"Eliana" - Watercolour & Gouache Garden flowers

1. Welcome!: Welcome to Eliana. We are painting pretty florals with an upward direction in this ode to wildflowers. You could paint along with me step by step or create your own favorite flowers. Before we jump in, I just wanted to say hi to my new followers and the followers who have been behind me these past four years. I really appreciate it. Thank you so much. Since 2020, I really feel I found my sense of purpose in teaching on skill share. It's my happy place. So what will we be covering in the class? We're going to be creating a background of buttery yellow in gouache or water color. We'll be using round brushes and small filberts. And one of the aims in this class is to explore analogous colors. So we're mixing between the two primaries of red and blue. You're mixing a violet, which is between the pink and blue, a pastel pink, and then are going to go right over to a red violet, very deep color. And what Creola call Jazbery jab. This class is for confident beginners to intermediate level. I can see this being handy for those of you who have a Society six or red bubble or print full account because it lends itself to a replete design really well. I'm often asked if it's okay to make salable items from the art created from my classes, and the answer is a resounding yes. Any of my classes can be used as a resource from which you can create your own designs. As always, I design my classes for those of you who want to nurture self care routines and just to find relaxation in painting. I often paint flowers, and it's not until I finish the painting that I decide what they are. So allow yourself the same freedom as we explore these wildflowers. My absolute favorite part of skill share is the community. You're also encouraging to each other, and I absolutely love seeing your work. There's no pressure to share your work, but if you'd like to, you'll find it under the video in projects and resources. And then on the right, you'll see submit project. I know some of you also share your projects on Instagram. So do tag me as I don't want to miss anything. So let's move on with our class Eliana together. 2. Background, White Roses & Michaelmas Daisies: So I'm going to start by taping off my page. This is just a choice. I quite like some crisp edges. And I believe this is EMT tape. And this is she hot press paper in the square block. So let's start off by putting down some titanium white, and handsy yellow deep. The handsy yellow deep gouache is very pigmented. So I just wanted a tiny amount with the white. And then choose a large brush and slosh it down. This is quite thick. It's not like doing a watercolor background, so about 70% pigment 30 water. I'm now mixing some undersea green and white. The undersea green is what color and the white, it's squash. Just mixing a little bit of the yellow mix, as well. And whilst the paper is still wet, let's go in and make some random centers for our first flowers. I find it easier just to think of these as blobs rather than having to look like the center of a flower, if that makes sense. I had some quin lilac still left in the palate, so I just mix that with some white gouache. Let's now put some white petals cradling the centers. I'm using a size ten round brush. This is my scara versitle. Even though it's a larger round brush, I find it really good for small flowers because I'm just using the tip to about a third of the way down. Let's go over some of the centers with little petals just so they look joined. I'm not worrying too much about the shape because we can always add petals on top. So I'm just building up the layers here. And now let's mix a violet. And I've put down French ultramarine and opera pink. And both of these are gouache. And I'm mixing a little white. And I'm moving down to my size to fill bit. And these could be any flowers you like. I think I see them as Michelmas daisies. I often paint flowers and then decide what they are afterwards. So I'm varying the petals between a lighter lilac, a pinkier lilac, and a lilac leaning more towards a French ultramarine. Varying the size direction and also doubling up on some petals. Still a little bit random in placement, but becoming more cohesive already. I'm mixing a little bit of a very light green with our green mix and the hands are yellow deep. And these centers are so easy. It's really just one little brush stroke or just a few little dabs. We can keep it simple because we can add a tiny bit of detail later on. I used to overcomplicate my centers, and I'm still apt to do that. So I'm just trying to keep things quite simple. Just going over this one here because I placed it down on an area of wet paint. 3. Pink Polyantha Roses: So I want to make a little bit of room in the well for some opera pink, and I've got buff titanium there. It's just to take the high color out of the opera pink, and I might need to add a bit of white, as well. I'm just going to see how that looks. Bit of water added. And I want it quite thick. So I think I'm going to add some of the titanium white. And that's much better, very opaque, very gentle pink. And we're working around a center here that we haven't placed, but we can imagine. I'm just using gentle sea curves. And we can keep in awareness that we are aiming to create analogous colors between the primaries of red and blue. And you can decide on placement. You can start to overlap with some of the motifs underneath. And you have a choice of more placed motifs or a more scattered ditzi Such a cute color. I haven't used Opera Pink for quite a while. So it's