Easy Loose Flowers in pink and purple

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 patent designer, and I have a book offer. My book, How to pay transparent flowers with a color 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 hours, 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. Chrysanthemum. Part 1: Let's start, chrysanteum flower looks like a big bowl with hundreds of small tiny petals, and we will try to recreate that. I take very diluted, lyser and crimson because the flower consists of a lot of tiny petals. I would recommend to start very light. Let's find the center of the flower. Maybe it will be around here and we very diluted suu crimson because we could always make it. We could always make it darker with watercolor, but we can't make it lighter. Let's say it's not that easy to make it lighter. I create the middle, the very dense part of chrysant where all the petals, come into one small little ball. From our point of view, we could see the front petals like a long strokes, and the bottom behind petals, we could see as a small tiny strokes, that what create perspective. Let's make another row. I painted these petals from top to bottom. Now I would like to paint from bottom to top. The petals will be slightly different in their shapes, not too symmetrical, because our point is to bring some variety and volume to our flower. Try to leave a lot of wide space between petals. When you paint the petals on the back side, you could see only small little tips of these petals. It's like you have a look on your arm and you see only these parts of the fingers. The paper is still wet. I would like to add volume immediately. I mix a lasering crimson with black color with its neutral tint. I like that it has some granulation effect in it, and I add a little bit of this mixture to the bottom part of the petals. The point is to divide them and to bring more shades and contrast in it. Also, I would like to bring more contrast and shades into the middle part of the flower. Because the light shines from this direction, which means the top parts of these petals are very light, but everything underneath the petals is d. I'm not painting very detailed. I just paint a few brush strokes around. Again, the paper, the paper is still wet. I add a little bit more dense of of Alizarin crimson, more bold color. I added more to the petals which are already on this shady part of the ball. Our flower, chrysanteium, it looks like a ball. In principle, all the shades will be similar if we paint just no plastic ball. That's the lightest part, that's the darkest part. I know it could be slightly confusing, especially in the beginning to get all these things about shades. You could just check out on the reference, for example. The only thing important to remember that the more the petal goes down, the darker it is. If you follow that rule, everything will be beautiful and everything will be nice. In the upper part, our flower becomes a little bit more open. We could see a little bit of details of the flower. Still, you see, I do not paint each and every petal. It's more like applying brush strokes, and any round brush about size 7-12 will fit really nicely. The more you go aside, the longer, your brush strokes are. But remember to add some variety because some petals still we could see only the short part, but more and more we could see the longer petals. And you could paint the petals from bottom to top, you could paint from top to bottom. It always nice to add some variety. Try to remember that the petals which are on the top get more sunshine. They are more lighter. Don't worry about the shades now. Even if we do not manage to add the shades on this stage of wet paper, we could always go with the second layer on the top. That really no problem with watercolor to add shades and dark parts. Let's paint few, very long long brush long petals on this side, on the bottom side, and like here. If you want to know more about my technique, about how I paint, loose flowers to get more into that style. You could join my skill share class where I give really detailed information and I give a lot of exercises to practice and a lot of examples. If you follow the link in the description for this video, you could join Skillshare for trial period for one month for free, and I think it's a great opportunity, try not only my classes, but hundreds, really hundreds of other artists. I really like this this platform. I think it's one of the greatest things to get more knowledge. Or in painting, in art, in design, in many different fields. Our basement of chrysantemum is ready. Now let's play around with shades. I will start with black, it's mixture of neutral tint, and alizarin crimson, it makes it very beautiful, bold, dark mixture. I know that some artists do not recommend to add black colored painting. In my opinion, it really brings nice contrast and black color has these gran granulated effects which are very beautiful. Be careful with playing with shades. It's better not overdo it and try to leave a lot of white space in between. It creates the freshness, I would say, the freshness, the of our Think about where the more shady part goes. The more shady part goes between these small petals and here. B right here is the main ball of chrysantemum, which creates a big shade on the bottom bottom petals, bottom petals. Right here in this area, you could really feel free to add shades. Be on the here. That's