Blooming Creativity Flowers and Roses Modern Still Life Acrylic Painting

1. Welcome: Welcome to a new and exciting Acrylic Painting course. Get ready to unleash your inner artist as you paint this gorgeous blue vase with roses. At first glance, this roses might seem complicated and intimidating, but don't worry, you'll realize that painting them is easier than you think. Hi, my name is George, and I'm a professional artist with over ten years experience. In the past five years, I've been teaching both online and in-person classes by interacting with more than 15,000 beautiful students. I've developed very interesting way of teaching that focuses on having FUN and Creating wonderful projects. Don't worry if you're new at painting. This class is designed to teach you how to break down complex objects and make them easier to paint, starting with some FUN warm-up exercises to help you get comfortable with the medium and let go of all the worries, you will discover that painting is not only fund and rewarding, but it can also be like magic. Throughout the class, you will learn how to think in terms of Light and dark, as well as focus on creating relaxed brush strokes, you will explore how to paint the delicate petals of the roses, the smooth surface of the vase, and create harmonious colors that bring everything together. Get ready to embrace the joyful chaos of painting by turning imperfections into beautiful organic elements that add depth and character to your painting. By the end of the class, you will be amazed that how much you've learned and how confident you are with acrylics. So grab your brushes and let's have some FUN creating this beautiful artwork 2. Materials: For this beautiful glass, you will need a canvas that is 40 by 50 cm and a beautiful round brush to make wonderful roses, as well as the vase. And a big flat brush just in the beginning to make a flat wash on the canvas. You will also need Mixing plate. You will be Mixing Acrylic paints on this plate. This is titanium white, brilliant blue. This is Amsterdam acrylic paint. Also some carmine red and some brown, and some primary yellow as well. You will need a cup of water to use the water for diluting the paints. This will be a wet in wet painting mainly. And some paper towels to clean up the brush as well as do some FUN things by erasing some of the paint. And you will also need a canvas board. This is 13 by 18 centimeter canvas board. To just rehearse the difficult things for this painting. You will rehearse the vase, the roses, the leaves, and almost all the painting onto this canvas born. And at the end, you can put some water and clean it with some paper towels to rehearse. Once again, that's why it's called the rehearsal board. Now, let's get into the exciting course. 3. Primary brown wash : Primary brown wash. Most of the times people jumped straight into painting. That is a bit of a mistake. Preparing your surface is quite an important activity. It sets the tone for the way you will be Painting going further. There are many philosophical reasons to prepare your canvas and your working space in a proper manner. But the most practical one is that the surface you are painting on is very white. And painting directly on white will not only change the colors when you apply them, but it's also very deceiving to your eyes, making it very hard for you to judge if the colors you are laying down are accurate. Okay, Let's start preparing this canvas width, a light brown wash. Let's add some brown to the Mixing plates. And with the big flat brush grabbing some water and some of this brown starting in the middle of the canvas, very loosely and pressing down on the brush. So it carries that wash all around the canvas. Super loose and fast in a very simple and easy way. This is just a FUN way to relax and play and see how you can move the paint around. It's a very important tool for artists. Very important to know that you can move paint around, not only apply it, but also move it around and create a beautiful wash. Adding some more brown and some more water to dilute on the canvas, the paint going higher and moving towards the right, making sure that you paint the sides of the canvas a little bit as well, the corners and looking for some white spots trying to cover the whole painting on the right and the top side, going on the edge. And at the bottom. Continuing to paint all the white you see until the canvas has this beautiful texture. Trying to make it a bit more abstract. A little bit more to the top side. And there you go, the beautiful washes done. One more thing before you jump into the next step, this class focuses quite a bit on playing with wet paint on the canvas. This seems quite intimidating at first glance. However, the class is designed to progressively build on what you already practice in the last step. With all of that being said you don't have to wait for the brown wash to dry completely. Just a few moments until the canvas absorbs some of the moisture. You will be working on this wet surface so that the napkins when you erase the wash, can completely take out the color or mostly. Now, let's go into the next step. 4. Exercise one: Illusion of complexity : Exercise one, simplify. Simplifying shapes is easier than you think and it's the key to having structured paintings. Take a Rose, for instance, it has a middle circle and the shadow on the right side surrounding it. You might say, this looks nothing like a rose. But if you make a round shape with two or three brushmarks that exit the shape, all you have to do to make it look like a rose is taken napkin and start erasing some of the color. Notice how the right side, it's still as in the beginning, a circle in the middle and the shape around it, namely the shadow part. In fact, let's just make the middle circle even darker so it's more visible. And play with this darker brown on the shadow parts. Don't be afraid to experiment and see what happens if you add this darker color onto the lighter parts. To prove to yourself that this is as the initial simple shape, you can cover it all with flat and dark brown. Get even more obvious that they are one and the same. The only thing different is the way you apply paint. At the beginning you've applied a flat wash, and afterwards you follow the form of the rows with some nice cuts around the middle circle. Sometimes we over-complicate things Just because our eyes see the Illusion of complexity. Now, let's go into the exercise and practice a little bit of painting. This is your rehearsal boards. You can experiment and try things without feeling any kind of pressure. You can do it as many times as you want. Taking some water and some brown with the round brush. And right in the middle, a beautiful flat circle going around it, as mentioned previously. One beautiful semicircle, just like this. That's all you need. Four rows. Okay, now let's put some circle and complicate things a little bit. Just give the illusion of complexity. Make a circle, fill it in width, beautiful brown. Circle it around nicely, and then go on the outside into the corners to make some petals going out of the rows. And in the middle, we can add some textures indicating the middle of the rows. Now with the trustee napkin, you can start erasing the light part to just make a beautiful petal just over here it is as a C-shape. And imagine the middle being dark and the shadow part still being there as in the beginning. Now, let's make it more interesting. Let's shape that middle a bit more to give it the illusion that is still circular. With a few touches. It looks like Rose. Now let's erase some of the light. Once again. You can start to see there are few marks, even though it looks so complex. There are just a few brief touches of the napkins. Very simple. Just going around the form onto the left side. Now adding some more brown. All you're doing here is accentuating that beautiful middle and the shadow part. But this time a bit slower. Remember, going slower gives you a lot more control. Just notice how the brushes moving and how much control you actually have over it. You can also play around a little bit and be more experimental. Just rotate the brush and see how much you can push that color to still look like it's the dark part of the rows. And then let's add some this dark part. Just experiment and put it onto the light part. Let's see what happens. Of course, you can also take the napkin and erase some of that, giving you even more complexity and the Illusion of detail. And going back and forth with a darker parts, let's flatten out some areas. In fact, let's flatten it completely the dark part. So your eyes notice that it is exactly the same shape as in the beginning. Super simple and easy to do. You've practiced Brush handling, you've practiced texture and color and light and all of this without feeling like it's gonna be permanent. You can erase everything at any moment and just come back to the beginning and try it again until you get the hang of it. And you might be surprised how easy it is once you let go and start embracing and seeing and noticing the tip of the brush and the brush and how much control you have over it. If you actually go slower, That's the key here. Go a bit slower and in fact, you will become even better and faster at painting. Now, let's go into the next step. 5. How painters draw: How painters draw. This is such an exciting topic. It has more to do with the area we're drawing meets painting. Because both of them deal with the same principles, yet they seem so vastly