lovely, especially in the gouache, now that I know that I can use Daniel Smith. It's like a whole world has opened up. So this is watercolor undersea green. And I'm just mixing in some of the pink that we have there. I like doing this because it really starts to bring everything together when you're borrowing from one color to add quality to another. And just with the tip of the filbert, I'm doing these tiny little centers little blobs and dots. Very, very simple. Just finishing up. And let's move on to Lesson two. 4. Rich Green Leaves: Let's add some lush leaves now. And just as we did in our Christmas doodles, we're going to mix lamp black and hands yellow light to create a lovely rich green. I think it's my favorite green, and there are so many variations between the two colors. These are both gouache, but what color would be fine, too? Isn't that just a gorgeous green? So it's ring on the warm side, but it still has that kind of blue undertone from the black. And just laying down these little leaves, quite gestural and quick. And that actually might be just a bit too dark. So I'm just going to add some more handsome yellow light. I want it near a green gold. And in fact, if you don't have black and yellow, green gold would be lovely for this. So it's easy enough to correct. It can just go over the darker leaves that you're not keen on. Another way of doing this to lift the darkness is just to mix a little bit more white in with your green mixture. And almost mix on the page. So I'm just adding a very, very light green there over those dark leaves. Little expressive movements. Quite a few of those little side sweeps that we use a lot in classes. And it's more about what it looks like as a whole, rather than feeling like you have to add a stem to every flower. And I find working really quickly helps. Otherwise, I overthink things and it can get a little stilted. So I'm just casting my eye around, making sure it's all looking balanced. And, of course, you don't have to do one like this. You could do a very random one with your favorite wildflowers. In some places, it's quite nice just to go over one of the flower petals. And finally, before we move on to the next lesson, I'm just going to tap in a few little centers to the white roses with this green. Little taps of the tip of the filbert. Or you could do this with a liner brush. And I think that's it. 5. Viper's Bugloss: Now I'm placing down Perilin violet, which is one of my favorite colors of all time. I love Perlein violet in with wild flowers like this. I don't know what it is about it, but it just completely transforms what I'm painting. And I'm just adding a little bit of opera pink there just to brighten it a wee bit and making it a little bit more opaque by the addition of some white. But it's this gorgeous, gorgeous, deep red violet color. This is the color I mentioned in the intro. After I finished painting, I realized that I'd painted Viper's Buglos, which grows abundantly on the waysides close to my home. Echiums in reality, lean towards more of a French ultramarine, but I think we can be allowed our own interpretations. So I start from the top with these flowers with very small petal shapes. And then as I move down, I start to broaden out the petals. So a mix of the side sweeps, little dots and throw away expressive marks. And we can continue some of these flowers in between flowers that are already down, so around the pink or white roses. You can see that here, not so little details, which is what really keeps the eye interested. There's so much to look at in one of these wildflower gardens. I really wanted to bring that to this painting. So you can see that I'm going out sideways, as well as I'm making the petals broader. I'm adding a few more as we move down the stem. There's no hard or fast rules with this class. You could paint in your favorite wildflowers and switch the colors around, if you like. Very, very restful to do these flowers. There's not much about them, really. They look complex, but very, very easy to do. Once you get into the flow, and then it's very hard to stop. Can you see how this color is just harmonizing that lovely pastel pink and the violet? So I am just casting my eye around, making sure that it's not getting too overcrowded. And as you'll probably know by now, I do like to give flowers a little life beyond the tape or page. So I'm just taking that one and allowing it to flow off the page. So you can get really in the zone. The reason why these are so relaxing, I think is because you're doing the same form of flower over and over again, each with a little bit of character of its own. So it allows you just to rest for a while. And that's why I love doing these tall flowers. So pretty this color. So taking that one behind the white flower, And I se behind the violet flower. Now, I could carry on painting these flowers. But I know I have to stop at some point, and this feels like a pretty good time. So I'm just adding a few little dots there, but, yeah, I'm really happy. 