how we divide different parts. With the tip of the brush, you could add a little bit of extra lines, extra strokes, because now we are moving to the fun part of creating details. With the tip of the brush, with some random strokes, no need to be too specific, no need to try to follow the reference one by one. We just create the impression of the flower. I keep adding more and more dark tones. Principle, right now, I add just the black mixture, but very careful, only on the tiny little part. I really like how black color plays here and divides these two areas, and it brings a little bit of to the painting. Chrystm is a winter flower and winter flowers. I think they need some. Now let's take just a bold mix of alizarin crimson, like it is, maybe just with a small hint of black. With the tip of the brush, we create a little bit more of details. Remember that the more you go to the bottom of our bowl, the more shades you could add. Don't touch this area, which is right on the top. Rather go rather go into the bottom part. You could play around with some lines, which will be our flower wines. Add some shady parts to these leaves to create the volume. Step a bit from the top, so you leave a little bit of lighter space, and that's how we got these folded feeling. Because right now we already we switch to the second layer of our watercolor. Of course, if you like, if you are satisfied, it's okay to stop right here and it's also quite nice and move to the greenery part, which we will come back in a few minutes once we're done with ranging here. I would like to add just a small idea of intersection of petals here in the middle. I relatively random paint with my brush with the tip of the brush, just creating some mass of lines of different lines. I would like to add just a little bit more of shade, but leaving the light area around my brush strokes. Let's have a look. In principle, it's nice, few petals, they need to be more included into them into the picture, B two aside, B two separated just with dump brush, I soften the edges. I bring these all to one drawing into one idea. This area is getting dry, and I would like to divide a few petals, add some details. It's our dark mix of black and sarin crimson and that's how it is. 4. Chrysanthemum. Part 2: Um, pull the greenery part, first of all, I will take another palette. And I will take Cbd green. I have a cobalt green. It will be for lighter parts. Chrysantanum has relatively big leaves, and I will start with the middle wine, which I decorate and into chrysantanum greenery. In principle, it's similar brush strokes, which just in the direction from the middle vine outside. I do not go into the details. Moreover, I would like to add a little bit of black neutral tint for the shades. For some tips to create the volume, to create the variety in the leaf. Another leap, I think nicely be here. First, I create some curve line, and from that curve line with just wiggling my brush. I create some greenery. I like to paint greenery. First of all, it creates volume, it adds variety, and it brings all nice contrast to the flower. A little bit of black, net, which is black. You could use any black you like, usually all blacks. They have some granulated. Texture. You could get very nicely results. The third one. The third one greenery leaf would be nice to have here, and we imagine that the green leaf grows around, growth, and now we see it curve. From this, We put brush strokes. Again, we decorated our middle wind with brush strokes. But this leave is more on the top. It's more on the sunshine, so I would not go to too bright with it too dark. I will just add few bruh strokes. But not to. I want to keep very light. I do not like that. For example, this part looks a little bit to cut out. I think some greenery, some extra greenery will really help to bring some variety, I I add olive green. It's the warmer, warm tone of green, which could make a nice contrast with relatively coser and crimson, relatively cold purple color. I do not go into any details here, it's more like a brush stroke. It's more like I creating the background to bring the flower up. I would like to add, very small tiny leaf here. In principle, it's just few brush strokes around, very light, very free hand. Now it's it's a nice composition on the top, but could be slightly n on the bottom. We have two options to create composition in the bottom, either to put the second flower, for example, a chrysanteium bard here or decorated with greenery. I think I would like to prefer to paint very loose bard here. And to show you in the same way how to paint even more loose. You see I just organize brush strokes. Same principle longer brush strokes on the side which looks on us and on this area, they are shorter. I organize brush strokes in different directions, but I try to bring them from one point. That's the main ball and that's the extra petals which goes around. Some darker shades to separate petals, and bit of darker shades in the middle. In principle, it's the same idea. It's the same idea as the painted on the top. I'm unsure which one I like more because I really like to paint loose, but I also like to add some details. Why why not to paint everything in one. In one picture. I switch to my palette. It would be of course easier if everything will be in the in one plate, for example, or in one palette. But things which would be lovely to play in advance. I hope after you watch this