Blossom to Bloom: Painting 15 Stunning Spring Paintings with Watercolours

1. Welcome to the Class: Spring is a magical time of the year when nature awakens from its winters, slumber, and burst into life. The site of blossoming flowers, budding trees, and dried green foliage can evoke feelings of joy, hope, and renewal, and are all signs of the beauty and vitality of the season. Hi I'm Geethu, an artist, a YouTuber, an aerospace engineer, and an instructor who has been teaching online for more than three years now. I'm also a Silver Brush educator and an ambassador to White Nights and Sitaram Stationers in India. I have been sharing my paintings online through my Instagram account, Colorfulmystique, and have recently started to share more of my little insights into life revolving around an artist, and my thoughts on creative processes in my YouTube channel as studio bvlogs. In this class, we'll be using watercolors to capture the vibrancy and emotions of spring in our paintings. We'll explore a range of string landscapes and flowers, from serene gardens to peaceful meadows, and learn techniques for creating dynamic, explicit and colorful watercolor paintings. As we paint, we'll also reflect on the ways in which spring can inspire us and spark our creativity. Spring is a season of growth and possibility. A reminder that we too can grow a sense of possibility and explore the ways in which spring can help us grow and bloom. Throughout this class will also explore the inspiring and uplifting qualities of spring. This season is a symbol of hope and optimism, reminding us that growth and new beginnings are always possible. We can explore how the season can inspire us to be creative, open to change, and ready for new opportunities. By playing with color, light, and composition, we capture the essence of this beautiful season and channel its energy into our artwork. Whether you're a beginner or an experienced painter, this class will help you to tap into your own creativity and express the joy and vibrancy of spring in your paintings. By the end of this class, you'll have created a stunning collection of 15 watercolor paintings that celebrate the joy and beauty of spring. It doesn't matter if you're an experienced artist or an artist that is just starting out with your artistic journey, you can join this class and enjoy the complete emotion that spring can evoke. By joining me, you'll have the chance to learn new techniques as well as to refine your skills. Enroll in this class now, and let's embark on this exciting journey together. See you in the class 2. Class Project: Hi, and thank you for joining the class. In this class, there will be 15 stunning watercolor spring landscapes for you to paint on. The first-class project is already uploaded in the class, and you'll find all the 15 paintings uploaded after 30 days of the published date of this class, which means that each of the projects will be uploaded every alternate day. You'll get two days for each painting, which I hope is more than enough for you to complete the painting in your busy schedule. Without any further ado, let's have a look at all the art supplies that we'll need for this class. 3. Art Supplies You Need: Let us have a look at all the art supplies that we'll be using for this class. First of all, you'll need paper. In this class, I'm using paper from St Cuthberts Mill Saunders Waterford paper in cold pressed texture. You can also use a rough textured paper if you want. The size that I'm using is half of this one, this sheet of paper, I'm cutting it into two, which is a 10 by seven inch size paper. That's what I'll be painting on. You can also paint the same on an A5 or A4 size sheet. I would also highly recommend that the paper you use is 100% cotton for the best results. Next, you'll need watercolor paints, I'll be using paints from various brands such as Shoemaker, Daniel Smith, Winsor & Newton, and White Nights. I have my pre-made palette which I use mostly. This palette and all the colors in it is uploaded in the resources section as a PDF if you want to refer. This is the palette that I mostly use. I said, you will need a palette for mixing these colors. You can either use a metal palette or a plastic palette like this one, or even a ceramic plate for mixing your paints. Next, you'll need brushes for painting, of course. I'll be using a large brush like this one to apply water onto the whole of my paper, or even a flat brush like this one in certain projects, then you'll need a medium-sized brush, so I would recommend a Size 6 or a Size eight brush for that purpose. Then a smaller sized brush such as a Size 2 or a Size 4 brush. Lastly, lighter brush is also recommended so that you can add in thin lines and details, as well as some branches in our paintings. A pencil and an eraser so that you can make the rough sketch in your painting, two jars of water, one for taking fresh paint and the other for washing off your paints and all the paint from your brushes, which will eventually turn muddy, so it's good to have another one always with freshwater when you're applying water onto the whole of the paper so that you're not using this muddy water for mixing your paints. I'm also using a wooden board like this one for taping my paper onto so that if needed, I can lift it from my surface that I'm using and tilt it around. You can either use a cardboard, an acrylic board, or any board for this purpose, and so there it goes without saying that you would need a masking tape so that you can tape the edges of your paper. The masking tape that I am using is from a brand named MT. You can use any masking tape. From my experience, I have learned that if the tape is tearing the edges of your paper, it means that the problem is with the paper and not the tape. Some paper towels are a cotton cloth or some cloth like this one. This one is actually a microfiber cloth that I'm using so that I can remove the extra water from my brushes and wipe off any extra water from the edges of the paper or paint or anything in general. It's good to keep a little piece of cloth or some tissues at hand always. Lastly, a masking fluid, which we will use to mask off certain areas for painting so that we can paint the background freely. Now that you know all the art supplies that we're going to use, let's jump into the next lesson. 4. Day 1 - The Flower Field: Let us start. Welcome to the first painting, there's no pencil sketch. We'll just dive straight into it. Let's apply water onto the whole of the paper. I'm going to be using this flat brush, which is the golden natural blend series from Silver. You can see, it is nicely flat brush. I'll use this to apply water to the whole of the paper. Take your time for this process, don't rush through it because it's very important. I'm not using my usual method of applying the water onto both sides of the paper today as is obvious from the tape that I have put onto my paper. That is because I knew that many of you may not have the acrylic board to use that method and some of you think that that is an advanced method, although it's not. But also, I shouldn't forget to paint like this. That's why I wanted to go through this in this class. Here, make sure to apply the water nicely and evenly onto the whole of the paper. Cover the edges nicely, but make sure that there isn't any large pools of water. That's very important. You can use a cloth or a tissue to wipe off the excess water. Also make sure to apply multiple times because you need your paper to be soaking wet, as in the inside fibers of the paper needs to be wet. Otherwise, you are going to risk letting your paper dry while painting. Also, if there's too much water along the edges, that is towards the outside of the paper, just wipe them off clean with a cloth or a tissue, whichever you're using. Because this water can seep back into the paper and then it will create blooms or the cauliflower effect or the background effect. There are various names for this effect. Now let's start. I'm going to be using my size 8 brush. This is the Renaissance CT brush. You can see the Renaissance CTs brush. That's what I'm going to be using. We will start to create the beautiful, gorgeous sky first. For that, I am going to be starting with Taylor blue. Mix up a nice amount of Taylor blue. This is Taylor blue from [inaudible], but you can also use the bright blue from White Nights instead. Today's sky is going to be simple. The painting is also going to be simple because we just want to ease in to the class before we can move on to tough projects. Let's start. Just apply the paint in somewhat random manner. You can create any sky you want. Don't try to follow exactly what I am doing. I am just creating some random shapes in the sky and leaving some white gaps here and there. Those white gaps will be like the clouds in the sky. Remember, darker tones towards the top. Here, towards the top, I will pick up fresh paint and also the darker consistency. That will go over to the top. Then as I move downwards, I'll stop taking dense paint and start into a lighter tone. But obviously, I will make sure to leave a lot of white spaces. That's a little bit dark. What I'm going to do is I'm going to dilute my paint by using a little bit of extra water and then I'll go over to the bottom part. Can you see? Now as I come towards the bottom, I need it to be very less paint. I've washed off all the paint from my brush and I'm just going to pick up what's there on the paper here, not even from my palette, but just from the paper directly. I'll use that to create some strokes and to bring out the existing strokes towards the bottom. Can you see? That's really light. Now I just want to add a little bit more clouds because I feel that the white spaces I have added is a little bit too much. I'll just go ahead and add. Now, I want to create a little bit more depth to it. I know I said that we're using lighter tones and darker tones, but I still want to add more depth to it. For that, what I'm going to be doing is I am going to pick up a little bit of ultramarine blue. You can see the ultramarine blue. That's a really warm version. The warmer because ultramarine blue looks like there's small red added to it. It's a bit darker than this one. I'm going to use this warm blue and then I'm going to add it on top of my bright blue. Careful where you add, you just need to add more towards the top and lesser towards the bottom because we are trying to create that depth effect. You can see more of the ultramarine blue and bring it downward. But as you come downwards, you want to lessen the intensity of the paint and just blend it into that blue there. I think we are good to go. We've created a nice sky region. I've just picked up a little bit more bright blue and I'm just adding some more strokes but not a lot. Remember, the light factor needs to be there towards that bottom region. Now, we don't need the paint to be dry to move on to the next part of the painting, we're just going to go ahead and straight away do it. We're going to get a smooth edge. Some paints are going to bleed into the sky part and that's okay. That's because we want to create the illusion of depth in our painting. If there's a hard edge, then it doesn't mean that it's an endless part of the grasslands. We want to create that endlessness, that is that large effect of it's going further away and blending in towards the horizon. Towards that bottom, we are going to start with a nice amount of cadmium yellow. Cadmium yellow because it is an opaque yellow. If you don't have cadmium yellow, you can actually go with other yellows that you have. But I would really recommend using cadmium yellow. It would be really helpful for you. Otherwise, you can use gouache also, but I don't know how much you can mix those chalky gouache paints along with watercolors. Here I am using cadmium yellow and we're going to start. First of all, let's mark a horizon or the end point where that grasslands are going to be. That's going to be somewhere here. Then I'm going to go up slightly along this edge and there. I think I want a bit more of my yellow region here. Let's try to create blends. I can see that my paper has started to dry out, but that's okay because we're going to add only paints towards the bottom now. Nothing's there going towards the top, so that's absolutely fine. Now I'm going to pick up green. That's my sap green. Taking a nice amount of my sap green. I like this version of the sap green. I think this is from Winsor and Newton. It's not that vibrant. If it was vibrant, then I would have had desaturated by adding a bit of red to it. But this one is not that vibrant, which makes it easier for me. Here you can see it's not that vibrant and I'm going to blend it along with that cadmium yellow. Let's blend it along. You can see how I'm blending it along. Let's bring it a little downwards. See how my paper started to dry out at the border. That's okay because you're adding wet paint now and it will just bring back that moisture onto your paper. Added that nice green effect. Now what I'm going to do is I'm just going to pick up another brush and just going to run along the edge there. Because as you may notice, it's started to form these slight hairs towards the top. Actually, if you'd given an angle to your paper, it wouldn't have formed and I actually forgot that. Really I had forgot that. But it's okay. Even if it blends with the sky and forms a little greenish shade there, that's absolutely fine. It's just going to look like this green here. You can pick up more of the yellow paint and add it along that edge. Then let's now try and create a nice blend there, added a bit more of my green. Let's go back to adding a bit more of the yellow. That better if you've added those green, you can have a nice blend. See, I'm trying to create a nice blend there, there is pool of my yellow in that region, more yellow towards that top. It'll just look as though it's the grasslands, but those yellow flowers that we're going to add in our painting. In fact, we can pick up more of the yellow and add it on towards the top. This is the reason why I recommended opaque colors. Because if you're using non opaque color, then it's not going to appear on the top. I know, so this is the moment where you might actually need to use gouache. We don't want it to be like that vibrant yellow there, you can have sap green spots. What you can do is you can pick up more green and add in to your yellow regions, because we don't want it to be strictly green. Now that you've added the green, let's give it a bit more depth. In order to give that depth, I'm going to take my dark green and I'm just going to mix it along with that same that green mixture that I was using before and we'll just add it. Now, when you're adding it, just add it towards the bottom because the bottom is where we need the depth. Remember in a painting, the depth always goes towards the top and the bottom because the center portion is the horizon which is the furthest point away from you. That will be the smoothest edges and the lightest values in your painting. It's a nice dark values, I'm just going to pick up a little bit more sap green so that I can blend those values. I think I need a bit more darker green in fact for this edge here. The more contrast you build in your painting, it's going to look back beautiful. I loved the way it stand out. Now what we're going to do is we're going to add some splatters to depict those flowers that are really in the background. For that, you will definitely need another piece of paper because you don't want those splatters to fall onto the sky region.. There you go, I'm going to use a spare piece of paper and I'm going to mask out my sky region like that. But before that, let's pick up the paints. What I'm going to be using here is my cadmium yellow. If you've been using a different yellow that is not opaque, then I think this is the point where you can pick up your gouache paint. Here masking off the edges and I'm using my size 4 [inaudible] brush. I'm going to splatter this. Let me see those splatters everywhere. I love those splatters, I love those splatters, just look at it. These creates literally the smallest flowers all around. Now that you've added the splatters, we're going to do something more, a little bit more beauty to make this more interesting. I've switched to my size 2 brush, and using this smaller brush, even smaller if you can go actually. We're going to pick up brown, okay. Make sure that it's not too watery because we just want to avoid too much water. I'll mix in a little bit of my Payne's gray as well, along with that, which will give me a very darker brown, somewhat like Zapier. if you have Zapier you can actually use that. Then make sure it's a dense mixture, not too much water very, very important. Then we're going to create the little stem. Just that you don't press too much if you press to most then it's going to spread a lot. You know these yellow flowers that you've added to some of them, just go ahead and add these brown spots. There'll be the bottom parts of those flowers. Only to some of them you don't need to do for all of them. Actually do it for the bigger ones because those are the ones where you can actually see the details. I'm skipping this smaller ones and better I can see there's a large flower, I go ahead and add it. You can add it towards the bottom, you can add it towards the center as well. It doesn't matter, you just need that brown spot somewhere along that flat. But can you see now it's already looking like those flowers are poking out in the [inaudible]. Like I said, not to all of them, just random is completely enough. I love the way that stand out. Now let's switch to a liner brush and add some lines for these. Here I am going to be using my dark green. For the standards of those last darker green. Make sure it's dark. We're going to just add some nice stem. Don't add all of them in the same direction. Just go ahead and add lots of stems. Especially I think you can add to the ones that you've added, the brown spot. You can also add to the other ones. That's absolutely fine. It doesn't need to go in all the same directions. Then you can have some of them go upwards like that? Just add a lot of them. I don't think I'm going to wait for this to dry because I like that blended look of those flowers itself. I'm going to add some bigger ones now. Here I am taking up my paints. My paper may or may not have dried and back to beauty of it. Some of them will be soft, some of them will be hard. That's okay. I think I'll use a larger one there. Then I'm going to have a very large one here. So I've literally just taken up my paint and made a large bunch there. Can you see that? Then I'll make another large bunch there. Another large bunch there. Made some nice large bunches. Obviously, large bunches means you've got to add the brown to it. Here I've switched back to my size 2 brush, and I'm going to pick up that brown. We're going to add it a bit on each of them somewhere along those lines. It's mostly towards the bottom. Here's the bigger one. We just to add to the base. I think we've covered all of the major ones that I added. Can you really see how those slides are peaking in? I'm just going to do one last step. You know that bigger one that's in a single color now. We need to give it a little bit more dimension because it's a larger flower. Here I'm taking a little bit of my orange, mixing it with that cadmium yellow. That's cadmium orange. I'm mixing it with that cadmium yellow and just going to add a bit on it. Trust me, even if you don't do this, it's absolutely fine. But then having that there, and when somebody looks at your painting, they are going to notice it. They're going to notice the subtle color difference that you've added to the larger ones. Here see, some of the larger ones, whichever one, very large ones. You need to add to the other ones that you've added. Just some of the very large ones. If you can go ahead and add in a subtle orange that is going to go along way. It has these little things I believe that makes your painting look really gorgeous because when somebody does actually look at your painting, you could have stopped at that yellow, but you didn't. When they see that tiny part of the orange, that is when they realize that you've worked on it, you've put a lot of thought into that process. That's what makes your painting beautiful and unique. I'm really happy with the way this has turned out. I don't think I want to work on this painting anymore. I just love the way it looks. We're going to wait for this to now completely dry so that we can remove the tape. There you go. It's completely dried out. I am going to assign my painting. Now let's remove the tape. Here's our final painting. I hope you like it. The reason I used opaque colors for this one is can you see how faded it is even though it's opaque? This shows us the clear comparison between watercolor and gouache. Even though the opaque paints in watercolors are said to be opaque, but they fade away when the paper dries out. We'll see how we can improve this in the next class projects. 5. Day 2 - The Valley Field: Let us start. I am going to start applying water onto the whole of my paper. Let's quickly apply water. As I always say, take your time to do this process. Don't rush at all because you need the paper to be really wet. It does help in the long run, that's why. Let us begin. For the sky part, we're going to go with pthalo blue itself. Taking a nice amount of pthalo blue, it can be darker because we want it to be nice and vibrant. Let's go ahead and start adding the sky. Just like yesterday, we are going to leave some white gaps where it's going to be the clouds, but today we'll make it slightly different. Here I've got some nice clouds and I'll add now towards the right side. Observe closely as I pick up darker shades, I applied towards the top and towards the bottom side. I obviously want it to be lighter. Now moving towards the lighter side, I'm decreasing the paint in my brush and just using whatever is there on the paper and bringing it down. Now let me just quickly soften out some of the edges. Wherever I feel like this densely too much paint or something, I just soften out some of the edges. Then you can use those softened out paint to create some more parts of the sky. You can see I picked up blue from here and then I applied it onto the other places. You can do the same. Remember what I always say, you don't have to do the sky exactly the same as mine. You can create your own sky. I think we can just take this as a process where we can experiment on the paper and relax and create your own beauty. Now that we're done with the sky, we're going to create a nice, gorgeous gray shade for the clouds. That's the difference. Let's start with ultramarine blue. I'm going to create my gray itself. I'm not going to use Payne's gray. Here, taking a nice amount of my ultramarine blue, that's what I'll start with, and I'll mix in a little bit amount of yellow, which obviously would make it to turn into green, but we can fix this. Let's add red, three primary colors. I'm using alizarin crimson here. Now I can see it's turned into a brown shade. Now to make this into a gray shade, I think we'll take a little bit of ultramarine blue and start adding to it. The more blue you add, you should start to see it turn into a gray shade. There, I think that's the perfect gray shade that I was looking for. This is what we're going to apply into the sky. Make sure that you don't have too much water on your brush. We start. Just start dropping in and creating random shapes. You don't need to add everywhere. We will have some white gaps as well, so just add some of the shades at random places. Then here, again, we'll come down and add. Remember to leave white spaces, very important. Here, I think towards the top, I'll maintain that white space. I'm just adding it mostly towards the inside part, I guess. Some here and observe the very lighter tone that I'm using. That's very important that we use a lighter tone. I think that's enough. Let's move on to adding the foreground. But I think this is the middle ground, not the foreground. Something that's behind the foreground. I'm going to start with a darker green, and to that I am going to mix in a little amount of Payne's gray. That'll create a darker shade. Something like perylene green. If you have perylene green, you are welcome to use that. There, I've got the shade. I just may need to make sure that I don't have extra water in my brush. Very important when I'm doing this. Then towards the back is where I want to apply that. See, it's still too light. I'll pick up a little bit more of my Payne's gray, a little bit more of my green mixed together, and create that gorgeous shade and then go over to my paper. That is the background. I've applied some dark green shade there. Now, I'm going to go further with my normal colors. Here I pick up my dark green. I will add onto it. Adding that. Then I think I'll go with my sap green. Leave a little gap between the clouds and the mountain part. Let's pick up that a little bit of green and keep some traces here and there, some lines. Then let's go back with our sap green and start to come down. Let's paint the whole thing with sap green now. As you can see, my paper started to dry out and I've also changed some mixture of the water and the paint in my brush. As in we were using a very creamy consistency, but now we need a lot of water in our mixture because we need to reinforce the water on our paper. Let's go ahead and do it. I like this exercise of not using the pencil sketch and going directly with my brush and then trying to figure out the shapes that I need to add in my painting. I think it's a really good exercise and flexes your creative muscles and just gives you a lot of freedom to change things on your painting. Now here what I'm going to do is I am going to add a stream. Starting there and then I think my stream can bend like that and then it goes over to that side like that. The rest of the areas, this is the outside part of the stream. There. Now, I'm going to do the same thing that I did for my Day 1. As you can see, there's got hairs forming, I will use my brush. I'm making sure that I dry it up. Then I'm just going to pull it along the edge and soften those edges so that you see those hairy structures are gone. Just a simple exercise to get those hairy structures to go. Now, let's create the other side. For creating the other side first, I'll start with my dark green, the perylene green that we mixed and observe, I've gone back to that creamy consistency. The watery paint is here and the green dark consistency is here on the left side, which is what I'm going to be using. I use that. I start with a nice darker tone, then I going to now shift to using the nice sap green color. Here. Shifting to the nice sap green color. I'm going to come down and join right there. We have the stream now the stream is going to bend over into that mountain area, so here it's bend. Now as you come into the foreground, it needs to get bigger. That's the shape of this stream that I've created. Now let's fill up the rest of the areas. I think I'll use a bit of olive green as well. Don't worry if you don't have olive green, you can actually just mix a little bit of brown and yellow to green and you can get colors similar to the olive green shade. A bit of sap green, a bit of dark green. Just use mixture of different greens because you don't want to make the whole thing look like a bunch of one single green shade. Back with my small brush. Just softening that region out because I can see these more hairs forming. The same along here. If you see any hairs, get rid of it. We've got that part now. We need to add more depth. Here now I'm taking a bit of dark green and I'm going to add in various cases. First of all, towards the edge of the stream towards the bottom, the bottom part of our painting here, just adding a lot of greens, dark green, and blend that towards the top, you can see just picked up a little bit more of my sap green and blending that into the top part. I love the way that's turned out. You can see the stream bending and going there. Let's not leave the stream as white. We need to just give it some colors. What we're going to do is, you remember that gray shade that we made. Let's make some more. That's a bit of blue and a bit of red should do as well. That's done in doing, it would take a bit of yellow and blue should do the trick. Then I've created a nice, gorgeous gray shade. What we're going to do is make sure you get rid of the extra water from your brush. Then let's just add it. Here it's okay that your stream is dry and the paper has dried out. We're just going to apply the strokes in a random manner. These are just the shadow areas in the water actually and remember to apply in one single direction don't do zigzag or in multiple directions, just choose one direction and stick with it. I'm using the direction, as you can see, horizontally like that, almost horizontal. I have a lot of white gaps that I'm leaving. That's like the lighter areas. Let me wash my paints off because, towards the top of the stream, I want it to be nice and lighter. I'm just taking a bit of water now and blend some of the regions. We'll give a multi-shade look. Can you see? I'll just leave it at that. I don't want to walk much on it. That's not the focus in our painting. I think I'm very happy with leaving it like that. Before this dries out, let's go ahead and add in some gouache flowers. As I've already mentioned in the supplies section, I'm going to be using the gouache colors from Art Philosophy. I am going to be using this lemon yellow and mid-yellow. That's just because this lemon yellow is too greenish for me and this mid-yellow is too orangish for me. I'm just going to mix these two up to create the perfect shade of yellow that I want. You're welcome to use any kind of yellow, so don't be pressurized. Shifting to my size 4 brush, and I'm going to mix those yellows up now. See, that's the yellow I want, the perfect mix of those two, and I'm going to make a nice and watery mixture out of fit. It means a lot of water, and of course, I am going to need another paper. This time I'm going to mask out all these regions. We need the flowers only on the right side, and then we're going to do the dab and let the paint fall onto the paper. See how the flowers have turned up. I think towards these bottom regions, we can actually go ahead and do it on our own. It's okay to have bigger flowers so then you can clearly apply the gouache paint. Then you can also go ahead and apply smaller ones towards the top randomly. You can do this entire process randomly with hand and not use the splattering method, but I always prefer the splattering method. Just adding some more. Let's just assume that the flowers are only there on this side and not on the other side. Let's go ahead and add in some branches. I will take the green color using my liner brush and then try and add branches for some of them. I love the way that's turned out. Now what we'll do is let's go ahead and dry this up. There you go. It's completely dried out. But can you see how faded these are? Remember our Day 1 painting? That's also faded, but I think this is more vibrant enough. That could be the yellow that I've used. But can you see gouache and the opaque watercolors are just literally the same? But in order to enhance this painting, we can actually do some more. What we're going to do is we're going to pick up the gouache paint and we're going to add some foreground flowers. Those would be vibrant enough because we're doing it in the wet-on-dry method. Let's load up the brush with the nice paint. I've shifted to my size 2, silver silk, ultra-round brush. Let's add some flowers. Can you see how gorgeous that is over the top? Because that's wet-on-dry. I'm just going to pop in and add so many flowers as much as you want. It's better if you can create the shape of some petals, but that's not necessary. Obviously, you can go ahead and create a lot of dots as well. Those would be the smaller flowers. You can go ahead and add as many flowers as you want. Can you see how that wet-on-dry method has made those flowers pop out in the background? I think that's really good, isn't it? There are more advanced techniques to paint these flowers and these kinds of landscapes which we will get into in the later stages. I just wanted to ease into the process. I hope you liked this one. Let's quickly try this up and then we can remove the tape. The thing about gouache is that it dries out pretty quickly. Let's go ahead and peel off the masking tape. There you go. Here is the final painting. I hope you like it and thank you for joining me today. 6. Day 3 - Tulips in the Snow Part I: Let us start. First of all, we'll do a pencil sketch for this one, that is, we'll sketch out the tulips first. Let's have our beautiful tulips. It's going to be pretty easy, so not to worry. We just have to make small cup shapes like this. Remember, it doesn't have to be perfect because these are flowers and they can be any different shapes. It's not like building where it has to be the perfect shape or any perspective or anything. Visually, yes, there is aerial perspective in play here, but not the other kind of perspective, the linear perspective one. There you go. I'm just going to sketch out the flower. Let's see. This does closing in on like that. Let's say there's another petal behind, and that's one of the tulips. Let's add another one here. It's just beautiful, isn't it? These cup shapes. I love seeing these tulips, in fact. Just don't make perfect lines, like I said, so have some bends and curves, because we're trying to capture the flower. Then you can have petals behind as well. See there, I'm going to mark the inside part. That's one petal. Let's add some more flowers. I think I will add another one here. This one is a bit smaller as you can see, and then we'll have another one here that's pretty big as in the same size as this one. That's what I mean. I think that's it. Now, we need to add in the stems, of course. That's very important, isn't it? Let's add the stem for the first one. Notice how I stop there and I'll just tell you why. I want to add in the leaf. It's just part of the sketching process. You could add the whole thing and then drop it off as well, but I just prefer to do things this way. That's it. Another one right there. The best part about this is that it's sitting in this nose, so you don't have to worry about marking the ground and everything. Just ignore them. Here is leaf sticking out. Another one and let's add for this. I made this a bit fatter because we're going to make it as though it's got a bend. There we go. Now when you are tracing out the snow, make sure that you make it very roughly. We don't want that pencil marks to be seen at the end, that's why. It's like in different layers of snow, what we're adding. I think horizon line can be somewhere there which is not 1/2 and not 1/3 in this case either, but somewhere there. There's our sketch and let's now get to painting this gorgeous beauties. There are two ways to approach this. You can either use a masking fluid and mask out these flowers and the leaves and then go ahead and paint the whole thing. But you know what? For this lesson, I'm not going to use the masking fluid. What I'm going to do is I'll go around the base so that it's easier for us because the main reason is because these are like huge flowers and there's just a lot and it involves a huge process. If the flower was one single flower or something, then we could have used the masking fluid, but in this case, I just want to skip it right here. What I'm going to be doing is I'm going to be applying water to the areas outside of our tulips. Just go around like that on each of those flowers and apply the water. We only need to apply all the way to the horizon line. Whoops, sorry, I didn't mean that to happen. That's from a previous painting that I did, the yellows, the sticky on the brim of the water. Oh my God. Let me down that so that it wouldn't affect me again. I've seen happy mistakes like this happen all the time. Happy as in the sense, I'm going to be applying yellow into my sky. Imagine if it was like some other color, like maybe what if it was blue or green, then my whole yellow would have turned into green shade. Oh my God. Doing the sky is to imagine lucky. There I go. I'm applying all around. Since we only have the sky to make and there isn't huge part of the painting process involved in which we need the water to stay wet for a longer duration, I think maximum two [inaudible] of water should be enough depending on the paper that you're using. I'm using Saunders Waterford so I know what will stay and I also know how to control the amount of water, the dye used by using my brush strokes as in a shoe right away. Here I'm switching to my size 6 brush and I'm going to be starting with a bit of my Indian yellow. There I'm taking my Indian yellow and I'm just going to apply it into the sky. But what I'm going to do is I'm going to create a huge light area there. It's like that. You see, and I'll go around. When I mean, control the amount of water on my paper using my brush stroke, it's this. You can re-wet your paper always using the strokes. If you take a dry paint and apply it onto the paper, then your paper is going to dry out sooner. But if you start taking more and more wet paint, then your paper is going to stay wet longer. That's the trick. Now, be careful around those flowers. We need it to be nice and around not over the flowers. The leaves are fine because they're going to be in green or yellow. It's absolutely fine. But I would skip the stem because I'd like to give it a dwell color at some point. There I fill that part with yellow, then note the watery mixture that I'm using. Let me fill up the rest of the sky first, there. Can you see it started to dry there? What I'll do is I'm just going to use water and blend that thing. Can you see? As soon as I use the water, I'm able to blend it up. There, some more. I don't talk while painting when I'm concentrating, when there's less concentration involved, I go on talking. That's the case when you see me like very silent, which means I am really concentrating into the process that I'm doing here. I think that's that got the sky covered, but I don't want it to be in a single color. I want to add more depth to it. What we're going to do is now the next color which is in gold in my palette. Adding that to the sky around, so that area there is the lightest. Can you see that. Then we just go ahead and start applying the Indian gold around. The more strokes that you apply, it's going to stay wet. So see, I've just applied the stroke there. That's now wet, now I'll move over to the right side. Then when I come back for the next sheet, it would still be wet because I just read it. That's what you'll have to go in a flow or a step-by-step process. Remember the areas that you wet. You actually don't need to remember. You can look at your paper and see. Keep an eye out for all the areas of your paper to see where are the areas that's drying up. I can see that the center part is already drying up. But right now, I don't mind because we've got our paints in their proper and already. That area is supposed to be white, so I'm not bothered anymore that it's drying up. I believe I'm going to give it more darkness. That means no more Indian golds in a very dark consistency. I forgot to say so if you don't have Indian gold, the color that you can go for is a mixture of brown, orange, and yellow that should give you a nice Indian gold shape. There you go. This is now towards the edge. See I broke my own principle. I said that I painted the left side first and then I went ahead and added the second gold of Indian gold to the right. But that's okay because my paper were still wet. That's what I mean, that there