6. Viper's Bugloss Layers & Elongated Leaves: So let's mix up a pink with opera pink and white. And I'm also taking some of that over to our parlein violet mix, just so we can vary the colors a little bit, as we add highlights to the viperpuglos. So I'm layering petals over the existing ones or placing them in between the other petals. Just very light touches and moving between the two mixes there. I do like mixing with opera pink because it's such a bright color that it holds onto that base, even when you mute it slightly with white. It's amazing what these little highlights do. It feels almost like the flowers are growing out of the page. I just love this process. So, adding some brighter petals now nestled in amongst the previous ones with that opera pink just slightly muted. And it feels almost like being a bee flitting around the flowers, just adding little touches. And I'm just adding a few extra petals there where there are spaces. So let's now mix a lovely green using the black and handsy yellow light mix, but leaning towards the handsy yellow light now. If you don't have hands yellow light or black, you could always use a green gold here. We just wanted to bring a little bit of contrast to the darker leaves. And I'm starting the movement before I hit the page with these slightly elongated leaves. I'm placing these in the spaces that we've created with our flowers and darker leaves, sometimes going over motifs as well. I want to get a little bit of movement in these leaves, which we can do because they're more elongated, we can change the direction of the brush mid movement. 7. White Rose & Michaelmas Daisy Centres: So let's bring the centers of the roses to life a bit. And I'm just going to put a tiny bit of the handsome yellow light there, and I've switched to my size five round brush. I'm just tapping in a little bit of yellow around the green in the center. I don't want to obscure the green, so just painting it beside What we're effectively doing is bringing the flowers out from the background. So the more detail we put in one flower, the more we will have to attend to the others, if that makes sense, so they're all growing together. So I'm including any flowers I feel just need a little boost. So I'm just thinking about the Michelmas daisies now and I'm mixing of chartreuse. This is just that black and handsy yellow light mix, and it's amazing how many different hues you can get out of that. So I'm adding this chartreuse to the center of my Michelmas daisies. And can you see how they're all starting to level out and become really cohesive now? It really feels like a walk in a wildflower meadow. I often feel that because I am mostly housebound. When I paint, I honestly feel as if I've been on the longest wonder. It's a real gift, isn't it, to be able to paint and to express ourselves. So I'm going to do something that's quite daring. I'm going to add black, black, neat black to the centers of the Michelmas daisies. It's something I've seen a few artists do, and I was intrigued by it because normally people avoid using black. But when it's used in the center of a flower, I absolutely adore it. I've started to do this more and more. I think because it adds a tiny bit of shadow to the center. But there's something about the black, which, again, works to bring these flowers closer to us off the page. We're aiming for a very thick paint here, so probably 90% pigment, ten water or 80%. It's also very restful to do. I'm using my liner brush here just so I have lots of control, and I'm really just doing a sea curve around the center. And maybe a few dots and dashes. So I'm using this on the roses, too. I think you'll be really surprised at how well this little edition of Black works. A few dots. So we can take our time again. And this is very meditative, as well. We've done most of the painting, and now it's just about these finer details. This is Wade. You can really sink into this painting. Maybe have a cup of tea next to you. The lovely thing about building up gouache flowers is that we have time. There's no hurry. Unless you wanted to mix the colors on the page, we can take our time. Very pretty. Just feels like we're tending our garden. If your paint gets tacky, just add a tiny touch of water. These little sea curves and dots also bring the petals and the flower centers together. I am loving those Michelmas daisies now. So when you're ready, let's move on to the next lesson. 8. White Rose Layers, Centres & Stems: Making sure that these pallet wells are clean, and I'm going to add some white quash. At this point, it would be good to have some clean water, too. Let's go down to a size zero, filbt or a round brush. So we're going to be using this in almost its neat form. We just want the brush to be damp. Then I'm going to slowly build up some layers. And we can pull the petals over other motifs. And we can start to add some brushstroke texture to these white petals. And that will also bring these flowers to life and even more off the page. And really livens things up a bit, having this crisp white. So just enough water to dampen the brush and really layering on the white so we can start to see the brush strokes. This is restful, too, because we're going over petals that we've already laid down, either going over them or adding some additional petals, flowing in different directions. And just with the pink petals that we did earlier, it might be nice just to add a few white petals in some of the spaces. Always looking to achieve that balance across the page. And encouraging our flowers to leave the page. It will be so nice when we take off the tape. Another trick is to put a really bright or white color like this over dark. So I'm just allowing them to glance over the darker leaves there. And why not add some little touches to our Michelmsaisy centers? Next to that black, it will really allow the flower centers to pop and create a little dome shape. This is great for berries, as well. If you don't have a nice zero filbert, you could always do this with a liner brush or a small round brush or even use a white gel pen. Time for some little stems now, and I've picked up my liner brush again. And I'm using the green mix