different to understand what it means to paint with a paintbrush instead of drawing with it. You first have to start thinking in terms of Light and dark. Exclude colors out of the equation entirely. This is where the exciting part begins. Remember that brown wash you made earlier? Painting objects feel about the same. The next few sentences might seem quite simple and quite straightforward, but they are far from it. If you take them as just some simple to understand concepts, you might lose on some great insights. A preface that would accurately describe the importance of the next few sentences would be, if you understand this about painting, then you would be able to paint almost anything and have it look amazing. Take a vase for instance. It has four shapes that format each smaller than the other. You have the whole shape, in this case a novel that is a bit puffed up on the top side. It's a very simple shape. Now you have the shadow part just on the lower right side. It also describes the shape of the object by arching this line over here. Notice how it curves and describes the 3D shape of the vase. Then you have the light part of the object. This fits perfectly with the shadow part to create the whole shape. The light part should be considerably lighter than the shadow, but not too light. So you don't have enough range to put the highlights. And the last and everyone's favorite part, the highlights. This is a very small and extremely light part of the object. And it's a direct reflection of the light in the environment, for instance, a light bulb or the sun. Take notice how clear these shapes are, how simple yet effective they are at communicating light, shadow, and shape. And now the key to unlocking your new superpower. Look at some objects around you and notice that they can easily break into these parts. Look around you, notice each object, and try to divide them into shadow, shape, light, and highlight. Some of them may be a little bit difficult than others. However, all of them divide in this simple way. Of course, there are exceptions like sources of light or objects that are overshadowed by other things. To summarize it all, a good painter focuses on simplifying things when painting to better understand how light acts on an object he is describing. This is different than drawing in the sense that the brush can describe shapes much, much faster. In a way, drawing with a brush can make you better at drawing way faster than just drawing with a pencil, because it's easier to focus on the big picture. Perfect. Now let's play with this throwing, grabbing the big flat brush and some brown paints and going at the top in the middle of the canvas indicating a line. This will be approximately the top of the vase. Now going a little bit onto the right, indicating the side of the vase, going to the left and adding another line just over here, going with two lines down on an angle, and then one that connects them together flat on the surface. Now let's edit this shape and fill it in with a bit of a brown. Maybe the vase should be a bit taller, as you can see, let's round the shapes just so you can see how it acts. Just a little bit of practice of following the shape, Brush, giving it more form. Now let's just cover it all with straight horizontal lines. And then on the right side, indicate the shadow part by just going around the form, even though it's not darker, you can still see it clearly. Now with the napkin, look how easy it is to just press down and make one sign that will be the highlights. Now, let's erase some of the sides so you can see clearly the beautiful edge and going with the brush over it so it doesn't overpowered beautiful highlights Now let's indicates the light part just over here and erase everything with the side of the napkin. And take the highlight once again, make it a bit more visible and bigger. Look at how easy it was to indicate the shadow, the light part, and the whole form, as well as the highlight in just a few moments. Now you can start by adding a middle of a Rose just over here and going with some C shapes, just going around the shape. Super simple to do like in the exercise, but this time a bit more loose. Light comes from the left side. And now let's erase and make this Rose look even better. Look at how easy it is. Remember that beautiful shape from the exercise. And then let's erase some of the petals with the C-shape and going further and adding some more as you go down. Look at how easy you can describe a no, the middle of the rows, that dark part and the C-shape that follows it just around on the right lower side. And then the light on the other side just as a shape with a few textures of Hugh, of darker tone, simple. Practicing that beautiful C-shape with the hand in the air. And then going and adding in the shadow parts and more, just adding at the top a few smaller petals. And in the shadow part, one over here, just a small, beautiful petal to give the shadow part a bit more texture. Now I'm going with the flat brush on its side to indicate the sides of the vase a bit more, playing with that shape and trying to see if it's straight or not. Going further, Creating a middle of a Rose. Simple, grabbing the new napkin and going on to the left of the rows, right from the middle and Creating a beautiful highlight just over here. And then going and making the napkin a bit smaller and going to the right and a bit higher to create more petals. Now, in the shadow part, you can create some more petals around. It can add shadow later. And then you can just play around and make simple C shapes and touches just over here and over there to create a Rose. And the side Rose just on the left part of the vase. You can do that with some C shapes, just alternating them to the left, to the right. Just 1.2 and 3.4. Simple, just textures. Let's repeat them so you can see how easy it is, just 1234. Now going on to the right and making to see shapes that touch each other just like this. And then one small just over here. And now just making a few small Flowers going towards the right, pressing down on the canvas. If it doesn't get the job done, you can add some water into the napkin to erase a bit more, just a few touches and going to the left and erasing another shape. Don't worry if your shapes and Roses look a bit different, you will have the time to change the shadow part. In the next step, you might have noticed that the big flat brush was used to make the shapes. That's because it's almost always better to start drawing with a big brush. Since it will force you even more to think in terms of big shapes, to mix it up even more. In the second part of the step, you use the napkin as an eraser. This is so that the connection between drawing and painting is reinforced even more. So with finally clicks where the similarities are. And one more thing, you can always just put more water onto the canvas and then completely wipe everything out. So you can start fresh if you don't like something, just like on the Canvas sport. For the next step, you don't have to wait for the paint to dry 6. There is no light without shadows: There is no light without shadows. Expanding a bit on the last step you will add darker shadow. This will enrich the contrast without dark shadows, the highlights are not impactful. You will notice that the big flat brush is being used on its side. This will ensure that you practice Brush handling. This will play a big role in later steps. Don't worry, it sounds fancy, but what it really means is that you will paint a bit slower and use the brush to create cuts. You can practice on the canvas board until you feel ready to move further. This is true for everything. Whenever you feel like you don't have a handle on things, try it on the rehearsal board. This way, you can guarantee that it will look much better than if you jumped straight onto the actual Painting. The next few brushmarks might seem a little bit like magic. However, they are quite simple. Using the big flat brush on its side with the corner, you can cut some wedge shapes. These wedge shapes will describe some more of the shadow and the foreign and dark and the roses even more on the right lower part. And for the middle of the roses, some squarish shape will help you to give some structure. Since the paint will have considerable amounts of water, the texture of the brushmarks will flatten in a few seconds. This is why you should only focus on the shape that the brushmarks. This is the key. It might seem like the brushmarks are very fast. However, this is far from what it's going on. If you really concentrate on the tip of the brush and see what it is doing, you will magically find that you can control the paint that is on the pain fibers. At first, you might actually take it extremely slow so that you notice how much control you have over the brush and how much you can predict the shape that it will create when you move in the direction that you choose. You might think this takes a long time to understand, but be prepared to amaze yourself with how fast you can learn this. If this was a cooking recipe, it would take 20 per cent knowledge, ten per cent skill, and 70% courage. It should feel less like understanding and more like letting go and becoming one with the brush. After a few tries, you will get this giggling sensation of relief. That will be the moment that your brain realizes that this is playful and amusing. To let go of control and trust that the brush will do what you wanted to do as long as you are present and notice what it