isn't a perfect rule or anything. It's just a matter of observing your paper. I think that that's the key thing to the whole process. I can see a distinct line here, which I'm just going to blend in. See now that I blended it, it looks much better. Now we can see the glow nicely. I want to give more depth, very important that we captured a good contrast. A good contrast in your painting is going to look absolutely beautiful. Now what I'm going to be doing is I am going to take this Indian gold and then I'm going to mix in a little bit of my transparent plan, so burnt, umber or transplant brown any brown that you have. If you actually mixed up your Indian gold in the first place is in brown. Now add more brown to it, as simple as that. I still want it to be golden shade. I think that's a little bit of too much browns so I'll take in a little bit more of an Indian gold. Make sure it's still golden and not brownish. Then apply that. That's going over to the left and the extreme right, which will give me a nice contrast. Now, can you see that distinct line that's formed so we need to blend it. Here you can either use just normal Indian gold or just water and your brush to blend that alone. That there is no distinct line anywhere. If you go around with your brush and just blend that region. See that and now we've captured the debt and the light in that extreme middle. Now it's time to go over and paint the snowy regions. I don't mind. I am not going to wait for it to dry because there are lots of areas that, it's okay even if my yellow bleed through, but I'm pretty sure that that bottom part of it has started to dry out. What I'm going to do right now is so that we don't have to waste our time waiting for our paper to dry. What I'll do is I'll just go ahead and paint straight away, but I'll make sure that my brush is not touching that point. I'm not touching any part of the horizon line. Remember you have to skip the flower and the stem. There you go. Now I think I have to switch to my other brush to go into the areas in-between, so here taking my clean brush and I'll go around and apply water. Again, don't touch the top. You stay away from that horizon line but apply water right into there. When you finish applying the water and you're mixing your colors and you start painting, the edge should have lined and will not bleed too much. Even if it bleeds a little bit, I think that's okay because I've lately learned that when you're doing watercolor paintings, sometimes these little bleed throughs and runs are beautiful. It's a subtle things that your eyes notice. It looks really nice. I mean, that's my perspective, again. Art is like really based on perspective, isn't it? Everybody has a different perspective. Understanding what I feel. Just two more places to go in here and there. Did I apply here. I can't even remember and I don't see it. Which means it's either dried up or I didn't. Done. Now, let's go ahead and create the beautiful things. That would be the shadows plus the reflection of some of the colors from the flowers onto the snow. Let me show you how we'll do that. For the shadows we're going to use three different colors here. We'll start with a nice amount of cobalt blue there that's cobalt. Blue and I'm just going to add that. Because the whole thing is in different layers. We add them in layers. I add a bit there and then I add a bit in that center portion. Do you see why the masking fluid would have looked much better here? Because you could just go around and paint that whole thing. But I do like what I'm doing right now because it gives a lot of brush control and it takes away the freedom that you have for free brush movement, but then gives more control or gives more learning for your hand. I feel that's very important, isn't it? Now, I've taken violet, if you've noticed while I've been speaking and adding the next bit of color and putting that on. See this is where, I mean, it gives more control for your hand because you're concentrating on to get it along the shapes and stay away from areas that are risky. I got to harsh edge here, which I'm going to soften out. Now, the top portion there, I want it to be lighter because we're having the reflections. Here I'll pick up a little bit of my Indian yellow. A little too dark. But that's what I mean. See a bit of the yellow. That's why we added that violet so that it creates a nice separation. There's the yellow now on to the areas. In fact, you could go with golden shade. I also think into some of the areas. We're going to stuff that in. Just a hint of yellow. That's all you need. I'm taking more violet and everything. Because it's lighter color, I'm actually going over the stem. Because it's a very light-color, it's not going to affect the greens and the color that I'm going to be adding to the stem. If you had picked up a very darker tone of violet, then you can do this process that we're doing right now. See? It's okay that it's slightly over the other color. The next color is pink. Now very important because the pink is what is the color of the tulips. That's now creating that reflection. So let's see. We've got the tulip there and dropping like you know some pinkish sheets, just a little. It's like right under where the tulips are and that's where you need to do a frontier right there and then we've got another one here. That's going to drop in like some shadow. It's just because that color is like very complimenting to the greens and everything is what is contributing to the violet and then these troughs and hills in the snow. Those both are violet and the blue. But then this color is a bit dominant and that's like stretching over onto the snow area that's what's happening. A bit of that. I think that's good enough. That was the first layer of snow we'll add another layer of snow to depict how the little troughs and heights are. I think we're good to go with that first layer. I love how we've captured everything. I think now it's time for us to wait for this whole thing to dry so that we can move on to the next parts. There you go. I've dried up everything. Now we'll mark in the darker shadows of the snow bit first before we move on to the flowers. So I think we'll start there and what I'm going to be doing is we need lighter colors still, but what we do right now we'll bring things forward. Here, if I take in a little bit of yellow and I'm going to go along the edge like that. Then I need the same colors that you used. Here I've got a bit of pink, and I'm going to use that pink to go along the edge a bit more, I think of pink. See that? Then quickly a bit of violet before my yellow dries up. It's just all of those colors that you used and then just blended towards the top. Can you see that? Just blend it towards the top. Let it blend. Now, can you already see there's a troughs on there? Although now I just realized that yellow doesn't make sense at all because the lightest portion should be at the top. Oh my God, what an idiot! [LAUGHTER] I mean myself. Here you go. I'm just going to cover it up with my violet. It'll be a little glowy area there if the violet. Not the glowy, but yeah, darker area there I think you can use a bit of blue as well to mask off that region. Then taking a bit of pink and adding. This is really why I always advise that you watch my videos once before attempting the painting. That's because you'll always find me doing silly and simple mistakes like these and then saying, oops, sorry. I know you might feel that I've ruined your painting. [LAUGHTER] Anyways, see, that's a nice transition as it is now. We need to repeat that process onto the other areas. Here, going with a bit of violet and adding. This is why I said add a very light pencil sketch, and that should help you. Here a bit of the glowy pink and then it's nothing. Just use water to blend towards the top. Here, it's good. It gives its yellow at the top. See? A nice yellow at the top. Just use water to blend it. When it dries up, it will be looking nice. Now you can see how the little troughs and parts of the snow are. I want to add a bit of a darker region here. That's why I'm adding a bit more of the violet there and then I'll take in a little bit of cobalt blue and blend along. Then just using water to soften up that region. Now pink. Yeah. I like that base part. I didn't go all the way over to the dark, which means I can paint the next parts. Here I'm taking violet again and adding here, we don't have anything or any shade, so just go ahead and soften towards the top. That's it. Can you see that? Then I guess there's here, this place and softening towards the top. I'm going to leave the middle portion because I want it to be lighter itself because that's where the light is. Can you see that? We won't do much there. Although now here, this bottom part is very light. We need to take care of that, which I'm going to be doing by adding a bit of my violet. Then we'll take the pink shades to drop in where it was and then blend towards the top. See? Can you see as soon as we added that we're getting different troughs and areas of the snow. We're done with that. I think we can move on to the tulips because these ones are like further away so we can get to the tulips. 7. Day 3 - Tulips in the Snow Part II: Now, here comes the interesting part. Let's paint this one in the center first because that's in the light area. What we'll do is I am going to wet all of the tulips at first. I mean, the whole surface of the tulips. Let's wet that. I saw that there was a harsh edge there, so I just tried to get rid of it. That's much better. I've wet that region. Now, we're going to load our brush with a very lighter tone of pink at first. Can you see? It's a very lighter tone of pink. Let's add it on to the whole of the tulip. The thing is, this tulip here is going to be very light because it's under the direct influence of the sunlight. Let's give it the first tone of color. Then taking a bit more of my darker pink now, so this is quinacridone rose violet that I have on my palette. Here adding. You can see, now just adding that darker tone to the base. Let's repeat the process for the other tulips. Now, as I said, these ones can be slightly darker because it's not in the bright sunlight area. I didn't wash my brush. I just went ahead because I realized that it's anyways pink that I need to add, so why wash my brush and then apply water and then put pink on the top? One more. I guess that center one is now starting to dry up a bit. Now the top, yes, this is under sunlight, but you still need to add darker depths to it because the side that we see is away from the sun. Things to remember. Here I've taken a slightly darker amount of pink and now because our paper has slowly started to dry up, it's still wet but what I'm trying to do here is add in a little darker shade along the edges. Can you see that? And the base of it, there. I like that. That's turned out nicely. The next strokes we'll have to add it when it's completely dried up. Now let's move on to the other flowers. Here again, along the edge. This one, the water has almost dried up, so I'll just use water on my brush to blend that. See that? But make sure that the darker colors are towards the bottom. Oh, can you see how already the picture is so beautiful, isn't it? I mean, just imagine once we add in the stems as well, how it's going to look. I think we'll go ahead and add in the stems while these dry up. Stems, how are we going to do that? We're going to give in different shades of green. I don't want it to be like a single shade of green. Here, I've got my nice olive green to which I'll add in a little bit of pink. That's too much, a bit more of my olive green. I think that's great. Now, observe how I'm doing it. It's a bit tricky, I guess. Here I've applied my olive green shade. Let me wash my brush immediately. And now I'm going to mix in a green shade but see that green is very vibrant, so I'm going to desaturate it using a bit of my alizarin crimson. Now that's done in brown. That's too much, or green. That's the color I want. See I've desaturated it a bit. We don't want it to be too vibrant green. It's like a brownish green but not really brownish green. Then you're gong to put that along the edge so that some parts of the stem are in a dual color. Can you see that? We're still not done yet. I will show you. Here I'm painting the stem. That other color that I mixed, I need it somewhere. Then taking a little bit of pink and I'm going to add it in some areas. Also a bit of darker green. Guys, did you even see this? This flower was still wet and it's, oh my God, flowing the green. What am I even looking at? See, I will get rid of it by adding more of my pink at the base. Phew, saved. I should have wait for it to dry. [LAUGHTER] Let's dry it up then. It's completely dry now. Here I'll go with my darker green now. That is where the underside of the stem because that needs to be a bit darker. Then on towards the left side, because the light is here, and then the left side is where we have the depth and the dark regions. Here I will apply that and now we're going to soften it. If you want you can switch to a smaller size brush if it makes easier for you. I'm switching to my size four brush and I'm going to use that to soften that entire thing. See? Gives that side a nice depth effect. Then I'm going to use my brush again to soften that one of the base. Just adjusting the shape of this whole thing because it looked a bit weird. There you go. I think now we'll go ahead and repeat the process for the other flowers. Here, I'll start with that green shade that you mixed. It doesn't have any specific rule, guys. You just have to mix in all of those colors that we added at random, like here. Then here I go for a little bit of that olive shade. You can pick up a little pink tone, which would make it a little brownish. Then obviously towards the bottom, I want it to be darker, so here I take my dark green. Like I said, right underneath that would be darker as well. Here, you can skip adding the extreme darkness towards the left or the right because the sun is like right behind. See, these subtle things that you can observe and note. Here in some of the flowers, you can even skip adding any of those other shades as well. There is the dark. Dark here. Now, here, the darkness is going to be somewhere towards the right and the bottom part. There. This is why I said see that underlying violet is not at all affecting the way our colors are coming because it was a very subtle color. Now if I take dark green towards the right side, because that's the light source. See that. I think we've captured that nicely. Now all that's left to do are the leaves and then some teeny tiny details onto our tulips. That's it. I promise. For the leaves, we are going to do the same process. Let me mix up a little bit more of my green and Alizarin mixture. There. Now for the green and this one. I've added that. This one, the bend on the leaf allowed once it's dry. Now we just go with that one color all over. Even without one color, it's looking so beautiful, isn't it? There you go. I believe these ones are dry. While the leaf dries out, let's go ahead and paint the tulips. What I'm going to be doing is now we need a nice amount of the pink shade. There we have the pink. Then I'll load my brush with the pink. I'm going to go along the edges with the pink sheet. Can you see? Each of the edge with the pink which creates a harsh edge along the separations. But along the inside parts, you need to soft it up. I've softened that region. Then I'll soften here on the right side as well, but do not soft in the left part of this one. Because that is like a separation of the petal, which we'll let it be. Remember darker tones towards the bottom. I think I'll adjust the shape of the tulip a little bit because I can see some white areas. You know what? To make this a bit interesting pick up a teeny tiny amount of violet. Just a teeny tiny amount. I'm using a smaller size brush. Also remember that. Onto that wet region that you just added, just use it to add a subtle trays of violet. Can you see how that's looking now? It's looking amazing, isn't it? Just at the base. If you add too much, you can blend along. It'll still going to look amazing. It creates that depth at the bottom because of the shape of the flower, the underside needs to be slightly darker so that why it is going to contribute to that. Let's repeat the process for this one. You can either re-wet it and do it or you can use the method that I used. Maybe I'll show you the re-wetting method now. Now when you're re-wetting, you don't need to re-wet the whole flower. We're only going to paint these petals so that those ones there will look like as though it's behind. You re-wet only the one in the front. I'll show you the re-wetting method. Just showing you both the methods. You can either go for the softening method or you can use the re-wetting method. Whichever you use is up to you. But like I said, stick to only the front petal, not even that one of the back. You can go along the edge as well. But see it's forming hairs which I will adjust in a moment. We don't want this. Yes, I've created that edge to it, but then I need to darken up the base. We're picking up. I forgot that this wasn't supposed to be in a light. It shouldn't be as dark as these ones, but then the bottom side can be really dark. Then further darken it. We took the violet and just blending that. There. See how gorgeous it's looking? See how we've got that blue outside? But yes, even though it's the petal behind, you just need to create the edge for it. Now I think you need to use the softening method because you just wet the bottom part of that flower is dry. Here what I'm doing is just be created an edge with very subtle tone of pink and then I'll soften it out. Can you see? Softening that out. But let's wait for it to dry and then I'll show you the last thing that's left to do. Let me wet this. Pink shade. The goal was just pink shade. Bit of violet for the base. Blend it. Last one. here again, you've got front petal and back petal. Careful about that. Nice amount of pink shade. Violet. Blending it along. I think now we'll go over back to the leaves one. Here I'll take my dark green, but it's a bit too vibrant. Just taking a little bit of pink, you can also use pink or add alizarin, either one of them. I'm going to add in the darker edge. Just going to soften out the darker edge because I don't want it to be too dark. Use combination of dark and lighter colors should enhance the beauty of it. See, I've put some more darker colors, but then it's got a lighter, twisty down there. Just create more drama with your paintings. I think that's what I would always suggest. Then I'll just blend these colors. I did all of that. I think what is pending now, not much. Oh yes, that middle part, but I need my tulips to be completely dry for that. I think it's dry. The thing that was left was you need to give that inner portion a depth because that's going towards the inside. Here what I'm going to do is I'm going to take in a bit of my pink and mix it with my violet. We're going to paint there. It's like right there inside part. Again, not too much. Just up until that point to create the depth. Then immediately soften using water towards the outside. See that? But make sure that as you get to the outside, it's very light than what's there. Let's see now how you've captured the depth inside. The same way for this part. But immediately go and soften but when you're softening, the thing that you need to remember is that each time you go soften you might have to wash your brush. Otherwise you're pulling pigment all the way to the outside. I'm just going to give a little edge to this one and soften it a bit. Maybe we'll do the same to this one as well. Yes. I think we're done. If you want, you can use your pink to add some lines. Although this is absolutely optional. I'm just adding. Very optional. Remember that. I don't think you should add for all the areas. I've just made one of them on this one. Done. There you go. We're finally done and it's looking good. Yes. I know it was long, wasn't it? Let's go ahead and remove the tape. I forgot to sign the paintings. Let me just quickly do that. There. Here you go, guys. Here is the finished painting. I hope you like it and thank you for joining me today. 8. Day 4 - White Magnolia: Let's start. The first thing that we need to do obviously, is to make the sketch of our flower. Let's do that first and remember, you don't have to have the shapes exact. You just need to have a rough sketch and it's okay to have curved edges and not so perfect corners and everything. Let's see. I'm going to have my flower here. I'll add one petal and let's say I'm having the petal like that. Then from that base, another petal like that. Whenever I'm adding extra lines like this, it means that there is a bend in the petal and that's what I'm trying to depict. Add it like a flower there. Now, some underneath part of the flower. I know that this looks some tough and you're thinking, Oh my God, how do you sketch that? But if you look at my sketch, it's completely random. Just try to add flowers. I know that when we were children, we used to draw flowers like perfect petals and everything. But if you look at an original flower , this one specificity. These are white magnolias. If you look at those white magnolias, you don't need to have perfect edges for any of them. Here I'm adding another little branch shape. There's the branch going downwards. Let me show that you closely. You can pause right here and use that as reference. Now that's our main flower. What we're going to do is we need to do add some background because I just don't want this to be like the only thing in the picture. We're going to add in a lot more flowers, but right now when you're adding these extra flowers, you need to make sure that your strokes are very light because at the end you do not want any of those pencil marks to remain. It's going to be really light, that's what I'm making. When I show it to you, it might not even be visible. I apologize for that in advance, but that's what I'm going to do. It's like branches in the background. I'll add flowers as well in the background. Just like this, we're going to make petals that are random shaped ones. We will add a bad shape here on that one. Add some flowers. I think this right side I'll skip and not have too many details. But here you go. Let me show this to you closely. I can see it. Thank God, it's still visible. That's the sketch. You can pause right here and make your own sketch now. We're going to do the reverse process of what we did in the previous project. That is, we're going to paint the foreground flower first and then paint the background. That's interesting, isn't it? Let's go ahead and wet our flower. You don't have to do it perfectly. Just roughly the inside part of the flower, wet it. I'm using my size 6 brush. When I say the sizes of these brush, I actually don't mean that you need those exact sizes. Because if you notice sometimes I'm using my size 6, sometimes I'm using my size 8. It's just what's readily available in front of me, I just pick it up. All you need is a medium-sized brush. There you go. Here I'm applying water to the main flower that we have. I think you can leave the stem, it's just a flower that's where we need to add in. Let's start. I'm going to take a bit of my Indian yellow. We just need a very subtle amount right now. We're going to paint that base part of it. What I'm going to do is just here at the base part going to drop in a subtle amount of yellow. That's it. Can you see? It's just a teeny tiny amount to that base and let that spread out a bit. Not spread out, but just spread it out, that's what I mean. Now we need to paint the inside. The inside, it's supposed to be a white flower. Then why are we painting the inside? Because you need to paint the shadows, very, very important. For the shadows, what we're going to do is it's a white flower. It's a bright sunny day. What do you think the colors of the shadow is going to be? It's going to be blue, isn't it? We are going to use cobalt blue for that purpose. There you go. I'll load my brush with nice amount of cobalt blue. But I think I should probably take a smaller size brush for this purpose, so I'm switching to my size 4. I'm going to load my brush with cobalt blue. There you go, and let's start. Let's see. Here at the very end, I'd like to add a bit and somewhere in the middle. Whenever you feel that you've added too much, you can go ahead and make it subtle and soften it out. Do you see that? Here, taking the cobalt blue again I'll add for this one here. There is no specific rule as well. If you find out any reference of magnolias or anything, you can use that or you can just do whatever I'm doing. Remember that bend that we added. Let's put that in a bit of cobalt blue. Then I want a line and some depth here at the tip. Just making sure that I blend them properly. Then where else? Here the base. Some along here, and I think along the top region of that one there. This one is really part of the bend, isn't it? I'll take more cobalt blue and I'll fill it. Oops, that's a considerably darker color, so I'll just go ahead and quickly lighten it up with just water. And here at the top. Added too many parts. Now I'm going to take a bit of my Indian gold, which is right here on my palette which was from the last day's project. I'm going to use that and I'm going to put a little bit of that on to that golden yellow region that we added. Now, let's add in the petal behind. For adding that petal, first I'm going to take my olive green. Let's see. This part needs to be in olive green. My paper has dried out because I did not apply too much water. The water there has already started to dry out. Olive green, then a bit of transparent brown. I'm going to add that to the tip of that olive green so that that thing has a dual color. Do you see that? Just slightly blended into the olive green. Then this dark brown color again. I'm going to apply it to this left one, which is the area underneath. That would be the dark brown. Then adjoining that, the dark brown is where we need the golden shade. Here I'm picking up the Indian gold and I'll go right next to the brown and join it there. You see you've added part of the flower. Then I'm going to take my green. But since it's still saturated, just going to pick up a little bit of my alizarin and desaturate that green or adding this one, this leaf part. Basically that's it for that part of the flower. Maybe you can take a bit more of your golden shade and apply it to the base. I think it deserves a little bit more blue at certain places. Here I'm taking my cobalt blue. Here at the base is where I think it should have been a little more cobalt blue. It's right next to this leaf area here, so it's bound to be a bit darker there. The middle portion is anyways going to be darker because it's gotten more depth because of all the petals originating from that point, so that area is bound to be more darker. Especially here, it's going to be darker. That's the base part. Then if I take more blue, I just need to bring this petal forward. The same with this petal. I think that's good. Just a bit more and bringing this petal forward, I mean, the bend of that petal. I think you could do the same along this edge there. I think that's it. Now we're done with that. Let's go ahead. Now, should we be in the stem? I think you can be in the stem at the end after you've done with all of the background. Yes, I think so. We'll do the stem at the end. The flower was the critical part which we're done right now. Now we'll wait for this to dry so that we can paint in the background. It almost dried up. I don't mind even if it's a little bit wet. Now we're going to apply water to the rest of our painting. The whole of the background. I'll tell you why we painted this way. First of all, let's wet it and then I'll show you. Here, I'm going to wet whole of the background. This one now we have a nice amount of wet-on-wet work to do, so make sure that you wet your paper nicely. I'm using a flat brush and picking up water and wetting my paper the whole of the background. I still haven't come closer to the flower yet. I'm just still working along the edges and making sure that it's nice and wet. You might need to give multiple codes and everything. Now time to get near the flower. As you come near the flower, make sure that you go around the edges. I think I need to shift to round size brush so we can go around with it. I'm shifting to my larger size one so I can easily cover it up, so it's a size 10 brush. There. Let's keep going around each of the petals. For this one, trust me, you really do need a masking fluid because you don't need to paint in a free flow manner. When we are painting like sunset scenes or perfect gradients, that's not the intention here. You actually don't need to use the masking fluid. You can just use this same method and paint the whole thing. Make sure you reapply water into some of the places where you did apply but it started to dry off. Always look at your paper at an angle and you'll be able to spot it. Almost done. We're going to do now is we're going to start drawing the center portion. That is where the flower is and move towards the outside. The reason is because we just applied water there. Those are the areas that are prone to quickly drying because there is a limit to which you can keep applying water there because of those confined spaces. But when it comes to the edges, you can always repeatedly go around in one swift flow. That's why we're going to start painting from the center portion. I think I've applied water enough, and before it dries up we're going to start from the inside. Here you go. Back to my size 6. I'm going to be loading my brush with a nice amount of my bright blue color this time. There's my bright blue. Let's paint the center. I think I'll start right there, and I'm going to put that color. This is the reason. Now wherever you've applied the water, you can go ahead and apply. This edge between the petal here is fine. But there are areas where you need to go ahead and paint the negative painting technique. That is, you need to skip around the shapes that we've sketched. We didn't sketch any shape on this side, so that's pretty easy. Let me show to you first. Let's go around and paint that area first because there's shapes here which is easy for us to go and do the negative painting technique. Here I'm painting that but I think I'll leave a little bit of gap there. See, I've left a tiny amount of white space. Then let's go and you're going to paint. But now we're going to paint with a lot of white spaces at different places. Like here, I'll leave some white space. You can have it as large white blobs. This one went off. That's okay. Let's see, coming down here, closer to the petal. See. Leave lots of white spaces. Can you see, it's just a lot of whitespaces as if you're painting like bouquet lights. If you've done this exercise before for some painting involving bouquet lights then you might know what I'm talking about. Even if not, it's absolutely fine. You just going to skip those areas and paint that's it. Now, as you approach this bottom here, observe we had made like a flower shape. Negative painting, you're going to skip the area of the flower and just add in your blue tone, that's it. Very simple. One thing is, do not do this process close to the flower. That does do not end your strokes somewhere closer to the flower because then it can have these hairs form and it will go into the flower. Along the edge of the flower, just do swift strokes and when you want to lift your brush, do it somewhere outside. See that? Here I'm going to paint along the edge and lifting process somewhere outside. That way you do not have any of those your hairs spreading in to your flower. See that? Now you've created a shape of a flower. In fact, you can repeat this and create your own flowers, see that? I created another one there, and because it's the background you don't have to worry about creating perfect shapes or anything. It's just a lot of whitespaces that we need, that's it. We've added that right side nicely and perfectly and I believe that's my left side has started to dry out, so I'm just going to quickly reapply my water. But remember, do not touch any of the areas on the left side. Careful and avoid touching there because then your paint and the water can bleed together, which we don't want. Back to the blue and what else here. Again, skip the petal. Now can you see the shape of the flower coming perfectly on that side? This is also a flower, so skipping that. It's okay then even if your color goes over onto the stem because it's in a considerably darker color it'll be fine. You know what? You can add some darker colors at some places I feel that like the blue was too light, so I've just added a bit more shade there. I won't go to the top because I feel that it started to dry out so if I add more color now it might ruin that thing so I'm not going to do it. I'm not going to risk that and here as well, leave whitespaces at random. These whitespaces that you leave are flowers which are like in the extreme background so you're not seeing the perfect shape of it. Remember we added flower there, so you're going to skip that as well, so here and remember what I said about where your brush end and how to avoid those hairs. There's the flower and I won't end my strokes anywhere near it. There's another one. Be careful around our flower, so I think we need to go around and paint our main flower now. See some of these areas have started to dry, but as long as I join it to the areas where there's water, it should be fine. See, it's fine along that region and here as well. You can clearly see how we've captured that. It's taking a bit more of the bright blue and I want to darken some of the areas around the flower, so that the flower like really pops out. Good contrast is what we need. I know that this area has started to try but one advantage is that I have that stem separating this side and that side so I can go ahead and paint this area once more without affecting the right side which has started to dry out. See, we've created a nice contrast along that edge. Now I think it's time for us to paint the branches. For that, I'm going to shift to a smaller size brush branches and some leaves. For painting those leaves here I'll load up my brush with olive green and maybe a bit of sap green. I think we'll use a blend of these colors; sap green, olive green, and brown, etc. There's a branch there. Then I think something there in the background and this flower actually has a little bit round spot there but since it's dried out, what I'm going to do is I'm just going to apply water to this center portion of that flower. Make sure you don't touch any part of the blue because then it will bleed. Then digging a bit of brown, I drop it there. Can you see, it's wet. A bit of golden shade as well to complement that region in more of my brown. Now, we're going to do a lot of wet on wet stroke. This is why I said, but you know it's easy to do all of these wet on wet strokes so long as you knew how to keep your paper wet and in control, that's it. Just adding a lot of branches. I think I'd have a petal there or something. See these aren't background branches, so pick up your brown nicely. Here this branch comes here and goes out like that, and I can see it's almost started to dry out so you need to do this very quickly. This flower has got a bit of the brown there and some golden shades to complement its position. Then let's go ahead and add more of olive green branches at random places. There's the bud one. Some of those white spaces that you left out, you can fill that off with olive green. But I think you also need more branches because it seems like that olive green is like in the air or something. It looks tough, isn't it? This field stuff, isn't it? Don't worry. So we've added that flower, then, I think, a bit olive green there. Some parts, it's absolutely fine even if it has some bleed-throughs. I'm telling you it's absolutely fine. [NOISE] Then I think we're good to go. The only thing left is that branch down there. So let's wait for this to completely dry out because otherwise, this branch will spread out. I think it's dry. So now I'm just going to darken up certain areas so that my flower will suddenly pop. There is the Indian gold. Then definitely need more brown. Going to paint that branch. But hear me out, we need to give it some extra colors. So here I'm taking a bit of my olive green, and adding that on the branch, then I'll blend it up with my brown. You just need a very, very subtle green stroke there. It's not even going to be seen, but when somebody looks at your painting closely, that's when they see it. I always say this for my paintings, these subtle, little tiny details. So darker and darker because it's the underside of the flower. There. I think we've captured that really well. Now, once you are done that, and we've added all of those details, now we can go ahead, and paint our flower a little bit more nicely, but this is going to be wet on dry. Here I am taking my cobalt blue, and now we're going to add some nice depth. See that? Then, I did say wet on dry, but you do need to soften the edges, otherwise, you end up with a harsh edge like that. That's it, not a lot. You just soften up a certain part of it, and here again. Do that edge, and you'll soften it. This edge is here is because of the petal is bent, so you don't have to soften it. This one is not because the petal is bent, so you do have to soften it. Understand the difference. I think that's what's really important. See that one is not because of the petal is bent. So which means you need to soften out that blue. I think that's enough. I'm actually happy with the way it's turned out. I know that my blue is very lighter at the moment, and the white has not come out at all. There is a solution for doing that. I just don't want to go and ruin it. I work a lot more, but I'll tell you that in case, if you want to do it. There is something here that I forgot and I just realized, I'm just going to do that. That is, I'm just going to apply some water here because I didn't add a stem to that, and that stem has to be in a dry format. Sorry, what am I even saying, in a wet format. So that's why I've applied water to that region. I'll take my brown, and make that. That's it. At least that flower is there, and the ones in the background, you don't need to add a lot of branches there. The way you can make this flower pop out is to add more blue around the edges. If you add your light blue or your pale blue in a very, very vibrant, dark color all around the outside, then it'll bring out the contrast of the white, and the blue a bit more. We did that for this side, but I think you should do for the whole side, but I'm not going to do it because I actually like the way this is looking. I would say it's like a subtle painting, but if you're looking for a bigger contrast between the flower, and the background, then you can do that process. You've heard me now, and if you're watching this first before painting, then you can go ahead, and adapt that. Since we're done, let's go ahead, and sign the painting first. Let's remove the tape. Here you go. Here is the finished painting. I hope you enjoyed painting this. Oh my God, I love the way this flower is looking. It's great, isn't it? Thank you for joining me today. 