of the black and the hands yellow light. And I might add just a few little leaves coming off the stems. I'm not too worried about these all joining up and being botanically correct because we really just doing these little strokes as a way of bringing movement, we've got a lot of flowers, and I really wanted some stems to allow them to flow together a bit more. And I'm just threading them behind the flowers. Very enjoyable just to follow the lines down through all of the motifs. And some can just fold over some of the white flowers. Very quick fluid movements, and use that as a way of marrying up all of the flowers. And I think that's it. It's just a very light touch and a few tiny leaves. So let's go back to our undersea green, and I'm just adding some white to that. This is a cooler green than the lamp black and handsome yellow light mix. Almost like a gray green. And I've noticed that a lot of my leaves are going vertically, and I want to just to add some lateral movement. It's not going to take too many to achieve that effect. But I just want to place them evenly. So just from left to the middle and right to the middle. And that feels so much more balanced. Yeah, that's a lot better. I'm happy with that. 9. The Reveal & Finishing Touches: Okay, so it's reveal time. One of my favorite bits. So let's take the tape off. This is really reliable tape. It's empty. It's so nice to see these crisp edges. So cool. And it's done really well, actually, considering that I slopped a lot of paint on at the beginning. The tape has done a really good job. It will really allow your painting to shine. I'm not always patient enough to tape off my work. But when I do, I really feel there's an excitement to the end of the painting a kind of an unknown quantity. And when you see it, it really does make it worthwhile. So once I've taken the tape off, I do often just find little things that I'd like to add. So I've picked up my liner brush again. And I'm just going back into the black, handsy yellow mix. What I realized I wanted was just a way to bring the vipers view gloss together. I'd forgotten to add foliage. So I thought I'd just go back in and do that. I'm just thinking of adding green between the petals rather than having to shape leaves. They were probably okay on their own, but I just wanted to add some supporting structure to them. This is the kind of detail that you can come back to if you wanted a break. I'm just gently filling out the gaps. I didn't want to introduce a different green in fear of upsetting the balance. And I'm extending them down a little bit beyond the lowest petals with a little stem. Again, this doesn't take much thought, so it's really relaxing. Do This feels like a good move because I'm also introducing more green to balance out the white, pink and violets of the flowers. Coming to the end now and wanting to keep on the page, try not to disrupt that nice crisp edge. Could this be it? Let me take one last look. And yeah, that looks good. 10. Thank You!: Thanks so much for joining me in this class, Eliana. Where we've been mixing colors adjacent to each other on the color wheel. And we've also been building our confidence in how to create pretty layers. I hope I've been able to kindle or re establish a love of meadow and garden flowers. I thought I'd share some of the meadow paintings I've done over the past six months. I actually managed to record some of these, so if there's a painting that you really like, I can tag it on the end of Eliana. So let me know which is your favorite. I look forward so much to seeing your projects and chatting over our discussions or on Instagram. Until then, take care and happy painting. 11. "Primavera" part 1 Bonus lesson: So I started with some undersea green. You can decide the direction at this stage as well. The top. It's a mix of French ultramarine. I do it. White. And then a little bit of handsome yellow. A bit more yellow to that. Oops. So that's how it started. Then I pulled through some really thick undersea green. Just kind of get some texture started. So I want the bottom to be the darkest. Then it's going to get lighter towards the top. I put some white over there. What I did then, I went in with some watered down white. Can I do it over the can see? I kind of adds texture and a softness. So that's where I go with that one. And then, well, maybe I'll just start with this one now. So I think I'll just start with the fine liner. I I want to be constantly thinking about light and dark white with some handsome yellow, a little bit of green in there as well so kind of think of light and shade. So I can use this. I'm trying to keep the greens varied. Very colour skin. To be quite confident with these. And the other thing I want to remember is a larger flower heads and then they re seed into the distance. Might use this. So kind of scraping this on its side, like this, but also you can do it this way. To keep it really more like mark making. So we've got that dark green and the white, and we've got this very spring like green. So keeping the background deep green, and then we're just going to lay some blame on top. I'm going to pull through quite a bright, yellowy green. Want to try this out first. And at these toca come in to the page. Just rolling the brush round. Like a bit of dry brushing, so that's an option here as well. The thing I need to be careful is not to do too much. So because we're using thick paint there, it's hard to know how it's going to come out. It has its own of shape making qualities. It's going to add a little bit more dark bottom here. It's a little bit forgotten. Alright. So