have added in our day to time to go ahead and even add the layer to four hour job. Next part of the green, not the status on the left side. But not to be surprised, I have again forgotten. That's why I keep forgetting about it. I don't know why, but yeah, Let's continue to add the darker value for our third layer on top of the Bloom Balloon Flower. This is one of my favorite law Flowers, believe me, it is so easy to make. Its only the sketching part, which might take some time and is hardly anything else that we are doing much into what you have to work in Layers and like the paper dry off, That's one of the reasons I have told you to take one at five GSM people rather than going ahead with 300 years. I'm thankful as this people is well-worth in terms of taking multiple washes to four to five layers they can easily take not at all an issue. Even sometimes are 300 GSM paper can not take three to four wash or five wash. One of the reasons is either it is a handmade paper or maybe it's a cellulose paper, or maybe it's not 100% cotton, even if it's written it's 100% cotton. So you should go ahead and always test your paper on which you are going to paint initially. Whether it be any kind of practice session you are doing in it, or you just go ahead and see how your pains are moving on top of your paper. If they move very evenly on top of the paper, it becomes pretty easy. If it doesn't move from even be on top of the paper, then sometimes it becomes really tough to continue working on it. Have a go ahead and define the contour of my flowers, which is majorly my offline, as well as add some more veins. This is the darkest value of the pigment, which I am using. Two more squeeze out the paints directly from your tube. And then you said it could be very, very tough If it's an artist grade paints or else if you are going ahead with student grade paint, it might take you awhile to get a color that is closer to the one which you absorb vitamin. This is the time where I usually see most or many of my students to go ahead and lose all their patients. Yeah, it might sound that why at this moment, you might be asking yourself, but it's almost towards the end. You have done all the efforts that was needed earlier, but you are not in a mood to complete it or you did not find that to be coming out as you wanted it to. There are so many things which goes in an artist's mind are a creative mind. When we create something, please do, push all those thoughts on the backside and continue working on a bag day and completed. Completion is the most important process for any of your painting. And believe me, I complete each of my paintings whether it'd be good or bad, it doesn't matter. You have to just complete one painting for a basic understanding of all the mistakes that you didn't. I'm painting all the mistakes which you even do an a Painting is going to add onto your knowledge of not going ahead and making the same mistakes. Finally, let's work on Art forgotten leaf. We are done with even the third layer of the other parts, but we have to walk on the second layer of this forgotten leap altogether. I will continue working on it and then just finish off the whole of the painting by writing all the colors that we have used for the painting, as well as just adding a touch of my calc trophy on the top. I love to do this and I hardly get this. Unfortunately do much of calligraphy wherever I get it. I just love to do it. It takes awhile for an understanding or your warm of calligraphy, how you want to do it. Do you want to do any fancy or do you want to keep it simple? Whatever you want to do, go ahead and try it this easier time. Be creative as much as you want. This is your opportunity whenever you are sitting all by also time is yours and use it to the best of their ability. One thing that I have realized after giving birth to her now, she is two-and-a-half years old. That all the time, which I had initially is not mine anymore. And I struggled to get time for myself. I struggled. I was so stressed out that I am unable to Tellico. I was unable to work on what I really loved. I had to really think of how to complete a particular painting or how to do voice-overs, how to take classes. But that's my passion was driving me crazy. Slowly, steadily. I got to understand that we need to take out small bits and parts of time here in there. Sometimes when she is just watching TV for a particular time of say, ten, 15 min, I take the time I found myself. Compete. Because that's very important for my own heart, soul, as well as for my own well-being. Time for yourself. It's really, really important using some of my goulash or what you can say is so Ph Martin's bleed proof paint, white paint for some of the parts of the statement. Finally, just adding the color chart for all the colors which I have used in this painting. Okay, great. I hope that you enjoyed this lesson and we will meet again day after tomorrow with the third Floral, that is camellia. It's a beautiful flower and I have painted so many chemical goes till date, but still it touches my heart. And that's one of the reasons I, I wanted to include this in our Floral series of eight 2M. Do not forget to upload your class projects in the project, Kathy, I'm waiting to have a look at each one of them. 9. C Camellia Colors: Let's look at all the colors which we are going to use for this painting. It is yellow, orange, permanent yellow light, permanent red, green is shallow. And when I can create, these are the only five sheets that we are going to use to complete the whole of the Painting. 10. C - Camellia - Painting: Today is the third day where we are going to paint Camellia flower. Camellia is very beautiful flower and I am completely smitten by it. I actually had a look at it when I was last time in the arginine. And there was a house called as camellia house where we were saying, and just before the entry I saw this beautiful Camellia plan that had to full Camellia flowers on it posts that I could not stop myself to share this beautiful painting with you guys. Okay? What I've done is I have created a circle with the help of my compounds. And once we are done with that, we would like to mock the middle part of the flower, which has the statement as well as the polar. Now why do we mark the middle part first? This middle part really allows me to understand how I want to shape as well as create the other petals in and around it. Once that is done, you can very well create the who loved to sketch as well as it provides the base layer or the basic framework which I always see for your final painting. Going ahead with one simple approach that my Floral is towards the right top and corner. And it's opening towards the right. Which means that the petals which I have that is going towards the bottom area will be smaller compared to the ones that are on the side, as well as on the top. That's how I approach my Painting. This can be the basic sketching with part which you can understand. Yes, everything is perfectly fine. We are going to pick up next task, Daffodil. Daffodil is very exciting. We are going to use all the learnings of the Daffodil into our final Daffodil painting that of course, we will be doing on the sixth day once we aren't done with the paragon flower posts that we will be working on the full composition of capcom. Anyways, let's go ahead and continue with our camellia for now. And you can see all my petals are putting in various directions. I will continue to go pretty slow as I keep adding all the petals. One of the reasons for going slow in my painting right now with I do not want to create any mistakes as well as I'm trying to put together a quick as well as on good sketching so that there are no mistakes which we create where we paint this floral. Something that I have learned over time and I always preach that even to each and every student of mine. Sketching is your base. If you can get your base are the basic, correct. I can tell you all for everything else that you are concentrating on will fall in line, going with the petals and continue to work on it. The left-hand side petal is opening on the top left-hand corner, on the right-hand side is again opening on the right hand corner. But with that, there are other petals too, on the top as well as towards the bottom, which we need to go ahead and just adding. It would be a quick Painting, believe me, there will be three layers that we are going to apply. The first layer is basically how a base layer, and then on top of it we will keep adding the second day as well as a totally I have a small bought on the left hand. Then I would go ahead with how quick stem as well as one single leaf on the right. That's it. You can add further more to it when we have full compositions coming up. But right now, we don't have any full compositions to be taken care of. And hence, I guess only very simple outcome serve our purpose. We're here to understand more about how to create various kinds of florals with very basic knowledge of Creating the petals, which is drawing, sketching, and then finally working with the final outcome that is going ahead and adding layers to create the depth has well as the contrast within the single painting. All the knowledge that you have right now through all these individual florals can be applied in your future paintings, as well as you will absorb that. I would be using all these learnings in our compositions. Do for the background, I would be working ahead with some of the pro kinds of techniques that I have been using for all my flowers as well as discussing that with you, how to create the bank balance, how to create more enhanced as well as complicated backgrounds. We will continue to work on each one of them and give you more and more tips and tricks as a progress. So with our journey of a to Z or florals, some links that I'm making for on leaves. And once are these things are done, then let's go ahead and continue working with the colors that we need to be going ahead with any kind of an orange you can go ahead with and have a pink buyer side. These are the basic two sheets which I am using, Hubbard of yellow and green. Greenish yellow when Nike Green, basic, basic Colors is great for all of us. Whatever color is closer to the one that I'm using, you can of course, use them in your family banking. So do not need an exact match of the color which you see. Okay, it's time to now go ahead and paint it. I'm going with the lightest value for now. It is majorly my permanent orange. Now permanent orange or any other orange of your choice, you CDC don't mean the color that you absorb right now. I'm going from the sides and then we'll move towards somebody. This is my first year. And if you go ahead with this layer, go with utmost ease. I would say go with the lightest value that is possible. Wash your brush just the way I'm doing, and then pull the colors towards the bottom area of the particular pattern. Continue to work through each and every petal, exactly the way you observe me doing. There is nothing much to explain has off now, as you can really see, that it's a very simple and easy process. Relax and enjoy it. There is no difficulty and there is no different, or I would say, difficult kinds of strokes that I would be using. Hence, relaxing and enjoying is the whole motor of our first-year go with the lightest value and the paints towards the middle part with applying some amount of water, pulling the paint. So it's a process that you do either with simple brush, which doesn't have any color on it, or just washing the brush which has some color that is there within the brush on it. So you continue to do these kind of work for your painting process. So pulling the paint is so amazing technique that can be used each and every place. Where will you are going ahead and painting. It can be used in any of your future landscape portraits or any of your other projects too? Knowing with another petal now, yeah. I did not go ahead with the address and pedal while I was working on the top-left as well as on the right part. Polite go towards the bottom. I'm going from the darkest part of it, which is on the sides and then blending it with some clear water. Though the clear water is not absolutely clear. It does have some color in it as I'm just washing the brush on. The brush does have some color in it even after washing. So all those things remains the same as I did tell you, even though I have been titrating a lot of things and I know because I don't want you guys to be struggling exactly the way I struggled a few years back. There are mistakes that we all do. Or you might see Colors flowing from one petal to another. When you were working on it, send petals. If it's still wet, you can go ahead and add some amount of permanent red or pink of your choice, and then let the colors bleed And blend into each other. I'm blending is a great technique and it can be used for most of your paintings whenever you are going ahead and working, at least with the florals, I use it very, very often when I'm working with roses. But even on other flowers as you also now you can use it. Okay. Continuing with our journey of Floral, which is camellia. This time we are going to finish it off the other parts as well as then go ahead with our greens to complete the butt area, as well as the leap. The middle path is all about this team and sounds well as the poland. It has some long statements that I'm trying to meet with really light value of orange. And then making some rounds on top of the ad using my permanent yellow light. Permanent yellow light or in India, no one me on the yellow of your choice. It is not that you have to go ahead with the same yellow color, which you are so small dots here and there's some circular kind of movements also we can create. So that's also up to you how you work at around, but do leave some white spaces of the people. And some of the spaces of course, would be occupied with the yellow dots that we are going ahead, I'm adding. Once these dots aren't done, we need to work upon the left top petal for sure. We cannot let that petal. We get them forget it for sure. There are times where I do forget one particularly for one particular practice, those things to keep happening even with me till date, howsoever experience to our howsoever. You may be working in these fields. But there are times where we do forget a lot of things and it's absolutely fine. We never need to worry about those smaller aspects we need to work and think about the bigger picture, what we are learning through the entire process of painting these florals. Another thing that I'm going to teach you is working in Layers, but covering each and every layer with the colors that you see, which we are going to apply. Of course, for our leaf area, I do not usually do it for my floral part for sure. Because I want each and every layer to be seen. All these concepts which I am sharing with you is co-learning, which can be used in any of your future paintings, as well as if you want not also using them in any of your future paintings, you can enjoy working on it right now, because right now is your moment. You have taken out some good amount of time. And as I always say, time is really what is difficult for each one of us to get after having the baby. I do understand that every minute is so important. You have to use each and every time that is available with you. You need to respect your time. You need to actually get away with some time for yourself. That is so very important. And slowly, steadily as I have understood that concept and I've explained it to myself. I think I do enjoy the process of painting even more. I have all set time available for myself and I need to get all the work done due menu class to understand that creativity doesn't depend on the time. But yes, what is dependent on time? Is that how much you can use it to your own numb to the best possible of your own ability. Like right now, you can divide this whole of the Painting into three different parts. One can be your sketching. One can be going ahead indifferently or slightly. One mid to late three can be broken up into three different parts altogether and you can clap your sketching and layer one to cancel, leave it to dry, and then come back only to once the layer two is done, then you can again come back to layer three Why have you observed that some of the places I woke from thaw bottom and take it towards the top. Whereas in fuel petals I will be coming from the top towards the bottom. These kinds of cheeses I to work on. And it's not that we have to always have a few dark value while we are in the middle area. Or even a very dark value while we are on this side of the area, do make sure that you are not covering the entire part of the piece here for the plural. That's one important aspect of floral painting. As I continue to work on this one request which I have with each one of your do not cover the entire part. I will show you exactly if you cover the entire part, how it works for the leaves. We will work upon that because most of us are always asking this question. But why are we not covering the area? Okay, what happens when we covered the area, etcetera? Don't do it. I am going to also show you that in the leaf, which I have added on top area of the petal is pretty dark. It's good to just wash your brush and use the clear water to take it towards the middle part. I told you that sometimes, yes, we will move from the bottom towards the top and from top of the petal towards the bottom plot. These are interchangeable as always. Secondly, the most important aspect is to create these lines. Now, what do these lines basically tell you? These lines going to show you the direction of the petal, in which direction it is opening. Why is it important? It is important for every Floral to be seen as separate. Each and every petal hustle or a role in this whole of the painting. And while I say that the Floral is opening towards the right top corner, you need to show that, well, with the help of these lines into the petal, embedded into the battle, right? Because once you show that each and every petal is some thing is moving towards the bottom. One of them is actually opening towards the top right-hand corner. Something is opening towards just the top side, left-hand side, then it becomes really easy for anyone to even see to it. And that particular aspect of Watercolor Painting, which helps you to add this kind of clarity and tap is layering. Layering has so much of, I would say, intensity, as well as the clarity which it brings to any painting in it that I always say magic is only in Layers. Many of you might have seen that we have worked a lot of it or wait, and there is hardly any layers we have created. Yeah, there are many paintings like that to, but one of my own favorites as co-create and Layers nowadays, enchanting the biggest secret of mine with you guys. It's time to walk on the second year of statements as well as components. I will go ahead and add some lines on top of the Poland's. You can go ahead and add some orange circular motions or else you can even go ahead and put some dots that should be good enough. Now, check your paper if it's dry. Now, if it's dry, go ahead with the third layer. This is with our smallest brush that I'm adding. You can go with any size one or size two brush motor. Good to go size one brush, would it be better as our paper is really small? So I'm going ahead with my size one brush Thirdly, it off our petals does have a lot of impact. First of all, I'm not going to cover up my first-year or secondly are completely it's only one or two ninths you are on there that I'm going to add and make the bottom area a bit more.com. Then a lot of broken lines even which I add to my painting. And hence, as you progress, you do understand that this is the third layer which is going to give a bit more direction to our petals. That's all. Continue working on the total ER for all the other patterns to. And once this is done, Viva, go ahead with the second layer of our greens. It's time to show you how you can cover the entire space with second and third layer and then also burlap on Colors and keeping it soft catch. So that's one of the ways I have worked on for the leasing me. Do our florals remain the same in this part? This particular part changes a bit. And I'm going ahead with some more of migraineurs shallow in other parts to let the colors bleed into each other going ahead with our darker value of my green, and then allowing it to bleed into the lighter green which we have already added. I would paint mixing this darker green on the whole of the leaf with the head bolts. My light greenish color, which I have added earlier, as well as the basically are practically serves as a lighter value for our future paintings. You can also go ahead and add some yellow, just exactly the way I imagine right now. Some lines for layer three onto the pot Asia, as well as my leaf is still wet, so I will go ahead with wet on wet technique. Now, this technique is majorly going with the darkest value and then getting blended with thin sheets that we have already applied. Of course, it's so very nice bleed that you see. I am pick up all the extra colors on top of the tissue and then adding it on the right and on the left, creating the wanes which is needed for the leaf. Once this is done, let's just go ahead and add the final detailing, whatever is needed. Like adding color list or naming the flower as Camellia. Once all of that is done, have a final look at the painting and being brave and happy with the fact that you could complete the painting and have this beautiful painting for yourself. You can eat gifted to anyone else. Keep it for your own self when you start your own full compositions, this might come very handy in your future paintings. Meet you in the next lesson where we are going to paint beautiful yellow Daffodil. And that particular Daffodil is in the direction which is downwards 11. D Daffodil Colors: Let us discuss all the colors which we mean for this painting. One is permanent yellow light, permanent yellow, deep, permanent red, green, shallow. And when I K green, you can use all these colors or other options like sending your orange if you don't have common and yellow deep, you can go ahead with forest green if you don't have this pen like a green, Let's go ahead and start with our painting now 12. D Daffodil Painting: We are on day 4.3, we're going to actually draw or Daffodil. For Daffodil, I will go ahead and make osmoles. So it is with the help of my compass. You have seen that I have made a lot of circles or our Watercolor flow rules of the florals are circular in shape. That's one of the reasons we can take advantage of compounds or any so-called object, also glow object that is existing with you for making these kind of so-called mark the middle part. It's kind of a triangle, but that has more curviness into what we are going to mark it as the middle of the flower. That is majorly where we are going to have the Poland as well as the statement. Now, once you have marked the middle of the flower, we will start adding some lines. Now, these lines will majorly define where exactly you are going to place your petals. Every Daffodil has few petals, which is so good part, you can clearly defined each and every packing In a great way. And it leaves you with more opportunity to play with, as well as the definition of each of the petals can frankly makeup the painting very well. As you keep progressing on. Once I have need the straight line, I'm going to go ahead and start contouring the area. Now, what exactly I mean by contouring? It's basically marking the eight year or drawing. Or you can even say sketching a particular pattern of the Daffodil flower. After I am done with the sketching of one of the petals for my Daffodil flower. I will go ahead and start with the next adjacent petal. You may also go ahead with the top as well as the bottom most petal first. But as per my understanding and as per what I have usually gone ahead and made in terms of the drawing, I love to always add the absent petal first and then mark the other petals. Continuing with the straight line journey. Yes, every Pepe is defined with the straight line for me or these straight lines because are at an angle as you can observe. But yeah, that's how I like to always define where I'm placing my particular Patty yes, angle, as well as these lines play a very, very important role in the floral sketching. Always simplify your florals. You do not need to go head and complicate your florals to a lot extent. Simplifying our florals not only gives you more confidence, it also leaves you with a lot more energy to work upon a better outcome when you are starting with your final painting. Why you will have on great base or what I can see is a great framework upon which you can lay your final painting. Often I'm done marking on my petals. I will go ahead and remove the socket, which I did add initially. Why? As I do need it anymore. And we have to draw the stem, as well as the lease that we are planning to add for this Daffodil daughter, Daffodil as a single flower that we are adding, but still we have some amount of work on it. Adding the leaf, of course, adds a bit of green. And that really lifts up the mood of this ward floral painting to a lot extend some curves and random lines, I would say, to make a better outcome in the middle part of the flower. That's how usually you will observe what Daffodil is. All real Floral photograph or in a real Porto also. But along with it, we do keep in mind that there is no realism that we are aiming for at this stage. What we are aiming for is to get good and nice, feel-good kind of a painting when we are done with this Daffodil Let's make some bolus towards the top of the a or where you absorb me adding it. I'm not going to add a lot. Five-six max and bedsore knee will then add the stem. As I live tell you all you as the last one or two leaves you are. And their idea is to paint of floral, individually, floral, I would say. This particular painting we are going to use as reference in our composition that you will observe me working on as we progress to the sixth day. This is the fourth day and point D is about Daffodil. Then we will be doing of Floral with the letter E. Once we're done with E, we will have a full composition with the backgrounds, etc.. for our first and full Painting of daffodils. Hence, all I can say is that this particular painting is one of the base for your important paintings that you are going to do next in this class. Hence, I would request you want to have clear vision as well as understanding of this Painting well, and create your own muscle memory so that it comes really handy when you have to go ahead and paint for longer hours and that composition, yeah, it is longer than what you are doing right now. There are two daffodils and hence, any ways you can add on the total time is going to be a noun one-off order to daffodils, backgrounds, etc.. will take somewhere 15, 20 min more. And that's how we are going to finish a dog. Of course, I'm going to add the whole of the painting in one single day. But you might approach it in breaks, as I always say, just like you are doing the Daffodil over here, you can do the sketching. Keep it. Come back to what later on with the painting part, I have started adding yellow color. Does a beautiful yellow, which I have on my palette. You can go ahead with any yellow that is available with you particularly do not need the yellow that you observe. This is permanent yellow light from the brand Magellan Mission Gold. But you can get this color, gamboge yellow or any other yellow of your choice, maybe even Indian yellow is good. But in Indian yellow you can add a bit of lemon to get off Colors something closer to what you also, I keep altering the values to great extent. In some of the places, I am adding more of the darker value of yellow and in few of the places you can see more watery mixture, which means that I am having much more vital value in those areas. Adding some water or picking up a bit of color here, and there is a regular process of altering the values, are changing the sheets. Oh great extent to achieve the different tonal values that we have been absorbing in all floral or else, if you, even if you see a photograph, you will not see that the particular petal has equal amount of pigment in each and every place. Because sunlight has a lot of perfect or whether it has a lot of effect on the floral petals as well as the opening of the petal. And for how many days it's there. Is it that you were just seeing it in the morning or you're seeing it in the evening. Lot of factors go in even a photograph when you see they might not be seeing as those same, same amount of yellow in each and every place, even on a photograph. And hence we are doing the same and replicating the same method even in our photo. As I say, that all the flowers are random as well as they appear in nature. Nature has got a lot of randomness. And you should also have that randomness in your painting. Rather than creating flat washes, always create washes which has different values or they are more valid gated. Though, the color that we're using is only one single color, but the values do need to change at various places. You can go with any orange it is, I guess so. Permanent yellow deep back the space, but you can go ahead with any other orange of your choice. It can be gamboge orange or any kind of shade that is available on your palette. Not a person who thinks much into what you are using for your paints. But the most important is people do I am using on one at five GSM? Hundred percent cotton Arches paper, but it is one of those good papers that's available in the market which can take three to four washes to this particular paper. I prefer completely for most of my paintings. But there are other kinds of papers do in the market which are cellos or which are not one person, cotton. And I would really not prefer that for any are popping things while we are towards the top part of the pollen in and around it, we are going to add a bit of green and then blend it with the orange that we are using to cover the area of the metal part. Just blend it more with water so that you can see the lightest value while approaches towards the top part where exactly you are placing the pole and I'm going ahead and adding some red. Now this red while I had is towards the outer area and then I will just pull it towards the middle part. You will see how I do it. The most important aspect is to just blend it and blend it. The blending that we are doing right now is blending on the people rather than on the palette. And I really liked that method for the florals. The better you blend on the paper, the better would be your outcome. Slowly, steadily as you progress on this journey, will get to realize that planning on the people is more huddle as you see me doing it. Yes, it's not very easy. Plenty. On the palette becomes way more easier than what you observe me doing part, it has the most amazing results. So, yes, there is some kind of difficulty, but it does fetches great amount of reward along with it. Oh, good. I guess there are some athletes that are absorbed and I want to clean those pleats a bit. Once I cleaned up, then we will go ahead with Anatolia. Now, Player two can only be applied once your layer one is dry, made sure that we are one is drying up. If you want not getting good lines on not getting the yellow that you wanted, it, just mix a bit of your permanent yellow, deep orange into what? You will get a bit more darker value, which can be applied well. And then you can make these kind of lines. These are thin lines and upon it I will go ahead with broader lines. Now, you might think that why are we doing the opposite? As I do not want these lines to be seen in very strong way. Hence going over it with another layer of more broader strokes would be a better idea. Continue to work upon these strokes as you absorb me doing it. For individual petal. Do not worry about the broader are thicker strokes that we are going to apply in the third layer. It's just that right now, we need to concentrate on these thinner lines. You can use any of your smaller brushes size one, size zero, size two brush to continue painting with? I don't happen not to explain over here, except the fact that once you start working with your Layers or once you start adding your layers, you will understand that each and every Lear really adds a lot more depth into your painting. That is something that is very important. Your flat washes can not had the depth that we are looking forward to. It will not exactly sure that how your package should appear or how your Floral should appear. You can yourself see how we are developing one single floral in many layers. And layers can do so much of magic and there is so much of life that it adds to Painting. Keep adding more and more lines. And let's continue with our progress. Progress is most important and just enjoy the process. The process is something, as I always say, each one of you should enjoy. The more you enjoyed the process, the better will be your outcome. So 12.3, do not count the layers, do not count the time. Just keep enjoying the process and everything will fall in line for you will enjoy the whole journey of your floral watercolors. I can guarantee on that Thank to add some greens. Now, I'm going with the lightest value of green and this ease my yellow green. The yellow green. I'm going ahead and applying to the entire green area, which I want along with it, some of my yellow. I'm adding the same yellow that is permanent yellow light for green part. And blaming it with the green that you absorb. Process of adding Colors is very slow. I usually take my own time and pink while I paint each and every part, That's how I always defined my progress. Thinking is always good compared to getting back and correcting it. What happens is in Watercolors, what house, wherever and whatsoever. I say that it is forgiving when you work in Layers, etcetera. But if you add a darker layer in the first school and you want to come back in the second layer, it becomes really tough in that case. So always, always make sure that when you are adding your force-field, it needs to be really, really like. And then you can add your second meal, which can be one shade darker than what you have added in there one time to add the third layer. You can see very well how I'm going ahead and adding it. I am adding some well-fed from the bottom of the petals and she's taking it towards the outside area. Similarly, I would be walking on the other petals to getting back to the green. You can go ahead with any olive green or a mixed. When I came clean with the yellow green that was existing, get a Colors similar to the one that you observe right now. Add more green while you go towards the bottom area. Again, it should be the darker value of at ease not or great idea to go ahead with the same color that we added audio. That is the greenish yellow. I would request you guys to work with one shade darker value for sure. If you even want to go ahead with three layers, it's good. But yeah, going with the darker values, of course, is all changing the color is most important that the stage adding some darker green to show basically the depth and the contrast down there is a stem and leaf. How do you show the contrast you just created by adding the darker shade in few of the areas, lighter shade on few of the areas. The lighter shade would be the stem area, and the darker shade would be the area of the leaf that is in the background. Each and every element in this Floral is important. But the most important part that we had while we want it to work on the Florida was the middle area where you have painted your Daffodil. Though, I will not deny that the stems and all the contrast that you are adding is something that you should always, always work on. Also hold Painting is not going to come together exactly the way you would wish to work for yourself. Hw1 not be great with the middle part. It would be difficult for the whole painting to come together anyway. So give some good amount of time to that particular part. These parts, of course, is an add-on. These low, even in the process of painting, watercolor is easy to work with them because it takes less time to dry up. If you are staying in places where it dries up quickly than it is even more quicker for your whole painting to come together. Having said that, you need to also understand that Watercolors is one of the medium where you really need lot more patients than any other medium. You cannot Come back each and every time and hence it is less forgiving. Last and most important part is the contouring part, which I'm doing now to just show few of the areas separately on each of the petals separately or but I'm not touching or each and every ad altogether, a few of the areas dropping a bit of a straight line, breaking it and just adding it. It's important to define the middle part of the flower where you have these columns and statements in a bit more better way. And the detailing becomes very important. So go ahead with our darkest value of red. You can add a bit of green into it and see you will get pretty dark value. They like pinching green into what? Tan, you can get a color that is what you're observing me using it, as well as add a bit of red and blend it with the top part of the background. It will basically show this middle part separately compared to the petals that we did drop, as well as have pink and yellow. And the spot was also a yellow, so it was not distinctly see, having said that, you need to go ahead and always show these parts separately. Each and every small detail might not look important at this stage. But as we progress in Albert journey of watercolors and as we become more mature as an artist, these smaller details actually does come pretty handy. And it really shows on maturity as an artist. Even a small touch of orange on the top eight you can make up painting looks so much more from realistic and ninths. I would say. It gives such a beautiful appeal to the painting that I can't tell him. Now adding the contrast in a better way so that I can define my major part. That is the step a bit better than what I did earlier. Going ahead with my thinnest brush to do so, continue walking on this and just blend it with some water. It's the darkest value of green. I'm mixing my green with some amount of my yellow green that's on the palette. And going ahead with this, Some more contouring with the orange for the middle part where I'm showing my colons. Once this part is done, then let some Fine look at floral. I can pretty well say this floral has taken your heart. It took mine as I am actually showing it to you. I can say how much I was happy to see the whole Painting turning out that I really wanted to share it with you all. It's important to write down and paint all the colors which I have used in this painting. This is majorly, are kind of your go-to place where you can always, always check what are the colors, how do painted it, etcetera. Everything should be documented. And hence, you can also do this on particular sketch book. I would be more than happy to see that. But for me, I'll just create to go ahead and too wet on these smaller pieces of paper. 