9. Day 5 - Pink Magnolia: The previous day's magnolias, we're absolutely adorable. I decided to do another one and that to pink one today, which is the one that we mostly see. Let's go ahead and sketch the magnolias. The previous one was a bit more open. Let's have this not as open as that. Also I don't want it to be right at the center, I think I'll just move it a bit to the right side, just for the composition sake of it, and I'll sketch that one. I'm having a bend here for that magnolia. Here is the base. We'll have the other towards this side. As you can see, it's not that open. I mean, the other one was completely open. Another one the petal there. Just do more. I think that should do, maybe like no part of it being seen there. Now for the leaf. Let's have a leaf right in front of there. Then the underside has some ring. Let's have this one a bit bend over. Now is the interesting part. That is where we add in the stem, the stem, this magnolia. Let's have it such that it's coming out from the left side. Make sure that it's thicker towards the left and then gets thinner and thinner towards the right side. You can have breaks like this. You don't have to have it in a perfect curve or something. I think you are busily know that by now. Then at some point, you can go ahead and add small buds. You will add like a leaf or something there. Then let's have more branches. This branch is coming from there, but then it goes to the other side through the back effect there. It's another little bud. How about some more right here? Just adding many branches, Not to worry. You can add as many as you want. I think I'm going to leave it at that then ones in the background, we'll add that with our brush itself. It's going to be interesting today. Only these are the ones that's in the main foreground. That's the only thing we're going to sketch, the ones in the background. You're going to do with your brush. Here's the final sketch in case you need to see it closely. Let's get to painting this gorgeous beauty here. Like the previous day, we'll start with the flower first and then go towards the background. I'm just going to wet my brush and apply water to my flower of course. To the whole of my flower, I'll apply water and make it nice and wet. Here I have wet the flower nicely and we'll start without being shade. I am going to be using my queen-rose shade, Quinacridone Rose. But do you see how that Quinacridone Rose it like too much of a rose shade. I need to change it into a slight but we'll shade. You can either mixing violet directly or you can mix in cobalt blue or ultramarine blue. I think I will mix in a teeny tiny amount of cobalt blue to that so that it becomes slightly purplish. You only want it to be slight, remember that. I'm just going to lie that onto the whole of my flower. We do have to add the details later on. But for now, let's just work on this. You can see, I'm just painting the whole flower with that gorgeous color. I shouldn't have wet this region. It should actually be white. I'm just going to be very careful and avoid that area and prevent my paint from spreading. That's why I've kept the gap there which I will fill when I'm adding with my darker colors. Here, just added a line in here in the middle through the petals. We'll add it with more detail later on. I think it's okay to leave it like that for now and there. That's done. We only need to do the flower because these buds and everything, we can do it later on. Now, let's wait for this thing to completely dry up so that we can paint the background. The flower is now completely dry. Let's go ahead and paint the background. I'm going to be applying water to the whole of my paper. Here I'm using my larger-sized brush and applying water whole of the paper but avoiding the flower, remember that. I'm just using the larger brush for areas furthest from the flower. Then as I move in closer to the flower, I switch to my smaller-sized brush to get around it. Make sure to apply the water nicely without forming any large pools or blobs of water. I'll pick up my round brush to add the water. Now, next to the areas, again, of the flower. Very carefully along the edge of the flower, that's how we need to apply the water. Make sure to reapply onto the other places as well because you can let it dry out. You can see that I took my sweet time to apply water onto the paper. You do take your time. Let's start. I'm going to be using my size 6 brush. We just need a medium-sized brush. That's it and we're going to paint a lot of things into the background. I think first, let's start with a nice amount of blue. That's my bright blue or yellow blue. It'll be part of the sky that's seen through all the plants, the tree. That's why we have a lot of nice blue tones. You can leave some gaps. There's a little part of this guy here, and maybe a little here, and I guess a little here. Observe also that I'm deliberately trying to avoid those foreground buds. The branches are okay but try and deliberately avoid the buds because it's better if you can really avoid that and not have too much paint on it. It'll be really helpful in the end. Apply some nice blue tones in the background. Then we'll go for the next shade which is going to be my ring color. As I said, this green is a bit too vibrant. I'll pick up a little bit of alizarin to tone it down, and use that. We're going to create nice branches and some grunge effect. It's not grunges. It's leaves, some leafy effect. Nothing has to be in detail, remember that and that's why we're doing it this way. Then I think we're now closer to the flower. I have a leaf region there and I'll have some over here. Before we proceed with all of those greens, I'd like to do something. The pink that we added, we need to create some background flowers. What I'll do is I'll pick up my [inaudible]. Here, we're not going to dilute it because when we add detail onto this one, it'll look like those background ones. In order to create that background effect, we're just going to add. Just go ahead and create some nice shapes. Somehow, as you deem fit to create the shape of those magnolias and randomly create some nice ones, it's going to be with a nice pink shade. I'm going to have one on the left side as well and maybe another one here. As you can see, our pink mixes with the blue to give a purplish tone as well. That helps, you see that? Now, let's get back to adding lots and lots of pinks. I think the areas where you haven't added the sky or the pink now you can go ahead and add in a lot of the leaves. I don't know why I keep saying branch. It's supposed to be leaves. At the moment, let's just fill it up. You need to work quickly before your paper dries out. Remember that. The area prone to drying is actually the one next to the flower. Go ahead and paint those areas first, like here. Very careful along the edge of the flower but don't make it like a straight line. Try and create some unevenness, mixing with alizarin at random places. It would create these at different colors of green all the time. Don't go with the same kind of green. Try and mix and match. Sometimes you can pick up the perfect sap green, and then sometimes you can mix it up with alizarin, and maybe sometimes mix it up with a little pink, or you can use olive green. Just try and use different greens so that you capture all that green shades. Then some around here, then towards that side, I wanted to pick the tree bark. I'm just going to pick up my yellow ocher. It's too light still, I need a bit more darkness. There is my yellow ocher and maybe that's the trunk of the tree that we're painting, but it's all background and that's the reason why you don't need to paint anything in a perfect detail. But make sure you take nice dark colors because you need your painting to be vibrant. Here, going back with the green and trying to fill up the areas. I think I'll dig in olive green for that area so it's a bit of a different green there. Add those colors, but I feel that somehow my blue has lightened up in certain areas, but I'm just going to go with my blue like for example, here, I think I'll put in more blue along the edge of my flower. Remember, you can go ahead and paint once more over the areas that you've already done and mix and match the colors. I loved the weight standard, but we're not done because this thing looks like a large blob of green. We need to give depth. Even though it's the background, give depth, and that will make your painting beautiful. Now here I'm picking up my darker tone of green and dry. It's not a pine tree. Why did this look like a pine tree? I'll make sure and correct that. You see it gave a nice darker tone. Narrowly repeat the process. It's just capturing the depth at certain places. We can have a bit of it there. When you look at it in the bigger picture. Once we've painted the foreground and everything, I think it will make a lot of sense. See, just a lot of bunch of details. Maybe you can paint the underside of the flower. I guess you can have more flowers there. A bit more depth and we're done. Here I'm just loading it up with Payne's gray. I'm mixing Payne's gray with my green so that it's more darker. I will put that, but we're not going to use it in all the places. We only need it in some random areas. We're good to go. Now the only last thing is to add in some background branches. Here, I'm switching to my size 4 brush and I'm going to be loading my brush with a nice amount of my dark transparent plan. Here's my dark brown. Making that up. Let's go ahead and add in a lot more of these branches and have them join the end of the flower. I think I'm going to have a lot more here, As you can see, it's the background. That's why we're doing it in wet-on-wet. I think I'll have a nice good one over here. This one goes to this flower. You can add smaller ones with a lighter stroke as well. Just a lot of them. That one that we added on the left side. I think I'm just going to add in some buds on that. Here I take my sap green and just going to add some buds. Because my paper is still wet. That's the thing, to keep our paper wet. I know guys, it's very tricky, isn't it? But with practice, you will definitely get there. I've put some nice. That's there. I think you can have the base of these flowers once more. Then what does this missing? You take the brown. I'll just add it to where the bud is actually joining. If you want, you can drop in some pink flowers at other places. I think that should be enough. Now, all we need to do is to wait for this to dry out. That was actually tricky. I said it was going to be similar to the last days and then it ended up being like this. Let's dry this up. There, everything is now completely dry. Now we'll paint the rest of the areas, that is the foreground. Here I am going to start with a nice amount of my sap green for some of these foreground, but on this left side buds. Here adding nice green shade over there. Then on this leaf here. I think I'll take some olive green for the bud over here. That's now lighter. Do you see that? Back to the sap green for this one, I definitely do have to add in shadows and everything for the buds, the darker details on it. But right now, let me just fill it up. We have the underside of the flower as well. But I think that one I'll do with olive green. There. That's the underside of the flower done. Where else do I have these? I have a huge leaf there. Done with all of that. So now I'm going to go with my yellow ocher and go over to paint the branch. I'm starting with my yellow ocher to give it a nice dwell color. As you can see, the top portion of the branch, I'm painting with yellow ocher. Here I add yellow ocher along the top portion. Then wash that off and go with your darker color, which is your burnt umber or your dark brown and paint the lower half. Now you're putting in that dwell color and as you reach towards that yellow ocher, blend it. Can you see how I've blended that? Blend that region. I've only done for the main branch right now. We'll do the other ones in a similar manner. Again, here I'm assuming that the light source is somehow from the top of my painting, so that is why I've got all of the light at the top. I've got to merge this. You can end up with an almost half and half, but don't do that. That's the reason why you need to create a blend. Don't let it end up with a half-and-half. We just need to have that subtle, lighter tone towards the top, that's why we added yellow ocher at the beginning. You get brown paint again. There is the branch joining there. The base should be nice and dark. This one again, you can do it the other way around as well. When it's going all the way towards the top we can avoid some of the yellow ocher shade only if the horizontal ones we want to be adding. Because like I said, the light is from the top. Here again, this is somewhat horizontal. That's why I'm adding it there. But since we've got a separation here, let's not make it too much. Everywhere you just need that soft color different that is it. These ones here, you don't need any at all. Because as you can see, your branch is going towards the top. Here as well. Try and blend along the way. You're adding in your branch, don't let it start from yellow ocher. You can see I've blended this region and then went with my brown to add that branch. Can you see? See how that's done. You can mix in a little bit of Payne's gray if you want, if you want to create an even darker edge to this edge of the branch. But again, as I said, don't let it be having a half and half line. Go ahead and blend it up using your brush. There. Now, we'll pick up the darker tone and try and add the depth in some of these new features. Added to that one and hold to this bud. I think I'll paint a little part of the bottom one. Can you see how I've added paint to that once it dries up, it'll be fine. I'm joining it to the branch, my green, I join it to the branch so that it looks one part of a whole. Then here I take my dark green and I applied a bit on the top and maybe like a bit on the side. Can you see how I applied my dark green there? Probably do the same for here. It's just totally random guys. There is no definite shape. Just put some dark green over there. It will be like somehow the bud is twisted or in a different shape. That's it. That's why I don't think of putting this in a perfect detail. Here I'm going to take a bit of my sap green again because that one is with olive green. This one, it's tried to make it like in a rounded shape. Here I'm painting the base of it. Along the right side, then I'll try and blend that into my olive green. Can you see how it's created like a slightly rounded edge? I'll give it a bit more depth at the bottom, at the very bottom, using a bit of dark green. If no one's got it, got like a rounded edge to it. Then the only thing remaining is this one, which again, you can give it in a random shape. I'm just painting somehow the right side of that. That's it. Done. Now, the only thing left is to paint the flower in detail. That's exciting, isn't it? Let's go ahead, pick up our dark pink within tiny amount of cobalt blue into that mixture. Let's meet here go around that edge and put in the pink. I've painted that pink. Now we need to add in some more details and depth to it. I'm going to load up my brush with a bit of violet this time. We're going to add it over the top. We need this region to be nice and darker slightly, so bring down your violet from the top. That's why we wet it at first, but then we wet it with pink. That's what we did. Here take that purple and bring it slightly downward. Can you see? All of that purple there is now at the top. You can dig in a bit more, pink as well. Don't let it be completely violet. Take a bit of the pink and add it so that it becomes like a purple shade, and that's what we want. It's a blend of the pink and violet. Now, that's one petal done and we've got to repeat this process for the others. Here I take my violet and I actually just mixed it over to that, but first, as you know, we have to paint it with pink. Here I go. I take my pink and I paint my flower with it. You don't have to paint with a whole perfect pink. As you can see, I applied pink and then I'm just using bits of water, bits of paint and mixing it up. These are little things that its very hard to explain actually, because it's things that I do in the process of it. There isn't a definite plan as to be doing it this way or like that. For example, I applied the pink and then I just decided that okay, I'll mix it with a little bit of water and spread it around rather than taking more pink and applying the color. That's fun. I think it all comes down to the the thought process as I'm painting it. Then here, I've picked up violet as I was speaking, and I'm going to now apply it along the right side. There, along the right side, applying that violet shade onto my magnolia. I'm going to apply like a line in the center as well. Then let me go ahead and spread it out. I will take in my violet and add over the whole thing first, then take my violet again and go for that line in the center, and darker details towards the right side. Can you see how that magnolia is starting to pop out in the picture? It's looking amazing, isn't it? That was the colors of the petals outside. Now, these petals that you see, you're actually seeing the inside portion within the flower because it's facing this side. I think that you can have it in a more pink manner. Here I'm loading my brush with pink and I'll mix it with that violet over there. That it's a very subtle violet. In case you don't have a violet there in your palette, like that, mix-in with a subtle amount of palette. You see, this is what I'm speaking about. These subtle things that I do, it's because if you think about it, it's because of the way my palette was. It might not be the same for you. There's a lot of things that will turn out differently in your painting than mine, because of these certain reasons. It is difficult. Here with my brush, and I've added that pink shade. I'm just going to blend it, but also as to make sure that the colors that you would just apply to the other petal doesn't flow into this one. Things to be careful about. I'm just going to make this right side a bit lighter. What I did was to lift a bit of the paint. Can you see I've created a lighter shade there? Then I'm going to load my brush with pink shade, and I'm going to add a line in the middle. Not too much here. We blend that, but the line needs to be there. Then these two, I think can load in with a little bit of purple. That was too much so more pink and with that little bit of violet. Here I go. Then let's do the same with a bit pink shade, here and here. I'll take in violet where there's too much. This violet is the vibrant, I always tend to take too much and applying that onto my pink. The reason why I paint these separately is that because then those separating lines between these would pop out, but I feel I should give it a bit more darkness there. Here I'm loading my brush with violet and I'm going to apply it onto this petal here. This the petal that we painted it first. As you can see, I've put in a nice layer of violet now, which then I'll go and soften the edges. I think you understood that when I applied that violet that I was going to soften the edges. That was pretty obvious. Now, can you see a distinct separation between those two? I do the same for the top portion there. I want like a bit more depth and color to show off, or violet color to show off. Yeah, I like it. Same over here. Go ahead and soften any strokes that you do. I think we're almost done, although you see this perfect white there, it shouldn't be this perfect white, because even that area has to have like a subtle shadow. What am I going to do? I'm just going to pick up a little amount of my Payne's gray, little as in, you've got to be making sure that it's even very, very little. That little amount of Payne's gray, I'll apply to one side, to the bottom side of that. Can you see now the top half is white and the bottom half has that subtle amount of Payne's Grey giving it a [inaudible] look for the flower. That's what we wanted to capture. I'll finish this off with a little amount of detail to that base thing there, center line it. Dark details there. I think yes that's it. Almost done. Not almost, why do I keep saying almost? Its done. Can you see how we've captured the background and how this magnolia comes forward? Because how you've added that background. Because of how you've added it to the foreground. Now let's completely dry this up. There you go. Let's remove the tape. Here is the finished painting. I hope you like it. Thank you for joining me today. 10. Day 6 - Snowdrops Part I: Let us start. We'll make the sketch of the flower at first. I'm going to have one of the flowers here. These are known as snowdrops because they drops and one of the first flowers to come out when the wind is over and it comes into spring. That's why they are called as that name. We'll add in the petals, there's one and another one. That's one of the flowers, so we'll keep adding some more. I'll add another one right here, still add some more in different directions. Maybe another one behind that one would look nice. Maybe another one away from the main ones. I think that's good. Now we need to add and connect branches. There's the branch of this one that goes behind it and then it comes down under, it goes behind those ones as well and here it comes down. Then let's see. For this one, let's have it facing towards this side. That's the branch of that one. It's going behind like that. No, I think let's add a nice separate branch for that because it might look much better. I think this one that we just added, it was too close to the flower. I think you just need to have that drop really. Let's see there. That's the end and how it's dropping. Let's say that flower it's going towards that side and this flower, we can make it towards this side so will make more sense. Here that's the drop then there it goes its branch. Then we'll have the branches separate for each one, although we have another one here. Assuming that top portion of this flower is there, a drop and there's the branch. Then we need to add for this one as well, so here's the bend and there's the flower. Now, we just need to finish off with some leaves. The leaves of these flowers are long alienated leaves and then comes thinner towards the base. Do you see that? That's how we're going to do the leaves. We'll have more leaves, some there. Observe how I do it. I make some of the leaves go behind, some in different directions. Going to have a lot more leaves. Add the bend between the leaves as well. That'll make it look more nice. Maybe just one more on this side from the base. See that safflower. It's looking gorgeous, isn't it? I am actually wondering if I should use masking fluid for this or not. You know what? The project is every alternate day. Let's actually go and use masking fluid. Here's the masking fluid that I'm going to be using. It's from Winsor & Newton and I know that many of you may not have masking fluid and you might think that this is like some advanced technique, but trust me, it's not. It's good to have masking fluid right from the beginning of your journey if you realize the importance of it because it's so useful to keep areas of the paper white and to paint freely over the top. It's not that expensive. There are so many brands out there which are good but yet very cheap. This one's from Winsor & Newton. One thing to remember about masking fluid is to not use a good brush because once you dip it into that fluid and put it onto your paper, your brush hairs are gone. Here I'm going to use the masking fluid. I'm just putting a little bit onto the cap of it so that I can use it. Keep a mug of water handy. If you're using two jars of water, then this probability this is the third jar of water that you'd need. I'm not going to show you that cup because it's so dirty. Here I dipped my brush in masking fluid and it's just basically going ahead and applying onto the paper. This masking fluid is white in color so you can't see it. I did use to have a blue-colored one earlier but that's finished and so this is white but it's basically nothing guys. You're just going to mask out all the areas of the flower and the leaves. That's it. Very simple process. I use a brush because it's so easier to apply. Just like you're painting with some paint or coloring inside your pencil sketch. That's why I use it. Otherwise, there are several ways you can apply masking fluid, like using a toothpick or even a masking fluid applicator, so many ways but I prefer this one, that is to use my brush. I'm painting all the flowers at first because that's the biggest surface area. I can just go ahead and do it a one big run, and then I'll focus my attention to be slowly painting each of the stems. Take your time to do this process. Now you might be thinking good that every project is being uploaded alternate days, isn't it? I mean, if you're painting along right when this class has published, that's what I mean. I think I've covered pretty much everything, so now I'm just going to go ahead and mask all the leaves off our flower. My point is it just makes the whole process very, very easy. You'll see what I mean when I say it makes it easier. That is, when we paint the background, you just really don't have to bother about what's going on or whether you have to skip any areas or go around the shapes. Nothing, nothing at all. We just paint freely over the top. I'm silent because I am focusing on bending each of those old stems. I get silent when I'm really focused on my painting process. I think I've covered all of it. Now, important thing, wash your brush immediately so you can save it. I mean, at least some. You won't get all the hairstyle, but you can still save some of it. Now is the hard part because you've got to wait for it to completely dry. Because you can paint over it unless it's completely dry. Let's just wait. I think it's dried out. Just try touching different areas and if it doesn't stick to your hand, that means it's dry. Now let's go ahead and freely paint over the top. I'm going to be using a very large flat brush to apply water onto the whole of the paper. You don't have to bother about any surface, just paint freely. There I have applied the water so now let's paint. I'm going to start with buy-side seven brush and we're going to print a nice golden background. We'll first start with a nice Indian yellow. This Indian yellow shade will start adding here in the middle and we need to have a really big light source there. Let's say that the light source is going to be like this. That region is going to be white. We are not going to paint over that region. Then coming out of that region, we'll paint all around. You can see using my nice yellow and then I'll pick up Indian gold. It's already here on my palette, which is what I'm reusing and picking up more as well. Using nice golden shade, lending it up into that region. Remember, don't touch the sun area, that's going to be absolutely white, so we don't have to worry about that region now at all. Then I guess more yellow and start adding the words there. I guess I've put in enough of the color. Now is the point where we start creating depth. In order to create depth, I'm going to use a different color tone today. We'll use orange and brown mixed together. I already have brown here on my palette, which is what I'll be using. Here is my transparent brown, and that's my orange. Together. We'll use that in just some areas. We're just trying to create a nice background effect. You can go and create that. Let's paint the bottom of the first before it gets dry. For painting the bottom, we'll pick up a dark brown. We can see it's already started to dry out. Let's apply the paint so that you give it one layer of water and paint there, which will stay wet a bit more for us to work on later. It's just normal brown paint. It's my transparent brown. There you go. I applied the paint all over. Now, back to that brown and orange mixture. I mix it with orange because it then turns it into a slightly golden brown sheet and I liked that. See the difference between the two colors. If you add orange there, can you see how there's a nice glow? It's good for creating that glow around the sun region. But can you see how a beam spread and my sun is almost reduced? Oh my good. I'm just picking up orange because there's already a lot of brown my palette here. But when we move to the top, we will need to mix in with the brown. Let's see. We're just going to create like shapes of trees in the background. There, you can use your orange mixture to create nice ground, and keep away from the sun region. Now I'll take one more brown mixture and I'm just going to add on the top so that I make some of them a little dark. Again, it doesn't matter that it's like spreading or it's not perfect or anything. Absolutely fine. You can drop in random lines and things towards the top as well because this is the background, what we talking about. We don't need to worry about that. Now, we need to capture depth at the bottom because can you see how light this brown is? This is going to lighten up so much once it dries out, which we can't afford to do, so I'm just picking up nice dark-brown to go there. Dense and dark brown, you can even mix in bits of beans gray for that bottom part. Now, that's really dark, isn't it? That's the beans gray effect. Then taking more brown and adding there. Now we need a bit of green. Pick up my dark green, whatever is there here on my palette, and I'll start mixing in. That'll make sense with the brown there to create like a brownish green color. That's fine. We don't need perfect green sheets, we just need subtle green tones in our painting. That's it. Dropping in subtle green tones. Can you see we've got a lot of subtle green tones? Now, let's put in some not so subtle green tones. That I am actually going to shift to my smaller Size 2 brush. The reason for that is we're going to add in background leaves, the one that's there already, but now we're going to add the background version of it. How are we going to do that? By using this dark green onto that background region. You remember how I said that these branches are like really thin. We're going to make brought in branches, but just using the background defect. Can you see? Make it rounded at the end. Don't go and do a pointed edge like that. All you got to do is take it upwards then bring it back like a curve so that it depicts the background. You know what I mean? Here, take it upwards and bring it down like a brush. Adding lot more. Just add however much you can. Those are really the background ones so you don't have to care. How's that? We've added some nice ones in the background. I'm saying we should probably add in some snow drops and the background as well. For that, we are going to need our white gouache paint. It would be hard to paint it with masking fluid and then to make it softer, so this is the reason why I'm going with white paint at this point. Pick up bits of white paint. Again, make sure that it's not too much diluted because then it'll spread out a lot and you won't be able to create the shape that you want, and I don't want it in all of the places either. I'm just going to try out like one or two here. We'll just create like an upward triangle shape like that. Maybe here, another one. See that? See the shape I've created. Let's just add the stem to those, because that's not the stem. The stem needs to come from the top of it. That's the stem, and I do that. That'd be like a snowdrop. Let's have this one towards this side. I think that's good. That's the one in the background done. You can see how my brush off the background is standard. It's a spread here and there, and you've got some white captured, the light capturing at that point. I think we're good to go. We can completely wait for this to dry up. Then we can remove the masking fluid and paint the flowers. Here's something that you have to remember. Do not use a heat gun, or heater, or any heating device to dry your paper when you're using a masking fluid because the masking fluid sticks so deeply into the paper that it's going to be really hard for you to be lit off at the end. Please do not use a heater. 11. Day 6 - Snowdrops Part II: Here you go. It's been a few hours, so let's go ahead and peel off our masking fluid. That is the most satisfying process, because it comes out like this. Take your time, don't rush, and slowly peel off each of the masking fluid. Now, do you see what is the use of masking fluid? Just look at that. You're free to paint this whole thing the way you want it, and that's why I love masking fluid. Let's go ahead and quickly paint this up and finish our painting. Let's paint all the three flowers at first, and for that, I am going to be needing a nice gray shade. Let's use Payne's gray. But you're going to be needing that Payne's gray in a very lighter tone. I'm just trying to find an empty space. Oh my God, I should clean my palette. I know guys, but I just know that I would reuse all of these paints at some point, that's why I never keep them. Here I've taken up a very diluted version of Payne's gray here, see this here. It's a very diluted Payne's gray and we're going to apply it all over the flower. It can't be this perfect white because it's a sunset scene, but then we need to capture the shadows. But at first, we're painting it in a very subtle darker tone after which we will give the shadows. This is the first color that I'm applying before we give in the shadows, just because it can't be that perfectly white, that's it. Basically, just nothing, painting all the petals, that's it. After which we'll start giving shadows. There you go, covered all of the flowers. Can you see those background ones? They're looking so cute, isn't it? So I think that's been done with that let's get to painting the leaves. Here I'm taking my sap green, a bit of alizarin to desaturate it and let's paint the leaves. I'm painting the leaves because I'm just waiting for the Payne's gray that we just applied to dry out, so while it dries out, you can actually paint the leaves. I think taking a bit of olive green into that mixture as well and adding that. The bend in the leaves and everything, we'll add that later on. The reason why I mix olive green here in my palette with the other greens is because I always like to give these subtle color differences. I don't want the whole thing to be in a one single shade of green. If I pick up some green over there and then I put it in some sap green, it all looks like a good mixture of different kinds of greens. See, a bit of dark green, a bit of sap green all of them blended nicely together. Now as you reach closer to the flower, be very careful also because you've just applied paint over it. You can't afford to have your green spread into the flower so be very careful on that. Now this flower over here would need to be having the lightest stem because of the light underneath. What we're going to do is, I'm going to pick up a little bit of yellow, mix it into that olive green shade so that it's more of the yellowish that's because this light is shining through. Even though the light part of that area is white, but it's just light, so you show it as lightening of the colors. Here you go. I've used a dark paint, then we'll pick up green and slowly blend towards the top, but make sure it's not towards that region and darker green as you reach towards the extreme base. Here, blending that, can you see how light that stroke there is? I think now we can go ahead and paint the other ones. For painting the other ones here I go with my sap green, but I'll surely mix in some alizarin to desaturate that. We need to desaturate it because those brighter colors that we see, we can't see them when it's sunset. The reason being, if you look at things at sunset, you'll see them almost like a silhouette or black, why is it black? It's black because the light is almost gone from it. It's desaturated, so that's why when you're adding these colors in sunset, you need to reduce your value and the good way to reduce that is by desaturating it. Desaturation means using the opposite color in the color wheel. Green, opposite color is red, which is why I keep using alizarin crimson to desaturate its value. Careful, as you reach next to the flower, take your sweet extra time to do it, green and alizarin. Can you see how this thing is already looking so beautiful? But we're lacking a lot of shadows and you can see that. The painting does look gorgeous, but can you see it so row because it doesn't have any shadows or darker values, not even for the flowers or even the stems. We're done with adding basic colors. Now we'll go with details and shadows. Here is my dark green picking a bit of alizarin because I'm going to desaturate that darker green as well and there you go. It's a bit duller green now, which is exactly what we want. We'll start with adding the darker details. Here, just taking and we'll probably just add the one side of the leaf and if you're intending to create a bend here, I think I'll make the leaf bend like that. What I did is I painted like half of it and then I went and joined it to the other side. Now can you see this leaf looks as though it's slightly twisted. That's how we can do. This leaf there, I'm going to darken it up, but lighter towards the top. Basically, just blending that green over to the top. Now let's create some more twist in some other leaves. I think an added twist with this one here. See, I started here, for this one, I started from this top edge along the curved end and then joined it to this side. It's just basically do it in different sides. That's it. I think I'll do the same for these ones. Don't do it exactly the same for all of them. I think for this one, I'll do on towards the left side, added some dark color onto it, but then I think I'll just blend it. Can you see how it's looking beautiful once we've added several of these darker details. Now over darker details right here, like for example, these bell regions need to create a shape of a bell. What I've done is I've painted the base of it, then onto the left side and then towards the right side, I'm just going to blend it. Then it gets a rounded shape. Did you see that? Let's repeat the process. Here, due to the left side, then blend the right side so that it gets like a rounded shape. Now for the stem, go ahead and blend some of the regions. Even if you're just putting your paint on one half of it. I think I'll add, do the base right here because it's got some shadow from the shape of the flower and here as well. I think we're done with the leaves and the flowers are probably dry now. Let's go ahead and paint those flowers. What I'm going to be using is a bit of violet, just like we use the Payne's gray but in a very lighter tone. Just like we use the Payne's gray. While it is such a vibrant colors, you have to be very careful that you use it in a very lighter tone. Why violet? Because it's the shadow and our color scheme is yellow. Complimentary to that is what be adding that as violet. Let's start with this one. Putting a bit of violet on to the flower and just blending it up at the end. Can you see that? That's it. That's all we need. We need it to be very subtle guys, remember that. Paint it along the edge of that and just blend that same paint along this edge. I want to keep the other edge where this is to the lightest. You can see, let's just blend it. This one, I'm painting the flower that's inside. Can you see that's the flower inside and the outside one is just along the edges and the edge once blend it. As in soften it. Now, look at that one. Can you really see how that petal is formed? Those two outside petals and the one where I've painted the violet is looking as though it's the petal at the back. See that? We will do the same for this one over here. Painting the petal that's inside. There, we needed the one that's inside. Remember, concepts of confined spaces. Make it a bit as in violet darker at the point in the middle. Then let's go. Edge, weakly, soften the edge and then the other edge. Weakly soften that. See how again, that's looking like a nice flower shape. We only got one last one to do and that will do along the edge and soften the inside. There. I think we're almost done. Although I think this flower, I would like to correct it a bit. Just making up a bit of violet and going around the edge and softening it. I think I'll have to wait for that to dry on then. Now I need to make sure that that while it is dry so that I can add in some green strokes inside. This flower has like some green color inside. In order to add that, I have to make sure that my violet is dry. I think my violet is now dry, so here you go. It's just some green stroke. Don't do it at the end, do it like somewhere in the middle. There. A bit here. This one it's a bit seeing through there and for this one, the center is almost open so you can see it nicely. I think we are done. I don't want to do like adding too many details or anything and just ruin this. Why would we do that? I just spotted a little bit of white region here and I thought I'll cover that up. We're done. Since all of the edges are dry, we just painted these little bits and that's fine. I'm going to remove the tape. Here you go. Here's the finished painting from today. I hope you like it and thank you for joining me today. 