now we've got the basic texture down. It's the one I did and didn't film, of course. Might put a few of these marks in. Those are quite nice. Going back to my half inch flat brush using under sea green. The other thing to remember is that you can pick up more than one color, and that's a very nice effect as well. So I want this to be a dry brush, so you need to take the excess up. You still have control over this, it looks very, very dry. If you move slowly and push down more, you will get some results. But just going with the shapes that this makes. There's very little control over it, really, but that's very the color. It's the same color. Then as we go further up the way, we can use this end. I'm just going to dip it into that mix there and could start to make some little marks here. Just pull in the side of this dip into the white a bit, adding a mixture that we made this with, that's yellow, red and white, and just dotting those in. There's the red. That's actually still wet, but I quite like the effect that it's making on flowers. Let's come back to the white. So I'm not really thinking about which flowers these are. So it's a bit of like to and fro all the time. So that's enough flowers for now. I want to add some's trying to remember 'cause I didn't film this. Which brush I used? I think, actually, I used. Is that right? I think so. Let's try it. And let's go for a kind of a minty green. So that's undersea green, white, and Bitiful Triborin. 12. "Primavera" Part 2 Bonus Lesson: I think I just did this. This is, like, I mean, it's great because cosmetics are so much cheaper than artist brushes, and they have all the same shapes. So this is kind of slightly on a slant. It's like a flat brush. But I don't know what you'd call it a wedge. I'm not sure. So then I'm just gonna put some of these in mix colour on the brush. Oh. Oh, like that. So moving backwards and forwards all the time. It's gonna do a bit more up here. So like a yellow and white together. And I just want to make some kind of jerky marks. Kind of rolling it and just letting it go where it wants to go. As soon as I catch myself trying to paint something like trying to paint a particular plant or leaf, I stop myself now in this particular with something that's more semi abstract because we don't want that. We're going for a very fluid kind of expressionful look. I quite like this mark making, and might just add some dark next to it next to some of these. Dancing flowers in a distance. Okay, so spelled in character now. We've got very warm colors. We've got peach red. It might be nice to bring in some um, Greenland's lace or whatever you call it. So this takes a little bit of prep. You can actually go in and just dip it into your wonder sea green or even a black or gray. Oops. And then let's practice before we go in. We're trying to get this kind of feel. That looks actually quite nice. I think it's ready. So let's just put some things in. To really stand out, so it doesn't matter if you've got loads of paint down because we want the slight and pasto look. Careful not to do too many. What we can do then is go back in with this and toss them around the deer footmarks I could feel myself tightening up a little bit. So I want to kind of start loosening up. One more down here, and this will be a bigger kind of head because we're going into the distance Okay, and then I with a little bit of green, if you want, just to kind of add a little bit of shadow. But you don't have to. Okay, get a bit busy. And what I tend to do when I'm not sure if something's working is put a bit of blue in there. So I'm going to put some French ultramarine down. I'll use this shape. It's like a wet shape. And maybe a little bit of this peach here and don't want to mix too much. And let's just put in some blue flowers here. And I suppose I'm vaguely thinking that they might be taller flowers like um I can't remember the name of them. They're on the side of the road a lot. And a bit bigger down here down at the bottom here. And then little marks into the top there. You see how balancing that blue is with the warmer colors. Go off into the distance. Okay. And now I think I'm just going to add some lines. I'm in danger of making it less abstract. So but I do want to have some lines coming down from these plants. So I'm using my liner. What a lot of pigment on there, but enough to move. And then I'm just doing some very wispy marks underneath these baths. And the good thing about working in this style is, if you do a line, you don't like it, you can go over it, so much harder to do with wood car. So I'm just filling in a few lines here here and there. And I now think the background could be a little deeper, so you're going to very carefully go in with some undersea green and just kind of pick up the areas around the lighter flowers and just add some dark. I want it a little bit wetter and to create that kind of dark, really dark background. Okay. You see how that's helped the top flowers come forward. So next time I remember that I want the background very, very dark, almost as if you're starting with black paper, which of course you can. I quite like that effect, actually. I was just looking to behave in the background, but actually quite like those wispy little marks. Okay, so I think all I'm going to do now is just add some little white highlights on these flowers here, maybe on the blue. But to be super careful now because I know I'm nearing the end and really don't want to just go, you know, too far. That's too blue. It's taking off the blue there that's still on. Okay. I've got to stop