13. E Erigeron Colors: Let's have a look at all the colors which we need for completing our painting to first is yellow, this yellow, permanent yellow deep. Then we have quinacridone coral, or you can go ahead with Compose Opera. These are the two colors that can be used. The next is my red violet, then by burnt sienna. The last is, of course the olive green or sap green, which you can use alternatively for completing the wall of the Painting. Let's go ahead with the main Painting now 14. E Erigeron Painting: Any of us do have this overwhelming feeling when we see a blank page of paper or NBC or blank watercolor paper or anything like that. If you do have, I would say this is the painting for you. We are going ahead with two circles. And believe me, the painting that I'm going to do is in-between what you see as loose floral and what you are have done to date, that is the past for florals that we have made. It is one of the most easiest in its approach. But yet there are various layers that we are going to add to complete the whole of the Painting. I haven't made any stem or even though leaves, it's okay right now, we are going to complete the fluorophores and then we would be approaching that going with some yellow and then some of my orange, this can be your permanent yellow light and permanent yellow deep. Both of them put together along with some of your bones. Cnr can make up the middle part of the flower. What we have as an approaches starting from the middle and going towards the outer side, do make sure that your middle part is completely dry before you start. I think the colors on the outside, the outside will have three set of colors which I usually use. One is your drum, permanent yellow, deep, which is majorly in-between orange and yellow. Then we have another color that is quinacridone, gold. And the third color is majorly red-violet, which he's in-between pink and purple. So most of the colors that I'm using is a bit darker than what I would like to go ahead with as a warm shade. Having said that, you can always go ahead with a lighter value of it when you want starting with your first TO. And as we progress, we would be going with the darkest value. Compose Opera. I have used this color very often in many of my paintings. And you can also see how the colors from the middle of flowing towards the outside and using a size two brush to make these kind of longer petals. Simple process. As we progress, we just need to keep in mind the direction of the flower as well as you can go head and your, from painting to get the exact way you want to add the petals. Moving yards from paper is absolutely fine while you paint. The first layer is all about going the confidence and lots and lots of energy. All I can tell you is you have to just go ahead and add longer petals without a second thought. We need to only occupy this space which is in-between the two circles with longer lines. I know. Kind of space which looks more like petals. That's it. We are not going to think much in this process. Go with the flow, enjoying the process and enjoy the moment altogether. Watercolors is one of the medium which can make you fall in love with it. As well as it's really, really helpful when you are sad or when you are stressed out. You can always look forward to working with Watercolors. It just uplifts your mood, your life, but a lot more Colors. Okay. Now, getting back to our painting of it, going with some more lines, I am not moving my people yet. But if you really want to do that, please go ahead and move your paper. You will see me also doing the same to the middle part is still wet. That's one of the reasons the colors are flowing towards the outside area. I did, Daniel, initially that you have to let your metal pot trial. But while I started off, it was Joe Wicks. So I went ahead with it. Bleeds are always good. But if you want more control in your hands, it's always great to let your paper dry off Lagging a bit of quinacridone coral. Now, I'm mixing it with the pink which I had. It was majorly upper up Carlo. But you can see once my paper has dried up to Colors, really light, I would be going with the same when leaving a few spaces here and there. These are majorly lines or smaller petals which I need to add. This is the second layer and eat ease majorly, adding depth to the painting that we have done. The midi part of the flower is still as is. We're not going to patch it as of now. We will continue with the outer part and add more and more lines exactly the way you absorb. I usually use a combination of really nice and shakes while I paint. I go ahead with these yellows, orange and pinks, which couple of some mood, as well as we feel so happy while we paint with them. But if you have the whole focus on this warm part of the flower, you will need to then New the colors which are in the green. Which I would say is my olive green and brown that I'm going to use for my bottom part, where we are going to add a step as well as two leaves. This is overall the particular way I go about my painting. Choosing your focus or choosing the main area where you want your spectator to focus on is very, very important. We are not here to actually make each and every part of the flower hugely interesting or just die voting the focus to every part of the flower that we paint. Hence, keeping the important areas as important as possible is only happening with the fact that you are not The dealing all the parts equally. We will go ahead with more layers and more detail in the floral part, whereas the leaf part we are going to detail to an extent that it just adds up to our painting how you said that we are also not going to leave it just like that. Going with our mix of pink a bit over the colors that we have already added in the few areas starting with the left. Let's go ahead with more and more lines as well as more and more layers. I am keeping my first layer also in that I am not going ahead and retouching every part wherever I want to. Its not occupying the entire layer but just making a few lines. Urine, they're pretty loose, easy. Yet it should look like petals. I think that you are now getting a hang of how to make it because you have already done two rounds of it. All you, and this is the third round that we are going ahead and Painting. Leo's have all the magic. As I always say, the more layers you add, the better would be your Painting. Having said that, if you're going to make a layer very dark in the initial goal, then adding more and more layers will spoil your Painting. Whereas if you go with real light value, watery, and less of Colors, then you will see a lot more happening in the mid own your painting as well as inside your Painting do. Why did I discuss about Watercolors? It is always so exciting as I am not only in love with this medium, but Painting. Each and every floral gives me so much of happiness and it spreads so much of love. I feel the highs of my day when I share these projects with you guys. This is more from a personal point of view. I feel so happy, elated, and all these worries that I had during the day go away. Every floral painting, which I do. Florals are not easy. Having said that, it does need some kind of guidance as you progress. And I Learn very hard way when I was into this whole journey of understanding Watercolor florals. I didn't make a small promise to myself that someday or the other would like to produce a class which would make this journey easier form many more people who are struggling with florals and there might not be enough materials, or there might be so much of material that we don't know which one to go ahead and foresee. For me starting easy, it's more important as you always know, how you progress will define your own path towards fostering these Watercolor florals. Okay, time to add more and more leaves. It's just an outline of the stem that I have done. And adding two leaves. That's all along with it. I would go ahead with some kind of green that is an olive green on you can go ahead with sap green mixing a bit of yellow in it and getting up Carlo what you absorb, blending it with the yellow that you saw. And then covering this area of the stem as well as or belief. Time to blend, blend and blend. Blending is very important as we progress in our journey of watercolors, we blend mode on the people rather than what we blend on the ballot. Blending on the people means you are actually going ahead and either changing your values for adding two different colors to get Alcala that is more muted, exactly the way we are doing, like DOM adding some brown with my olive green or Sapling whatever is available with you and then mixing it to get color that is mod mutant. Adding the same kind of from mates even to the left side of stem. Very happily. So adding the color and then mixing it with some time. Finally, I feel that I am getting the food Floral ready for ourselves. And once it is ready, I think you should be super proud of yourself. As you have done a great job. Along with it, you did create lots of textures for the middle part of the Floral. We have gone very simple incomes of the approach that we have taken yet created or phi, nice and yet Lorin, watercolor floral. I'm to add some things into the leaves and I'm going ahead with my smallest brush, taking some mixed off more on the brown side and less so queen. And then going in with a wet on wet sofas that we had. Now, if you have to do this process, you need to wait for three to 4 min till your paper is not so wet and is evenly wet to an extent where you can go ahead and add these kind of flights, autos. All of these will become low. And we do not want that for our painting. Adding more and more textures. And I'm going ahead with our darker value. I mix some green with my brown ahead and now adding some smaller dots towards the middle part. We haven't discussed much about the knee Morgan flower. Can you really gets it. Okay. Let's let me now it is Erigeron. I hope that's how you pronounce it. But pardon me if I'm wrong, going with the color scheme, you have the scholars shown in the middle part. And I'm going with the final contouring, all these Smaller and beautiful petals that we have added for the Erigeron plot. Okay, taking my darkest layer, this is called as the red violet. And you will find this color in between your peak, scarlet, lake crimson, and a bit of purple in it. If you can add, you will get a color, something like what you observe. You always do not need to have all the colors existing with you. You can go ahead mix the color, gets something that is similar in look and feel what you observe on Painting. Start painting with it. Every time. You do not need to purchase all the colors to try, just have a look at Watercolors, each and every teacher or instructor that you follow, maybe using and which one you like out of ten, go ahead and then only purchase it, as well as before you meet in purchase, it's very, very important to understand the pigments that it, if it has multiple amount of pigment center than it would become very tough for you to mix it with another follow, as it might give you muddy mixes. Whereas if you have single pigment color, then the next mix that you might find, we be way more helpful. And there will be hardly any money mixes that you may get with any other shade which you mix with the single pigment. Said that what is best available to you, you should use it as of now. Continue with your Floral journey. I'm super excited to watch this Painting of yours. And next what we are going to do as it is our sixth day. And on every 60 we are going to make a full fledged composition. Composition is really exciting as well as I think it is one of my favorites. I would exactly tell you how you are going to approach your background. I would be even telling you how to go ahead and apply or Colors, masking fluid, etcetera. It would be done in parts, the whole of the Painting. So be ready for a bit more longer Painting than what you have been to when these are more bite-size sessions. Whereas that would be more longer one compared to what we have been following till now. But the enjoyment is, of course, double or way more than that. Has you have bogged down. So you have florals and you have so much more space to play with. I would request you all to try to find composition on an A5 size paper, at least me, five size paper. You can go ahead with even a bigger size paper in case you want. But an A5 size paper should be ideal for going ahead and making that Painting can't actually contain my excitement anymore to be friend. This Painting is already going to get over and I'm so much more excited to share the hold 60 with you. If you haven't done the Daffodil Painting, please go ahead and once watch it and paint. We are going to do a full composition about Daffodil only. So that last painting would be of real help to you. Once you start out with this, of course, you can go ahead and see my audio classes, which I have given seven days, seven different style of painting which we have done for the florals, is one of the best out of them. And I think you have lot of learning as it has all the techniques covered. Do it is not done in Layers exactly what we're doing now. But it has way more techniques, glazing then your bleeds, etcetera, wet on wet, wet on dry. All of it cover to a great extent. Okay, let's now finalize the painting. We are almost done with all the paths that we wanted to highlight. Just a bit of it left. And then naming. It would be great going ahead with Erigeron. Yeah, that's that's my favorite. When I see regrown. It's almost complete. So, so happy to see this sum. At this stage, we started with an absolute blind people where we did not know where to and how to approach it to something like this is commendable. Do tap your back and I hope you are happy with what you have right now in your hand. Can't wait to see you next, even if you are a beginner or an advanced level artist, I think that makes Painting is of real interest to each and every one of you. It has so much to not only teach you, but also in terms of an understanding of how to approach a full composition for everyone, should be a great learning and you will, for sure enjoyed the whole process of the Painting. It would be slow and Dan and Pat, So be ready for a bit more slower and less exciting or quickly done kind of a project. Have a final look at this project and have a great Bloom. 15. Composition 1 Daffodils Part 1: So we add on to our full composition. It is D6, and I'm going to go ahead with two Daffodils in this painting. You will have to understand that composition, in this case, is all about adding more and more florals, having leaves, creating a background. So there is lot of work. Only one thing that I've want from each point of view is to have a lot of patients new, go ahead with an A5 size Paypal. Either a B or one at five GSM, arches, hundred percent cotton paper, which is great to go like I am using right now. Orals even are 300 GSM, hundred percent cotton. Any brand paper is good. Do test those people are out before you go ahead with the final painting. Because as per my understanding and what I have seen that many of the peoples and not well-suited for Watercolors, even if they say it's 100% cotton. So always, always go ahead and try it before go Hank ahead with the final Painting key. That's it. From here we are going with two circles. One of the Daffodils, the spacing a bit downwards on the right-hand side at an angle, as well as the left-hand side, when you can see, is also moving towards the left side at an angle. Both of these florals are done at an angle to show you how of floral composition usually is. You will usually North find the floral composition facing towards you write. And hence, it's very, very important to start focusing on compositions that has florals which are indifferent direction, direction is one of the very important. And I would say, an aspect that needs to be always look into whenever you are doing a floral drawing and sketching becomes the base of our composition. And in this case, you can also go ahead with tracing of this project. Tracing is really simple. You can use a lightbox for doing it or else you can go ahead with any other method to trace, like just adding or graphite mark on the backside of your tracing people and having the lines that you can dig from the resource section, I have already uploaded the full painting over there so that we also, you can trace it on your final papal order. Go ahead and just make the composition exactly the way I'm explaining over here. There is a small circle. And I'm going ahead by just finalizing the middle portion of the circle. I did, of course, take out the pencil mark which I had. Even if you erase the pencil mark, there is a very light mark which remains. And that's what we want. As this is a Watercolor Painting. Watercolor Painting is really transparent. If you are not going ahead and taking care of the graphite monks, they will show off. And we do not want that. I even teach you how to paint white Daffodils. Now, this is a thing that we always want to know how to paint white, but we exactly don't know what colors to use to be even keep the whites of the people intact, or how much lighter the value should be to create these white florals. Believe me, white florals are the easiest of all. You need to only keep in mind that whatever color you are applying needs to be of the lightest value. And as you progress into the leading part of these florals, they need to become more and more darker. While you continue sketching. You can already observed that there is a middle portion and I have started marking the lines which are moving outwards. Each of these lines, as they move outward actually denote the petal. Every petal is really important for a composition. There will be a few overlaps and some of the petals which you actually make or paint will not be exactly similar to the other one. Therefore showing lot of randomness that usually exist in nature. So some of the basic rules for Painting, anything which exist in nature, like whether it'd be florals or whether it be trees. You will need to capture the randomness of it and naturally how it takes us, rather than going ahead and trying to make it perfect All the petals to not need to have the same size and shape. They can appear in different size and shape. Some of them will be leaning a bit downwards, so some of them might be more tilted whatsoever it be, you can create all of that within this painting itself. It's going to belong, as I did tell you, I have those sketching as well as the outlining with the help of the masking fluid. Taking about 19 to 20 min of the time. Everything is real time that you see over here. So you can follow along with me. Do not need to worry about anything. Go with an absolute free mind and have all the confidence in yourself while you approach this painting. You have already done a beautiful Daffodil in the past. And we are going to replicate the same learnings of that Daffodil in this particular painting. A bit differently. Maybe. All the layers, etcetera remains the same. It's nothing new that we are going to understand except the backgrounds. As well as the backgrounds are also done in a way that it is using the same colors which lie in your floral painting. So overall, there is no change in terms of the colors or in terms of what we have learned from the past into the present, there is no change at all. Hence, all the learnings that you've had is going to help you in this painting altogether. But if you are approaching this as the first painting, I would request you to go back, have a look at the Daffodil and the other florals to, as each of these florals are not done in an absolute similar manner. Though they are done in Layers, but few of them have some sketching in the background. Few of them don't have. Some of them have this pulling the paints inside, outside. All of these techniques available. Some of them use more. What are some of them don't. Having said all of it, I think you already know that we have discussed so many techniques in the past that I cannot continue to repeat them right away. And everything can not be comprehended through this particular composition itself. It's important to go ahead with all the paintings that you have done or whatever is being done in the past. All the five paintings are really important and every learning is going to help you in any of your future paintings that you do. I usually break my subject supposedly I have to florals into basic shapes and sizes. Basic shapes mean. It can be usually a circle, square, triangle, rhombus, Hexagon, whatever it is. I will get that into this basic shape. If you are clear with this basic shape, you can automatically create other things so everything is going to fall in line. If this basic shape remains intact, it's time to continue with your second Floral. Now, go ahead and sketch exactly the way you have seen me doing it in the first one. There will not be full petals. In this case, there will be some half petals, etcetera. As this particular Floral is on the backside compared to the one that you have done on the right top and side, which is just in the front. So you observe that fully compared to this one which is only about three-fourths seen or somewhere around two-thirds. So keeping that in mind, let's continue with our drawing and let's go slow. Let's understand how we add each and every thing, statements, Poland, petals, leaves, lines, etcetera. Everything has importance and no composition. So continue sketching along with me and I will meet you soon. Once I have more to explain. Till then you can go ahead, enjoy the music. It's slow and hopefully soothing. Continue with the whole of it. And wherever I have more to explain, I will get back to you Time to add more and more lines. These lines are also crooked, corvee, etcetera. They are usually the stem of the Daffodil. You can go ahead and check in any of the photographs. It usually appears this way. And I will also add a few leaf in there. Once we start adding the leaf, you will get to understand how the whole sketch or the composition is coming together. There will be four to five leaves here and there are two of the stem. And few of them would be larger, few of them will be smaller. Each one of them will vary to work great extent, so that there is no exact demarcation that they are same or they have any kind of symmetry in them. We're not going to keep any kind of symmetry except the fact that, yes, they are all leaves on their own stem. So that's what we will continue to do, and that's what we are continue to walk around with. I will again get back to you once we have to go head and Moscow, few of the AVS that we want to paint after this Before we go ahead with any kind of masking, I want you guys to work or know a bit more about masking. You need to go ahead and try are masking fluid on the people who plan to finalize your painting. This needs to be done beforehand. Why is it important? Because there are many people which do not actually support masking fluid. Maybe any kind of handmade people that you weren't using might not support these masking fluid, which you are going ahead with. Secondly, when you finalize your Painting with the masking fluid, always, always dip your brush in some kind of a soap. I'm using an SCADA brush cleaner soap. When you dip your brush in this soap, it usually takes care of the brush in a good way. Why? Once you dip it in the soap and then you dip it in your from masking fluid. The masking fluid doesn't stick to your brush anymore. And your brushes saved from all the difficult situation which usually happens in case you have multiple uses of your masking fluid with your brush. I'm going ahead and contouring the outside areas of the petal. And this process, I'm going to repeat even for the left side of the petal, I'm going to contour both of these petal and keep these two of the Daffodils intact. Whatever we go ahead with in terms of the background Painting, is going to happen only on the outside part of this petal or the whole of the florals which you absorb. The outside part is somewhere that I focus on initially. And this is something else compared to what we have load tilted. I usually paint the middle part are usually paint the Floral first and then go ahead with the outside part. Whereas in this case we are going to go the opposite way. That is going with the background first and then going with the petals. I usually take away ten brush for marking my outside areas with the help of the masking fluid. And then I would leave this masking fluid to try completely. That's a very, very important step. If you go ahead and start painting in and around this masking fluid, it might stick to your brush, which you use for your background painting and may spoil it completely. This is what I'd never want for any of you as all the brushes are pretty expensive and we need to preserve them and use them over yours. I have brushes which I've been using past five to six years and they are completely good and in great shape for further use. I'm pretty aware of the fact that we all have limited resources and hence we need to use a pretty carefully as well as in are responsible way. So continue using it in a good way. Use it wherever it is needed and don't use it wherever it is not needed. 16. Composition 1 Daffodils Part 2: We are onto our second step, and this is majorly applying the colors on your background. So many of you have told me that my background's look amazing. What do I do? How do I apply the colors for me? The rule is pretty simple. I go ahead with the same colors that I'm using for my Painting. There can be a bit off, like orange, red here and there that I apply, which are similar to the colors that I have on the color wheel. I usually keep them make soft, warm, and cool tones to balance the whole of the Painting. If the warmer side is more from the yellow side on the top part, then I would like to keep it a bit more cool with some darker tones of green and some of my indigo or Payne's gray to add on to the cooler side while I go towards the bottom. These are simple takes on what I usually do in my painting. Along with it, I need to also tell you that keeping our painting simple and just thinking it from the perspective that we are going to complete the background only with the similar kind of colors that you apply in your Painting is going to make your life not only much more simple, you would be working with less shades, which is much more or less complicated. As well as you are going to actually erase the whole of the Painting with this simplification of yours. Initially, I was not really sure of that. Should I use more sheets? What can be more interesting that we go and go and go on using more and more Colors. In a particular painting. I would say I was all over the place when I started out with my florals. But slowly, sadly, I understood that the most simple your composition is in terms of the color sheets, etcetera, which you use. The better is your outcome, as well as when you are beginning in your watercolor journey. As a beginner, I feel these simple things that you do really is a lot, are really count a lot in your whole journey of Watercolors. This is Payne's gray, which I am using. It's a bit darker and shade. It has less of blue in it compared to what I usually use. I'm going ahead with majorly Four shades. You can see one is my yellow that is permanent yellow light, then is my green that is greenish yellow. I'm going ahead with some sap green or when it green, whatever is available with you. You can also use Hooker's green. And finally, the darkest value which I need for my painting, it is my Payne's gray. Payne's gray are of two types. One which has more blue in it and one which has less of blue in it, right? So it appears more like a black sheet. This is the one where you can say it looks more like the black shade. Just go ahead and complete the eight here. That is there in the bottom part. Main surely the light green I'm adding. If you see it's wet on wet technique that we are applying in this whole part. We are not going ahead with wet on dry. As I want to keep you up the spaces completely on the white side, the top area will not be completely occupied with the yellow or with the warmer sheets. There will be few spaces where we are going to only add the warmer tones of yellow and use the white of the paper to keep some of the spaces and absolutely light shade. Okay, having said that, let's continue with our process of adding colors. At this point, I'm just trying to add few shades urine there so that they look more like plumes as well as I can continue to go on adding more and more wet on wet technique on the areas of the background. Wet on wet has been really interesting. It's not only helps me to ace my fluidity of Watercolors, which is majorly how I see my Watercolors flowing, mixing on the paper. In terms of blending, you add all the colors and see it blend. But this is one of those spaces where I would always ask you to experiment and then go ahead. All the colors when they mix with each other might give you some muddy mixes. Now, usually muddy mixes a pure when there are a lot of pigments, a particular brand might have used to manufacture one single pigment. In those cases, you will get these muddy mixes which we really don't want, no Painting. Hence, go ahead, try out all the shade, how they mix with each other on a rough paper and then add it on your final Painting. It's very easy process, but it really adds lot more intent as well as it helps you to, is true your Painting much more easily hiding the last color to my Painting, which I wanted to, because I am using the orange to in the middle part of those, my floral, which I am paintings. So adding a bit of it here and there are even for the background is going to help me a lot. I prefer to use all the colors from my florals itself into my background, as I've told you, this is one way you approach a Painting. Of course, there are many ways you can go ahead and check out all the other ways how I select my colors. I have shown that in one of my early or clouds classes which are released, there are analogous palette. There are a harmonious pallet. There are many other kinds of palette which you have. So you can pick up the colors that way and then apply it on your people. One that I have realized through my own Painting journey of watercolors is all the paintings are not going to be perfect. They're not going to be exceptional. Every day. I'm not going to make a masterpiece, so it's absolutely fine to let it be hazardous. And right now you can see my people is already dry. I would go ahead with my second layer for the background. I'm going ahead with a mix of my greenish-yellow can buy Nike cream. You can also go ahead with a color that looks more like olive green or Sap Green. I'm not much sticking to the colors that you want to use or you have whatever is available, please go ahead with those shades. Just trying to add the color on top of the areas which I did mark in my kilobyte, mark like while I was sketching. And then had some of the areas and darker values and change the color for few of the other areas. This is how we are going to show the depth as well as we are going to add lot more shapes and sizes. Shapes and sizes can be also in the form of your lines. Then in the form of your leaves, in the form of your stem, etc. that works in the background. Every background that you paint is not how you actually get it. In the final painting. The background will be one shade and then we have to work either on the outer spaces, which is majorly your negative painting. Over here. We are not using that technique as of now. We are going ahead with of very simple glazing technique that is working poor widow layer that we have all the added by going ahead with another layer of a second coat of color. Whereas if you are painting in them around this particular space, keep would have been more to do with the negative Painting. Yeah. There are many techniques that I would be, of course some mentioning as well as we will be using them. Even in Huo paintings. Believe me, I plan to teach whatever I know through this whole class and I plan to make your Floral journey much more easier that way. Okay, Has it tells you we are going to do a small negative painting in this part that you observe over here. I have gone ahead with your dark value of my green. Do. I am altering the value as I always do through any of my paintings that you might have seen till date. And then adding the colors of the darkest value, two words, one of the sides, blending it with the Murray part. This is a wet on dry technique that is majorly picking up the wet paints and adding it on the right people. It's very easy technique and it's one of my own favorite techniques for any kind of floral painting. I use both the techniques. Though. I must tell you that wet on wet has been my favorite for quite some time. It's only very recently that I have started going ahead with this layering technique in my florals. And I must say that this is one of the best that I might have. Till date, understood, or till date explored in florals. Okay. Adding some more darker values and few of the spaces, which is majorly my negative Painting. I am painting in between the leaves and the stem with the darkest value of green and altering the values of green You can always create a shade card for yourself if you are however, much out of view of what color are, what value you should add or shade guard always comes through really, really handy in that case. I love to provide you with lots of hacks and tricks which can be used even in your future paintings. Having said that, believe me, all of it, I really can't teach you till you put up with the fact that you need to practice. Now back this is very, very important. That is one of the reasons for this whole class of a to set florals. Forget to learn not only about eight to read or florals, but also practiced so many varieties of florals and the process, as well as work on compositions. Now, each of them, of course, is taking some good amount of time, though individual florals might be off much more, shorter time and you will get done with it pretty quickly. But these full compositions will take awhile. And believe me, once you start doing it, you will fall and laugh more with these compositions compared to the individual florals. That how I started out with individual florals and Stoli started falling in love with the full compositions that I usually do now most of the time. Okay, Let's blended, blended at Colors. Just change the values here and there when you are working with the negative spaces, it needs to be darker in value. When you are working with the stems, etcetera, it needs to be lighter in value. That's how we go about it. I don't have much to explain over here, so let's continue with the progress of each of these Painting and get back once it is necessary. One important aspect of blending is to go ahead and blend with the background. You can only do it with the clear water. That's one of the important reminder for all of us who are doing watercolor painting is to keep one clear jar of water which can help you with Leo water supply. Whenever in the'd like you need to blend it with the background or something like that, or use clear water for the plural spot. As it is way more lighter than what you have used for your backgrounds. According to me, you should take this painting as two step process. One would be your initial sketching and background and, and others should be your lettering as well as florals. It would not only help you to divide your time, but hold so complete this whole of the composition. As you see it happening over here. What he's, sometimes, even while I am working on the negative spaces, you would watch me going absolutely clear in terms of the blending. I do not everywhere apply lot of water. I like to keep it as this it has in the background area. That's one of the reasons. So while I continue with my painting, it might look more difficult initially, but when you have the final painting ready with you, it will look very organic because you're blending, etc. is happening. As for the background, you are not trying to do more than what it shows off in the background. And it looks so way more natural in terms of when you finish it off, you will see it. I know I'm cleaning it right now, but once you finish it, you would be super proud of yourself. And believe me, this is not a very easy Painting. It peaks lots of patients and I can tell you, you guys are doing excellent at this point in time. You will see a very dark value on the top part of this stem or elif. Once you add or you want to make it more lighter while you go towards the bottom, just blend it. A bit of a part which is really dark and that really shows the continuation of the top darker area. Whereas while you paint it, you make it lighter so that it just blends, blends and looks like the colors are not even for a continuous flow of the leaf. I guess we already have a background layer set, which really helps our painting to get the Colors moving and flowing pretty easily. So continue with that process. You need to keep that in mind while you work and meet the areas darker variable, it is needed. It's always good to use the colors that are already available. Which means that I have Leo, That is the background. I would like to keep the color of the background to white and extent compared to what I would just go ahead and add if there what have been no color in the background. Some of the areas when they are not defined well or when I do not see that it is coming up and I can see it distinctively. I go ahead with non-negative painting and blending technique. I do not like to paint negatively, absolutely with the same shade everywhere. So I changed the value and define in and around this particular stem in a bit darker value, and then blend it with my background area. Let's go ahead and add some darkest value towards the bottom area of this particular. And then slowly, steadily add few more colors urine there. We're almost done with the stem and leaf part. It's almost time to go ahead and start with your florals. Though. I will not say that we don't have more work for our background, stem, etcetera. We do still have some parts left was where we might have to go ahead and work. But it's Oslo process. It's thought that I will go ahead and keep working on it at an even pace which you observe. It takes some time. So it's absolutely good to just continue with the process of creating. Creativity has its own way to unleash the magical watercolors. And I would say it will come to you very easily. Just that you have to work with the fact that you have to practice and practice, it really makes a lot of improvement. I have seen it in many of my students and belief me, the students who have practiced on a regular basis have a history like anything. Watercolor is not a dangerous medium. It's a very friendly medium. You can partner with that very, very easily. Just that you will need your patients to partner with this medium or else it's going to backfire like anything. Patients is all you need for this medium. I have lot less to explain. Again, I continue to add darker values in and around the stem and in and around the leaves for working with the negative spaces. And I go ahead with my darkest value of two green that I have. In case you don't have the spin like a green or a darker value go head by mixing some amount of indigo or paint screen to wait to get a Colors similar to what you observe and then blend it with some clear water. Continue to do that and continue to change your values even when you are doing or negative Painting everywhere, you can't have the same color, shape, size, etcetera. So make sure that you're Painting also shows that kind of irregularity while it is on negative Painting space. We are not going to add the colors equally. This might look a bit advanced, but you can surely do it if you have already painted my all your florals that we have caught ahead and done during the process of the first five paintings, a to E. Let us 17. Composition 1 Daffodils Part 3: Finally, the last and the most important part of overflow room, where exactly we are going to paint the Floral and see how to hold painting shapes up. In the meantime, we are starting with the lightest value that is yellow and a bit of neutral tint orals. You can also go ahead with CPM. Cpr is a very dark color, as well as the neutral tint is also a very, very dark shade. So be very sure while you are applying it that you need to add light value of it. Absolutely close to clear water. Don't make that shore while you paint the florals in the middle. As you observe, we will go with some of the yellow and then ASPE move towards the outer side, it would be a bit of neutral tint or CPL, whatever is available with you. Mostly I have seen many of you using CPO. That's one of the reasons I have given CPR as the alternate color option. Blending with clear water is the best option while you go outward. Now, there are many florals where you have added the darkest value towards the outer area and then taking it towards the interior with the help of clear water. And this is one of the florals where you have the lightest value towards the middle, blending it with a bit of a darker value and then with clear water. That's how the blending happens on the people. You're the blending is not happening on the ballot. We are going ahead and adding it on the people. It's a wet-on-dry technique that you are currently working with. I'm going with the first Floral that is more experimental. I do not want to touch the right side currently. That's one of the reasons I'm going with the left-hand side. Once this left-hand side is done, you can go ahead with right-hand side though. I know you guys are really confident about Painting Daffodils. Most of you have near the Daffodil paintings, which you have done in the past. So I know that you are doing great overall. I have no doubts about it. Going ahead with the Painting. Now, once we are done with this part of the Floral, I would go ahead and add more detail. Now this is the first layer, as I always say that is layer one. Layer one is basically your base layer and basically are really sets the tone of the painting. Now when I say setting the tone of the painting, if you add the layer one to dark, going over it with more layers become really tough. So always, always keep in mind to have all real light value for your LEA. One. It's always good to add more and more layers rather than going with the darkest layer on the Four score and then not ending up with any further Layers. This is something which is absorbed when you work with darker values, the tendency is to add a lot of pigment. Guys, in Watercolor, water is forced and color goes second. And that's what I always preach to each and every student in my class. It has lot to do with water rather than to do with pigments. Hence, you should play more with water rather than pigments. Overall. It only gives us the intent to go ahead and work with more water for the darker values, as well as in Paul lighter values. When you are working with artists grade pigments, it gives you all the rights to go with the lightest value later on, Add more and more darker value. I'm adding a bit of my orange, which he's majorly my vomiting yellow deep into those CPR or the neutral tint that you also, and get our Carlo, which has more of a brownish effect. And then I add onto my Painting. This is the second layer which I'm going ahead with and adding on the Painting, do make sure that you have some, because strokes towards the outer side and even in the middle, we will observe the same process in the other florals to, I will go ahead with some of the bigger or larger strokes in the middle and then pulling it outside with thinner lines and strokes. This is simple and easy to do, just that. You need some patients. Patients is the key reasons is the whole formula for your Watercolor Painting? Okay, let's add more of the darker values on the petals, which are not exactly full listening. It's not that you have to add a lot of layers, urine, there are a lot of lines and the second layer, you can go ahead with what you think is appropriate and what really suits your Painting. All I can guide you through the process of Layers. Every painting that you do in terms of different florals that you pick up will have a different approach. And most of the paintings that I myself to have a different approach. So all I can tell you over ureters, you can learn various techniques that is applied, as I always say, use it in your final paintings, which you have or which you will be doing in your future. I would love to enable each one of you with so much of techniques and get you prepared for your watercolor floral journey to an extent that none of you are lost. I have faced it when I was starting out, I really did not know how to start, where to start where to find the materials, how to work upon it. It was a slow and gradual process. It took me many years. Whereas I really want you guys to shorten up this time for each one of you, the style and the kind of paintings you do will differ. And we'll come to you only when you practice. As I always say, style is ever evolving. So what I paint today might change tomorrow, but the techniques will remain same. There is no different techniques that you can apply. Maybe those strokes will change a bit. Sometimes you go ahead and add smaller strokes, which only used to be bigger strokes. That's it. Or there might be a better way of how you structure your florals. Your drawing improves your searching, improves those other aspects which you will touch upon in future as you progress. Whereas how you paint or what techniques you use remains the same. So continuing with our journey of watercolors and specifically florals, I'm mixing a lot of darker values now and adding a few lines creating veins. This is with my smallest brush. Go ahead with size zero or size one brush to create the same. There is not much in this case that you need to understand. It's going with the flu and just loving what you do. If you fall in love with your own Painting. I'm pretty sure about it, you are going to nail it. Every painting that you do has something to see if you want, even committing any mistakes. Do not worry. This is a learning, an atheist going to help you in future. There have been so many paintings which I scrapped out all your, and I don't like it. There are many paintings to which I come back in layer two, layer three, and I love it then that's one of the reasons I always see that to your paintings in one or two different sessions, orals might get irritated with the fact that you are getting to work so much in so many of you are juggling between so many things and it's not easy having said everything to work upon and to just have a final outcome, etcetera so easily. And juggling between different book of offers, etc. you might not get a full session together. I'm starting with my phone and dread. And what I'm going to do is I can start blending it with some of the orange or permanent yellow deep which I have, and then pull it back inwards. So I am applying it the other way round where I'm adding the darker tones on the outer side and then blending it with just clear water towards the inside. I did tell you that we are going to use different techniques for painting different parts of the florals. And most of them to get used in full compositions. That's one of the reasons I'm always very excited to paint compositions rather than only single florals. You get to explore not only their techniques, but also understand more about how to paint different kinds of florals than different kinds of subjects. Each and every subject like your leaves stem negative Painting. All forget that you do come so handy in these cases. Moreover, we get to launch so much within are very specific period of time. All you, we did individually approach each and every Floral and we were getting to learn one or two techniques and every floral. Whereas now when you do full composition, all that learning is getting use to get the final outcome. Okay guys, Let's continue working on the middle part of the left side Floral and you can see it's almost complete. I feel so happy and elated right now. We have almost done it, and now we have to go to our second floral, which is only left. If you can frankly mean your first floral. I can tell you you are going to even in your second Florida. At this moment, I'm going ahead with my thinnest brush and trying to make some lines. If you have not off Colors on your brush, go ahead and pick it up on the tissue that you have on the right-hand side, and then try adding these lines. Okey, while I teach you how to add the colors to your florals? Yes, that is at the back of my mind. I continue watching this Painting altogether, how it looks. There are times where I feel that the negative Painting do not come together well. So I do add some colors and blend it with clear water or a blending brush, which is majorly damp and clean. You can do this as a process even in the next several of your paintings. See always step back, relax and see inner total basis how the Painting is putting up together when you are doing a composition individually, just working on a flower will not work in a composition. We have to work on other aspects of a composition to do. I do not deny that are full focus has to be most D on the composition which you are painting. That is the subject, which is florals. But yes, there are stems, there are other leaves. Then I'll, we need to also divert our attention to or great extent, continue with the process. And then we are going to go ahead with the next floral pretty soon. My approach for the second Floral is exactly same as what I had in my first floor. The second floral will also start with some yellow in the middle. And then you have to go ahead add some sepia or neutral tint, whatever you have blended with clean water on separate petals and then continue with the process on other petals to it is a simple process. I did tell you about this audio. We will continue working the exact way you absolve me over here. Not going with the antecedent petals are the whys the Colors move into each other, giving the time to each of the petals. I mean, in a way that they dry up. And then going ahead with the next one. Though, I will not see at this stage it really makes much of a difference. It's just the one that we are doing. But still having a conservative approach is good for Painting. You can watch that each and every petrol that I have chosen till now is alternate. Which means that I'm not going ahead and doing any kind of rush in terms of painting the petals. But now it's time. You can go ahead and start adding a bit of lighter value as this part of the petal of return on the left. And hence, I'm not going to touch the left side at all. Whereas my right side is almost dry. Going ahead with clean water and then blending it. As I've told you, blending on the people is something that I do very often in my whole compositions as well as wherever I'm going ahead and Painting florals. More than this, what I do learn in each and every Painting, which are do is to go ahead and just flow with what you have in your mind. Which means that enjoy the process, feel like you are a nine or 10-year-old person who just wants to play with your pencil eraser, people fan, but you have the knowledge of a much more mature person. Hence, when you approach your painting, you will be much more happier and much more scared to approach it in a good way. Continue with the process. And let's complete this part of the Florida. I did mask out my middle part, which is majorly my Poland send now going ahead and removing it with masking fluid eraser. Once I'm done with that, I will go ahead with some yellow and cover a bit of these Poland's, I think somewhat darker color is also needed to make it glow or to just show that it is separate. Let's see how we continue working on it. It's time for the darkest value which is majorly or put off my neutral tint and mixed with red that I had on the brush already. And then contouring these smaller Poland's. Of course, each and every part has caught a lot of importance and you have already done it in the Daffodil Painting. We are repeating those same process over here too. And then finishing this particular floral. Starting with layer two on my second Floral. It's so similar process what we have followed in our first Floral and then we will go ahead and add a few lines. Your Embed, That's it for our second floor will do which we are going to paint. I will go ahead and continue with the process on the adult part of this float or two, you'll see that when I paint, it's really slow. And quite a long process. Yes. We all long paint or slowly and that's absolutely fine. You can also take your time and continue with this Painting. Finish this off, and then let's move to the mental part where we are going to add another directional Colors for the Poland's as well as for the middle part of our Daffodil. I will go ahead and tell you another simple approach that I take for my painting now, since both of this ATO, which you have seen, can be done in two different ways. One, what I did tell you that is pulling the paints inward and another way is to go ahead, add your reds towards the top area as you did see. And then some yellow as you observe. Of course it's a very, very light yellow that you did see. Once that is done, we will go ahead with some orange and then finish it off with thread. That's another approach of working through the middle part of this Daffodil flower. Now, this is another way. I will not say there is any best way to walk around with it. You can use whatever works best for you. I would say that's the only way to go about it, are Poland's are completely mass. Hence, it is very easy for us to continue with any process that we want to the Colors and not going to go ahead and get into our Poland's Going ahead with the third layer, which is majorly the more detailed layer that we want to add into our each and every petal of the Daffodil. Now, in some of the Daffodils that you observe, I may even gone to Rabbet. You can also contour on the sides and continue with your Daffodil Painting. Now contouring really helps to add that kind of detail which we want. Now contouring is not done on a total basis. You, it's not a continuous line that you do. It's more broken. And hence whenever you are contouring, need showed that it doesn't look like a pen mark. It's more like some of the places that Stan few of the places it's not there. I don't have much to explain at this stage. Only one point that I want one to each one of you are a request that I want to make to each one of you if you are losing patients at this moment, believe me, it's one of the worst things that you are doing. You can get up, Just have some water, or take a break. You can get back to this Painting either tomorrow or day after or when Emily, you want to do not lose patients at this particular moment. Continue with your painting. You are going to meal this Painting completely. I continue with more of these contouring and contouring are basically your final details that you continue to add and just finish off by adding some gallows into your Poland's. Though some of you might even leave it white if you want to, but I would like to add a bit of yellow. And then again, cuando writ a bit with my neutral tint and then get the sheets and the colors that I've always wished I wanted. So that's it, guys. This was very, very interesting session. I must tell you I loved painting the whole composition. I hope you do also love painting the composition and to upload your class projects in the project gallery. I know it's quite a long class and many of you might not be in a position to paint TV. So I have the smaller paintings which you can try and work on daily. Whereas leave these larger paintings maybe for the weekends. In ways we have upload only every alternate day. Hence, it is easier for you to follow along. Okay, this looks complete to me. Let's go ahead and remove the tape at an angle and have a final look at our painting. 