Easy and Bright Watercolor Flowers

1. Welcome!: Hi, friends. I'm Loch, and welcome to my studio in Bergen City in Norway. I'm a color artist. I'm a pattern designer, and I have a book offer. My book, How to pay transparent flowers with Watercolor has been released in June 24, and it is available all over the world and inspiring a lot of artists. For today's series of classes, I invite you to paint bright, loose easy summer flowers, and I hope you enjoy the classes. I will break it through into small, easy steps so everyone can follow it. Everybody can paint. I try to use accessible materials for everyone, and I hope you just enjoy the class. Let's start. 2. Materials: The painting, I would recommend you to use one of your favorite watercolor papers, or you could use one from the list. It should be cold pressed and 200-300 grams with soft, nice texture. It helps colors to bleed nicely. It's very pleasant to paint on this type of paper. We will be painting all the project with one brush. It's synthetic round brush, relatively big one. With the in ten or 12 number. Mine is ces gran. I'm not sure if this is applicable worldwide. I could also recommend you to use Princeton brushes and I will give you the links to everything. The last important thing is a nice roll of paper towel, which we will use to dry our brush. 3. Lavender: Elevender, I already prepared a very diluted mixture of for purple color and some with trammeling blue color. What I'm doing right now, I just with the tip of the brush. I paint very diluted layer. Just with the tip of the brush, I go with different direction and sometimes I mix purple with with tromrn, blue, and sometimes I just paint the stem and go around the stem with just with the tip of the brush painting the triangles. I try to make it different and to make the stem a little bit more curvy and same here, again a little bit more of purple. It will be the background, so don't make it too intense. Don't make it too intense. We just need to make a nice Nice background. It will be that effect like in the camera when it's a little bit blued. When you paint big Bo care, always think about the camera that it will be a little bit blued and soon you will see what I exactly mean under this. Another stem. And a little bit more of purple. I really enjoy just to play around with random colors. Sometimes it's nice to add some hint of magenta here and a little bit of tramline blue, purple, lavender mixtures. All bluish shades from your palette, don't overthink it, it's playful, it's random, and that's the whole beauty of this. Oh. I like to add this vintage feeling to our bouquets. I add a little bit of sepia to some stems and flowers. You see the color and gives es process. Right at the same time, I start to add some greenish s into their stems to make of variety. For example, again for the variety, I would like to add pinkish shades. B too intense. It's easy to remove. And so on. Oh. Ho. Ho. Ho. Now we could paint a little bit more intense. I takes a same colors, purple, tramarine blue, but a little bit more intense with the same movements of the brush, with the strokes, with the tip of the brush. When I see that I could add a bit more of color, I just go again on the top. And mixing the cream. And again, If I see that something is too dark, I just wash my brush, clean the brush with the paper towel and remove unnecessary like this, Another trick, you paint first with boulder colors, and then just drug out the color, a little bit down and a little bit to the sides, and you get these beautiful vender, fluffy fluffy lavender bouquet. You see, I do it very randomly, and now I focus more on intense darker pots. I always try to trace how the battle would go and try to make it in a nice and some always good, very natural. So we have very nice, something very nice. And I think we could add one more very dark, very intense. But here. Show you my paper towel looks awesome. I like the shades. I'll probably scan it and do something nice out of please. I like how the blue colors plays with each other. It's really a treat for e. I'm wondering, what is your favorite color? You could send me something in common. Oiga let's paint something yellow. I like pink so much. Can we do more pink and different shades of pink? It looks awesome, and I will add probably 11 last small brinch to the left. Still one is missing here. I promise you guys, that's the last one, and they called Merv farther away, but you wouldn't believe we almost done. You probably see it already. We have a nice book, flowers, petals intersect with each other and we used different shades of blue and purple and it looks it has a nice volume, this book care, and it has nice depth And this thought was our goal to make it artistically, very, very pleasing. Last one. My be a little bit even more green. I will play a little bit with greens on the top. Los Sometimes it's nice to paint the stem first and then decorated with with flowers. The last part is the greenery, which we would not really much focus on. Just the same style. I will paint some green stems. So green parts, Now leaves, I will start with very diluted green with the tip of the brush, and then value of the brush. I paint these lander big above the stems and just above everything and put every on a branch. I use different shades of green here. Again, for the variety and maybe some violet will also work. I see how beautiful it spreads the color. I want to be very nice. J behind everything. O. And I mix green and sepia. And as the