Acrylic painting Secret Technique for high contrast still life flowers

1. Welcome: Mm-hm. Hi, my name is George. And in today's course you will learn how to make this wonderful vase with flowers. For this still-life painting, you will need acrylic paints and a few brushes. This might seem like a very complex painting. It is not that only requires patience and attention to details. You will get step-by-step encouragement all along the way on how to make this exact painting. At the end of the course, you will feel very happy and fulfilled that you have made this painting. You will learn about color. You will learn about light and shadow, about contrast, and of course about some flowers. This course explains to you everything you need to know about acrylic paint and how to use it to create the spell life if you have never painted before. And this is the right course for you. If you have painted before, then you will get the chance and the opportunity to practice your painting skills. And who knows, maybe learn something new. With all of that being said, welcome to the course. Yeah. 2. Underpainting: Okay. With the big flat brush and lot of water, thinking some brown and putting it on the entire canvas, just dilute the water, nice and beautiful, and put it loosely on to the canvas. Use as much water as you need to make it as spreadable as u one. This is a very fun and loose way to stain the canvas. This step is done for one reason only as to get rid of the white. White is too intense and it skews your perception of color. So having a brown tint to the Canvas makes it way easier to have beautiful colors. Once you start layering in those colors. All of that being said, you can continue on to the corners of the canvas, just add water. What are in this step is your friend, and move towards the top as well. Take some more brown, diluted a little bit more and add it to the top. Don't worry too much about the texture. In a few moments, you will get rid of that texture. And it's very important that before you start with the next step, this layer is dry completely. Let it dry for five to ten minutes, maybe 15, however long it takes for it to dry now. Okay. And then going in for the top corner, onto the left side, onto the right side, actually. And be careful to go on to the edge of the canvas and cover that as well. You can move your brush rapidly, slowly at your own pace. However, the most important thing here is to cover the canvas as fast as possible. Once you've done that, you can now go from left to right and back to add in a few to make that texture very nice and beautiful and uniform. If you find some hairs from the brush, you can pick them up as you go and then going from the left to the right. Just like that, to the middle of the canvas. You can also pick up a little bit of color if you want and go fast down to have uneven spread. You can also add a little bit more color and water and then go from the top to the bottom of the canvas. So you have more beautiful texture though. It looks like Woods. Very nice. Indeed. Going from the left to the right, just like that. Once again, slowly or fast, however you see fit. Okay? And there you go with this step. 3. Drawing the vase: Okay. With the canvas dry, with the under painting completely dry. You can now take a little bit of water and this time making the color a little bit more intense. And just going like that. You can make from the middle of the canvas going down, maybe a little bit lower than the middle, go down, but a line tried to make it as straight as possible. And then at the bottom do perpendicular line, just like that. And above the middle of the first line, you can make another line. It's almost the same size as the vertical one. And then you can measure with the brush. Just like that, measure that distance you've just mark and then go and put it onto the left-hand side to have a perfectly centered line, okay? Continuing, making it a little bit bigger. And then you can start to make this middle line a little bit more interesting. Once you've done that, you can indicate some beautiful lines and basically curving that. So it goes towards the small line at the bottom. You can look at it and try to make it as good as you can. Once you've done that, you can now indicate a top of the face. This will be your vase. Okay. My indication was a little bit too low. You can already see that, but it looks quite nice. It's okay. Once you've done that, you can do a little bit of editing by going on the outside and just indicating a small middle line onto the left-hand side. And the right-hand side, you can start to see the neck of the vase, as well as a very beautiful horizontal line that indicates the top of the vase. And of course, working a little bit of that on the curvature. And also at the bottom, it cannot be straight. It has to have a little bit of a curve to it. So you can indicate that as well. Once you've done that, you can now start to add indicate the shadows just by taking some water and some paint and indicating the shadows as you can see, they start very, very thin at the top and then got continued down until they hit the left-hand side. Once you've done that, you can take a little bit more intense color. And with the using the brush as a knife, you can now cut the outline in just like that, making the curves very nice and crisp. Okay. Adding in this softening the edge on the inside so it doesn't look like a cut out. Okay? Once you've done that, you can indicate the shadow of the vase. This is not completely straight. It goes a little bit back because the shadow, the shadow adult light part of the vase, as you can see, it's a little bit more turn towards the viewer. So it has to go a little bit backwards. So indicate that by using some lines that go not horizontal, but in towards the write a little bit, just a little bit skewed. Once you've done that, you can indicate a little bit of the shadow under the lip of the vase, as you can see. Just like that. Very nice. Okay. No complicated too much. This is just a simple value. Drawing with the brush, but a light brush. This is a very important step because it will inform everything that you are going to do. Don't worry too much about it. However, because this, it will not show up in the end at all. But it's very, very important structurally. And with all that being said, let's go into the next step. 4. Drawing the two roses: Okay, in this step, you will start with the big flat brush just above the vase and make us beautiful small square and make it a little bit bigger. And you can see it's not actually a square, it's more of a round shape. It has a little bit of texture to it. This will be the middle of rows. And then for the edges, just go with angular shapes, this will make it much more easy. You can see two lines and then another square just in between that it overlaps the phase, Don't worry, not as on purpose. So the composition works a little bit better. Okay, going up and that pedal, just continuing to make it more interesting by adding some more angles. As you can see, just going on the top and doing the same angles. This time, just trying to make them a little bit more interesting by making almost a triangle, as you can see. And then going for a more rounded shape on the right side and adding a little bit of water on to the petals. So they seem more interesting. Once you've done that, you can take a little bit more color and cut in just over there another petal, almost as a circle, as a semicircle. And then going in and cutting some petals inside of the rows. So it seems a little bit more three-dimensional. Ok. This will indicate the general shape of the rows as well as the positioning. So don't worry too much. If it doesn't look as good as you want it, it will look very good in the end. Okay, going in for another one, starting with the middle and positioning it just above the vase on the left-hand side, starting with some beautiful circles, just going like that. And then you can go down with two lines. You can start to see the slight slant of those lines. And just going in at the top. On the other side, you can start to indicate the corner of this rose. This being on the side, it will have more pedals. On the right side. The pedals on the left, left-hand side. We'll look a little bit more in perspective. Don't worry too much. That's just a fancy word of saying smaller and fewer. Okay. And then going in at the bottom and just tried to think of them as lines, not as a rose because it's much, much easier to draw them like that. And you can rewind to see what else you need to do. Okay? And there you go. This step is done as well. 5. Drawing more flowers and greenery: Okay, with the big flat brush taking a little bit more colored this time, you can start to make some beautiful leaves onto the left-hand side. These leaves are very easy to do. Just think of them as angles at the same time, organic things than to look much better if you draw them and paint them a little bit more straight, a little bit more angular than just round. Not everything has to be round. Okay? And just below you can start to see another beautiful leaf. Of course, this is just for positioning and overall composition, so they don't have to be perfect. Tried to make them loose and beautiful. As you can see, they tend to have a beautiful rho. And that is to indicate the edges of the Rose's. Don't go overboard. Just look at them and think of where to put some. Okay, on the right side, you can start to see another rose emerging, this time of very, very small rows. Just like that. It's almost like an onion bulb. Okay? Once you've done that, you can start to add some more battles to it, just like that. Just going outside, you can start to see. Also a very important thing for Rose is the middle and another petal onto the lower part and the stem of course, and the beautiful connections of the stamp, okay, and another petal and making the center a little bit more fluffy, let's say. Very nice and beautiful. Whoops. It's a little bit to point E, but it's okay. Don't worry too much. You can change it. As you can see, not everything needs to be perfect. And now going into the middle of the rows and accentuating that rose. So you can give it a little bit more dimension. It just looks better and you can see more. You can imagine the detail more. And now going for some interesting foliage. I mean, a beautiful flower this time to as like that, you can probably do with another rose. This flower doesn't look that good. Tried to make a more interesting flower. But if you can just make another rose a little bit bigger than the one on the right, that will be a lot better. However, if you want to stick with the program, you can just go in with this flower. Okay? Should have added another petal onto the right side. The left side as well. Okay. It looks to, let's say, wavy, curvy and has some points that don't look that good. Okay. As you can see, just a little bit of a shadow on the left hand side, Bros. as well. Very fast there. Okay, and another beautiful leaf. These are a little bit abstract, but don't worry, they will make sense in the end. And the beautiful strands of leaves or however you call them like. And going in when another leaf, and this time two of them. And indicating the edges a little bit more, making it curved. Imagining a little bit of foliage that can be a flour actually, as you can see, it looks more like a flower. Very nice. And going up with a beautiful curved line. And from it, adding a leaf at the end. Once you've done that, you can add another long stem and another leaf on the right side, and another one on the left side, which is longer. List adding more and more greenery. Well, in this case Brown. Okay. Let's see what else going on to the left-hand side. You can put an outer leaf this time smaller. A good rule of thumb is to make a big one and a small one right next to it. As you can see, they stand out quite a little bit more once you've done that, they look much better than just having two of the same size. Okay, going in behind the flower at the top and making a leaf there. And on the left-hand side as well, some more than beautiful stems just like that, and a few leaves on them. And at the top, over there, it looked kind of empty. And there you go with the greenery and some more flowers. 