18. F Four O'Clock Colors: Let's have a look at all the colors which we need for completing the painting. The first is in yellow, the next term is called holes overall, you can either use greenish-yellow on frame, sap green, and the last darkness value of the green that I'm going to use this forest green. Let's all the colors which you see is basically on me, so forth. Let's move on to our painting now 19. F - Four O'Clock - Painting: So guys, it's time for letter F. Let's start with our sketching. Now, in this catching, what I've done is I have added a small masking tape in the middle. And then on top of that, I am using my compounds to draw circle. This particular painting is done a bit differently than all the other paintings. So in terms of the approach, what you can see is that a 04:00 flower usually has some of the parts which is in yellow and some of the parts which is in pink. I will tell you much more in detail as we progress. In the meantime, let's first mark out the areas where we have to draw the petals. Now, these lines that I will now make in-between those, you will find different petals. Rather than being the middle point of every petal. It is basically marking the area where each and every petal should be in-between. So it is a kind of contouring you can see altogether. And now you can start with your first petal. I'm forming a V shape and then going pretty random with my concentration of the petal that I'm adding slowly, steadily, you will see how I keep adding more and more lines and go towards the middle part. Once this is done, I will go ahead with my second petal. Again. It's simple, easy, just that you have to mark these areas. Well, the petal is, of course, smaller and bigger wide dislike that the flower opens on the top left corner. And you will find those teams and the pollens over there. From the middle it moves towards the top left corner, and hence, so my flower has bigger petals towards the top and smaller petals towards the bottom area. That's how we will go about the whole of the Painting. And simple, yet interesting, we are working only with two layers, in this case for the floral part. And some of the parts of yellow are not having even two layers. So that should be much more comforting for you. The sketching will take awhile and we have to mask out the area of the stamen as well as the pollen because that is more in the white which I want to keep. And then we are going ahead with the rest of the area in yellow and pink. We need to add a few leaves here and there as this 04:00 flower has some beautiful smaller leaves. And to add a green, really adds that amount of beauty to your painting. I'm also going ahead with that particular beauty I would say. And then extending it a bit towards the bottom area. Once this part is done, we will go head with a bit more sketching in terms of the Poland's, I will mastered area out as I did tell you. But individually, when you are drawing these Poland's and steam and makes sure that they are curvy. Curvy in a way that you are not going ahead and making a mistake while you are masking it out. So if you have curvy lines while you do the drawing, then becomes easier for you to mask it with the masking fluid. For whole of this reason, I always say that you're sketching is basically what you do in your final painting. Its like a framework. If you have a good sketching biocides, your final painting will be great. Now let's add more curves to our stamen and Bolan. You will see how I add these gov. I just make it more. Some of them will be smaller, some of them will be larger All originated from the middle part of the flower. You will see that this particular part from where they're originating, I would add a bit of darker value to make it more shader. And they will all look like they're originating from that part itself as that looks into the shadow a bit more than the other parts of the Floral. Having said that, let's go ahead and get ready with our painting. Super-excited and super thrilled to teach you this one. It is exciting as well as it is something new that we are going to learn together. I'm more excited when I share more and more knowledge with you guys that I did have to like with lot of difficulty, have to get it. But I love to share all that with you so that your particular journey can become much, much more easier than what I did face in my own journey. Yellow is a really warm shade and I'm starting out with my Indian yellow, which I have on the palette. You can go ahead with me a load that's existing with you. You'll frankly, do not need the yellow that I have. I would be leaving some white spaces as you also in those pieces, we wouldn't be working with the pink. You can go ahead with compost operon as you opaque or else you can also have scarlet lake, crimson lake, whatever is available with you. Go ahead with that as your pink. Keep adding these lines. Some of the places you have broader strokes and some of the places you have thinner strokes. One thing that I would tell you at this moment is use the brush that you are really comfortable with, which has a nice tip. And you can even use the tip of that brush pretty easily for completing this Painting. Continue working, working and working. I am excited to paint all these petals as it is first of all, real time. So you will not face any issue while you paint them. You can paint along with me. I'm going really slow. Some of the places I'm creating as white. You can also create these gaps where you paint along with me and continue with the process. Do I know that pink can go over the yellow, but sometimes what happens is if you have an underlying bright layer, it might become more orange way, which I don't want for this floral. That's one of the reasons it's good to always preserved the areas of the white that you have from the people. Preserving the area of the white. First of all, not only helps to add that pink, but also gives the brightness which you need for the floral area. One thing that you have to always a green Watercolors is the module preserve the white which is originally there of the people. The better is your outcome of the final Floral. Having said that, you do have a lot of paintings where we have one layer and then going over in more Layers, those will remain. But every floral is different, as I always say, and every floral has a different approach of painting. Once you have painted so many florals, what happens is we get will understand what exactly and how exactly we should approach any florals. So that we'd becomes way more easier as we progress in our Watercolors. So many of you have been telling me that you're enjoying this class and you are actually learning a lot through this. I am super excited and accelerate it to be frank, knowing these points from you that you are happy and so sweet in terms of learning from me. So let's, let's continue on and journey more and more. When you add these lines, don't go very dark. That's one thing. I would tell you. Some of the areas needs to be bit lighter and some of the areas can be darker. What happens is we can always come back on top of one layer with another layer in case we want to make it darker. Hence leaving it a bit lighter is always a great idea. So continue with the pain day. I meet you when we have to add our paints. Okay. Let's start with the things I usually don't like to add any bleeds. There are draw for some reason I think called displacer still wet though I will not like it to spread a lot. So let it be, let's try to use a very small brush to add the pink. I'm using compost operand is a beautiful shade of from the brand Magellan Mission Gold. If you ever happen to purchase any of the pinks, I think this is one of the things you should always look forward to. Okay, let's continue adding the pink more and more in all the places wherever it is needed. I guess I'm just filling up the whitespaces along with the domain. Sure that you are not actually spreading it on the entire space. We have already added the yellow and we do not want to cover the yellow. The whole of Painting is really low. You can see an, I really wanted to enjoy this process altogether. You will see that I have taken each and every step in or very slow manner. You will not find me rushing through any of the steps in this painting. That's one thing which I did think. Then this particular painting was I want to enjoy it. That's what I want to do. I want to enjoy it like a kid. I want to feel like or Tank world, 14-year-old kid who just wants to enjoy painting, coloring, or maybe even smaller, just wants to paint. That's it. And I have skills which are often offer grown-up adults so I can actually paint. Well. I kept enjoying the process and this is one of my favorite flowers till date. As I did not go with any mindset, what I need to paint, how I need to paint. It just came with the flow. I initially thought that I would be preserving the spaces of the white and I presorted and I'm just filling those spaces up and it just came out so well, there are days you don't need to do much. It's simple, easy and you just go with where you want to paint that. All. Putting your brush and paper together is all you need. Okay, great. Let's continue. Now, I think I have given you a lot of a pep talk for your painting, as this is very, very easy one and anyone of you will name it, believe me, it might look like it's so 28 min or 29 min session. But simple, interesting, and he are on there. You need to add colors to make it look more organic, nice and just like the 04:00 flower, which you see. One thing that I might mention at this point in time, some of these bases have more of pink and some of these pieces have more of yellow. There is a beautiful balance between this yellow and pink. It's not that you are going to cover all the areas but paint, nor it is that you are going to cover all the age girls with the yellow. How I usually figure out this balances all the bigger petals that we have. I have added more of my yellow because that is going to make our painting look more brighter adore the pink is equally I would say bright and nice, but the yellow just makes the painting look so appealing as well as it is serine. Handsome. That's how I look at it. Okay. Going with another lever and making it a bit more darker in few of the areas for the pink, It's good. You can always go with a lighter value in the first Whoo, As I see, and in the second one, you can darken it up. I have told you my approach. You can follow this and I'm pretty sure about it that you will get good results that I have left more areas of pink in those smaller petals, which is in the bottom. And more AVR, soft yellow in that top petals. In this piece from the same TO where all these Poland send statements our origin at. I want that space to look a bit in the shadow. Otherwise, it will not look like that. It is originating from that particular space and the whole painting will look more flat. Okay, contouring is important. We will continue with contouring to as well as add one or two darker drops, urine of the pink, you can always see me adding the pink urine then drops. And in contouring areas, I love to contour with a bit more darker value of pink. You can even add a bit of green in it. I know that it might sound not exactly how we want to do it. See the pink and green I have mixed and now I'm adding it to Biola. We go towards the bottom part. I usually use the pink with the green for many of my other floral paintings, which I'm going to show you as we progress. I know this is a pretty enormous and pretty long class, some dough. If you are there and if you continue painting, I can tell you this everyday practices going to mean so much more FUN and it is going to take so much less energy from you. I would like to keep the green more subtle, which means that I will go ahead with my olive green mostly. You can also go ahead with sap green, whatever suits. So for this painting, the changing of values remains constant. Few of the areas would be Daffodil values and few of the ideas would be lighter in values. Even if I need to create a darker value of green, you will see me mixing it with a bit of pink that we have on the palette and then adding it on some of the parts of the greens that we have. It's basically the opening of the Barto. From there though, flower is now a whole blue and we have that bottom part still there. So we are trying to add a bit more darker value I've taken also are darker green. And I'm going ahead with it to come to a few areas. Let's also add some lines to Sure the veins which are there for this leaf, value paint, make sure that everything looks absolutely organic, nice, pretty whatever you want to show through your Painting at that complete heart and love into your Painting. Believe me, if you enjoy, if you pour your love into our painting, its going to be excellent. It's always been, I have always seen that happening with me. I find the Painting coming out so well once we just go with the floor, enjoy the process. So yes, enjoying the process becomes most important. I've been operating this again and again and at by this time you guys might be irritated with me to know that I have been mentioning it so many times. Why am I even mentioning it? Because it's the key to any painting that you do. If you are enjoying something, you are bound to actually love doing that forever and you are going to get success and it. Whereas if you're really not enjoying something, then I don't know. I mean, you might work for it for awhile, but then it's not going to bring a lot of happiness for yourself. And that's what I don't want. Always, always treat your Art as your happy place. And if you treat your Art as your happy place, it's going to give you so much back into your life. It's mixed lives, so much stress-free you fields so much of energy. Well, every day you work. This has been my pigs on Watercolors, how it has worked from, and how lovely it is to come back to a new painting everyday. There are days where I do quick only paint. And yes, yesterday was one of those days where I was experimenting with one of watercolor techniques and it just zooming so much into what that I forgot any other painting. So I was just experimenting with something new and loved how each and every Painting donor. Okay. Continue with the rest of the parts that you have to do. And then we are going to finally see how whole of the painting has come together. I'm to go ahead with the second layer. Are we going to add the second learning can every place I would say no, that's not how we are going to add in this particular Floral. Most of the parts is done within the first year, only in a few areas where we needed. We have only added the second layer as our Floral is bright enough. And over here, I'm going ahead with the second layer to show the bottom part as well as so of the Florida, which is very, very important for the opening as well as it really defines how the Floral is showing up. That That's why every part becomes so important in our floral painting. If you are defining something, define it in a way that it can be seen by even your spectators. We're absorbing your Painting. Okay, going ahead with some of the darker shadows that I did tell you originally, and then adding that color over here to show the parts and then contouring it a bit more would be very helpful. You did this part of contouring all your also and we're not going to touch each and every part. We are going to just use some are far Dakpo, value off paint. You can use a bit of green to get this color and shade that you absorbed. That is, I've added a bit of darker green into it and got a sheet that looks something like this. Okay. Headed for the contouring and then just go ahead, have a look at your final painting. But do not forget to remove the masking fluid which you have added. None of these paintings are done with masking, tape, etcetera. So much, much less hassle. You can go ahead, go out and then paint if you want. You can sit in your studio and paint whatever is suitable for any one of you, you can do that. I'm adding a very light value of yellow, very, very light value of yellow in the white that we have, you can see that it's almost negligible. There is hardly any color and that's what I see. Value, value has a lot of role to play in your painting and you guys should be always playing with the values of ink color. You can change the values and gets so much more in a Watercolor Painting. Finally, I didn't make a small swatch got off the colors which I have used for the painting along with it, I have written the me off to Florida. That's finish it off 20. G Gumemela Colors: Let's have a look at all the colors which we need for completing the Painting. It is Indian yellow than there is Sennelier orange, orange, orange that's available with you. I'm going ahead with the pink. Any pink of your choice, sap green, as well as I'm keeping, or brown for myself, it can be burnt sienna or any other red brown 21. G - Gumamela Painting: We're starting out with very pretty and nice painting. Do you know the name of this floral? Okay, So the letter is G and we are starting with Gumamela flower. It is also known as hibiscus. Now, every flower has multiple names and hence per going to paint the hibiscus this time, the sheep and the size of the Floral as in a way that it is shaping to the right top inside corner. You're going to paint all kinds of florals and shaping in different directions. So be ready for fantastic and yet challenging for Watercolor journey. Where not only we are going to learn a lot, but also going to experiment a lot. Experimentation is something that I always say is very, very important. Your style, the way you paint, etcetera, everything is pretty much decided by how you continue to work with your watercolors. Now, many of us have a definite style menu of us move between many styles. So it all depends how you want to shape up for me. I work wet on wet, wet on dry. There has been many ways. I have more than myself in terms of the style of painting, how I want to work around with it. If it's Illustration, I like to have more of wet on dry method. Whereas if it's not Illustration, it's a landscape. I would go ahead with wet on wet composition, more floral. I use a mix. Usually when there is full negative Painting that we are doing a lot with the florals in it. I think that I use a mix or my wet on wet, wet on dry native Painting, as I've told you. As we progress, you will see all these techniques finding its way in your Painting. And you are the only person who would be deciding on how to actually work it out. Continuing with our floral part of sketching, I think now you guys are pretty well-versed with how you should sketch. Now, this is something that of course takes a while and that's one of the reasons once you are done with all these 26 days and for compositions of your own, you will be in a position to get most of the sketching, at least for the florals, absolutely correct. That's what I feel very strongly for each one of you. We have covered almost florals in every direction, as well as I think I would even show you how to simplify or Floral. I always see my florals and a specific way, whether it be a half circle, a full circle, square, triangle, etcetera. So I basically he walked around a shape and then give it all Fine look, conditioning with our simple way of adding the lease. Let's go ahead and add two leaves on two sides of this bottom area. And then going ahead with the stem, It's again a single floral, so it's not going to take you more than 25 to 30 min. And absolute easy one hand, it's real time so you can follow along with me, paint along with me, let me know how it is going. If you have any doubts to post it in the discussion section, I would be more than happy to address each one of them. Let's continue with our sketching and then I will get back to you once we start with the Painting. Let's add the masking fluid in the middle part, which is majorly your Poland, as well as your stamen. Once you have added that in the middle part, I would go ahead and let it dry completely. If you are not letting it dry completely, what would happen is that you might spoil your brush and we don't want that all these masking fluid to stick to your brush and I don't want that for any one of whom continue with this masking fluid journey. And then let's start with our final painting. I will go with a mix of the yellow that is majorly your Indian yellow and semi-lunar orange or any of the other orange that's available on your palette. It can be cadmium, orange can be gambled to oranges, can be in kind of orange that's available. So it's kind of a mix of both of them. We are going to do a flat wash, musty In place I'm going to alter the values. It would be between this yellow and orange that I'm going to order. Okay. I guess this is too light. We might have to go with a bit more darker value. Once it dries, you would exactly see the color. Right now. It is just a mix of this yellow and orange which you absorb. But once it dries, it would be evenly distributed. Most of the pigments get evenly distributed and get to understand that actual shape. It might look more bright at this moment because it's wet on dry. But once it dries up, it would be at least one shade lighter than what you've figured out right now. Oh, gay, I guess. I'm pretty happy with how it is working out. Continue working with it. And then once we have to start with our next part, that is the leaves, the stem, as well as the next layer. We will be going simple and easy. Having said that, we are going to work in Layers, in this case, I'm absolutely in Layers. There will be at least three layers, so be ready. You have to let each of these layer dry off. And then only you can go ahead with the next layer. Be ready for this challenge. Now, as I know, last painting was very easy. It was almost in one to two layers that we've finished it off. But this painting demands something with different than what we did already. I'm going to make and heart now, this park is going to help you in terms of the guidance that this particular area from the middle part of the Floral is arising needs to be darker. And I'm going to then blend it with my blending brush or wash this particular brush with some water and then go ahead with lighter values as you know. Okay, my paper is completely dry, which means that whenever I'm going ahead, I'm trying to pull the paints from the middle till the outer area. This is one of the ways which you have learned from the first, second, third painting. I'm meaning we have already done, you have already done it in many of the paintings and we're going to repeat the same process in this case. To you can go ahead with our permanent red florals. Even quinacridone coral can be hungry Colors at this moment. You can otherwise use some of the darker pink values, maybe crimson or maybe scarlet lake. These are the other sheets which can be used. Alternatively, if you mix some amount of orange into it or some amount of yellow into it, you will get a sheet that is closer to the one which you observe on my paper right now. Heading a bit of a darker value. Now, this taco value can be any value of your choice. I immediately use some of my papa to add over here. It helps me to create the depth which I need for the floral from the middle. Your steam in Poland and all these petals are originating because of which displacements to be way more darker than the outer areas. So that's how I look at this particular Painting. And going ahead with the similar approach for all the petals. While I walk on the bottom two petals, I don't want to pull the paints from the middle and take it towards the outside AVL orals. The whole part of depth that we want to add to the middle part will form, might get a bit difficult or you might feel difficult to achieve that. And that's one of the reasons I'm just keeping that in tact and going from the sites towards the middle part and making even the middle Part bit more darker, slowly and steadily. The colors will not move much into each other because the middle part is almost dried out from where we wanted to show that the pollen and semen has arisen. So it's majorly giving the look that this is the particular part which has these petals also Going into it. So yeah, Having said that, we need to go ahead and paint it in a way that it shows that there are five to six petals arising has well as those stamen Poland's everything in ising from that particular area. Okay, going with my yellow and then mixing it with some of those sap green. You can also use all lean and sap green. They both compliment each other to a great extent and had a bit of brown to make it more and more darker and give it more often. I'm using two to three shades while I'm painting my leaves. This is some amount of my yellow. I would prefer you guys if you can use oral lean and then go ahead with some of your sap green along with it. You can, of course. So use some brown to give the, are the look orals go ahead with a darker value of green to have a look at it. Do change the values that you have tau changing the values will give you a lot of depth in the original goal itself. And you might have to work with lesser than what you usually work. That's how I always look into what and keep blending the colors on the paper. You will know that blending the colors on the paper is a very important technique. And many of you maybe new to this technique. So I would request you all to go ahead with the other paintings that we have done and then come back to this paintings so that you exactly know what do I mean, my blending on people, Though, I can tell you a bit in short, we are going to blend two to three colors on a smaller surface. Whereas when you blend on the palate, it is two to three colors. They get to same shade here, we don't get the same shade. All key going with the lightest value of green. You can either mix it with a bit of yellow to get or green like this, or else go ahead with the sap green, whatever is available with you, then add a bit of brown. Again, this gives an OD look and I'm pretty happy with how it is turning up. Okay, continue with some more of our floral parts. Before we does the floral part, let's fix the bit of green that we had. I would start with the middle part of the Floral again and add more depth to this part as it has become lighter than what I did originally add in my painting. Let's use those same dark shade of red or the darker value all think whatever you are using and extended from the middle towards the outer areas. We went with a lighter value in our second layer, we're going with a darker value in our third layer and add a bit of contouring. That's how we go about this. I'm going to keep it simple over in this space just that you might have to wash your brush a bit. And then again at some more lighter values, orbitals, the whole Painting will become really dark and we don't want any dark at painting or colors that are a lot of vibrancy and via painting at this stage, because our whole paintings be subtle and nice, though it is warm, but it is not in any way dark enough to show that it is some darker flower that we have. We have more brighter and beautiful, warm and a very cute looking flower with us. So let's continue with that. And even contour are few areas. Wherever it is necessary. It will come together. Once you complete all these five florals at this moment, you might not be in a position to look into it absolutely in the correct way. So you might have to wait a bit before you get the exact picture of it. So do not, do not give up at this stage. As I always say, there is a tendency by each one of us to give up. And those stages usually when you have some of the things not going as per how you want or you are not exactly getting the picture of the painting, we just plan to give up. I don't want you guys to give up because this is where you are going to name the painting. You will have done already a lot of work and there is only less amount of work. The sun's left. Some of the lines here and there, even the leaves just need some lines and veins, which we'll define them well. And that's all Why do you see me moving my people who had never, ever think not to do that because people we are taking so that we can move on. If it would have been a sketchbook, it would have been lot more TOFEL and hence using of people becomes way more simple. In this case, you should go ahead and use a paper to get a good final outcome. Use a lot of water at this stage, even if you are going ahead with a darker value, it's good to alter the values and then go ahead with lines. We have preserved the first three or two or great extent. And hence, whenever you are going ahead within layer, you will understand that the first layer is seen in a way that you don't need to worry and you can continue working with the darker layers along with it. You can perfectly see now the Floral. It is actually opening towards the right top and side. The darker values from the middle have added the depth that was needed for it to look more like that. And we are now just finishing off the last of our petal, which again will give the same look and feel to your Painting. Okay. I guess I am pretty happy with how it has turned out. Only these lines are important and they are really important to give the direction of the petal. Now, if you can get the direction, well, what happens in that cases, you will get the final outcome also in a good way. Always, always important to add the direction to any kind of painting that you want to do. Whether it be your floral or whether it be some kind of landscape, etcetera. Every, every thing has a direction like your modern suburbs. Particular direction, your grasses our direction. Your tree has a direction, your shadows have a direction, everything has a direction. It just depends on New how you want to paint it. If you want to paint it in a wet on wet method. There are different ways of approach. If you want to paint wet on dry, then that is again different approach. If you have both of them in mind, then again, you have a different kind of approach. It's just the approach with matters. It's just the usage of the technique which matters. So knowing the technique is not the most important thing exactly. Using it wherever it is necessary is the most important part. That's one of the reasons I have been emphasizing a lot upon the practice spot. Do practice guys. If you practice, you'll get to know exactly how you should paint anything, whether it be floral landscape whatsoever, be your most likable subject. You can go ahead and paint that. I have added veins to my needs as well as I'm adding a bit more depth to toe, middle part of those stem and I think I've added more depth than Required anyways. Just pick up the color oral, so just cut it evenly on all of the stem. I think I just choose to add it evenly on all of the stem, that's it. And then dropping one or two darker values of this red on the top side. You can see it properly and continue to work with it. Fine. My guess, this is it. Let it work as we want. And I have added all the colors. I've gone ahead with yellow, orange, red, orals. You can even go ahead with dark pink like crimson, etcetera, Pero and some amount of your green. The green is majorly your sap green or any other darker value of green? I did remove some of my masking fluid, which I did add to my painting. Now, going over my Poland areas, some of them would be darker and some of them would be lighter. This is just a darker dots that I want to add. And I've added one dark line to show the middle part of the flower number to obey. Adding a few lines, smaller, longer, taller, whatever you want to add, you can go ahead and they would be smaller modelling thing as the Poland's up close to each other and we are adding it the way you would have always loved to do it. All came the top area, there are a few bigger ones and view because circles, which I'm going to add, it's already in white. I'm just going ahead and adding it. Some of the areas is more darker as I do and some of them I would add a bit lighter. I guess now it's time to have a final look at the Painting, super happy and do post your paintings in the project gallery. 