last touches, some of the small little green details. So stamps. I want to mix a little bit in between. And we have beautiful lavender bouquet, 4. Pansies. Part1: For painting penses, I already prepared very bright yellow quinacridon rose combination. I think we might use ultramarine blue, purple, and maybe something else from the palette, but let's see. Our main color will be this bright yellow, and I start to paint from my imaginary center of pence with thick brush stroke, I start from the center, and I paint the bottom petal. I try to make the brighter accent in the middle. I a little bit distribute diluted yellowish with some brush strokes to the end because here I would like to add some purple ac, maybe some other accents. Now I'm painting these two side. Petals. I start with the tip of the brush. I press on the belly of the brush and I make a nice curve around the bottom petal. Actually, I would like to add some worm orange. Hint here and around the edges of the petal, I just go with clean and almost dry brush, and I drag out the colors. I distribute, make some texture, try to make it interesting, and the second petal. Second petal on the left, again, I prepare the shape of the petal, with clean brush, I just distribute relatively random the yellow color. I leave some white spaces to make it interesting and nice. Now we prepare just the first layer, and we will be back here later. I would like to try ready to add some purple Quena cred purple. I will go around the edges and let's see what's happening. I just feel in the water water edges with a purple color and let it flow by itself and distribute by itself very naturally without me pushing too much the color and the same on this side. I go just along along the edge, which we already painted with yellow, and it is still wet and that's why the purple color distributes really nicely around. Just like this. I do not want to make these petals too dark, but also I would like to add some contrast between the upper petals and the bottom petals. Just like this. Some play around. I wash my brush, I clean my brush and write with the paper towel. I have very very fine and tip of the brush. I try to drag out some purple color, and that's how I make some wines on the petal and the same on the other side. This one is a little bit too wet. Maybe I will give it one or two more minutes. You could try how it works on your flower, or you could just keep drying your brush with a paper towel and try to drug out the color. That works pretty well. We will be back to this petal later on. Right now, I would like to paint these two upper petals, and this time, I will start with Quin acrid on purple. I will take it rather diluted, and first time painting one petal. It's a little bit too bright. I wash my brush and I distribute the water just around. Very carefully, I'm trying not to overlap, to one petal another one. I make a shape of the petal. Here, I would like to add some of pink quinacridone rose or any pink color around the edges. Just a little bit, not so much. With dry and clean brush, I do the same, make the shades. I make the vines. Just with clean brush with a tip of clean brush, I down. So the color, the pink color, and that's how I make these shapes. I would like to add some darker purple accents close to the middle here. I go once again with purple color on the tip of my brush like this. Now it's time to paint the second second petal. Which the one is mostly covered with others, but we all know that penses have five petals and it's important that our eye could count easy all these five petals. This is the last one, and it lies a little bit behind. I would like to add some darker shades on it. Of course, I will repeat the same pattern of painting on this petal. You also probably notice that to penses. It's usually the upper petals are the same, the side petals are the same, and the bottom petal is slightly slightly different. That's what we improvising, what we try to create here. With the tip of the brush, I try to imitate some wines around and also to create a nice, beautiful edge of this petal. Again, with a dry and clean brush, and you could shape the tip of the brush, so it will be and sharper. You create these petals texture. For now, we will let it just like this. We will be back here to all this pansy. 5. Pansies. Part 2: Now, let's paint this one. Here, this one, I would like to make more pinkish. My main color here will be quencridon rose. I'm mixing it here, quinacridone rose, and I will also combine it with some colors from the plt. Again, we start with the with the central bottom petal because it's the bigger one and the brighter one I painted rather random. I want to play around a little bit. That's why I wash my brush. I dry a little bit. And I drug out the color from sides to the middle. I want to keep the middle a little bit lighter and edges, I will be back to the edges. I will add more color to the edges. Right now, I'm taking my yellow and just go just above all these big petal. I also would like to add something to the middle. Usually, Quena crinal rose works very well and mix very well with all pink colors. So it's nice to try it out to make all these mixes. Now I have slightly bolder mixture on the tip of my brush. Here it is too wet. I would not go, but for example, on some areas, I see that the paper is much drier already, so I could add some nice wins around. If you do not feel comfortable, you could wait until the petal is completely dry and then go around with the color on the