6. Vase shadows: Okay, for this step, you will need some brown, some red, and some blue. Mix them together. Just with a little bit more brown, just over there, some red and some blue to make a very dark and nice shadow color, adding a little bit more blue to brown and some red to make a little bit more color with the big clap brush. Once you've done that, you can take some water to make it a tiny bit more flowy and easily spreadable, testing it on the plate to see the exact color. And then going in on to the shadow part of the vase, This will be the shadow of the vase. And as you can see, just starting to cut out just by the edge and going down. You can go with this beautiful motion or you can just do it softly onto the edge. As you can see, you can start to edit those edges of the vase and just going taking some water. So it's a little bit more flowy and you can make the edge just a tiny bit more crisp. Ok, once that is done, you can go a little bit faster onto the big part of the shadow and editing a little bit more of the shape, as you can see, connecting the lines. And it's looks just very nice and crisp. Just going and putting it onto the bottom of the vase. And going and smoothing a little bit of the shadow just over there, going at the top of the right bark and connecting that with the neck of the vase, as well as taking some more color and editing a little bit of the shape. Don't worry, this will be edited further once the wonderful background is laid in. Going in and doing the same on the left-hand side part and driving the shadow a little bit more high. Okay. As you can see, just going and doing the edge, just over there. Taking some water. You can now just water not color. And you can now put a little bit of this blue, this purple on to the middle of the vase, onto the light bar. And of course, at the edge you can indicate a little bit of a line. And just like that, cleaning up the edge, taking some more water. So it's a little bit, a bit more diluted and a little bit more thin. Once you do that, you can go around the rows to make a little bit of a separation in between the rows and a vase. Okay. And going down, continuing and adding some more water to make the shadow even more dilute. The color even more spreadable. Does is just water, no more paint. And just like that, don't worry, if the round cross is still showing, there will be many, many layers onto the face and taking some paper towels. Okay, and pressing down and taking a little bit of the color out just like that. So it's not so blue. This is still the light part, so it needs to be a little bit more light. Okay, once that is done, you are done with this step. 7. Local color of the vase: Okay, now this is going to be with some yellow. The brush is extremely clean as you can see. And taking some blue and some yellow and a little bit of that shadow color, maybe a little bit more to make a nice, beautiful green. And a little bit more of the color to mute out the color. This is just a base color for the vase. So we can start layering in those beautiful, nice green textures and light. And going down with the beautiful brush motion, this is a very nice brush motion because it gets into the nooks and crannies of the canvas. Ok. And you can combine it a little bit over the shadow, just a tiny bit. So not separated, it's actually connects. Ok, you can start to see a little bit of layering on the edge. You can see it already. Okay? And going up, once you've done that, you can take a little bit more blue and a little bit more green, make the color more interesting. Taking some more of that shadow color if you don't have it, don't worry. You can make, take a little bit of red, some blue, some brown, and make it once again a very dark purple. And put it at the top and connected with the shadow. This is a very straight line, as you can see, it has this straight line, so you can already think of the shape and the paint follows the shape. We'll see that in the next steps. As you can see, once it's connected to the outline, it looks much, much better. Don't worry if it's too transparent. This layer is just so we have a little bit of a base to work on. Okay? We will start to become more exact, but the colors, once you have a base color down, okay? And this is just so it shows you what kind of a color you need where OK. Taking some yellow, little bit of red, just a tiny bit of red. And some yellow just like that. Some more yellow, making this orange. Once you've done that, you can put some blew into it and a tiny bit more red. It can mix it together onto the other. Pile. Too much red. Okay, making it over here and mixing it together. This is a tiny bit more dark green and it has a little bit more orange. You can start to see this color goes onto the right Bart, near the separator. The separator is exactly as it sounds. The line in between the shadow and the light. Okay, and onto the left-hand side you can see that this band has a little bit more paint wit. It's a little bit more gushy. And going down and putting it over, layering it over the shadow at the bottom, can start to see a little bit of layering and transitioning. Okay? And onto the right part just a little bit over the shadow as well. And going and taking some more of that dark color, mixing it with this green and a little bit of blue, it can look at a beautiful, nice, bluish color. Once you've taken that, put a little bit more blew into it and making it a tiny bit more green. This is a very, very beautiful turquoise. And you can start to put it at the top of the vase, just over there, starting with the edge to make it even more crisp, very beautiful. Once you've done that, you can continue going to the right side and go a little bit over the shadow. Not a lot because this doesn't have a lot of water. And thus the paint is not transparent, so it cannot properly layer. It needs a little bit of water to properly layer. Making a different green. This time adding some red and some Brown, as well as some blue and more green little bit of brown, brown. We'll just make it darker and red will make it little bit more purple. This is another turquoise, but this time darker. You can start to put it at the bottom of the, He's just adds a little bit more of an interesting look. Once you've done that, you can work on the separator just a tiny bit. Use your fingers to smudge, to paint a little bit of round this to make it nice and beautiful. And there you go with this step as well. 8. Starting too layer on the vase: Ok, for this step, cleaning up the brush. Once again, you can start to take some yellow and put it over here, mix it with some beautiful blue and make this worm nice. Green thinking just a tiny bit of red. So it's not that intense. We are staying away from the intense colors because you want those saved for the nth. So they are like a tree, like a dessert, let's say putting some white onto the plate. Just so we have it there. And going in, taking a little bit of white and putting it into the color and adding some yellow as well as some red to dull the colour. Super nice. Once the color is perfect, you can start to add some water, so it does Layer quite nicely. Starting onto the left-hand side with the corner of the brush. This time, you can start to create this interesting color onto the left side. And just working your weight down. Just like that. It looks quite nice as you can see, it's downs out quite a bit. Once you've done that, you can leave a little bit of a edge to the interesting brush marks. And you can just put that layer down. Once you've done that, you can go on to the right side just as it touches the shadow and go where it touches the shadow. And go down and do the same thing, some more water so it can have some more layering effect. The bank has a little bit more layering effect. Okay? And just going and softening that inside edge. And going on the top. As you can see, no more paint has been taken, just water. So would layers on top of that turquoise. Okay. It layers nicely. And connecting the two green parts, the two green shapes, if you press harder onto the brush, it will have a lot more paint. This is very softly touching the canvas and going until the beautiful rose and the beautiful lip of the face. And for the middle part, just continuing with the small and interesting brush technique, let's say just caressing the canvas, taking some red and putting it over there, things yellow, some more yellow and making that same orange. Once again. Once you've done that, you can put some yellow just onto the right side and mix it with the Red and the green You've created earlier. And this is a very, very yellow, green. As you can see, and layering over the wet color, you just late in onto the left part and the right Bart, leaving a little bit of the color underneath, just showing on through. And once you've done that, you can take some more color and add it towards the left side, just going and adding this mice and interesting layered effects. Not yet layering as much, but it does have a certain bit of layering. Taking some more of that color you've created previously, and adding it over to mix a little bit more of the textures and make that beautiful transition. Doing the same on the left side and taking some more white and mixing it in between those two colors