video, you maybe plan a little bit better your workflow. And we are almost there. We are almost there. I'm looking where my paper is wet. And I create different greenery brush strokes around. This looks a little bit too yellowish, isn't it? So I take paper towel. And take a little bit of the material out and go on the top with cobalt green. This one, maybe to reduce this yellowish idea. No really necessary. No no picture. I like what we have here very much. The only thing I would really like to point out that this is chrysantaum, not rose and chrysantaum needs longer brush strokes. It has longer petals. I just add few of longer petals here. And that's how it is. Let me have a look from the top. When you look from the camera. I really different if you see on your work from your desk. I would really recommend you to stop here and there, take a picture of your work, or have a look for your camera. It really change your idea of what are you painting now. This is it. That's our chrysentium. 5. Calla Lily. Part 1: Color lily, I prepare dusk pink or dusk violet flower colors. If you are not fan of granulated colors, you could just, for example, quinacridone rose or quinacridone purple. I I have a relatively big brush and soft brush, and I start to create the curry petal of color. I'm painting the inner part of color flower for now, and I had a lot of lovely, beautiful curves. The most dark part of our color flower is inside this cone. That's why I add the darkest color. It's dk purple color. I add it into the middle of this part, and I'm mixing and distributing colors. I it would be very handy to use the second brush just clean and dump brush and then you could go a little bit and di soften the edges. The beauty of granulated colors is that they create, really, really specific texture, which is difficult to repeat and everything will be very individual. I think that's great. Of course, while the paper is still wet, you could add more and more shades inside of this part of the flower. Remember, we paint in just the visible part. Later on, we will paint the outside of a color conn. I do not really like this bold super bold wine here colors. They do not have very certain middle wines. I have a feeling that I could better distribute it a little bit and the paper is still bd, so it's no problem to do this. I might Now, you say suddenly I have free brushes. That's okay. Just important to remember which one is what form. I add a little bit more of darker texture inside the con. And I will stop here, I would like to paint the outside part of the cone. I will keep my dark brush untouched, I will put it aside. The outside part has a little bit greenish yellowish texture. I will start with light. I take ply green, which also has slightly granulated color, and I will go Just with the top of a brush, I map out the shape of the flower and color flowers, this cone, it looks like an ice cream cone, if that helps with association. One part goes inside and the second part overlapping it. What we are going to recreate now. Now I'm just maping out with the tip of the brush with very diluted color. It will disappear later on, so no stress at all. I'll just map out these two parts how they will grow. I maped out this con. I remember that this right part will be on the top of the left part. If you are not happier right now, you could correct it sometimes just with clean fingers or with paper towel and change a bit of the shape. For example, make it a little bit narrow. Take a little bit more of bling green and with very diluted, mixture, feel in the left part of color. O color lily. And with our thick brush which has purple on it, just go on top and let all the colors mix. I would like to make this part more light and more bright, so we will see very clear border between these two areas. With another brush, just the clean brush, I'm soften the edges, and I do not allow the dark purple color mix and go too much to the top. For me, it's very convenient to jungle with this amount of brushes, and that might look a bit confusing for you. But give it a try. It's a time saver, and it's crucial when we paint on wet paper. Because when we start to wash out brushes, dry them out, get a new color on it, you lose the precious time of wet paper. Just like this, you see, I'm not paying too much into the details, but I would like to add a little bit more curve here. I still have this opportunity because the paper is a bit wet yet. I always advise you, even if you see on your reference that flower is has a straight stem or straight lines, add some curves. It really adds some artistic touch. That's our left part. Let's go back to the right part. Again, Perlin green, it's very dusty green. For example, you could get it when you mix tallo green or vermilion with some brownish colors with Spa for example. It will be very close to what we are painting now. Let's paint this right petal. Yes. It will be the lightest part of color lily because it's on the top. So Right now I'm just ptering this area. If you say, for example, when you touch the neighboring area, that's all right, and it just adds some nice touch to our flower. I would like to paint this area with dusk pink. It's a lighter version of this. I remind that in a part, we mainly paint it with dusk purple, which has more black pigment in it, more black color, and it's darker. Outside part, I would like to paint with dusk pink. Again, I keep an eye that the border will