top. I'm painting right now because I like this feeling of spontaneous watercolor when things are slightly unpredictable, and we could get some sometimes weird results, sometimes very beautiful results. I like these experiments. For example, just right here, I would like to add something dark, purple, dark. I'm not sure if that's a good idea, but yes, let's try it out. With more like tipping moves, I go round. The baby is still wet, but you see it's more wet on this side and not that wet on the right side. But that makes a nice variety. I think enough of experiments with this petal. Let's continue with Quinacridon on this side. Just with the value of the brush, I'm shaping the next petal and I distribute the color round. I add some nice curves to these petals. Again, when it is still wet, I would like to add some yellow exits. And mix everything with a half wet brush. And the second petal. Now I go with the tip of the brush and more I'm getting close to the edge. I turn to the belly of the brush. I do not want a lot of overlaps with the previous petal, I will let it go like this. I wash my brush. I dry a little bit my brush and I distribute the color to the center from the edges to the central. H. Again, few nice spots of yellow. I think I will risk again to add some purple accents with the tip of the brush. Right on the top of our colors, maybe making some accents, some moves around. Same on the opposite side, on the left side. Tip of the brush. It's important to follow the shape of the battle, so we're not striking like this, not like these. All the lines have to come back to the center of the flower. This is the center. But around this, it could be relatively random. I think it looks very, very pretty. I want to show you one more triag. I wash my brush. I try my brush very carefully, so it should be dry. I shape. The tip. And with this stip. I go along this almost dry area, and that's how I remove a little bit of color layer and create some white wines around. Pretty lovely. So it's very bright here on the f. So for the top top petal, I would not go for very complicated textures. I will make them just this pinky purple. That's actually how it's already mixed on my palette. It's incrodon rolls with incrodon purple. I just use what I have on my palette. I distribute it down to the middle. The only thing I would like to make some accents to make the middle of the flowers slightly darker, and I will paint the last one. Very carefully, I distribute the color and let it go down and some accents to divide the petals and to show some of the depth. Of petal. With dry tip of the brush, you could a little bit distribute, drag out the color from the middle to create some vines around. But that's all I would not spend too much time here on this. 6. Pansies. Part 3: Let's paint the front one. I would like to make it more pro, almost almost without yellow accents. We proceed and paint just the bottom the bottom petal. More accents in the middle of the flower and also some shades on the edges. For this petal, I will go just with monochrome or style with Quinacridone purple. You see, I keep adding the color and it distributes by itself on the petal and create these beautiful Beautiful shades. And with the tip of the brush, I add some wines. For example, here, I do not like that it is too big. I could remove it. Next flow, I would like to add some bluish accents. So I took what did I took? I took this blue color and I mix it with purple. And I just distribute everything. You should not be confused that we are painting flower from the bottom to the top. Usually we paint it in the other direction. But with pence, it really works easier and organically in this way. With this pence, I would like to have some fun and I just add randomly purple and I mix it with blue. Always nice to put some accents in the middle here and great wines round. It's very similar. We would paint a butterfly, for example. I want to add a little bit more of ultramarine blue to this side, and a few wines. For the top, I will get a mix of purple and ultramarine blue. Let's see what we will get. I'm painting the outline of the petal. I wash my brush and distribute all the color down and I do it in very organic way. Also, this way allows me to create the vines and show the direction and form the volume of the petal. Many things we're doing just at one go. Again, some darker balder color in the middle to make some accents like this and last pettal, around here and here. I wash my brush, I clean my brush, and I drug out the color down. I try not to go too close with the petals. But sometimes it's really nice when colors into each other goes into each other's direction. Like this. Let's add some accents around. I will take athena brush number seven, but it could be very different brushes numbers could be very different depending on the brand you use. Just take the fina brush. Now I would like to make a shape. I prepared Quinacridon purple in very bold. Consistence. And I want to paint some shape around with this with this moves, I'm shaping this beautiful pattern, this beautiful at on the bottom of this petal. And with clean and dry brush, I drug out the color, and that's how I shape it. I create all these nes, which goes very organically from the dark area of the battle. I will paint some middle, with some tipping moves, I paint middle, like this. If we want to make it more interesting, you could add some en acrid rose, very bold one right on the top of these purple purple flowers. Another thing I