is doing. Quite as Zen approach to painting. There is nothing more satisfying than making better or a leaf in one motion. One press of the brush and the wedge is done. Tried to minimize the times you touch the canvas with each shape. It would be great if you would only touch it once per wedge. Go slow and do it at your own pace. You will see that this actually allows you to be more decisive and intern paint more effectively and beautifully. Now, let's go into the step, adding some more brown to the middle of the plate. Grabbing the big flat brush, taking some brown and then some water to water it down. So it flows beautifully. Now straight into the middle of this Rose with the corner of the brush creating some beautiful shape. Let's fix this wonderful ways on the right side, just so it seems more straight and also darken the background. This also has the added effect of making the vase much, much lighter. Because the background is darker, just going with some horizontal lines and going a bit lower on the right side where the shadow of the vase will be grabbing some more water, mixing it in with the brown and then going for some wedge shapes, some beautiful, some of them will be a little bit thinner and some of them are a bit thicker. Now, going in the middle of the second Rose on the left and making a beautiful middle of the rows and then to beautiful C shapes on the left side, just in the middle of the rows. This time it will be just the edge, just a wedge on the right side, doing the same and making the middle of the Rose, going up to top and making another middle and then going towards the right, darkening things just to create some more contrast. Let's make a beautiful vine in-between these flowers. Just over here on the top right side, going a bit lower on to the left of the metal Rose to create a leaf. And a bit higher. Let's decide where. Just over here making another wonderful leaf, rubbing some more of the paint, you can start to notice that those leaves are there to just create some more contrast between the light parts of the roses and the dark parts, building up the contrast a bit more. If you ever painted with watercolor, then this way of painting is borrowed from that medium. And now, if you decide to paint with watercolors, you have a good understanding of how things behave. Using Acrylic in this way teaches you the different ways you can apply paint. The next steps you will learn more about what happens if you add thicker paint on top of the wet wash. You will not only understand the limits of paint, but also of colors and how to let them blend together into a wonderful mush. Now, let's go into the next step. 7. Exercise two: Getting conformable with wet paint: Exercise two, Getting comfortable with wet paint. The vase is quite simple form. You might notice that in exercise it looks a lot like an apple. Before you add the textures and the colors on top, and you would be quite right. Most round shapes follow this logic. A light part, a dark part, and the highlight. Things are not more complicated than this. It's a very interesting trick that our minds play. That's why it's great to look at the objects around you, squint your eyes and identified the light part, the shadow part, and the highlight on the object, taken actual minute and do this exercise, notice that objects around you. And what is the light part, what is the dark part and what is the highlights? See that there is nothing complicated about it. Take a minute and notice all the objects around you and see which one of them follow this logic. They must have a shadow part, light part, and the highlights. Of course, there are some exceptions. The highlight might not be present. In the case of non glossy materials such as fabrics, or the shadow will be absent from transparent materials such as glass. Now when it comes to colors, things are very simple as well. If you add thicker paint over a thin and watered-down paint, the logic would dictate that the thicker one is more visible in the mixture. This word, mixture was chosen very carefully to make it click that colors act the same on the Mixing plate as they do directly on the canvas. And yet on the Mixing plate, people have no problem adding a bit more blue or a bit more white as they go. And if it's needed. Now you might wonder, why would you do any Mixing on the canvas? That's why you have a Mixing plate. There are so many benefits, but just to name a few, you cannot get such wonderful abstract textures if you would paint on a dry surface. And another benefit is that colors becomes so much more harmonious. And one of the most important reasons is that it requires paying attention to what you're colors are doing in real time. And it also builds an understanding of great painting habits. Now, let's get into the exercise. Grabbing the round brush and adding some more water and some brown to the canvas board just to make it wet. And straight in the middle, making a beautiful round circle. Let's flatten it down and make the sides a bit longer, so it looks like an oval. Now, taking a napkin, you can erase the light part on to the left. Just a simple shape, just another oval on to the left side. Take a moment to notice how simple these shapes are. They are just two ovals. Now you can put another wash of brown just on the light part. So you can add the highlights. It gives you more range in order to add the highlights. And that's all the form. You can use your finger just to make some more textures. And now for the interesting part, negative painting grab some more brown and cut into the shape from the outside. Notice how with only two marks you've made the shape of the vase so much more visible, going a bit lower N making the bottom of the phase more rounds. You can add a bit more shadow onto the right side. Now it's time for the top to get the same attention, grabbing some more color and adding some beautiful round shapes. Notice how simple and easy it was to create such an interesting form. It looks like an apple, it looks like a vase, it looks like a balloon. It can be anything, well, almost anything that is round or oval. Now let's add some blue onto the Mixing plate and some white. The board is still wet. This is very important. Grabbing some blue and mixing it right over here and with some white, making a beautiful light Colour going over the light part and a bit lower. Notice how it picks up some of the brown. Let's add some more white and add it at the top once again, covering all the vase, almost all of it. Let's shape it a bit with some curves on to the left and the rights. And going a bit down, making the oval a bit more symmetrical. Finishing the shape and giving it a flat look. You've just added the local color. Now let's cut this shape More and give it this sort of like a funnel shape. Cleaning up the brush. This is very important. And grabbing some more blue and a bit of brown. With this newly found Color, you can stamp some beautiful shapes onto the vase. This would not be possible if the canvas was dry and the colors were dry as well. Try to make each and every brush stroke different. Move a little bit the brush and rotate it just a tiny bit from right to left. Don't be afraid to make these abstract shapes. This is just like in the beginning, you've made a shape vase, just like you made with the brown in the beginning. Only this time is to colors and it has a lot more textures is not just the flat, round shape, grabbing some white. And you will focus on to the left side where the highlight is grabbing some blue, just a tiny amount to mix it together and make this wonderful light blue. Let's add the highlight on to the left side. Notice that it's not intense enough, but that's good. Now you can move around and create the light parts. Just tried to keep some of the beautiful textures still visible. Just add it onto the side and go around the shape. And now you can grab some of the white and add the highlights just as you did with the napkin. Just one touch or two and leave it like that. Grabbing some more blue to add some of the textures back. It's a back-and-forth Play, just adding some more texture back, just to create the vase and make it more visible and textured. Grabbing the brown and going inside the vase just a tiny bit to integrate some of the brown back into the vase and make the shadow part a bit more visible. But notice this is very, very little brown. Now it's time for the negative painting. Cutting on the outside, on the right side, the shape of the vase. Just take your time and make that outline clearly visible. Going on the left and the top and the right and back-and-forth. Just cutting that shape and making it nice and round. Look at how beautiful it looks. Grabbing some more blue just to add some more textures onto the shadow part because they were lost. Cleaning up the brush and just pressing down a bit more onto them to create them. And you can also roll and get outside of the shape a little bit just to create and break down that shadow part on the right. And now let's just erase everything and you can go onto the canvas or try again. Remember to scrape everything down with a napkin. And now you're ready for the next step. 8. Embracing muddy colours: Embrace the muddy colours. Once you play with paint in this way, painting becomes so much FUN. It's such a freeing way to paint what normally would be considered undesirable for an aesthetical artwork. Namely, muddy colours are the perfect substrate for some vibrant colors. Very often people are afraid of muddy colours ended early