be light and soft. Some shades are always good and all the shades will go to the side part to create the polu. The paper is still wet. O collage has distributes by itself. I do not really do much with this. That's my clean brush. If you're confused with brushes, you could just test it out on the paper towel. I want to distribute it a little bit. Now I would like to add a little bit more of green touch with Berling green. To the bottom part. I add some stripes just with the tip of the brush to create the texture of color lily. With the same go, with the same brush, I paint the stem. You may be noticed. Again, I paint the stem a little bit curvy. I always emphasize that try to add more curve line to your paintings. Let's paint in the same style three other color flowers, just to be sure that we just to practice the technique. You could, for example, paint one color, but then you may be shifted to the middle. I composition wise, it will be more organic. I usually prefer to paint some compositions consist of uneven amount of flowers, because it's more interesting. O eye has more way to investigate to go I will just remind what I'm doing. I made the first layer with very diluted dusk pink color. Now I paint the darkest part of color lily inside inside the cone with dusk purple. It's very dark and bold. I would like soften a little bit. I will go from inner part to the outside part, soften the edges. With granulated colors. It's a little bit sometimes confusing because you could see different shades of the color. For example, right now, I could see only black colors on the view. But give it a time. All particles of granulated colors, they will move while paper is still wet and they will create very beautiful, nice mixes, nice structures, which you probably already could see on the neighboring flower. Let's paint the co. Let's paint the second con with our green dusty mix. Firstly, let's outline as we did before, and then with clean and dump brush, soften and distribute all the our grayish mix into the body of the into the color body. And let's do the left part same starting with watery outlines and apply a little bit more pressure in the brush and then drag out our watery mix into the whole areas into the areas of the ce. Our paper is still wet I would like to add our purple mix into our grayish green mix. I just grab our purple mix and go alone and go along the edges. I let my watercolor distributes by itself, and with the tip of the brush, I help a little bit to set up the direction. I use tip of my brush with boulder mix of the same purple, but it's bolder right from the palette. I add more shades into our mix. Then with clean and dump brush, I soften the edges where it's necessary. Now, I grab greenish, I add more shades into the body of the corn. The paper is still wet. I allows my watercolor flow freely, and at the same time, I add purple mix with my clean and dump brush, I distribute and soften the edges. Also I leave quite crispy edge on the top of the cone for more contrast and to show them thickness of the petal of the space. 6. Calla Lily. Part 2: I would like to bring all the stems in one direction, at least for these two colors. I would like to add just a few details. Some crispiness with the tip of the brush, I go along some edges and create more lovely curves, emphasize this emphasizing these curves, just a little bit with the tip of the brush. It brings some difference. The third one, I would like to paint a little bit on the side with the side of you. If we turn this bd, it will look on us in a different way and it will grow like this. Again, dusk, very diluted. Now, I mixed all the brushes. Let's use this on the bigger one for diluted pink color and I paint the middle part. If that's difficult for you to paint without a sketch and I show you I know it is. It takes practice. You could just sketch the outlines before you start and then you will feel more relaxed, and maybe it will be easier for you to paint in this way. For me, why I'm painting like this without sketch, on one side, it's my personal challenge. On the second side, I realize that I'm a little bit bored with pictures which takes too much time to be painted. Let's put it in this way. Because first you have to make a. Then you transfer the sketch to the paper and that is over. I bit kidding, of course, and exaggerating. But I think painting without a draft, without a sketch really trains your vision, trains your own, and brings spontaneous feeling to to your art. What's important with color painting is that we emphasize we put darker shades on intersections and on the side of the cone with dump and clean brush, which are soften the edges. As we paint with granulated colors, we leave it like it goes because the granulated colors, they will find its way on the wet paper, and usually it's very beautiful B watercolor and works by itself without our interfering. Now the trick part is to find the stem for this third guy. To make it nice, I'm make a move with my hand with my brush. And here it is. Here I will find the logical way where the bard goes comes out. Right now, I would like to add just a hint of racena contrast and to divide all these areas. I think it's time to paint the third stem. About this. What would be nice is to divide a little bit and add more shade to the bottom flower. I do it rosy, and then switch to ping green, which is our main green color in this drawing this. Again, I just make the shades