12. Day 7 - Cherry Blossoms: Let us start. We're just going to sketch a lot of teeny tiny flowers and then we'll let the brush do most of the work. Don't worry, not a lot. I'm just going to have a large branch of my cherry blossom going to boom out like that. It's pretty large. You can see it's very thick. There it goes. Make sure you make it slightly thinner as you go towards the outside. Then let's go ahead and sketch some flowers. Just going to sketch some flowers. Let's see. It's not a round shape, but that's what's going to be the inside of the flower, and we're going to have different petals there. That's one. Then let's have a few more. I think I'll have another one there. That's going to have petals. first of all I'll show you. Let's draw a flower with four petals at first, and then you're going to go and add petals to the ones in between C. That's how you're going to add in more and more petals. I think I'll add one more here and one more here. This portion becomes a center part of that flower. Then let's say we add some more, shall we? Don't need to go into detail. I think I'll add one larger one here. That there is the center. I know these all look really weird, so just try and sketch what I am doing, and some more. I think that should do, and I think I won't do much here. But what I'm going to do is even the projects I think we can do with our brush itself. Maybe we'll add another flower here and you know, that's a small petal, then large petal. Then we paint the other side of the petal. Then we'll have two petals towards the outside. Then few leaves. That's it. Then how about we have a few leaves on this side as well? Maybe some here. I know this sketch looks really tough, so I'm going to show it to you closely. You can pause right here and then make your sketch. There you go. Let's get into business and start painting this beauty. Right now what we're going to do is we're not going to be bothered about any of these flowers or anything. We're just going to apply water to the whole of the paper. Yes, I mean it. We are going to apply water to the whole of the paper. Don't bother about any kind of strokes right now. Just go ahead and apply water to the whole, and I'll tell you why. There is a reason for it. We are going to do some nice, beautiful splatters to create the background. Yes, you heard me, right. We're going to do some splatters. We're going to be switching to my size 7 medium-sized brush, and we're going to start with a nice, gorgeous pink shade. Here I'm using my Quinacridone Rose violet B19 pigment, and what we're going to do is we're going to do the splatters. Let's have our brush loaded with a lot of pigment. Then here you can see me do the splatters. Then you can pick up your pigment, and we're going to add in not more. You can add some bigger ones at this point, we're trying to make it bigger. I guess you can have it closer to the flower, but make sure that it's not too dark, the color that you're using. You can see the pink that I've got here, and I'm adding a lot of these flowers. We'll add a lot and I think we'll keep most of it to this right side here rather than this on the left side because left have some other colors in there. I think I'm good to go with the slide does. Show of that. Let's add in some leaves now in the background. Not a lot because when these cherry blossoms are blooming, there isn't a lot of leaves [inaudible]. I'll pick up my sap green, this is my sap green. There you go, and I'm just going to add little chunks here and there. It doesn't have to be a lot but you can go on and make few touches here and there. I think that should do. I'm not adding anymore. As you can see, because of the wet-on-wet technique, our flowers are just spreading a lot, which is exactly what we want. Now, the next thing we need to do is to add in the center part of many of these flowers. What I'm going to do is I'm going to make sure that my brush doesn't have a lot of water. Now we'll load our brush with pink. Our paper is still wet, but we're going to load it with a nice amount of pink. We're going to go ahead and touch the center portion of each of these flowers. Can you see as you touch it, it's going to spread, but that's okay. Here I touched the center portion here. Here I touched the center portion that's a leaf. I've only got four floors. Oh my God. How about we create some more center portions but which are going to be softer in the end. I've created a dark spot there. Let's create dark a spot at some random places. How about I create a dark spot there? Just in some places. Go ahead and put in some dark spots. That's it. Now, we'll wash that off. We need to add some white on white branches as well, so I load my brush. I think in fact I'll switch to my smaller size brush at this point because I'd like to have smaller branches. This is just exactly like we did in one of the previous projects. I'm guessing you're familiar with it if you've been following the class along. Here, it's taking a little bit of nice brown, which is my trans brown, and you can mix in a little bit of Payne's gray if you want to have really got Payne's gray here, which mixing here, and we'll add into branches. I think I will go and start. Going to just make random branch shapes any way that you want it. It's absolutely fine to your paints or spreading, which is exactly what we want because we're trying to make it softer and have that soft look. We need branches here on this side as well, but make sure that it's lighter and if you feel that your strokes have dried out, see, I just use my finger to soften that out because it was coming out very dark because that area has almost dried up. It is my paper has dried up. I can't afford to have it to dry, so that's why. Just using the tip of my brush and making some nice strokes. Here I'm softening again. I think that should be it. We're done with painting the background. All we have to do is to wait for this thing to dry out, which is, I know it takes a lot of time to wait, isn't it? Here you go. It's completely dried out. Now we're going to do something which we have not done before. Have a flat brush ready in your hand. It's okay if it's some other brush as well, but make sure it's quite large, which you can use nicely. Have a large flat brush in your hand and a fairly larger size brush as well for painting. I'll use my Size 7 brush. We're going to paint the nice background right now, but how are we going to do it? We're going to use our halo blue for this purpose. Really should be my palette [LAUGHTER] with that space. That's okay. I'll find space. Here, I'm going to use my pale blue, but I'm going to use a very watery consistency of my fellow blue. Here, I've mixed in a lot of water to my fellow blue there. Now we're going to paint around some of these flowers. I think I'll show you how I do it by starting around this corner here. Here, I'm starting on this corner, and did you see as you approach the branch that you've done, what you're going to do is you're going to wet your brush and you're going to pull your pigment, the blue pigment. It might disturb some of the underlying layers, but that's okay because it's still going to be a lot softer like we want it to be. Here I go back with my blue pigment along the edge of it. We couldn't have painted this earlier because we couldn't have gone around the flowers because the whole thing was wet. Now you cannot use the flat brush as well, and just use a normal brush, and see how I'm wetting. I think you may have to ditch the flat brush after all, because you need to go around the flower at this point. This second layer that we're doing, we're going to go around this flower. Now this process is tricky, isn't it? I know. I've reapplied some of the water and you can see what's going on. This is why I think actually you do need two brushes because as you reach this point, there's no point using a larger size brush there because if you go over it, you're going to disturb that drawing. In that case, I think the flat brush is the best option. There's this catch. You have this branch that you've sketched. You can actually just go right up to that point and stop. It's like a split in your paintings which actually acts in a positive way for you. See I've reapplied the water and I've got to be careful around the edge of my flower. Yes, then if I go and pick up my blue and start, but I'm going to go around. Here I'm adding around my flower. Now, we've got more things to take care of because remember, we added splatters and we added a lot of these teeny-tiny flowers as well. You're going to have to put your blue in between those places. It's okay that you have some white spaces because the sky is not just clear blue. It's going to have white areas which are clouds. But don't let it be that it's exactly surrounding those flowers. You just try and adjust your strokes to fit in between to vary the color tone of the sky. This is interesting. I've never taught this technique in any of my classes, so if you're a students that have been following along all my classes, then I'm pretty sure this is new. In fact, this is me improvising as I paint right now. When I started with this painting, I had no idea that I could've be using this method. [LAUGHTER] But I do really love and enjoy making techniques like these. There you go. We've painted 1/2. That was already tricky. Imagine going through the same process on this side, my God. I think I can make this easy for you. Here we had a larger chunk of blue, which made it easier for us to start with the blue first. But I think what you can do right now on this side is to go ahead and apply the water. Use your larger size brush, the flat brush and then once you've covered all of the major areas, then you can go ahead and add near or towards the flower. Just be careful. Do not apply too much, and pull because that is going to disturb your underlying color, which we do not want. That is the reason why I said that you have to make sure that the underlying color that you've painted is really dry. Because if it's still wet, you're really going to disturb that layer. That is why you have to make sure that it's dry. I think I've covered major areas. Now I do need my other brush to go in-between. Add water. But again, as you're doing this, pick up a lot of water so that it becomes easier for you to apply the paint. Because if you don't have a lot of water and then you're running your brush over to make sure that you are applying evenly, then there's a high chance that you're going to pull the pigment. It's easier to use a larger amount of water and do this process, and then to pull the water slowly out. You can see me here. I've got a lot of water on the paper and I'm using my brush to move the water around. That will not remove your underlying strokes, which is really helpful. I think I've got it good. What you can do at this point is if you want, you can add more of your pink strokes as well. If you pick up your pink, and you go ahead and add in some more laces like the splatters, it's okay. But then it can really blend with the blue, which is why I added it in the first place. I just wanted to tell you the difference between what's happening and why we did what we did. Here, taking the blue, and let's start going around. Make sure that you go around, closer to the branch it's fairly going to be okay. Along the edges of the flowers as well, make sure that you capture them nicely. As I said, it's okay to have a lot of white space. It'll just be the clouds. See how that one turned out. I actually like it. Now there's something that we need to do. You need to make sure that your have your colors around each of those line nicely because we need to make sure that flowers pop out. So here's me ticking the blue and I'm going to go around. There's too much paint. I can pick it up. I really need to make sure that I do put it nicely around each of the flowers. There you go, I love the way that stand out. Now we wait for this second layer to dry out so that we can paint that branch and the foreground lines. It as simple as that, isn't it? We didn't use any masking fluid either. So just think about it. So let's wait for this to dry out. There you go. It's completely dry. I don't know if you can see this, but I had a bit of accident while I was drying may paper, so I accidentally dropped thinly tiny amount of water here and then I went to adjusted and then it just created these dark edges. I don't know what I was thinking, but I should have realized because when the paper was starting to dry and that extra water formed blooms and then I tried to spread it out and then it created more blooms and harsh edges. Lesson learned again. So I guess we can start and it'll go ahead and paint the branch. So just like before, I'm going to go and paint the branch by using a nice color of yellow ocher at first to one side. Remember there are some leaves here, so you've got to skip that and go around. Let's go pick up the brown and start. Again, skip the leaves because we're painting the darker side face, so it's better to skip the leaves. Again around the flowers. So listen, you don't have to be perfect on the flowers. The reason being these are flowers and there petals all have like, they don't need to have these perfect shapes and perfect things around. So don't bother too much about taking things into perfection all the time. Just try to make your strokes loosened up and just about having fun and capturing that goodness of the spring season. That's it. The branch, now I think it's time for us to go ahead and paint the flowers. So what I'll do is, I'll shift to my smaller size full brush because the flowers are quite small, isn't it? We're going to need a lot of pink, but in a very diluted consistency. So here I'm dropping a lot of water into my pink so that I can use it and that's still very dark. So I'm going to use a lot of water. Do see spread around on to my pink flower. I'm just rubbing a lot of paint so that I can paint inside it properly. See, I've painted that flower. I need to do the same to the other ones. I don't have to use the same shade of pink throughout. So somewhere you can lighten up by just using water. Somewhere, you can just maybe possibly leave it white, even. See some places I've left white. Here, I'm painting this flower. Let's see. We've got one more to go in the case of flowers. So I know it doesn't make sense because it's just raw flies now. We need to give the petals dimension and everything. Did I say one more I have missed this one. We had one hiding right in front of me. There you go. We've covered all of the flowers now, let's go ahead and fill in the leaves as well. Here I'm taking my dark green right now. We're going to paint some of the leaves, which we had actually sketched and said would be in the foreground. There's one, there's one here, there's three here. Then how about we do some more with our brush maybe? Don't want to add anymore. I think I'm good with that. Before we go in and beyond the inside parts of these flowers, let's go and add in a lot of these branches. What I'm going to be doing is I'm going to be loading my brush with a nice amount of transparent drawn. Makes sure that it's a nice creamy and thick mixture with not a lot of water. Just listened to these things which I'm telling about right now. We don't want it to have a lot of water. It should be such a nice and creamy mixture because at certain times you're going to need to have it don't dry when you're applying it onto the paper. That's the trick. Let's see. If I were to add a branch, let's say if I have a branch. We're going to add in a lot of these branches, when I have a branch, start from there, we'll darken that area, but see some of the areas are getting dry. We need that. Try and have your brush to break at times. Don't let it go on and do these straight branches. Let me show that to you clearly again. Here's my branch, I let my brush break off. Can you see how I'm getting these dry strokes? This is exactly what we want, see, more of them. Let's see, I'm just going to add in a lot more of these dry branches. Let's see. We'll have just going to fill up this area with a little bit of darkness and death, then taking that creamy consistency of my paint going to add. But can you see how I've got branches that are in-between and they don't dry my strokes. It's okay that they had dry, absolutely fine. We're exactly trying to make it do that. I think another one to this side would be helpful. But remember, don't go over to the flowers and be sure to break up at places. See added in a lot more branches. Can you see how the whole thing is coming into picture right now? It's looking a bit more beautiful with these branches. Now that you've got in more branches, maybe you can put in some green strokes here and there. Here I take my green. What we'll do is we can add some bean strokes just to fill in some of the branches. Some green leaves coming out at certain places. You don't have to do it in all the areas. What I'm doing is I'm touching my brush like that so that it creates the shape of a leaf. Don't do it too much. [NOISE] Because I think I'd to have the focus on those flowers here. Now it's time for us to paint those flowers. Here, thinking hat being shade again, we're going to create a dimension to each of these flowers. I know it's going to be difficult, but hear me out. You know those petals that we traced, what we're going to have to make those petals pop. Here I've painted a little at the edge and then you're going to soften towards the outside so that, that petal pops out. If you do this process for all of the petals in there, then each of them are going to pop out. Here, I do one for the one in-betweens. I'm talking about the ones in between, like see, I did for that. Then there's here another one in between and another one in between. I know it doesn't make any sense right now, but can you see how all those other petals that we've done, they've popped out? You can have the same by adding some center portion, by adding some center lines like that. Can you see now how that flowers really popped out? Here is an inside ocean got to make it darker. In fact, you could actually take a lot of time to carefully and perfectly paint each petal and all that. But my intention is to create loose paintings, which is why I'm not going into that detailing with my paintings. But if you would like to make those kinds of detailing and take your time to do it, then you can under seeing that that's not my intention because these are teeny tiny, loose landscapes that were trying to paint. Can you see, I've painted all of these petals and they suddenly pop out into that foreground. Here again, I've painted along the outside and then I soften the inside. That's what I'm doing. Should we do it again in another flower? Here's another flower. I take my stroke and I apply along the edge of each of the petals that I know of, that in itself is uniform. That's all cherry blossoms. Then I go and soften those strokes towards the center so that the outside of my flowers looks like it's got that pink lining, can you see that? We're going to repeat this for all of the flowers, so here, making the petals. Then I'm just going to go and soften out each of the flowers in the inside. That's lighter towards the inside and slightly darker towards the outside. Got some more here, and another one over here. Taking just water to take those petals towards the inside. I think that was a bit too much so we'll just lift some paint off maybe. Then when we add in the center portion, that might make more sense. Here I take in the center and make it slightly more darker there. Now that makes more sense. I think this flower, I think the next thing to do is to add that center thing. The center thing, pick up nice dark quantity of the thing, and then note some upward strokes like that. Just like we did for this one. We'll do the same for here. This is dry not wet yet. Some dots and then some upward strokes. Some dots, some upward strokes. That one's still wet. We getting there, aren't we? If you want, and you've got time to kill then you can go ahead and add in some more flowers, branches, and maybe buds in there. How about we add in the bud? And I'll show you how you can add in a bud. A bud is how you made those leaves. Just like that. Add in point did pinky like that. Let's do it at some other random places and then I'll show you. Here that is a pointed thing. That might be a bit too dark, I suppose. Maybe if I do that, I like it. See I've made bad like that and then I took off some paint. Now, if I paint like one side of it, that's going to give them a little extra dimension. I'll show you how I can add in some flowers as well. I'm just scared to put an extra flowers. See, I made the shape of a little flower. But as you can see I already did the outside, and I blend it with the brush towards the inside of it. You see that? Now, using your brush, make some strokes towards the inside of these petals that you depict some dark area. That is still wet. My God. Now, once these petals have dried, go ahead and pick up a little bit of green because those petals don't stand there alone. They need to have a base attached. Pick up a little bit of green and have them join any one of those branches. Can you see, now we've got two buds. Did I say it better. I meant buds. Now the leaves. They can't be all sap green. Remember shadows. Here making a little bit of dark green. Here it's like facing the sky itself so the shadows and the light is from everywhere. The sky is at the backs of the lights like literally from everywhere. You can go ahead and apply the darker stroke of your green at anywhere, random places. As you can see, I just popped in some green tone and then I'm just going to blend into my paper at random. Now they've all got different colors at certain areas. That's it for the shadows. We can add a lot more. You can use your olive green if you'd like to add some more branches at different places. I like to use olive green because it gives a different color of green because every time it's not always going to be the same green so you've got to put those different colored greens in your painting. I think that's why I'm going on adding little strokes of olive green because we put in a lot of sap green. I'd like this point to change that and put in a lot of different greens. This was actually supposed to be the green part. That's what I was thinking there's something wrong with that flower. There you go. That's a green. Now, that makes more sense, isn't it? But the green doesn't so we need to make more dark green and just adding shadows. Adding shadows makes it better. Now I'd say it's done as far as I'm concerned for my loose technique. This is still wet. I can see it. Let me dry that up so that we can finish off with that flower. Finally dried up. Then take my dense pink and add in the center portion of those flowers, maybe a little here as well. Remember, that was also a flower we need to add in center portion. Now we're done. My God. I love the way it's turned out actually. It's looking really nice, isn't it? Although there is something that I just noticed and I'm sorry, I know I said it's done and then I'm going on painting. But these things is something that I can not let go and that is avoiding shadows. I just feel that in my tree, the branch, there's only two colors right now and I don't like it. I want to make this side a bit more darker. I'm just picking up my dark brown and going over towards the center of it so that there is a little bit of darker region captured. That's it. Promise it's completely done. Let's sign the painting. I did forgot to sign one of the older paintings. It's okay, we'll sign this one. It's done so let's go ahead and remove the tape. Here you go. Here's the finished painting from today. I hope you like it and thank you for joining me today. 13. Day 8 - Poppies Part I: Let us start. Today's one, we're going to be doing it without using masking fluid. First of all, let's go ahead and sketch some poppy flowers. Just follow along my pencil sketch, which I'll be showing you at the end. You can look for reference photos of these poppy flowers and sketch them as well. You don't have to do it exactly the ones that I'm doing as well, just look for poppy flowers in a poppy field or something and go ahead and sketch them. I've got one and a stem. Let's add some more. There, and then the stem for that. Now we'll do it in a different height. You can also change the size of it. I think I'll do a little bit more or should we do that with our wet-on-wet? No, I think it's better to add some more in the foreground, isn't it? Maybe another one here. Then we'll have to add some of it's burnt. I don't know if you actually call it burnt itself, but, we need that. Of course, have them cross over to bring that aesthetic beauty. Then some of them are going to be such that it's like bend, and let's have this, select going behind that one. You remember the snowdrops? Similarly and these ones are going to be bent. It's very interesting to draw that, isn't it? There. That one is bent. Then we have a nice leaf-shaped, can you see that's a bud. Let's add some more. I think I'd have this one, crossover, and it's bent. We have a bud there. That's a bud. I think we can literally have some more. I've had a lot now. You can either add more with your pencil or you can do that with your brush. I'm going to leave it at that. Now let's go ahead and paint this. What we're going to do is we're going to paint this whole thing, but we're going to leave the flowers. We're going to wet our paper, but we're going to leave the space of the flowers. Don't worry about this stem right now, but just the flowers because they are supposed to be in a bright red color. Skip the flowers. Anything other than the flowers, you can go ahead and apply the water, even the buds, I think that should be alright. Just go ahead and apply water. Take your time because you might have to apply multiple times. I've heard some of the students don't meet that their paper dried while they were doing this method because we're actually not applying on a whole even format, we're leaving some blanks which makes it such that the paper becomes prone to dry even quicker. You've literally got to apply a lot of water. I think for this case, when you're applying water like this, you can have it to have large blobs on the paper such that you can move it along with your pigment. Just don't make it such that when you turn it over, there's literally too much. But see, I've dropped in water and you can do that here in this stage, because as I said, we'll use it to move our pigments later on. I think I've done literally as close as possible to all of the poppies right now. Then I'll go with my larger size brush and go closer to the poppies. Here I'm picking up my size seven. Did I actually skip this flower? I accidentally applied on top of it. That's fine. I'll deal with that later. Maybe it can be helpful for us to know in the end what happens if you apply on the flower and then you paint with cadmium red on the top. Let's actually see that with this floor. I'd like to know it as well. That's a good experimentation, isn't it? You know always these little mistakes turn into experimentation and you'll learn a lot about color theory and how pigments work and how things move around. It's really very interesting to know that. I'm very curious now because I didn't intend to water that and I accidentally applied water onto that flower, so now I'd like to know. Go ahead and apply enough water. Like I said, it's okay to have literally blobs of water here and there, not all the areas, but just enough so that it doesn't dry out that quick when you're applying new paint. But having lots of water on your paper also means that you will have to apply a denser pigment because this water is just going to lighten up. Remember, you lighten your values by adding more water to the paint. If you have more water on your paper, then it means that your pigments are going to be lighter when you apply it because it's just going to spread around and be lighter. Maybe you can use your brush and try spreading things around and making sure that the paper stays wet. I think I'm quite happy with how things are. Now let's go ahead and paint. I'm going to start at the top and then we will move downwards. Towards the top region, I am going to go with a nice darker, denser green, like here. You can see nice darker denser green here. Again, don't paint too much on top of the buds, etc, and also try and avoid the flower as well. I'm just talking about some random pigments that might flow into it, should be fine. We should be able to take care of that. Let me see. I want to dig in a little bit of yellow because I want to give a bit of a lighter. Don't you see what I mean? There's literally lot of water. See that water flowing. Let's take it out, or absorb extra water with a piece of cloth. Like here, let me absorb that water, and now that region has dried out, but if I quickly apply my pigment, I should be able to revive that, yes, see. Denser pigment because watercolor dries one shade lighter, always remember that rule. The shade that you see now will be even lighter once that layer dries up and then you'll be like, hey, this is not what I applied on the paper and it's lightened up. If you don't want that to happen, just remember to put an even darker shade than the one that you intend to have on the paper so that when it dries up, you will have your intended shade. I'm just going around the edges and being careful. Again, our vapor at the bottom will dry up if we don't go ahead and apply paint onto that region. I'm just going to let this be because we've applied enough paint here. I think it should hold on for a while. These regions should hold on for a while. Let's move downwards. To paint that down, wet the region, I'm going to pick up a little bit of violet. Why Violet? Maybe bringing a bit of color, it's going to mix with the green to create a slight brown shade, completely all right. But remember to skip any areas of the flowers and also keep an eye out on the areas that you've not applied the water because you could always go with the flow and just apply over the whole thing, which is literally what we don't want. I'm going on this a bit. Put some violet shades in there. Then I'm going to pick up a little bit more denser violet, that's a lot. I'm going to apply it. But as you can see, I will only apply it in certain areas. Maybe more around the flower shape. I like how that has turned out. Then we'll go with sap green. Now is the time for a nice, denser sap green. And yes, it's going to blend with that violet to create brown shade, but that's okay. Here, I'm going around the flower. Remember what I said, that you've got to have one shade darker than the one that you intend to have. Remember that rule always, very, very important guys. I'm worried whether I'll be able to see my pencil sketch after the end process. Let's see how it goes. We didn't even add any flowers yet, we've lot to do. Picking up my darker green, I'm just going to apply more darker green. This darker green is supposed to be like going towards where those violet colors are. Literally there. I can't even see now what's going on. Is there any bud there? Yeah, there's a bud there, so careful around that one. We awarded this flower as well. Shouldn't have any white areas. What I'm I thinking? I'm avoiding the flower but then ended up creating a white area, even outside the flower. What will happen when I add the flour in the end? Silly of me. Bring down your strokes such that you create these streaks of lines. Can you see that in between? All right, done with that. I think it's time to add in some random detailing. What we're going to do is let's pick up the violet. You can see it's a very nice dense violet that I'm picking up, and we're going to do some splatters. Yes. Interesting, isn't it? But even if it falls on the flower, we should be able to wipe it off because it's going to be that dry painting, if we need to take it off, it should be fine. But let's go ahead and add it as a splatter. Hey, how lucky is it that all of the splatters are not yet on the flower? I've got two on flower, but I think that should be all right, and these are wet-on-wet splatters and see how gorgeously it's turned out. I'm okay with how these areas have turned out and there is a bit of extra water there, which I'm going to take off and put denser color instead. That should be it. I just want to make sure that my paper doesn't have a lot of water because if there's a lot of water, then I can't do what I intend to do right now, which is basically to add in some background flowers. We're going to be doing that with cadmium red. Cadmium red is opaque, and that's the reason I use it. In case if you don't have cadmium red or such an opaque red, you can go ahead and use a gouache color, or I wouldn't say acrylic, but I'm inclined to say as well, you can try it out. There's no harm in trying. If it fails, it fails and then you try again. I have never tried that before, but you can because it's all water-based medium, so not sure. Maybe create some random shapes and make sure they're smaller as well. Don't make it too big because this is something that we're trying to depict, that it's like away in the background, so it can be really small. Here, another one there. Can you see how the pigment moves off any color residue and we get the nice red color? It would have been impossible with non-transparent color. In fact, in this exercise, I can show you that. Let's take a non-transparent red like this one. Wait, that's Alizarin crimson, it was just contaminated, I'm just scaling it up, there. If I take Alizarin crimson, what is going to happen is it's transparent, so it's going to mix up with the green and create a brown shade instead. Where shall I show it? I'll show it in some end over here. It does come, but then it won't be as transparent as this. But because if you mix up with that green over there in the background nicely, you'll see that it ends up with brown shade, do you see that? We're just going to blend that and make sure that I don't have. I've got a nice red tone in the background. Actually, I'm liking it maybe. How about you go and put some random reddish tones in the background. I'm literally improvising because I like the way that it turned out. I thought that this is going to look good eventually when we dry it up and this thing becomes the background. But this is what I was talking about. You won't get it as vibrant as this when you're using a transparent red. Now, I think it's time for us to go ahead and add in those background dots and details. Not grass but the background buds. I've switched to my Size 2, my smallest size brush, and I'm going to load my brush with a nice amount of dark green. This time you want it to be denser because you're going to be painting wet-on-wet. But then the next layer that you're adding needs to be in a more creamy consistency because if you introduce more water into your paper, it's going to spread out. In order to prevent it from spreading and to get the best wet-on-wet technique, make sure it's got very less water and that it's very creamy, but we're still painting wet-on-wet. Remember that. Now just go ahead and add in lots of these branches. You can go ahead and add in those bend ones. Then you remember the bud shape we sketched, you can do that with your brush. Oh, I love that, that's really cute. Now at this stage, don't bother in which direction you're adding, here I've just added a large bud. Then there's something we need to do. We need to create branches for each of these flowers that we added because they are right now standing in the air, and also those flowers were wet-on-wet. I need to add those here. Create a nice base for the flowers somewhere, like at the bottom then go ahead and create these lines. You see that? This one can go behind, I mean, through that. How about we add some more? I love these bent ones whenever I add them. It's like it just makes it more interesting. Maybe you don't have to add for all of them. But yeah, let's go ahead and add in a lot more of these branches that go upwards. Because they're just going in the background, you don't know what's happening. There may be more flowers, there may not be. That's fine. You just need to capture them. Lots of stems. I think we're good. Now, we'll end this with a bit of extra splatters to make this interesting. What I'm going to do is I'm going to add in blooms, yes, blooms on purpose. Here I load my brush with water and I'm going to splatter water at random places. I think especially at the top, it'll make it interesting. You know what I always like to do is to actually use my hand. Because with the brush, you get like very detailed and same size but with the hand you're actually sprinkling the water and it comes off in a different manner, and I just thought I will add some splatters with Alizarin as well, especially to the top, right there. This is my Alizarin crimson and I'm just going to put some splatters. This time I don't mind the flowers, mainly because they're going to be red anyway, so it should be all right. Lots of splatters but yeah, I think we're done with the background. Now what we're going to do is we're going to wait for this whole thing to dry out so that we can add in the flowers in the foreground. 