22. H Hypericum Colors: Let us discuss all the colors which we will need for completing know Painting. I have first made these small boxes where I'd like to write and take a note of all the colors which we have used. Starting with my permanent yellow deep then as mine greenish-yellow. The third would be my olive green, and the fourth would be my red brown. Now, this is more often limited palette exercise start you are doing. You can also go ahead with the sum of your job, greenish-yellow and mixing it with some of your brown to get the final color and even have three colors for the whole of the painting. Let's move on to the next lesson where we are going to learn everything about painting this beautiful floral 23. H - Hypericum - Painting : Okay guys, So today it's time to paint our Hypericum. It's wonderful, beautiful flowers. And I must say that I'm dividing my line into two equal halves. One would be the drop-off and another would be the bottom half. That's how I start my sketching. And I do always see that though, size of these lines as similar with the help of my pencil, if they are similar, I would go ahead with my side angle line and on the left-hand side, there would be one, and on the right-hand side there would be another. Finally, once I'm done with those lines, I would go ahead and start with the bottom part. The bottom part is majorly, are huge battle as you always see, which is facing downwards. It is not really huge in terms of the size of the petal part. The breadth of the petal is bigger, or it is greater compared to the one that we will have on the top left side and on the right side. I need to add more curves and may need to make it more random in its approach. As I always say, that randomness is what prevails in a Watercolor Painting or any watercolor, floral nature, etc. you need to also added to your Painting before you add it to any other place. If you start adding it to your Painting, what happens is you train your mind to think in those lines. The more you paint, the more you train yourself to understand that. Okay, we have florals which are random in nature. They can not have similar kind of petals. They can not have the similar bread length, etcetera. They need to vary in size, the shape, and even how you see it. Like, some of them would be just top up, whereas some of them would be towards the left hand corner, towards the right hand corner, how the flower opens is an absolute amusement that I always think we guys should be looking forward to and adding it in all the ways possible. Okay, but it's draining right now in Kolkata and I am enjoying it to the oldest every now and then it drains and I can tell you how beautiful the whole city looks. Everything looks more green. I stay on 31st floor, so yeah, I do a great extent. I can see quite a part of the city. Having said that, let's get back to the Painting. Okay. Going with the flow, I'm adding a small part to the right-hand side. I've already added a huge petal, I'm going to which the bottom right-hand corner and adding the smaller half petal as the petal is on the backside and you cannot see the full petal. The petal in the front is actually taking the whole of the space. Again, on the left-hand side, we would do the same. The petals are, in a way shown that they are twisted. Anton, you will see how we also paint that we would be painting a bit of the part, but the lighter value and few of the parts, but the darker value. It's simple, easy, interesting. And I would say this was one of my favorite flowers after I painted it. I, it was something different than what I used in terms of Colors, etc. to date, I have used red brown as a brown color in this. And it came out so amazing. There was no other color rather than the red brown and the yellow which we use for the entire paintings. So let's continue with our painting and then finish it off. The sketching is pretty simple. We will go ahead with two leaves towards the bottom, add one stem, and on the top there would be some of the poland stems, etcetera, which usually you will find in every Floral. And if you watch hyper CMU can actually understand it in a better way. Always, always, whenever I'm saying name of a particular flower, I would request you all to go back and check on the pictures because that way, you can also paint from the photos that you see rather than only Painting from my own reference that I'm giving you and we're Painting together. All the knowledge that you have from New York can be taken and can be used in the other photos which you absorb and which you want to paint. Finally, let's continue working on our sketch part and then we are going to move on to the Painting If you see my color palette, I have a very simplified color palette over here. I'm going ahead with yellow. This is Indian yellow, or you can see permanent yellow light. This is not exactly the lemon yellow or Dorling which many of you might be using. So just look out for the scholar. If you have, in case you don't have, then whatever color is best available with you, you can go ahead with it. I'm going with an absolute flat wash for my fullest. You are in my full Stewart. I am going with simply this light value of yellow color and adding it on all the petals, as well as the AVS where I have the bug or as well as the green, it doesn't matter. It's an underlying color. You can always paint over it with the green. I'm starting with by green. The green is basically my light green. And you can use main green or some yellow green, whatever is available with you. You can also go ahead with Arlene and mix it with sap green to get a color which looks similar. As well as I would say, it's important to blend your colors on paper. So I'm mixing again my sap green with the yellow green which I have on the people. I would do the same process for those second leaf of mine. Hence, I guess both of them will look pretty organic and it would be more like that they are from the same plant. Okay. I guess that's it to what we need to do in our leaf plot, we have to go ahead and paint stem as well as some of the green of parts of the bud. But before we do that, makes sure that your paper is completely dry. Continue with this process, continue with the blending process. Do shift out to a smaller brush if you are using your red brown. I've gone ahead with red-brown. Red bound is one of the beautiful colors from the brand Magellan Mission Gold. But you may get this brown and many other brands to. You can go ahead with bonds sienna. It's not important to go ahead with the same color that I'm showing, but mixing it a bit width red brown of course, can give very nice brownish and are the kind of tones which you might miss if you weren't mixing the orange or the pinks, which is available with you. Continue with these second layer strokes. The middle stroke is the biggest and the other ones are smallest. One or two lines here and then, and then I leave it. I'm going to continue with the same process on the right-hand side, as well as just adding some of the darker values in few of the areas, whereas few of the areas are in the lightest value, which was my layer one. Okay? Initially, I just think and decide where I want to add it and then I add my colors. It's important to always think before you go ahead and start adding your Colors orals. At the end, you might find yourself in a difficult spot where you might not know exactly where and how you have to add the Colors. Continue with the process of addition of these Colors. And then we are going ahead with our darkest value. That is mixing it more with the red brown when it is the third layer I'm going ahead with the lightest value of green for the middle part of the Floral, as you can see. And then covering most of the area except a bit which is in yellow on the right side of the middle part. Adding some of my darkest value of green for my leaf area. This is important for both the leaves. It's important to add this taco value. As I always say, we love to add more layers to our painting. And layering is always a great idea to add more depth to your painting, as it is way more forgiving than working in one single layer. One single layer is not that great. It is, it is less forgiving. That's the only thing I can see. Continue with the green Part, continue working with the green part. And we will go ahead and add the stem. Once we have added the stem and some of the green area, I would go ahead and add the smallest detail for this bird area and have a closer look at it. Going ahead with my red brown color now, you can see I'm mixed more of the red brown and adding it on these simple and easy petals. Go ahead. The word blended. Add just a water somewhere, and add more of these Colors somewhere. Do contouring is a good idea in this case. And it's always great to go ahead and work on the layering Part four, even though areas, so which is like the other side of the petal, you can see two sides of the petal. One side is basically the inside and even the outside is also seen towards small extent, leaving one or two dots while you add these lines. So that's how I always go about it. This is a simple process which you need to continue even for you are the petals. If you add your third layer everywhere on your Floral, what will happen is it might not look great, and the whole painting might not look appealing to the eyes of the spectator. Hence, I always like to D few of the parts from my layer one layer to be seen compared to the layer three. Layer three is of course always seen, but yeah, to a lesser extent compared to what we usually scene layer one and let every layer has a lot of importance. So you have to keep that particular from important, or that you have to give that importance to the Layers. And hence, you should not cover every layer completely. But seeing all this is only true when you weren't doing like a layer wise Painting. If you weren't doing a wet on wet layer wise Painting, then also the whole process changes to work great extent this is a wet on dry layer wise Painting. That's why the whole process looks like this part. If you would have gone ahead with a wet on wet, it would have been quite a different one. I have other classes where we have done wet on wet to go ahead and check out the other classes on florals where we work completely wet on wet throughout the whole of the Painting. I even auto my values. And the third layer, you will see few of the places are darker and values and then I apply some water to make it a bit lighter. Altering value is a common phenomenon that I have done ten now in many of my paintings. And if you have pink, following all the other days where we did paint Anemone and odd or various florals, you will realize that altering the values actually gives a lot more depth to your Painting. Depth is something that I always want and any kind of total Painting. And this particular Painting is way more forgiving when you walk in mirrors as have I iterated even earlier about it. But having said that, I know we tend to forget a lot of things, but this is one thing that I want to always keep you updated on. If you are working in Layers, what happens is if you even go wrong somewhere in your layer one, only two, you can, again get back to Leo three to get a better outcome. With that. Keeping in mind, always known that you Layers need to be really light to get back to your Painting orals, it is difficult to get back to Lear, which has like all very, very dark blade one or very, very dark led to. Then layer three automatically will have to be darker and darker, which will make dope Painting look not so great compared to what you would get if you are adding lighter values. Cool. I guess. This isn't what I wanted to say. Let's continue without contouring and then we will get back to the other parts of the Painting. Adding a few wings to my leaves, I go really slow and just start adding one or two lines. Urine, there are even break it at few moments. My stem, I'm going ahead with one more darker layer and I'm adding it on the whole of the stem. Why? Because there's a very, very small part. If I try creating depth of you, it might not look as great as having just a flat layer over here. Okay, Let's continue, I guess vivo. Go ahead and make some of our stamens and woolens. I'm going with the same color and I'm making some lines. There are curvy lines, sterile, long line, short lines. We will have a lot of lines for this on the left as well as on the right. You do see that I did twist my paper and now it is lying In our horizontal MyNode rather than the word go manner which we have been using. Along with it. I will also draw these same lines on the left side as I did tell you all you continue with it, continue drawing these lines. And then we will add to Poland's the process of creating the whole of the painting has been really simple, just that you have to follow a few steps to get to all final painting. I'm going ahead with smaller dots urine there. And once I have added my smaller dots, I will go ahead with some of my yellow dots. Again. Few of the dots are smaller because they are a bit more at a distance or they are not seeing much compared to the ones which are bigger. And they are seen better. So yeah, They are brighter and nicer. So that way I just combine all my Poland's and that's how it even appears in nature, right. So we have to keep that in mind. I have been nitrate again, I know have been nitrate and again and again and again. Let's paint nature. Let's read me to your nature has something that I love each one of you to explore and I would like to teach it in a way that you are painting something which looks absolutely natural. Okay? I guess this looks just the way I wanted it and I am super happy with how it has turned out Somewhat contouring in a few places. And then we will put down the Colors which we have used. This is kind of a limited palette that we have gone ahead with. If you see, we have just used for different colors. That is yellow, red, brown, green, and some amount of your olive green. That's it for the whole of the Painting. And I'm super happy because every time I use a limited palette, it gives me so much more possibilities in my mind. If you haven't taken the class, which is about limited palette, I would request you guys to go ahead and go back to one of my older classes. I released it. For this particular class, which works just with limited palette. There are many paintings which are done in the monochrome me and there are many paintings which are done in limited palette exercise ways. So go ahead and check them out. I'm pretty sure about it. You would fall in love with each one of them. Continuing with my Painting more, I'm contouring as I did tell you, let's work with it. I'm not going to bring on all the parts, as I have told you, even audio, I will break a few parts and I will only update on a few Ivan not contoured an each and every side, whichever is needed or whichever just seems like we should do. I love to add these colors at the bottom. It is my yellow than my green, olive green, and red brown. I love to do this, but we'll make sure that the colors are dry enough before you touch your paper anymore. I'm going ahead with our darker value of this brown. You can either mix a bit of green your brown to get this kind of work done because we have already used the red brown that really came out well, but I guess one more layer will not be a bad idea. Okay, continuing with the stem of the body real and finally, let it dry completely and have Fine look at the Painting. See you in the next session. 24. I Iceland Poppy Colors: The Paulos which we need for completing this Painting. It is in yellow, vermilion potters, pink, crimson, rose madam, ultramarine, yellow, green, and sap green. The stem, there are lots of colors that are going to use for this particular Iceland Poppy. Let's go ahead and paint now 25. I Iceland Poppy Painting: Let us just mark a so-called. Then we are going to start with our Poppy Painting. It is the Iceland Poppy, which is pink in color. You might have done read before this and one of my earlier classes, but let's do paint this time. Let's start with our joint process and the Drawing processes, of course, pretty simple. I'm going to go ahead and mark my floral parts somewhere here. So I would go ahead and just me oval shape and then take this cup like this. Okay, that's the place where I will be making the middle of the flower. Let's now move ahead and work on the other parts of this floral. Okay. I am going ahead and making these kind of lines for the outer part of the bigger petal that is on the top. Let's continue making it and move somewhere here. I will have another petal that is going to come up like this. Okay, so let's talk a bit more again. And we are going ahead with cough petal over your sketch, the outlines, the heel and make it look a bit more flatter. That's it. We will move somewhere here in between. Don't make very dark lines to dark lines will stay. Has watercolor is a very transparent medium. Go ahead and make one line. This particular way. This is one of the petals which is there. And I will let it move like this. Going ahead hand making some of my lines with your directly inward. Okay, along with it, you will need to show that the that is something like this, right when the tab opens, you can see the backside of it also. And that's what we have to even show in our painting today. So we are going to actually mark some lines here like this. Let's go ahead and add some lines here to I guess that is it. What I'm going to mock. Once this. Let's go ahead with nodal petal. Now, poppies have very few petals on it and it's pretty random. That's one of the reasons I'm not going ahead and showing you exactly how to place your petals and in which place you need to go ahead and place your petals. Just mark of Plato fit. We will just make it more random. The outer part. This looks pretty good. Me. And we are going ahead with our last petal from here. Let's start with our final petal. And we're going to paint it here. Guys. This is how it's going to can. Let's go ahead and mark our line. That is basically the stomach my Poppy make. But by the side, now, where exactly how I would like to make my pod is something that you need to decide. I love to place it downwards. I do not want to go and touch any of the parts on the top. So let's just go ahead and make it someday he'll get a bit more closer. Like this. Just extend it a bit. Take it from here. To time to make the part of the Poppy. I would go ahead and just make it this way. Good, right? Nothing, no issues as such. We have a nice Poppy that is Cubiculum for us to paint. Now, let's just remove these lines to have a better look at our painting. This is something that always, always to Four pull my paintings. I don't like to keep the outer lines at all. Fine. I guess this is good. You guys have already done Poppy earlier in one of my classes with IMB chains seven days or florals. And they are done in seven different styles though this is a bit different than what we have done, but here there would be a lot of layering that I'm going to do. So it is again different than what we have done earlier. Landing is also known as glazing. And hence you will get to understand a lot more about glazing as we progress. Okay, great. Let's take our Colors. Start with our first, their first wash your brush thoroughly, and then just see that there are no Colors on the brush. Exactly the way I'm doing. I have taken some potters, pink and I'm taking some Chinese white. The best fireball Chinese white is not at all opaque, hence, it is easy to walk around with. I would be working with another color, which is rose madder and mixing it like this, getting nice shade and blend form I, Iceland Poppy. Okay, great. Let's go ahead and start with our painting now. It's very easy Painting. If you just start with that thought, you would be very happy to work upon it. Okay. I'm going ahead and just Painting all the parts are in the meantime, I forgot to do one thing. Let's just make some borderlands in any zone. You can either Mass them down or else keep it as such. Exactly how you are having a look at it. That's cool kid to do it. Well, I do that. This part might dry off. I have to take care of putting things together. These kinds of things to happen in Painting am absolutely cool. To walk around with Tom multiple things together. As it is an open florals. So someday he'll, and also you will get it. Okay, guys, I guess this is great. Let's move and work on our petal now. We don't want it to dry off completely. And potters pink is bad granulating in nature. So I'm mixing of my rows model to get a color like this one, which you observe on my paper. And pushing it towards the bottom has always. That's okay. Even if you go, Who were these? Because we will be painting them in yellow. And what I really want at this moment is more coef, think are the darker pink on the sides. And like a pink will come later on in the middle part. And mixing all the parts and adding more of the Colors now on all the petals, if you cannot solve, the first layer has to be very, very light. I have been saying this very often in all my painting sessions that we have ductile now, which is major theme month at all. Ab and C, though many of you might find it difficult at this moment to apply the lightest value exactly the way you absolve me adding it on the paper. But believe me, litem, the better it is, right? So go ahead and make it more and more light as much as you can. Just bring it towards the bottom of the Painting. All good, mixing some more of our potters pink and some more of my rows matter and adding it on the sides. When see how this Painting tones up has to be progress Let this dry off and then we will come back with our next layer. Let's go ahead and start out with one next layer. It's a very simple and easy process which I'm going to follow in this particular flower. We are going to make more of to spank at this layer. And maybe a bit of orange to our vomiting on whatever is available with you. It's good to go. You do not need to actually have the same colors that I show you. Let's just read so better. Yeah, This looks perfect. And I'm going to add it here. I think I'll just switch my brush tool bit smaller one. This case though, size four brush from the brand C and going with more photos pink and just blend it a bit. Just remove any marks. Then again, blending it a bit. So let's continue to blend it. Okay, I guess I'm good. And will it over here. And then just leave it at distinct K. Let's go ahead and again, try this out. Let's move on to our oh, area. From here, we started from the bottom, but over here I would be starting at more from the top. And then what's the bottom? This just blend it. I guess this looks fine. You have to continue doing this over in this part. Again of the toe familiar on into the color of better-off potters pink. Again, I'm pulling the paints. If you've also, well, I am going ahead and pulling my paints from the top and bottom part. Cough, my floral bouquet, not covering everything that we did in our layer one and just adding some darker values towards the top. I guess I'm going to switch my brush tool of Flowers open. 11 more, thinner. One. Let's just try it again. Into this mix. We are going to pull it off. What these are very easy to paint, just that you need to keep all of this little, little important aspects in your mind when you do it. I'm going ahead and adding some watercolor brush. Just blending it with my back. Again, trying to blend it with the background. They look nice, but we need to go with one more shade, darker, which means that I have to pick up some crimson lake, which would be picking up for my next layer. In the meantime, let's continue to work on the other petals too. It's done in the same process. I am going with a bit of warming beyond into the bank that I've taken. And then going ahead with the darkest value from your work cut out. This looks enticing how we work it out as something that we need to figure it out of costs. We will continue to figure out everything in our painting Just full bore. Don't think much while you add these slides, we are not covering the entire space. That's something which is absolutely best about this painting. You can always come back as well as live and you walk in Layers. You know, it is so much more forgiving compared to if you do not work in Layers. Layers are way, way more forgiving. You'll do not need to think much value. Add the colors exactly the way. I've now. Some darker values here and blending it all the sides again to the same process. Reopen the photo. This looks great. Fine. This case my second meal, which pipe headed again, I'm going with some more pain. Or you can say rose madder was Emiliano. Has well as my potter's pink. Okay, let's go ahead and work on our loss. Outdoor. Yeah. Great. I just feel so happy when I paint my florals. They have so much to tell you. Oh, I always say that all the florals have a story of their own. We just need to go ahead and discovered that story. Poppy is something that is very, very dear to me. I love painting them. It's easy to paint as well as they come out so well. Bright, beautiful, and nice colors that I always also see, the bigger you paint, the better it is. And that's one of the reasons we have like bigger compositions coming up as we progress. So those things also matters a lot when you're working on your florals Painting. Floral paintings, which column bigger in size, has lot more intensity and you can play a lot more in that. Rather than when you're working small, you can save a lot of papers, space, etcetera, as well as you may not commit the mistake that you would have committed on a bigger fable. Having said all offered still I feel working on bigger paper, at least an A3 size paper. On an A4 size paper is good to start off, don't think that you are going to actually just waste your paper. It's always are learning. But having said all of it, I do understand that the papers are really, really expensive and hence, we can't do this process with every flower. That's one of the reasons actually came up with this particular painting. Okay, I will just add a few lines here. I guess. That's all. I'm not going to add a lot of lines and it has some sunlight on it and we are just going to dark over here somewhere heel and take it to touch a bit on the sides and let it bleed. Time to go with our toward layer for the petals, we have real dark value. In this case. We are going to mix up better for me, leon, to get a shade of my choice. Let's start with cohort last part. I am going with the patent for now. Then we can few darker lines. Go ahead and few lines here. Having said that, we need to know where exactly to stop, we cannot continue making nice given in our Poppy. So that would make it look more like Overwatch, which we really want for just Painting Let's continue to work on next part called the Floral. This case, we want to talk with the pinks that we have already had it. And I'm just making the shadow area will keep blending, blending it and then picking your to compete salad. Again, blending it and take it no outside, not that KV where I'm going to add these slides. Sometimes it takes more than three layers to, to complete one quarter Floral, and it's absolutely fine. You will even find me doing that in many of my other paintings. As we progress. We have done that audio, though. I say it's great to finish it off within the three particular Layers and three layers, what happens is by then we already have our painting almost and place and we do not want to go ahead and continue to just work on it and make it not look so organic. Great. So that's the thing, okay. Blaming it. I think I am good. Just the top part. I'm might have to blend it. Hope it as the lines that much to be seen. I will go ahead and blend it a bit more. Sometimes this happens, we just make way more lines than be short. But you can always go ahead and blended. Fade. Let's make all over shades. We're orange into it. And let's work on the UDL status. Again, she did this theoria to think that I would go ahead with, well, but of ultramarine, ultramarine blue help send this case. When you want that darker shade somewhere and you want to show, or you can say, you want to practically go ahead and show that this is the ETL, which is under the shadow. Last font that is in the middle part. This part is really we can just work on another layer. This is the fourth layer and exceptionally four copies. I'm adding it, though. This is not the case with me off my other florals and you can see that. Let's continue with the Art of bit more again. Why? Because I just want to add some more of my lines over here with their doctors to argue that is my heart for money that I'm going to add it towards stuff off the bat Though this is the fourth layer, as I was not really satisfied with how my toddler turns out. It's not that in every painting I do this. So be sure that we are not going to do this and every painting or else our painting will become really, really dark, which we do not want at all. Hi, I'm beating this process. There's nothing different, but I'm going, I'm just trying to show the Poland's and empathic way. That's one of the reasons I'm walking in and around. These pollens are bit more. I guess you can see on lot of difference now compared to where we, where you and how we then walking through blended blended and pick it up while we are moving to what? I'm trying to pull the paints that we call the applied. I'm working with the same shade that we had. Nothing to front and hard edges are good. You do not need to worry at all while actually paint with these hard edges. It's kind Absolutely Great. Okay, good. Fine. Fine. I guess. I just love how it has turned out and I'm to go and some dutiful lines in and around the flower that we have our painting. Why are we adding the lines from the place where you also pay having it because of the simple fact that we are not going to go and show the separately in terms of the Poland's. How do you show the poland separately? They are very light value, which is again, some yellow, and you cannot practically show it well, when you kept out, practically shows something. Great, then you will go and just add some contrast and high, just love to add that contrast. Every time I paint. I break my lines and add a lot of them. You have to understand that if you continue earning a lot of these lines, then the whole painting, the go for a few of you are good to go. We will pull the paints. You just had lines like this. Good, right? It's easy. Just that you need to get a hang of it, how you do it. Okay. Great. I think it's just the last petal where we need to work and I will have darkest value. What's this as this keys on the shelves, this is basically in the shadow. So it's not directly facing towards top area. And continuous with these has just become three parallel lines. Okay? We need to again blend it. I'm going to see how we want this around later on. I'm not going to touch it more in this case. And going with my yellow creamy ripe now, for finishing the stem Hello, queen has been my favorite raped for quite some time. This has been my real, real secret. For all the green fonts that I need to go head had into my Painting. Green part is just clear one that we did. We have to do more layers and add more layers into what? In the meantime, let me even Art Queen into this particular part. Good To Go. Hi, I'm happy with how it is toning up. So let us Part dry off and we'll be back with another word for lens as well as the statements. Okay guys, so while I continue with my Painting, there is something that I need to show you when you add taco values for the outer radius. Now, this side always two as you move a bit of contouring to meet these Part, look organic. Go ahead with some of my control. Even in these areas. Though we had done with our fourth layer and still I'm contouring. This is a bit of a longer painting. We are detailing out more as you saw me doing it. Practically, the detailing part which I am doing for Floral. Hopefully I'm not going to touch it any further. Yeah, I do not want them because if I continue touching it, the point is that it is never going to end. For sure it's not going to N 0 K mixing some of my ultramarine with the crimson lake. I think it is dark enough. I don't want to touch call the areas as such. Just a weird prompt him to school. That's it. Again, the contouring part. Nothing much to show in this case. Just that we have to show called The Layers. That's one of the reasons is good to continue on a few plots of the flower. Finally, we have to focus on the last part, which is majorly battle that you saw. Let's go with a darker sides. I guess this looks perfect. We do not need to do more than this for this particular part of the Painting. Okay, great. Let's go with some yellow. You can use any yellow of your choice. For me, it's majorly Indian yellow that I love to add. This is all for our columns that we have will be your and I will add a bit of green also on the sides. You will observe how I tore it up. In the meantime, let's continue with yellow It could have been even crane. I would leave that up to you what you want to choose for me. I'm just choosing around the scene sheets that I tell US former floral part of the paintings. I'm using the same sheets. Adding the lines. Let's walk or middle part of the flower now. Okay, this is it that's going to be my middle part of the Floral. I will go ahead maybe with an under layer on this, but that would be later on in the meantime, let's just add a bit more darker value. I'm mixing some amount of my olive green to create this darkest value over here. And then I would be blending it with my background. Background of the basically the green that I had over here. Yes. So that we do not mess up at any point in time. Grid. I guess there is more that we can do. Poland's adding a line with my potter's pink again. I love to use the same colors that I have been using in my florals, even in most of the areas of my Poland's etcetera, I do not like to go ahead and paint with a different set of column. You can also use some indigo or of color like this, which is in this way. Again, it's more about contouring and just showing the area. Well, let's pull with our darkest layer and then just blend it with background, 30 or 40 painted. Again, I'm going to do going to be doing the same process. You can use them and it green, olive green, or mix a bit of your greenish yellow into the when Nike Green and get something closer to the one that I'm that you are absorbing over here. Before. Know. Some my wash or the yellow is not well seen and hence I am just highlighting it up with this comes very used to me like, like anything. Okay. I use this opaque medium which is majorly my Ph Martin's bleed proof white everywhere for stars, for skies, for these kinds of areas where I've committed any mistakes or I want to fix something. So every, every thing like this works web. We can also meet her few lines like these, which usually now I can do it and white because the people has all the white. Hence we have to go ahead and make it in a can be seen. We beat this one. Yeah. Now, if you had a background, I would have suggested it doing it with a width awake follow. But as we do not have any background in this case, I would go ahead and give that who miss darkest value cream and then lunches. The middle part. Extending it again towards the sides. Great. I'm happy with how this Iceland Poppy has turned out. I hope that you, and also do it exactly the similar way. Even you can use a bit of Emiliano. You can use actual meaning Colors. I am not. If you keep touching it, we will be we will keep touching it every way possible. So that's how it works for any painting. The more you touch, the more you continue working on it. I think we can add a bit more of our green and to the process because I just feel that we are still not done with the green part. We can go ahead and paint or had another lever. I have finished my Iceland Poppy. Now it's time to add the colors that we have hired for the entire Painting. 26. J Japanese Kerria Colors: This is an unlimited palette excise and we just need two or four shades. One is in yellow, the next is Sennelier, orange, sap green, and burnt sienna 27. J Japanese Kerria Painting: Let's paint Japanese. Katie. This is one of the Roses saw from Japan. They say, I tell some Japanese rules also. So we're starting with the fact that my whole of the flower is actually facing this direction. So whenever to start drawing or painting, I have to understand that my flow rule is Painting somewhere like my Floral is actually somewhere here. And then I have to read, just to show how my floral arrangement is completely, is altogether. Over here. There are only five petals on this case. This would be one petal. This would be in until petals Sunday he will am going to meet length of Peggy. Then next petal is coming over here. Though, petals coming someday, he'll this place. And the last battle is over here. Let's just this video. I'm going to start out with all very simple and easy process of marking called contouring these places. Now you exactly know that I say it is contouring are together and I'm going to take it inside. You have done quite a lot of five petaled flowers buying now, I'm pretty sure about it because we did do quite a number of fluff florals, but yeah, this is one of the most common Floral that we'll see. That occurs in five petal or six pack. Somewhere closer to that. And that hawkers more in nature compared to AM, cannot say that. Yes, we don't have other kinds of floral arrangement. We do have a lot of floral arrangement, but this you will find very often in many places. Going ahead with this, we will keep us small symmetry with you, but I will be this size. I would try to even. So keeping that symmetry. In fact, I would just flower on, I guess the symmetry is not exactly tag because mic, please move the middle part has changed a bit, but still it looks great. Let's keep these, this spot and then start out with our next one, which is this. I will go ahead with the tryptophan overlap. My vacuum, which is this way. So you can see even this part of it like this. So this fiber is also visible in this part is also possible that way. And I'm going ahead with my john lying for controlling Part. Once this contouring part is done, we will go ahead with it. Just wait. Let me do those small Malcolm at home. Yeah. Okay. So let's just think I have to just make it a bit more than what it was. This looks more organic. That's the thing. Now since the Floral is facing upward like this. So I'm going to make this protein, the more smaller. Let's go ahead and work. Finally petals. So it is over here. We have lots and lots of lines coming up. So V going to leave this. Okay, Let's go ahead and continue to paint. Lots and lots of them. Yeah, there are a lot of fallen stamens, camelCase, office, Japanese rows are Japanese, Kerria, whatever you want to save the continuing with starting I hope this is the one. What we do. We will go ahead and just draw a line. Not exactly Hillard. Now it makes sense. So this is usually small, long stem. And I'm going to go ahead and draw from this bond. Along with it. I will also drop a leaf suddenly, you can guess this case. Now. We will go ahead and Nick can. Okay, Fine Lingus. This is it. I think I can remove this leaf oral set will just go for this place which we really don't want. We want to keep it small, easy and nice kind of full flower. I have a full Painting of this sort of to not do not worry, we will have more coming up as we progress in the journey of watercolors. Let's go ahead with our layer one. Layer one is going to be very easy. Believe me. We are going to finish this off very quickly compared to what we take for other paintings, you did introduce you to a lot of concepts already. And I know you guys and our kneeling all the paintings, some just that I wanted to be sure that this Painting thumbs up well, so we will continue with our simple process of Drawing. Middle part, which is with the masking fluid. That is basically the Poland's, which we want to show in our painting. Forelimbs and stamens are a common phenomenon that we will also very much in any kind of Flowers. So, yeah, it is not that it happens in every flower, but most of the flowers are going ahead with the same. Okay guys, this looks I guess that's what I wanted. Let me go ahead. Wash my brush again. Some of my soap will take the masking fluid for more thinner lines. Let's start hiding these thinner lines. You can even do it with white quash, but sometimes the white that you preserve is so amazing, we don't want to touch it anymore. Fine. I guess this is cool. Now let's wash our brush tools, some of the masking fluid be taken. See what I have preserved my brush. Well, you can see over here. So that's the thing. If you can keep your brush, well, it is the best thing that happens to you. And in the meantime, we think might have to throw my current masking fluid and work with a new masking fluid. Okay. Let's continue with the process of working with masking fluid. More. As we progress in our water column florals journey, I will tell you how we can make full composition of this particular flower names. So I'm going ahead with my follow. That is Indian yellow. I'm going with full very light wash of it for my Painting. Thought If you can see it very clearly that the color is really light in terms of the first layer that I'm going to add starting from the middle part and then I will go towards the outer area. You can also have the masking fluid that's for detail, is not allowing the color to go into the spaces which we have marked with the masking fluid. I am going with the lightest wash for now and I will allow it to dry off to the simple, easy process. You are again, picking up the same color going with does seem space. We are not going to do much of change in this new color variation, nothing. We go ahead with the second layer to add that. And hence, it remains pretty constant in terms of the flat wash manual class serovar that flat wash makes coping thing looks pretty darn, etc. and I also preached the same. But when you are working in Layers, that really doesn't matter whether you are going ahead with a flat wash in the first go or you are working with any of your darker pigments. It depends. If you're working with darker pigments, of course, you are. One single flat wash will really define your bullae Painting. Whereas if you are going ahead with multiple washes, that flat wash is basically an underlying layer which is going to really look up your painting to great extent. Finally adding some more of my yellow into the Painting and then adding it towards this area. We have to take more light. And as I go, I'm not changing much in terms of value. I'm working with the scene Colors. I just did not have the even amount of color and water on the poll that you have on the left. So it took me awhile to mix it a bit more and victim back to it. Simple, easy, interesting, has full, as I can tell you, this is going to be a really easy Painting altogether. As we are going ahead with multiple layers, it gives you a lot more opportunity to come back to your painting and paint it in a way that you want. So keeping all of that in mind, I guess this would be an interesting painting for you. All. It is kind of relaxing to be frank. You all had a pretty, I think, intense session to relax over ten, enjoy this whole part of easy yet beautiful Painting. Going ahead with my lighter value of brown and mixing it with a bit of yellow. To create the stem. I can mix it with a bit of cream maybe later on, but all that I'm going to do later on in the process, I remember why this one is coming out every time. Going with some of my Oliver sap green, whatever you have available width, you go ahead with that. I always see this in many of my classes. I've set this the most simple your Painting is. The better would be your outcome. Because you exactly know what you want to go ahead with. You are not much into the Colors. You're not thinking much about how to apply, what to apply, etc. as we progress through your painting or has you progress through your painting, you can further understand each and every step, how you want to walk around with it. Once this part is dry and then only I will touch my yellow and other areas. I'm not going to do anything more that we are going to paint. All key. Let's allow this to dry off and then we'll come back. I would go ahead and hide to form more small leaf over here. I'm doing a flat wash. Has you all know I'm not altering the values much. We will go ahead in the second year to get better as we are working in Layers. And I always say that Layers or be more forgiving than going ahead with one single your, for your Painting? Going ahead with my bright yellow. And I'm just mixing some of my sheet. What happened to my plot? Whatever it was. And I am, I think for mine, yellow, starting from the middle. And then I will go ahead with my long strokes like this. I am not going to add it everywhere. But having said that, we are going to add it and few of the places where v1 to the darkest. Oh my god, kids went outside. I use my fingers to a lot extend to get the perfect outcome. I have left a few spaces, which I did leave even when I apply any kind of a second layer, you will usually absolve me leaving a lot of space. We did paint that Daffodils in a similar way and we're applying the same technique for this part too. I am blending it a width and then applying it. Going ahead with some of my more yellow. Bit more yellow. Yeah. That looks nice straight for meals, which looks nice. I'm even learning it for two. Let's just Glen little bit. Tip lies some perfect, right? I just love how to fold Painting comes together when you have florals like this one, you just know exactly how you want to paint it, how you want to go ahead apply or Colors. And all change two values. Like high will change the value picked over here. And I've even change it here to create extent and give it like this. I will come back another day or to get the whole of the painting together. It's time for some more brown and green in some of those spaces. So let's just mix up a bit of green job to get darker. You can see that I have to use these mixes of green and brown to create the lovely sheep, which you also, I think I'm going to cover the entire area, has my last sheet was so light that you did not even see here to where it altogether. Now I'm going ahead with another layer. If I have to darken it a bit, maybe in the next year, we'll see how we do it. In the meantime, we will get back to our sap green and mix it with some of are prone to get hillshade like this. It is more muted and already, as you will see how I'm going ahead with my more muted and OD shade. I think I'm covering the entire space now. Again, I was just aren't sure that you do not come on exactly how I wanted it to, so covered the space but changing the values of bit. We'll come back in toward your for hiding all the lines, etcetera. Sometimes I do change a lot of things as a progress. It's not that I go as per my plan. I've tried to stick with a plan. But when you're doing Watercolors, believe me, you cannot always go with the floor. Go with can you have to go with Duflo to be frank? You cannot go has for what we have planned, I would say this is really fine and good. Here I have added of weighing more light of value towards my left. And I'm going ahead with contend. Taylor Fine. Lending it a bit. It looks so nice now I just feel the Painting is coming together. I will mix a bit of orange into my yellow than had. I love to do that for the totally up because I'm not using for men in Piazza we'll D, for one color. Like to go ahead with Cannata earlier. Okay, Some more of orange and orange, yellow, I would say. To get my layer three. It looks simple and it is simple. Just keeping the fact in mind as we're not going to occupy this case, we have that set. I'm going to start with the darkest value on the sides. What I did not apply it on the other part would be three to just add it here. Blended a bit with clear water and you see so much of change and so much of light that you have now in thinking, Oh, let's go ahead with the lungs. Movies. Now let's just wash the brush a little bit. Fine. Exactly, right. I guess that I wanted to do right now. I will go ahead. Width, thinner brush, floor mine. Of course, and using a lot more muted values for my greens. If you want, you can also go ahead with any of your other greens. This places still wet and walk in my fever to be frank, if it's not wet, then also it's OK. You can go ahead and just pads to veins to your leaf. Reiterate how game it's time to go with our darkest value. We may even blend these lines later on. That's not a problem. Ahead with my lines. What I need to do is some more contouring. Now why I need a contouring? I want this to be seen in a better way. Hand contouring it a bit like this. Let's Contour, contour and contour lines. Think this looks good for me. Hi, hope that you're also getting the same results. This pieces resorted. So we kept picking up the color of protecting. It was really more darker than the shake. Good. Some more orange will mix with your florals. You can also mix some brown into your yellow. Start contouring the areas. Over here. The approach will not change for every painting, the approach for the paintings will remain the same. Only in few of the paintings we will be able to change the approach to grid. But exactly what you should always know where to use, what kind of technique, and that's what comes with more of your practice and the more you'll see of Floral how to approach it. So those things will only overtaking. I'm pretty happy with how can we will allow the paper to dry off. Once it is dry, we will go back toward remove the masking fluid, which we did apply towards the beginning for the middle part and then create those. Poland's understanding. I would call head and contour a bit. This carrier protein. I guess. That's yeah. That is what I wanted to do. Let's see. No, this is still wet when you're be for us, wait, never ever touch your masking fluid, let it run off completely and then get back to it. You're moving it with an eraser and adding some dark lines. Adding the darkest value for some of my Poland's kind of a repetitive process and there's nothing much to go head and exactly how to do this. It's just simple lines, a thin brush, and it's done. Okay, I'm adding more and more of my Colors. Yeah. Let's add some color. Fine. I guess this is it. I don't want to add Colors on everything. I'm just going ahead with some more lines. This looks really pretty to me. I hope you also like it. It is Japanese. And let's go ahead and finally add the colors which we have used 28. K Kaffir Lily Colors: Let us discuss all the colors which we need for completing the Painting. It is in yellow. Quinacridone, coral, Venice