would like, I would like to add some accents to this yellowish petal. It looks a bit pale, especially together with all the neighborhood with all this bright neighborhood. I paint the outline, I wash my brush. I dry my brush a little. And I try to distribute the color. It is still wed, that why it goes pretty well. And I drug out the color from the edge to the top to the middle. So we go a little bit of the opposite direction. It is not very handy you cod T the paper. Just go just like this. If you are not very happy with the result, you could add just a little bit more of color. But I we're, good. 7. Pansies. Part 4: More touches here on this area, same thing, same moves. With the tip of the brush, we shape this darker area on both sides. I hope you could. Could you see well? I do hope you do. And we painted these darker areas, and also I again would like to add some Quena quid rose, some top to add some accents, to add some variety. And depth. And with clean and dry brush, I will make some winds out of these dark areas It's pretty relaxing, it's pretty nice, and I think you will like it. I think you will like this process. The upper butts are pretty ready. I would just like to add just a few of more bold wines. One or two or three, and that would be enough. And some accents on the edge. So this one, O. This one is done. Why did this, I do not know. Don't do that. Don't repeat after me. I want to add some crispiness on the edges, but it's all up to you. This one. This one really cries for some contrast in this area. I take quinacrid purple in relatively bold consistence. And I go on the top of this area. And shape. This nice this nice ornament, this nice middle of the flower. And same with these areas. Here. Don't be afraid of making things too dark on this step. It's pretty lovely to have some contrasts. That's why I paint some wines on the top, and I paint it with rather bold colors. When you paint wine on the flowers, try not to make the low line. Paint with some dots and spots in it. It will look more natural. Use some different pressure on the tip of your brush, also it creates variety. Once you get this variety, your art will look very artistic. Same here. I would really like to add beautiful dark accents. I go from the middle to the top and I move my brush along the shape of the battle. Just imagine that you have some round an apple, for example, and you paint on the apple. It will bring a nice curve to your lines. If you imagine that you're painting on the apple, for example, on a ball on any round shape, thing. And the last one. Last one, actually I like very much how it is, but it's very usual for for pences have very dark area around here. Of course, we could have shaped it when it was still. But sometimes They could paint things later on on the top. Now I prepared a place for this, and I go on the top of the strokes with that brush to create more natural flow. I dit color And with the tip of the brush, I as video before, I create wines. I just drug out the color from this bright area, and she few similar strokes just here. I wash my brush. I have relatively dry brush, dry and clean brush, and this allows me to distribute and create very beautiful wines. Along the area along the petal. So maybe not very handy for me to paint on this side. You could always turn the paper and paint. So it would be convenient for you. Some wines here. Ins and wines here. I think this area really cries for a small, lovely, yellow accent. It's a little bit treaty to paint yellow on the top of the purple. But what we're doing now, I washed the area. Now I put a paper towel. That's how I removed a little bit of color. Now I could add some yellow on the light area and that looks very pretty and different. And I'm pretty happy with our pences. I think some spontaneous greenery would be nice. I have olive green just on my palette. With some brush strokes, white brush strokes, I add some greenery. Pence leave there relatively small, bit round and very curvy. I'm not going into the details. It's not about greenery here. But some green accents, I think we assemble all these free flowers into, into a nice composition. How I paint greenery. I just paint with the side of my brush and I finalize with the tip of the brush, just distribute some colors around randomly. But usually, if you just press your brush and make some lines, that's enough to create this greenery. Feeling. Make one more here. And we have beautiful pansy, a 8. Irises. Part 1: Irises, and I will start with very light background. I painted with some mixture of orange and just a hint of yellowish. I try to imitate the shape. Iris, I just randomly take appropriate colors, very diluted from my palette. Right now, I do not concentrate too much on on painting the exact shape. I just try to follow the lines and just remember the basics of iris, for example, here, should be nice to paint the central, the nice central petal. Just right here, I allow all the colors mix to each other flies into each other. What I would like to do now is to emphasize the middle. As my paper is very wet, it distributes very nicely and goes into all directions. While the paper and colors are still wet, I could add some shades. And some other color mixtures. Here, for example, remove unnecessary water. I would like to add a little bit more of purple hint just right here along the edges. I do it with the tip of my brush like this. Sometimes I apply more pressure, sometimes I apply a little bit less. I want to make nice curry shape