14. Day 8 - Poppies Part II: Here you go. It's completely dried up so let's go ahead and start painting each of the foreground grass. For painting them, I'm going to be starting with my transparent orange at first. We're going to paint this in nice and beautiful layer by layer. Here I start my flower with a nice color of orange. This is transparent orange, and this is the reason why I asked you to go around it because I wanted to use this transparent orange. Otherwise, you could have just used a cadmium orange on the top and it would have been absolutely fine. But if you want to use a nice and transparent color, then you need to have to go around it. That's unfortunately the case. Orange done, and I think that's done for this flower as well. As I paint this, now this one is almost starting to dry out, which means now I can go ahead and add in the detailing, which I'm going to be doing with Alizarin. Here, I pick up my Alizarin crimson and we're going to add in darker layering on the top. Start adding some lines like that, but leave out some orange. Can you see that? I'm adding little line shapes like that but leaving out some of my orange. Then I think I'll put in some more red there and then just blend out this top portion. You see it's like a top portion orange some streaks of orange lines and then red at the base. Did you see that? We're going to do the same to the other one that we just added. That is going to be there. Think of how the positioning of the flower is. This one, the here detailing or the stem was at the base. But here the stem is actually going over the orange and joining in that center point there, which means this is the center point. You're going to have all your strokes go towards that center point. Here and they get to that center point. I think I'll add more there. Can you see how that flower is turned out? Why I love it it's looking gorgeous. Now that one's done that one's done, we have this one to do. We have that one there, which is not going to work because we've got color on it. But I think I'll just go straight away with the red and see how it turns out. We won't put orange there. This one, orange all over. But you know what, I'm still going to go ahead and paint with my orange on top of it. Because there are some white areas there which we can capture later on to reveal as the orange part. But you see what's going on? It's turned into a darker color because of the green underneath. But you still have that lighter zone there, which is good. Alizarin, and let's see. Alizarin, which is the center, that is the center of this flower. We're going to be creating shapes like these towards the center. Added that center part. We'll do that in a more detailed matter once this is dried it out. I think in the meantime we could go and paint the other things. What? Sap green for the buds that we wanted to add. Here's my sap green and I'm just going to add in the buds that we added with our pencil. You can see that my pencil mark is still seen through. It's very helpful to add in all the buds. It's okay to go over in the shapes and structure that you have, there. That's another bud. But let's put in shadow areas. Here I pick up my dark green and I want to go over one of the sides. Just give it some color and also on the bud, on one side, you remember shadow is always important. Now I need to make my buds lighter. For that, I'm going to be using my olive green. My olive green here is also a bit opaque. Now, if you don't have an opaque color, let me tell you how you can do this. Use cadmium yellow and mix it with a green to dark green to make it lighter green. In fact, I think I'll show you to in the the next bud. First I'll use the olive green and for the purpose of this olive green, just vary the cadmium yellow that you're going to use. I'll show it to you in right, the next step. Just give me a moment. Let me finish up with this one. Can you see it's really shown through and it's there on the paper. Now for adding shadow and that's okay. Now for creating the thing that I told you, mix up cadmium yellow, there you go picking up my cadmium yellow. The nice consistency of cadmium yellow. I like to clean my brush because otherwise [LAUGHTER] my paint will get dirty. Already my palette is dirty. Just imagine if my paints were also dirty. A bit of green and you see that color. Now, this is definitely opaque. Not completely, but better than the other greens that you have. Then you can apply this over the top because you've mixed a nice amount of cadmium yellow to it. In fact, you can pick up more cadmium yellow and give it to one side to lighten up while you take the dark green and darken up the other side. See how that bud is turned out. It's beautiful, isn't it? Now, let's go ahead and pick up some sap green and finish off adding each of those buds. Not done yet. Oops, I dashed the [inaudible] there. Where is it? There. It's growing over there and then it bends over here to create that bud shape. Let me pick up a bit of olive green and drop it on the side. Now for the stems of the flowers that we've already added, this one, the stem is coming directly from there. This one is the one where we're supposed to go over the flower. For that you can pick up a darker shade and see how it's going over the flower. This one as well, you can just go directly. We have another one over here where the stem is coming from behind. Now let's go ahead and add in more details. We started with the detailing with alizarin crimson on the flowers. Let's pick up more of the alizarin crimson. There you go. Now, we need to darken it up, which means I'm going to be mixing a little bit of Payne's gray to that, which will make it slightly darker. See that? Alizarin and Payne's gray mixture. Now, we're going to use this to create our second layer of depth in our flowers. Over here at the shadowed tip, we're going to have a darker area. I've added some streaks. Then what you can do is you can immediately go and lend some of them here, so that it's not too bad. Now you see that shape. It's got nice dark edge. But also try and create like some edge lines. See that? Then, the same here. This was the center. Remember what I told you? Then you're going to have to have streaks like that towards each of the regions. Love that. No. This one. We're not ready yet. We were waiting for it to dry, which it still hasn't dried even after I've painted all of these. What I'm going to do is I'm going to dry this up. Now it's definitely dry, so I'm just picking up alizarin and I'm going to create a petal shape towards the inside and paint inside part where we'll definitely need to capture more of it, which we're going to do with that darker alizarin that we just took. Then we separate out the petals. I've got one there. Then you can have another petal inside over here. We'll paint the center in a while. But let's go back to picking up alizarin and start adding some streaks from the outside towards the inside. We'll make that look interesting. See that. Some of them you can have it slightly denser, but makes sure that all of them are like little streaks and now we again have to wait for that to dry, but we've got this to paint. Let's go ahead and do that. How is that going to be? We said we'd add darker areas to the bottom edge so that the top can be left as lighter. Here I've added alizarin and then I'll just spread it towards the top and soften towards the top so that we reveal some of that orange color. Yes, then I'm going to darken up the base. Here, picking up more of my darker color mix. I guess it's okay now, at this point that it's slightly brown. See I added a bit of detailing at the top and we have some orange revealing through. That's This looking like this, isn't it? Now more detailing. For that, I'm going to take my green and we have the base of that lard to add. See that base. Oops. What did I do? I'm just going to immediately pick that off. It worked. Then. You see that and add that to the base. Then the other one is where you have the base or the stem going in front of the flaw there. I think we're almost done. Maybe I want to add in a bit more streaks to this one here. Once it dries up and I'm pretty sure that we will make it more interesting. At this point it's just looking to roll those ones in the background. I find the ones in the foreground okay. A bit more lighter done for this one, just to give it a dimension, but I'll soften it out. This stem was supposed to go over the top, but it didn't because we have cadmium yellow there which is seeping through. I guess that's it. It's looking really good. Now, we'll go ahead and add some white gouache detailing. While it dries up, we'll do the detailing with white gouache. Here's my white gouache paint. I'm going to load my smallest size brush. This is a size 2. In fact, you can go even smaller, but I think I'll just stick to this size 2, there. That's size 2 brush. We are going to add in little streaks again. That makes sure it's not too watery. We need to use the pointed tip. It's going to be just small, teeny-tiny lines like that from the edge. When you're finished with it you'll see how nice it is. I always forget this thing that I should start from the left side because otherwise, then my hands are going to disturb the underlying layers. Here, I'm just going to add small streaks coming out. It's pretty hard thing to add. Especially because you're adding with a big paint to just gouache. It's going to be very, very hard. Also there's another way to take off that imperfect look of it, that is you take your gouache and I've got a bit of orange here. Just mix it into that. You could also in fact mix it with Naples yellow. Or the best thing to do is if you have Naples yellow gouache to use that one. I do have Naples yellow gouache, but I'm not using it because many of you may not have and I don't want to overwhelm you with a lot of supplies. Here I've just mixed in a little bit of orange. A teeny-tiny amount of orange or Naples yellow, either one and use that. That is going to be more interesting of the fact that it's not going to be pure white. It's going to look a bit more nice on the paper. Yes, this is a bit time-consuming, but it is fun. Just go ahead and do one of the sides of the buds and unfortunately you're going to have to do it on the buds as well. Not in all the places, but just see. It's like it's got, what do you call? Thorns on it? I was looking for the right word. Go ahead and just add a lot. I like my strokes to have these imperfections and not to be perfect. But there are so many people who like to have perfect strokes. It all depends upon the way that you want your outcome to be. You can sit there and go ahead and draw each of those lines so perfectly, but I'm not that person. I like imperfect strokes. I like to have my brush marks shown. I like splatters and all of those things. I tend to do this. This is the most time-consuming part, isn't it? I'm pretty sure that you are going to curse me right now because when you started, you didn't expect that this was going to be there. Few more to go. Maybe you don't have to add for all of them. You can have a large gap between some of them. Honestly speaking, I'm getting tired. I can imagine your situation, especially when you're following a tutorial. But remember what I say, don't give up. 1, 2, 3; three more to go. The ones in the background, you don't have to worry about them. Last one for me. Please tell me you're enjoying this. Finally done. Did I miss anything? Yes, I did. I missed the left side of this one. Great. [NOISE] Now, time for the final details to finish this off; that is the detailing at the center of the poppy flowers. At that center, you need to have a yellow region. Here I'm going to go with a bit of cadmium yellow because it's opaque and it's going to come on the top. Something like that at the center. Can you see how it's turned out? Gorgeous, isn't it? I love when my colors pop on the top and gives a good contrast. It's just amazing to see that. Then wait for that yellow to dry. I know it's going to take a while, but you've got to do it. Maybe in the meantime, you can add for the other ones where the yellow is not seen. For example that would be the case of this one, for example. You can just use your Payne's gray and add some nice streaks in the center, and the same for this. This is still the outside, but then you're still seeing some of the shiny reflection through. That's why we're adding it. With regards to this flower there, the details of the poppy are on the top because it's reversed its leaves. Again. I don't know how that happened, but anything can happen. Then you're going to add some streaks like that towards the top. See that flower? I guess for that one, you can add a little bit of yellow to the base and make it interesting. Maybe give a good contrast because it's got a lot of darker colors there looking interesting. Here picking a bit of cadmium yellow, and just a teeny tiny bit at the base. Can you see that? [NOISE] Mine is still not dry. I can see that it's still wet, so I'm going to dry it up. Finally, it's dry. I'm going to take up my Payne's gray in a nice, dark, dense, color. I'm going to add the detailing. It's supposed to be from the inside, flick your brush towards the outside like that and see, you're creating these little detailing. For the bottom, do not do it a lot because they are smaller with regards to perspective. You're seeing the taller ones on the other side. See the center, how it's looking gorgeous, isn't it? You can't go more towards the side. [NOISE] See how that's flaced and now it is looking really pretty, isn't it? I need to add a little petal separation on this one because it looking one set. I've just added a bit of Alizarin there. Let me blend it towards the top. You can also take in the darker shade if you wish to blend that. Now we're officially done. See how it's turned out? I really love the way it's turned out. You can just go on adding more details. Remember these buds, you can have a lot of them. You can just go on adding and adding, but it's something that you can never stop. Finally, let me just show you a simple hack or a tip to maybe smoothen some edges. This is just strictly optional, but I'm just going to show you because it's an additional information I'd like to share. Use a flat brush, something like this. A flat brush, and if you run your flat brush along the edge like that, it'll smooth out that edge and get rid of this. You see this harsh line along the edge of it, it'll get rid of that. That is something that you can do but it's not necessary because if you don't do it right, it can also pull off pigment from the other areas. For example, if I take my orange right now and reinforce the pigment on that side. But can you see how now this side is different from all the others? Because this orange there has got a smoother edge as opposed to the other one. I'm just showing you if you've got a lot of time to kill and you want to go and keep on adding more details to this, these are little steps that you can take; that is, use a smaller flat brush and go ahead and just scratch off along the edge so that you get rid of that harsh edge. Then just paint slowly along the edge to get a very softened edge to your flowers. We're done here. Let's go ahead and sign the painting first. Very important. Then let's remove the tape. Since we haven't painted anything along the edges for a long time, [NOISE] It's safe to remove the tape. [NOISE] Here you go. Here's the finished painting. I hope you like it, and thank you for joining me today. 15. Day 9 - Tulip Field: Let us start. We're going to quickly start with the pencil sketch. There isn't much to do. Just some few lines. That's it. I'm going to trace out my horizon line now, which is going to be around one by third at the bottom. Do not make it at the halfway point. That's the best thing to do for composition when you're doing paintings. Photograph was preferred to have it exactly at the middle so that they get that, what do you say, symmetry. But don't do it if you want your paintings to be looking more attractive. It's best to have it either at the bottom side or at the top side. Here for this one, I'm going for the bottom so basically just a straight line. You just need to roughly mark that line. It doesn't need to be perfect or anything. Then like a mountain structure in the background, you can give it some random beaks. That's it. See, that's our pencil sketch. Like I said, that was very simple. Here you go. If you need to have a closer look at it and observe how I mark my pencil sketch. It's very lighter tone, so that it doesn't pop out in the end and I like to keep it that way. Let's get started. All we need to do now is to apply water onto the paper. We're going to be applying to the whole of the paper, which makes it easier to paint it. I'm going to now apply water to the whole of my paper. [NOISE] Here you go. This time, don't worry about anything at all. Just go ahead and apply freely. I enjoy painting this like when I didn't have to worry about going around the edges or trying to preserve some areas. Maybe that's why we should use masking fluid more often. But the only thing with masking fluid is that you just have to wait for it to dry out naturally and I guess I'm not that patient. But sometimes when I know that I have to do it to get my work done, I do it, of course. I guess that's enough water on my paper. Here, I've got my size 7 brush, which I'm going to be using and I'm going to be starting with a nice Taylor blue color. I don't know why but I just love this Taylor blue color for the sky. Today we're just going to go for really a vibrant, gorgeous sky and paintings all throughout. Everything is just going to be vibrant. Is my thing had shedding hair or did I pick it from outside? This is from the other brush. Anyways, so here I'm just applying at the top. Do not go ahead and apply to the whole of the sky. You need to be careful. Right at the top then a little at the bottom. Then wash that off because I'm going to be switching my colors now. Now, I'm going to be picking up a subtle blue, which is my cobalt blue. See that? That's a different kind of blue as you can see and we're going to be blending that in to our bright blue. As you come downwards, it's going to be the cobalt blue. Take it towards this side as well. Blend it along with here bright blue. We just want that vibrancy at the top, which is why we used a bright blue and leave some gaps in the sky, which is obviously going to be the clouds. Don't bother about the mountains right now. Just go ahead and apply. Remember to leave this huge gap over there, very important. Let me just pick up the blue and blend that along nicely. Leave gaps wherever you think it's nice to have the gaps. Remember water colors dry one shade lighter. It's best if you can make sure that you apply more vibrant colors. If you would like your paintings to be vibrant, which is what I love. I don't know. I enjoy painting vibrant stuff. Here, I'm just going with a bit more color, bright blue towards the top and making things vibrant. Do you see that? Let's do the same with the cobalt blue as well, because this is ultimately going to become more lighter. Trust me guys. It's going to be so light and then you'll be like where is all the color that I applied? Oh my God. The blue, remember, and serve the white areas that you left behind. I guess that's good now. Now, let's go over to this side where we're supposed to be adding the different colors. That would be my gorgeous yellow shade, so that's like a sunset scene over there. Do you see that? Then we'll add some orange. Make sure that your brush doesn't have too much water such that it spreads to the whole area. Here, a bit of orange over this side. Don't go over to the blue side. Then alizarin crimson. You can let it go over to the blue side. Absolutely fine because that is just going to make some purple. That's it which is absolutely all right. That is what is going to mix with the blue region. Let that mix together, it's absolutely fine. Just letting my alizarin create the mixture. Don't leave any white gaps in that region. Don't leave any white gaps there. Now, if you want, you can go ahead and adjust this a little bit more by picking up more cobalt blue and blending that region so that you get a nice, beautiful purple end there along with some cloudy shapes. The purple that you mix together with the alizarin crimson so here's my alizarin, and here's my cobalt blue. You get a nice beautiful purple shade, which you can then use to your advantage to create some clouds over there. It's all wet on wet so I know that this is really tricky. But that's the thing; isn't it? It's the learning process. You can skip this if you want and just have that normal sky there. Or you can just come out of your comfort zone and try it out. It's all up to you. Here, have mixed that up again and I'm just going to add more towards this side. We've got nice blue tones there, so I'm just making sure that I can add some nice clouds over there. I can see that that side is like almost going to be dry so I won't to touch. It's very risky move if I touch that area. I'm just going to pick up a little bit more of my yellow to make that edge warmer. Can you see what's going on in the sky now? You've got a cooler edge and you've got a warmer edge. This warmer edge is a good contrast in our sky; isn't it? You've already got that nice contrast. Just adding some more shades of yellow there to brighten that up. Can you see now it's like more vibrant there. As I always say, vibrancy is the key; isn't it? Guys, that is the first layer. We're done with the first layer. It's absolutely fine if anything's like spreading out and going towards the bottom, that sky is done so let's wait for this to completely dry out so that we can go ahead and add up the next layers. It's dried out and you see what I mean? Watercolors dry one shade lighter. Repeat it. I applied such a vibrant color and it's already lighter, so this is the reason why I say that if you need it to be very much saturated, make sure you put one shade darker than what you actually need. I like the sky to be it's in the perfect, moderately need right now. Because what we are going to add next is the important steps here. Let's go ahead and paint that background mountain, which I'm going to start by using a sap green. Here is my sap green. We're going to start at this edge over here and as you can spot some yellow bits there, those yellow bits are going to naturally contribute to the lightness of that mountain region. This region needs to be light because of the warmth, so it needs to depict the warmth in that region. Then as you go towards the right side, it needs to get cooler and cooler. We've got the nice warm region. Can you see some yellow peeking through because of the yellow that's already there? Now, we need to get cooler version. How do you make the screen cool? In order to make it cool, you can add the same color mixture that you use for the sky. If you mix in a little bit of that cobalt blue, your green will become slightly cooler. Can you see? But make sure to blend that in and don't have any edges to your stroke. Let me pick up slightly more darker stroke. I'm taking my dark green. To that dark green, let me mix in my cobalt blue. You can see how a cool green is what we are applying now towards the right side, depicting the coolness of the right side of the sky. Make sense? Yes. Green and cobalt blue. Let's fill that in. We've got that nice warmth towards the right side. Now, let's go ahead and add in teeny tiny details before it dries out. Details, as in, wet-on-wet details. For that, I'm picking up an even darker version of green. But if I'm going be adding any details towards the right side, I need to make it cooler, but let's do the left side first. I'm just going to add random bushy structure or things at the bottom. But I guess I want that to be more warmer as I approach this bigger yellow region. For that, I'll pick up my yellow, the same transparent yellow that I used. I'll mix it with my dark green, so can you see we get a very beautiful sap green color and we'll use that there. It's slightly lighter. Then, going again towards the dark right side, we can add some detailing at random places on the mountain. Taking the dark green. Now as we move to the right side, we need to make this cooler. Here's my dark green, and instead of cobalt blue, in order to make it cooler, you just use a darker version of the blue, which is indigo. If you use indigo, that'll make it cooler. Can you see how that green is now a cooler green and you can use that on the top. See, you can use that to create the bushy regions here. Some trees, I guess that's what I'm trying to make. We've created a nice beautiful separation between the foreground and background right now and that's okay. Now, let's get to adding the foreground and we don't need to wait for anything to dry, so we're done with the mountain and we'll go forward. I'm going to start with my olive green because on the left side I need to make sure that it's lighter and shows that lightness. There you go. Let your olive green blend at the bottom. This is our horizon line, so let's choose a vanishing point. For me in this case, I'm going to put it right there. A point there is going to be my vanishing point, which means that all of the flowers and everything is going to be from that point. That there is my vanishing point up until here. I guess we need to work quickly now. Picking up a nice version for my olive green and let's apply everything for now. Make sure that all of your strokes are towards that region. You will understand towards this point is where all of your strokes needs to be. Like that. I started with an olive green. Now start making it reduce the warmth in that region, so here I'm going with my sap green. Starting with sap green, that was a mixture of sap green and olive green and now it's just sap green. It's really a wet-on-dry stroke, isn't it? Remember, from this line outward. Then start making it darker now towards the right side, that will be the mixture of sap green and darker green. You can see that from that point always. Then now we're extending towards the right, as you can see, with our dark green color. Just fill up that. That was our vanishing point. You can see that. Try adding your paint such that it is from that direction towards that point. Just picking up a little bit of indigo to mark the edge and some bushy structure along the mountain there. Yeah. Well, I guess that's good. Even if you stop at this point, this painting is really beautiful. But we're doing spring landscapes. Let's add in some flowers. If you feel that you're already satisfied and you don't want to add any flowers, I guess you can stop there, but this is spraying. It's supposed to be a flower landscape, so I'm going to continue. I've switched to my smaller size brush, remember your paper needs to be still wet. Even if it dries out, it should not be a problem, but it's best if it doesn't. I've switched to my size 2 and we are going to start with cadmium yellow, opaque color on the top. If you don't have cadmium yellow, you know what to do, gouache. If you don't have gouache and if you don't have cadmium yellow, I'm pretty sure that you might at least have white watercolors. Try mixing in your white, in a very nice consistency with other colors to create the colors that you want. We said that this is our vanishing point, can you see the dot of yellow that I put there? From there, we are going to create flowers, so let's first create the track. It always needs to start from that point and go in a straight line, there. So that straight line is where my yellow flowers are going to be. I know it's tough, but you just got to keep at it. Towards the edges, It's going to be a lot of yellow flowers, so just make it concentrated in that region. Can you see? It's really concentrated in that region. There. It might have to pick up a lot again. As you move downward, you can have it spread out. We'll add more with the wet-on-dry method as well when this is dry. But first, go ahead and apply that nice wet-on-wet stroke. More of my cadmium yellow, and I'm making sure that I have enough of it at the edge up to my vanishing point. I'll add some more. I'm going to make sure that from there, it's going to be in a straight line. Now as you go outward, you can make it extend and have your flowers really spread out. But always in a straight line. That line is again flowers, then next line, straight line, remember straight line. It's as if, if you take a ruler and from that point and touch another point on the left way, you want your flowers to end. That would be it. See that? Now here, you can have it nicely spread out but in those regions, it needs to be really close. You see that yellow? Now I've washed it off before it dries out. Let's go ahead to the next one, which is going to be cadmium red. Picking up my cadmium red, I'm going to start and the layer adjacent to that yellow is going to be red flowers, can you see? Clutter together at the end, because they're all so close together. But as you come closer to the user, they can be spread around and showing some green through, there. Maybe we can create another layer from here in-between. See that? If you ever feel that your direction doesn't match, you can always go ahead and adjust. Exactly like I'm doing right now, and here close up, lots of flowers. In this one, I can actually see how it's starting to dry out. Oh my God. I'll get to clustered flowers here. Then obviously starting to spread out. There. It's looking nice, isn't it? Shall we add some more? I mean, this is turning out to be interesting, isn't it? I think I'm going to add some more? So what I'm going to do is I'm going to pick up my white now. Let me clean the brush from the cadmium red and then I'm going to pick up my white gouache paint and drop in some white flowers as well. That's going to make it gorgeous, isn't it? So here, I mean, you can go with any number of colors you have, like e.g. if you're using quash thing, you can literally make this like a mixed media piece and experiment with other colors. Like you can have pink flowers in-between orange flowers and between orange, I can still do with my cadmium orange. I don't know why I'm limiting myself. Maybe we should put orange flowers in-between or maybe not. I mean, it's your choice completely. But see how nice, gorgeous white flowers in-between. Let me do some in-between this, I guess. Oh my God, I love the field. I really love it. Now that you've added the flowers, we actually need to capture some kind of depth within where these flowers are. The reason being, you see how it's so flattened out and there is no dense look to these. So what we're going to do is pick up some of your darker green, make sure it's not too watery like I just did, and go ahead and create a base for them. Like if you do a little bit of a greenish stroke right where it starts and in-between, some of these areas showing how there's a lot of shadows involved. I guess that's much better, but I can see that my green is slightly slanted, so I'm just going to adjust it and make it straight. Add it in a random manner. Do not draw a line and add. This is like we are trying to put in shadows here. So try and add it in that way. Try doing the same in areas in-between the white flowers and yellow flowers as well. Just some darker green areas in between showing the depths. Yes, that's good. Let's do the same on this right side here. Now, here on the right side, capture like a bushy region with an even darker green, and towards the left where it's the warm, we'll capture that shadow with a warmer green. So that would be more with the sap green. So pick up this sap green and kind of try adding little bits of detailing on the inside of the flowers. I guess we'll add some field effect with the the sap green on this side as well. See that it's just basically giving some Reina strokes towards that side? Then you can go with a mixture of olive green. See how I'm off with the angle. So if I'm starting there then that needs to go all the way up to the horizon point. Now what I'm going to do is, since I've added some color, now, I will soften that up to the horizon so that it doesn't look too odd. There I like it now. Oh my God. I like it now. Look how that stand out. Perfect. Now, all we need to do is wait for this whole thing to dry out and then we'll finish off with just few teeny tiny flowers in the foreground and done. Here everything is dry. Let's go back to the colors that we used, which would be starting with the cadmium yellow. Go ahead and fill in some of the flowers and make them pop out in the front. So just over the top of some of them. Don't make perfect round shapes or anything, just like you can do this in fact. See that? Towards the dark make sure that it's like really lighter. See how that yellow is popped out. You do the same. Where was the other yellow even? Oh, these are the yellow pits. So pick out the yellow flowers from outside of them, and go ahead and add as many you can? More towards the center. You don't need many. Those are like way in the background so you don't need to add much. That's done with the yellow. Then the next color that I used was cadmium red. Let's use the same. Oh my God, see how it becomes vibrant as soon as you do it with a wet on dry method. That's the magic of the cadmium. The same on the other side and basically just finish off with white. So it's my white paint. You pick that up in a nice consistency. For the other side, I just let the white go over towards that edge because it was so faded. But do you see that beautiful line of white over there? Maybe we should do the same for these one's. Not too much. Make sure that it's cluttered and smaller towards that side. Just a white will pop out like a highlight in our painting and make it look beautiful. That's it. We're done. I've got some edges here with colors, so I've got to make sure that I dried up first before I can peel off the tape. Here everything is completely dry. So let's remove the tape. First time I'm removing my tape like this. It just wouldn't come off separately. Here you go. A beautiful spring landscape. Thank you for joining me today. 16. Day 10 - Hanging Fuchsia: Let us start. For this one, there is no pencil sketch. We're just going to do the whole thing with our brushes. It's definitely going to be interesting. Look, I cleaned my palette. It was actually for a YouTube video. I just cleaned it and look, it's good, isn't it? Let's get started. We're going to start with a wet on wet technique and we're going to apply water to the whole of our paper. We're going to paint the background first. That's pretty important. Let's just go ahead and apply water to the whole of our paper. With this background, try and do anything. Pretty much you can do anything you want with the background. I'll explain that in a while. You'll understand when you see what I'm trying to do here. I'm going to go with my larger size brush. This is basically a size 10, which will cover a larger surface area for me. I'm going to start with my sap green. Here I pick up my sap green and just going to drop it onto my palette. I really don't care how I'm adding it. As you can see, it's evident from my strokes. I'm just going to add to the whole thing, in fact, the whole of my paper. Firstly, it's going to be a background of sap green. Have fun with it. Any strokes you want. But it's not just limited to green. You'll add other colors as well. But let's just get on with this one first. As you can see, I've almost covered the entire surface of my paper with this sap green but that's just one single color. We need to give it more beauty, more dimension, more color. Fun experiment here. Let's pick up some olive green. I don't know why I like olive green. I'm going to drop that in as well. Like random pops of color in there. I'm guessing you're going to love this experiment, trust me. Oops, that was a bit too much water. Just using my cloth to absorb that nice olive green. Then I think we'll go for a dark green now. Here's the dark green. Now, the dark green. Just be wary of where you put it because you don't want it to be in those areas where you want to add the flowers in the end. Because it's going to be hard for us if you do add it in the areas where you're going to be having the flowers. So let's just keep that in mind. Or you could do in such a way that when you add the dark green wherever you want and then you go and paint the flowers in the areas that the dark green is not there. Just don't cover the entire area with dark green. That when you add in your flowers, there is enough space for you to add it here. Just sticking my dark green and creating some darker strokes. I guess a bit towards the door. Then not too much there because I really want my flower in those areas. Maybe a bit there. A bit to the corner, maybe, maybe we'll have nice edge. A little at the base here. I'll have a flower there probably. Just be careful of not careful, when you add in the flowers, you need to not add it on top of the dark green. That's it. It's as simple as that. You don't have to add the flowers in the exactly same spaces I am adding. Just keep that in mind. Here I'm picking my sap green again because some areas, I felt that it's quite light and I wanted to give it more a bit of color, but not the dark green color. Dark green color obviously. That's why I'm going with the sap green. Maybe a bit here. Yeah, I like how that's turned out. But remember what I always say. Your watercolor's dry, one shade darker. If you need things to be darker than the way it is, you might want to add a bit more color on the top, okay. If the dark color that you intend it to be darker because the shape that you see right now is what I want, but it's going to get lighter once it dries out. I'm going to add a little bit more onto the top of it so that when it dries up, it'll be this color. I hope you get that. Lots of nice greens there. Let's get back to a bit more olive green I guess. Adding some pops of olive green. Done with the background. That's the background for me. Do you want to add splatters? Maybe not. Let's give this splatters today. If you want to have fun, you can go ahead and add some splatters, even just water splatters or just paint splatters. It's totally up to you. I'm going to skip that because I love the way this has turned out. Let's wait for this to completely dry out. Here you go. It's dried up now. I used a hair dryer and see how light it is. Oh my God. I had a bit of background here because I think there was a lot of water on this side and as I was using my hairdryer all that water ran off to this area here where it was already a bit dried, so it created a background there. But that's all right for me because I knew that I'm going to put up flower there right on the top to get rid of that. You can see it's very, very light, isn't it? Oh my God. That's all right. Now let's get to adding the flowers. For that, I am switching to my medium-size 7 brush. We're going to be using can you guess? Cadmium red, of course. If you want to get something else, dark on the top of the dark red on top of this. You're going to have to use cadmium red. Otherwise, our colors such as alizarin is just going to be going over on the top because it's a transparent pigment. See the PUD of the cadmium red and we're going to use this. Now is also the tricky part where you have to add in the flower with your brush. Yes. I mean it. Let's see. As I said I want to have one of my flowers right there where I can get rid of that background. You can place your flowers anywhere. so see that. That's one flower. This flower is going to be like that. Then some petal thing in the middle. Another petal thing towards the side. Like that. We will add darker sheets. This is just the beginning where you're placing the shape of the flower. Then something in the middle, and then a blob at the end. See that flower? That's how the flower is going to be. As you can see, I've almost covered that backroom there, but I can see a bend over there. I'm going to add in another one of these flowers there. Make it such that it slightly tapers, not a lot, but can you see the shape? It slightly tapers towards the top there. Then obviously it doesn't taper towards the bottom. I'm just going to add it here. Then you have this little petal shape in the middle. Then another thing down there and a line and a blob. See that? That is the flower that we're going to sketch out. This really fun. Trust me, isn't it? Now you've got to look at the spaces where you have the lighter tones. I have a lighter tones here. I have a bit of lighter tones there, I have a bit of lighter tones there. Those are the areas that I am going to be adding in my flower. Let's go on ahead. All of them don't go for the perfect shape in the middle. You can have some not so perfect shapes because like I said, this is a real flower and you don't want to go into too much of the perfection route. There you go. I think I'll have one that's going behind it. We will make it appear behind using other methods. When we add in the shadow, it will make sense that it's going behind. But right now just add it nearby. Maybe another one there. Then dip, something like that. I think I have another one more clustered together. There's the edge of that. You can already see how it looks really nice in that contrasting green