opera composer para, ultramarine, sap, green and orange screen 29. K Kaffir Lily Painting : Let's start with power 6 s flower. You have done a lot of five petaled flowers. So I just chose another six petaled flower. I will tell you the name towards the end. But first I want you to understand how we go ahead and make this floor. Now, this is a pretty huge, I would say though, so full that I've done. And I do not want to occupy some space, so I might have to go ahead and shorten it a bit. Okay, let's go ahead and remove the tape. And now let's take center. The center would be towards the bottom. So this is the floral which is facing towards this part. In particular, techniques show the petals where I want to one. Then three. Here. Somewhere here there would be for somebody who That's all I will go ahead, hand down, make it. So this is my high position drafting pencil, which I usually use for my Watercolor florals. Okay, let's strengthen this line fit exactly how I want to add it. Then. I'm going with backing now. Fine. So you see how I'm working each and every petal we are going in and around the lines, which are basically the lines that we usually always draw. 14 floral painting. This helps us to basically define our petals and a better way. And it's a guideline which is easy to follow. I wanted to show the outside of the petal, but this is way more than what I wanted to show. So let me raise it a bit. By now. You all know exactly how you paint your petals and even make your petals. It's just that I wanted to provide you with this guideline, doula and I want to provide you with all the guidelines. Start his possible for a Watercolor Painting. As I don't want you guys to be struggling the way I struggled for my Watercolor florals. And I realized one thing, if there is something that you have available for yourself, it becomes way more easier that way. Okay, Let's go ahead. Let's change your bid. Go ahead and add it. I guess sampling happy with tau, this case there. Let's remove the lines open. You can easily see how the Floral is, just that. I think this particular floral leaves a bit more adjustment. Okay, cool. Here is the statement I hadn't of Poland. As always. This Floral also has stamen and Poland. I would like you to guess this tongue. What's the name of this Floral though? I will tell you when we are working on this floral. So do not worry. It's just that I want you guys took also know a bit and start searching out for your own reference images. Where you can find reference images that are a lot and lot of places where you can go head and check-off. For me, it's always mean Unsplash. Pixabay, Excel. So these are the areas where I am going ahead and go searching my own images. But you can show short. Go ahead and select your images, which is majorly even your, it can be even North loons. From where did the scholar pump? Let's take it with a no lowers becomes easier for us. I would go ahead and add five. So this is how it looks. Let me show me how it works in total. With that scholars coming up again and again. Okay. Let we do not need to get disturbed by anything that's creating any issues because we will solve all of it where the paint. And let's just go ahead and meet this. Hi, guess this looks great. Let's go ahead and add more of our These are majorly your phone for door, which will give rise to future florals. So we should be even handling that. That's what we're doing over here. Let it continue. We don't have any issues. We will write the name accordingly because there are different kinds of cases that we get every time. There is no problem. We can deal with all okay. Going ahead and adding one line for the bottom area, the floor. This is a really, of course, you can guess it now. It is a really exactly which Lily, I'm going to tell you once the stock Painting removed all extra lines that you have got. And then let's start with our be scholars. Start masking out these areas. And I'm going ahead with my Sennelier masking fluid that you have seen me using. Okay. Let's go ahead and add all of that. Okay. I am going ahead with some of my yellow and get your Coke in the middle. The Floral and I'm just mark this area in yellow. Then I think it's good to go ahead with some orange. Can proceed with those units. Again, I'm going with a flat wash. You don't need to worry. This is a very, very light. This is just rent out. Then, but I thought it would go I'm going ahead with the orange. We will continue to work with orange and we go work on the outer parts and pick it a bit inside that Salvia going to work, I'm going to change the values. Can this case, if you see closely there is lot of changing the values when the go out and using very dark color in the first for itself, for the outer sides. And I will add some red in the next door. Let you will see lot of darker colors compared to what you might have put solved. All you continue with the process of adding the followers. I have gone ahead with my size four brush majorly from the prime. C. C has been one of my field CO2 brands for quite some time. So yeah, I just love using of brushes. They're so soft, nice. The a great. And it looks like butter on the paper. So having said all that, let's continue with our floral part. This looks very pretty to mean for us because of the Colors. I think it's the warmth, it's the beauty that takes it completely wrong. It helps to start out, you know, the warm really helps any painting to stand out compared to any of the Hadoop Painting, 32. Okay, let's continue with our Floral and Once this part is done, we will go ahead with top area. Again, I will start with a bit of yellow while I am working from the bottom. Then I will of course, at some of my orange, or I think this time I would go ahead with my Compose Opera, which I really love to add a log with my Quinacridone as beautiful shade. It is better than red, I would say. But if you don't have a choice, use red. Oh my god, this looks so pretty. Okay. Let's continue with the process of our painting. This time, it's sap green. We will mix a bit of sap green into the shape that is already there of the yellow and orange. You would see me doing all of this hiding. This was yellow, green that I added. But below card sap green for Don. Other pods. And I will continue with go very light wash. I will add the water. We're just that I wanted to go ahead with some of the parts by adding Colors. And this is our first wash, so it has to be really light. We will just go head and paint within the area that we have mocked in our drawing. Drawing is always a great framework to start with. If you have a good Drawing available for yourself, I can guarantee on it that you will have a better outcome than anyone else. So that's one of the reasons I've stressed so much throughout this whole of the Floral series. Upon Drawing, we should draw, we should know it should fathers lot of stress on the drawing part. And I know many of you might feel that it is a bit unnecessary, but believe me, as you progress in your journey, this will become one of the most important aspects of your Painting. Let us try off and then you will again work on my the way did you guess the name? It is? Kaffir Lily. Yeah. So that's the name of the plant which we are painting now. And I'm going ahead with one of my most beautiful colors which has can quinacridone coral. If you do not have this color, please go with your red that's available with you. I am going with the darkest value, and I'm going to apply it on the sides. Just blend it a bit. Towards the middle of the flower. Again, I will do the same thing. Apply this and just take it towards the middle. Which is another thing like pushing the paints as you have already done and you're going ahead with the value right now. Okay? Let's do the same thing. Darkest value in terms of the layer tool that we have. I am not saying that you will take a lot of pigments. You will not load your brush with a lot of pigments. That's what we don't do because we are continuing with the process of Painting. And I want you to load your brush a lot with things that would really spoiled or Painting. At this stage, we are going to add more layers. That's the best way to go about it. Look carefully, it looks like. So you pretty now, something that I've always learned over this whole process of Watercolors is you just fallen in love with the painting that you do. And it only happens over time. The first day when I started painting in that I was never falling in love with my paintings. I don't know why. It was just the process which I started enjoying later on. And that process really helped me to grow a lot as an artist. Because enjoying the process is something that's most important. If you enjoy the process of creativity, altogether, you will be repositioned to create petal as you progress in your journey of watercolors or any, any medium that you try. Equally hard edge procure. It looks like really hard. And I'm going to plan this video, but I will mix of bit of my quinacridone coral as well as my overall in this. And start off with the other layer that we How to go ahead and now this is how we are having more and more layers. I'm leaving a very small gap in-between and adding another layer with my sap green. Now I am letting this part of the Florida or to dry off completely. In the meantime, let's just wash our brush and start blending this kahlo. And I'm going with my darkest green, which is any green of your choice. It can be when Nike Green forums for any green that is available with you, we don't have a particular choice or cream that I want you to ahead with me now. I want to create some contrast, okay? How do we create the contrast? So we will create the contrast. Design, adding the green, the way you are solving me ending it with you. I'm going ahead with my darkest value of cream and then yellow, green to blend reticulum. We'll do some contouring later on. Just add the darkest value or green over here to blend it with some of my header, it has to be yellow, green, or green, whatever works in this case. We will do that. Okay, this looks fine to me. Now, let's go ahead with another layer. Just a little bit anti-codon. What's, let's say? We're not going to add anything more yet. This is also equally dry. We will just go with our darkest value. That's all. We're not going to touch it more and leave it as such. I'm going to add very minute amount to my darker green to this particular part and then blend it with my background. Ahead and add. This looks cool. Let's go with our darkest value which we want to add. It's better if you go ahead with compose corporate. In this case, knocking case, you would not have this column. It's absolutely okay. Go ahead with whatever is available with you. Similarly in this case also, we can just add a few lines control and not add lines everywhere that we wanted to add it only in a few places. It's just on the sides and I'm trying to add are not going inside of it much. I want to keep the colors that we have already added to it. Okay? I guess this is good. Let's continue with our process. Forget. Start with the topic. You can just add a few lines. Children, they're just blend it and pick it culprit in Word. And on the sides, I would eat at third darker value flu. Okay, this looks good. Let's just blend this area. And to get insight. Have a use the same process for this part of the flower to Let's continue with our process. Okay, I'm going ahead with my Compose Opera. And this is the darkest value which I have. Just showing the top part. Like this. You will even go head and short. Your leave it. Let's just work on the part now. Has always, I love to work on the part later on and leave confused spaces. Never, ever cover all the places that you have. Added Colors on. In the first and the second layer, it looks great when you add levers. So always, always select the layer hook for you. It's going to recreate that mesmerizing effect which you want Painting. Okay, simple process, I am just blending bit. Not that all the parts. I'm going to keep hard-edged. So you have few parts. I'm going to even blend of it. And I'm going to mix my greens more to get some word lyric. I'm going ahead with my lost fat. This is what I have. I'm going ahead with this. Okay. I'm going to be in the upper area because that's going to create the difference. Well, okay, I guess this looks will create to mean maybe we will just makes a bit more operon. And some of our work, ultramarine blue. Ultramarine blue has been one of my perfect go to shades. That is the red violet shade you get over here, which is very important for many of our florals and we have done it previously. Do. I will just add some more fine lines that's needed. I will do a bit of contouring along with it. I think I have to switch to my brush. My size zero brush. That's one of my favorite again, for any smaller paintings, it works so wonderfully. I can tell you how beautiful a beautiful is the final effect. Okay, let's add some water lines, urine. This is more you not to get the detection to any kind of Floral that you have painted this. These are great, we do in the direction and to add that contouring that is always needed for any floral. You can even go outside your drawing proportions. That's also okay. You do not need to find in those cases. I think I've learned lines. I will also add some more lines, in this case, darkest value of green. For our final reading. This, you'll need all this you may not to. Again, how good of contouring with this part is not really the contouring part that I wanted to add. Leo kind of thing. Okay, now this blaming could eat. Let's just even blend this particular part and take it towards the bottom. We will go ahead and again, add some more darkest value of our queen. So we have hand contour, corporate, wherever it is necessary. For me. Something that I love to do in all my paintings and I love to share all of this with you guys. Because something that alone, I love to share and it takes a lot of time to learn on your own. So sharing really sold someone else's problem. Quick look, and that's a small way I can help guide you through the process of Painting. And I agree, I'm really always looking forward to that. School ahead. And I'm going to do petaflop. Key guys. Yeah, I know its mean a well and we are trying to paint Lily, which might sound to be really, really easy, but believe me, it's not. If you have to paint it the way I did show you, let this dry off and then you're just going to add our Poland stats. The favorite part where I'm going to remove the masking fluid can have a look at our Kaffir Lily Painting 30. L Lathyrus Colors: Lathyrus, or also known as VP. We are going to paint this today and there are about six columns which I need. One is Rosie door. You can have all very like Microsoft Word file using some of your orange and white to create the combo that is from sitar, we need compost overall. You can also go ahead with carmine or any other pins status available in the goal. Greenish-yellow, all three and Forestry, these are the only Colors which we need 31. L - Lathyrus - Painting: Lathyrus, we are going with letter L stands so it is Lathyrus. Let's see how it works because it is a to petaled flower and we haven't done this template. So it is a new one for me as well as for you. So let's go ahead and started out. I am going to go ahead and make a small, exactly the place where I want to place my sweet pea. This is an outline of the so-called where I wanted please. One of my spiffy cannot are part of my circle where I want to place another sweet pea flower. Let's go ahead and make are triangular shape. I'm going with this particular way of my Floral now, one thing you need to see is that this stays more or less Kievan. I'm not saying it has to be absolutely Even. More or less, has to be even. We have to make sure that the line thumbs down this way. And then you get your sweet pea flower like this. Okay? Now these particular petals are called, and that's why you'll see it the way it is right now. I'm going ahead with the bottom plot. And I'm just finding one-on-one, one line over here. We will go ahead and make a line like this. Go here. And I think there's just too big for this particular Sweet Pea. We go. Okay, and I'm going ahead with another one. But I guess we will end it on the upper part itself. I'm just going with one more line. This is going to be HESI. I am going with three of these over here. That is basically the one that encloses your hand when it opens, you will get these kind of small structures. I'm just forgetting the name bullet you don't in a way. In the meantime, first, let's go ahead. Now. This Floral is facing towards us, okay? Whereas this particular Floral is facing this way. And hence we have to go as such. Once you have done with the even now, but you have to go ahead and make it like this. Okay. This looks fine to me and I have to go head and me to bottom Part. One thing, this has been just too much out competitive what I wanted to. So yes, Drawing on, I always see this, that it's sometimes goes How than what we have thought. But that's absolutely okay. You always can not have a perfect drawing. You can use your eraser, you can use his scale. So all these are important aspects that can be used. You don't need to worry on those facts that you can't use all these, these are for your benefit, only that you have it over here. Okay? Now we are going ahead with one more line. You can easily see the sweet pea is like this and the SPP is facing towards this. Let's go ahead and start adding our stem. Streak. How exactly you're absorbing. More of we have to do this change of going ahead and ending the light and taking it towards the bottom. Okay, cool. I guess this looks concrete now. And I go ahead and just remove the how to say Bart's, which is majorly how we want it to please our petals, etcetera. That's all done. Go ahead and add the columns. Now, these are the areas which will be lighter in value and these are the hideous which would be darker in value. One thing I guess that we to do with me, put more product. Let's make it the way exactly it is over here. We will start with four very, very light wash of Colors. And I'm going to take a bit of white, has some amount of my Rosa door in my God, this is like very light. You see how light as the shape that I need right now. Hello Eva. Go ahead with the entire floral part. For this high. Don't want to change it has of now. We will see how we work upon it later on. Right now we do not need any change. And you're good with the shape that we're cutting. It's absolutely light and very pretty. I'm going to move the other parts later on. We'll see how we do it. Because watercolor is a very, very transparent medium, you should remove your graphite parks and if it remains, it would become very tough for you to remove it later on. Okay. Hi, I'm pretty okay with my first wash. I think this is good. High will just wait and let it dry before I come back with my second. First. Let's go ahead. Okay, I will go ahead and just blend it a bit. This is my layer two. Now, this looks really pretty. Again. I will do the same over here. Just add a bit more darker value. Just let it blend a bit. In few years, we will go ahead and just some more amount of think into the orange that we had to get our color, which is more on the pinky side, but we should have lots of water in it. Full width. At blend it to fit. Have a cool head and even some of the darkest value in this particular part. Let's again go ahead with pink. Okay, Now, this looks really nice to me. We can see how slowly our Colors sad the club Painting and how slowly the horror also the fingers. All Painting. Now we are going with Word. Second. Squeak be again the processes saying going ahead with some of the areas We're not adding it everywhere. We will just blend it in a few alias. This might look a bit tough at this stage, but believe me, we have to just show that there are a few areas where we have the color and there are a few areas where there's just a posterior that we have added. That's the only difference so which you will see we are creating to our painting. And I will leave this part as light as of now. We'll see how we work on it later on. We will add some of our lines literal. No going with all fit more orangey and Vici kind of shade. So orangey and peachy shade is the rosy door that we had. And you're going with the Roseto. I'm just blending it. I guess this looks great to me. I hope you are also finding it easy and quick now that it would take a lot of time, but having said that, it's not that you can make it within 10 min, so five-minutes? Yes, it takes awhile. Let's like a half an hour session every day that you need to go head width. Then only this comes to life as I see. Light value of green at this stage. I do not touch it in the liver. I'm only touching it now. Maybe we do not need actually three layers. We'll see how we work upon it as we progress. Painting my greens. It's a pretty flat wash that I'm doing for all the parts of the green. I've done all mixed off my greenish yellow and sap green and you can continue to add it throughout the entire part. Few green area. This looks great. I feel like now. We are going to next go ahead with another layer or 4 h sweet free flora. This time, I'm taking more of this peachy mix and adding it someday he was just to create the contrast of this particular space with the Floral for heart. Then I'm going to plant it. We did not touch this part kit. One touching it now. I don't want to touch this area for sure. So I will go ahead take some of my compose overall, mix it in my light shade of pink and orange, which we had that is close the door plus your orange. You can also mix your quinacridone. If you have the quinacridone. A few lines like these two goods, this particular place, just pulling inwards and making a few lines. We will add some darker lines later on. I'm just telling you realize you're mixing it up. Again, taking this exact blending it. So you have to blend it, make a few lines, splendid and the wolves. Okay. I am pretty happy with how it's turning out. And let's just length of colors a bit more towards Lend some lines as you can solve me adding if now. We have added a few lines again in this space of mine. For this, we also have other blended. Again. You can see how the blending is working. We will go here to with your this time it is to darkest value. I'm not occupying each and every piece for sure. So it is only hope of the area that I'm taking some sap green and now I will mix it with Four Good of my dog. And like a green screen which evoke is available with you. In a few areas where revoke it isn't this three? Some of our blue. Okay. I guess this looks great. Now, let's go ahead with Harvard size one brush and try to me lightest value lines for your game. Going to add some more FUN lines. Not that I'm going to occupy the entire space, I'm going to only how to blend the rest of the area with the background, which was called the Fine. So overall, I do understand one thing we need to add a lot of lines everywhere, just a few of them to make it looks more like the flower that you are Painting. So that's it. We will go ahead and I guess I'm great. Right now. We will just go with a very dark value called phos. Mix it with Cooper, the bird of glue that he had on the ballot. Want, which is to take value here. Just to show the contrast effect. That's all. We will also do the same in this particular petal. Then move it inwards Okey, I will just go ahead and Sunday. The column. That's all. Know, we will go towards this spot to create that contrast which we created for our last. Yes, we have created the contrasts that we needed. More defined line. Lot Manchester's to love sweet pea, florals. I hope you were enjoying it. Yes, it's a bit longer process compared to what height we expected. But just that I felt that this is one of the florals which you might enjoy. You have already turned lot of easy florals. This might be a bit tough, but still you guys are going to enjoy it too. A lot extent. That's it. I am not going to extend it Lotvall than Required. So yeah, I don't want it to go with our darkest value and then complete this battle before we go ahead with another one. Contouring, going to add, and it is done. Let's go with a nice fractal yoga is I think that we are doing it very quickly now. You just need to get a hang of it to understand how you want to progress. Because nothing is tough. It's just that we don't know how to work at our own Taxol. I feel very strongly for any florals, any Painting. We don't know how to progress with our subject. If we understand how we can progress, there's no way anyone can stop period Watercolors. And it only comes with lot of tractors, etcetera. If you can get pulled guidance, that is way more easier. That's one of the reasons I always say that if you get a guidance, get hold of it. Now it's time to work creams in this do I will mix with the blue that we had. Then. You all look in, go ahead with our darkest value. Your blended with some maltose. We will come can go We will go with some dark green. Okay, great. Work. This is way more darker than we thought. Then actually I thought it would be. So mean, just pick up some of to Colors. Not going to get picked up to be taught it. Yeah, we have to blend it and make it lighter in value with our lightest value. And then just had it on the bottom. What I will go with my darkest value here own. So somehow it is not still though. Be wondering and it's just moving lot more than Required. I'm typing like this. You don't drive things really have to hard tart couple or to your painting without moving a lot if you take only one thing, dense and then added, of course, it's going to give you less movement in terms of the color that you were expecting. Let's go over darkest value. Green with my dog because I am done with this clonal. I'm so happy how it has turned out. Can I hope you have also enjoy painting this light and beautiful sweet pea flower along with me. I want to add some somewhat darker green. Only on this. Hello Part two, I could have lifted and purchase some lines over here. Great 32. M Meconopsis Colors: Let's have a look at all the colors. It is in yellow, quinacridone, violet, ultramarine, greenish, yellow, sap, greener, olive green, and forest green. So now we're starting with Meconopsis 33. M Meconopsis Painting: Meconopsis, which is basically another name for Himalayan Poppy. This is one of the very beautiful flowers which I wanted to teach in our series, and how much better than following the letter M. So let's go ahead and start with a so-called. I will have one more circle inside it. It would be a bit smaller than what you also right now. Also because I really important to just define that the whole of the petals are going to remain within the outer circle max, we are not going to go beyond that for sure. I have not done this earlier, but I think this is a great guideline. If you want to restrict yourself to a particular area or you have a small space to work on. I start with the middle part of the floral, which is majorly to define the stamen as well as the pollen. So that is the area which helps me to just understand how I want to go ahead and place my petals the way my petals are organized, his very random, and hence, I would go ahead and also asked you to capture that randomness. Some of the petals are twisted, which means that we can see the backside of these petals. And few of the petals are just on top of another. Hence you can see lot of overlap between each other. So continue to just add all these petals one-by-one can go slow in the process. You do not need to fast-forward this process. This is one thing that I have realized over all these years of learning how to paint floral is not too fast forward. Your process of painting florals. Florals is of very, very beautiful creation of our mother earth. And I really don't want you guys to fast-forward this process of Painting, Watercolor, any waste is called median, which can work pretty quickly compared to other medium where you have to always, always work in Layers do we are going to work in Layers, but layers are more forgiving as you already know. And hence it becomes easier for each one of you to follow along with me and not get into any kind of mistakes. Okay. Continue with the process of growing a few lines urine there as you also have me. But the entire process of adding line squad the petals is very light. We are going to remove any extra five marks as you want. No Watercolors is of very, very transparent medium, and hence we do not want to keep our Colors from showing off. To clarify that we have for the added onto our paper. Using one at five GSM, 100% cotton arches people, many of you know that I really prefer this paper, whether it be light washes, whether it be heavy washes or even it be the washes like going in multiple layers. This has been one of my go-to people for quite some time now, most of my sketchbooks are also made out of the same paper though a lot description is given in the materials Required, but I really wanted to mention it to each one of you. Going ahead with the bottom part of the sketch after this, where we are going to add one stem of few leaves as well as a button. Now, they will all originate from one space or one particular place itself. So we ready and I guess then we are going to go ahead with our final painting. I'm all excited to teach you guys this painting because there's so much to learn. We are going to work with lighter value on darker value in our second layer, which is the most exciting part that I want to teach you. So let's continue and I will meet you once we are ready to work on our painting. You didn't. The circle is very important at this stage. Not this so-called frankly defines where exactly you want to place your opponents. There are multiple Poland's which you have in the Somaliland Poppy. And hence placing all of them is very important. I'm going with bigger and smaller Poland's. I usually go with a mix because you will not be in a position to see all of them an equal way are, some of them will be pico add, some of them will be smaller because of the distance or how close it this. Once we're done with the sketching Viva, go ahead and mask out our Poland's. That's the only thing which we are going to do. You can just mask it out or go ahead with the yellow color. Initially, paint them in yellow, and then go ahead with the family petals. What happens in that cases? You'll me go over it and I really want the white of the people to be preserved for our Poland's going with my lightest value. And that is quinacridone coral. Now quinacridone coral has been one of my favorite colors, even many of the other paintings you have also seen me using this quinacridone coral. It's frankly a mix of an orange or you can say pink. It is somewhere like rosy, but also somewhere like orange. And hence, it really has so much beauty toward that. I really can't miss out on working with it through this entire CDs or florals, I will make some amount of my purple into this shade of quinacridone coral. You can go ahead with any other pink that is available with you. Mix a bit of orange into wet and then go with the color that you. Another aspect of watercolor floral says, we're not going to go dark. Now, if you add are really dark value at this stage, your second and third layer will be freely difficult to walk around with. Go with Overview real watery mix while you paint your florals. It has to be in-between though. Think that you have an summit. It is close to the red violet that you absorb. I am adding this color on the auto side in the middle. I have majorly used my quinacridone coral, again, a real light value of quinacridone. Continue walking through the entire space of this Floral. And then we will go ahead with greens that we, you can see in the bottom part of the Floral area. On a few might be thinking that this is a one at five GSM people and how I can keep it wet for such a long period of time. I must say there are two important factors that are responsible for it. One is that my climate is really humid because you'll Fitch, my paper stays wet for a longer period of time. And although facto that I always says, use a lot of water while you apply your force clear, which helps to keep people wait for longer period of time. You can also do it another way, apply some water on the backside of the people and then go over the top part for your Painting? I didn't know some of my life go values and few areas where I think it is necessary. And after my first code is done, I would let the paper dry off before I go ahead with my second layer. Layering is somewhat very important when you are the wing Watercolor Painting. And if you want going with Layers unique to get your first layer dry before you add a second layer and then go ahead with the totally. Okay, let's continue with our painting and I will meet you when you are going ahead and adding layer tool. I'm the will mix my colors, which is majorly my Indian yellow and quinacridone coral. I will get orange as you absorb. And I will start off with my lightest value, which is the same color that you're absorbing, blending it a bit and then again, taking it towards the top. This is majorly pulling the paint from the middle part, the outer side. Okay, going ahead and adding the darker value, this color me actually looks like red violet. And you can also go ahead and add a bit of ultramarine. As we progress, you will observe how I had my ultramarine to this Painting. Continue with the process of adding the Colors. And the most important aspect in this painting is going with my lightest value of the orange and yellow or whether darker value that I've already added. Now, since the darkest value that we have added was practically pretty light when something is really light, you can of course, go ahead with another layer, often darker value or even lighter value over it to create the depth that you need. I am going with the same mix of quinacridone, coral and the yellow that I had, blending it with red violet. You have to also create some more of the red violet as the red valve is already over. I am simultaneously creating all my colors. You can very well. As we continue with our painting. Some of the videos I'm creating darker tonal values and some of the areas I am leaving, as it was in our first layer. I'm to add the lighter as well as taco value, which you absolve me making over here, and then blending the Palo with clear water. Blending the follow is one orbital, good or best techniques that I have load over time. Some of the followers you should blend and some of the colors or the tones, as well as the strokes that you add should be left as it's that really creates the lines that we want in our painting. It is majorly those smaller lines of the florals which complete this Floral Painting. Going ahead with our darker value, and then again adding it towards the top part Darkens value of violet is practically my red violet. And this is the color which you have to always make if you have it readily available. I know the brand Mitchell omission goal of passes kahlo and maybe with some other names, some other brand has it, but it should be in between, don't think, as well as the bubble. Now, it's time to go ahead with all very shade. That is ultramarine. Some of these pieces, I'm going ahead and adding the ultramarine. You need to understand that this is my third layer that I am right now adding. So it becomes very important at this stage to know where exactly you want to add your layers. We are not going to add the layers at each and every space wherever we see you. And also that there is a need or requirement. We will only add it to create the shadows and the light that we want. In this Floral Painting. I usually add a darker value of the blue, exactly where my petals are poor. Or I can see the backside of the Pepe. So if you're paddlers cold, what happens is that particular area is more darker compared to what? Usually it is exposed to light. I even leave some thoughts and some lines urine there just to make it look more natural and organic. What time it can become your style in which you may paint. You can distinctly see that this particular person paints and this way, and this particular person paints and that way, because of the change of style and the way they beat each and every stroke, each and every way you paint becomes very, very important in a Watercolor Painting. Everything that we do really helps us to define our style in a better way. We need to also keep this in mind that every petal meets do we touched. The contrast can be seen in a better way. We are going to go ahead with our Leto in each and every petal. Not going to leave any petal. Just like that. Going ahead with my top petal now and adding though pink that we need and then some blue. This is the ultramarine that we have. And going with the blending brush, of course, I just washed my brush and then added onto the people. That's how I go about it. I'm going to that I added and then adding some blue on top of it as the Himalayan. Bobby has a lot of doing it, though. I did not want to add a lot of blue, and that's one of the reasons I have kept blue for the last. I just went ahead with Docker's pieces with the Bloom and left my lightest pieces in the quinacridone, as well as the red violet color that we created together. Some of the area which has not been touched and it's in white. So I'm going with the darker value to create that ad, or in a better way, adding the darkest value of blue and then contoured and a few areas wherever you would think it is necessary. One with a few longer strokes and longer strokes aren't done only when you are really confident that you can dig this Painting, do a different level. I know by now you guys have all the neared so many paintings and you are already equipped with all the knowledge that is needed for completing each and every petal that we are working on right now. Okay, great. Continue with the sum of the areas and darker values as I see, and some of the ADOS would be left as this. We are not going to touch every part of the petal or every part of the total. That's always my idea. Okay, some things, and this is my layer two greens. It's a mix off my yellowish green as well as those sap green or olive green, whatever is available with you. Again, I'm not going to touch all the areas. I'm trying to keep few of the areas and darker value and few of the areas and lighter value. The floral. I might keep it darker because I just feel that that is more in shadow. And as we add more and more darker value, it would be more prominent. We have this Floral plumbing, oval, as well as this small bud of the Poppy that we can also observe and hence keeping it more dark. That is the stem which you also will be a better idea. We're going to add a flat wash in the middle part of the floral, which has to be again in green and some bit of yellow. I'm going ahead with my yellow green. You can also use a mix of your oral lean and sap green to get a color that looks similar to the one which you also. Okay, time to go ahead with our layer three for our wardrobe greens. I guess. This is something that I have been waiting to add. I'm going with my doctors layer and this is majorly my forest green. You can also go ahead with when **** a green for the spot and some of the areas where you want more darker values, you can mix. Some Bupa, get the color that you really want. Some more blending, blending, lemming as I'm not very happy with the color that I have added all the way I have added. I do not want to create this line for sure. And hence I bought leave it as is. So it's time to create some more of our layer three and add some of the lines in the areas that is necessary. Now, this dip, as well as the light that I plead is majorly the way I look at a particular flower or the way I usually create my florals, you might have a different way. And that particular way you get always discover as you continue to practice your florals. I'm to add more layers in the middle part of the flower. And then we are going to add some more of the lines. Urine they're contouring is very important at this stage. Once you aren't done with the contouring part, we will go ahead and just to add one more layer maybe for our grades. Yeah. I am telling you I'm still not satisfied how it has come up. So yeah, I would go ahead with one more darker value. And that can be only created by mixing some amount of our ultramarine. Or in Dawn three nor any other Prussian blue that you have on your palette? Time to blend our colors a bit. And once this is done, I can only tell you that you will be very happy and proud of yourself. This is not an easy Painting, but it is real time and you can follow along with me. It is Strokes and then leaving it as is lot of longer strokes, shorter strokes. That's all you have to do. And creating the light and shadow effect. Now how do you create the light and shadow effect that is mutually by using various values of Colors. Now once you are done with that part, I think you will be super proud of yourself and I font tell you how excited I am to see you guys uploading your project on the project gallery. Okay, fine. Let's go ahead and add all the colors that we have use for this painting. Once that is done, I am pretty sure about it. You can either frame this Painting, old gift, this painting to someone who is really special to you. I would be using a bit of white gouache to just add the lines which is majorly holding your Poland's a better fit here and there. So you can also use on white Jelly Roll pen if you'll do not have a guage for this part, that's absolutely fine though. Liver off my masking fluid, I have already peeled off and now I'm adding some amount of my yellow on top of it, going with my thinnest brush to add the white quash or any other white opaque lines for the spot. And then have all finally look. I think this was one of my date, one of my very best experiments, what I did, and hence, can't wait to show you the letter N, 0, P. So yes, waiting for all those days. Let your paper dry off once you have added all the colors and then remove any extra graphite marks that you see on the people. And that's it. I will see you tomorrow again. Would the next floral? 