and the color flow. I guess I really could go a little bit more dark. Just like this. We need to bring this flower on the top and we do it with painting a really contrast shade on the other flower. Now, it all looks very nice and lovely. I would like to add some greenery because all greenery when we paint greenery, it really everything together. I will don't be surprised. I will take cross ena for this. I will take rosena, but very, very diluted. Color leaves, they are long, and relatively they have a little bit curvy and relatively simple shape. I just maping out, preparing the area, and with my second brush, I will add perling green to this to the yellowsh, leaves. Why I choose that weird color. We paint in greenery, but with yellow with brown colors. Why? Just because of the contrast and not to take the focus out of the focus of our flowers. I just soften the edges, I leave the color flow as it is, and I paint another one. I'd like to paint a few more of the green green. Brown brown leaves. But to make it work, I'll stress it out our roca, our brown color, it should be very diluted. Should be very diluted and you just add a b just a hint of green color. F just a little bit, just a hint. You see it somehow it dissolves inside and do not try to over paint it or paint it. Let's paint more. I paint imaginary stem and proceed with the leaf. Immediately while the paper is still wet, I add few hints of green of green green and let it all mix. Right here, I could see a nice curry leave. How I paint it. I take my brush. I start with the tip of the brush, I press it on the belly, and I let it go once I'm approaching the end of the leaf. Once I approach in the stem. While the paper is still wet, I add a little bit of greenery of green touch in here. Just a little bit. I want to make the feeling that all these green leaves just melting in the paper. I think you all agree that something is missing here. First of all, the stem of this wonderful leaf. Better not to do it. Let's paint that stem, and it's slightly empty right in this area. I'm going to paint to set one more leaf here. To better understand the flow, how I'm doing this. I test it with my hand, and I start with a stem. You say a paint is very diluted. I will have a chance to fix if there will be need to fix something, but I hope it wouldn't. Now, I could go with the second with the second go on the sleeve. Let's check it out, does it look nice. Does it need a little bit more of green? Yes. Let's add some green shades and dots and spots around. But for example, here is the green part. Don't put too green in this area. Maybe here just in between. Contrast between all these areas. But on the top, There is no intersection, you could add slightly more intense green color. Also, just in this area because it touches the purple one. It's completely fine to add a little bit more intense. Let's check it out. I would like to intensify some steps. Add some final touches. Maybe some texture to our colors. Let me have a look again for the camera. This area is missing, and I promise you, guys, that will be our last leave while I'm painting it, it's same technique, start with the tip of the brush, press the brush, let it go. I want to make it curve and I want to make it be around here. It would be really nice if you write in comments which flower you would like me to paint next. Are you artist, or you are an artist and a designer who is interested how to apply your art, how and to sell your art, how to have some commercial value in your art because I'm a professional, I'm a commercial artist, and I do custom works, I do pattern design. I'm just thinking about next tutorials. Maybe there are topics which you are interested as well as painting. Maybe you do not feel very confident in your art and you need some advice or hand of support. Just let me know. It is very, very important. It has a great value for me, and I hope it I could create more related topics. Difficult to stop with painted leaves. I know. But right now it feels very nice. Let's stop here. Thank you. 7. Clematis. Part 1: Paint today clematis and we will paint it with granulated colors. It's big form to paint, and that's not really a basic colors in your palette. But it's very fun to try it out. Granulated colors means that the color consists of small particles and they run away from each other. They dissolved and distributed in the surface of watercolor and they create these fantastically beautiful mesmerizing textures. You will see it very soon. I paint climats. In principle, I always try to follow the rule of free one, to free buds or flowers, or uneven, let's say, part of amount of flowers. Because it's pleasant for eye, because it does not create this symmetry, which sometimes is nice, but for pictures, it's more interesting when your eye has some flow around. What's important with clematis flowers to keep in mind that it's always even amount of petals, either four or six or eight. This one, I'm going to paint with one to 34 with six. Sometimes it's actually eight. I think the most common, but we'll see. Now I will make it closer, have a closer look and you already could see how all these particles started to fly and distribute and create very fun, very unique texture. We also keep in mind that clematis has very certain middle wine in the petals and usually some light middle part. I leave it white for now because when we paint watercolor, we have to think in layers. We can't