brush. When these things can be the answer to pleasing colors and harmonious paintings. A clear and simple to understand definition of Color harmony is truly needed. Definition without complicated language and unnecessary terminology, one that is created with action in mind. What would be the use of information if it can be applied? And in order to be applied, it needs to stick into the memory easily and to be immediately tested to determine its validity. Here it goes. Color harmony at the most basic understanding, is blending colors into each other. That's right. So easy, blending colors into each other. And that's the whole focus of this step to give you control of what you're paints do directly on the canvas. You will intentionally create some muddy color in order to give form to the vase and create the effect of light on the object by adding a very wet brown and red paint on the lower right side of the vase. After that, you will be adding some medium blue to create the form of the vase. And progressively you will move to more vibrant colors and lighter nuances. The paint will also be applied a bit thicker in order to create the lush delicious textures for the light part of the wonderful decor of the vase. In later steps, you will correct the shape of the vase. So don't worry, if at times you go outside of the border of the vase. This isn't a mistake. It is actually encouraged in order to focus more on the overall 3D form of the vase and artistic application of textures. Let's go into the step. You can start by adding some beautiful white on the top of the Mixing plate. Just a tiny bit. Grabbing the beautiful round brush and some water, mixing in some white with the brown, Mixing it thoroughly. And you can apply it on the right side of the vase Creating that mud, beautiful brown wash onto the right side. Okay. To be more precise, onto the shadow part, you can also go a tiny bit into the white light part. Look at how easy it is to mix that mud onto the vase. Now you can add some yellow onto the right side of the plate and bring that yellow into the brown and add it over top the middle part of the vase. Just Mixing in. Press on that brush and beautifully create that mud. Add some red at the bottom of the plate. This red will make the beautiful mud even more intense. Let's make it even darker by grabbing some brown as well and mix it over the pile you've just created. Adding a bit more yellow into it. And going on to the far right of the vase, you can start to see it has a little bit of a form just by adding some colors. Now for the beautiful blue, Let's add it over here onto the middle of the plate on the right side. Grabbing some of this blue and putting it onto a clean area of the plates, adding some yellow into it, mixing them together and then grabbing some beautiful white just to mix this wonderful medium blue. Going straight into the middle of the vase, grabbing some water and mixing it onto the middle and those left side of the vase, giving it a bit more shape. And then going into the lower part and continuing to add some of this color just everywhere. For now, you just have to add the color here and there and mix them together not entirely, but have a little bit of mud created. Grabbing some more yellow and some blue, some white, just to create a thicker layer of paint. Grabbing a bit more yellow and giving it this beautiful green and adding it to the middle becomes thicker and thicker with each coat of paint. And then giving a bit more shape to the vase by focusing on the borders with some lines and then playing in the middle with some beautiful brushmarks, just some squiggly wiggly brushmarks. Grabbing some white and some blue, some thick, beautiful blue and white going even lighter. And a tiny bit of water. You can start to roll your brush and add it to the light part, recreating that beautiful light part onto the left side. You can notice while applying this color that you can start on one area. And as you go outside, the colors become muddier and muddier. So be conscious and to the first parts where you want the most light first, namely on the left middle bar. And then go and mix it together as you go towards the bottom and the right. Just going and mixing that color towards the green and to the right, you can start to see it creates this balloon effect. Grabbing some of that color and mixing it in can start to see the blue is quite clean onto the top left side. And as you go into the brown towards the right, it becomes darker and darker. It picks up some of that red, some of that brown, and it gives form and it makes it feel round. Now grabbing some more of that color and adding it towards the left side and going down and to the right, smoothing a little bit of texture, not too much. Still playing with that color onto the canvas. Let's fix this side just over here and the bottom side, just a tiny bit more. This will be very, very interesting, just grabbing some blue and a tiny bit of red, mixing it together. Grabbing some more blue and some more red to have more based on the brush. This will be a very interesting way of applying paints. Just dab, press and make some beautiful imprints into the wet paint. You can also roll to create some more fine textures just here onto the left and the middle of the beautiful vase. This can be Flowers or any kind of Chinese inspired decorations or Dutch inspired decorations on a vase. You can just roll and see that the brush picks up more and more of that paint from the vase. So you need to take some more blue and some more red and mix it well together in order to create these beautiful imprints, these beautiful textures by rolling the Brush, each one of them a bit more different than the other one. Going a bit more dark as you go towards the right and the bottom of the vase. Don't worry if you go outside the shape of the vase, look at how interesting and beautiful it looks. Cleaning up the brush. Very important for this step since you will be applying some more light colors and fixing some areas and playing with more luscious texture. Grabbing some blue, Mixing on another area of the plate. Some white and some blue, some thick, beautiful luscious white. Applying it with one brush stroke just over here, just as a practice. And then grabbing some more paint, going over top and then going with the rotation of the brush, just going around, trying not to cover the whole textures too much. And trying to give more light to this side of the vase. Trying to make a difference between the light part and the dark part. Even more. Just rotate the brush on to the vase so it picks up some of that color and create some more interesting textures. Grabbing some more white, some more blue, mixing them together into a nice, beautiful highlight and reapplying it thickly on to the area you first indicated. Going on to the side, it already picked up some of that gray beautiful mud. And trying to take some more of this white and rotate it, some blue, white and rotated and create more textures onto the vase. Such an interesting way of playing with the paint, it stops the mind from thinking that this is a pen. And it becomes a brush that you are applying and moving that paint around and onto the beautiful canvas. Just dragging down some of that paint and up into the side, grabbing some more of that blue, since you might've noticed that the imprints are gone. Let's add some more back by rolling the brush the same way, just so it brings back some of that wonderful texture, going a bit more purple as you go to the right. Adding some more. Don't go overboard with these beautiful textures. And let's give it a bit more shape on the bottom, rights and some white, and then drag the brush just so it gets a bit more textures. Dragging the brush a few more times, making a mess, a beautiful, wonderful mess. You can clean up the brush thoroughly on a napkin and then pick up some of the paint in case it is too thick or the textures are a bit too much, as you can see on the right side, just over here. You can also add some of the brown back into the vase just to create some textures and some color variety. A theme seems to emerge out of this class, and that is controlled chaos. You might've felt that most of the actions you've taken to illustrate this painting until now require the bid of decisiveness and boldness to complete. And despite this, once you've actually went over and accepted the challenge, you might have realized how freeing and effortless the process of painting can be in case you find it difficult to paint in this way, there is some great news and some bad news. The bad news is that the rest of the course will still require tiny bit of decisiveness and courage. The great news is that by the end, you would have obtained not only a deeper understanding of color, harmony, Brush handling, and an overall understanding of how to create an artwork. But you will also practice one of the most essential skills in life that being bravery and concise action, becoming a master of controlled chaos. Okay? Okay, it starts to sound like an epics hero's journey seems like someone has been reading too much. Joseph Campbell. It's time to go back to the Painting. 