34. N Nasturtium Colors: Let's have a look at all the colors which we need for completing the Painting. It is already in Indian yellow, Sennelier, orange, quinacridone, coral than we have. Compose Opera, compose, file it. Olive green for screen or the Nike Green, whatever is comfortable with you. Let's go ahead and paint Nasturtium now 35. N Nasturtium Painting: This is going to be an easy exercise. We are going to start with our circles. So clothes have been my favorite till date. And you guys know that I use a compass to draw these circles. There will be multiple circles that I would be drawing. Some would be smallest, sum would be larger. Just get along with it and I'm pretty sure about it. The final outcome, you are going to love it completely. We will have to have circles. So you can see how I'm adding them. Towards the bottom has well, as towards the top, it's simple, Floral, but there are two leaves that I'm adding to it, and it makes the floral looks more complete and nice. Today we are working with circles, and tomorrow we're going to work with triangle gap. I am going to make you work with more and more geometric shapes and sizes. Because our basic shape and size practically shows how we can go ahead and paint any kind of structure or any kind of floral, or even the most random things that appear in nature can be practically done through basic shapes and sizes, whether it be straight line, whether it be so-called, whether it be anything else. Hence, going to learn that more during the second half, I would say all of our Floral sketching as well as Painting. I'm going ahead with a five petaled flower. And you guys absolutely know that a five petaled flower is pretty easy. You just need to make a few lines and that's it. We are going to walk around with me five straight lines and in and around it, you would be placing your petals. Some of the petals of costs are behind and some of the petals are in the front. Hence, I would be laying the structure. As you observe me adding a tow vehicle. I'm going ahead and using drafting pencil from Monograph. And I guess this is one of the good pencils that I have discovered over time that really helps me to paint in a better way. And I am now going to add more and more petals to my floral. Once this part is complete, we will go ahead and add our basics. Or you can see a bit of a structure for our leaf. Leaf is also very easy. It's rounded shape, which makes it way more easier for us to describe or paint. As we are not very well-versed with the initial part, but you can say, is that going absolutely freehand? And I do not say that you have to go freehand. You can go ahead and use anything that is comfortable for yourself and cool with the flow. Always use whatever you think is necessary to paint, whether it be pencil, eraser, but make use of your results and pencil less on a Watercolor people, as you might see, some of the grid bite marks left out. We do not want that because these graphite monks would show off as your watercolor medium is pretty transparent. Once we're done, but the leaves have removed this masking tape. Masking tape really access a great way to not allow your compass to go through or get into your paper. Because the people is one effect. She has some arches. It is great for multiple washes as many of you have this concern that we how can we use 1AD fact she has some people rather than 300 years since. Only one thing that you need to keep in mind that it has to be hundred percent cotton paper. Keep adding a few lines on this Floral and then add a few lines. These are basically directional lines that you can see of how your particular leaf is opening or where exactly your Floral is moving. That is, each and every pattern has a particular way of opening. And these lines really helped to showcase at an and petal width. Having said that, we need to add some stem. I always like to add some stems, the Floral, whereas they have these long stems, which you might not usually see. Sometimes I just go with a bit of my imagination and hand it as I want to Okay. I guess this is it. We are done with our first part. I would go ahead and start adding Colors. Now, the color that I am going ahead with his quarterly. Now, you can either go ahead with only in Indian yellow. I would leave that decision up to you. I have shown practically how you can use Arlene in, in yellow as well as Sennelier orange for all of these floral paintings. So, which is majorly how you can mix your colors and blend it together, let it flow on its own. I'm going wet on dry, so make sure that you work very, very quickly. Or else you might have some hard edges that we really do not want for this painting. The middle of the Floral gloopy absolutely like. And we're not going to add any kind of Colors into what? If even we add, it would be very, very light color or Four rolling or RAM, light wash of your shrunk, Indian yellow, whatever color is available with you if you don't have Arlene, you can also go ahead with lemon yellow. Lemon yellow is called bit more translucent. I would say. It is not as transparent as we have Arlene and hence some. I would ask you to go ahead with Indian yellow if you do not have this particular Orleans, follow. Okay, adding some of my Sennelier or incentive your oranges, a beautiful orange color. If you do not have this orange, you can make your red with yellow to get a color that is closer to this one. Why did we go towards the outside of the petal? We are going to add more of orange. And while it is towards the inside, it is going to be more of your yellow. I alternatively use my Arlene as well as Anemone yellow, but has told you earlier also you can go ahead with any color that is available with you. You should have sheets that look more similar to what I'm applying right now. Your first layer is going to be lightest though. We're not going to apply a lot of layers. In this case, it would be only three layers that we are going to apply and then we're done with the Floral. That's one of the reasons I have applied a bit more darker value compared to what we usually apply for other florals. Even adding some clear water, dropping some clear water really helps told. Go ahead and make this particular space look more whiter. We always use the whites of the people that is available with us. Let your paper dry off and then start adding the yellow or you can say yellow, green, whatever is available with you. I would even show you how you can mix your orally with your sap green or olive green, whatever is available to get a color that looks similar to the one that we are adding right now on the bottom part of the leaf. Keep altering the values of your leaf color. That is very important if you alter the values to great extent, what happens is that you will get all very nice and beautiful. Now why I say this, you know, all of these glands to occur in nature. And if we have a constant or if we have a light wash for all the parts of the Floral, it doesn't look more organic. And to make it look, the look and feel, you should be so much more organic that I like to change the values to a great extent, not only of the green, but also of the yellow, etcetera that is existing. I mix the colors to great extent and just finish it off. I am using a smaller brush. It is size four brush from cancer, Neil, you can go ahead with any size four brush that is available with you. You know that the size of the people is pretty small, which I'm using. It's just like any postcard which you have for yourself. You can paint as many postcards as you want. What does Aiken said? Use them as affirmation cards or gifted to someone. Eat them for you also get prints out of it. Whatever you want to do it. You can see, you see you do that as well as use all the learnings that you have in this particular series in your future. Paintings. Once we're done with our leaves fever, go ahead and work on the stem. I'm going with obiter falling on my brush and extending it towards the bottom. I will again do the same with the other part of the stem and extended towards the bottom. We will go ahead with some sap green or olive green, whatever is available with you and just add a bit of it towards the top area, as well as some parts of it on the bottom part. Okay, let's continue with our painting, but before we paint the middle areas, you can allow this Part two, completely dry off and then only work on your floral section. That's absolutely up to, you know, I don't think that should there should be much of an issue as we are going ahead with our second and third layer. We will go with our Sennelier orange, and this is bit more darker than what we have already applied. I am going to actually work on in the which full petals. Which means that each of these petals are going to really play all great role in shaping up the whole of the Floral. Most I would go head and some orange and then blend it with my background. Again, I will wash my brush and just blend it in the bottom area. Use some of my orange to add a few lines. Of course I use a lot in the OBS of my fingers to clear out any areas where I think that we have made any mistakes, etcetera. This is just like that. I do. Okay, let's continue with paintings. Some of the areas, as I've told you, wouldn't be darker in value and some of the areas would be lighter. I would leave part of the petals as dark and part of the petals as light as I want. Some of the areas to be shown as more prominent compared to the other areas which are not as prominent as you'll see some of the areas. And these contrasts really have to actually find each of the petals and a better way. Contrast helps to show that this one particular petal is lighter in value hand, the other petal is darker in value, which means that each and every petal has a particular way or has a particular shape, size, etcetera, which can be better shown this particular way. Continue with the same pattern of adding your Colors. You guys have also done this previously in the other paintings and I'm not going to hydrate a lot. I would just leave it up to you. Have the time that you want. Take the time that you want, I would say, and go pretty slow with this second layer. The first layer can be done very quickly compared to the second layer, you need more patients at this stage, we're not going to occupy the entire petal of each and every part. We're just going to add some of the lines and leave. The first layer has a purpose. We want the first-year to be seen, as I always see in my previous paintings to blending the bottom part is very important. We are going to show a few what those statements, so over there, stamens and Poland. So do not worry, we are going to add that later on. At this stage, our main focus is to go ahead and just had some of the darker, lighter values for the areas where we really want to show some lines and create the depth, light, etc. which we want for this painting. The contrast, etc. is going to really lit up this Painting tool great extent. Blending the colors is very, very important. So while you keep adding your layers to make sure that you blend your colors. And it doesn't look patchy or it doesn't look like as we have not worked around with it. Well, I want you guys to just continue working with your layers. Right now we're working with our quinacridone coral. It's a beautiful color. I would Stoli add some darker values. And next would be my compost. So proud they are a lot of Colors which I am using in this case, I'm going ahead with my size three round brush up DaVinci at this stage. You can also go ahead with size to size, one brush, whatever best is available with you. I'm to add more lines as well as some thinner and some broader ones. I'll few places as I always tell you, I like to blend. So keep blending, keep adding these lines to show that there is a particular direction. Keep on working with it. And I'm using some amount of my quinacridone coral If you do not have this color, you can also go ahead with red or any color of your pink. Now, you can mix a bit of red in your paint to get shade that is closer to the one which I'm using. I guess. That is it. We will continue working on each and every petal separately. Few of the thoughts, some broken lines. This is how I like to always walk through my petal area. I always check that whether my last layer is dry or not before I apply. My third layer. This is majorly important layer at the stage, as well as there will be a few lines that I might add up to this. So this becomes very, very important. Continue working through it. And then we will add some of our lines so to have a better look and feel, even on our smaller areas of the leaf. The leaf is not really important at this stage, we are concentrating more on the petals and the Floral because it is a floral class, whereas everything becomes or is important when you walk through full composition, which we are also going to do as we progress. So yeah, I'm excited. Let's continue walking through what and have a meet you on can. When. There is some more to explain. In the next stage. I love to add the contouring. The contouring really helps me to define the petals and a better way. So Abby has been defining, I know for quite some time now. But at this stage, even adding the contouring really helps to a great extent. While you are walking through the contouring part, I would ask you to add a few more lines here and there wherever it is necessary and then use some water to blend your colors. Go head on the left part of the petal as well as on the other parts of the petal which you absorb. Hi, go with a bit more darker value in some of the box because that helps me to add the contrast which I need. I always say contrast is a very, very important aspect when you want doing a floral painting. In fact, not only florals, it's a very, very important concept to create the depth which we need for any kind of a Watercolor Painting, even for your urban sketching, I think contrast becomes very important aspect. Continue working with your compost opera now, composite graph is a very beautiful color. If you don't have this, you can also go ahead with crimson. Again. I am adding some dots and some lines here and there. Once I've added the dots and lines urine that I would go ahead and paint some smaller lines. As you observe, I take a lot more than I would have thought to add in terms of the pink but Colors and nice. Wherever I feel that I have added more, I will just pick it up with the help of my damp brush. Now, damp brush picking up technique is always great. And it's time to add some of our fallen snow. Yeah, I'm going ahead with my another sheet and it is Indian yellow. That's one of the reasons I told you to keep the middle portion absolutely light. As I wanted to add this particular shade for our Poland's. I will go head width, my brown sheet for just gone to bring these Poland's a bit, but it is very, very less So. I'm not thinking much while I contour lines, you are in there. And then it's done. Fine. You the darkest value of Compose Opera, I usually mix of very, very light value of Portland too wet to add fees some lines 123 and then even break those lines a bit here and there. It is necessary. So that's it. And we will continue walking through each of the petal for these lines For any kind of lines that you paint, it's important to go ahead with very thin brush rich people who are pretty much used to working with. Now at this stage, this becomes very, very important. If you are working with any brush that you one not very comfortable with. What happens is that you might get some broad strokes which you really don't want. Always be more happy with the brush that you use. And it can only happen when you have worked pretty extensively with that brush. Hence, ending everyday becomes very important for anyone who was working with Watercolors. See, this is something that I have learned over the years that Watercolors as a medium where you need to work every day, ordered some kind of skills that you actually add on to your existing skill set. In watercolor is only refining those skills sack. And if you don't keep on adding more than what? I would say, important points, like what we discovered when we start. We are initially only well-versed with some flat washes, etcetera. Then we start mixing the colors slowly, steadily we develop on those mixes, and then we start adding layers. If we don't even work in Layers, there are many times that we work only wet on wet, but that also happens and livers and how we actually East through all of it only happens or you get your style, you get your voice of watercolor once you keep working toward its not that I was always like this. Do my florals or I always knew the florals very well, but slowly, steadily as I progress through each and every day of Watercolor Painting. I think I just loved painting more and more florals and it is pretty regularly that I have been doing now. And every Painting is to front. Every Painting has more learning coming up and you can see it your self, how we have started with Anemone and where we are right now. It has not only help you, but it has also helped me to a great extent in terms of how I worked through each and every Floral, because it's not so easy to have a particular skill set. Whereas if you start or work through it on each and every day, you start adding so much. In terms of learnings as well as new techniques that you learn on your own. So I think this is something that is unparalleled. The more you paint, the better it is. So I cannot explain this in better words. Just continue with your painting and I think you will eat through each and every part. Okay, let's blend some of the parts for our top area, which is majorly our green. And I am so much in love with the green that you also mean hiding over here. Okay, cool. Great. Let's continue adding it. And as we progress, I will break a few lines here and there. Add a few longer lines and a few shorter lines. That's it. And we are close to being done. We have to add the number of colors that we are going ahead and using for those Painting towards the bottom area. As well as I will add the name. I love to. Actually, my initial love was calling to see, but somehow watercolor happened and I was so much into Watercolors that I could not concentrate more on telegraphy, but sometimes I do love to add lettering to the florals that we paint. And hence, I thought in this series I would be adding more and more lettering to these small and beautiful florals which we paint. Okay, continue with some more contouring and few of the paths I have added a bit off our compost valid. And then I am adding these smaller dots and lines CRM there. It's simple, easy, and I hope you have enjoyed today's lesson a lot. I did enjoy painting this florals so much. It is so quick, easy as well as so much appealing to any one or two, every person who is painting along with me. Okay, continue working through it. And I don't mean to again, when we are on our next day, that is letter. Clean up all the graphite months and have a final look at the Painting. 36. O Ohio Spiderwort Colors: Let's have a look at all the colors which we need for our painting. The first is my oral link. The second would be my blue hand. That blue is particularly ultramarine. You can also use a mix of your ultramarine as well as some amount of a low blue. That's an option which I would leave it up to you to exercise. Then we have our compost valid and sap green. You can mix a lot Colors to get various other darker sheets. Okay, let's start with our painting now 37. O Ohio Spiderwort Painting: This time my letter is all and I'm going to paint Ohio Spiderwort. Yeah, we are going to convert triangles into beautiful So roles. That's what all I can tell you right now. Let's go ahead and forced draw two triangles. Of course I have not tried to make it parallel. And the shape and size is not like those equilateral triangles or something like that. Draw as you want these triangles. And then we will convert them into three specific petals. Okay? I have taken, are really small scale. I've been using this scale. You have seen it very often in most of my paintings as this particular portion is really small and it is important to use that small space. I prefer to use smaller objects, in that case, going ahead with our line now and then I will just pick up a middle point. Once I pick up a middle point, I will draw three lines. The are mostly from the middle and it ends towards the corner. Same way I would be even working on my left side of the triangle. I am going ahead by making a few petals. This is basically go off line that joins the top area. Now, all these three petals that you are going to draw need not be equal. Or even though petals in terms of the curved lines can be. But we still want to keep the randomness that we see in the nature. And I want to use that randomness into my painting to practically show the Floral. Now how we go ahead and do it is something that is very, very important. Right now. As you progress in your journey of watercolors, nature is something you want to show or you want to paint. I guess this particular point comes very important. Even when you are working with geometric shapes and sizes which look very much like lines, triangles, circles still, you can capture all the randomness by using different kind of group gerd or various lines, symmetry, etcetera. They will not be any symmetry, but you can use different aspects of your own freehand drawing to create that randomness. Anyways, we have talked a lot about it. I guess I would go ahead with my second triangle. Now, in this is a bit smaller than the triangle which we have already made on the top one. I am going with my smallest of the triangle as often now. And then I will go to the other petal that is on the right side as well as on the bottom left side, I guess, right now, you exactly know how I do it. I use my eraser for a few of the parts where I think it is necessary. And then continue with my Floral Painting. I'm using my '80s on now to go ahead and remove any extra five marks. I always use my erasers for a moving truck or five months quarters. What happens is, since watercolor is a transparent medium, you will see the five months coming up are showing up all together even after you have painted or particular white area. Okay, that's great. Now it's time to go ahead and add of fuel leaves, as well as some of the buds in the areas where you absolve me, I felt these are very small, but in fact, the florals are also pretty small. It's just that you are seeing it much bigger way I would sink. And I will continue with some of the lines to show the step. Some leaves on the right hand corner and some leaves on the left also be, would be adding. But before that, I will just work a bit on my stem. I'm going to extend it till the bottom and then leave it there. You might have to go ahead and broaden it a bit. I use very light mass of my monograph pencil. This is basically, well, I mean, drafting pencil, which can be used to when you are sketching. It leaves really liked maths and that way I'm to add some Poland's now on the left side also, I will add some Poland's as well as on the right side, I will also add a few bullets. One thing that I need to tell you is that it would be only four to six Poland's that I'm going to add. And secondly, I will apply my masking fluid on top of this Portland area to keep it preserved as have to get back to it with my yellow color. Now, I would be using oral in yellow in this case, you can also go ahead with Indian yellow or any other yellow, dominant yellow, whatever is available with you. You do not need to think twice before going ahead with the yellow that you want to use. Time for some of these beautiful small ideas to be covered. I enjoy every step of my painting. And that's one of the reasons I guess so. Painting really gives me all fills my heart with a lot of happiness. Let the spot dry up completely. And once it is dry, I put the chew how you can go ahead and paint your petals. Basically two ways of painting your petals. One is we will move ahead, apply some water, and then start adding your colors. This is your wet on wet for we can go ahead and paint. Another one is wait on Drawing that I would be teaching you in the next floral. So that is just add sent to the one which you were painting right now. I'm taking a mix of my ultramarine blue. You can also go ahead and only use ultramarine. That's a choice that I would leave it up to you. Now, I have practically mark the only ultramarine as one of our major Colors. But taking a mix helps to avoid any kind of granulation. So I don't like more of granulation in this kind of Painting, whereas my ultramarine is pretty granulating is French Ultramarine from the brand Winsor and Newton. It's still artist grade paints that I'm using, which is Winsor and Newton professional one. And hence saw, you might see that the Colors do granulate, sometimes. Just trying to avoid that situation for my florals. Do I love granulating watercolors? And I have class where I have discussed more about granulating watercolors. It's basically about meditating with Watercolors for 14 days. If you want to go ahead and check out that class. It's an amazing one who can see monochrome Watercolors. You can go ahead and check how we are working even with granulating watercolors, there are lot of Colors which we have used at mostly it's to deal with from monochrome to limited palette that soul we are using Macs, three Colors, Scarpia using for anything. Anyway, let's continue with our painting. I will mix a bit of our open at any point in time where I need. You can also called as bright pallet somewhere it's called as compost. There are a lot of names for violet Colors as the army doubt of different pigment urine there. So just check out the color that you have, how it mixes with your Art, Romanian, etc. before you go ahead and paint, this is my palette and I know my valid pretty well. That's one of the reasons I have been working with this palette. And know that they will be no granulation at this stage. Okay? You have to take care that the darker values we're only adding on the sides are dropoff here and then I am working wet on wet though this is mostly to do with wet on dry. But really I wanted to discuss this technique with you. So not giving it a miss, I don't want any of you to miss anything and hence, just choose a very small flow rule to show this particular techniques. Anyway, go ahead and make a few lines on the wet surface as you absolve me adding it right now. But do make sure that there is not a lot of water on your brush. It has to be semi dry or you can even pat dry on a tissue and then apply it on your people. Adding some water. Again. Of course my water has turned a bit purple, I can see. And then I'm going ahead and adding some of my blue on the corners. Of course, the water will do its job and you're paint spill move around, let it happen on its own. The paints that I'm majorly use is from brands like Winsor and Newton or PWC on my journal machine code. Now, PwC moves a bit more compared to micelle Amish cord. And hence, I sometimes prefer Magento much more than PWC to all these. If you're paint move a lot. What happens is that the colors will move so much that the whole part will become blue Which we really don't want in a small painting like this. And hence, it's important to know these few important factors about your page really, really well. So as you progress in your watercolor journey, you will understand this more and you can seriously have a much, much better outcome. Going ahead and adding a few more lines, you will see I go pretty slow in this process. I think I wait, and then I move ahead with it. It's an absolute real-time video. You can go ahead, follow it. You want to pause it at any stage, you can pause it and continue painting along with me. Now it's time to discuss on our wet on dry method. What I usually do is I will apply some of my Colors and then blend it with my brush. Now this brush, I did wash with some clean water or whatever water is available. Again, go ahead and apply the colors on the side and blend it with locked to your water. This is one of the ways I will show you in non-dual way. I am forced applying the Colors and then I will go ahead and blend it with water. That's another week. Anyway. There are various ways in which you can paint. It's just what works best for you. All these techniques are done for your from input. Or I can say that it really empowers you, would the knowledge of working around with your brush paints, etc. and with water. But what you really use in your painting style or how it works for you is only with practice. And once you start painting all of this florals on your own, then only it will come to your particular equals orals. It might be really, really tough for us to gauge to the fact what works best for us. Hence, I always say it's important to be there and to start painting. That's something I always, always preached to each and every person who has been following my classes. Okay, let's make some more lines. Lines freely help us to see the direction of your petals. And that's one of the reasons you have seen me adding lots of lines, even in my audio paintings. This petal is still wet and I guess you can add some of small, small details. In this case right? Now, I'm going with my smallest brush that is size zero as caught up brush and adding a few drops off our darkest value in some of the areas. You can use this technique even for painting hydrangea. That's another Floral. And I guess you would love to work with this technique as it requires less hassle. I mean, it's really hassle-free kind of a technique. You apply the Colors and then blend it with the blending brush. That's if you need to do some of the areas which are still wet, you can touch it with darker values. And you can have three separate brushes for all of these exercises. That way you are solving your own work and you can get through the thing very, very quickly and easily. Okay, continue working with your darker shade so I will apply it on various areas. As I keep touching this area. I hope you are also Painting along with me and enjoying the process. I am especially really happy to share this Painting along side all the other paintings that we have done. This is a bit more and once compared to the ones that we have discussed till now. But having said that, I guess this is something that will really help you to use your floral paintings. So in a better way, continue working with your blue. You can go ahead with any of your loose. In this case. Some people even like to use cobalt blue, I would be the decision up to you if you don't have ultramarine, you can also use go back to, this is a more closer look at what we are trying to pink. You can add some of your values like this. I'm using a size three brush DaVinci. I have added the Colors and then I'm going ahead and just blending it with my same blending brush. So yes, that's how you work through the individual petal. Adding a few drops of darker values on the left as well as on the right wherever it is necessary. We will even add one single line from the middle. That's absolutely okay. Continue with some of your darker values. That is by adding some pople into the color that's already existing. Some more magical aspect. Let's go ahead and add a bit of your burnt sienna into the petal. The petal is already wet. What I'm trying to show is some kind of I would say every petal is not perfect, right? It cannot be all correctly, blue and purple, etcetera. There will be some beer and tear on few of the petals. And we want to show those bots in our painting. And that's why I have added this. Okay, going ahead with our yellow, green and adding Colors on to our step, as well as on our body, we are going with a pretty flat wash. In this case, I will add some of our sap green as we progress. It's not that you cannot do it. You can do it. You can actually meet this kind of a color by mixing some amount of your orally as well as some amount of your sap green into it to get a color that works best for you. Practically this whole painting can be done with me, Julie, three colors. That is your ultramarine or lean and Sapling, sorry, for Colors in total, that's what you need. Okay, continue adding this color on the top-right corner of your leaf, as well as on the top left corner of your leaves. I'm mixing it with some of my blue and adding the color. I practically use all the colors that is even available on my palette. I don't like to always go head and just squeeze out more and more paints for our painting. This is something that you can also use for your paintings. Use the Colors that's available on your palate. Don't let it go for a week. I didn't show you how you can only work with overline. Now, this is Arlene and a bit off for your blue and the width. I am adding it on the top left corner of it. And then again, adding some more blue into it to get caught darker shade like this. Okay. That darker shade I'm even adding on the right-hand side, picking up some of my darker sap green color and then adding it and drop by drop on few of the areas. I do not like to add it on all the areas, though. I have taught it in the similar way when we were working through all the other florals. But in this case, it's a bit special. And I wanted to explain some more new techniques. Though. I have explained you wet on dry in a great way. And I think that wet on dry is really, really forgiving. This particular method, really need some more concentration and it leaves you with less opportunities to make any mistake. That's why I like to only keep it restricted to few of the florals I did not want to introduce and the initial BOD and I wanted to keep it for Rome had wants as we keep progressing with our florals, I really wanted you guys to try this out. Some lines on few of the areas just to show that there are a few lines on. These are basically though, once, which are the petals. So adding this depth is very important at the stage. Ok. Now this particular leaf is actually showing the backside. That's one of the reasons I have added some of my darker blue color. You can go ahead with your ultramarine, mix it with a bit of your sap green and get a color that's darker than the sap green which is already existing. Adding some more depth on the stem and even on the areas which is in and around the but we're not going to touch the bud right away. We will touch it a bit later. Good. A shape that is darker than Sap Green. I even mix it with my poeple. That's absolutely fine. You can always do these small, small mixing and matching In every stage wherever you want. That leaves you with more color options as well as you know that this is how you want to add more and more oaky switching to our smallest brush that aside CDO and adding a few lines on these smaller areas. Once this is done, we will go ahead and just add some of our lines even on the board that we have not worked on till now. Lines, I guess, are our best friends for this particular painting. I wanted to switch my brush off course, this is a really, really small space and without size zero brush, I could not walk on it very well. So yes, that's it. You can even make it on a bigger row space of A4 size paper or something like that. If you are not happy with the small postcard size, that's absolutely fine. Use A5 size people. That's also great to all those things can be done. At this stage. I will just remove the masking fluid which I've applied and going ahead with some of my oral linked to add the colors over here on the space that we did not use and we did preserve with our masking fluid. Then we have to make the statement of these Poland's that we are adding. Now, I will use the darkest value off my Poppy to add those statements. Just fill up the whitespaces and use your smallest brush to add some simple, simple small lines. We've done all the colors that we have used for this Painting and the DAO we are done. I hope you have already fallen in love with this Floral. If not, then try it yourself. I have a meet you tomorrow with beautiful Paeony Floral Painting. 38. P Peony Colors: Let's discuss all the colors which may need for this painting. It is quinacridone coral that is composed or per hour compost violet, yellow, green than right now, I have sap green. You can also use olive green. Now next option is either you get, go ahead with when Nike Green orals, you can work with the forest green or any other dark green that's available with you. If you don't have the dark green, you can go ahead and mix a bit of your blue into the sap green to get a color closer to this one 39. P Peony Painting: Hey guys, so we're starting out with our little p.sit. This time it is a Peony I'm going with, because circle and as ball and socket, I have already added it on my painting. As you guys know, I use a compass for adding these circles. You can also go ahead, use your compass for these circles, as well as tomorrow, when we paint the letter Q, you will know how exactly you can not paint a circle and just have to cross lines and then add your raw florals with the help of that. So, yes, there are more ways that I'm going to teach you. But for today, we will take the help of the circle going ahead with our background petals, which means the ones that are far away from us, as well as our foreground petals, which are more closer to us. Units have a lot of petals, as you guys already know. And here also we are going to mean quite a number of petals. Of course, but not like a huge are a lot of them because that is going to occupy maybe our whole of the space that we have over year. We do not want to give away all the space. We want to add some greens two, and hence there would be about nine to ten petals maxim that I'm going to add. And mostly we will be working in detail for the petals which are in our foregrounds. Now foreground is where I want to concentrate more and then work on our other parts of the background. Going ahead and just changing the left side of the petals and adding some green parts to it. Of course, it is mainly the sepal. It's mainly the ones that really helps to protect these petals inside and they open up as the green of the petal. Of course. So we want to show all of it for this painting to, going ahead with some parts of samples. Now for Peony is the sepals are a bit larger and hence we will be taking care of that in the particular way it is. Or it usually appears in nature. Nature is the most important aspect when you are Painting any kind of florals, whether it be your Peony, your crunchy, or any other florals that you have in your mind. This is more of wet on dry method of class. So we are not going to wet the entire area and then go ahead with our colors. We are going with our wet paint on the dry surface and then blending it with the blending brush. Now, mostly what you will see me working on now from this particular Painting is going with our dry technique, but in a more wet. So it's a mix of your wet on wet, but not exactly what own where it is so wet on dry yet it will give you a look and feel of wet-on-wet. So that's what we are going to learn as we progress in our journey. I know this might be one step ahead of what you have learnt. And now, and in your last painting, you have learned two ways of working on a battle. One is wet on wet and other is wet on dry. For your Ohio Spiderwort, high will be using those second method. What you learn in this Painting, amphi, I'll floral, I think things are really important and I love to add each one of them. So I would go ahead and add a few leaves here and add my stem as well as towards the top left-hand corner, we are going to add another leaf. Now, you can say that. You may are also say why we are working so much on leaves and we have to concentrate more on the florals. But a bit of greens really add that X factor, I would say, or it makes the painting looks so much more lively and so much more enriching. It gives so much more depth to your Painting All of these, so add-on together which you get with adding the green 3D. Actually, it motivates me to add more of it in every painting that we do. I think it's something that you need to go ahead and paint even in your full compositions. I would be coming up with another composition very soon. It's one of the other compositions that I painted, but I was not very convinced with it. So might have to go ahead and again painted before I, of course, uploaded for each one of you. Once I'm done with the sketching, I will go ahead with my quinacridone coral that's up to full color. It is in-between any kind of pink or orange that we have. And I really liked this one. You can go ahead with any shade of your choice, which is closer to the one that you'll solve me using right? Now. Again, as I have told you, it is a wet on dry method. I'm going ahead with my paints post, and then I will wash my brush, pick a blending brush to blend the colors with the background. Now, this blending brushes usually brush that has, which is majorly damp and it has clean water in it. Or you can have an absolute clean brush to do this exercise. Blended, blended, blended. And then you can go ahead and apply some more Colors as we continue adding more and more Colors for our Peony, you will also how the whole painting shapes up. Something what I have always liked about Watercolors. Add these watercolor bleeds. And I felt I am pulling the paint towards the top here. These car from some of the exercises which is basically wet on wet full process. Of course you can even do it as you people are still wet. But if you are not well-versed with Watercolors, I think you can simply go ahead with only Colors just in threes to become more and more darker from top to bottom. Whereas if you are going from bottom to top, as I did, you can apply the darker values and then go ahead with the lighter values as you approach the topic. Okay, continue working on this particular space. And then we will move ahead with an auto pep book. You can also use your thin brush like the one I did use. Now, it helps to not only control, but it also helps us to really have less color on our brush and move to Colors and a better way. Again, I am loading my brush with some quinacridone coral. This is my size two brush from the Vinci. And then blending the colors with the help of my size four brush from the vinci. I am going from the left side towards the middle of the fourth. Now, if you observe the pattern in which we are going to paint the florals is from darker to lighter gallium. And I'm applying my Colors on or dry surface as we progress. Of course, you will have the contrast getting added on. So there will be lighter or darker values which will really play a great role in your Painting. Wherever you think that you can not work well or it is darker in value, I just go ahead and apply some clean water, would remove the colors from that particular space. This is all very quick, easy, and great way to remove any kind of Colors from the ED on that you'll want I'm now working with my thought petal, I usually don't like to work on and the sand pebbles. But there are times where I do because you will see me doing that in the next storm. Floral painting. In that way you should have a great control over the water that you are applying. Now, the moon quarter you apply, the better is your painting. But with that, you need to understand that your paints me flow from one petal to another. So controlling that is very important in that case. Okay, continue adding more and more clear water. You will see I will just dip my brush and then again, get back to the please swear I have to add some clean water. Wherever I need to add some more darker values. I will go ahead with my nozzle brush to drop chest. Small, small drops of the colors here, I'm there. Okay, it's time to blend the colors more and more. You know, this is one of my favorite exercises concept is blending. It helps me to bring this painting to live, to be frank, this whole exercise of color transition, that is from darkness to the lighter value is not so easy. It takes a while. And that's one of the reasons I have pleased these kinds of lessons. Towards the end, there will be a starting out with the dry paper altogether. And then we're going ahead with how our wet paint on top of it to give dark shade, using some clean water to blend it as you observe me doing it right now. Some of the areas, of course, you get up closer, look at it and few of the areas I have just given a complete took. I hope you are enjoying this be one. It is very, very close to my heart to be frank. And I cannot tell you how excited as well as how nervous I was while I was doing this painting. As I really wanted each one of you to understand everything in the one only thing that you need to work on is each and every petal is different and you have to highlight the contrast as well as the various shades and how they are moving around. Some of the areas are lighter, some of the areas are darker. To show this light and dark effect for the depth, as well as the contrast, you just need a bit of understanding. I guess that is it. Then you are good to go ahead with your painting. Let's go a bit more in detail and then add the colors, the other petals. Now this petal is a bit open and towards the top. The other petals that I'm going ahead with will be in the middle. Of course, I am just changing my drawing of it as it was not very correct in terms of where I wanted to apply the colors, which particular middle area will be absolutely duct. So all of that, I'm just trying to add a few more lines. That's it. Once these lines are none, we will go ahead with the darkest value in the middle ear. That's the best part. The darkest value is usually in the middle. Whereas in all my other paintings that you would have seen, and even in the next Painting, we are going ahead with the lightest value. That is some yellow or some other colors. For the middle portion. There's a constant way in which we need to go ahead and keep adding our Colors. For this watercolor wash in the area where you absorb that there is lighter value. For the other petty, we will get some of our darkest value in an add-on bit to show the contrasting areas as well as to show how the petals are different from each other and how they are overlapping. This is a very, very important process and you should not miss it. This will be all great. Use to yourself. Whenever you are going ahead and doing another painting of your own I am picking up a bit of a darker shade and then adding it over here for the foreground petal again. Of course this is a Art which is there in the foreground petal and the other is majorly to make it more and more lighter. Continue adding the lighter values as you progress. And then just wash your brush. Of course we are every time.com brush with the darkest value than washing our brush and adding the light of value. As you continue to work towards the middle area. I'll go paintings that you have done along with me have been like 234 petals. I practically did not want to introduce multiple pet will accept Aragon. Now in air gun also, you do not have a