there. And this is my favorite part. I'm just going to take the tape off. So I've got one there that I can do tomorrow, but you can see how easy it is just to prepare paper. That's all I did with these. So let's have a look. I would love it. Yeah, it's very pretty. And actually, I realized, although I felt I was more tense from the first ones, that there's a lot more movement in that. I've really enjoyed that, so I will remember that in future. So thanks so much for joining me. I'll see you again really soon. Bye. 13. Azurita an extra (extra) Wee Study: So it's quite thick paint. It's not like you would apply acrylic, but it's somewhere in between a watery and a very thick mixture. So maybe 60, 40, actually, 60 40 water just wait a few moments. Make sure you've got your spray bottle on it. It's not on hot mode. That's it. You can see it happening as we speak. Isn't that gorgeous. So that's a really nice starting point for any paintings that you want. We can then add some flowers once that's dry. It's such a cool technique, and it does work with lighter colors as well. It's more subtle, but it does work. So I'm just adding some French ultramarine. And I'm just gonna mix a few colors up. So maybe you get some different colors in here and just some dry brushing. I like that, but it's not quite dried. So whilst it's like that, I'm just going to scratch some lines in. Do that a bit more, quite like it. Keep it nice and simple, Holly. Don't get carried away. Okay, got some texture already. Isn't that brilliant? Learning curve for me. I'm going to what am I going to do? I think I might splash some whiting. Just want to build up some texture so we've got a feeling of background. Even for a tiny little study like this, it's really worth trying out different techniques that you might want to then take forward. Okay, I want this quite thick. And I don't want a lot of it. So let's see how I'll get on. Kind of like single cream, I suppose there. Okay. That's looking nice. Looks a bit blue in there maybe. Very, very delicate. Some nice blow. Be be nice there. Okay. Stop, Holly. Oh, do I want to stop? No, I don't want to stop. Now stop. Okay, now stop. All right. So I just need to decide which brush I'm going to use. I think I like this one, which is master touch aquamarine. It's a fiilbet size four. You don't need to have a fiilbet though, you can do what I'm planning to do with a round brush as well. And let's mix a periwinkle or a forget me not blue. It's mostly just ultramarine there with a tiny touch of pink. They don't have to be forget me nots, do they? Just gonna pick up blue and white at the same time. And I want these to be really gestural. I'm just keeping the eye moving. I'm going to do an S shape which takes your eye upwards. Anita. I'm going to push it up a bit and then pull it through and try it slowly. That's really nice. Hasn't got a lot of character though, what I'm going to do is maybe try different blue as well. I've got some in Dn thrown Gase. Darker color here, different color, fan out. And you see what we're doing is just kind of mixing. And also, I did that very kind of slowly. So right, gonna get really loose now and just kind of add a few little touches. I'm gonna pick up everything there. So I'm just going to do some little white dry brushing flowers, tiny little ops. Most fairy. Now, I like that now? Better. Okay, good. That's it for the flowers. Now what shall I do about them? I'm going to be minimal again. And I could go very abstracteO I could go more placed. How much will it be? Yeah, I like that, so I'm just gonna keep it. I think if I try, I'll show you both ways, and then you can decide which one you like or use both. Well, I think I prefer my everything on the end of that version better. So I'm going to just stick with that kind of add. Yeah, I like the kind of just not knowing what's gonna happen. Move. Even that's too much, really. And finally, I just want to put some nice luscious kind of long leaf feel to it. So I'm going to choose my brush carefully. I don't want the liner brush for this because I want it to fan out a little bit. I could try this, choose use this. This royal and long nickel, like a sword brush. Let me see what that looks like. Got so many brushes. It's just ridiculous. So I want something that just really feels organic. That's quite nice. 'cause there's not a lot of control with it, but there is enough, so maybe you do something like that, and I'm just going to pick up a bit of everything on my brush. I've got hands yellow light, handsy yellow deep, the remains of the green appetite. It's quite light, so Wnt it just add. So lovely flowy leaves. That brush is perfect for that, actually. As soon as I've got neutral tint here, I just want to do some little added details to the end of the leaves. It's just something I like to do personally, just like quite a dark green there, and preparing a brush before I put it down. Just some little kind of added details. See how simple that is and you just kind of outlining the leaves a little bit. So cute. O. Um, oh, dare I in one more move. I think this petal here doesn't have a lot of character, so Oh, my God, famous last words here. He tried to do a very simple study, but I'm gonna try because why not? You know? This is why we're here. So I want to just prepare this, and I want a very dry brush, lots of paint on it. And I was just going to put some little accents on to my s. Not happy with that move, but never mind. To wet. Okay. Now I'm just gonna make that a little less prominent. We're putting a dark hue over it. Okay. Put the brush down, Ali. Oh, so sweet. H