9. Exercise three: Structure and Colour: Exercise four, Structure and Colour. Just as you played on the vase with wet paint. Now it's time to expand your skills and do arose in this way. By now you are familiar with the C-shape brushmarks. What you are not familiar with is Painting from light to dark. This is usually done because you want to keep the light colors clean and vibrant without needing to clean the palate or the brush. Another thing to notice in this exercise is that the mixing of the colors is more relaxed. This will ensure some beautiful Colour diversity and textures with each brush stroke. And something very interesting, the reflected light in the shadow is a cold color just because the whole Rose is so worm and making the reflected light be a cool gray brings forth so much needed color contrast. While doing this exercise, you should notice that your mind tries to trick you in believing that this is very different from just painting with brown. But it is not. That's why painting can be so phon, once you understand the best practices, now let's practice a little bit. Starting with some brown in the middle, making the circle for the Rose. Now going onto the sides to make the shadow part. Once the shadow part is done, you can fill them all together. This brown serves as a base of sorts to have color and shape. And it will play a little bit of a role. So you get more used to understanding what color you have underneath if it's wet or not, and things like that. Adding just a splash of red onto the plate to make some beautiful oranges and pinks. Grabbing some white. Even though it has a bit of blue, there is mixing it together into a beautiful pink, adding some more white to the Mixing plate and Mixing it very well. This will be the light parts grabbing a tiny bit of yellow and adding it into the pink. Just a relaxed way of mixing paints. Notice how you start from the lightest part that you want and move forward from there. It grabbed a little bit of brown, but it doesn't matter. Just move around into the light part. A clear division between the light and dark. The rest is just a little bit of brush handling. As always, if you go slower, you have much more control going around the shadow part just to add some of this color onto the shadow part, just as you did with the brown, it serves the purpose of integrating the light part into the dark part a little bit and the colors so that they feel more harmonious. Going and creating an orange, just yellow and red. And going in the middle onto the middle of the rows. And a little bit of a line just above the highlight to create more contrast and Colour diversity. Grabbing some more color as it gets polluted, as it gets combined with whatever you have on the canvas and adding it in the middle. Just because this is the middle of the Rose, going around the shadow part until you add some more petals, C-shaped colors. You can also make some bigger brushmarks just so you can block in the shadow part on the bottom. Now grabbing some reflected light, maybe there is a vase or a wall that's reflecting sunlight back at the rows in a cool way. And cool in this instance is blue. Now going with some brown. Just to prove that it's such a simple shape and it looks exactly like in the beginning. And it has the light part over here and the shadow part over here. And with a few more changes, it can still read as Rose. And once you are done with it, just put some water and scrape it down. So you can try again or go to the canvas if you feel ready, Let's go over a little bit of the differences you've went through N discovered in this exercise. Instead of using the napkin, you've used white, light pink to accentuate the light part of the rows and the highlight. For the shadow part, you've used a very beautiful orange and you've applied some cool reflected light onto the lower part. It all looks so much more different than just painting with brown. But it is not. It has almost the same thing. And without even knowing it starting from the light part, you went into the darks. So you've painted from light, dark effortlessly. That's why this thing is so useful. Because if you paint in this way, you don't even need to clean the brush at all until you go back to the lights. As the colors get darker and more vibrant, you have another area to work on, moving closer and closer to finishing the whole objects. Now if you feel comfortable moving onto the canvas, Let's go into the next step. 10. Getting more comfortable with precise mark making: Getting more comfortable with precise mark making, what you are about to paint next might seem complicated, however, you've done 90% of the things already. And if you use the canvas board to practice just once, you would have done 100% of the things that you are about to do. The only difference between what you are about to paint and what you have done until now is just the colors. You have already done these kinds of marks for the Roses. You've already understood the light part and the dark part of the rows. Not only that, but you've already embraced the controlled chaos. Let's break this a little bit with some examples. You will start by mixing an orange for the dark parts of the roses. You will fill in the shadow areas with this color here, here, and here. Touching every Rose and refining a bit of the shapes. This should feel like coloring into a coloring book. On top of that, you will add some of this color into the lighter areas of the Roses. This will blend some of that orange into the lighter areas of the rows. Just one brushmarks onto the middle Rose on top of the left side. Just keep it simple. The next part seems more complex yet all you have to do is fill in the light part, width, the brush being a bit more, 30 and mix the white, orange a bit less so that it creates uneven color. And at times it picks up a bit of the shadow color. And in a few areas, you will add some of the light color into the shadow parts. Notice that when you start to paint the light part, you will paint the lightest part first and then move the other areas of the light part. This will ensure that as the brush loses some of the lighter paint, it will seem as if you are painting a bit of a darker shade of the white, orange. And at the end, you will create some grayish nuance to add some color variety, and to be a bit more fancy with the terminology, creates some reflected light onto the lower right part of the roses. Now let's go into the step. With the round brush. You will start on this middle beautiful rose by grabbing some reds and adding it to the middle of the plate. Adding some yellow as well and a touch of white, grabbing some more yellow to make it more orange and more whites, as well as some water. Once thoroughly mixed, you can go into the middle of the rows and create some of that shadow onto the right part of the rows. Remember, exactly like you've done it into the exercise. But now creating some more of this beautiful texture, you can start to notice that beautiful line onto the top of the middle Rose mentioned previously, going a bit lower, closer to the vase and then going to the left side, Rose in the middle and below it with two brushmarks. Now at the top Rose a bit more in the middle and going towards the right to create the shadow. Mixing in some red and some yellow just to bring some heat and some more vibrant colors to the middle of the Rose, the big one in the middle. Going towards the right. And painting in the shadows of the right-side, Rose, Mixing in some red and some yellow just so you have enough based adding some more of this N, making it a bit bigger. Let's add a bit of orange brushmarks just in-between the roses. One right next to the vase. So it overlaps the vase a tiny bit, cleaning up the brush widow paper napkin. You can start to see how simple those shapes are. They have a little bit of textures which makes them seem more complex, yet they are as simple as the exercise. Grabbing some white and Mixing it over the orange, making a very, very light nuance. Mixing it thoroughly. And as mentioned previously, start on the lightest part that you want on the rows, namely right over here in the middle. And then go around and move that brush, you can start to see it picks up some of the shadow color. Once that happens, you can mix some more of this wonderful color, maybe add a bit more red so it turns a tiny bit more pink going further with some C shapes and make be some triangles at the top, going further and filling in that Rose More and more color, making it chunky and beautiful. Going in the middle onto the shadow part just a tiny bit. And then moving in between the petals on the light part to create some of that color variety. Grabbing some more white and then a little bit of yellow, just changing a few of the nuances a bit more. Going on to the left side, Rose with a beautiful brush mark a wedge. And then going and continuing the light part, going a bit into the shadow and towards the right and the left, Creating some C shapes and some wedges. You can start to see how round and beautiful it looks. Going even lighter and adding more yellow to the color to create a beautiful highlight onto the left side, creating more dynamic and beautiful shapes. I'm going lower onto the rose, on the lower part near the vase and creating two or three brushmarks, going higher and creating some more of this lighter color. And with a few beautiful C shapes, some wedges creating some light onto the left part of the rows, and then some more onto the rights. Okay, let's now retouch a little bit of the middle Rose by creating a lighter version of that beautiful light. Grabbing some more white and a touch of red and going right onto the middle of the rows and then a bit higher. Don't worry, these are not the highlights, these are just the overall light part of the Rose going further and adding some more of those petals into the shadow part, barely