detailed multiple petal kind of Painting. And hence, I kept this Paeony towards the end. You will gain more confidence as you progress. That's one of the reasons every class when I give, I say that always move from the start towards the end, do not jump lessons because I usually organized my lessons in a way that the toughest ones are towards the end and the easiest ones that towards the vaping. Once you keep progressing, even if you are a big no, you wouldn't be able to get this if you have taken the initial view Watercolors sessions that I did give you the initial few letters that we did. If you have taken the composition, It's an added on advantage for any painting that you are going to do. I would be using some of my violet. Now this is compost violet. I'm mixing it with some of my compost or para to get a valid which is majorly like red violet. You can also have red violet for yourself. I am reading the space. Again. I did all the apply some of my water. And of course this is the second layer that I'm going to add. I want to keep an absolute wet on wet fulfilled right now though you can again too wet in the similar way like we did earlier, that go with your lightest value or you bow with the darkest value in the bottom area and then moves towards the lightest value with your water. Now, water is your best friend in Watercolors. As I always, always say, Watercolors thought with water and then comes follow. So you have to keep working with more of your water. Having said that, never add lots and lots of water on your paper, it will make puddle. And that puddle will literally flew around here and they're everywhere, which we don't need for any kind of Floral. As you progress, you will see how I am blending my colors. Now. I did tell you this even initially that I don't have my wet on wet method in this kind of a Painting. I love to go wet on dry. Wet on dry actually helps us to play lot more and it is a easy way as well as it is way more relaxing. Rewarding. You have chances of making arrows still you can cover it. So that's the best part about working wet on dry. I feel that it is way way better than wet on wet anywhere I go wrong and wet on wet. There is really less wait to come back or it is difficult to come back in those scenarios. Going ahead and adding a few lines on the wet surface, you will absolve me using a very thin brush. At this stage, the whole of the Painting is very small. And hence, even if I am going with my second layer, it's important to use a thin brush for adding the darkest value. Or else the Colors will move around a lot and all of your paintings will not come together well. Finally, working on the left side or the left petal You have seen initially also that when I was doing it, I went with my darkest value. And then slowly, steadily I use my blending brush to blend the areas to make it really light as you progress towards the top area. This is the similar way I would be working on even for my second layer. Though here, you will not also the layers separately or together. But every layer has a lot of role in terms of your building up off the floor. Now, there is a base layer which is very, very important. And then there is of accent layer, which usually each one of us AD or you can sell it to, which usually gets added. Now for me, there are four or five layers that you can add, but it is not required venue have smaller paintings. If you are working on really large Painting where you can go ahead and experiment lot what I think, then Layers make a lot of difference. And you can frankly walk with light and shadow to all great extent. Adding some more darker values and continue with the spot. You are happy. And you can see how I also continue painting all the pods before we add or go ahead with our grids slowly, steadily. You will see that each of these petals will have so much of a role to play in the whole of Painting. Let's create sag that I've been telling you. Okay, going ahead with our darkest value, this is majorly my compost cooperate and I'm going on the darker side. You can absorb as well as I will blend this area that we, what happens is the petal that is on the opposite side can be seen very, very well. So that's how we actually create contrast and depth in any kind of floral painting. I would be doing this more often as we progress, you will absolve me. That's one of the reasons I have been using smaller brushes yet. That's actually the reason. So let's continue and I am going with my doctor's tomorrow. As we progress with our darkest value, we will even blend a bit of power, quinacridone, coral, and to what? To get some of our various values of Colors which we always see we should use for any floral painting. This is the middle portion and it has lot of shadows. That's one of the reasons it is pretty dark in value. Come back to the other areas which are lighter compared to what also over here. This particular Painting is going to help you actually learn the exercise of blending in a week. Now, every time we do not just go ahead and blend Apollo's with the help of for different shades on first we apply water and then just go where it with darker values to give a nice blending and you'll get home beautiful shape. That's how it doesn't bulk every time. We have various ways of making it work. And I guess to this particular painting, you will understand it in a better way. I want to tell you for florals, every petal is important. Feedback needs to be seen and every petal has a story of its own. If you'll do not concentrate on one particular pattern, you might miss out a lot in terms of the column shade values that you should live for that. So do not think that any petal is less compared to the ones that you have already painted like our foreground pay is way more important that we do. The petals that are far away from us. Or maybe in the background, that's never the case. Yeah, me, the background pedal is a bit less important part. Your foreground petal has a bit more story to say in the story to tell him that day, but your background petals are also equally important. In a Peony, every petal has a lot of flow just like hydrangea. Most of the petals have a great and important role in that case. So yes, treat them equally, treat them more width. Lot of loving kid affection. Use your brush to paint darker, lighter, as many values as you want to make it look organic and beautiful, nice. And believe me, once you, this painting, you would be so much super proud of yourself that I can tell you. Yes, it's time taking, I will not deny. We might lose out on our patients. That happens even to me. I always take a break one side that paint some parts of this floral. I just took a break for five to 10 min before I went ahead and completed the Painting. As that is so much that I had to concentrate on for this painting that I literally needed that break orals, maybe the whole Painting will never work out what something that's important to keep a watch on and to notice, oh, great. I guess now we are almost at a stage where we have to apply our greens. I will go ahead with them mix of our Floral and a yellow-green. Now, these two colors, really good, oranges, kind of ashamed, but it's important to go ahead with this kind of a shade. And along with it, there will be sap green that we are applying. Now. Sap green is going towards the bottom area and then I have to blend it with my background. Once we are adding the sap green, you can absorb that. We will get shades that are the ones that we have applied, as well as some of our lightest value of sap green compared to what you are applying. Now, What's, what's the sides? I'm going ahead with the 3D matching dark shade, as well as some of the areas to there. It would be ductile compared to what you will absolve me adding in the other areas, continue with this doctest value towards the top part, few other areas dropped a bit of your sap green and that's it. We will clear out the areas where it is not required with a damp, clean brush. That's a great way. Always remove the extra things that you have added into your Painting. I'm really excited about the greens. Now. The green saw helps to elevate the beauty of a particular painting. I would like to use only those sap green mostly in this case, though, I will not say that you can not use so greenish, yellow or yellow, green, but more of sap green is being used in areas where you absolve me adding green. Though there is even for a screen that I've used are not denying, but in the sepals, mostly the sap green and the yellow-green. Okay. Going ahead and finishing off with the other areas, I do switch my brush pretty often and I keep deciding on my brushes. Which one to eight, which one? Not. As these areas are really small, I do not want to make any mistake at the stage that 11 of the reasons to not not make a mistake, even pick up my brush. So yeah, continue working and continue adding your Colors as you progress in when on the stem Once you add the color on the stem, go ahead with some more darker value, drop that darker value. I'm using my forest green for the darkest value, though, you can go ahead and mix some ultramarine to into it and then get all doctest value of green which you want for this painting. I am not going to add the darkest value to the whole of the stem. I would leave some of the pot in my sap green that I've already added and some of the pod is basically in my darkest value of green, which is Forestry nerve and it Greenwood if he's available with you, you can also make up this color, as I did tell you all you. I always laugh mixing up my Colors and that's one of good reasons you will absorb me Painting lot of yellow and green. Sometimes it's just the orally and the blue that I use for my whole of the greens that I wanted to. I think it's a choice that you make for yourself. Whether you want to go ahead with the Colors that's existing on your palette, or you want to prepare your own sheets and then go ahead with it. Now with your own ****, the only challenge that license that you might have to prepare in good quantity and that we might go ahead and wasted because we don't know that how much we will need while you paint. We're never sure of how much we are going to use it. The whole of the painting like this Painting needed lot more of the corals as well as the compost or pro, compared to any other color that we have made sure that we have used for the PebblePad. The greens are also lower compared to all the other sheets that we have used for the okay. Continue with the process of debating and do not leave it at this stage. We are just for five-minutes away from completing the Painting. And believe me, you guys have already made the Painting. Most of the difficult parts of the painting is done. It's only the easy part which is left now, I think the green is just to clean and I don't like it. I might go ahead with some of my sap green or yellow green to just add that flavor into the darkest value of green that I've added. That's one of the reasons I see to add your blue into the yellow that we have and get the green that you want. Rather than now what is already available with you? The greens are available with you. There's not much to play in it. So we have to keep adding all the other colors to play with it. Okay, Great. I guess I am happy with the left part. I would just go ahead with the right-hand side and add a bit of yellow, green, and orange, some yellow into it. Once. I have removed the darker value, I have right now adding it, but yes, I would be removing it from the top part. I will use my damp brush to do that process. I have done it much in the bust and I use it as very, very good way of removing any its droppings from my paper whenever I need it. Okay, cool. I guess you can continue painting along with me at this stage. And we have to complete a few more paths where we will go ahead and add a darker value like you're doing right now. Add a few lines on this. Leaf, has well as some on the left hands, I wonder. You will see I'm using only blending as my method had the stage that are only highlights that I'm adding for this painting. I am not changing anything more. So yes, whenever I'm adding the darkest value, I love to blend it with the background that I did create. Once that part is done, like your painting dry out completely and then only write Peony or add the sheets that you want to for the top area. I love to always add my shades that though I have used for the painting, because that really helps me to keep understanding of what I have Painting and how I have painted, as well as what are the colors which I need even for my future paintings for any Peony. If I like it, I know that these are the colors. If I don't like it, then also I know give these other colors that I should not be using. So it's a great reminder that way. Some more highlights in few of the areas. And then it's dumb. I'm to create the shade card that I did tell you. And I'm adding my sap green as well as I would be going ahead with evil. But Nike green are the darkest value of green that as far as doing whatever is available with you, just add that, remove the extra verified false wherever it is. Tesserae. Have a look at your Painting. I know you're already in love with it. See you tomorrow with the next letter. Q 40. Q Qince Colors: Let's have a look at all the colors which we need for completing. So painting the first is my oral lean. I am going ahead with Arlene oils. You can also go ahead with lemon yellow, Indian yellow. These can be the shades. Going ahead with my Sennelier orange, quinacridone coral. One codon coral is a beautiful shade from Daniel Smith as you all know. The next is my compost operon. You can use crimson or any other color for the shade. Then further for darkening of your spaces. I will go ahead with my purpose. This can be composed violet or any other color of your choice. Sap green and yellow, green 41. Q Quince Painting: Today we're going to work with lines. Now, many of you might think that why not so good the way we did audio. But I want to also tell you if it's supposedly that you don't have any kind of so close or unbiased available with you. You can also use a scale or simply use your room straight line with the help of your freehand line drawing and then start this way. So we cross two lines. Then I to denote some of the areas where I want to actually add my petals in between them. I'm going ahead and adding my petals. You can see it pretty easy and simple way I go ahead with the toy. Now, some of the petals, of course, are cold, which means that you can see the other side of the petals two. And hence when you are drawing these kinds of petals, you need to be a bit more vigilant that the top layer has to be a bit smaller compared to the bottom layer, which would be a bit more. First of all, the size of the battle is not going to change to a lot extent, and that would medially happen in the foreground. Petals are which are closer to us, whereas the petals that we are drawing right now are on the backside. And at that point in time, you might not be in opposition to see those petals called etcetera. Hence, why you draw all these things in a very natural and random main thing. You need to keep small, small aspects. Nature, florals, etc. in your mind. Continue with your drawing. The whole of the Painting is absolutely your time. You might think that it does take a bit of time because we have added bit more elements compared to what we did polio. We have not only focused on the Floral, but we have added a few parts as well as there is poor tree branch. I'm going to teach you how to work wet Antoine, along with it, we will also do a small part where we work wet on wet. And you will see how things work a bit differently in this case compared to what we have learned Codio. Now, every painting that you are doing is a bit advanced and what you have done has two last one, having said that, I will allow you to relax a bit as we progress in the process of painting. But yes, it's going to advance a bit more from your and then stay at that level before away to weekend. I guess. We're not much far away from the end now. I'm completely enjoying the process of this Painting as there are so much that we have covered and there's so much more that we have to cover along with it. Continue with these small progress and everyday you paint, it's a small win for yourself. It's like you are giving wings to your own self. Why? I would say you are focusing on something that might not be your daily routine or that might not be what you are doing regularly. It's majorly giving away to your own creativity. And creativity is all about learning as much as you learn, I guess, you continue to reap the benefits once you start on your own compositions, etcetera. That's something which I always say to every student of mine or to anyone who approaches me. Everything that you learn over here is just your learning hand will have to use these learnings in your final future paintings that you have to go ahead and do. What else DO whole of the process of this learning will go for it. So that's it. I guess. This is all I wanted to tell you. In the process, our sketches almost ready. I did lighten up the graphite Vmax of it. It is pretty transparent. The whole medium of Watercolors and don't want to introduce lot of dark colors in this case, I want to keep it warm, bright, sunny as well as though I know for has already started in few of the places or you're waiting for just the fall time to come. But still, I want to feel those summer vibes and those summer vibes come with a warm, beautiful shade of those orange, yellow, peach, etcetera. Continue with your drawing and then we will start with our painting I always like to just denote the middle area where I want to add my stamens and Poland's. I'm not going to individually define my stamen or Bolen this case. I'll just add a few drops of yellow and brown to show the depth as well as the darkness and the whole of the Painting. While you see that I have created or really light orange, or you can say this is permanent yellow, deep kind of color. You will need to make some amount of your oral lean into the orange that you have. It is Sennelier orange for me. Who can have any other orange that's available with you. And then get a color like this added on few of the spaces that is eaten around the corners or along the lines that you have already added high-school graphite mouths for denoting the area where you want to paint your petals. And the middle area from where basically your statement Poland's is done. After that. Then we will use our blending brush or you can go ahead and take off all the extra Colors. So from your brush that you have used, added has a damp brush on your paper. You don't need to think much while you do this exercise is a pretty repetitive exercise that we are going to do in this case. Having said that, I'm going to introduce one more color that is coral, as well as some amount of my compost or pro this is quinacridone coral, and it's from the brand. Daniel Smith. I am in love with the scholar to be frank. If you are also looking for a beautiful peachy pink shade, then this is the sheet to go for. I have used it in many of my paintings still now. And most of my Watercolor florals does have this kind of color in it. As I love to paint those warm yellow, orange, and pink color for most of my floral paintings. So this is a must to have a color form. For me, at least. Now you can always experiment with the colors you would like to know, okay, what color works best for you? What are the kind of paintings of florals that you want to do? Some of. You might like muted colors and you might not be willing to go ahead with the shades that though I am referring to. In that case, you can, of course go with you are muted, granulating colors. So maybe potters pink color. So potters pink is amazing, beautiful shade of pink, which is pretty much muted. And you can use it in any of your paintings if you are someone who loves going ahead with how color that is a bit dark compared to what we usually use, which is really want. Okay, continue with your Painting. I don't like to add Colors on the accent petals, but still I did in this case, I guess, because you are continuously Painting individual petals. It's okay to go ahead and add your colors. It's not a huge paper anyways, so you don't need to worry much while you do this exercise. So anytime you can just give it away or may not like it and try the backside of the same people. Do not, do not. Just use one side of the people when you are practicing. This is something that I did initially every time and I do it very often. And in fact, I do what? Every time that I'm working on a sketch. That's one of the reasons, this case full piece, one of my favorite go-to places for all my paintings. You can very well absorbed that I have added my orange and some of the areas and now I'm going with my blending brush or you can also wash your brush, go with a damp brush to these areas and just blend it. Yeah, sometimes what happens is whatever intensity we needed in some places, it doesn't work out the way exactly we wanted. But it's always good to go back to the same Painting and had though darker values for me right now I'm going ahead and adding some coral and blending it with the orange that you see. So over here in this case. So I will do the same. I will go ahead with some of our orange and then not had the other sheets which are mutually tool, that is the quinacridone coral as well as your compost Oprah. These are my go-to sheets to Compose Opera I'm using in lesser quantity compared to the quinacridone coral. And I'm trying to distinctly show each of these petals. The contrasts really helps, in that case, the petals which are below or which are actually on the top can be lighter in value, whereas the one which is below, as it has a brush, shadows are falling on it. It can be darker in value. That way you are actually showing the depth as well as the values can define your petals in a much better way. Hence, I guess these are small, small aspects which you can keep in mind why you paint. And it can really help you in your future journey of any watercolor paintings that you're doing. Whether it be throttled, whether it be landscapes, anything like the contrast really helps even to define objects and landscape. That's something which I have learned over time that these small things can make a lot of difference to our painting. And every small hack that I share with you can really help you in your journey. It took me so long, yours to get your and we frank it. He's still a long journey for me as I'm learning everything on my own, but I really want to share all the knowledge that I have it you guys, so that you can make the best use of it and have an amazing outcome out of it. I would be going ahead and detaching in a few ads better, but I think it's necessary and wants this is done. We will start by adding some of our lines. Now, these lines and medially to denote the wings that we have on the petals. And each of these, so petals will have their individual weights. This is a very, very important step that I'm going to tell you just few minutes away from your, yeah, and I hope that really helps you to even define your painting in a better way. You can use that kind of technique even for your future rows painting or future any of your other row Painting where you think that it can actually add lot more up to you Painting. Some of the contrast are very, very important time in this case, I guess, adding a bit of my compost operon into quinacridone coral. Along with it, just blending it with some water is a must for our petals, which has this underlying layer also been shown properly. So yes, that's how I go about it. And I love to do these for the other or for no other drum Various, so I would say florals, petals, etc. everywhere we can use this technique. This is a technique that can be used even in leaves. If you have leaves which are called in those also you can use, okay, continue with the left petal as you want to work on it. And then we will move ahead with our drum. Second step. As I did tell you earlier, it's time to add these lines. Now. I'll be adding only a few lines and I've switched onto my smallest brush. This is size zero from the band has caught up Paula series. You can go ahead with any brand or any brush that is available with you. It needs to have a very fine tip or else you can go ahead with Latino brush that really helps us to ace through this part of the painting in a better way. As you get more confidence that way, as well as there are no mistakes that you are going to do with the same way. You can continue to paint all these petals and add these lines. Once you are done with these lines, do try to also change your bet in terms of the values that you add. If you are changing the values, what happens is that you can frankly showed again the randomness of the nature that you see in our photograph or you see no real flower, you will be actually imitating the same in the painting. So doing the same repetitive exercise for awhile. And then Viva, we'll walk through those next spot. It's time to add some colors on our borders. And this is what we always see us contouring. It's a very, very important part of any kind of floral painting. And I'm pretty sure about it that you guys are well-versed with how I control. I have taken a pretty darker shade in this case, and it is my compost operon. Most of our floral part is done. Now, all the rest of the time that we are going to spend is practically for the branches as well as for our smaller buds. Now, this is something that I always say that sometimes a plead floral painting or a full composition, Or even though things that you are trying to show in a painting takes a lot more time than the real subject. The real subject has already completed. And half of the time of the complete video, you can observe just that the rest of the parts is going to take some more time and you are going to frankly enjoyed, believe me, the whole process flow is amazing. There is nothing that is tough. It's just that you have to play with colors. You have to play with the pit of your wet and wet technique. To this time I have touched upon actually wet on wet in easy way I would say. I'm not saying that there's lot of tough things that we are going to do just the same way as you saw me adding some of the water on the middle part. And then going ahead with orally, you have to add some of your bonds Sinopterus that you can also do one more thing to show the contrast as well as the depth. Even in the Poland's, you can go ahead with your darker value of brown and add it in few of the paths. Either you can go hit with CPO or mix a bit of blue into the color that's already existing. And you will get darker shade of brown which you need. Okay. I guess this is it. It's a very small area and we do not want to overdo it. No, I have used Indian yellow, but I'm going to pick up the entire follower over your, I do not want you guys to overdo it as I've told you, so yes. Do not do not add Indian yellow at this stage. I did it and then I was like, Okay, I don't like it much. And hence I had to go ahead with some of my darker value of brown to add and add basically the contrast and showed that, yes, there are a lot of bullets that are there in-between Some green here and then we put, add those, some of how Rome, thanks to get those sheets that we want. Okay, so I've added my green and then there will be a bit of pink that I'm going to add in few authors pieces as I've told you. Along with it, you have to make sure that these are basically the sepals which are on the outer side. The petals are in-between. While you paint, even though other parts of the bugs, etc. you have to keep that in mind and go ahead with the process. Some of my permanent yellow deep this you can also create with the help of Orleans and Sennelier orange. All the colors that you see in this case can be created or something which is closer to the colors that you observe can be used. You do not need to get worried a lot about the colors that you should use are about the brushes that you should use. The overall intent of the whole Painting is to enjoy the process as well as learn something in the process. As I always say, this is not your final painting. This is just practice exercise for you. The final painting that you are going to do is something of your own. And you should be in a position to actually learn from the mistakes or even from the positives that you gained from this particular session. You can apply it in your final paintings of your choice of the florals that you want to paint and have an amazing outcome for yourself. The regular practice we're happens in this case is you get used to or daily exercise, which really eases any kind of painting that you want to do even in future. For Watercolors. If I don't paint for one day, I become agitated. Why I can't paint? Well, just the way I painted a day before. But the real part is that you should even use a very small paper to paint whatever you want to do. And they easily you should go ahead paint something and get out of that zone. So even small paintings are good for a daily exercise. You do not need to spend a lot of time for your daily exercises. And I do have a few classes if you are looking for that, there is 15 min exercise, which you can do. There are six paintings and that then there is a 10 min. So watercolor exercise on a regular basis. Of course there are motor do with landscape, florals, loose florals, I usually don't do in this. Its not that I've not tried. Of course I do paint them, but I think that these florals do appear to me more than the loose florals. You can also paint loose florals and they do work very quickly. And it is very easy for you to actually walk through the loose florals to, in this case, I would ask you to first go ahead and then just draw once, paint how four-foot or go ahead with your first layer, leave it and then again, go back to the skin. In the meantime, while we were talking, I think we missed a bit in terms of I did apply clear layer of water and then went ahead with my darker value of the brown. Now this is of course burnt sienna, added a few branches. Some of the places, of course was still wet and some of the places where not as bad as you can see. Of course, the lines became Bloom in those spots, whereas the other spaces, it was absolutely fine. I am mixing a few Colors, whether you say be orange or quinacridone, coral and some pink. To get beautiful shade of the bots that we have. Of course gives more depth in some of the areas. This is a mix that I usually do it for myself. I don't like to use the exact Colors That's given. If I want to change the shader bit, I go ahead and mix one or two shade of your composite. Then some of your coral, Ohio, etc. to get some of the taco values going ahead with the auto parts of the florals and then completing it? I think what has really helped me through my Watercolors, you one, while you continue with this Painting is going with confidence in having confidence in yourself that you can do it. Yeah, you complete the whole of the Painting, never give up. All the paintings are great and you can work very well and shows that you have to look forward to it and say that the process that you are following is amazing. You're going to have an amazing outcome. Just believe on yourself. There are so many paintings that I always thought will not turn out exactly the way I wanted. But it did because I did believe on myself. I'm saying that of course it's a very nice Painting and I'm going to do it. I think that nothing else can be compared to the happiness which you get once you have all beautiful painting done for yourselves. It just makes my day or together. I have less to teach in the spot to be frank, you guys already know how to work through your Watercolors, how to add your colors on wet surface. You have done it previously and mostly in this particular painting you're going ahead with maximum two layers. We are not going to add lot more layers. I love to tell you my difficulties as well as how I move through it. So yes, I love to talk to you on those parts. And I think that is really, really important in a Watercolor journey. Watercolors can be very frustrating at times. There are so many times that I have also just thrown away your paper or did not like it, did not complete my Painting. But when you see my sketch book today, all the pages offered and all the pages I've pasted, it's only the willpower that makes you go forward and every page should be respected. First of all, the sketch books are pretty expensive that you have. And if you go ahead with 100% cotton sketchbooks, many small sketchbook owners do have those kind of small business owners have to do provide those kinds of sketchbooks. And they are first of all expensive. They are hand woven, hand bound. And it is something so amazing to work on them. We should respect every page that we use, as well as the money that we have spent behind those sketchbooks completing that is very important. Every page is very important. I'm not saying that every Painting would be excellent or every Painting will be a masterpiece. We're not looking forward to any kind of masterpieces. What we're looking forward to is completing the pages and completing the paintings grid. Let's move ahead with some more greens, some more pink sand brighten up our day. This is a very, very warm painting as I did tell you all your, and I was so much touched by the summer vibes that I got from this Painting. Adding some more darker values of green on few of the sepal areas wherever we need. Mostly I'm using my sap green work on these areas. So I did use an absolute orange and the initial part while I was going ahead with my first-year, the orange of course was like no permanent yellow deep kind of an orange. It was not an absolute orange. And hence, that's what it is all about going ahead with some of my green and brown in few of the places. And then some more green in the other side. Wants this part is done. We will go ahead with our pigs for this particular small. But of course it's not fully like a full initial part and it's got opened up. So you have lot more things that you can see, whereas you will see a lot more greens while you are painting your other buds which you are now seeing me do it Right away. Okay, go ahead, continue with the process. And then we will add some of our pigs also in few of the areas you will see how I use the pink and then completing with our branches. It's been orbital long. I know you guys might be a bit tired by now. You can go ahead take a small break at this stage. Believe me, it's good always to take a break and come back and again, start painting your abs. But just go ahead with the Painting. And I'm just losing the whole intent and the site with which you started with the NLG which you started is not what we want. We want, although Good Energies, goodbyes to continue flowing and have that fantastic and amazing outcome. The next TO Painting will be with the letter R. I'm super excited for that letter because I'm planning to paint a rose for you-all. And I hope you're going to enjoy the rows Painting. I hope to upload it by tomorrow or day after one site uploaded, you will get a complete insight into what though I do not want to make a really complex. And we'll try to keep it very simple and easy for each one of you to follow. Boot, try to attempt all the other paintings before you go ahead with the rows painting because that's not going to be very simple and easy. And hence, I would request you guys to attend all these floral paintings that we have been when we started with Anemone. Anemone was one of the easiest and the process what we painted, but as we're progressing to Q, R, S, T, you will see how things have changed to a large extent, and I don't want you guys to face any kind of difficulty in the process and feel that, no, this is not exactly how it don't doubt or it is not working for me. Hence, I do always say that paint everything that's being done earlier because there is a process that I also follow for myself and I follow even for my classes. Always going from easier points, two more tougher box, rather than going from tougher to easier. I feel that going from easier to tougher is always a good way for any kind of approach that you do for our painting grid. I guess this is it. I'm pretty happy with how all these floral buds have turned out. Time to work on the smaller ones. Some of the areas for the depth and some of the areas will be lighter. This will help us to actually get amazing outcome for the so Painting. I know I am so excited for this Painting icon tell you, he disliked one of my favorites and I wanted to share the whole process bit by bit. Every part of it, everything is real time. Every part as your time. I didn't not want to shorten any part and hence went ahead with it for you all. I do like to add some pink so bile. I'm contouring the top area or in the middle part of these sepals. You will see that they feely add up to the depth as plus you will find these kinds of ways in which you will find different kind of Flowers, as well as the sepals, petals, whatever you see, you will see that these kinds of areas to exist and hit looks convincing that way. Sap green is one of my own go to Colors in this case, and I'm going ahead with the sap green blending it with the clear brush Of course, the, your brush that you see is very thin and it takes awhile for even just blending it along with it. Do the same process. I mean, it's a very iterative and repetitive process that we have been doing for all our watercolor paintings that is done now, I would say, it's not so simple, but they are great as a practice exercise. And this can be used even for your full compositions. So you can just add a simple color in your background. Maybe you can say your Payne's gray have various values in and around the floral, you can have a bit darker value, but as you approach two sides, you can have lighter value of it and make it completely transparent. That thereby, already you create a background, you have a Floral, everything is ready, a full composition is done that way. So I am trying to help you to move towards a full composition. Okay, three, continue this process and then we will just finish it off with our bid offer. Lines urine there for our stem as well as few of the branches which we want to add. Always. Good to go ahead and have more clear view. And you can get a clear view when you magnify it a bit more. So yeah, magnifying it for all of you. I'm using my size three brush for this process. Hoop. You also have our brush. I'm in some brush like this for the spot. When there's excess of brown that we have added. I do try to clear out the space of it before I go ahead though with my darkest value for the branch and then added in some of the areas so as you absorb me doing it right away. Some of the areas of course article and some of the areas are from more loose. Some of the areas are well-defined, some of videos or not. And that's absolutely great to go ahead with this kind of a structure. You always do not need to have a very well-defined Painting tool. And this series, we have done more of a defined paintings, but at this stage we have changed ourselves and molded ourselves to a great extent. Hence, I would like to keep it a bit more interesting and more nicer in approach, I would say, Okay, I guess some of the finer details that you are adding and then have a final look at your painting. I'm pretty sure about her that you would fall in love with it already and oils you are already in love with it. Let's just go ahead with our Colors, so just have them on the right-hand side. I usually do it in small blocks. Meet you soon with the letter R 42. R Rose Colors: Let's have a look at all the colors which you need for completing the Painting. It is Naples yellow quinacridone, coral samples corpora, bright violet, or any other violet of your choice. Go ahead with ultramarine for adding the darker values are creating yellow, green, then your raw sap green florals. You can also go ahead with holocrine. The last would be your Nike Green or else you can also go ahead with your forest green. That set 43. R Rose Painting: This has been one of the most requested tutorial I guess saw to all the time that I've been on Skillshare. So many of you have asked me how we can pay interests. So let's go ahead and start with the rhombus. Once you've provided the rhombus, I'm adding a few further lines that looks like a triangle. Then our line from the middle that is connecting the middle of this triangle to the top. But once that part is done, we are starting with our petals. Now I am going ahead with the site petal, and then I will go ahead with the main petal. This particular Rose has not completely open because I did not really want to bombard you with some kind of furrows. It was all very, very tough and rules some exercise. So let's keep it simple, easy and yet called great place to learn something new. Okay, continue adding some of the lines. Of course I would be using an eraser to go ahead and just remove the lines wherever I feel it as necessary. That is the biggest petal, which is empire of a challenge. When you think of painting it, I'm going ahead with it, but this might not be the final outline of the petal. I'm might reshape it a bit more once we again progress in our floral sketch. Now, I always like to take it from the sketching because it is very easy to go ahead and TreeSets though I to tell you to trace it. Even I have a class where you are going ahead and Painting points, ETS. We can of course refer back to the class if you are more into your tracing Art and how you go ahead and set etc. but for me, I always like to keep it from the drawing for this whole class. Each and every letter, each and every Floral we get draw from scratch. And I'm also keeping the rules that way. Okay, going with the petals on the top, there, there'll be multiple petals at this stage. And you need to go ahead and keep adding those bigger and smaller petal. That is not much to explain, just that you have to go ahead and keep following how I add my graphite mounts to the paper. I am thoroughly excited to share this whole tutorial with you. Frankly, this is something that I have taken a lot of time to understand and it has really been difficult for me. But having said that, I know you guys will absolutely neil it as you have lot of experience from the previous floral that you have Painting. And we are going to use that experience even in our current ending. Of course, the whole of the Painting will be wet on wet kind of thing and we will be working in Layers. I would be adding a very light layer for the base. This is basically, are basically what that I like to add Four though florals which are more in the pink, etcetera. I usually added given for my other florals to. But this exceptionally, of course, it hits the one where I love to add more and more lines and more and more petals and how you go about it as something that you have to explore yourself. Believe me, it's going to be great and as well as a huge, huge learning exercise for each one of you. All the learnings that you are doing in this particular roles can be used even in your future paintings. Once we have outlined our area, we will go ahead and like to add the sepals. The sepals are longer. Why? Because this is not a full-blown roles. And hence we will have longer sepals and I am going ahead with three to four sepals, a few towards you or which face was you and if you did phases, I'll be from you. All these sepals will be separately Painting. And first of all, we're going to paint the top part, which is the Rose. Then we will move ahead with those samples and the stem portion. I do not want to complicate those object much more at this stage, we could have easily gone ahead with everything together. But I guess so keeping the Rose as the primary is our main focus. As the Painting is all about painting roses, and it's about the letter Sometimes I do read draw to a great extent and I just erase it at Exhibit exit and then kept up to the third or fourth time that I do. But do make sure that you're going ahead with all very, very light pencil. For my case, I'm going ahead with all monograph pencil and this is majorly drafting pencil. Hence, it becomes easier for me to Eddie's. They'll graphite lines or the moths that we have. This is one of the important things that I had. Or you can say this is one of the important tips that you can take in your watercolor journey. It is really going to help you, even in your future paintings. The lesser darker in graphite marks, the better is