you've created. Okay? Once you've done that, you can start to put it onto the vase, starting with the left-hand side. You can already see a little bit of a transition. This will be aided by a lot more layers. And just going around and mixing it into the yellow, you'll just put in the green yellow you've put in. And as you're doing that, the brush picks up that color so it softens the edge. You can also take a little bit more color and go in. Once the color is almost over from the brush marks, you can go into the, Let's onside and then right-hand side continuing does this layer of paint ok. Going in, then layering a little bit more. Don't worry, this is very, very easy. You just have to use a little bit of your eyes and look to see how the paint just overlaps each other. And taking just a tiny bit more white and mixing it over there this time, what, uh, what more water? You can start just at the edge, but inside the left edge of the color. And start making another piece of the vase. Okay. Just like that. And you can start to put it over. Once you have a little bit less paint on the brush, you can start to put it over the honor colors, just layering it in and scrubbing it just a tiny bit. K, continuing the color more inside and going in at the top, just brushing and mixing those colors, the getter, adding some more white into that color. At Green. If you ever have too little color, you can always mix it back and make it once again, okay, adding some more to the middle of the vase. And what all of that beautiful layering and painting, you can start to see a little bit of a texture as well as some nice transitions. And there you go with this step as well. 9. The wonderful textures : And here comes the fun part with a small flat brush. Take some yellow and some blue, some red. To make it a little bit less intense. Maybe a tiny bit more read some yellow, making this nice, beautiful color, adding some white. Once you've done that. Whoops, too much white. And more yellow, makes it nice and smoothly, taking some red, maybe too much red. Now it's good. Once it's mixed in some more yellow. And making a beautiful color. This color is a tiny, tiny bit more light than the color of the vase right now. Okay. Some more blue. You can start to see it. Just on the right. You can also test it. It looks like it's not right. You can put it onto the canvas and see if it looks as in the course. Just adding a tiny bit. And this will be the start of the texturing and the layering, the most fun part of the vase. This will make the vase look very three-dimensional. Well, three-dimensional as it can be. You can start to see this small little shapes that are just layering onto the canvas. For now, we're not using a lot of water, but we will start to use more water soon. As you can see, it starts to become, as you leave some small gaps in between the brushstrokes, its starts to become more interesting, more Count, how do you say this? More beautiful? And for the lip of the nice vase, you can put the same color to Staten beautiful line and go with the wonderful brushstrokes down on the vase. Thinking a little bit of red to draw up a tiny bit more and make it a tiny bit more orange color. Add some more white to make it lighter. Just like that. Once you've done that, you can start to work at tiny bit on to the right part as well. Just like that, adding some color. As you can see, there are a lot of gaps in between, but there are not too big. They're not this big. They're very, very small. And you will get the hang of. Doing this kind of a brushstroke just goes around. You can see it has a little bit of a subtle shift to the brush. Once you go around, it just shifts and rotates as the vase. It just forms this circle. Okay. As you can see, once we go onto the right-hand side, the brush strokes go with the roundness of the vase, taking some yellow and mixing it just to play around with the color, have a little bit of variety. Subtle variety makes the vase look. Wait, wait better. Taking some more white and tiny bit more white, mixing it all very nice and beautiful. It's a lot of color over there. So let's put it onto the plate and go on to the left-hand side with the same brush strokes. And going very beautiful as you can see. Leaving a little bit of the spaces, the color underneath being a little bit wet. We'll blend a tiny bit. Okay. And as you can see, the brush just follows the shape of the vase. Okay. Going down a little bit more. And going into the yellow, You've just the green yellow you've just put in onto the right side, as well as taking some more color and doing these kinds of brushes, you can start to see once again, the brush just follows the shape on the right part. It curves downwards and to the right, and on the left part and curves to the right. Every brush stroke matters quite a lot. Ok? And this is fair. We repetitive, but it is quite relaxing and fun. And it creates a beautiful effect. Can start to see that Textures. Okay? And going in with more color to select that and adding it, taking some more of this color just over there and putting it on to the right side and connecting it to the turquoise above. Just make it, once you hit the turquoise, you can go with some more straight lines, especially in the middle of the vase, in the middle of the torque always. Okay. And you can go a little bit over the turquoise, you can start to see the color. Depending on the color. Below. The green you're putting down looks different. If you have TOR coils, if you haven't the shadow, if you have the outer green of the middle of the vase, it just looks different. Okay. And putting in some more white, some more white into the green and adding another beautiful layer, just going around in a beautiful, nice circle. Don't worry too much. This is not an exact science. However, there are some guidelines and those are to be patient and do it at your own pace. And just like that, connecting the circle and there you go. This step is done as well. 10. Complete beautiful layer on the vase: Ok, picking up exactly where you've left off. Just going and taking some more white, just a tiny bit more white and yellow to make it. Just a tiny bit of yellow to make it a little bit more green, one tiny bit of a red. And you can start to continue the circle and connect it. This will be a fun one. It's very nice and interesting. And you can start to see just connecting it. If, if the paint has dried and you took a break for tea, for a snack, or for anything. You can just connect it by going from the outside in. So going over the, the last layer just a tiny bit at the edge. And as you go a little bit further from the edge on the outside, you can make those brush marks a little bit more separated. And as you start to go inside the shape and you can start to go a little bit more dense. But still keeping those nice brush marks though, those nice shapes in between the brush marks, those small points that are not connected completely. Okay? And going in at the bottom of the circle, just like that. This is just in preparation for the icing on the cake, for the highlight. Everything that is done until this point is done. So the Highlight has the fall off and the space to give the most effect. Okay? It's gonna be a beautiful payoff. And just going in and connecting those, leaving that Textures nice and beautiful and just like that, making some more shapes. You can start to see. It looks very, very, very interesting and textured. Don't worry, though, will be more layers is very, very fun. Anyways. If you feel like it looks good enough, you don't have to go over all the five layers of texturing and layering. If you find it, that is tedious. And just like that, don't worry, just skip to the highlight Bart and do the highlight. Ok. And going in for some more yellow and a tiny bit of red and maybe a bit of brown. Too much red. Clean up a little bit of a brush. And mixing all together. Take some white, this tiny bit of whites, some more yellow, mix it all nice and beautiful. Once you've done that, you can start to layer it in over the part of the circle, the inside part of the circle, and the little bit onto the right side. These are very, very small brush marks. And they give a little bit more of an interesting look to the vase. It just, it's color variations, so it does look quite nice and beautiful. It's subtle, but it does, has, does have its purpose. Okay. Mixing some yellow and some blue, making a very clean green and taking some white. It's a very, very intense yellow, green, white. Okay. And just like that, putting it onto the phase, just onto the left-hand side part. Okay? Once you've done that, you can start to work your way around. Just over there. The circle has now has a little bit of a straighter edge at the top because the vase is not perfect, perfectly circular. As you can see, some water is needed for this, so the paint doesn't just laid down, it creates layering effect. Okay. And don't worry, taking some more water will help. But the effect is your friends. Like water, my friends. And then going in and connecting those, faking some more water to have that layering effect. Just a tiny bit more interesting. You can now go into the left-hand side and add it to the edge, creates a very beautiful and interesting look. And going in to the right part, you can start to see this color is very, very thin and pressing gently on the canvas. And there you go with this step as well. 11. Green vase amazing layers : Okay. With the small brush continuing with some color, this time, just yellow, blue, white, basically the same color and layering another beautiful layer of paint, just going nice and smoothly over the top, which is starting in the middle, just little bit more to the left of the vase. And then going in and continuing the circle, going around it, making more textures. This time you can see the brushes are a little bit more further apart and taking some more color and going down a little bit and going in side the circle as well as continuing your way down and start to see the beautiful circle starts to appear. And lot more textures like this second layer. And going in and making that circle. And that texture. Very, very beautiful. Okay. Taking some water, cleaning up the brush almost completely, is cleaning it at the bottom of the plate, taking some napkins and cleaning it off, taking some water now. And with the water, you can start to fade in that layer. It takes a little bit of the color. You can just squeeze it little bit if it has too much water and you can start to blend in those that top layer. You can also take a little bit of the color. And this has a lid to more water than you think, just layering it in onto the top of the circle in the middle. And taking some more color and doing the same, making your way around the circle