touching the canvas. Adding some blue, some light blue onto the white and into the beautiful pink, orange. Grabbing some more blue just to make it a bit more gray. This will bring the heat noun and make it seem like the vase and the roses are part of the same painting. Remember, the paint is still wet. The brown, orange paint of the roses is still wet. That's how the color doesn't look so blue. It will turn a bit more gray as it did for the vase. Just go around and make a few beautiful petals of you see shapes and then go higher, you can start to see it turns into a beautiful gray shadow for the roses on top since they have less shadow. And on the left part, you can continue and add to the roses and on the right and in the shadow as well. Making these Roses appear more complex. Grabbing some red, mixing it into the whites near the blue at the top and making those beautiful flowers onto the right side, simple one or two marks with the brush. You can add this beautiful pink little bit onto the roses as well. And onto the right side Rose, just adding three beautiful small brushmarks just to add some color variety. Going on to the left side and creating some more of these Flowers. And at the bottom of the middle rows just to connect the vase to the Rose. Now towards the left of the composition, you can go over the shadow of the Rose over there and add this beautiful pink just to create more diversity. Making that beautiful pink a bit more vibrant and orange by adding some yellow and some reds. Much more vibrant, just to add some Colour diversity into this Rose as well. Grabbing some more water and going on the right side with the scholar as well. Grabbing some more water, just touching up a few areas with this orange bringing some of that heat, some of that worm beautiful colors you can go onto the rose, can start to see that it connects very well with the color palette. Adding a bit of a shadow onto the top of the rows and curving that beautiful brush just like that to create some nice looking petals. You can also create a wonderful Rose just over here on the right by just dragging the brush and cleaning it. Just adding some blue on to the right side of it. The easiest way to go about understanding how to do things is to build a list of the most common misunderstandings. This list will be such a great opportunity to learn. First of all, it has nothing to do with how fast you paint. In fact, the opposite is true. If you paint slower, you will get more control over the brush. This will ensure that you don't overwork areas, meaning that you will actually paint quicker if you go slower. The second misunderstanding is the fact that you might need some special knowledge or a lot of experience. However, these are very small components. Instead, if you focus on pressing confidently on the brush, that will make you a better painter way faster. In other words, and to just put a funny spin on things, give yourself the space to make bold mistakes. This way you will find more often than not, that you will rise to the occasion and build great habits. Next, misconception has to do with over complicating things. Very often this comes from parts that are almost the same, being considered vastly different when in fact they are very similar. This list can be very hard to apply. Let's contextualize it into some actionable things. And in fact, let's do it by getting a new perspective on things that you already done for this painting. Remember back at the start of the painting when you made the brown wash, you had absolutely no hesitation. Here comes the crux of the whole situation. Everything you've done after that is almost completely the same. To summarize it all, in just one sentence, you've put paint in a specific way on the canvas. You might say yes, but the things you had to consider grew more complex with each step and you would be completely right. And yet you've done more complex things in the past, probably 20 times more complex in your life. The actionable thing to do here is to paint coming from a place of trust and borrowing some confidence from other areas of your life. This will not only ensure that you will make a better painting, but that you will enjoy the process even more. To summarize it in very practical terms, press harder on the brush, move the brush a bit slower and with controlled movements. Now let's go into the next step. 11. Exercise four: Easy brushworks China vase : Exercise three, easy mark making. This is a very simple and easy exercise, but it has many ramifications. Just because of the fact that Brush direction is so important, this being the way you apply paint most of the times. There is a good reason why this whole class is done with only one brush. There is a very good saying, jack of all trades, master of none. If you master one brush, you will find yourself most often than not painting with fewer and fewer brushes. This is not to say that some brushes are more special than others or better yet, that they pose some kind of magical abilities. Most brushes nowadays are great brushes. All you have to do is notice what they can do. See how many different brushmarks they can make. Turn it into a game. Name your brush minus called grace. And grace can do many things. It can do big washes. It can lose small C-shaped marks. It can do thin lines. It can create textures. It can make foliage or threes. It can also make brushmarks that start pointy and become thicker. Grace can be precise and messy. It can be fast, slow, it can make details, and it can also paint big areas. That's why it's very important to know what your brush can do. Learn what the tools you have can do, rather than searching for the perfect magical tools, make paradise out of whatever you have on hand. Now, let's get to some painting. As mentioned previously, this step is super easy. All you have to do is add some yellow to the Mixing plates, some blue and a bit of brown, as well as some white, basically creating a green. You could do it even with a brown, but green is more useful for making leaves. Just dull it down and all that green down a little bit with the brown. And start using your brush. Firstly, make a nice, beautiful leaf in the middle, and then start to get more control by just going a bit slower and giving a bit of an angle. And you can also go a bit faster to give more textures and dynamic brushmarks to your leaves. Anything can become a leaf. It's a simple shape, just one line and then a stamp. And maybe make it a bit more interesting with a little bit of a wiggle of the brush. They all seem like leaves. And before you know it, you can make all kinds of leaves with just one or two brushmarks. Just practice and see what kind of leaves your brush can make, but only one or two brushmarks. And when you're ready to move on to the painting, just wipe everything down with some water and some napkins. If you're having a hard time with this exercise, remember to take it a bit slower so you gain more control over your brush. And now let's go to the next step. 12. Negative painting and refining: Negative painting and tightening things up, it's time to bring everything together by using some negative painting. Even though it has a weird sounding name, it boils down to refining the edge of an object from the outside of the shape going in. In this case, you will cut some of the parts of the vase, giving it a rounder shape. That's all negative painting is. But it can get a bit more interesting ride over here. You will be using leaves to cut into the shape of the Roses, Creating more separation and a bigger contrast. Not only because there are more things in the composition, but also because the green is a complimentary color to the pink and oranges of the roses. And if you are a keen observer, you might have figured out that you can hide some of the area's width, leaves, fixing some of the parts that are not as you would like them. Now, let's go into the painting with the round brush, grabbing some brown, mixing it together with some water, just so it feels nice and smooth. And going on the right side of the vase and cutting and making a very nice edge round and get out and going very slow. As you can see, you can also erase some of it with the back of the brush and then going to the right, creating this beautiful brown wall of paint. Going even further and cleaning up the brush on the Canvas, grabbing some more brown and going higher closer to the Rose. It creates much, much more contrast. Now going on the opposite side, on the left. And with this brown continuing to build a beautiful wall of brown and being careful to cut into that edge. Just adding some more brown right over here where it was grabbing it and then adding it on a thicker layer on the right side of the vase to create a lot more contrast and play with that negative space. Cleaning up the brush on the left side, once again, just brushing that brown off onto the canvas and then grabbing some white with a touch of blue and adding it onto the right-side, just Creating a bit more interesting shapes. It still has some brown into it. You can make that edge a bit more fuzzy just so it doesn't feel like it's a cutout. Now going onto the lower side with some brown and cutting the edge at the bottom of the vase and going a bit further onto the right with a darker shade just to indicate the shadow part that is on the table where the vase sits. Okay. Going a bit more, you can start to see it continues with the dark in the background, but it has a bit of a line in-between. Now going on to the left side with a