here. As the final touch, I will go along the top edge with I think I have some violet color right on the tip of my brush and could be very nicely here. Again, a little bit to the middle. If you think that it looks too simple, no worries, we will be back here once it gets dry. In the same style, I will paint one and two. You could just repeat after me. For the second one, I take very diluted, very diluted pinkish color, and with the belly of the brush, I imitate two petals. This will be a little bit different Iris. Maybe with, some different petals. I'm just very bravely mixed yellow and pink, and I know that it is very cheerful, cheerful story, cheerful combination. I just keep an eye that colors are wet and very n diluted. I even do not tell you the exact names of the color, as you see, I do everything very randomly, so you will be surprised at the end how it's possible to paint even without really looking at your palette. Just emphasize again, just emphasize a little bit the edges and the middle. With something with something pinkish, and something reddish. I emphasize this part. It's a little bit in the shade of the other petals. I want to add some variety into this yellow detail. I add some violet. So Red touches. You could do everything you want, but while the paper is still wet and do not touch it once it get trie. It's very loose, very playful, and just here. 9. Irises. Part 2: And the second one. The second one would be here. Then now the trick is to find a place. Just for this one. I would like this one to be a little bit more violet. I'm thinking on the composition as well. I will make this battle a bit longer, this a little bit shorter. It's a nice flower and from the middle from the middle to the side and tip of the brush. And maybe add some texture here, and now the trick is to make it nice and not to crumble in this area. So I will do it like this. I don't make very beautiful central petal, which will take attention on it instead of taking care of this one on the side. I think it would be also nice to add some yellowish ins. Yellow color. If you look more close, the yellow color, it moves aside all the other colors and creates very nice texture. It's really fun to play with, but not too. Otherwise it will get a little bit dirty and again darker and bolder color here on the on the edges. To emphasize the shades and the middle. I would really like to make this front petal very, very, very bold. Let's see. I think would be nice as a final touch and here pinkish. Pots. This time, I will take my paper towel and go go into the middle and remove a little bit from the middle point and keep it like this for now. While it gets, I will combine green color. With CPR to get the nice dirty green and just paint around with brave and thick brush strokes, the leaves, the greenery around. To make the greenery looks nice, I add here and there some touches of colors P example, it will be small part here. Again, green color, sepia color stems, greenery. In this case, we do not pay so much attention to the greenery. It's just to connect all the picture together. At some variety, a little bit more green, a little bit more brownish, example, I think this is very lovely. Sometimes it helps to look through the camera to see what's missing. For example. For example, I think we are done with this part. Now I need this to be completely dry. Now comes the fun part of adding details. I paint with the tip of my brush, just the vines and to make them really random and fine. I hold my brush like this. Just very randomly. But following the main, the main s, the main idea. I add details. I add some beautiful edges and shades. I paint the middle with dark violet, and I little bit go along the edge to to emphasize and I drag out some colors just from the painted area like this. And to make it more interesting, I use different trades for the vines. But always I use something from the plate which I used for the petals to make it very organic and I, of natural in the static meaning. Although it looks that here we have hundreds of colors, which is not really true. I think I guess it's maximum five, but it looks very with a lot of variety here. Just now I'm making the nes, just like this. I will paint with you one flower and the rest, I will just make a speed painting and you probably tood the idea, and you could easily follow me on your convenient tempo. Sometimes I just wiggling, wiggling, wiggling with the tip of the brush, and I use different I use different colors to emphasize So one flower is done. And let's paint others like this. Hello. Hello. Hello. So our bouquet, our garden with irises is. We added a lot of details, and you could go longer with decoration, but it's always to stop at the right time. 10. Sweet Pea. Part 1: Painting sweep, I would recommend you to prepare all possible purples and pinks and reds from your palette so you could improvise during the painting. I paint with a white brush stroke, the very first petal, and the one on the bottom. Usually sweet peas, they have this nice shape, and to make some variations, I'm taking the second brush and I add more purple color here in the center of the flower. And I will paint one more petal, which which is right behind the first one. I will let it dry for now because I will later on create some greenery around, right now, I'm taking croplk. It's a bit p, red and pink, and I will paint another flower, one petal. Another petal. Sometimes I'm painting from the center to the top. Sometimes I'm painting from the top