background. But you know why this picture is amazing? Because it's green and red. They are two colors that are opposite in the color wheel. Which means it's going to create the maximum contrast and that means more beautiful, isn't it? Let's get to it. I'm just going to add another flower here, but I'm not going to add the extension because we're going to add probably a leaf that's covering the top of it. All of it, like I said, don't go for perfect shapes. I leave it to there because it's a darker region there. I'll go with my next flower on this side here where is the lighter. This is the most lightest part of this region. I'll go with my flower in that regions, opens up like that. Some large glob in the middle. Then let's have it such that there's another flower that's crossing over here. We'll make it proper with shadows. You can just have perfect flowers and all the areas. That's why I want to just have something clustered in that region and another one there. I love that. Then we had some here. Let's just add another little bunch there. Just remember the more bunches you add that many shadows you have to add. Stop right here if you don't have time and you don't want to add in a lot of shadows. One last one for me on this bunch. I guess that's it. Let's wash that off now. We'll get to adding darker details, shadows, highlights, and everything. I think we'll go with the highlights first. For that, I am going to switch to a medium-size brush, which would be either Size 2 or Size 4. I think I'm going to pick up my Size 2 here. For the darker highlights, there you go. Just going to start with my brown pigment. I'm not sure that will maybe instead of brown, I should try the violet. Let me try the violet a bit first. I think the violet is much better than the brown. Yes. [LAUGHTER] Sorry. Mix up that violet into the cadmium red. Any violet that you have. Oh, my God, see the gorgeous shade. The whole darker it gets with more red and violet you add. You don't want it to be more cool. You want it to be warmer as in reddish violet, I'll get reddish purple and not blue purple. More of the red in this mixture. Can you see it's reddish violet. I see that, you've got the reflection of the light. Let me see if I can show you that. See that color is what we want. Reddish bubble sheet. Picking up that and then we're going to add that. But now we're going to add that in the sender. Do you see that? In the center portion, but don't just leave like a blob there. You've got to blend. Pick up your brush and let's just lend it. You might want to pick up a little bit of red to blend it as well. See just a bit of dark color at the bottom there, that's what we want. They're same with this one, all of them that's what we're going to do. Well, some of them, you can just leave it at some lines like that. You don't have to blend it. See. That one still wet, my red flowers still wet. Did I use a lot of water, I guess I did. I'll come back to it. When I've finished with all the other ones. I love these lines, strokes that makes it look as though it's like a little adult thing there and this part of the center is like going inwards. It makes sense, doesn't it? Now the next thing is, we need to create a dark brown blog. I think maybe this is the point where we do need the brown, but I'm going to mix it into the same thing here. You might see mixture at the top here, because I'd like to retain that mixture there. We're going to create like the edge of the flower, where the flower is supposed to be joining the branch. It's like a little dome shaped like that. That's what we want to create. A base like that, then a dome at the top. All of them again. I guess this was still wet, can you believe that? But I like the blend of that brown into the bottom. You really don't have to, but it's just nice, isn't it? It's a different look, that's it. There you go. Three more. This is what I said at first. If you add more flowers, that means more details at the end. If you don't have a lot of time, then you should have not added these many flowers like me. Done with that part. Now bit of shadows here and there, like I said. Here's the dark brown color. I'm just going to add to that blob, not the entire, but maybe to the base of the blob or one side of the blob. Just go ahead and add in a little bit of darkness. That was easy to add. Now, as you can see, we've got the darker details on not all of them, but yes, we do need to add in some depth to some of them, like I said, to make one side pop, for example, we have these two sticking out, so here. Give this side a bit darker shade, but that's probably too much. I'm just going to mend that in a bit. See, it's got a slight darker side to it. We shall do the same for some of the other ones. How about this one? The other one needs to go behind, there. Now you can see and distinguish between those two. Maybe I'll add one more of these, but as I add, I definitely need to soften and blend them because I don't want it to be like in a uniform look. Now after this, the only thing we've got to add is highlights and obviously the branches. Shall we get towards adding the branches then? Yes. You can go ahead and add with olive green, or you can mix up a color using cadmium yellow and your green, because cadmium yellow is opaque, or another option would be for you to use teal green light. Teal green light is from Sennelier. It says on the tube that it's transparent, but I've observed that it's not. Let me just show it to you, but I've just given you three options for you to use lighter green color. Olive green I have here is opaque. You can create your own opaque color by mixing cadmium yellow and green together or a blue together even, but I'd rather prefer to mix it with green. Then another option is gouache, obviously. I forgot to mention that. You can use gouache, or you can use this teal green light. Let me just show you this teal green light. Where do I want some lighter strokes here? Here, if I add, can you see? That's a lighter branch. This is my middle branch. I guess I am going to use olive green here. What happens is all of our branch is going to join that middle one. Then you can have it go all the way up. Some of them can be darker as well. Let's see. This is definitely part of a single branch, these three here. They need to be going behind this flower. Let's raise it upward, there. I'm not drawing all the way up because we can cover that with leaves. That's how long you do until that point. Now, let's add in a lot of leaves. For that I think I would pick up my larger size brush again, because if you can do the leaf shape with your brush, it's really nice. Why is my sap green so light? I think I'm not picking up enough pigment it's all just stuck in there. If I take up my green pigment nicely, and then I'm going to use the entirety of my brush to create some nice leaf shapes. Can you see? This is just completely random that I'm doing. It doesn't have to be exactly the same as I am doing. You can go ahead and create perfect leaf shapes, but see the ones that I've created. I like the way it's turned out. We're going to be doing that. You can do that in different directions obviously. You can adjust the shape at random places. I'll add some here, but here for these ones I have to make sure they go behind my red flower, the line of my flower. Do you see that? Because of that, I probably have to add in a little lighter. I think I'll go with a lighter tone of my olive green and add some. Now to those leaves that you've added, let's add in the middle vein. For that, I am just picking up a darker green; not too dark. I think let's start with the ones that we did first. It can be just really simple guys. It doesn't have to be too difficult. See that? See the way I'm adding? I think that's good enough. Now, while those leaves dry out, we can go ahead and add in the highlights. Here you go. Here's my white paint, which I'm going to use to add in the highlights. We'll start on the left side and just along the right side because as you can observe for most of those shadows, I've added to the left side. I think I forgot to mention this while I was painting. I'm going to put in the highlights towards the right side, just along the right edge if we can draw a line like that. But obviously, that line is too dominant, so we're going to have to soften it out. But I think you already know that. Blend that in. I love that one. We're going to do the same thing on all the others. I have to tell you something. When you're painting, if you have your paper straight and you're sitting where I am sitting, I know I can't show you, but as you might already know, I'm sitting here, you get this thing known as parallax error, where because your eyes is not looking straight from ahead of the painting or it's not almost straight face-to-face with the painting, the lines or your strokes come out a little bit turned or not straight. The one way to reduce that is why artists lift their board at an angle so that you're looking straight down at the painting or looking at that painting such as to reduce the parallax error. I was thinking that for me, it's going to be really difficult because I am recording a class, and how would I do that when the painting is at an angle like that in front of me, and how would I shoot? But then I found an easel for that purpose and I think I'm going to be using that for my next classes onwards. I mean, not this one because I've already made this one with this look. Probably for the next one, I'm going to experiment with that one. I promise you, for you it's not going to change anything, but I'm just telling you how when you paint, it's good to have an angle or you're placing something underneath your paper. Yes, I know that gravity is going to act on it, but then it still reduces parallax error a lot. If you don't understand what I'm trying to say, you can google and see what is parallax error or parallax, and you'll know what I'm talking about. As you may have noticed, while I was talking, I went ahead and added two flowers, I guess. But I already told you what I was doing. You're supposed to add the highlights to all of the flowers on the right side. That is also why sometimes, not exactly why, but I turn my painting because I feel comfortable to draw a line like that, then like that. I think that's how I've practiced so I know my wrist movement like that. I'm more confident in that line. See how this one is much better than the other ones that I've done. It's all about how we're comfortable, isn't it? Also, a way artists use to reduce this parallax error is if you have your head immersed on top of the painting. But I can't do that because I'm shooting and you would see the top of my head instead of the painting. If somewhere you feel that you've got too much of the white, just add it back using the red. For this one, this one was over the top. I guess my highlight can go over to the one at the back. Can you see how all of these things already becomes really nice once you've added those highlights in? Because every painting you need to have highlights, you need to have the shadow. Without the shadow and the highlights, your painting doesn't have any sense at all. Which is why I always say you've got to focus on where the light is in a painting. I've added for all of them and I really love the look of it already. Let me turn it back. Oh, my God. We're not done yet because as you can see, the leaves are incomplete and we need to add some more leaves. My intention was to make sure it dries out, but I think some of it is still wet, so I'm just going to quickly dry it up. I think it's dried now. I'm going to add darker leaves now. Here I'm picking up my darker green and I'm going to make it even darker. Let me see. Alizarin will be saturated. Not really great. Indigo will make it cooler. That's my problem. That's why I'm not adding indigo. Maybe Payne's gray would do. I think Payne's gray it's much better. Add Payne's gray to your green to make it even darker because indigo is going to make it cooler. As in, it's going to slightly change the color tone of it and I don't want that in this painting. It's basically just simple. We're going to add a lot more leaves. You can add branches like that. Oh, my God. I was talking and then I just used this fat tip of my brush to draw that thin line. I don't know how I did it. Now we're just going to make big leaves on them. Can you see? You see where this branch is incomplete? I intended to put the leaf there. Let's go ahead and do that. Make sure that we do add the leaf. Observe how I added those leaves. I added one to the left side. Maybe I should show you this in a different piece of paper. Here you go, this is a paper I was practicing, so I'm checking out some colors. What you've got to do is use the whole belly of your brush. I should have showed this to you when I was using sap green. Apologies. Here, start from the tip and then you're going to press the brush and lift it. This is a different brush, but most brushes would do this, any round brush. You got to start from the tip and then you got to press your brush and then lift off. You get these leaf shapes, and if you want to get a dual leaf, just do the same on top of it again so that you get another side of it so that you get, not a dual leaf, a fat leaf. That's what I meant. I'll get to it. Keep adding more to that side. I guess I'm making this one a big leaf over there. See how that's turned out. I like that one. Don't make any leaf standing in the air. Just add a teeny tiny branch just somewhere along the top. That's it. Maybe another one along here. I like how that's going towards the top. Should I add a darker one there? No, maybe not. Let me just add in a small branch and maybe the center line of that one because I can't see it. Maybe we can just finish it up because it's looking gorgeous already and we've covered up all the empty branches and everything. Although I'm still finishing up, but I just spotted something and I thought I'd do it. Here I'm taking a dark green and I wanted to add in a small leaf there and another there onto that. I guess that's it. Now we're officially done. We've added in the highlights in all the places. If you feel that you want to add in anywhere, you can do that. Like maybe to some of the edges of these ones, you can add a highlight. Not to all of them. Do some of them, but always to the right side, so this hanging thing, to the right side of it, but in a very thin subtle line and that subtle line is going to bring it out there. Oh, yes, I like how that's popped out maybe, but I won't add for all of them. It's just pops off highlights, like maybe a bit on that one. But do you see what I'm adding? Like if I add a bit and I blended that with my hands, and I like the big standout. We're done. We've got some leaves here at the top, which means I've got to wait for it to completely dry out. Let's remove the tape. Here you go, guys. Here's the finished painting. I hope you like it, and thank you for joining me today. 17. Day 11 - Golden Showers: Hey, All right, let us start with the painting. This one was one of the paintings that I had actually shared bits and pieces in my YouTube channel and many people wanted it as a tutorial with all the instructions and everything so I thought, why not include it in this class? Let's go ahead and paint some of those hanging flowers, not like the ones we painted yesterday, but these are oh, my God, at the moment, I can't get the name of it around the top of my head. It's floss that is usually kept in the Vishu festival. I know my language word for it, I can't get the one in English, but I'll obviously find it out and add it when I add the name to this lesson. Here I'm applying water to the whole of my paper. We're going to be having some fun today. Pick out your larger sized brush, for me it's going to be the size 10,1. I'm obviously going to create a very dark background. Here I'll pick up my green shade. I should probably replenish that green. [LAUGHTER] It's almost finished well over there, but it's okay. Let me go ahead and create a nice dark green shade. You can fill up some areas with Payne's gray as well. As you can see I am mixing it along with my green to get as dark as possible. Remember what I told you about in the last lesson, where your shapes are going to get one shade lighter. If you want it to be darker, you need to go for a color that's darker than the one that you're actually seeing. You want this color right now? Then you got to apply it darker because watercolors tend to go lighter as they dry up. They also tend to lighten up if there's too much water on your paper because that just means that there's less pigment on it. The more pigment that you apply, it's much better. But can you see there's a lot of watery regions there, so I'm just going to pick up more and more pigment. Maybe I'll go ahead and apply some sap green towards the top. I just filled these bands because it was [LAUGHTER] too light. Here I'm picking up nice versions of darker green and adding. We need this area to be nice and dark so you can go ahead and apply some dark brown, some Payne's gray as well. In fact, go ahead and add any kind of color that you want. Here I'm taking my brown, I am mixing into that and you can see you get a nice, somewhat darker, greenish brown shade. Let's put all of that in there. It's like trying to get different shades into your background I would say. There, more green. I don't think we should go for sap green there, let's just make the whole thing even darker. I know that this is the shade of color that I want, which means I've got to apply more pigment now on the top if I want it to be this dark. Here I'm making it even darker, taking dense pigment. Can you see? I'm taking more and more dense pigment and adding that. You can see how [LAUGHTER] randomly I'm applying these paints. I think I'll go ahead with some more of my dark brown, transparent brown shade and fill it over the top. Just at random places. Maybe some Payne's gray. I'm trying to make most of the darker colors towards the extreme bottom. If at all any light shades are there, I'm going to leave it towards the dark regions. As you can see here now, notice I'm making these strokes by leaving some gaps in-between and just some upward strokes. There is nothing that's uniform about this whole process. You just do it in your own instinct. See, I'm just picking up every one of those colors from my palette. Clear out your pallet. [LAUGHTER] That's the best way, just pick up everything and just drop it there. Have fun. Now that we've done this, now we're going to move into the exciting part, which is some of the wet-on-wet details. I've switched to my size 4 brush right now. That's my size four brush. I'm going to load it up with a bit of cadmium yellow. You see that? It's going to be slightly watery, not watery but creamy consistency. We need the best wet-on-wet. But this is going to be wet-on-wet, that's what I actually meant. We're going to do it wet-on-wet. Here, loading up my brush with a nice amount of cadmium yellow. What we're going to do is you're going to use the entire length of your brush. The entire length of your brush and you're going to touch in some places like that and be like a string towards the bottom such that it tapers towards the bottom. Do you see what happened there? We're going to do this at several different places. See, got to pick up more paint if it dries up, there. Let's pick up some more. Obviously it's going to mix up with the green because you've got wet paint. It's going to mix up. You might as well wash your brush in-between otherwise you're going to [LAUGHTER] mix up green into that paddle. As you can see, it's already darkened up a little. Keep at it. These are going to be very, very lighter guys. These are going to be the subtle ones. It's definitely going to be very light. Don't bother too much about it. But just remember to add it in a string of line towards the bottom. I think we're good to go with the wet-on-wet details. This one has a bit number of layers to do, so we'll dry this up quickly. Or if you're waiting for it to dry, then yes, you have to wait for it to dry. There you go. You see what I was talking about? See how light it is. Oh my God. [LAUGHTER] This is what I said, you've got to apply dense pigment. I guess these areas were a bit watery and you can see how light it's turned out. Let's get to the interesting part down now. Why did I pick up this size 10? I think I'll go for a medium-sized brush, which is a size six or size seven, whichever you want. We'll go for the next layer of flowers. For that here, I'm picking up cadmium yellow of course. But go for a slightly watery consistency now because we're going for wet-on-dry, remember. It's slightly watery. Do you see that? This watery consistency of paint, we're going to add it. We need to create these petal shapes so it doesn't have to be uniform. Just go ahead and apply several of these petals like that towards the bottom. See how it's hanging? The thing with when you're using watery paint is that this is going to fade out. This is going to fade out, but that's okay because this is still another layer of backgrounds. That's why I said we have a lot of layers to work on this. Just go ahead, keep adding a lot of these tiny layers towards the bottom. The painting that I did earlier was on a larger format. I think that was a four, so I'm just simplifying it. That one had a lot more details, I guess, and different kinds of flowers also. This one, different kinds of flowers. I had added petals in detail to some of the flowers, which we don't need to do. We'll try to simplify it. I'm also using a smaller size brush for this purpose. Here, using watery paint off my cadmium yellow and we're just going to add it. Don't add all of them in the same height as well. You can go some of them like all the way down, and you know some of them we can have them clustered out like that. See? I think this is also nice. You don't have to have all of them in a same format. I think I'll bring this one a bit downward. I like that. Let's keep doing this. This is I wouldn't say hardest part, it is fun, definitely, but this is the thing, you've got to go ahead and add all of these teeny tiny flowers. But it's fun because you're trying to get control with the shape of those things that you add with the brush. See that? Yes, you can go over the ones that you've already added as well. Don't worry about it. I'm just adding more and more. Some of them you can stop it way over at the top as well. That's why I said don't have anything in a uniform line or anything, just go ahead and mark and have fun like in different lines. Now that's done, can you see how each of these flowers are somewhere not connected? Let's connect them and for that, you're going to use a green that's going to be opaque. There are several ways to do this. You can either use olive green, which is opaque, I think we discussed this in the last lesson as well. You can either use olive green or you can mix your cadmium yellow with a blue or green to create another green that's opaque. It won't be completely opaque of course, but you can use that. You can use gouache paint or you can use the taylor green light from sennelier, which for me is right over here in my palette. Here in my palette. I'm going to be using that. You have to actually use a mix of green. Here all I'm doing is just have teeny tiny lines. Don't bother, they're going to mix up and that's absolutely fine. Just teeny tiny lines. You don't have to connect all of them either. Just have some lines connecting them. You see that. See my strokes. I'm not doing a single line either. I am doing these little, what do you see? Small lines such that many of these petals are connected. Don't do a single line all the way towards the bottom because there are so many branched out flowers as well. Just do it like in a teeny tiny line format. You see that? I guess for this layer, let's go with a lighter color. Either mix up your cadmium yellow or use a lighter green. The one that we added in the background, it's okay that it's not connected, but as you can see, it's barely visible, but it's still there as one of the lighter layers. All right, just a few more. You can try this in larger format as well. You just have to use a larger brush and to add some more detail into it. Some of these flowers because now they're so tiny that I don't have to focus on any of its details. But if you were going with more larger format and you definitely have to add in a lot more details when you're adding these flowers. I'll give this another one here. There, I've connected it, so already the beautiful. Isn't it? Just imagine when we add more layers, how it's going to look. Let's wait for this to completely dry out and then we can add more layers. Can you see how it's lightened up after it's dried up? This is what I was saying, like because we used a watery pigment. So now for the next layer, you can go for a little bit more creamy consistency and a bit less water than what you use before. We just add one more layer after this, I promise that's going to be it. This is a creamy consistency, the other one was a milky consistency, which would be like 50% water and 50% pigment. This is probably like 75, 25 ratio where 75% pigment and 25% water maybe. It's more concentrated, you can see. Then we're going to do the same thing. But now on the top and give it a bit more detailing and add those gorgeous flowers. Don't stop this layer on the height where the previous layer was, like for example this one ends here. I'm going to bring this one to a slightly different. See that? Maybe that will work. Like I said, we're going to repeat this process. Pick up more and more yellow as you need and make sure that it's nice and visible over the top because it needs to be denser than the one that you apply previously. Here, can see how this gorgeous thing it's turning out to be? I think that's good enough for that layer, maybe I should stop right there and go add our greens lines for these ones. The lines for these ones you can probably add in with a different color or blend in similar nice things. Maybe let's see. I'll try blending in with a little bit of pale green and cadmium yellow in fact. That will give me a lighter green. I guess that's a good idea. Isn't it? I'm going for it. Slightly different greenish tone that'll appear over the top, but not for all of them also, I am going to make sure that I apply different greens throughout. I have that connected, then I'm going to pick up a bit of my darker green. Can you see that? I'm going to add that. I'm going to add that to the same, but in several different places, I get there. This one and then we added this. The good thing about this is that when you connect it with cadmium yellow, it's going to slightly mix at the place that it is and then create like a roar look, which I love. If your paint is still wet, that's what I mean. Otherwise, or it can go over and mixed at the top to create like a slightly lighter greenish shade. This color now, just trying to mix it up, I don't want everything to be the same. Another one in-between here. There you go. That's done. Now all we do is wait for this to completely dry out and add one more layer on the top. That's it. There you go. It's dried up. Now we're going to pick up the cadmium yellow. I think I'll go for the creamiest consistency. There it is. That straight from the well here. I'm not going to add any water. You can see that's literally creamy paint. I know that this is maybe not be possible for those people who are using pans. But there is a way. It's the amount of water that you applied at first and now should be different. That's it. Each time when you're applying, make sure that you bring down the water content less. That way you're going to have more and more pigment each time. Yes, it wouldn't be denser as much as this one is. It's definitely going to be having a difference to the way your values are on the paper, and that's what's important. I'm going to bring my next one over there. Can you see how it's popping up on the top? That's because it's just dense pigment. In fact, I didn't have to touch it on the palate because you could just literally take up the pigment and apply. If you have not a pigment like that. We need to do this at a lot of different places. If you have poster colors or gouache at this point, then you can also use that because they're literally dense, isn't it? Remember what I said about bringing it to a different height than any of the others. I'll stop there. This one is at a different height. Can you see it's all different, and can you see how each of those flowers pop on the top? I'm just going to add a bit more flowers here towards where the top is where you can see the ends. You can see the greenish regions which I don't want. We'll add smaller hanging flowers there because I don't want the end to be seen. Not entirely. I'll just go ahead and fix in some more of the flowers hanging once there, trying to get rid of the roof part. Can you see an emptiness there and you can see a lot of that green coming through. I'm just going to get rid of it by adding some dense of flowers of there. That's literally what I'm doing. Denser last towards the top, or towards the bottom. If you're not from, Kerala, I don't know if you've may have heard about Vishu. It's like a festival that celebrates the start of spring and it's an auspicious day for us. I'm from Kerala in India. It's something that we used to enjoy as a kid because we have a lot of festival things at home and we cook a lot of food, then we wake up early and the we see this thing called kani, which is you put up a lot of things the day before you set it up and then you see it the next day so that it said that it brings auspiciousness to that year. Then we also add these flowers and it's one of those flowers that blooms at that point of time. It's really special for me as well. There you go [LAUGHTER]. Let me wash off the pigment from my brush and we'll just finish up with the last bit of detailing with the green and we're done. Oh, my God, today it was really quick, wasn't it? I love it when my painting is done out quicker than I expected. Sometimes I think that I'll come in and do something that's quick enough for 30, 40 minutes, and I end up doing it for one hour because you can never estimate the time that you need for some paintings. It's just one of those things, isn't it? If there's a lot of details, there's a lot of details and you can do nothing about it. Lots of green. Mixing the greens remember. Some darker, some light. Remember we added a lot more of these flowers to the top, so make sure you have more of the green lines over there as well. Make sure that lighter green lines as well. They shouldn't look like the background. I think we're done with adding all of that. But now before we finish up, what I'm going to do is I'm just going to add in some leaves. That's very important as well because these plants have leaves. It's very, what do we say? Unusual that the leaves are not popping in somewhere. Let's just add in some leaves, for example here. I'm adding leaf. I'm adding with this Taylor green light as well. Just create some leaf shapes around them. Maybe we can have a branch. I also forgot. Just at some places like from the top have an empty branch sticking out. You see that?That's an empty branch. Maybe you can have a leaf on it as well. See that? Doesn't need to be perfect, but it's just one of those things. Some branch lines outward and some places go ahead and add in these leaves. Trust me, if you don't add in the leaves, it's absolutely fine. But when you do add it's those things that I always say, someone comes and looks at your painting, they're going to see all of these teeny tiny details, and that's what matters, isn't it? Add a little of these. Maybe I will add one or two darker ones towards the top again. That's my dark green. I like that, how it's turned out. Those darker leaves because it pops out on the yellow background. Do you see that? Just basically some leafy shapes with my size too. There guys, we're officially done. I love the way it stand out. Let's go ahead and try this up and make him remove the tape. There you go. Let's remove the tape now. Here you go. Here's the final painting. I hope you like it. Here's the finished painting. Can you see how everything is in layers? Those lighter ones are behind, those denser ones and then you have even lighter ones like they're in the background. See that? That's why we adopted this method of using lighter colors first and then going with darker colors over the top in different layers. I hope you enjoyed painting this one. Thank you for joining me today. 18. Day 12 - Apricot Blossoms Part I: Let us start. Today is, the flower shape is going to be quite tricky, but I bet the painting process is going to be easier. Let's sketch out the flower first and I'll show you the method how I do it, so that you can do something similar. I'll have one flower here probably, and another here, and then few buds in the background. Let me just quickly show you, do a circular shape which we will convert into the petals. Once you've done that, so now we're going to have petals from this sheave towards the outside. Don't need to have a perfect shape for the petals. Can you see? I'm having different zigzag shapes. Your petals are going to go towards the inside. On the other side now you're seeing the petals that are going towards the inside. Again, that's okay. Then let's add more methods. These are the petals that open up on this side. Oh, my God, I don't even know how to explain them. [LAUGHTER] It's okay. We're just going to do some random. The thing about this flower is that you don't need to have it in perfect shape or anything. That's it. I'll share the picture in the end so that you can make yours. I'm combining these flowers from a different reference images. It's from different reference images. Those reference images that I'm using, I can't upload it because they're not from a copyright free source, but the picture in the end, what we make because it's accumulated from different references, will not be subject to copyright or anything. Don't worry about that. I've made sure of that, but that's the thing. I won't be able to share the reference, so I'll share my sketch at the end. There's one flower. I'll probably make another one over here. You can actually see the shape. It's not quite bad, isn't it? You can see how I'm tracing out the petal, it doesn't have to be perfect at all. Then lots of lines from the center, but we don't need to do that in detail. I guess there you go. We've got some parts of the flower done. This is towards the inside, and this is the inside part of that flower. All of these are like sitting on a branch. Made the angle of the branch slightly different, there. That's our branch, maybe we'll have some more buds. Guess we'll have some here, I'm not complicating this anymore. That's the pencil sketch. Let me show this to you closely so that you can sketch the same. You can pause right here, and you can sketch it. Here you go. This is the sketch that we need. If not this, you can also pause it at the very end and then sketch that as well. Now let's get to painting this. We can remember I said that it's going to be easy. It's going to be easy because we're going to do something that we've never done before. We're going to do a reverse process. Let me show you how we're going to do that. First of all, we're going to apply water to the whole of the paper, no masking fluid or anything, just apply water to the whole of the paper and yes I mean it. The whole of the paper, it doesn't matter the flower or anything, you just go ahead and apply water to the whole of the paper. This is one technique, I'm not sure right now, but I think I haven't covered in this class yet. Let's just go ahead and paint that. Here you go, I'm going to start with my Size 6 brush, and I'm going to be starting with my transparent yellow. There's my transparent yellow. That's the color of our flower in a very watery consistency. You can see the watery consistency I have here on my palette. We're going to paint the flower. You can have more watery consistency, I guess. Then we're just going to paint the flower. Yes, and I know that you're going to say, oh my God, isn't the paper wet? Isn't it going to flow everywhere? Who cares, let it flow. Trust me on this. I'm just painting along the inside of the flower as you can see. Obviously, we'll go along towards the outside as well. But it's okay if it flows outward for you. But I'll just state somewhat to what's the inside, as I said there are some white areas at the end where the petals are. We'll do the same for this one as well. Cover the entire center portion and the petals and the outside region as well. You know what? Remember this extra line here that I've added which looks as though that petal is slightly bent, let's cover that whole thing up. It's got over here as well, and there's one over here as well. Anywhere where you've got the petal in a folded manner, we need to cover that up. This one, this one, and this one, the rest everything is fine I guess. It's okay even if your paint is flowing outward and you can see for these petals, the paint has already gone outward as well, and that's absolutely fine. Here again, I'm going to pick up my yellow. We're going to paint those buds. That's the bud. There is the bud, and there's the other one. Now, let's add in. No, I don't want to add in wet on wet right now. There's the bud and then the flower here itself. Now, let's give some darker colors to the flower while it's wet. Here I'm taking a bit of my Indian gold. That's my golden sheet. Now we're not going to let this flow outside. This is just for the inside of the flowers. I told you that this was the inside of the flower, just apply the paint there. Anywhere on the petals, just let it flow towards the outside, but just stay towards that inside region. The same here, along the inside. There, that's it. Then what else? Maybe on the buds, we add towards the bottom. As you can see, it's spread out a lot and I see it's absolutely fine. We've painted the flower and you might be thinking, oh my God everything is just spread out in the shape of the flower that we just painted. It's gone. Relax, let it go. Now all we got to do is wait for this to completely dry out. There you go. My paper is completely dry and can you see how lighter my colors are? I should remember to keep applying darker layers or give it that's alright. Now you can see it's all spread outside, but you can still see the pencil sketch that you've done. That's because you've used a color that is very light obviously yellow. You can still see your pencil sketch. That's what we're going to use to paint our background. Pick up the largest size brush you have. Because it's better to do larger strokes, isn't it? I'm going to go ahead with my size 10 brush, which is my largest size brush. We're going to paint obviously [LAUGHTER] the background. Let's see how can we do the background. I think I'll start from this corner. I'm right-handed, so I just started from the left. Let's start from the left-hand corner. I'm going to give a very nice contrasting background. I'm going to start with my Taylor blue here. That's my beautiful Taylor blue color. I'm just going to go ahead and trade away at lie my Taylor blue color. But note here, as I reach towards any of my bud, I'm going to go trace it on the bud. You can obviously see it gets into a slightly greenish tone, which is absolutely fine because you're just going to be applying more green and other colors in a while so that won't be visible. Just go ahead and use your pencil sketch to apply the colors. There you go, started with Taylor blue color. But now we're going to darken this up. That's not my indigo. Then after that, I'm going to be moving to my Indigo, which is a darker tone as you can see. This darker tone of indigo, I'm going to apply at