paint darker layer and after that, something light. It's just not possible because of the medium. I leave this area for the yellow part and I will add it a little bit later. For the basic color of clematis, I use dusk violet, and I will leave you a list of my materials in this video. You could try either my list or have a look for some other brands, or just try everything. I wanted to point out that that's not a basic watercolor palette, and you need to make some research in your stores, in your in your favorite online shops to find and create your perfect granulated set. Let's keep moving. I immediately want to paint another one. Okay. I start with more lighter version of of the mixture and now I use dusk pink. It's slightly lighter than Dusk purple. But if I add just a heat of the color right from the palette without adding some water. You could see how intense and bright it would be. You I think here you could see really well how it start to dissolve and create all these beau beautiful textures. Climatis flowers They more like late autumn winter flowers depending on the region, of course. I see it here in Bergen, I see it's for rather long time for October at least. You could leave me some feedback and comments. Do you have clematis in your region? What's your favorite Late autumn, winter flowers? We could paint more of them together. I I want you to see all the picture around. I emphasize a little bit of the middle part, so it will later on create a nice contrast. While our paper is still wet, I like to add some extra colors, which maybe not really present in the flower in the picture, but together, they create very beautiful, very specific mixtures and shades and makes our painting very special. I'm preparing a little bit the middle part. I want to see how my watercolor is mixing with I think it's Rosana, but it's also from granulated collection. I'm going to paint all the pure all the picture with granulated colors. That's the challenge for today, and I want you to give a taste of granulated color of painting the granulated colors. It's a bit special. One, two. Now now the third b. What's challenging for me when I'm painting is to count the petals and keep in mind the amount the right amount of petals for a flower. That's why I like to paint roses and peonies because you could paint so many petals as you want. With these types of flowers, if you miscalculate something, it will look a bit o. And about technique, I just paint with a big brush with very big brush strokes. I try to make my petals in some curves, in some moves, not very symmetrical. And I divide petals just with a very bold color, which I take right from the from my palette without going into water. I have very watery mixture in my ceramic palette, and I really like to add contrast with the help of just bold colors. If you think that's a little bit too bold, you could dry a brush and distribute all colors around. Let's put some drops of green color. It's cobalt green and it also has granulated granulated basement, maybe not that certain as these dusk colors, but it helps us to create nice consistent feeling of this texture. I paint some vines. The central vines, as I told, clematis has very certain middle in. That's what I'm going to point out. I paint with very brave strokes. Just with the tip of the brush, you could see that I use just one brush for for both thick big petals and for small tiny lines. The important thing that your brush has a very fine, nice tip. Then you could paint all the picture, principle just with one brush and it saves quite a lot of money and quite a lot of thinking about which brush shall I buy what will be better for me. 8. Clematis. Part 2: I think I will play round a little bit and add some lavender. Let's play around. Usually, I prefer short, small palette with free colors, for example. But today, I think I'm going a little bit overboard with different colors. Let's see what I will get. The only thing I try to Remember is that in principle, I like a little bit dusty shades. But coincidentally, granulated colors. They usually they are also a bit dusty because of these particles of dark particles. This yellowish green color, it's dusk yellow. It's probably hardly very difficult to see any yellow. But if you compare, for example, this green and this green, it might be a little bit yellowish. I paint clematis sleeves just with big brush strokes and here and there. I just combine it with with cobalt green, which is cold color, cold green, and this dusk yellow, which is not really yellow. It's more on the warm side. So it's a. Also nice to add to play around. If you do not have all these colors, all these granulated colors. That's completely okay and the trick is. I'll tell you a trick. You might try just to buy one color, one basic color. Maybe some pink is good on the brownish side. Then you mix it with your usual colors from your palette and that granulated color, it brings all these textures, all these beautiful granulated textures to you mostly of your colors. That's really a way to try out. I just keep to fill in the space with with greenery and I like the colors mixing together. For example, here. It's maybe a little bit unusual from I painted before. Usually, I like to paint one certain element in the middle, around the middle of the paper. Right now, I'm painting something completely filled with elements, and I'm going to make a pattern out of it. Because I'm also a pattern