to the center. I'm pretty sure you will find your moves, which will make your painting very natural for you. Again, I add some contrast darker color, a little bit bolder, to divide petals and to create volume. Exam, right here. And I let all my colors mix with each other. What I would like to do now I wash my brush, I dry my brush with a paper towel, and I remove a little bit of color on this edge. You see how the volume on this petal appeared and the same as here. Next one. Right now, I will paint a lot of different petals. We could later run connect them with the greenery. One petal. Other petal. Could you already recognize sweet peas or not really? I hope it will come in a moment if it did not come yet. I add contrast to imitate the other the second one, looking just a bit from the other. I create some waves, and I'm wriggling with the brush just like this to create these very light pretty moves, another actually I would like to take something. I, I will mix it a little bit with orange to make it more creamy. I paint, for example, ve. Like this. I like all these variations of battles which we have here, color wise and shape wise. You could take any reference you like with switch to follow the idea how the pets should look like, and we will connect them all with lovely greenery. For example, one more pedal could be like this. And with some purple. I add some purple right here, please. I wash my brush, I dry my brush, and I remove some of color along the edge to create this volume, and s is here on this petal. I try to paint all sweet piece looking into different directions, and a different boldness of color. For example, this one, I would like to make really, really pale. Underneath, I will add something for contrast, some purple for contrast. I think it would be nice to add some orange. S how could you see how nicely orange orange color place with pink and creates this beautiful texture. This beautiful overlaps. Let's something. Yellow one. It's a mixture of yellow and pink. It creates this shady pink feeling. For the second, petal, I will take I paint with the whole brush, pressing it sometimes more on a paper, and sometimes I let it go and paint with the tip of the brush. Some contrast. Wash my brush, I dry my brush, and I would like to remove a little bit of the color along the edges. 11. Sweet Pea. Part 2: And I suggest that now we will switch to greenery painting. I have olive green on my palette and chromium oxic green, which are both very, very nice. I like very much to paint with olive green, especially for summer flowers for middle flowers, et's try. Let's try it out, and take a thinner brush. It is still wet, so I think it will create very nice very nice details around. So I paint green bottom. And just with a permanent queen, I paint stem, and I want to I want the whole picture to be connected. So I don't know where the stem will end. Right now, I had some contrast with permanent green and some variety to the stem. I wash my brush, I clean my brush, and I remove a little bit of color here. I want leaves to be more transparent, not that intense. For example, this now I have more diluted olive green, and I will paint the bottom bar area and paint stem and sem or underneath another flower and who knows where it will end. It's totally improvising. I could imagine that, for example, one small stan gole here and right right at the moment, I would like to add small closed bard. Really it cries for it here in this place, didn't it? I add and connect everything. With the tip of the brush, I with the tip of the brush and then press on the belly of the brush, and tip of the brush, belly of the brush, and that's how I'm shaping the green part the bad and it could be some intersection of the stems and had with darker green, permanent green, some contrast. Such a bright sunshine. Out of the sun. I hope you could see well anyway, and maybe some leave right here. What I'm doing now, I'm just feeling in all the area with greenery and try to create this feeling of a big swee bouquet. To get this feeling, I try to place all the steps in different directions, a play around with colors. And I promise you in a moment we will come to very interesting part. First, I would like to finish some preparations with green with all these connections to find a place for all the flowers. You just look on your painting and think, what might be missing here? Maybe this will sit just on this stem, and let's do it in that way. Now it's flower with seeds on this stem. And this one. For the variety, try to paint this greenery in different directions with maybe different pressure on a brush. And you could connect. For example, I could see that the grow somewhere around here. Now Oh. 12. Sweet Pea. Part 3: Let's paint these curvy curvy things. At of a sudden, now we have very playful very playful picture. You could add as much of the curry greenery as you like. Do it in different ways in different directions. Let this greenery and create of feeling. Not to be very very precise and overthink it. This picture of this painting, it's great for improvising. It's great for relaxing painting, and you could just paint all the curve lines and your main idea is to re, have fun and at the end, get some lovely lovely picture, which is nice to be which could be a nice present, which could you frame and put in the hallway. For example, scan it and make a greeting card so many things, I think are very nice for these types of pictures. I would like to add some buds, Painting bars, it's