random places. Is the bud. Just going to let it be there right outside of my bud region so that green, it doesn't look like a halo around my bud. Then just going to use that to create the shape. Use that and go around the petal and you don't have to go out on perfectly as well. Because remember we created some uneven shapes when we were creating the petals. You don't have to let go and sit and concentrate very much to get the perfect job. No, you don't because like I said, it doesn't have to be uniform. See how quickly I'm doing this. Just because of the fact that you don't have to get those inner perfect shape. Just follow along the pencil sketch such that you don't leave any pencil marks. That's it. Let's do the same for these petals. Remember to apply your stroke such that your previous stroke doesn't get dried. Can you see this area is already starting to dry out, so I should weekly paint over it. Otherwise, my paint is going to dry out and create harsh edges. We have to prevent that. We have to keep painting in those areas and make sure that we don't get any harsh edges. That's one thing we need to be careful of. The thing is you can stop here and even if it creates a harsh edge, that's fine because that's like part of the branch, isn't it? There's a harsh line there. It's going to be okay because you have an object there. This around my other bud. I don't want to cover the entire bud I want to give it a different color, don't so I'd go back to my Taylor blue and mixing it a little. We're just going to do a blending process between these two colors. We're going to be doing this wet-on-dry blending. As you can see, I'm blending, but then I use a mixture of these two colors to gather to blend in and create my background. Do you see that? This is something that I've probably not done in this class. Or have I? I can't remember because I practice this a lot in other paintings before I'm showing you for the class, so then I seriously can't remember if I did teach another or was it when I practiced. Now I'm just going to create some more background buds. Remember I said I was going to do some wet-on-wet ones? Maybe we'll do that right now. Add some wet on-wet buds in the background maybe. No. I don't know if this is going to mix up and read like a dense screen. But let's see if we can prevent that. Mixing up in random. I think Indigo might be helpful around two Indigos. Definitely helpful. Like I said, I don't want to be restricting to such dark color around my stroke. I probably should let go and let it be having a little green color. I think it should be okay. Don't let it create a dark line. Rub your brush along and make sure you get rid of any dark lines. Go with a bit blue now and create that nice edge. You can see I pick up a blended mixture of both the colors because we don't want it to be like in a single color, as I said. Keep your brush in hand and just move it around with both the colors. Sometimes I pick up the bright blue and sometimes I pick up the Indigo, that is it. That's what I'm doing here. Just remember to have your strokes. Do not let dry out in this process because we've not wet the paper. You can't go back to this left side because it's already dried up. That's the disadvantage of this method because you're taking your time to draw and paint on the other side. That side is now almost dry. You're going to have to endure that. That's it. Have I told you how much I love this Taylor blue color? I think I might have a million times. If you've taken all of my other classes before, then you definitely know this about me. I'm only reapplying the colors to the area where I can see my paint is still wet. If you see that it started to dry out please don't go and reapply. Well, I'm just trying to soften this up a bit because I see that there is a blue bright yellow and I don't want that yellow to be too bright, so I've just lighten that up a bit and probably will see how I can manage and add some darker colors at random places. Getting to this side, I stopped at big data because there was only like a very teeny tiny corner there in-between my branch and I'm actually painting on my branch right now. I'll skip that region. That was supposed to be my branch. I'll stop painting there and get to the underside. But in fact, what the underside, I'd like to go with another color. I'm just mixing up a bit of my olive green there. Let's not create like a dual. But uniform color. That's why. Just picked up my olive green and in order to lighten it up I'm going with a bit of my yellow there. The reason why I'm doing that is because this branch here, it's got a highly contrasting blue towards the top. If you want to bring out that branch to the foreground, you need something that's going to contrast it at the bottom there so that it seems like the branch. Otherwise your branch just going to just get out of focus, I would say or in-between two dark colors. In order to avoid that, that's why I'm painting that with a light olive green color here. Look here I just added that olive green color and because I wanted it to be light, I went and added some yellow tones here. Put in some yellow and then when this whole thing dries up, we can add in the branch. That effect that I told you about where you're going to see the two dark colors simultaneously is better when you add the branch here. You'd have to add some white on top of it to bring out the highlights. No wait, there is thing in between there. Let me get that done. This area in-between is supposed to be blue as well. Now all we have to do is wait for this thing to completely dry out. Now that it's all dry, that's the background that dry, can you see how it's a contrasting? But you can see that the flower is not done yet and we've got lots to do it. Let's go ahead and paint that branch right now. For that I will pick of my yellow ocher to add in a bit of a nice highlight. Again, there at the top where it's joining the blue. Just to bring out that little highlight. It's not going to have that Taylor there because it's got the flower, so it's going to be very, very darker in that region. Remember that. You will probably get in a bit of a highlight on this region, but a yellow ocher is not that opaque to come on top of Taylor blue. That's okay. That's a mistake that I actually did. I had to paint sketch but then I painted the Taylor blue over the branch. Here, the next color, I'm going over, dark is my fancy it now, as you can see, just took up my fancy and you can see it's a very subtle yellow highlight now. Each time you add, you're going to reduce that highlight. Then the next color I'm going to be taking is my dark brown color and that is the ultimate color. Not ultimate. I should use Payne's gray as well. I don't know why I keep seeing these things. That's the next color or the branch, as you can see. You can see, now we go to trace it around the pattern that's there for this flower. Remember to let your colors blend in together towards the top, the yellow ocher or any lighter colors that you added will contribute to the blend and create those lighter shades. That's what the purpose of those colors is can see how still it's got that lighter tone towards the top, but we still need to add in darker contrasting color and that's where Payne's gray will come into the picture because it's going to create a nice, even a darker contrast at the bottom there and you're going to need a darker color towards where this flower is joining as well. Because like I said, that flower is going to cast a shadow onto our branch. It's definitely going to be darker there. See, it's darker in those regions and then just blending the color. We've created that branch, yes we need to do now more branches, the other ones that we sketched out. How was it? We can see my pencil sketch, so I'm going along those pencil sketch now and where was it? This was the other one. Can you see how you've got several branches? Those ones are in the background so you don't need to add any branch. But let's add other branches here from this tree on to the lighter region that we made. There I've created broken branches and all that's absolutely fine. Then we've got, oops, I dropped in a large drop of water onto my flower. Thank God, it's not wet. It's dry. Then, oh yeah. Those branches for that, I'm going to mix in a teeny tiny amount of my Alizarin aim to my brown and do you see the beautiful color that you get and we're going to use that to paint this branch. That was Alizarin and transplant brown mixture and you blend that in and you create that gorgeous reddish brown shoes there and we'll probably add in a bit more with the Alizarin and brown mixture. Become a bit more of my Alizarin error and that is what is going to go at the underside of our bud as well and our bud getting have like little branches and you can have some branches coming out from there. I guess I have a branch. These are just with my brushes, so I've added that in and I guess it's going to be really good if you take up the Alizarin and add on this side as well, because it'll show up on that nice yellow, green background. 19. Day 12 - Apricot Blossoms Part II: I guess we're good enough. I think one of the brown paint that we have applied is dry now. I'm going to move on to this flower. Or maybe we can actually do this flower first. Painting those flowers are going to be really simple. Simple as in, there's a lot of things for us to do. We have to paint its petal by petal, but trust me it's not that tough. Just observe the positions of the petals. This one is a petal that's on the outside. I'm going to take up my Indian yellow, mix it with a bit of my Indian gold. I want it to be a warm yellow tone. I'm picking that and I'm painting into that. Can you see, I've painted that at over in all of the areas of the outside. Let's do that. Here is one, then this one. Then there's this one. These are the areas where the petals are bending. Can you see? Now as you've already added that, you can see how it's given a bit of a form to that flower. Can you really see that? How this has got a really nice form? Actually let's do that for these ones as well so that it becomes quicker for us. There, that was an outside petal. Then this one was another fold. For this, unfortunately, that's all the folds I can see in my petal. There's a bit of old heap there. That's the only fold that I've made in my sketch. That's the only thing I can see. Now, I guess the other areas are almost dry because I didn't apply much wet paint or anything. I'm going to take clear water and now we're going to create the petals and how they separate out. Here I'm just going to apply some water, not at the center, this petal and don't go towards the outside as well, just along the inside. We're going to take the same color and we have to apply this in wet on wet. That's the reason why I said don't go towards the outside and don't go towards the center as well. Here, just apply a bit of yellow tone to that petal. We're going to do the same thing to the other petals. But in order to create the separation of the petal, here's what we're going to do. Let me show you with this one first. Can you see that I've got two petals here. This one is below this one. The one that's below is going to have a shadow or more color because of the one on the top. What I will do is I will apply water to the one that's below, tracing along the shape of my petal. Pick that color and apply it right there, which will then create the petal difference for me. Can you see how now this one is lifted because you've painted some color onto the underside of that. Sticking a bit of that warm, I'm making it warmer by adding Indian gold and you just add it onto that red region. Now that petal is lifted, you're going to do this process for variable petals that you need to lift up onto the top. I can see that this one and this one has a separation. Maybe there are two ways that you can do it. You can apply or paint and then soften it, obviously. Or you can wet that region and then add the paint. Now you can see a separation between these two. I think watering method is much better. Here there's two petals that I want to bring out. I apply the water and there's my Indian gold and my yellow mixed together is to be very subtle so don't mix too much as well. Can you see just applied a bit, but make sure to spread it out, and there. Now, I can see already how that flower is, it's gotten this shape and everything. Can you see that? I guess we just applied water there so we'll let that dry before we paint in the center part. Let's go on to this flower now. This flower, same procedure. This petal is like protruding from here. This is like the petal and this is like the bottom petal. Let me make it that bottom petal by applying water and adding nice shades of yellow there. Here's my yellow and if I add it to that region, that's going to pop out and I'll do the same this area. All right. But don't go towards the outside. Don't go towards the edge of any of the petal. This petal is now what's the outside. I'll take my Indian gold again and apply along the edge of that one and bring it not it forward. I actually let it go downward is the correct word to describe it, isn't it? Because you letting it go under the other one. See that? How each of the petal is lifted. Another thing to note here, I applied, or onto the top petal here, I apply the color that was yellow and it didn't go with mixture. But then now when I came to the bottom again because I wanted it to bring it more downward, I applied Indian gold there. Direct Indian gold without the mixture so that it's a bit more denser in color. That's what I've done. I'm going to do the same for this one here. I want to make it go downward a bit more. I'm taking just Indian gold and applying there. Add it there. As you can see, that petal's gone downward. Then like I said, this was the center but then I need to bring in a bit more color like we did there at the center. Here I'm just applying a teeny tiny amount of water there. I applied a bit of water to the separation of the petals so let me just take that off only towards the center here. I'm not going towards the outside. Taking my Indian yellow and just adding some nice colors towards the center. Then where else? This metal is coming from the inside again. I need to darken up the base so that it shows that it's coming from the inside and has the depth. Think of regions where it's supposed to create the depth. When there's something joined together, let me show you with my hand. If something is above on the top, this one is on the top and this one is below it. It's going to have a shadow on the top. Can you see it's got a shadow? This part here, because this one is on the top, is going to have a slightly darker color. Whichever region you want to create. If you look at this petal, you've got these other petals on the top, which means that bottom one, it's got to have a little bit of darker yellow color. That's what I'm doing with my golden shade right here adding that golden color at the base so that that petal goes under. Then obviously you can just blend it towards the outside. You won't have any shadow. It's obviously lighter towards the outside, but can you see how it's darker there at the place where it's joined and especially this end here, it's got a lot of elements there that's going in together, so it needs to be nice and more darker, I would say. Can you see, and that's why I apply darker Indian gold there. Then here we have another petal separation where that outside petal is on the other side. I'll just pick up a mixture of Indian golden yellow there and add which will bring out my other petal in the front. I guess, that's it. While we've done that, the other side is white and also let's go ahead and paint the buds a bit. Here I'm just applying water to the bud region because I'd like to bring more colors into it, give it a rounded shape. Here I'm taking my Indian gold. It's just going to paint one side and the base just to one side, and the base nicely, just a base, give it a darker color. That'll give a slightly rounded shape to it. Now, once you've done that, let's get back to the center portion that we talked about. This here is the center of portion, so the ultimate center portion of this flower is right here. I'm just applying a bit of water there. Then we're going to pick up a little bit of rose shade. There you go. A bit of rose shade but I'll add in a teeny tiny amount of violet to that just because I wanted to make it cooler, and another reason is because when you've got yellow already there, it's going to turn into an orange shade so in order to avoid that if you add in a bit of violet, it'll become pinkish. See. Just a bit of violet and red and create these strokes. Red nicely towards the inside and then some lines towards the outside like that. Oh my God, I just love how this flower is coming into the picture. Then we're going to do the same here. This is the center portion of this flower. This right here is the center portion of this one. Wherever the center of portion is, we use the same one. We now crude on red or rose plus a bit of violet. We put that in the center there again. Like I said, create some strokes towards the outside. That's it. Now we'll wait for this to completely dry out and add in the center part of the flowers and we'll almost be done. Wait, I just noticed something. Let me know if you've noticed as well. Remember I told you that this petal was below and you've got to paint a darker? Look at these two petals. We've got a petal here and these two are below it to wet the shadow. Don't forget shadow ever. Here, just writing that. Let me write this one as well. It's going to have nice and dense shadows. Taking my Indian gold, lying it right below there. On this one, softening it towards the outside because you've got to have gradual colors. You can stop. Denser shadow color. Now, can you see these two petals there? They have a separation and I've drawn it such that this one is below, so when this dries out, I'll bring this one forward. I guess I just have to wait for it to dry then to add in the center once. Let me go ahead and bring this one forward a bit. I'm taking a bit off Indian gold again, and I'm going to apply right there. As you can see, I painted it wet on dry with a dense color and then I'm going to immediately soften it out. That will make it turn to that dense color there and pop that petal downward. Can you see? Because it's got the shadow. Now that's definitely down. You've got this one below then this on top of that, then this on top of that, and then these other petals are on the other side. But can you see how we've captured lots of shadows and everything with this technique? I guess I'm seeing a little bit of unevenness here, as in I'd like to bring this a bit more downward. I'm just painting a bit more of my Indian gold in wet on dry consistency, and then I'll just blend it outward which will take those downward. This is basically softening method. That's it. I like that better now, now that it's gone down. But since we didn't paint anything in the center, we can go ahead and add in our center areas. That's going to be simple. Let's shift to a smaller size brush. I'm taking my size 2 brush right now. For painting those center drops, we're going to need a lot of Indian gold. If you don't have Indian gold, you can just mix it up. This is quinacridone gold, Indian gold, you can call it anything. In fact, a mixture of alizarin crimson and PY150 or transparent yellow should give you a nice golden color like this. Taking that Indian gold shade, this is the trickiest part actually. Wait, before the Indian gold, actually let's do it with the white paint first so that you know where to add in those drops. Otherwise, with the white paint, then there'll be difficult at the end. I'm sorry. Let's start with the white paint first. This is a nice amount of white bean to go ahead and pick it up. You can also use a liner brush if you want. You don't have to use the same brush that I'm using. The liner brush might be convenient for you if you want to draw very thin lines. I'm just going to stick with this. Using that, you are going to add in a lot of lines and that would be from the center towards the outside like that. Can you see? This is the center point, where we added that quinacridone rose and violet mixture. You're going to do that and you're going to add a lot of white color there. But don't stop there, you can have very tall ones as well. Some of them can be like really tall and some of them can be smaller as well. Add at the center. For this one, let's add the same thing. This is why I said you can use a liner brush if you want. I know if it's helpful for you, you can still draw a thin line. I guess that should be enough. Once you've got that done, now we'll get the Indian gold that we mixed up. The dense Indian gold. In fact, these ones at the top in Indian gold is not going to work. First, let's do it with cadmium yellow because you got to paint it big over the top, remember? What you're doing is just adding a teeny tiny blob at the top of the white. I've added that and I love it how it's popping up on the blue background. Then what we do is you'll use a mixture of cadmium yellow and the Indian gold if you can. If you can, it's okay if you don't and if you use Indian gold, that's absolutely fine. But if you can and you use a same mixture, that would be in a great color, and go ahead and add in dots to all the end, you need more of my Indian gold to make it visible. But, do you see I'm adding this color to the top of everything wherever I have that? Oh my God, it's looking beautiful, isn't it? Do the same to these ones. I guess we're done. You know that when I say we're done, there is something always missing, isn't it? I just noticed you need to create a separation between those two buds and it's very easy. Pick up a little bit of the Indian gold, add it to the end and just soften it out. There, added Indian gold to one of them and I just softened it and there. Now, you have two separate buds. That was very simple, isn't it? Officially done. Oh my God. One thing I want to tell you about this painting is that you can do a lot more of this. Trust me, you can sit and paint each petal by petal, add in teeny tiny details, make it look literally so good. I've omitted lots of shadows here. For example, you can see this one is coming from the inside, this one is coming from the inside, there's this one coming from the inside. All of them can have shadows. I just wanted to make this as simple as possible, and take the denser shadows here and added that. There's a lot of things that you can do to this, but I haven't done it because I wanted to make this class as simple as possible. But, let me know if you would like to have a very detailed class on painting florals and flowers. Now, work on it some time. For today, I hope you enjoyed this one. Let's go ahead and remove the tape. Guys, there you go. Here's a finished painting. I hope you like it. Thank you for joining me today. 20. Day 13 - Globe Amaranth Part I: Let's start. We'll sketch out the flower at first. It's going to be really simple. Nothing really fancy here. It's just several large blobs. It's not exactly a circle, but somewhat like an oval shape, not an egg shape, but oval shape. There's one. Then it'll have a leaf in its side and then it's branch where it's attached. We'll have a few more along the side. There's another one. I've added another bud. It's not a bud. It's a different flower, I would say. I don't know the name yet, but I'll find out the name before uploading. That one's really close and maybe I'll have another one that's really tall. It's at the top over there. It's got its leaf in a different shape and somewhat larger blob. Some more onto this side, perhaps. I guess this should be a bit bigger. I'm just trying to make it a bit bigger. That looks much better to me. Probably another one. This one can be smaller. It's going to have several of these branches. I guess I'll add one that's crossing over. We've already done several of having branches like this. I guess the snowdrop was one where we had a lot of branches. I guess that's enough for the pencil sketch. Let me show the student loosely so that you can sketch it out. There you go. That's the sketch I've made. Nothing fancy. It's very simple, isn't it? Now let's get to painting this. Let us start. Once again, we're going to skip the areas of the flower. Basically, each of the flower pot is where we're going to just skip. You don't need to skip the stem. Just a flower mainly. Here I am applying water. I'm first using my larger size brush, and I'll apply to as much larger surfaces as I can after which I'll shift to a smaller size brush to apply water. I guess I've covered as much as I can. Now I'll shift to my larger size brush and cover the rest of the areas. Here's my size 10. I'm going to go around my flower. Just a flower, don't bother about the stem. Right now it's okay. The stem is perfectly fine. There I'm going around. Let's keep adding. As you can see, I'm going around each of my flowers. I know it's a hard task, but we've got to do what we've got to do. Oh, my God, I think that's done. I've covered around all of the flowers. Now, all I've got to do is make sure I re-wet any regions where I see that it's starting to dry out. I think all of it looks good. I can see that it's nicely covered. Now let's get to painting this. I'm going to be basically starting with nice yellow shade. You can pick out any yellow. I'm just speaking out whatever here is in my palette and I'm going to mix a green shade with that. There's my yellow. Do that. I am going to mix in a little bit of ultramarine blue. That will create a green shade, as you can see, but it's a very lighter green. I've only mixed in a little amount of my ultramarine blue. Here's the color. I knew it was reflecting the light. We'll apply that color at first. You can go ahead and apply that color to the base regions. Like I said, don't bother too much about the stem right now. Let it be. You can paint over the stem area, just keep the flower. That was my cadmium yellow. You can also use any other yellow, aureolin, or anything. Maybe not transparent yellow, because that's a very warm yellow and you might get to a warm green. In fact, this is a warm green, but you know what I mean. I've added that, but now before I add in towards the top regions, I want to add in some other flowers. That's going to be pretty to add some flowers. Here's what we're going to do. We're going to pick up a little bit of the quinacridone rose, but make sure that it's in a very very creamy consistency because we don't want it to spread it on too much. I need a space for mixing it up. I know what I'll do. This is already like an alizarin crimson mix. I can get rid of that. There you go. Now, let me get my quinacridone rose, and a little bit of violet perhaps to that mixture. There you go. Can you see? That's quin rose and a tint of violet just to tint it down, and now I'm going to add my buds at random places. One perhaps there, one there perhaps. If you're thinking that your paint is spreading too much, you can go ahead and mix it up again. I've made it into a creamier consistency because I felt that it was spreading a bit. There, I made a large blob there. Just go ahead and make large blobs at several random places. These will be the subtle ones. Remember, don't space them all apart at one go as well. Try and have some things together also, and some things out of the frame. Some of them can be close together as well. See, it turned into a different color because I applied it onto the green that we mixed. I think that's okay. One advice would be to don't go over the stem. Leave the stem of any of the flowers. That's good if you can just leave it, because that stem, I intend to have something there, and to paint it in a different manner. I'd like to leave that blank for now. When you're painting the flowers is what I mean. You can have so many flowers clustered together. I guess I like the way that's done. Now, I've added many of these blobs at several places. Now, let's go ahead and mix in the green again. That's my cadmium yellow. I'm washing my brush because I don't want to contaminate my ultramarine. Here's my ultramarine, mixing it up, a bit more of my yellow, I guess, and I'll use that. I'm just going to add over the top. I've got no choice to run than to contaminate my ultramarine at this point. What now you're going to do is, you're going to add the same color all throughout but without touching the flower and the wet on wet flower that you did. It's just going around every one of those strokes that you've done. Keep mixing the paint as much as you want. The good thing about when you're doing this mix is, each time you mix, you'll never get the exact same color. That's going to be a slight variation, and even if you do get the same color, it's absolutely fine. But then that's the beauty of mixing colors. You never tend to get always perfect shades, and that's what I want with this painting today. I don't want to get the same mixtures. I'm just trying to mix my greens, and that itself is a wonderful exercise, isn't it? Just mixing my greens with ultramarine, and if you find that any of your regions that you've already painted are starting to dry out, go ahead and re-wet them again. I'm just going over these areas that I've already painted as you can see, because I spotted that there was starting to dry out. Now, another thing that I'd like you to do is, these large blobs that you've added, try and see if you can leave a little bit of whitespace towards the top of each of them. I didn't manage to do for there, but maybe if I do here, and see, I managed to draw a little bit of whitespace towards the top of that one. As much as you can, leave a little bit of whitespace. Maybe a bit here. Yes, I managed. Not towards the bottom, towards the top of them. Go ahead and keep trying. Yellow and a tint of ultramarine. I've got to be careful. I'm too quick in doing my brushstrokes, and it's going to touch some of these flowers sometime soon if I'm not careful. Oh my God. I've got to be quick, my other areas are starting to dry out and I can see it. I really have to be quick. That's the thing with this painting. Another tip here, if your paper is not drying out, then you got to make sure that you are applying a really wet paint. If you apply a too much creamier consistency of your paint, then it's going to dry out quickly. So the more water there is in your painting, then it's going to stay wet. See, I'm just re-wetting some of the regions that I have spotted is starting to dry. Now, we've got only the large blobs of our flowers empty. We've covered the rest of the regions, and now we'll mix different greens. That's the trick of this one. Here, taking up cadmium yellow, and a bit more ultramarine into that. See, now that's a slightly different green, isn't it? We're going to apply that. But now, the thing is, we're going to apply it in different places, and make sure that you try and skip the region of the stem of these plants. Now is the time that you try and skip. But even if it goes on top of the stem, no need to worry too much about it. Don't stress that, Oh my God, I've painted the stem, oh no. Nothing like that. It's okay, I'm just trying my best to try and skip it. That's it. Here, as you can see, I've tried my best to skip the stem. Some of it might spread, some of it might not. It's absolutely fine. But you can see I've got a somewhat nice yellow-green color there. Let's do the same for some of the top regions as well. Oops, it's starting to dry out, I've got to be faster. The thing about using ultramarine blue is that, because it's granulating, there is a possibility that it will granulate out, and that is also beautiful. Now it's time for a darker colors or more ultramarine blue into the mixture, and can you see now it's a bit more cold. This one, I'll only apply more towards the base when the ultramarine blue. You can use that to create the stems, but it doesn't have to be perfect. Can you see that? Just use that to create the stems and also the leaf part under each of these, not all of them. It doesn't have to be uniform. Like I said, just try and get it. That's it. Just trying to add a flowery thing below. Trying to add a stem structure, you don't need to add for all of them. Just like random bits, and you don't even need to go and complete it all the way towards the bottom. That's also one thing. Do you see that? Can you see how softer these flowers are? I liked the way it's turned out. Now, what we're going to do is, we're going to wait for this thing to completely dry out so that we can go and add in the next layer. 21. Day 13 - Globe Amaranth Part II: All right. Here you go. My paintings now completely dried. Now we're going to do a step that's like really difficult, so hear me out. I bet you're going to need two brushes for this purpose, you can either use two large brushes or you can use a flat brush and a large brush like this one. First of all, what we're going to do is we're going to apply water to the base regions. That is not a stem. You're probably going to still see your pencil sketch off the stem that you have. I'm dropping water. I'll start with the left side here. Here I'm just applying a bit of water. In fact, you could do the step with just your brush if you're confident enough. Let me show you how. Here, you're going to mix your green again. Let's mix it in a nice quantity because you don't want to waste your time mixing while you're doing this process, because it's very important that you do the softening before it dries up on the paper. I've got enough yellow there. Let me pick up nice ultramarine blue now. We need it to be darker. It's definitely going to be more of my ultramarine blue. Nice, and dark. Even darker, more ultramarine blue, come on. Well, I've got to clean up my ultramarine blue ones are done with this. I hate to see my palette genomics with other colors. I've got no choice and I don't want to waste paint by washing my brush each time. I've got a darker mixture. Can you see that? That's a fairly nice and dark mixture, isn't it? This dark mixture now, we're going to apply onto the paper, but onto the areas that are not the same. This is why I said, you need another brush and quickly, go ahead and soften it out where it's not the stem. It needs to be really softened out. Here, this is another of the stem, if I paint alongside that, and for this flower, it's meeting in the middle, so it's absolutely fine, but the other ones will have to deal with it. See, I'm going to soften it now. I'm going to soften it outward. Just leave it at that. We're not going to spread that color towards the outside, but can you see how there isn't that darker color towards that top region there. Let me show it to you on this side. If I pick up my darker color and go along the stem and leaf, just that, I think here along there is the stem as well. Now I'm just going to quickly soften out this color. Where's the edge? To soften out quickly again, because I've got a flower over there and I can't have the green over my flowers, so I just use my water to blend that, do you see? This is definitely a different technique. You got to be careful when you're applying that green over there again, don't go over to the flower. Here I'm spreading it out and see I'm getting a harsh edge there, but we really don't want a harsh edge and we don't want it show where the edge of those green strokes are. It's just basically spreading them out. I got a little bleeding in there because I wasn't careful, but I think that should be okay. Let me do for this side. As I approached the flower, I will start to spread this outward. Just using water. See, it's just water on top of my wet flower, and it gives it the edge. Spreading that with clear water towards the outside. There, I have spread that with clear water towards the outside. This is the problem when you've haven't spread it out evenly, you get stopped to get these bleeds in between, which is something that I don't want. I'm just trying to soften it out along towards the center. Another alternative that you can do is, like I said, you can apply water. Here I'm applying the water. This one is easy because it's like inside for me, the way I've sketched it. Here I apply paint. I think I need to get it outside as well. See, that's the thing. Now I will spread that towards the outside such that the green that I'm adding is not even visible. You just got to spread it outside using your brush. What happens when you do this way is that you see the stems of those flower, they pop out. Like I said, go ahead and spread it out. I have covered the darker areas on the right side and now a bit on the left is left. Spreading it out and over to the left side because there isn't any flower. You can just apply some water and have the green go over to the top. You have to do a bit more of it towards this side. You can do so by applying a nice amount of water and re-wetting those regions. I know that this is quite difficult, but you've got to try it. You can make it even darker by picking up just ultramarine and adding. You can see a bleed here over my flower and I'm going to get rid of that just using water and taking it upward outside of the paper. There we've got some nice dark edges. But let's test this thing. It's too dark here so I'm going to go ahead and try and put in a bit more color there adjacent to that and then spread it out. That's much better. Now, all we got to do is to wait for this to completely dry out. Once your paper has completely dried, the next step is to go ahead and paint these stems. For that, I'm going to switch to a smaller sized brush, maybe like a size 4 brush. What I'm going to do is now I'm going to use a very different green from what we've applied on the paper. So that green that we applied was ultramarine and cadmium yellow mixed together. I'm going to use the phthalo green from Sennelier, but you can just use sap green or hookers green or any different green. If you're mixing up your green, try mixing it with a different blue so that you'd get a different green. That's the whole idea of this thing. That's it. Starting from the left, here I go. Here, I paint those stem. You can also go ahead and bend those leaves if you want. Again, not if you want, yes, you've got to paint those leaves. Your green will have that underlying tone of that lighter green that you applied and that's a good thing, isn't it? Even if you skip or accidentally don't make the perfect stroke, then it'll still be green underneath. But this way, you're covering up the stem and it pops onto the background. Because when you added it in that color around, did you notice that it was like it went all the way back because you put something right adjacent to it and it was like, hey, it is gone backward. But now when you add this, it comes forward again. Remember, you have to add in shadows later on. Let's just do this process. This is why I said that even if it's spread to my stem on this one, it's okay, I'll work it out because hey, see, it's gone. It spread, but it's fine, isn't it? The whole thing won't look nice without shadows. So right now it's going to look like, hey, it's just one color and might not look that interesting, but when you put in the shadows, it look much more beautiful. Trust me on this. There you go. Finally I've managed to add in all the green shades that I wanted. Now, let's move into the shadows, shall we? Here for the shadows, I am going to take in my darker green now. It's a lot of different greens and this is the reason why I mixed in my greens at first and not use the green that I have directly on my palette. Because I wanted to use these greens for when I'm adding the shadows and for other things. Here I'm adding a darker stroke, starting from the top towards the bottom and then we're going to blend it downward into that lightest area and onto the leaf as well you can have the green stroke on just one area, so here. That is the leaf. My stem is going to be slightly greenish towards the top. If you want to blend it, you can pick up a little bit more of that green and just blend it. The light is from the top, and this is why the stem is darker towards the top. That's why we left some highlights at the top. Remember when we were painting those background flowers? You've got to add the light from the top. The light is from the top, which means the shadow will be right underneath the flower. The flower is like that and the stem at the bottom, will have the darker just because light is from the top of it. All the darkness towards the top and then as it goes downward, you can just blend it. Let's do the same here, the center portion. Then as it goes downward, it just gets blended. Add it, it's a nice darker shade. I'm going to do that for all the other ones and now the leaves. Hey. Now we're almost done with this painting. We just need to add in the flowers. That's going to be easy. Remember that color we mixed the Queen Rose and the violet, it's got to be the same color. Queen Rose with a touch of violet. More of the Queen Rose, please. Let's make that gorgeous flower. Let's start from the left one. What you're going to do is, but now you've got to make sure that you do leave the highlights at the top. Have it such that you leave some white areas at the top. You can just blend it and create some softer edges at the top. Or you can leave a harsh white edge at the top as well. It doesn't really matter. What matters is you add in shadows. Here I've picked up a little bit of extra violet, mixing it with that blue Queen Rose shade. We're going to put that at the base. It's going to be darker at the base, but lighter towards the dark. We're going to repeat this for all of the flowers. Here I'll show you one where I'm applying with the wet on wet technique. Again, if I like that, I'll do that for the rest of it as well. Here, I'm applying water. I think we did this for one of the lessons, I do remember that wasn't the tulips one. I think so. Again, here applied water. Then we go with the Queen Rose. You can actually go and paint with the Queen Rose all over, at first. Here's the Queen Rose, remember, dark area needs to have a white highlight region. Bottom region needs to be darker so here I pick up the violet and I put it at the base where it's joining. Because this is allowed to flower, what we're going to do is we're going to add in lots of drops violet because that's how this flower is structured. It's going to be a lot of drops of violet onto the pink region. Now, let us repeat this for all of the other ones. Here's my flower taking my Queen Rose, leaving a little bit of white at the top for the highlight. Picking up my violet and adding that to the base and lots of drops of it towards the middle. In order to give it a bit more depth, you can actually pick up a little bit more violet and make the bottom really darker, I guess. That'll make it pop out even more. See how that one popped out, I love that. Depth guys, it's always the depth that makes your painting look amazing. See, I'm putting a darker violet towards the bottom and we'll make that one pop. Just 1, 2, 3, 5 more to go and we're done with this painting. Here, I apply water. I do like the applying the water method. That's much easier than softening for me because then you don't have to be like rub along and try and soften it. I prefer this method. There you go. Pink at first, all the way up with leaving some highlight. Here, you've got to be careful. The highlight is going to be here because the light is from the top. Even though this flower is at an angle, you've got to note that the highlight will be always at the top. See that? This is the highlight, whether you put your flower in any direction won't change because the sun is not changing. The light source is not going to change. See that? Now, we take that and add in lots of teeny tiny drops. The base is pretty dark. Repeat. Last two. That was a lot to do, isn't it? Now about those two because they're sitting together, note. Here, I paint the first one and leaving the highlight at the top. Actually it's just the same, it's going to have the white at the bottom, that's it, just like all the other ones. The violet, right there. The violet, and there was lots of drops, and violet at the bottom. But now if you want to paint the other one, you've got to wait for this to dry out because if it doesn't, then you're risking this paint spreading out, so it we'll dry it up. That happens, maybe you can go ahead and adjust anything else that you see, for example, I'd like to bring some more depth to some of them. Add in violet at the bottom so that it becomes even more prettier, I would say. I'm just painting it towards the top. See that? Yes, like that. It's still not dry, so I've got to wait for it to dry up. Now that it's dry, I can go ahead and delete that one and get this painting done. While at the base, teeny-tiny drops, and we're done. Oh, my God, I can't believe we're done. Since we haven't painted anything along the outside, I think it's okay for us to remove the tape. There you go. I love the granulation of the ultramarine blue here. Did you see that? It's just beautiful. Although I know that some of these edges are not as perfect as I thought it would be, but I still enjoyed this painting and it was a whole different amount of techniques. I love the softer flowers in the background. That's the most important attraction to this one. Then how these ones pop on the background because of the shadows and the highlights that we've added. There you go. Thank you for joining me today. 