to add more Textures. Okay, the brush is almost completely out of paint and right now, taking some more white and adding it to that color, just a tiny bit, mixing it together, adding that little bit of red just to make it more diverse. Okay. Grabbing that color onto the brush, some Warner diluting the paint with some water. So what layers better? And in the middle of the circle, almost at the edge of the circle actually going in and layering some more of this paint. It has water. And going in. Around the circle, continuing on to the right part and more on the top. Going down, you can start to see the reflection of the water. So it has quite a bit of water, not too much, but it does have some. And going down just like that. In the middle of the circle and below, over there. And blending just a tiny bit with the tip of the breath, just tiny, tiny bit caressing that paint, giving it affection. Ok. And then you can go around and go a little bit more wood, a little bit more water, and just go over those layers and add more towards the right. Not a lot, but it does help to have some water. And as you can see, taking even more and adding it to the top as you go up, the lines become a little bit more straight. And for the edge, just adding some nice highlight to the edge of the days. So it's more wonderful. Okay, going in to the right-hand side and adding some more textures this time a little bit further apart the brush strokes and just going down as well, keeping in mind to rotate the brush as it goes with the shape of the vase. Okay. Taking some more water so it blends better. And just continuing to add this, what are we paint to the base? Every nice and beautiful, this round shaped texture. Taking some more white and adding it to the same colour, taking some red. So it's a tiny bit more orangey looking, very, very light color. As you can see, you can put it over the paint so you can see the color better. And starting onto the left-hand side part of the vase just going in and going for the middle of the circle and then working your way around the circle. This still has a little bit of water, so it's not completely opaque. And it helps because it blends in with the colors underneath that are still wet. So there is a little bit of lending and as you go down, you can mix it up a little bit and make the beautiful brushstrokes a little bit more thick. Not a lot, just a few. So it goes against the grain. So it's not so repetitive. Okay. Going and making almost straight line, just going with that top k And over the turquoise just a few lines, just going straight across. Just like that, you can start to see it changes from small strokes to longer strokes of paint. And taking some more paint, the brush has a little bit more water to stake in previously. And going over the middle part to make it more intense. Okay. And going down can start to see a little bit of an angle and just showing up there. This will be changed in a few moments. Okay, going in at the bottom of the circle and connecting those textures just a little bit more. And on the opposite way. Just making this Bayes even more interesting. No gay going in, taking some more water and as you come down, taking your time to make the marks count, okay, in the middle, you can start to blend it a little bit more so it has a tiny bit more thickness and color. So it's blended, nice and smooth. And you can go in a little bit further on to the right part, just a tiny bit so you can add some of that texture as well. Some 1A. 1a is your friend going in and blending those brush marks. The brush, as you can see the tip of the brushes almost perfectly try. Now, it's just taking the color from the canvas and now taking some more color. So you can add it to the middle of the circle, start in the middle, and work your way around just nicely. Okay? Once you've done that, you can put a little bit more color. So you can add some texture. And there you go with this step as well. 12. Last layer before the highlight: Okay, and this will be your last layer of light on the vase before the Highlight. Okay? Taking some read, some yellow and mixing it in with some white, exactly where the last color was. And basically making a lighter version of that color. Very, very beautiful like color. And going in straight for the middle of the vase, exactly on the left-hand side parts of the vase from the center. And going in with this color, as you can see, it still has a little bit of water, so layers quite nicely. It's a subtle difference, but it makes all the difference in the world. Okay? Once you've made a beautiful shape, just going around and around with these beautiful marks, straighter ads as you go up. And as you can see, you can move your way across and then going down and blending in a little bit of this color, just into the last one. Ok, very nice and beautiful. Looking. A little bit nicer. Can always take a step back and look at the vase and see if it needs certain marks in certain places, taking some more color to add another layer on top of the last one. At the middle, as you can see, it starts to become even more yellow. And at the bottom just over there, building more texture and more color. Once you've done that, you can take a little bit of red, this tiny bit of red, mixed it into the color to make a little bit of a different color, taking some blue and some red, okay, making this beautiful blue. The worrying will change a little bit. Taking some more white, even more white and putting it into the middle. So we have a fresh new place where you can mix this wonderful blue into the white. For now. It's green bluish color. Once you've done that, you can put it. You can see how light it is and scrape almost all the paint of the brush and start to put it on top of the beautiful green and going up onto the turquoise, this a little bit of a variation onto the same color. It has the same value yet it's a different color. So it's almost the same as the yellow. If you look through your eyelashes, just squint your eyes, you can start to see it's the same color as it's the same value. So if you squint, you can see it's the same value. And then use your beautiful fingers and blended a little bit. Clean up a little bit of the brush in the water. Use the sides of the cup to clean it up nicer and take some yellow, mix it a little bit with the blue, some more yellow. Okay, mix it together. Once you've done that, you can take some white Look at how beautiful this color is. Very nice and beautiful. A little bit more white. So we have it, they're prepared for the highlight once the highlight goes in, in a few moments, okay? And putting in more light into that green, Look at how vibrant and electric that green is. That's dull. It a little bit. So it's not neon green. Put in a little bit of red into it, mix it all together just nicely. Okay. Taking some more white and putting it somewhere where the paint has dried and mixing it all together. Don't worry, the paint underneath doesn't change the color. It's completely dry actually. And then taking some more white and mixing it till we can see a beautiful yellow color, okay, and mixing all the color that yellow once it's done, you can start to put it over the yellow part. Can start to see it's a tiny bit more yellow than the one you have put already in there. And just going around and preparing the space for the highlight. Just like that. Nice and beautiful. Okay, going around with textures and going a little bit more to the outside just with that tip of the brush. Very nice. You can go onto the right bark with water, of course. Tiny bit of Warner and then some color. Putting just a tiny bit of color over there and smudging it the finger. So you have a little bit of texture and then you can layer a little bit of a textured their tiny bit more, and smudge it even more. Once you've done that, you can go in and connect that beautiful layer of white, blue, white that you've put in. And the lip is connected over there. And at the bottom you can make another beautiful highlight at the edge. As you can see, this tiny bit of a highlight, just so it looks more interesting. Cleanup the brush. And there you go with the step as well. 13. Green vase highlight: Okay, the most exciting part, putting the highlight first, contrary to popular belief, the highlight needs to sit on something a little bit darker and it will stand out more this way. So it's very, very important to make a beautiful brown per polish tins that you can put on the vase exactly below the Highlight. Okay, so you can make the beautiful brown purplish color and add it slowly with the corner of the brush. And add it on to the area exactly where you want to highlight to be. And as you can see, it's quite evident where it is. Cleaning up the brush nice and smoothly with some water and some paper towels. Absolutely perfect. And now for the color of the highlight, after putting down the beautiful napkin, you can add a little bit more brown, little mano, more purplish Brown onto the highlight area. Okay, don't worry too much if it's not dry, it should be a very, very thin layer. Cleaning up the brush once again, very nice and smoothly. And taking a little bit of the paint out, just dabbing a tiny bit on to the beautiful vase. Taking some yellow would a little bit of blue and adding it around as well as some yellow with some white, just like this. And adding it around the highlight. Not a lot, just a tiny bit. If it's too intense and it stands out too much. You can also blended out with a little bit of water after that, taking some water and a tiny bit of yellow and maybe a tiny bit of blue. And putting on the brush this time would a lot of paint. And also going from side to side with the brush and adding gushing. Beautiful texture for the highlight. As you can see, it's very, very luxurious in its texture and making it very nice and beautiful. Trying to add just a tiny bit at the top, cleaning up the brush, maybe a tiny bit and the highlight should at the top be blended out into the vase. Okay, so let's just do that. Cleaning up the brush and just blending out the white. Just going out, as you can see, it creates a nice effect. Ok, perfect. Looks just about right. Let's see if we can make some more changes. Just around. You can go around with the brush and blend a little bit of the sides as well. And just a tiny bit. Taking more, this time, just almost pure white, and adding more texture to the middle of the highlight with the corner of the brush. And once again, adding a little bit more to the side to make it bigger. Just a tiny bit more until it looks quite right. And taking some white and mixing it with a little bit of yellow and some blue, just a tiny bit of blue. And you can now start to work around the highlight to add even more light. Just like that. Don't go over the