really easy. You start with the tip of the brush, you press a little bit and make them. The end of the flower that some green way around. Usually, I paint with the tip of the brush. I have a very nice brush with very sharp tip, and it allows me to and to create very nice sharp leaves and petals. Let all the flowers have a dialogue. Lets them communicate with each other and think, for example, this one tells, Hey, hello there. How are you doing today? Very bright. Could you maybe come closer to me? I have to tell you something about pinky one. The more you have, the more things like this, maybe sounds. I sounds a bit weird probably now. But the more funny stuff you think around, the more creative, it will be at the end. The playful, the more unique. I'm pretty sure right now at that at this moment, you have something completely different from from my picture, even if you try to follow all the steps. I'm pretty sure you're already painting something very different, which is great, and this is really way to improve the creativity. To make it very different, I use different shades of green color. Maybe at the very end, I would like to add some leaves. Usually leaves for sweet peas, they are long and narrow. Maybe here. It would be nice to add something. I start with the tip of thrush and I'm wiggling a little bit. Let it go and add some darker from the d to the tip a little bit long the edge. Just like this and Mmm. Have a look, have a thorough look on your painting and see where maybe some contrast could be added. So details. Some extra curves. And it's also important to stop at the right moment. Right now, I'd like to add this one more here. This one would not look that lonely and have a pal. I could see how all these could be connected. Also, you could check, for example, this one really needs some logical connection to the main stem. Just come across your painting and maybe add a few final touches. For example, this one, could connect here to the stem. D. I would say our picture is. 13. Forget me nots. Part 1: Paint, forget me notes, I already prepared ruulum. This is dusty blue color and cobalt green, also a bit of dusty green for greenery. I have this funny brush with very long very, very long edge. It's perfect to paint some stems. For example, like this, I want to make very abstract, a very Free hand bouquet of forget minutes. This brush really helps to release the release all the control of what you are doing, what you are painting. Don't be afraid to make uneven lines. They should be uneven. I would be nice if they would be uneven. I prepared that base. Maybe just one more here. We'll see if we need these or not. I would like to paint first few of forget me nots. I just used. If you do not have um color, you could use any blue color and maybe add some green to make it a little bit more dust. I forget me nots. They have five petals. I'm not going to paint. I will show you first what I'm not going to paint. I'm not going to paint each and every forget me not like this. No, no, no, no, no. Let's remove this. With the paper towel. But what I'm going to do? I I will just stamp around with some random brush strokes. Just keeping in mind that it would be nice if there will be five on some flowers. I also like this randomness and the dynamic. On when I paint with When I paint with brush strokes, when I do not paint each and every petal, it brings suddenly a very beautiful dynamic to all our paintings. If you want to say better, I paint with tip and a little bit with the belly of the brush. I slide my brush on the paper. I press it on the paper and make strokes like this and don't be afraid that sometimes it's not that realistic, we will get there or not. Let's see. Our task now is to paint first to get the volume of the bouquet. It would not like 11 single branch. One single stem with flowers. Because usually in nature, forget me nodes, they grow in clusters, and they're beautiful in these clusters. I just feeling. I will add all these lovely details a bit later. On this stage, it's just important to to paint them of the same size. Maine a few on tops. Of course, some of the flowers they are wide open, some of them slightly closed, and we look at the flowers in different angles. And that's what we imitate here. You see, it's very free hand. It's maybe less realistic, more abstract, but it's really big fun and pleasure and relaxing way to paint such a tiny, little flowers like forget me notes. What else could be a lilac could be. The example, some grass, some wild flowers, which have small, tiny, little flowers, sometimes which looks scary to paint. Really, do I need to paint all these hundreds of small flowers? No no way I could manage that. Have you ever had that feeling? I had. That's why usually I prefer to paint roses, for example, big bold, no problem. No problem to paint big bold rose? A Now we are done with preparing. We might later on add some details here. Now I'm taking Cobalt. Cobalt blue. It's a bit and I take it in a bolder consistency, mix with cobalt. It's bit grey. I would like to paint the middles. Usually, middles are yellow. But I do not want to do that complicated. I want to make our bouquet monochrome, and I just paint the middles with tiny little brush strokes. I hope you could see it really well. For example, Some flowers are still wet and that's strokes are a bit diluted. That's okay. But some flowers where the area the paper is dry. You could really add some nice texture brush strokes. Also with the direction of brush strokes, you