designer, and I make patterns for fabric. And I could see these flowers on some fabric. Oops. See how that was just one drop and now it distributes by itself and it creates very nice mixture, I want to make close. Let's try to add something else. A little bit of dark color. It's still that dusty yellow, which doesn't look yellow at all. But that's the fun. That's the fun part, the more, it is diluted with water, the more yellowish. Probably you could see it here. It's getting a little bit yellowish. What I like to do is to add some contrast. Leaves of clematis. They also they have relatively certain middle vine, not as big as the main petals. St re relatively noticeable. I just keep adding greenery and I try to make it very different and in different shades in different tones and in different types of strokes, slightly bigger, slightly smaller, and I allow all the colors mix It's always nice to add some colors from petals to your greenery. That creates that consistency of your picture that the colors doesn't look random. They feel. The creates a feeling that it's all one mono drawing. I think it's very good with greenery. So Some last touches with very, very light and diluted colors. To add some variety. Now let's paint the last part, the central parts and clematis, the pestol, and stemens, they have this structure. It's like a big knot in the middle and a lot of stems like a spider around to show that up, I use CienaN. Again, the tip of the brush, I paint some random. Some random ts. In each of the nature of the flower. Don't paint it too much, leave a lot of white space around. When I wash my brush, I think it's time to change the per tower. Wash my brush. Soften a bit everything. Soften a little bit. With dump and clean brush. Again, not like this, not go overall of the middle. It feels like you again adding some random strokes. If you for example, see that it's a little bit too white here in this area, soften it, soften it with your brush, and again, same color, you could go a little bit around, add some extra strokes to create the volume and the shades. It's not really possible to paint all these spider spider small stimens. But just a little bit to give the impression of the texture For example, if you think it's too dark petals are too dark and nobody could see these. That's okay. Just a little bit of reminiscent often which just mapping it out and I youtly do not like it, you could take a bit of white, for example, and paint stems ad and the trick is to Pushy brush. Dr. Make the point sharp and go a little bit just the dump brush and that remove some texture. It's maybe not very visible here. But if your paper is still wet, usually it takes a little bit of of the color. Our climatic. I hope you enjoyed it. 9. Mallow Flower: We're going to paint mallow flowers, very loose, very spontaneous, without any drawing, and I hope you will like it. L et's plan a little bit our painting. I'm planning to have free main flowers located in the C curve. To keep me focused, I will just map out the future flower centers. I try to avoid placing them in one line, so a little bit tilted everywhere. Now let's paint from the central flower. I have some of pink violet colors, granulated colors. I will also add quinacridone purple, quinacridone purple. You can use any purple, violets, pink violets, which you have. Firstly, I will mix my purple and pink to make pretty bold mix. I have a nice amount of water in my brush. Now now let's start to paint. As I said, let's start to paint from the central flower. Let's imagine that here is the flower center. We are not painting here. We're painting all other petals, leaving a spot in the middle. To make it easier, you can put your finger and start to paint some So brush strokes, and then you can paint the petal edge. B one petal edge. Then you brush wash your brush, and then you wash your brush, dry with a paper toal and soften a little bit the edges. It will be very loose spontaneous painting. In this time, we are not trying to avoid blooms and some textures. We I looking for that. Let's have fun. Next petal. Next petal. Why do I use this mix? Because this pink color, is granulated color, which also creates nice texture and mixing it with just normal color of usual color. I still get that texture this is just very fun to play around. Now keep our finger in the flower center. Create brush strokes with the tip of your brush, and then with bold brush strokes, create the edge of the next battle. You can move your wrist in different directions that helps to create more spontaneous strokes. You can soften a little bit, where you don't like how it looks or maybe it's too bright. You can also dry a brush with a paper towel and lift a little bit the colors. That's a nice way to create very organic veins. Now let's have a look what's happening here. I think if we add a little bit more lifted areas, that will be more interesting. Now, let's try to do it with two brushes because it saves time and no need to wash out pressure pains and can just use our time more efficient. Five petals, mellow flower has, and that's important to keep in mind. The only thing when we paint loose is always nice to keep in mind the amount of petals because that makes your flowers recognizable. On one hand, very loose abstract spontaneous in the other hand, and that's why loose painting is so popular. The more water you add, the bigger these bloomy areas will be. The more you dry your