your outcome has watercolors are transparent medium, and we need to treat it that way. Only. Use as much as less graphite marks as possible for any of your Watercolor Painting do not suggest that forum goulash or else, even for other paintings with mediums like relics, those can of course cover-up most of our five months. But Watercolors is a bit more tricky than the other mediums. And we should go by the learnings that we have in this case, because right now you are experimenting with medium and more you experiment with the medium the more you learn with. But as you progress in your journey, there will be less space to experiment. But I will not say the same. It's just that the experiment style becomes a bit different. Even the failed experiments look good at that time. If you are more and more experienced, you might not like it, but most of the people or most of your app is friends. Your other friends will love it. You can go ahead with a very light wash off quinacridone coral. Now, you can mix a bit of your Naples yellow in the middle part. Add lots and lots of Bordeaux to the spot. It's absolutely fine. The LEA would be way more lighter. You can always add more layers to darken it up. Hence, I guess that's all we have to explore at this stage. We will let the spot dry off and then go ahead with power beautiful quinacridone coral. In case you do not have quinacridone coral, go ahead with your mics off Sennelier, orange, and some of you compose overall all those. You can also use carmine or any other thing for this Art of the Painting. I love to see the Bloom sand. That's one of the reasons some adding it with some darker values as important at the stage, we already have a lighter value or the base layer existing. So going with her Dakpo value is allowing the whole flower to add more of intensity. Some amount of Naples yellow, those are very light. Naples yellow that I'm adding. Not all the areas I would be adding. First, let me tell you all the full colors that I would be alternate feet, alternatively, actually adding on this whole of the flower. The first is my quinacridone coral, the second is my Compose Opera. The third would be my Naples yellow, and the vote would be my purple. The combination of these Colors only am going to work on for all my thoughts. The florals. As you can also have added some amount of purple into the portal that was existing on my palette. And I'm going ahead and pulling the pains towards the bottom. This is an exercise which you all have already seen in the other paintings to, and we are going ahead with the same exercise. Who right now, adding some lines for our darker values. Of course, you cannot have the same values for a Floral and you need to change the values to a great extent. We are going ahead with some of our Naples yellow in the middle part to show the change of the Colors as there are some virulent than there is light which falls on these petals. So keeping all the atmospheric condition, etcetera constant, you cannot have caused flat wash going over the entire part of the petal? A bit of purple is very important, if not only increases the intensity of your Floral petal, but also it helps to really add that soft and beautiful touch to the petal which is needed for a Rose Painting. Adding some amount of purple, again, Nando then no, adding it from the top, taking it towards the bottom row. That has to be contrast within the layers. When you go ahead and add it more than the layer it's to do. It is, it is going to do a lot with each and every petal that you add. So there is one single petal that you add on top of it. If you are adding a darker value, the dark value and dark value will cross each other and you will not get the required change or the Required floral pattern that you want. In this case, if my darker values are on the top, those ideas should be in lighter value. And some areas I'm adding in purple, etc. and pulling it towards the bottom that will always remain. Continue with the next petal. I'm going ahead with my size three, the Vinci brush, It's all very beautiful brush. You guys know that I have been using this brush for quite some time now. Of course, I purchase at sometime when I was in Ohio this yeah. I guess during that time I purchased it and I've size three and size four round brush of the VC, flat brush off this as well as apathy brush, which is majorly to do with your flow of water. It's practically very thick and hence it can hold a lot of water. Every petal offer also is important, and hence me have to treat it that way. We are going to go ahead with all narco value in few of the videos, but it isn't necessarily just exactly the way you will see me doing it right now. While you start from the left, I will go ahead and add some purple now, then blend it with water. Now water is very, very important for all these paintings. Now what are really plays an important role when you have a soft Painting? Now what do we mean by soft edges and hard edges? Normal though, Colors that we're using over here on the people is majorly or carnage. We are going ahead with all soft edges. In this case. In soft edges are really going to is our painting to a great extent. I know you have done all the hard edges and I've told you how to work with the hard edges. But few of these paintings as we are advancing, I want to keep it a bit more advanced. And that's one of the reasons you are seeing more of the US that you see. Of course, directly you are Painting from your wet brush on a diet dry paper. But the blending it with clear water, that's something you need to learn over time and it will not happen overnight. Believe me, it took me yours. What I'm trying to even explain away here is a bit difficult to be frank because it's more to do with the water control. And there are a lot of times that we have to go ahead and add some of the areas in darker values I'm of the areas and lighter value let it bleed, then blend it with clear water, pick up the entire from extra water on a tissue. All these things of course will happen in anytime to of course, Watercolor Painting, which is done freely software. Having said that, yes, there will be a few hard edges that we are going to add for this Painting tool. So be ready for those surprises to every Painting needs soft as well as hard edges It's only done a mount that varies. So some of the paintings are very soft. Only a few lines you are there and that's it. What happens in a Painting and fueled the paintings are in-between that has mostly equal amount of soft edges and equal amount of outages. And there isn't another extreme where you have hard, it's just more and really less amount of soft edges. Now, for soft edges completely you must have hundred percent cotton paper and we're working with 18055 GSM hundred percent cotton Arches paper. This is amazing for smaller size paintings. And even for larger size paintings on sketchbooks. I have done it on the web difficile sketchbooks and they are amusing. But for even larger size, maybe a three or more. I would ask you to go ahead with 300 GSM paper of arches that really helps you go east to any kind of painting in a better way. Adding more and more contrast to each and every petal. And every petal is given a lot of importance while we are Painting some of the areas I'm keeping in the dark which are majorly in the shadows and some of the areas on both libel. I'm trying to keep the lighter and darker values in a way that it can give the kind of contrasting effects that we want for our painting. But there will be smaller areas where you can't do much, even though darker and the lighter values, you can play a lot because there is some amount of, I would say, we can not do everything in a small Painting. That's one of the reasons if you are working with a larger size paper, it becomes very easy to work on each and every detail offer Painting. I'm going with the total IO for the front petal. This is not going to be added in each and every pot pan. We will extend it to add a few lines. These are majorly the veins that you see in the Battle of roses. And that's it via going to show a few of them do not overdo it at this stage, we didn't lot of lines etc. while we were Painting camellia, as well as other florals and the initial part. But in this case we are going to respect ourselves while we add the hard edges or had these lines. Let's add our greenish yellow onto the sepal area, as well as our ADL, which is therefore the stem. Yes, we are going to add it for the lease for the stem. This is again, the base layer that we are adding. I have bought you a lot of ways in which you can actually paint florals. And frankly, you can choose any style that you love out of these. Even you can mix your style to great extent. And once you continue Painting, each and every Floral you get will understand what is the style that you'd like? You can adopt to that style. You can improvise that style and have a voice of your own in Watercolor Painting. That's something which I'm looking forward to in each of you and hopefully you attain it very, very soon. Okay, going ahead with some more details and few of the areas of the petal, my people is getting dry for the area of the sepal. As I did tell you, the sepals are a bit longer as this is just a bad which is about to Bloom. Not that the whole of the Rose did Bloom at the stage. Hence, I'm going ahead with my darkest value of the sap green or olive green and then mixing it with the compost. You will be surprised to be frank. Some of you might think that again, I'm using brown, but believe me, it's not brown, It's sap green plus your opera to give a muted brown color that looks amazing in any kind of a Rose, you will find this kind of Floral everywhere, whether it be photographs, whether it be if you are going ahead and mine something for yourself, are buying a bouquet of roses, you can also see it. Okay, going ahead and adding more darker values as well as some of the compost operon in the other areas where I think it is necessary, continuing with more of the Colors even on the sepals. Now the backside of the sepals are darker in value is compared to the other sides. And we will continue to achieve this kind of work for all the samples. So this backside would be darker for all the sepals and the front side would be lighter for this Apple because they are more in shadows. Where's the front side is more in the life. I'm frankly using three to four shades at this stage. One is hover opera that you see I have been picking up. The other color is my olive green. Or you can also go ahead with sap green. The darkest value that you've see me adding, which looks a lot, lot, a lot greener, is when Nike Green or for a string, whichever is available with you. On the sides, you see that I'm adding the darkest value and the middle. I'm keeping the same shade or the base layer which we did add initially. Along with it, some of the areas, of course, I would be adding more taco values as we progress. So keeping all of that intact, Let's keep blending our colors. Let's keep adding the darker values wherever necessary. Whenever our paper is wet, what happens is the colors will flow on its own and we don't need to think much while we paint at this stage. Wherever you see that you are doing any kind of mistake, of course you can take it off with the help of a blending brush. The last sample that we are adding on is the color of olive green and then blending it with the lightest value offering even on the leaves, I'm going to add this operon to make it look more organic. And it really helps to define lot more of look like Rose compared to what we have done that now. Okay, blending, blending and blending. And once it is blended, we will go ahead with the darkest value for our middle area, which is majorly the stamp. This is our third layer at this stage. And if required, we put darken up some of the areas better, but it is necessary. But this is more like you are finalizing. All the layers that you are doing in this particular painting, of course, is going wet on wet. And that's one of the reasons you are not seeing or you cannot see the paisley or in a better way compared to what we did earlier. Though, I like to keep it even the way we did earlier. But having said that, we have some of our limitations and few of the paintings and we need to keep all of that in mind while we paint. Some backside of the sepals are getting more darker and showing more and more shadows Even for my last supper, I will go ahead with some of my compost and then blend it with my green. Of course, the green is more muted. If you are using an olive green, it is way more neutered than any of the other greens that you have in your palette. I love to use my olive green at this stage. And then you will see me adding some amount of operon in various parts of the sepals wherever I think it is necessary and then blending it with clear water. So water is one jar that I always, always need for all my bait things. I have one few jar of water and one where I wash my brushes. Some further lines to show the details. And once these details are done, we are done with most of videos with the Painting, except a few where you might need a bit more work. The rest, except the leaves where I want to add the Wien's etcetera. Most of the stuff is done, and I'm super happy with how it has turned up. We will add some of the colors that we have used on the left side. I love to add the detail colorless to always. That not only helps me to keep this as a reference, but also it helps to understand that what is the kind of colors that have caught by using the sheets that we have on the palette. You can, of course, go ahead and experiment with other Colors tool in your next painting. If you are not very happy with the shapes that you have got now or even for your experimentation, you can use other sheets. Grid. I guess this is it. We don't have much to play as of now. Just going ahead with the veins. So for the leaves, as I did tell you earlier, this is with the darkest value of Queen. And it is my Van ****, a green, forest green, whatever is available with you. Once this part is done, we will just add a bit more of darker value. That is, your quinacridone, coral and composite mix. Even the composite pro on the shadow area of the left side petal. I hope you are happy with the family painting once you are done to upload it in the project gallery, I would be more than happy to have a look at it and give my valuable feedback. Okay, great. Let's go ahead and erase all the graphite Mux 44. S Saffron Colors: Let us discuss the colors first is Naples yellow Senalar orange. Compost opera Quinacridone Coral. That is an alternative to the compost opera. The violet, sabrine, olive green. The last two are my forest. Greet and burn Siena. 45. S Saffron Painting: Saffron is a great spice, and it is usually used in India in many of our food, as well as we use it in desserts. Now it has lots and lots of positives. Like it helps gain weight loss, it helps a great source of antioxidants. It improves our mood and reduces PMS symptoms. This is what saffron is all about. And of course, there are way more positives in this particular flower. But what today I'm trying to show is how to draw this flower altogether in many of the other places. It's also known as crocus in India, since we use a lot of saffron in many of our flavorful dishes, I just thought to paint this flour along with you all Going ahead and making a cone and then extending it towards the bottom. Then I'm adding a few lines as these lines are going to depict where I'm going to add my petals. There are about five to six or seven petals that you need to add in total. And then you need to have some of the stamens, pol***s, et cetera. You usually get this flower in winters or the places which are really have a lot of snow, et cetera. And that's one of the reasons we find this in a lot of quantity around Kashmir. They are the largest producer of saffron in India, and you get various qualities of saffron from there. Having said all of that, let's go ahead and add our petals in a easy manner. Frankly, this is going to be a very, very easy painting. You don't need to worry. I just wanted to help you relax over this weekend and thought to introduce a painting which really doesn't take a lot of your time and is great on the go kind of a painting, we would be adding the statements as well as the pol***s. There are these long saffron, four to five approximately, that usually gets produced from a single flower. And that's what we also need to show. Of course, I'm not going to show all of them, so around two to three you can show for the saffron part of the flower. Okay? I guess this is a pretty easy sketch and you guys are doing pretty well as you have done much more difficult sketches till now. And I have made you work so, so hard. But it's all for your own good cause I know that there are a lot more difficult parts which can be done and you guys are already so amazing. I have been receiving so so many of the projects in my project as this is alternate day upload kind of class. Yes, I'm alternate day uploading the projects slowly, steadily, so many of you are joining it. Pretty excel***t to see each and everything continue to add some of the grasses part which is majorly your greener areas. Along with this greener area, I would go ahead and start adding some more greens. Even on the left, this is majorly grass like structure that you need to add. And it would come from a simple middle part where we would be adding some browns, et cetera, to show the soil. That's all is going to be a painting. Continue, put the payer apart. I mean, first is the drawing and then, as I always say, drawing is the base for the final painting. If your drawing comes right, your painting is anyways, pretty simple. So it is not going to take you more than like 15 minutes, or maybe even lesser, when you add the colors. Most of the parts I've tried to add only with one single wash, We are not going to add lots and lots of washes. In this particular case, keeping it simple, easy, yes, simplicity is the key, as I always say. And sometimes keeping the painting simple also gives us a lot of boost to continue with our painting. Okay, remove all the extra graphite marks, whatever is necessary with the help of your eraser, and just add some of the graphite marks in the areas which is necessary. Naples yellow has been my go to color irritate and I'm going ahead with a very light wash of Naples yellow in the middle part of the flower. And then I would go ahead till the bottom. Okay. This particular part which you see just below the part of the floral is going to be in ground. And that's one of the reason even adding a base layer is not going to change. A, adding a base layer is always great for any kind of painting that you do. At least for floral painting it as the whole of the floor. Okay, Continue with this part of the floral and then we will add more and more colors as we proceed adding the Naples yellow, even for the grass area. And then on the right side, as well as on the left side, you can add it. Once this is done, there are two other colors that I'm going to use or there would be more use of it. One is my purple. And the second, either you can go ahead with Quinacodone Coral or compose opera. Compose Opera is one of my favorite that has got the pinks which we need. Let's start with a mix of purple and compose opera. Once we have added the color, we will go ahead and just b***d it with some clear water. I will repeat the same exercise for each of the floral, and in some of the places wherever I need to add the darker values will go with a more thinner brush to add it. I have added the purple as I've told you earlier, and I am now making two parallel lines. Of course, I'm even cleaning up wherever I think the colors are flowing to a great extent. That way I can really control the color as well as the water on my paper. This is 185 GSM paper. As I've told you earlier, I'm going ahead in the whole series with 185 S, 100% cotton arches paper. Again, adding the darkest value of purple on the sites to create the contrast as well as the depth in the floral painting, you can very well see that the current color is more of a mix of your compose opera and a less of your purple. A lot of your compose opera and less of the purple that we are adding. As well as b***ding it with the darkest value of purple to create the depth. Depth is a very, very important concept in any kind of a floral painting, and I would request you to go ahead and keep b***ding this color with the color that's for the existing. Now, many of you might also think that the paper is not so wet. That's what I also want to tell you. There is some amount of water control that I'm also doing as the space for these florals are really less, hence going ahead and controlling the water to get the best kind of a result. Once we have experimented a bit with all the other parts of the petals, I'm going ahead with the middle part of the floral and applying the color. This is the biggest petal, hence we have to go ahead with this one a bit after we are a bit more experienced in the petal painting, just b***ding the color. You can see that there's a yellow color that's there in the bottom. And it's b***ding well with my pink as well as the purple shade that I have. You can also use red violet if you are not having this particular shade of your choice. If you directly have the color, use it and add depth on the sides of the petal. This is majorly to do with contouring. You have all done contouring, but this time we are doing contouring with the wet shade. Now, how does the wet shade work? It's nothing else. The paper is already wet. So going ahead with a wet brush on top of it will give you a direct way in which your colors will move around. Once you have painted a few lines in the middle part of the petal, we have to go ahead with the petals which are a bit far away from us. We don't work a lot on those parts. And that's the best thing about a floral painting. This one is practically very, very simple and very, very easy. Because I wanted to actually help each one of you with a lot of confidence as well as only understand how you can b***d your colors better Even on a smaller area. We would be going ahead with a bit more tougher painting as we progress. I mean, day after tomorrow. Yeah, that's going to come, but right now I am not focused on that area. Let's go ahead and continue with our painting. Once this part is done, we will add some orange to the top area of this statement as well as to the Po***. It's a mix of my singular orange as well as naples yellow, which you will observe me adding it over here. Of any less amount of it, you need to add and then use your thinnest brush to add these colors, as this is the part which is very, very important. If the colors go out, then it might be very difficult to come back to this painting and we are almost at the of finishing the painting. For the floral part, we will go ahead and now add some for the bottom area. And you can very well observe that I am b***ding the colors. Now, it's a broader approach that you can observe. The brown that I have is a bit of red in it and that's one of the reasons it looks very organic and nice. Sap green or olive green is my go to color. And this is majorly for all my greens that I'm using recently. Greens are great. Go ahead and try it. Even on your watercolor florals, I think you would be in a great position to continue working on it and the final results are going to be very, very amazing. Yes, that's it. Once you are done with the base layer, let it dry, or else you can even go ahead and start painting as these areas are really small, b***ding it again and we are almost covering the top area which we have applied. And once we are b***ding, the colors of the layers can be seen, but yes, they will not be seeing the way we have been doing our initial few paintings, layering is important. But we have moved a bit from being an absolute dry wet on dry an approach to a bit more wet on wet approach. Finally with more of green and add more green towards the bottom area. I am going ahead and adding some more green even on the last area of the grass, kind of workout. Once this part is done, go ahead and just add the darkest value of green on the side and make it a bit more of, this is more twisted, this particular grass altogether and hence I'm going ahead and painting it as such. Just remove the water from your brush and then continue with a very light wash while you go towards the bottom, adding some brown and then b***ding it with the same brush. After washing it and taking off all the extra water into the tissue. You can see I use my tissue to a great extent for all my floral paintings, and that has been the way I have be going forward, adding somewhat depth even into the plans that I've already added. And then b***ding it with my b***ding brush. Here comes the beauty. Those are the long saffrons which I have been telling you all through and why this painting I did choose for myself. Okay. Adding one more saffron on the left side and that is it. We'll go with the bottom area and then some purple. I love the fact that if you mix a bit of purple into your brown, you will come up with a very beautiful color. Though I did add a darker value of brown, but you can actually avoid it altogether. Mix a bit of purple into your brown and get a shape that took something closer to the one that you are observing right now. Have a final look at the painting. And I know that you guys are, are super excited to have a final look at this. Okay guys, see you in the next after tomorrow. 46. T Tulip Colors: Let's have a look at all the colors which you need. The first is my compose opera. Now, this is a beautiful sheet that I'm using. The next is my French Tram from the Winsor and Mutant compose opera is from the brand Megellomiionld. Third is line from the brand Senalar. These are all artistry paints that I'm using right now. The fourth is my Senalar, orange again from the brand Senalar. The fifth color that I'm going to use, and this is really warm, which is greenish yellow from the brand Gelo Mission Gold then is my olive green plus a bit of my forestry. 47. T Tulip Painting: We have done a lot of circles, squares, rhombus. Everything we have tried out for our sketching today is all about free hand line drawing and sketching. Doing a circle. Of course, this is not the perfect circle which I want. It's more like an oval that I've added, and then adding a few lines in and around which I would be adding my petals. It is simple, Easy, believe me, you can do it. It's just that if you have practiced all the other sketching till now, I think this will fall in line very, very quickly. You do not need to worry, just go with the flow and enjoy the whole process. I always believe enjoying the process is more important compared to what you create as the final outcome. There can be many final outcomes. To be frank, you can paint better. You can paint less. But what is most important is enjoying each and everything that you do through this process continue to work with the petals. There are a few larger petals that you see and few smaller petals that we are going to add. The top petal that you're going to add is on the back side, because of which you might find it a bit more smaller compared to the other ones. I'm going ahead with the smallest one that is towards me or facing me, what you can say. And then in the middle, we will go ahead with the statements, stigma, pollens, everything that you see. Okay, great. I guess you are also adding the sketch in the similar manner. I am going ahead with. The whole of the painting is real time, so you do not need to worry at all while you continue painting along with me. Go slow, take it easy, it's fun. Enjoy the painting. I always love touching my brush to the paper, and that's what makes me always very, very excited. When I started out with the sketch, believe me, I was not sure that whether this painting is going to turn out well or not, but once I finished the whole of the color combination, the beauty that it had in itself was something else and I completely enjoyed every bit of the whole process that I was going through. Yes, converting a sketch into a final painting has various steps and you might feel nervous at one or the other point in time. But holding on at that particular time and just keeping your patients level is most important aspect of a watercolor painting. Watercolor will come up with happy accidents and you will find it easy as you progress in your journey of watercolors. Watercolors takes some time to learn. It will give you lots and lots of energy, as well as it fills my heart with so much of happiness when I work through the entire composition, not only the final outcome. The learning that I have in every painting is something that is amazing. How I create my depth shadows, lines, soft effect, hard edges. Everything has so much to teach me, Believe me, whenever I sketch, I just sketch with a very open mind. May not be that all the petals wall in the correct place or the sketch the exact way I want, It doesn't turn out the same way too. But finally, when I have a look at this painting, I become so excited about the whole part of thinking that I have practically turned out a black piece of paper into such a pretty outcome. I guess that is where the beauty of painting as well as the creativity of doing something more than someone else who hasn't done it or tried it lies. You are trying it and trying is most important at this point, the whole process as I've told or enjoy it. But more than the enjoyment, you should be very proud of yourself that you did give it a try. How many people actually have the courage also to give these kind of things a try? So go ahead and continue with your sketch. We are now just adding the stem and a few of the leaves that I'm going to add for this tulip, it's a beautiful tulip. We are going to do a pink and purple combination. It's more of a red violet combination that I'm going ahead with. And believe me, I am so much already in love with it. It's something that I never thought that I will do well, but it came out really well. My favorite part of the whole painting is the final green paths that I added. The whole painting actually came to life when we added the green areas. Yes, the tulip is important, but overall, the balance that I could strike with the green that I added was something absolutely fantastic. Okay, let's start with our pink. Once we have added the pink, we will go ahead with our purple. Now, I'm not going to add directly the purple. I will go ahead with ultramarine blue. For creating any purple, I mean, any shade of purple that you see. This is something that I learn very often and I really like doing that. It's important to go ahead and create your own colors that would leave your petal with various colors and shades, and we really want that in a floral painting. Whenever you see a flower, you will not get a flat kind of a color or wash. It is different, it has various shades. You will see that some or the other part might be torn out or some more weirded out. Some part has more darker colors, some part has a smaller color. Everything is random in nature. And I have been pretty iterative about this fact that we have to hold on to that randomness. If you are not holding onto that randomness, we are not doing justice to our painting. Once we have added the yellow towards the bottom part of the petal, we will go ahead with some blue. Now, when you mix your think with the blue, you will automatically get either a red color or a purple. You can get practically various shades of this color. But yeah, having said that, this is one of the most important shade that I would love you guys to have a look and even try on your own. Maybe try it on a separate paper and then add it on your final painting. If you actually love painting tulips, then that is a better way to go about it. But if you have just started out with your journey of water colors and want to experiment a bit more, then it's always good to go about experimenting on this paper itself. That's perfectly fine. I have been saying that it's important to go ahead with 100% cotton paper. And repeatedly that would remain the same. There is no difference while we work through this process of painting, all these florals on 100% cotton is a must. I would ask you each and every person to go ahead with cotton paper urals. Your colors will not stay on top of the paper for a longer period of time. It gets absorbed very quickly by the paper and you will not have much time to paint the soft edges, soft lines that you see me adding right now on the paper. You can go about in two ways. Painting one is applying the water and then going ahead with the values and adding it on top of the paper, blending it further. Another way to go about it is just add the colors. Then go with clean brush, exactly the way you observe me doing it. Right. This is wet on dry method and still it is somewhere in between. I would say exactly wet on wet and wet on dry. I will not say that it is not wet on dry. Of course, it is wet on dry. But when I apply my next color, maybe a darker value, I will go over this part of the petal. I practically use it to my advantage as I do not want much of Hartig is in this painting, keeping it more softer. This way I can balance it out. I will again, continue adding some darker values and try to get these lines in the middle, which usually you observe in a tulip flower. I will add more of these darker lines as we progress. And some of the colors that you see me adding right now is a combination. Now, what is a combination? I would say you will see some of the places in darker values, some of the places and lighter values. Still, the final outcome that we get is a good one. We are going to continue with that process. We are going to continue altering the values, as well as changing the values from dark to light and from light to dark. It's always easier to add the lighter values initially and then go over with the tako values. Now I will not say that it is impossible to go over darker value or remove it. You can always lift it with the help of a damp brush or tissue, or just add a damp brush on top and just remove it, wipe it off with the tissue. Once your paper is absolutely dry, that's also a way to go about it. Having said that, I would tell you that it's not the best option for every painting that you do. I always like to work through the painting in a way that helps me to build on step by step. Now step going about the painting and building it up really helps you to actually get a edge over your whole of the painting that you do. If you are going ahead with darker values, coming back to lighter values, it might not be the best idea you have to lift to a greater extent. And if your color is staining, then you will see that the white of the paper, I mean, you haven't been in a position to use it. Well, why you should use the white of the paper? Water color is a really transparent medium or a semi transparent medium. Many colors are semi transparent. I will not say that everything is transparent. But we need to use the white of the paper to our advantage to show that transparency, some of the subjects that you paint has to be in lighter values, some of the objects have to be in darker values. So that you can show the two dimensional or the three dimensional effect of the object or the subject that you are trying to paint. Let's continue with the process of painting. The middle area, I have kept it in line. I have used line to my advantage. In some of the areas where I feel it has become too dark, I would go ahead and just remove it with the help of my brush to work on the middle petal. And I'm really excited for this one. This is a bit in shadow so you can make it darker than what you did on the left as well as on the right. Yes, blending it with some Tra Marine would be a great idea as you go towards the corners and working with the pink in the middle would be better. In this case, we are going to blend it towards the bottom with some yellow. And that's it. Pretty easy. Now you are well, worst after you have done three to four petals, there is less to learn. It's only going with the flow. Enjoying the process as I've told you earlier. And making it work. Making it work is also about going ahead and giving it a try. Everyone who is painting along with me, I have an interesting give way waiting for you. Of course, if you're joining me way, way later than what when we have released the class, that you guys might not be eligible, but you can always, always enjoy the process of painting. Continue on the right side, towards the top area, I would add some more of my ultramarine and pink as well as on the left side. I love to just mix the colors on the paper. This is very interesting, I would say. The more you mix the paper, I'm sorry, mix the colors on the paper, the better is your outcome. It's easier to mix the colors on the palette rather than on the paper. I always say this. As you understand more water colors, you would love to mix your colors on the paper rather than doing it on the palette. Try this. I think you will also enjoy the process. Continue working through this, and then we will work on the other two petals which are left. Once those areas are done, we will move on to the green parts, as well as to the orange and some stain in pollens, et cetera. Everything is left right. We have to also work on that. When I see the top area is pink, I'd like to go ahead with the purple kind of a color from the top, and then I will mix it with some pink while I go to with the bottom. This helps me to differentiate the petals in a better way. If you go with the same flat colors, each and every petal will not get distinguished and you will not have this difference in petals. You have to either do a contouring to show the difference, or else you might not be happy with that flat and easy kind of a wash. It's important at this moment to understand how you go about the whole of the painting, as well as a bit about color harmony. You will see that I always use a mix of warm and cool shades. The warmer part is maturely the pink as well as the yellow that I've used. I've mixed it with ultramarine. And it is one of the cool shades from blue that I am going ahead and using blue is more of to do with the cool. Though in blue also, you have the warm and the cool side of it. But for me over here, blue is doing the balancing act rather than everything becoming warm. Summary, I have tried to strike a balance somewhere in between. And this balance practically brings in a lot of energy to the painting. Now, how do we actually see that there is a lot of energy when you see the painting. You will have this nice effect and you will feel that, okay, this looks so nice. It is such a beautiful kind of a painting, I feel like framing it or I feel like gifting it to someone. So those are the energies that you can feel when it is really positive and nice compared to if you are not sure of how the painting has turned out or you do not get those kind of wipes. Yeah. I mean, painting has a lot to do with energy as well as understanding of how it can work out for you. Okay, great. I guess this is it. We will go ahead with some more orange and some more yellow to define the middle part, which is majorly, or pollen steam and et cetera. And once this part is done, let's move on to the bottom area, which is majorly to do with the greens. I love adding greens in most of my paintings, and you will see a bit or part of it as a balancing thing in the greens really helps me to strike a balance in the whole of the painting. And it turns out my painting as a very pretty, you want to be frank. So, I love to add the warm, the cool greens into my painting. Over here I would say I have mixed some of the warm green, which is greenish yellow, with some of my olive green and brown burn sienna. So I do mix these colors. You can also go ahead with a darker value of any kind of green that's available with you, no problem in it, and just paint the final outcome. I am now getting so excited about the outcome, believe me. When the whole of the petals are done, you exactly know the major part of the painting you have already covered and few areas are only left. That is the time when I start getting more and more excited. But you have to be very, very vigilant of how you go about painting at this moment. There are chances of overdoing at this point. We do not want to overdo, we just want to add the bare minimum that is needed and get done with this painting. While you are always finalizing your painting, note that you should not go ahead and add a lot of colors or a lot of details at that moment. You should think about the simplicity of the painting at this moment. What more or minimal, that you should add now and how you can add that minimal to finish off the painting. Finally adding my greenish yellow. Yes, this has been one of my favorite colors in most of my paintings. So you know that greenish yellow is the color that I would always go ahead with and for creating Aco values. You can either mix ultramarine with the greenish yellow, ultramarine with olive green, or else you can also go ahead with suburnciena in olive green to get a darker, earthy kind of a color. Now this is all dependent on you, that whether you want more muted shades or you want more vibrant shades, you are someone who loves to go ahead with more vibrant shades. I would say going ahead with yellow green and mixing some forest green into it will give you more brighter values compared to if you are looking for more muted or Earthly kind of shades. Then you have to mix some burn sienna into the green that you have to create. The muted values. I love to go ahead with a combination of both. Always I would be doing that. I'm going to add some orange more now to my **** just to get the final look and feel Going ahead and just adding some more of the darker values for my stem as well as for my leaves, I would be adding this. The colors, of course, are moving to a great extent. You might have to clean up or just blend it a bit more. That is okay, we can continue doing it as we progress in this whole painting. I'm pretty excited with the way that it's continuing because there is so much less left at this moment. Less is more. Do remember this concept. While you are finishing off a painting, less is more. Don't try to work a lot at that moment. Go with the flow and work as less as possible. Most of the work is already done. You just have to add a few more darker values for your light and shadow effect or else for creating the depth. And going in layers is only the way at this moment. We are also working in layers as we have done earlier. Only one difference that we have at this moment is we might be covering the entire area, blending the colors and adding some darker values. And few areas blending it to make it more lighter as we progress in the other areas. Finally, my which I am working on excited and super happy to see how it's turning out. Frankly, this tulip, I always wanted to paint for you and I had this in mind when I started off this whole series. I wanted to paint only tulip. And though I know that there are many other, I mean florals and many other color shades, et cetera, that might be more love to you and you might like it more. But just took away my heart. The whole combination of colors has been my favorite. Whether it be landscapes, whether it be tulips, whether it be sunset like this has been my got to color for quite some time, for quite a few years. And still I like it whenever I see these shades. I just get attracted to it like anything and there is no coming back at that moment. Sometimes I do also go ahead and pick up the colors wherever it is necessary. And once it is done, I will just blend it with the background. You can see I'm doing it with a very small portion of the tulip that you can observe adding some more lines here and there. Once this part is done, it is almost over. We'll go ahead and create a small swatch card of all the colors that we have used in the whole of the painting. The first is my compose opera. The second is my ultramarine, then yellow, orange, greenish, yellow. You already know the colors, some of the brown into my Oli greene to get the shape that I'm using. Okay. Now I'm adding some more darker values to this leaf and then I will blend it with the background. That's how I did develop the whole of the leaf area. For this painting, we did not have like hard edges, we are moving towards more softer parts. Okay, again, see you tomorrow with another beautiful floral painting. Do post your paintings in the project section.