could really show the direction of the flower, where the flower looks on the top, on the left, on the right. It helps to create the dynamic and the flow. Try to make the middles for each and every wide open flower. It will make it deeper, interesting. No need to paint thousands of flowers. I'm not counting how many we already painted here. I guess maybe 20, marks, but it looks enough for a beautiful bouquet. That. 14. Forget me nots. Part2: Now it's time to paint greenery. I'm back to my cobalt green mixture. I make it a bit more diluted. Forget me notes. Greenery is long and narrow, and I will imitate it. For example, let's start here. I start with the tip of the brush. I press on the belly, I make some curls and wiggle, wiggle, wiggle around and let it go. For example, one leaf. One leaf is ready. It's sometimes it's nice to cover some of these green clots which you do not like. For example, here. I look it a bit closer. Start with the tip of the brush, press on the belly of the brush, wiggle, wiggle, wiggle, wiggle, and again finish with the tip of the brush. I would like to paint even longer to a gain for the purpose of dynamic, tip of the brush, by the brush, Pickle kle Wikle le ickle, wickle, vehicle, and now let it go. That's nice. This one I like very much. Now let's do 500 of this. Maybe just 20, but nice if greenery will look in different directions. Tip of the brush, ickle, icicle, vehicle, vehicle, vehicle, vehicle. Tip of the brush. We'll be back here again. It's a perfect place to add more here. Tip of the brush, by of the brush. I could even go on the top of the flower. Nice. I'm very minimalistic with colors in this painting and no, I just concentrate on the composition, on the dynamic. Tring some variety, you could sometimes use more diluted color of the same cobalt green, just more diluted, for example, for example here. I'll start here already with the belly of the brush and Pickle Vickle igle let it go. Now it's a little bit lighter. Maybe with dry and clean brush, I just go the same route, and I could remove some of some of the boldness of the colors. Here, for example, I would like to start again with the thick part of the leap to paint them under the flowers. Like this. You see with these different shades of greenery, they are getting to the volume. They are getting to the nice, interesting vary we use just one color for green, one color for flowers, playing around with boldness of the color. We could really get a of different variations. Now I'm back to the bold green. Always nice to paint together. 11 lighter leaf, one leaf. Suddenly, we have a volume here. For example, I would like to add some volume. Here. It's important to find the end, sorry, that's more like the beginning of the leave. It would not look like some weird thing without a root. It's about dynamic, and also bold greenery will help us to cover the maybe slightly unfinished spots. I want to add some volume here. Let's. No worries. Make it a bit bold. Here. Let's have a look what we have would be nice to add some boulder greenery. Here. You could improvise on this state. I'm pretty sure if you're painting with me, you already have something completely different. Agh, if you try to follow all the steps, now you probably came to something very different. But what's important is to get the principles and now you could improvise and I think it's great that even painting the same thing with the same tutorial, everybody will definitely get there. Own pictures, unique pictures, that's nice. Now, I would like to paint some greenery one on the top of the other, for example, I made here would be nice to just thinking, what would be nice? For example, for example here would be nice. Have to paint something here. This one could be a nice. Let's just paint again on the top. Now we have nice overlap and that makes our book care big fff vibrant. 00 Now, I want to make the logical ends for the bouquet. So it doesn't really cut. So with some curry moves, I imagine how the steps could grow where they could end. I had some greenery inside the bouquet. I try not to leave too many wide weird spaces. And think we are almost getting to the logical and it's important to stop on the right moment. I like this very fine stems, but anyway, I would like to make some of them a bit bolder. Again, for the purpose of volume, just in some spots. You see one I'm getting bolder, it looks very interesting, very contast but just with some of them. I add some short leaves, especially to the stamps which do not have to much of the greenery. As a final touch, as a final touch, I come back to a covet mixture. I take this very bold, very creamy. And I would like to paint some bots. With small tiny moves of brush randomly. This one is to be a good with a paper towel. Just go on the top, I make it lighter and now it does not irritate the eye. So strokes. Oh Oh So strokes, for variety for making the composition looks really interesting. The interesting compositions, it's very interesting for people to follow I follow their dynamic, follow the moves, and to look into the details. That's it's nice to add some tiny details, some little details. It will make our painting more interesting to look into, to enjoy it, it's important to stop at the right moment. I think here it is. 15. Final thoughts: Thank you so much for painting with me. I hope you got inspired, and what I suggest to you is to bring all the theory into practice and enjoy painting bright flowers with watercolor. See you next time. Bye bye.