brown. As you can see, the brown subdued quite a bit, but there is still a little bit showing just over there. And of course, just blending that out a little bit onto the side. You can leave just beautiful marks of this new found beautiful pain. Nice. Taking some more color and adding it to the top of the highlight. Some more white. Would a tiny bit of yellow. Very nice, as well as blending out the highlight at the top even more. Taking some pure white this time and adding it on top just slowly as you can see, it stands out even more. Going from side to side, remember, and adding a little bit more pure white just on the top is touching the paint and mixing together the white and some yellow, just like that. And adding it around the highlight to increase the light around it, the fall off of light. Just like that. You can go around and create small little changes that make the effects look. Wait, wait better. Just a little bit more. Very nice. And going in on this side, taking a little bit more paint and adding it just over onto the side. If you lost the brown, you can add it after just with the corner of the brush. Hadn't little beautiful line. Now you can put some paint on the lip of the phase as well as onto the side, top side. And there you go. This step is done as well. 14. Green vase reflections on the shadow: Now that you've worked so much on the light Bart, the shadow part should get a little bit of attention as well. Mixing some blue and some read into each other, creating a beautiful greenish with a little bit of yellow. Just making more interesting shadow color. Diversity of color makes the painting look quite nice. And adding a little bit more red to make it very nice. Just a tiny bit of white. Okay, and some more yellow. This is basically a brown, a little bit different. And with that being said, you can start to put it onto the side of the, onto the right side of the shadow. Just add the middle parts. As you can see. It just adds a little bit more of an interesting look. Very nice. Okay, making the shadow a little bit more warm. And at the bottom, of course, at the bottom of the vase, you can add this brown a little bit as well. Taking some more and adding it to the bottom. Very nice and easy. Take some 1A. And now you can add even more. This time. It's blending a little bit more because of the water. And just like that going a little bit into the green, into the light part of the green. So it blends nicely and it creates this beautiful effect, taking some more yellow and adding it to the color and some blue. Just like that, you can start to see the beautiful colour it creates. Wait, a little bit of red. Just over there, maybe too much red. And let's put a little bit more yellow. A lot of the painting is done on the plate, on the pellet. Okay. And with that very warm green, you can start to add on the side corner, onto the right side. You can add some of this color as well as at the separator. The separator is exactly as it sounds, the separation in between the light and the shadow. Okay? Just like that, making the transition a little bit more interesting. Going in with some white into that color. Just a little bit more white and maybe a bit more. Very nice. This is a very interesting color and scraping it on the side of the plate and then putting it onto the lower right part of the vase with some nice, very interesting brush marks. And just like that going in for the bottom part, as you can see, it's. It looks very interesting. It looks shiny now because that's called very beautiful color. And it's called cast light. Well, reflective light. Forgot in this moment how it's called. But it's very important for shiny objects. And just like that reflected light, that's how it's called dislike that reflecting everything around it. If we had a object onto the right that was read just behind or just right next to it. We'll have some read into the phase, even though the vase is green because it's reflecting the surfaces around it. In this case, the table it's sitting on. Okay. Well, that it will be sitting on going in and making the color a little bit more light and adding more reflections onto the right part, the lower right part. Don't worry if you lose the darkness of the shadow. You can add it afterwards. No problem. Ok. And adding it to the bottom to slag that very nicely. You can see these colors are very muted, but they seem like they have a lot of color. That's because DI skews things because you are painting on a purple shadow. Whenever you put a gray that has a little bit of green into it, it seems like it's green. Okay. And going in and smoothing a little bit of that, as well as putting this reflection just that top. And just over there, right next to the edge. It should be smooth it out a little bit more. Let's see, adding a little bit more white and adding it at the bottom. Very nice and beautiful. And just like that. Okay. Going in and smoothing a little bit more of the shadow at the top and extending it as well. You can also go into the separator, went a little bit of this color. Water is your friends, and go in and smooth and blend a little bit more of the separator. Yes, reflections are quite interesting. However, going overboard is always expected. So making the shadow color should be a must at some point. Ok? Because no light can survive in a painting, can, can flourish in a painting without the dark shadows. And blending that separator a little bit more. Going in over the very intense green at the top and blending that a little bit more. So we cut out a little bit of the green as well as putting some of this color underneath the lip of the nice vase. And there you go with the step as well. 15. Flowers local color: Whether clean, beautiful billets and a clean brush, the big flat brush, taking some yellow and some red, little bit more yellow to make a beautiful orange, orangey, yellow color. We will start to paint the beautiful roses. Ok, so what all of that being said? Let's just jump into the painting. Very nice. Go in for the middle of the rows. It's not a lot of color. It's quite transparent still. And going in with some more orange over the yellow. And going in for some beautiful lines around it. Just like that. As you can see, it's started to create some beautiful shapes, very simple and easy lines to do with the corner of the brush going in for the big flower at the top. This time, just going over it with the color, you can start to see. Usually yellow is a little bit more transparent than other colors. So you can start to see that the brown underneath looks quite interesting. Don't worry too much about it. This is just local color going in and making the yellow a little bit more yellow. Okay, and probably should make it more orangey towards the red. So we have a lot of variety with that in our brush. You can put it onto the little rows at the right part, bottom right part. Very nice. Just a little bit of color. And going in for another beautiful flower, just a small line with the brush. Very easy to do going in for the reds. This is almost pure red. And going in for the side of the red rows, this will be your red rose. And for the middle as well. Just like that, going in and putting in the middle perfects and the top, just adding a little bit more color and a tiny bit with the remaining color, just putting it onto the outer line. And probably a little bit more at the top, just like that. And with some orange you can put it just where the beautiful middle starts to touch the petals in the yellow rose. Perfect. There you go with this step as well. 16. Flowers more color: Adding some blue into the mix, things in red and some beautiful. Putting this darker red. If you don't have this darker red, you can use a little bit of brown to darken your red. It's very easy to do. Just put a tiny bit of brown into it and it will become much, much more dark. Okay. And in the middle, just accentuating that difference where the petals will meet the middle of the rose. Very important to make those distinctions. With all of that being shown. You can now put a little bit of red and blue together with some white to make some purple. Very nice purple, just like that. And putting it onto the flower at the top, just over there, you can start to see it as that teardrop. And over there it's like a leaf. And then it has another pedal just calling this way. And another petal at the top going the other way. And beautiful iris. Very, very nice. That's all for this local color. This adding another beautiful brush mark. Looking at it to see if it's just right. Okay. Going in with this purple and adding some reds over the orange, taking some more yellow in case you don't have it. And making this dark, dark, beautiful, orange, reddish dark color. With that color, you can start to make a little bit of a shadow and a middle for the rose on the rights. Very nice. And taking some yellow and some red and putting it into the middle to make the middle a little bit more warm. Very nice. And going in, mixing some more of this orange and putting it onto the rows once again and going with the same color onto the red rows, just to add a lot more variety to the colors at the bottom and at the top, very angular shapes. And of course, there you go with this step as well. Let's go into the next one. 17. Local color for leaves: Okay, now it's time for some greens, taking some yellow and some blue and making some beautiful green just over there. Taking some red so you can mute it and darken it a little bit more. Red, being a complimentary, basically opposite on the wheel of colours, it will mute the greens and just cutting. This is a very interesting way of calling what, how you are doing the leaves, cutting the leaves. You are cutting into shapes. As you can see. It's, it looks just beautiful. It contrasts very well with the roundness of the vase. And going in for another one just longer this time adding a little bit more yellow and going in and just right next to the rows, maybe connecting it. You can start to see just a tiny bit of yellow changed to that leaf. And that is very important and very nice. Okay, taking some white and adding more variety to the colors. By putting a little bit of white, just a tiny, tiny, tiny bit of white. We'll make that leaf look different. And connecting it to the rose very nicely. Cutting those angles of the leaves. Very, very beautiful. And going in for the right bards and doing the same, just cutting. You can also cut into the rows over it if you want. And just like that to more leaves are created. It's very good to have the drawing underneath helps so much more. And of course, you can add some yellow as well as changed things around a little bit if you want. Make them longer and smaller. As you can see, just adding some foliage looks very, very beautiful. Going