darker brown, just cutting that edge, going slower and slower closer to the vase. Just perfect that beautiful edge and make it as sharp and as nice as possible, rounding it out. And as you go towards the left, you can go a bit more loose and higher towards the Rose, just blending. And then going a bit finer as you go closer to the vase, just so you can round it out and make that shape very perfect or as perfect as it can be. Then let's fill in some more areas with some brown just loosely Brushing some brown on the right side and the left side. And then in-between the roses on the right side, just brushing it. You can grab even more and go right over here onto the right side of the middle Rose. Okay, now let's mix together some blue and some brown and some yellow just to make that beautiful dark green even more interesting. And going into the right part of the metal Rose and making a leaf. Now going on to the left side, you can create another beautiful leaf. Now this leaf might pick up some of the white, but this doesn't matter because it creates a beautiful leaf color since it is blue underneath white, blue. And then going even more onto the leaf and adding some more color. And going on to the left side of the vase and cutting the leaf just over here behind the vase. Now at the top of the Rose, the middle rows just to beautiful leaves. Now width, this lighter version of this green, you can start to add some highlights onto the lower leaves, onto the right side, Let's add some more yellow and going on to the left, creating some beautiful leaves just over here and into the middle. Super simple and easy to do just like in the exercise. Just press and create those beautiful leaves all around. Don't go overboard. Just a few is enough. And just over here where the brown indicates another leaf should be getting more yellow and going on to the left side, creating some more rotation into the brush just so it creates more textures. And trying to create each leaf differently, being conscious of every mark and trying to go as interesting as possible. Now going at the top on the right side and creating some beautiful lines indicating the stem of these beautiful pink flowers. Just going from one middle stem and going towards the outside and towards the coronary. Not exactly into the corner because it wouldn't look that good. Now going a bit higher and making some more leaves. Taking some white with some blue, mixing some of this green. And then going over and making some more interesting highlights onto the leaves. A bit more cool. And going higher, just going outside with a beautiful stem. Brushing and rotating the brush onto the middle parts and at the end, right over here onto the beautiful leaf to create some beautiful highlights. And even one or two leaves. Now going a bit lower and a bit higher connecting those two green areas. Just adding some more greenery around. Keep in mind, the green contrasts very well with the pink and the oranges. Grabbing some more color and stamping down a bit more chaotic onto the right and to the left, just stamping textures, abstract shapes, and rotating the brush into the brown a bit. And of course, this will create some beautiful effects. And there you go with this step as well. What a breeze This step was. But this is only because you've already laid the foundation in earlier step. For the next step, you will need to clean the palate and the brush since you will be moving towards lighter colors for the highlights 13. The secret of impactful highlights : The secret of impactful highlights, without the light part of the rows being cleaned, the highlights would not have a strong place to stand on end without a clear distinction between shadow and light, the highlights would seem dull. The highlights are some of the most satisfying things to do in painting and illustration. And you might be tempted to place them everywhere or go to light too fast. That's why in this step you add only the first layer of the highlights. This will ensure there is a good foundation for them to fall in place. As mentioned previously, for this, you will need a clean plate and a very clean brush. Another thing you will be doing in this step to make the painting feel more harmonious, you will add the color of the table onto the light part of the roses. Now let's go into the step with a clean plates, some beautiful white at the top of the plate. Some yellow onto the left side. Just adding a touch of yellow just over here. Let's not forget about that beautiful red. Adding it to the right side of the plate. Grabbing the round brush with some yellow and some red, mixing it very nice and thoroughly in the middle of the plate and gradually adding some of this beautiful white making a highlight color. You might notice how pastel it is, grabbing some water and mixing it very well. And at first, to be more familiar with this yellow light color, you can add it to the table just so you can change the table color to a beautiful, nice yellow highlights. Let's edit that beautiful side of the vase onto the left bottom and as well the shadow going down and covering a bit more and scraping that color. You can also add this beautiful line behind accentuating the difference between the background and the table. Now let's make the left side of the table a bit higher just because it's not even grabbing some more white and adding it to the color just to make the light color even more lighter. Can see how beautiful and pastel this yellow is. Grabbing even more and adding it on top just on the left side because that's where the light comes from. Taking some red with the tip of the brush and putting it onto the right, cleaning up the brush a tiny bit and Mixing this red onto the yellow gradually, this is where the harmonizing part of the colors comes in. With this newly found highlight color. You can go on to the left of the middle of rows, right next to the middle shadow. And rotate the brush slowly creating these beautiful petals. Don't think of them as petals. They are beautiful C shapes. Just adding a bit more water and some more red to make the Color Run a bit better. Mixing it all together and going and continuing with the beautiful highlights, the beautiful light part. And onto the top side you can start to see it's a bit more translucent. This will just harmonize everything, so it doesn't feel so intense. All of the sudden. That's where the subtle nature of the Painting shines through. I just adding a bit of water. It doesn't make the layers so evident. Now going on the small beautiful flowers onto the right side and creating this beautiful highlights. Grabbing some more red just to mix some interesting pink because the highlight was too intense and it had no blending area. We're having some more of that red and continuing a bit more into the shadow side in the middle Rose, just playing with this newly found color, just integrating it here. And they're now going on to the left side with this beautiful pink. You might notice it starts to seem like a highlight on to the beautiful rose on the left, just to beautiful marks onto the right side as well. And right over here, just a few splotches of highlights, grabbing some yellow and some reds and Creating a beautiful orange. Taking some water and diluting it down. Just to create some more wonderful orange just in-between the seas that you've created, petals that you've created, you can add this beautiful color. It will bring some more vibrancy and some more interesting dynamic colors. Now making it even more brighter, just so you can add it into the middle of this beautiful rose on the left and going and making some of those petals a bit more intense, going on to the top side and creating some vibrancy would a few brushmarks. One on the right, one on the bottom. And then going towards the top, you can add a few more in the middle, just barely touching the canvas. Going towards the right, you can add a few touches here, in there, and in the middle of the rows over here and right next to the vase, Creating a bigger one just going down. And maybe another one just over here on the left side Rose. And maybe towards the Flowers, we can create some more petals. And there you, with this beautiful step, Colour diversity is such a nice thing to summarize it all into a clear and easy to remember phrase, the secret of impactful highlights is found in the areas around and underneath them. Dark and clear shadows and colorful light areas. Of course, there are many more secrets to highlights, so let's go and paint them 14. Point of interest and Brush direction : Point of interest and Brush direction. One of the most overlooked things in Painting is Brush handling. Clearly defining a direction for your brushmarks can make an artwork look much more interesting and dynamic. There is a whole new world waiting to unravel before you, a new dimension to making paintings, how you apply paint is as important as what paint you apply, if not even more important. That's why for the highlights to have a clear direction, they need a bit more base than usual. Fill that brush with a mixture of white and light orange for Brush direction to come more naturally, you might want to change your grip on the brush and hold it as if you have a Harry Potter wand in your hand. This will trick your brain into paying more attention. And the grip is much more conducive to spinning the brush around to make nice and beautiful textures. And as always, going slower gives you much more control. Now let's go into the beautiful Step. Cleaning up the brush thoroughly, grabbing some white, luscious amount of white and loading that beautiful brush on with this pink, white color. And starting with the most light area that you want on the rows, and then continuing over and over around the Rose on the left part. Being very, very careful not to cover all the light part with this color, you can start to see how gushy this paint is. You can also go a little bit inside the Rose. Now going on to the small Rose with two beautiful rotations, you've made a highlights. Going lower for a little bit of a runaway pedal just over here. Let's simplify it. End up changing the rotation and the brush and another beautiful highlight onto the left. Too many highlights, so you overwhelm and treat everything the same. And that's how easy it is to just add the highlights. And that's all for the highlights. You might have noticed how sparse they are. In fact, they are just onto Roses. This is by design, they create a stronger contrast on the middle Rose. This in fact being the point of interest. And of course you can draw great conclusion from this. The point of interest in and Painting is the area width, the strongest contrast, and the most amount of detail. And of course, there are many more ways to add the point of interest to a painting, but this is one that is very useful. Now let's go into the next and final step of this course. 