brush, the softer you will get this edge. Now I want us to make a little bit quicker because my idea is to add a green color in the middle and ideally, we will do it while this area is still wet. Let's make another petal. Another petal. Brush strokes, then a little bit Mulder age. I use the whole body of the brush. I use the very simple synthetic brushes. But they allow me to control nicely water and paints ratio, which is very important. You can add a little bit more dark tones here. The last one. Last one, think where it will be located underneath. If it is underneath, you can paint it a little bit darker. On one side, because there will be shade from that petal. Then just the edge of the petal. You see how beautifully colors mixing, interacting with each other very n very beautiful. No. I will wash my brush. I will use some green color for the middles. With tipping moves, I will create the middle part, the pollen area, and with pretty watery brush, I will add some brush strokes into the flower. R into our watery mixes. Sometimes it's already dry here. That's fine. That will create very different feeling. This is a nice exercise to to release the pressure of creating a masterpiece. Just to play around with your paints with amount of water, and then you get something really nice. One flower is ready, we are going to paint in the same way, another one, which will be a little bit tilted. Again, we're finding the flower center. Let's start with one petal. Now I will work a little bit quicker. I hope that's okay. Mixing colors. Adding water, landing. So brush strokes. These flowers tilted a little bit, so I set up the direction for brush strokes to move in a nice way. I remember that I need to keep the center light, later on, I can add pollen area. Some partly these part will be underneath the previous one. I tried to add a little bit of different color in this area. Shape the edge. Okay. I would like to lift a bit of colors here and add some veins in this area. One and two. I want to soft a little bit. It's bright, too harsh border. I like veins flowers, washes, which are a bit soft. Sweet spot. A this. If something feels too bright, there is another way to reduce it. Take a paper towel, preferably clean, and then press a little bit. It might create some textures. Sometimes very organically. Now let's add the middle. With the tipping moves, I create pistol area we pretty diluted, pretty diluted mix. This green has yellowish undertone, yellowish pot, that we will see it in a moment once it's all dissolved and particles will move from each other. No need to go very precise, some details like this. Now let's paint the last one. Now I think you got the idea. Let's move it around. I already moved pretty far from what I plan, but still I see my dot here, and I still agree that it is a good direction. Now, let's make this one a little bit lighter. Petals and flowers wouldn't look very similar. If you have some drops, just take a paper to. O Just take a paper towel, and remove everything. Also, when we paint in different values, creates nice contrast. Flowers are different from each other. No. It would not look like one single shape. There will be a diversion. This is the bottom petal bard. We hardly concede, I painted very loose. Probably will be the best of. The more you apply pressure on yourself, usually the better the result. Sometimes. I move a little bit texture into the middle. A this. While the middle is still wet, I would like to add the green part. It will. Try to wash your brush to avoid too much of the mixes because granulated colors, each paint already has two colors, so to say in it, and if you mix it with another granulated color that will be plus f plus two colors in total. Sometimes it can be a little bit too. L et's add few details. You can add details while your paper is still wet. Not so much actually right now. Right here it can work. Almost dry ready. Let's just paint in add some dry brush strokes. And soften them with damp brush. Now let's paint some gly around. I will use my smaller brush and the green mix and usually all the buds they grow on one stem, which we can hardly see. I will add an idea of the stem. Maybe there will be one more bd and same here, and maybe even s here. Let me think. I will add a bad where basically just a brush stroke, Same right here, I would like to paint a leaf Leaf i that was I would like to paint a leaf. Usually, they are pretty big. I just do some vehicle moves. Try not to overdo it. With the tip of the brush. Ale bit greenery here. Soften a little bit. Make it one more would be nice right here. Always think how it grows. Brush strokes. I just bein with the whole body of the brush and then very quickly rise it, rise the bruh, and then just with the tip of the brush, I add textures, always nice to add the colors which you used before and allow them all mix nicely around. I wash my brush, I go around, soften in the edge, adding some structure, adding some texture like this. This is nice. This feels a little bit lonely here, add some idea of af. Maybe some unexpected water drop can be a perfect place for a leaf. Just look around, maybe with your try brush. You can add a few cute details. Veins, especially in the light one. But also I can see right here for this that will work. When you add weights, we just walk in that direction of battles. No straight lines, but curvy lines. 10. 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.