in and adding branch with some leaves. And just like that. And over there, there's another leave behind this flower. It's very good to connect them, not make them separate. Because if you make them separate, they don't look like a bouquet of flowers. They look like I don't know, just stickers. Ok. And going in for another beautiful leaf, just at the top, adding a little bit more white. And just like that, you can see the white has changed quite a bit from the initial color. It's very good. Change around and play around with the color a little bit more just to give variety to the painting. You can now put in a big, beautiful, luscious green leaf just over there. And just that beautiful blade would have small in-depth. Perfect. And now going in for some interesting green leaves just over here and over there, that one looks perfect. And in between the roses and maybe one over top, the right ones. And just like that, this step is done as well. 18. Yellow rose: Okay, let's go into the rows with the big flat brush clean and some water, this time, a little bit more water, taking some yellow, mixing it all together with the water. And taking some red, making that yellow, tiny bit more light with some white and some of that red. Mixing it in, blending it all together. Going in some, for some more yellow and red and making it very beautiful, mixing it all together nice and smoothly. And going in for a bold brush mark onto the middle, changing the color a tiny bit more with the red and adding it. So it has a nice transition on to the middle of the rose. Very nice. And with that being done, taking some more yellow and some white, lightening this yellow tiny bit more. And adding two beautiful, luxurious and textured dots with the corner of the brush into the middle of the Rose. A lot of those, taking some blue and mixing it into the yellow, you will think, whoa, that's a lot of green. Don't worry too much. Now, first it's going to be quite orangey, but it will become green. Going in with the blue. And putting it chest over onto the lower part, you can start to see it started to look quite green. And now let's make it very, very green. Ok, let's cut that green off with some red. Just like that. Beautiful green. A mute it green and adding it to the bottom petals. And just like that, don't worry, this will give the rose a beautiful cool and warm contrast. It will make it look quite nice. With that min, minty green. It's a little bit dull. Let's put some blew into it, adding another one just over there. Not a pedal is too beautiful, simple lines. And that's one. And that's the second one. Very nice and easy. And looking at it to see if we can change something else. And nothing needs to be changed. Cleaning up the brush, not entirely. Just so we can blend those colors together. Some rent some white. Just meting, purposely muddy in the colors a little bit. And going in between those, the middle part and the green part of the grows and adding some more yellow just over there. Perfect. And adding it just in between those lines, going for some more red and blending it just where the orange was, thick yellow orange was. And putting some more red and some more white, perfect, and blending it all together inside. There's a lot of variety of color. And just like that, some yellow, some white, and some more white, Making a lighter color. So it just looks quite nice. Blending it into the red. Perfect, Very nice and easy. Going for some more yellow. Just for the right part and blending into, into the green just a tiny bit with the corner of the brush going in for some more yellow and adding a bold brush mark at the top. Very nice. And going in for even more yellow this time. And putting some more color onto the left, top part of the rows, going for some more yellow. And this time with the flat brush on it, not on its side but on its long part, just finishing that rose, taking some more of that dark color. Now, this time it has a little bit of red and blending it in between the rows and the middle part of the rows. And there you go with this step as well. 19. Red rose: Okay, while the yellow rose is drying quite a bit, you can start to work on the red rose taking some white and some red, Making a beautiful thing just over there on the plate where it's clean, very nice pink. And adding it just at the bottom, just beautiful small line. And then continuing that line and another line on top. And going in for the left-hand side and adding, connecting those two shapes with each other. Very easy taking and making more variety with adding some yellow. When all of that being said, you can put it at the top as well as a line. Just like that, this time following the curvature of the gross. Very nice and easy. Taking some more white and adding it to the red. A little bit more white, a tiny bit more. Just making small changes in the color. Okay. That seems just about right. You can start to put it just over the top, at the bottom as well as at the top, making and continuing that shape in the back, making another beautiful pedal just coming out of the rows and just underneath that as a reflected light. Putting in more white makes it beautiful. And this time going for some bold blushes lines, two of them, as you can see, just going on a curve exactly where there was no paint and going in for the left-hand side and making over the top of the first colors just a little bit more. And going in and connecting everything just like that. Okay, and at the top, making that a little bit more liked as well, taking some yellow, making the color a little bit more varied, as well as some white. With this orange beautiful color, you can add another shape at the bottom. Very easy to do. N1. Beautiful. Pedal, just a small one with the corner of the brush inside the rose. Very nice and easy. Cleaning up the brush. Super nice and taking some straight up red, adding some more white to it. Just over there is tiny bit of white. And adding it in signs. If you're red is too dark, you can add a little bit of yellow into it to lighten it and make it a little bit more orange. The goal of this layer of paint is to create some separation in between the petals. As you can see what a few tiny, tiny lines, you can make some separation and give the impression that it has so many petals. The rows has so many petals. Very nice. And there you go with this step as well. 20. Highlights on flowers: Ok, let's make some highlight for the purple flower using some read, some blue and of course some white. And the light generally in this painting comes from the left, as you can see on the vase. So on each petal, on the left side, it should be a highlight. Very simple to do with the brush on its side, just like that. First 1 second, 1 third, 1, super, super easy. Then lighting up a little bit more and adding some red and some more white. You can add a little bit more dimension to the highlights. As you can see, just a few more petals on top. Super easy. Do. After you did this, you can clean up the brush. Very important to clean whenever you are mixing a new color. And of course, it's still a tiny bit 30, but it doesn't really matter that much. Picking up some yellow, some red, and some white to mix up a light color for the small Rows onto the right side. Okay, mixing it all together. And the pedal, fairly easy to do. Just push onto the brush, going to the right and cut a beautiful pedal in, adding some more yellow and some more white. Just like that. And putting it this time a little bit smaller to indicate the battles. More nice. And another one with more white. As you can see, the standing at the top in case you have covered all the petal. Just take your finger and just take that paint out with the finger. Okay, and for that small corner, and at the top, very nice and simple way to do some petals, adding some more white. This time quite a bit, and some yellow, mixing them together as good as possible, making sure it's not a lot of paint on the brush. And going in for the top flower, as you can see, some white, yellow, white color and then adding some yellow on top of it on the lower part just to make a beautiful gradient. And just like that, some highlights were created. Just a little bit of diversity. And there you go with this step as well. 21. Highlights on the yellow rose : Ok. And for the long awaited yellow rose, taking some water with the very small flat brush and a tiny bit of red to mix it in with the yellow to make it just a tiny bit more orange and white. Just a tiny bit to change a little bit of the queue and make the color just a tiny bit more light and small adjustment with red. And the color is done going in, in the middle of the rose. As you can see, there's not much difference to the color. Just a tiny bit more light. Okay, going in for some more yellow, adding it to the color, and then adding two blobs of paint just like that with the corner of the brush and another one just over here. Super easy to do. And now going for some blades, some battles. I call them blades because the way you make them is by cutting in and making a rounded shape or a straight shape. Just like that around at C shape, going around the rows. Okay. Going in for another blade and not a petal, and another one behind it, just like that, making a little bit smaller, a little bit bigger, just to give some more variety. And going in for some more petals on the bottom, tried to work in different sides of the rows. This will make it feel more organic. Now mixing some more red with some more yellow to make a beautiful orange. Just so you can make some more textures in the middle and some different colored petals inside the lower part of the rows. Some more red, mixing it with some white like that, making a beautiful pink, orangey color. Now with this color, you can add another petal just onto the left part of the rows and also down just by the blue petals. Ok. Cleaning up the brush with some water, as clean as you can make it and taking some more yellow and some white, maybe a little bit more white, and going in for some lighter petals on top of the ones you've created earlier. Starting with the middle, as you can see, just making a beautiful pedal at the top. And going around. The lightest parts of this rows should be onto the left part. And it is going down. As you can see, it just blends in. And it seems due to the very, very red hue of the local color of the rose, it seems a little bit more greenish. The rows. The pedal you've just created on the right side. Okay, going in for some more petals, just see shapes or straight lines around the middle of the rows. You can add edges to them or blend them just like the last one. Okay. Some more, just adding some more color and blending in. Just a tiny one at the bottom, right by the blue. And at the top of course, starting a bigger