15. Vibrancy and Colour diversity : Vibrancy and Colour diversity. I would like to take this moment to congratulate you on making it this far into the course. And now let's go back to the class. Colour diversity is one of the most important things for compelling paintings. The big question is, how do you apply vibrant colors without overpowering the other colors? The answer is quite simple. You make them transparent so that they still feel integrated and create harmonious transitions. Another dimension that you can give to this is making one side more transparent than the other. You can achieve this by cleaning your brush and blending only one side of the brush mark after you've applied it. This will make the strong colors look like they belong in place. Now let's get into this step. As you can see, the plate and the Brush are thoroughly cleans. Now let's add some red to the top of the plate, onto the left side, as well as some white onto the right of it. And grabbing the brush with some generous amount of water, put it in the middle of the plate and grab a tiny bit of red, Mixing it into the brush and the water, taking some white just to make that color a bit more different than when it came out of the tube. Now, in the middle of the Rose just going in on to the right with a C-shape and then below and continuing with small little lines, just going towards the outside on the shadow side of the rows and below it. And now comes the front part, clean the brush almost entirely out of the paint, and then grab a tiny bit of water, put it onto the plates so you can see how much painted has. Then squeeze it once again, grab a tiny amount of water, put it on the plate, and then start blending those edges. And remember to keep some of the beautiful pinks still there and visible. One side is crisp and the other is blended. As you can see, it works very well. If you blend the inside edge and leave the outside edge a bit more blended, you can also bring back and make new beautiful marks just like this over here onto the wonderful pedal. Bring some more heat into the mix, brush it over and blend it. Clean up the brush, pick up some more water and then blend a bit more onto the lower side of the rows. Now going and touching up a little bit weird more color onto the lower side, into the middle of the rows and then onto the right side. Just adding a bit of this beautiful transparent pink to the Rose, can start to see how much more vibrant it looks. Now going and seeing if there are some more area close to the outside of the rows that can be touched with this color. Going a bit more into the inside, back with some vibrant color and going, and adding more and more. Now you can add a touch of this color onto the light side as well. Now let's clean the brush. You can clean it thoroughly tested on the color palette, make sure it has very little color. And let's start blending once again, those brushmarks, just a tiny bit. Remember to keep those lines crisp and only blend one side going a bit higher. You can also use a bit of your finger to spread that beautiful juice around. And then on with this beautiful wash, you can go in between the highlights and create a bit more separation, just a tiny bit. Grabbing more color and blending it just at the bottom, creating even more colorful transitions. And making another beautiful round shape around the middle of the Rose. Cleaning up the brush, once again, grabbing some water, it still has some more paint. So let's just see if it's clean. And with this glean brush, you can add some more blending just around going a bit more into the light part and onto the left side. Now grabbing some yellow just to add some more Colour diversity, just a tiny bit change the hue of the Colour In order to make the other Rose seem different than other roses. Now, adding it over the red just over here and with some yellow Creating a very, very saturated orange. And you can also go inside this Rose just a tiny bit, just to create even more Colour diversity, can start to see that those blue grades you've applied onto the rose Have such a great impact. Now with this red, now going on to the small Rose, you can start to notice how much more different this color is by only adding some yellow into it. Now going into the middle of the rows on the small rose with some small little C shapes just Creating each individual line and then going a bit faster into the middle, accentuating that shadow parts. Now going towards the right side and creating just a few brushmarks. Now at the top of the artwork, just three beautiful brushmarks and then a few more onto the right side, accentuating the shadow. Time for the brush to be cleaned thoroughly in order to blend a few of those lines, let's grab some more napkins and clean it completely. Once again, clean it very, very nicely and make sure it doesn't have a lot of color into it. It's all when you put the water onto the plate, it's almost transparent. So cleaning a few times until it's clean enough. You can blend some of the colors, starting with the left side. You can already start to see that those colors are just getting into the brush even more. So that's why you need a clean brush to do this and continuing to blend the round. You can also go inside and make a round beautiful shape. Just round that shape up. Now going on to the top Rose and blending some of that color onto the right side, just blending it and adding some of the color into the top side of the rows. Now, maybe touching this beautiful rose with a bit of this color, you can start to see the painting has come to life. Just a few touches, a vibrant color, speaking a vibrant color. Let's add some blue to the Mixing plates onto the right side, just over here. A tiny bit. Since this blue we'll mix width the yellow to create a wonderful vibrant green, much more yellow just to create a more intense green that is towards the yellow. And to dull it just a tiny bit down. Let's grab some red from the pile just over here and add it just to create some of that color vibrancy. It doesn't need to be neon green, just a touch more vibrant than the one on the canvas. Speaking of the canvas, let's apply it onto the leaves. You should strive to apply it towards the left side of the leaves. And then you will blend it with water once you've applied it. Now on to the beautiful leaf right next to the rows. And then going up higher and Creating a few more really defined edges and leaves. Just a touch. Don't forget to leave the other colors still showing. Now, cleaning up the brush, making sure it doesn't have too much color. And blending those edges just on one side, just to integrate that color a bit more, just a few more napkins to clean the brush a tiny bit. It seems like it has too much color. Cleaning up the brush a bit more with some new fresh napkins. And if you clean up the brush thoroughly, you can pick up some of the Colour where it's too intense and now going a bit lower to blend, see how much of a difference it makes to have a clean brush. You can blend things nicely and just leave one edge showing. You can also pick up some of the color just like this and blend that edge inside edge, making that harmonious transition. Grabbing some more of the color and going on to the left side, just for a few more sparkles of color. You can also add some of these beautiful lines just going and creating some more texture and color variety. Just a few, maybe a little bit of a line. This brush wants to work, grabbing some more and making a few lines at the top, continuing this beautiful light color, integrating this beautiful light green into the Painting. This vibrant wash can be used both for the shadows and for the light part. In the case of the Roses, you've used it mainly for the dark parts, but when it comes to the leaves, you made a highlight color and added vibrancy that way. And don't forget, you've achieved all of that while not making the colors seem overpowering. Just a little bit of vibrancy and the painting seems much more refined. Congratulations on finishing yet another wonderful painting. Thank you for being part of this community. And if you are gracious enough, don't forget to leave a review