22. Day 14 - Daisies: Let us start. We'll quickly sketch out some flowers. Only a few of them are going to be in the foreground, the rest are going to be in the background. It's going to be quite easy. Let's have one of our flowers here. Create the center portion, which will be a small oval or dome shape. Then all of the petals are going to be outward from that one. We have to put in perspective as well. Here, I'll show you, there's all of the petals and some of them can be overlapping towards the inside. Like here, if I add a petal here, then I can have another one towards the inside. Then here another one. Now, perspective comes into play for the petals on the other side because they're further away, they have to be foreshortened or reduced. Smaller in size. Which means, see, just add them slightly smaller in size. One towards the right and towards the bottom can be of larger size. It doesn't matter. There. I've added one flower. I know it's very light, I'll show it to you loosely when I'm done. Then I'm going to add in the stem of that one. Just start from some point. It doesn't have to be from any particular petal. Then let's sketch out another one here, in fact. Again, here, another oval shape. I'm going to do the same process. Smaller petals towards that other side. There, and another little stem for that one as well. I think I only want these to be in the focus because my composition, I want it to be shifting towards this side. Let's actually leave it like that. Now, the rest of the flowers, we're going to be adding it in the background. There's a lot of brushwork involved, so let's get to that now. They're going to be a lot softer as well. It's quite tricky. Don't worry, I will show you how we can paint that. First of all, we're going to apply water onto the whole of the paper. Here, I'm going to be using my flat brush and we're going to apply water to the whole of the paper. Skip these flowers. Except for those flowers, everywhere else we'll apply the water. I know I'm using a smaller flat brush, but it's going to take time. That's okay. We don't want too much water, which is why I'm using this smaller flat brush and I'll avoid the area of the flowers. You have to be very, very careful about that. At the moment, I'm not going too close to the flowers and putting any water in that region, just applying to the other larger areas surrounding those flowers, like the rest of the paper because it's quite a large surface that we've left blank, without any pencil sketch. Now that I have applied the water, I'm going to go and go around the flowers. Here, I'm switching to my size 8 brush. Now, slowly you've got to go around each petal. The easiest thing would be to use masking fluid. But lately, I've been trying to avoid the use of masking fluid and try to push the boundary and my limits and try to improve my brushwork, which is why I'm refraining from using masking fluid. But if you want to use masking fluid, you are okay to go ahead and use it. I just realized I told you I'll show you the pencil sketch, but I didn't. There you go. That's the pencil sketch, and you can see the water that I've applied on the paper. Let me get [inaudible] applying the rest of it. Slowly getting there. This is the hardest part in a way. When you're applying the water, it takes a long time because you're going around and that's the easy process with masking fluid, you could just blindly apply water to the whole of the paper. Oh, my God. That's really easy, isn't it? Just keep adding. As you are adding, if you find any area of your paper that's already started to dry out, go ahead and quickly reapply the water. If you look at your paper at an angle, you'll be able to see the areas where it started to dry out, so go ahead and try and reapply water in those areas. Like here, I'm going to go ahead with my brush and just run around and apply the water. I think I'm good to go now. I'm not applying too much water. I just need a sheen of water on my paper. That's one reason I'm using this method because if I was using masking fluid and I apply water to the whole of the paper, there would literally be a lot, and I don't want that. Now, I'll start painting. I'm going to start with my Indian yellow or transparent yellow. I keep saying Indian yellow, this is transparent yellow. It's from the old name of the old brand that I had with me and I keep saying that. What we're going to do is we're going to add like, you remember those oval shapes that we created, we're going to create that in a lot of different random places. Let's see. I'll create one there, then another one there. Make sure you create it in different directions; it's very important that you do that because you don't want all of the flowers to be in one single direction. Don't create any uniform patches as well, try to make it as irregular as you can. There is one, I think another one over there. Then you can go ahead and make smaller ones as well. There. I'll go with the larger one over there. That's a lot of yellow patches at random places. You might be wondering what is going on. I'll just show you in a minute. That's done. Next thing we're going to do is I'm going to pick up a little bit of my dark brown and I'm going to mix in a little bit of my Indian gold to it. That becomes like a slightly golden brown color and we're going to apply that to the base of all those teeny tiny oval shapes that you just did. That color to the base. Can you see? Just to the base part in whichever direction it's facing, it doesn't matter. Down with that, now, let's get to painting the background. That's what's going to be fun, painting the background. Now, you've got a lot of brushwork to do, so hear me out. All of these things that we did are the center portion of the flowers, which means now you're going to do negative painting technique. That's what I literally wanted to introduce in this. Negative painting is basically where you're going around the shape or some object. You've got to be careful. You've got to keep mindful of the fact that what are the shapes that you're going to be doing, it's a flower. It's exactly these kinds of flowers so you've got to keep in mind, perspective, shape, and everything in mind when you're doing that. I'll show you with this one first. Let's say for this one we're going to do the exact same flower. First of all, what you can do is you can go ahead and create a nice shape. The flower petals are going to be within this circle. Then you can slowly do the negative painting and create the petals of the flowers. See that? When you're doing this, make sure that you don't have too much water on your brush. If there is, then it's just going to spread out a lot. But can you see we made a flower there. I know it's not perfect, it's going to have blurry edges and that's exactly what we want. It's absolutely fine to have blurred and blurry edges. Here's another one. You don't have to paint it like that as well. You can already at the initial stage itself, go ahead and just try and sketch it out. You see, I did not make a perfect shape there, but I'm leaving out a flower in that region. Then the rest of the areas go ahead and apply the green. We're going to be doing this for the whole of the painting. This is very important; as a negative painting. Usually people do negative painting with a wet-on-dry method. How cool would it be to draw the negative painting with the wet-on-wet, which is what I'm trying to do here. All of them don't go for the perfect perspective. Some flowers can be facing towards us, which means that it can have equal petals and all the sides. Let's see. Then the rest of the area I'll cover up with the green. This is sap green, I think I forgot to mention that. But yeah, sap green color. Like I said, sometimes have to do a bit faster, because your paper will start to dry out. But even if it dries out, you just have to make sure that your previous stroke is near to the next row that you're doing then you won't have to worry about your paper drying out. I've sketched out some nice flowers, I'll get this one. See that? Some of these look like eggs to me. Like when you open an egg into a pan, if you've seen it. These areas at the bottom, see how it's dried out, oh my God, I got to paint quickly and see the area towards the left has started to dry out so now is the time and I'm going to be painting closer to the flower that we sketched and I have to go around. Do that. Because that area of my paper started to dry out. Any area that you've already painted would stay slightly wet, I suppose, but you still have to sometimes go ahead and reinforce your strokes unfortunately. We were supposed to have some larger ones here. Of course, here you can see how hard I'm trying and quickly trying to cover up all of the regions. I know that when you're following the tutorial it's more difficult, which is why I always suggest that you watch the tutorial once before so that you know what's coming up next. Otherwise, you end up looking at the screen and back to your paper. Then you spend a lot of time doing this process and your paper just dries up. It's always better if you know what's coming up ahead in the tutorial. That's one recommendation that I always give to just watch the videos once before so that you know what's going to come or what is the process that needs to be done. See, that's much better, isn't it? I've added. Now, you can go ahead and start adding darker shapes at random places. I'm just using the same green that I applied. I'm trying to fill in and put in some lines, you can use dark, in fact, and even darker green. Try adding some shapes next to each other. In fact, you could also try even the, like this flower it's literally gone, isn't it? I should probably use the lifting method to now lift off paint and create that white region. I'm going to do exactly that when do lifting. Use a combination of both the lifting and the negative technique to apply this. Oh, that's gorgeous. I love the way it stand out after I've lifted off paint. I think you can do the lifting technique to create an even more shapes too with the petals. See that? Then another thing that you can do is you can just drop water. That will also move the pigment away from your flower. See if I drop in water, it moves the pigment away, but make sure it all absorb the water. Otherwise, you're just going to create a lot of blooms. This one literally all a bit has just gone, isn't it? The white area. Back to adding darker strokes. Oops, that was too dark. I can just go ahead and soften up my strokes and add in at random places. Here I've got hard edges. Just going to use my brush to soften them. As you can see, some of them turn out like harsh edges. But I guess it's fine so long as you're creating some beautiful green strokes in the background should be fine. Too dark again. But nothing that you can't spread with your brush. Now, I'll show you another beautiful thing. You know those natural things that you've created with a negative painting technique, then you can also use some fresh white paint and add. This white paint is never going to give the whiteness of the paper. You're going to get a dwell tone soon, which will affect a little bit of shadow element to your petals. How cool is that? Let me just show it to you. Oops, I don't even have enough white paint on there, so let me just grab that. I'll show you too for this one, for example. If I were like tracing on, it looks too right at this moment, but then it's going to fade out. That's what we're looking at, because the white is going to gradually fade out. It wouldn't be as bright as the other ones. Or it could be the other way around. If I apply too dark and it could be more brighter than these ones. But either way, we're going to have different tones in our painting because of the white color that we applied. Do you see that? I love the way this is turning out to be. You can see how I'm doing those petals. None of them are like perfect shapes. I try to go about in different directions. I think I wouldn't do anything to that one because I didn't want it to be ultimately literally softer. Don't do for all of them. Try and leave some of them as it is. I'm going to leave these three as it is. I'll probably just add some petals on this side for this one. See that? That one's a mixture of both and nothing for those. I think here we're missing some. Oh, I'm loving the way this is turning out. Look at that. You see how when we've added a mixture of both the white, it's looking gorgeous. It is, isn't it? I think those background areas have now dried up, so I literally can't go ahead and add any dark details. I've got to leave it like that, unfortunately. Now, to add in a bit of a shadow element to some of these, go ahead and pick up a little amount of cobalt blue and try and mix it up with your white and dropping at places. Or if you've got white already on the paper, you could actually also just pick up the cobalt blue. Not a lot, just a subtle amount and give it to some places. Just a subtle. Do you see how that subtle effect is going to create the effect of shadow? I think that's enough. Now, we have to wait for this to dry. We can add things more properly. The foreground, that's it. Now we're done with the background. I wish maybe we'd stayed were lower enough for me to add in more darker effects in depth. Maybe we don't have to do that. Maybe we can let it dry and then probably add that and dry. Let's see how it goes. I'm going to let this dry out now. Here you go. It's completely dried out and you can see how all those whites have like really faded. What I was talking about. You've got them brighter ones here because of the negative painting technique. Then you've got the white ones here, which is like a little dull manner. I don't want to add any more to the background and ruin this. But also I hate thinking of whether I should or not. But what I'm going to do is I am going to give it a try and see if it works or not. If I paint like a bit of a dark tone there, and then what I've got to immediately do is soften out all of the edge area and makes sure that it's softened throughout. Yeah, I managed to put in a slight darker line there. I'll just show you what was that. I was imagining the stem of that one and then I applied paint. Now I'm going to paint the other side, again, imagining the stem of that one and apply the stroke and then I go ahead and immediately soften it to the background. Do you see that? Soften it such that it blend into the background. But now you've created like the unique shape off the stem of that flower. Can you see that? If you want, you can go ahead and repeat this for many of the flowers and create that beautiful effect. But, if you think that that's too tough and you're scared to do it, then you don't have to. I'm just going to give it a try for some of them. Here is one. I've applied like a stem shape. Now, in case I applied on both the sides, I applied on both the sides, because I was confident enough that I can quickly do it and soften the thing out. If you're not confident enough, do one side first and then slowly move to the other side. Here, soften that out. Once you've softened out, then you can just use your brush and your cloth to absorb and there, I've got two stems there. The stem at the background, I'm adding them as lighter tone, which is why it's like that. Shall we paint these foreground flowers now because the background is anyway dry? In order to paint the foreground flowers, we go with the same yellow. The center part is going to be nice and a beautiful yellow shade. See that. Now, don't just leave it as a perfect round shape. Try and give it a bit dimension by adding a little perforation like that. Then we'll mix the same color tone that we painted for the center, which was the brown and the golden Indian gold mixture and we try to apply that. Now when you apply, it's going to be wet on wet and more towards the bottom. This one has a lot of water in so it's spread to the top. But see, I was able to remove. Now for these ones we'll slightly give it a more darker color. So I'm mixing in a little bit more brown and applying that darker brown to the extreme base. See that? Now we've got an even more darker color. Now let's give in the subtle shadow. For giving in the subtle shadow picking up my cobalt blue, just a subtle again and we're going to be adding this cobalt blue, a very lighter tone of cobalt blue. Here I'm mixing it on my palette with extra amount of water and it's just a simple. We add in some random shadow lines. If you were using masking fluid, then this would have been an even more perfect. But I am not aiming for perfection. Which is why I went for this method. Probably looking for a bit more loose and abstract style with focus on the negative painting method. That was my intention here. Then I'll just paint the stem of those two. So the stem is obviously nice and dark. There you go. Now that you've added the flowers, now we need to make each of the petals stand out. So that would be by adding shadow to the petals that are underneath. This petal is underneath that other one. If we add in a bit more shadow there and can you see how immediately it went over to the top? Same for these ones in red on this petal over here. This petal has a bit of a shadow. I'll soften it out. So now next thing, if you want to give in a bit more highlight to any of the white flowers, you can do that. So here I've taken up a bit more of my white paint and I'm just going to try and make maybe some of them like a bit brighter. But you've got to go through the same petals that you did earlier and also probably retain some of the bluish tones that you applied as well. Can you see how it's popping out? I want to add for this one as well because it's so close to the foreground one. So just don't want to make it look weird. I think this one as well because that one's the one that's been most faded. I think I'm adding a second layer to almost all of the flowers now. All the flowers that I added white because I felt that it's too light. The greens like literally made the rest of it into a very faded look. But I'm letting that underlying white to shine through so that it looks as though it's like a double layer when I'm adding those petals. Yeah, I think that's better. I didn't do for those. This one. That's much better, isn't it? Looks much better when the white is literally shining. Though otherwise it was giving a slightly greenish appearance and it was looking weird. Don't you agree? The good thing about it is that the center portion of each of these flowers are so soft, whereas these ones are in the foreground and it's so hard. Do you see that? Now I'm just going to pick up that dark brown that we used and now make some dots on my center flower, the highlights. Sorry, I meant the foreground one. I'm just going to add a few drops, dots like that and there. Now we're done. My God, I just love the way it looks. The green is so vibrant and the white is just shining through. Since I haven't painted anything towards the edges, we can safely remove the tape. I got a bit of bleeding there. That's the first time it's happened for me in a really long time. There you go. That's the final painting. So happy. I just love these white flowers, especially this one. I don't know why I love it. There you go. Thank you for joining me today. 23. Day 15 - White Hibiscus: Let's start. For today's painting, we're going to be having just two flowers a little bit, not exactly at the center, but possibly a little towards the side here. One of them is going to be nearly like a circle, while the other will be a bit of ellipse. I'll show you how we can easily sketch that. If you roughly outline a circle and then have another ellipse-like structure, adjacent to that circle. Those are the two flowers clustered together. Now let's draw the flowers. We'll have a center of the flower, which doesn't need to be in a uniform shape. As you can see, it's a very irregular shape and then the pattern. For the petals again, don't draw a perfect line. Have your hand keep shaking. What would happen if your hand was constantly shaking? That's what you're supposed to do. Again, you don't have to follow along the line as well, just keep doing that shaky movement. Sometimes go out of the line and sometimes stay within the line and just shake. See, now we'll make it into petals. Just draw a line from the center and join it somewhere on your irregular shape. This one there and this petal can go behind. See, we've created roughly the shape of a flower, but now we need to make it as though it's bent inwards. How do we do that? We give it a little dimension. Whoops. That was towards the inside. I guess that should be towards the outside. That's the petal starting from the inside. Then if you have another layer of the petal there, now that seems as though that part is bent. We'll do the same for some areas of the petals. See if you add a bend there, then where else? Maybe we can have a petal that's overlapping. Slowly we'll rub off some things, so this petal along there, and then let's say we have another petal there. But then behind that is another petal. Can you see how now I've turned it into a flower shape? Now we've got the oval shape to fill in. For this one again so this will be the center portion, some irregular shape, and then we again go with our shaky hand, not following along the exact shape of the ellipse that we've done, but sketching somewhat irregularly. There you go. Now let's go ahead and try and make this into a flower. Let's say I'm going to add in a petal here, but then this petal, we can make it such that it goes like that. This petal then goes behind. Can you see? This petal is on the top and this one is behind. Then another one there. Wherever there are joints, you can actually rub off the area in between. Here there's a petal coming in so that means I want this petal to be going behind and maybe a little bend over that area. This one can be a little bend. Then where else? Maybe we'll add a bend here. I love the way it's done. Now we'll add some leaves to the bottom of it. Just a long leaf. Then something towards the bottom and maybe some more leaves towards this side. I've made the pencil sketch. I know that it looks tough, but if you follow along the simple steps that I told then it'll be easy for you. Here you go for having a closer look at how it's supposed to be sketched out. Now let's go ahead and paint this. I guess all we need to do first is obviously apply the water because we're going to be starting from the background. Here I'm starting with my large flat brush and I'm going to be applying water towards the background. On the left side, I can mostly freely do it, but when I get closer to the flower, I need to be careful. I'm not using any masking fluid or anything because it's a white flower and I think we can manage it. We've been doing this for so long now, isn't it? So many days and we've completely avoided masking fluid. In my case, the times where you would apply masking fluid are when you want to get even background a perfect blend, and things like that, but I don't want to get that here. Our background is going to be somewhat in a different manner. We're going to have so many shapes in the background. In that case, you don't have to apply the masking fluid because it's such a waste of time if you are anyway going to avoid going around and painting in different shapes. That's what I meant to say. Here switching to my medium-sized brush. Now we're going to apply, carefully, the water around the shapes of our flower at the same time keeping rest of the areas wet and nice. Done with that. Bottom region. Take as much time as you want to apply the water. You don't have to rush through this process at all. Take your time and simply enjoy the process. You can even find joy in the way that you apply the water so long as you're very careful with it and you watch where you're applying. Watercolors are just so much fun. Don't you agree? Luckily, I've been painting with gouache a lot and I've started to admire it as well. [LAUGHTER] But someone told me that I'm actually cheating on watercolors with gouache. Maybe I am, but it's just so much fun as well. I have gotten into this habit of exploring different mediums and I find that so much peaceful and joyful, I would say. It's just giving me a lot of fun experimentation and learnings as well. I'm just going on blubbering. I'm pretty sure you don't want to listen to this. Then reinforcing some of the border medias, you've got to go back and forth to the area that you've already done sometimes because while you're doing the other areas, it might start to dry out. Just keep an eye. You can tilt your head and look at it and you'll see what are the areas that you're missing out on and just go back. When you go back next time because it's water, you don't have to reapply entirely. Even if you drop a bit of water there, that's going to flow and spread to the areas that there's already water. That's why reapplying the water is easy. There you go. I've applied the water. Now let's go ahead and paint the background. Shall we start? I'm going to start with a nice sap green color. Starting with a nice sap green, and I'm just going to put it at random places. Here maybe I want another extra dark green here. Maybe a little here. Well, I just love how vibrant this sap green is. Maybe a little bit here. That's it. Now we'll go with the dark green. Here, picking up my dark green, I think I'm going to use it straight from my palette and we're going to fill it up in areas. You've got to take the dark green and add it more over the sap green areas. We need the background to be darker so that the white of the flowers reflects through a lot. You're going to need a lot of green for this buckle up and pick up a lot of green. Also make sure that you're applying it in a very dark consistency, which is why you can see I'm picking up directly from my palette and applying onto the paper and not mixing in my palette here. Because when I start mixing it onto my palette, it'll loosen up the pigments and lose that vibrancy. I need my background to be very dark. Just put that lighter green at first, that is the sap green at first to create some lighter tones in between, but we're going to go even darker again. Because, you know what I say, watercolors dry one shade lighter, so the darkness that you see right now it's going to look even lighter. Just imagine. Negative painting here. Avoid the leaf go around. I can see these areas have dried up. I've got to be very careful when I'm applying. To make sure I don't form any blooms or harsh edges. Long as it's the background and it's not too focused, you're absolutely fine to do anything. In fact that's the thing. You can do anything. Covered up that region. I thought I was done with that left region. Turns out we're not. We still have some areas left. I'm going to come into here and then we'll move over to the right side. See how it's lightened up because I think there was a lot of water there. I know you're seeing a lot of reflections because of my light, unfortunately I'm shooting at night, is nothing much I can do. Sorry about that. Maybe I should show this to you at an angle. But if I put an angle, all my paint is going to flow down. Or maybe I should put the camera at an angle. No time to experiment in between painting. Good. Coming back down to the areas that I may have missed, not missed I stopped and went to the other side, didn't I? I love using dense pigment right out of my palette well, because it just makes it so vibrant. You can clearly see how this area has dried up. But even then it goes on and it doesn't hurt our painting. Mainly because if you see I'm continuously applying the stroke that is touching the previous stroke and applying it, so it doesn't actually hurt us. Just a bit more to go and we're done. Not exactly what the background because we've got some darker colors to do. You better paint this quick [LAUGHTER] I'm using 100% cotton paper and also the weather here is not that dry yet, although it is going to be dry, you see what I mean, summer's coming. But then what you can do to keep your paper wet is to apply what are multiple times. I know that it can make you impatient and it's going to take a lot of your time. But unfortunately, that's something that you have to do if you want to create such beautiful paintings. I'm done with that. Let's go ahead try and apply some more darker tones. Here I'm picking up a dark green again. I'm just going to go and try some negative painting here. I'll show you how we can do that negative painting. I'm going to pick up paint Payne's gray now. Yes, Payne's gray and I'm just going to apply that on top of my green. It's dark and using that Payne's gray, I'm going to make leaf shapes. Here it is. Then if I go, maybe this can be a leaf. Like that, and another one here perhaps, so something like that. It's just shapes in the background. But those shapes, so when I say negative, this here is the leaf in the background. See that? The one that I painted with my Payne's gray or the dark black color is not a leaf, but the area of blackness behind the leaf. Does it make any sense? I hope so. Try to make your leaf where the area of the sap green so that your leaf gets in a dwell color. See what I did here. Remember we applied the sap green and dark green. Then when I made the negative painting technique, I made sure that my sap green is included in that area. Then it looks like a leaf there with a bit of a different colored tone. The same here. We can do. There. Just painting along that region. See how there's a lot of black areas there and yet there are leafy shapes. Like I said, it doesn't have to be perfect and it's okay even if you can make these negative painting strokes and yours turned out to be completely different than mine. It was just worth a try. That's all. Don't stress too much about it if you can't. That's it. I'm coming over to this right side. I'm trying to apply the denser black color very much closer to the flowers because we live in it's white, it will be highly contrasting, so you can see that already the flower is very much contrasting, isn't it? Because of the background, is dark and also the flower is just going to be almost white. But we do have some details and everything to add. But then you can clearly see how it's going to be. The only thing area is here, which I definitely want to apply, but it's right up and I'm just going to try it out a bit and not the whole area maybe, like just in this area. I know that it's probably created a bit of a harsh edge, so I'm going to try and soften it by using a very dry brush and using the softening method. Using the softening method, make sure that you don't add too much water because then your softening can not work. I guess that worked. Now I love the way the background stand out. Now all we need to do is to wait for this to completely dry out. But while it dries out, I guess we can go ahead and paint that center portion. Why not? It's all right. You can see how the background stand out. Let's go ahead and dry out this up completely. The background is now completely dry. Let's go ahead and paint the flowers. I'm starting from the left side because I'm right-handed. I'm just going to apply water in the inside part of my flower. I've applied the water. I really need to find a space on my palette. [LAUGHTER] I'm going to take a lavender and mix it with Payne's gray. I find a little spot of here. That's Payne's gray, so that's why I'm going over there, and Payne's gray. I need to switch to a smaller size brush. I'm switching to my size 41 and I'm going to use that, so that's lavender mixed with Payne's gray and that's the color, but we needed it to be in a very lighter tone. Let's see. Here, we need to have something there towards the center. Then let's see another idea. Leave a little gap here over that petal region for the highlight. Then again, go over towards the center. Let's see something here. Yes, we applied water, but for it for it to be soft, make sure that when you're painting this, your paper is not too wet. That is, the flowers should just be enough wet for it to get the shape but not spread out a lot. Otherwise the shadows that you're adding right now can backfire and it can spread to the whole of the flower, which we don't want to happen. The other method that you can use is obviously the softening method where you apply the paint, and then you soften it on the areas at the edge of the flower. Like what we've done here. Here, I'm painting the underside of that petal. But can you see this forward petal? I have left it completely blank. Now, this was the base layer of the shadows, so now we'll give it more shadows afterwards. Let's go ahead and bring the other one right now. Here I'm applying water. Again, when you're applying water, try and not go over to the entire outside region, just stay towards the inside. Don't go towards the edges. Because if you want something to go over to the edges, you can paint it with your brush rather than when applying the water. Again, lavender and Payne's gray mixed together. Let's go. Then towards the center, and this region should [inaudible] nicely all the way up to the edge. I guess another large here. Leave white areas at random. While our flower dries up, let's go ahead and paint in the leaves. What I'm going to do for painting in the leaves, I'm going to mix it up, but using a very lighter color. I'm going to start with cadmium yellow. Here, I'm mixing up cadmium yellow and to cadmium yellow I am going to mix in my sap green, so you can see it's a very nice lighter green here. You can also use teal green light from Sennelier. That's one option that you can use. This lighter green is what we're going to use for our leaves. We'll paint all of the leaves and then we'll try to add in darker tones and color variations. You can see how when I'm adding these lighter color toned leaves, it stands out in front of the dark background, which is, first of all, why we made dark background and now we're using this for the foreground leaves. Added that, now I'm going to add some subtle color variations. I'm going to start with a bit of yellow. I want to go even lighter at first, so more yellow, I guess. I need to add that in just at random places there. Just added some lighter details, now we'll go ahead for th