one. This one just looks much better. Bigger. Okay? Taking some pure white and just a tiny bit of yellow. Okay. Maybe too much yellow. Let's clean up a little bit of the brush on the side of the plate and then taking some more white, just pure white and a tiny bit of yellow. Ok. This will serve as a big difference in the highlights. Everything that has been done for the rows until now has prepared it for this exact moment, for the highlights. Ok, as you can see, the same motion and it's still blends with the color petals you've just laid in? Yes. Like that. I know they seem out of place, however, this will be corrected in a few moments. Just place them on the top left side exactly as for the vase. And then you can basically take some more white, just like that, and some more yellow. And it makes a little bit more color. And you can go onto the right side a bit because the height, the light comes from above and to the left, so it still hits a little bit of the petal onto the right side. Okay. Going in for some more yellow. And this time making the color more yellow. So it blends a little bit more with the colors. Around the middle of the rows. You can add some highlights because roses are translucent, so they color just permeates through the petals. So, and also inside the middle there is a hole. And then on the right side, color a, still, some light hits it because it's going out. So it hits it kind of from inside. Very complicated explanation. However, he can just look at the video and see exactly what's going on. Putting some more white just so we have some clean color and mixing it together with some yellow. Just like that. As you can see, the fixing of the color has been done with a little bit more yellow, just adding some more yellow to the white. And now I'm going in and making those highlights even more light just by mixing an under layer of paint and putting it onto the top of the rows. Just like that, it hits the top quite a bit because on the left side there is a red rose, so it kinda casts a little bit of a shadow onto it. Ok, and now with the brush still the same, you can mix a little bit of a bluish color with a lot of white. As you can see, just adding some white and some blue. Just like that. If you're blue is too dark and two, blue, you can add just a tiny bit of yellow into it just to cut it out and make it more light blue, as you can see, just adding some two and the third pedal. These are very simple petal shapes. They're just C or U shape, just a flat U shape. Okay. They can just some water cleaning the brush and taking just some 1A and mixing those colors together just the inside edge of the pedal. We'll make it seem more as a part of the rows and not just color. Okay, taking some more white and adding it, the left bar, you can start to see the scholar is so, so close to the yellow top. So as you blend them together just a tiny bit or bring them closer together, they become very close in value because they are very close in value. So they have the same lightness, let's say, okay, taking some of that highlight color actually and blending it in. So you can just see even more the connection between them and actually make that connection further. Ok. Make that, those colors even more connected. Ok. And going in for the right side and adding just a tiny bit more color onto another petal just over there. And making another petal just below. Very simple shapes. Adding some more yellow and putting it on top to blend it even more with that simple C shaped brush mark and then blending it over just a little bit of the blue. And now it's connected all together with the highlights, with the shadows. And thinking some more white, cleaning up the brush first and almost pure white and just has a bit, a bit of yellow. You can start to put a highlight onto the left top part just to give the highlights more power and stand out even more because this middle rows, being in the middle of the whole painting is very, very important. Being the center of attention. Okay? And going in and making some smaller battles just with the side of the brush, just cutting. Just a few small petals just here and there to give more texture to the rows. Okay, some more white. And adding it to the right part this time because that battle is hit as well with the light. And let's see, just another tiny connection to the blue text on the right side, taking some yellow and adding it over the small Battle at the bottom and maybe a little bit over the blue, just so you cover up a little bit of that. Red. Perfect. And there you go with this step as well. 22. Background: Oh, hey, now for the background's going in with some blue, some red, just like that, making a purple and some brown too, dull it down, as well as making it very, very dark. Okay. Mixing up quite a bit of color because the background is quite big. Okay. And a tiny bit of yellow, some more brown. And just like that, mixing all the color together so it gives a flat, beautiful background. Okay, a little bit of the video has been lost at the end. However, it will have all the instructions needed to complete the step. Since the step is quite repetitive, taking some water and starting onto the background. Now just mixing around, you can go very fast on the outside edges of the canvas and just go quiet, quiet. Fast, just like that. And then as you connection to the phase or to a flower, or to anything onto the canvas, onto the painting. You can just take your time and use the side of the brush to just simply cut right next to the shape. In this case the base. Okay. Taking some more water to spread that paint around. Okay. If your paint is a little bit transparent, mix a little bit more, it's very important that you have enough paint so that it looks like it's completely opaque. Okay. As you can see in the bottom right corner, going around the vase just like this. And then blending that edge in to the background. Ok, and going faster on the outsides. And then just going in around the flowers as well as the foliage, the leaves. This is the time where you can edit the shapes quite a bit. As you can see on the rows. It's going over the paint quite a bit just to give different kind of edge k. This is called negative painting. When you are cutting into the shape you've painted earlier with the backgrounds. Or what I'm not our shape. Just paid. It's called negative painting. How her, you can just call it painting over just a tiny bit to edit or change the shape that you have created. Okay, going in for the left corner at the bottom, and then going in. Of course, if you're right-handed, you can always just turn the canvas a little bit of round to cut right next to the vase. Much, much easier. You don't have to. Put the canvas always the right weight up. It's much easier if you turn it around. Brush helps you quite a bit to flat brush is very good for cutting into edges and right next to them by using it on its side. Just like a knife. You wouldn't cut butter with a knife on the broad sign. Okay. As you can see, going in from the right side onto a left side of an object's, it's collide more difficult than going just turning the chemists around and putting it over there. Okay. And cutting it from the side. Okay. Going in and editing a little bit of more of the shapes, being very careful when you are close to a flower or an object. Any kind of shape. Being very careful and editing, thinking of small parts that you can edit. As you can see, those leaves, quite more interesting, just tiny adjustments. If you're thinking of what kind of adjustments you can make, you can either make the shape a little bit more curved or a little bit more straight, or the leaf a little bit bigger, a little bit smaller. Just like that, or a little bit more pointy, going inside as well with the corner of the brush. Whenever you work on the composition inside it, in between the leaves and the flowers, use the corner of the brush. This is why flood porches are amazing. Okay. Going in and adding some more color. Just like that. Okay, it's a little bit transparent, however, should be fine. If we mix more color or add a tiny bit more water is spreading it around going from the inside as you can see, just with the corner or with the side. However, the painting dictates if it's a long shaped like that, you can use the side of the brush and curve it as it goes under the leaf. K, It seems like there is more color onto the, the plate. Okay. Going in and making sure that the Canvas looks very nice and smooth. Very nice and filled in with the wood colour. Giving us a beautiful, perfect well, almost perfect background. Yes, like that going on to the side of the vase, just very carefully since we are working from the right on the left side of the vase, which can be a little bit tricky. Okay? This is basically because. As you can see, it's very, very easy to control the edge, the top edge of the brush. And if you go from the inside, just tilted towards the shape, whenever you press, it's very hard to impress just enough to go right next to the vase or the flower or the rows. It's much, much easier to just control the end of the brush. And you can also see better because if you're on the Right painting with the right hand and then going over onto the left part of an object on the left part of the vase. In this case, you can't see below the brush. So turning around the canvas can be very, very helpful. Or just moving yourself around to just make that edge very crisp. Ok, if you find yourself just your brush leaves a lot of hares. You can pick up from the, from the canvas the hairs by just pressing into the canvas with the brush, just baking, get up, thinking of the brush as a shovel and it will be caught into the bristles. Okay? And going inside the canvas, inside the composition a little, a little bit more and adding some more of this background color. Okay? If you feel like you need to make just another leaf or just leave space for it. If it adds a little bit more to the composition. Okay? Just mixing some more color since you can see it's quite transparent. Okay, now going in when a big flat brush, you can start to see what a difference it makes. Sometimes certain parts that aren't just like on the right side, some very teeny tiny details can be covered. Don't worry about them. You can recover those in later stages of the painting in a few moments. Ok. And just going in and adding some more of this background color. Just like that. Taking some more water. And in probably a minute and 50 seconds the video will end. And a tiny bit of the background painting, especially the left, top left side of very close to the flowers will be lost. I'm sorry for this camera ran out of battery. Very sorry. I didn't notice. However, just following the same exact instructions. Just going around the shapes, the corner of the brush and just mixing it and making a very flat and beautiful background will give you the results. As you can see, this backlash brack background painting is very repetitive and very easy to explain. It's like that going inside and cutting some more of those leaves just next to the edge. And as you can see, and going in on the top, just like that, some more. And of course, 30 seconds before the step ends, two shortly. Unfortunately, however, you will be able to finish it without assistance of the video. Okay. Just going in for some more, leaves, more 1A onto the top, just a flattened out color. And onto the right, like that. Going in right next. And there you go with this step as well. 23. Highlights in the background: As you can see, not much has changed. The background looks absolutely the same except it's complete on the top left part. Let's just mix some more of the colored this time, making it a little bit more different. Just a little bit more liked. By adding some white. You might see that the plate is completely clean. This is very, very good. It helps you have clean and nice, crisp colors. However, it might sometimes help just to have a messy place, just a messy place to mix colors because it makes the colors a little bit more organic. Ok, with this light color, you can go right behind the phase. As you can see, it might be a little bit too light, okay? But it's good enough. It's a way to create the effect that to make the vase stand out even more. And of course, in the light part at the bottom, you can add this color as well. You know, it's like that with some beautiful lights and continuing on to the right side, making sure that we remember how the shadow was going backwards, slightly. Ok. As you can see, it just goes backwards slightly and tried to not connect the lightbox. This light color is light bluish gray. It's right too. Not connected to the vase because there is shadow chest right under the vase. Okay. And going in with this beautiful motion and making the shadow part, as you can see, it, now created a shadow behind the face. And just like that blending the left-hand side corner, just going now, you can go on this side, right next to the vase. However, tried to keep the top part right next to the light part of the vase. Tried to keep it dark so it creates the same contrast that it's created onto the right side by adding some more light. This brings up the shape even more and the vase even more and creates more contrast. So it's a very, very interesting technique that not a lot of people know. And it helps the shapes stand out even more. And also it's quite invisible to people who don't know about it. You will start to see it in certain paintings. Okay? So the rule is that you lighten up wherever something is dark in the foreground. In our case, the vase and the flowers and something like that. And you darken up some areas that are right next to delight part. In our case, we don't need to do that because the background is already at a 100% mark, let's say of darkness. Ok? Just blending a little bit more and taking some more white, just like that. No more colors, just white on top of that. And going in and adding just a small little shape right next to it. And underneath you can go in with some strokes from right to left. This will help. It seemed like it has a little bit more perspective and just lose those brushstrokes. Mainly losing a brushstroke means that you make it more hazy, more blurry, so you blend it out a bit. Okay. Exactly what happens just over here, onto the right side next to the vase, just blending a little bit more by brushing over the paint, not pushing too hard so it doesn't lay more color. And making this lighter color with more white than going in right next to the shadow underneath the vase. In case you need to pick up a little bit of a color, you can use your finger or your nail Just to pick it up with the same kind of motion just going from the side to the side, you can add some more of this slider color as well as with your finger. You can blend a little bit around the, the bane, so it seems quite more blurry. And there you go with this step. 24. Finishing touches. Thank you!: And here we go with the last video, with the last step, just improving the contrast. You will be focusing on just improving the contrast and this video by making this whiter background color, bluish white color, great blue, white color just going in and what the small brush just going in and making some finer textures and lines just going from side to side and just going over them just a tiny bit to blend them more into the background as you can see. And going in just next to the wonderful shadow and extending that as well as making onto the right side just a little bit more of this lighter color as you can see, it just pops out even more. Of course it's not blended, so you'd need to take some water and blend it a little bit of round, just like that, blended with the brush by going from side to side, barely touching, just printing that paint around. Don't press too hard on the brush. This is gently pressing onto the canvas, just printing the paint around, okay? As you can see, now you can press little bit harder to just add that beautiful crisp edge. As you can see, you can even take some color and add just that crisp edge. Make the color a little bit lighter, tiny bit with some more white. And add it on top, making that beautiful, lighter colored just onto the right side. And blending the outside edge of the shape into the background is going down very, very close to the shadow and just blending the outside edge as you can see, blending it in to the background and going in for some of this color onto the lower part of the canvas, extending that further to the right. Not too much. Thinking some more water to blend the site just like that. Even more. And you can go a little bit higher if you don't have enough space. Okay. More water this time. That's quite a bit of water. He can go lower to blend it in. Just a tiny bit more dust like that. Going right next to the vase and right next to the shadow. Okay. Just like that, cleaning up the brush a little bit more, taking some more water and blending that color in. As you can see, just going. Sometimes if you go from side to side, it will create very dark shape. You don't want that. You can. In this case, you can just go from one side or from the top or from the bottom. However, it feels natural to you. Go over the paint with the brush. Okay. Now, mixing some darker color, what some read some blue and some brown mixing just the right amount of color. Remember, the brush only had a little bit of the color and we squeezed that onto the plate. And now correcting a little bit of this shadow underneath, which will kinda make it. Darker because it now has another layer of the background. Just like that. Very nice. And going right next onto the left-hand side and putting a little bit of shadow just over there, extending this shadow. And now blending in shadows have this property where the more they go into the background, the blurry or they gets, they have a crisp edge right close to you and then they blurry out as they go further into the background. Just like that, very nice and easy. Making it a little bit darker. Okay, once you've done that, you can go over onto the vase with the same color and recover some of those dark, dark shadows, especially right next to the, the lighter part of the background, that will make the contrast even greater. As you can see, just follow the same shapes you've made for the web's, those same brush marks just leave a little bit of distance in between them, of a little bit of a space in between them. So they look quite amazing. Just like that. This has been a fun one. Let's go into some more blue, some red, and mix more purple color just to give a little bit of variety to the color. And a little bit more chroma, a little bit more color to it. Just like that. Some more blue mixing it together, some more, read. Very, very nice to mixing, get very, very good. And cleaning a little bit of the brush onto this side of the plate and putting it her right over there. My nights seem like a lot. However, it makes quite a difference. Okay. Going in and at the separator, the separator being the separation between the light and the dark. The shadow gets a little bit darker. So let's just make that effect. Ok, cleaning up the brush very nicely on the sides of the cup. Okay. And with this brush, you can now blend in the edges of the shadows inside and outside, except for her and the edge of the vase. So exactly where it meets the edge dire, it doesn't need to be darker, okay? Because you can see it blends quite nicely with just water and going over and inside, it just blends in with the other green colors. Very nice. Taking some more and adding it just next to the shadow. So the object sits on the ground and doesn't float. It needs to have a darker connection to the shadow. So the connection between the shadow and the objects itself where they meet, they should have a little bit of a same value. So we needed to darken that up a little bit. Going in and adding some more like just next to the front of the vase to bottom. Width, some lines. This is quite a big difference in hue. Once you've done that, you can clean up the brush and just clean it very nicely. Pick up some water and just blend a little bit just by extending those shapes, just blend up color in. This will, this is just water and the brushes just picking the paint that is on the canvas and picking some more color just to add it on to the left parts of few more brush marks. As you can see, just picking a little bit more color and adding just a tiny bit more of an interesting, an interesting effect. So all the same as going from side to side with the side of the brush, just cutting in a few lines, cleaning up the brush and blending even more onto the left-hand side. Just by extending that and coming in now on the right side and extending even more, picking up some color and putting it right next to the shadow to accentuate that shadow even more, some more color, some more white. Just so it's even more intense, right next to the bottom of the vase. Remember, there is a small shadow just underneath the base. So it doesn't just touched a vase because the face has this interesting shape just going inside. So it has a smaller bottom and it casts a little bit of a shadow as you can see on the object. Okay, you can blend a little bit with your fingers and make some small edits. O. So if you want, you can just go over some foliage and add some more green, some more lighter green and more colorful greens on to the foliage as well. With all of that being said, thank you for being part of this community and thank you for taking this course.