Exploring Watercolour: Brush Lettering and Painting Course

1. Hello and welcome!: Hi guys, I'm Alina from creative field designs, and I'm so happy to see you here, and I'm really excited for you to learn watercolor, lettering and painting. I feel so passionate about this topic. I've been practicing lettering and painting for about seven years now. And I feel so passionate about teaching it to others because it's such a wonderful scale, it feels so therapeutic and with variety tools and guidance, it's not that hard to learn. They'll cover lots of different topics. So we'll start with lecturing and then we'll explore some painting. I'll show you lots of different florals you can paint, will try some flower arrangement. So yeah, it's going to be beautiful. If you'd like to share your rock along the practice, you're welcome to join my private Facebook group of modeling. Just have a look in the description. If you'd like to tag me at any point on social media just to get a feedback or just show your work, I'll be so happy to say it. It will absolutely make my day. So feel free to tag me on Instagram or Facebook, or if you have any questions, I'm always up in the chat. So get your tools ready and let's get started. 2. Colour theory and paint mixing: So in this first exercise, we're just going to get familiar with your watercolor palette that you are using. So I'm going to be using this Wonka watercolor palette and he has 15 different colors. Us might be different. You can use any watercolor. You like. Maybe you only have eight colors, are only 12 colors. That's absolutely fine. What we're going to do fast, just going to grab some watercolor paper. I'm going to be using this Baylor and brownie mixed media pad. You can use any watercolor paper you like, but just please don't use copy paper. I've got my brushes ready here and a fresh pot of water. You can use any brush you like. I'll be using this master touch set. You might need a bit of paper towel and a pen or a Sharpie so we can make some notes on this page. Wrapper, medium-sized brush. I'm going to be using size ten for this exercise. And what we'd like to do fast, we're just going to sample the colors in your palette. So we're going to start from left to right and go horizontally. So we're going to start with the number one here and finish this line with the number five. And then we're going to go into number six and finish row number ten on it to number 11, affinity strove with the number 15. So we're going to start counting from the left and continue to the right. The fast we want to dip our brush into water, make sure we do pick up quite a lot of paint. Then I'm going to pick up a little bit of white little swatch here on my page. And I'm going to number this one. So this is number one. I'm going to do the same with the next color. Just rinse your brush in-between, make sure it's clean from your previous paint. Then pick up a little bit of that, make sure it's nicely diluted. Do a little swatch here. Number which is number two. And keep going this way. Rinse your brush in-between again. I've got a lovely blue color here. Again, a quick swatch. Let's number right, this is number three. Rinse your brush bell. Blue is quite a dark color. So rinse your brush, pick up more water. We're going to sample this brown. Notice how I'm mixing this paint a little bit before I transfer it to pay part. So do diluted with water. The more water you add, the higher value your paint is going to have, which means it's going to be less see-through and it will have more paint to make them water. If you want a lower value, you can add more water. Your paint is going to look more diluted, more transparent. Picking up more paint here and doing little swatch. You can move the solid if your brush up and down, which you can move your brush side-to-side. It's up to you. This is a very dark color again, so I'm just going to rinse my brush and I reached the end of my palette here. I'm just going to start with this yellow. Again. I'm going to do it in a new line here as well. Just to have the same layout as my palette. If you do accidentally mixing some darker color in your paint, just rented with water until it reaches its original color. Again. Have lovely yellow here and I'm going to do a swatch here. This bright red. Again, are they more water? Another type of blue here. Lovely vein. I do love this palette because it's very versatile. You have a few green tea, a few blues, a few yellows and reds. So these are quite important colors, especially when you're doing. Flower painting, for example. If your water gets very dirty, it's a good idea to pick up a fresh pot of water. And again, keep going. This is my column number ten. During my brush, a very good range before I dip into this. Another yellow swatch. Lovely sky blue on another type of green here, which is sort of brighten up, looks very lovely. Another type of thread, it's more pinkish. Hey, that's my column number 15. So these are all of the paints I have available in my palette. Very useful to know, really good to have a reference of this on the page or you'll be using for lettering and painting. Next, let's just cover some basics of the color theory. There are three primary color is that can't be achieved by mixing other colors together. Those colors are yellow, blue, and red. Primary colors, reds. Write this down. Red, yellow, and blue. There are secondary colors, which you can achieve by mixing these primary colors together. So those are called secondary colors. And those colors are orange, green, purple. For example, equal parts of red and yellow make orange. Equal part of yellow and blue make green. And equal parts of blue and red will make purple. So we do actually have these colors available in this palette. But sometimes if you want to create a variation of that color, or you might want it to be darker or lighter. You can play with these colors and mix your own. So that's where we're going to try. Next. We're going to grab a little bit of red. I'm going to use my number seven. We're going to add a little bit of yellow to it. I'm going to use number 11. I'm going to mix these together. I'm going to rinse my brush. I'm going to grab a little bit of red transferred to my mixing palette here. You can also use a separate mixing palette. Rinse my brush again, and then grab a little bit of yellow and mix these together. I've achieved really lovely orange color here. This is more of a Halloween orange. You can see that we don't really have an orange color here. We have a darker yellow and we have a brighter brown, which sort of looks orange. But this is lovely to know that you can achieve a very pure looking orange color by mixing red and yellow together, you will call, this might be different, but just find red and yellow on your palette and do the same thing. Also try mixing our own green. So we'll pick a blue color. I'll do number three. Just pick a blue color from your palette. And I also need yellow, so I'm going to use this number 11 again. And I'm going to grab my brush again. I'm going to start with quad lot of yellow, so I'm going to start with lighter color here. I'm going to add it to my mixing palette here. Rinse my brush, and add some blue, just a tiny bit to start with. You can always add more. I've achieved this lovely light green color, which again, I don't really have in this palette. The last color we'll try mixing together, it's purple. So we will need a bit of red cell golf for number seven and a little bit of blue. This time I'm going to use number 13. I'm going to rinse my brush, grab a little bit of red to my mixing palette here, and then add a bit of blue. Just create this lovely, sort of purplish bluish color, which looks really lovely. And again, it's a brand new color that I don't really have here. So that's just a little bit about color theory. This is quite important to know, and you can also play with these colors. You can add more water to make them a bit more transparent, a bit lighter. So I'm just adding more water to this orange swatch and you can see how It's quite different. I'm gonna do the same thing with grain. Once it dries, it's just going to be very, very light. Tan, the same with bar poll. Let's see what happens when it dries. Now have to mix your own secondary colors. Next, I'm just going to show some very lovely color combinations you can use. Draw this course or you can also of course, come off for your own. What I often like to do, I like to mix red or pink with white. Usually it looks really, really pretty. So let's go ahead and try mixing number one with number 15. And see what happens. I'm making sure that my brush is very clean because I'm picking up some white. Then I'm going to pick up tiny bit of this red, sort of pinkish color. Not much at all. Sort of getting this lovely pastel pink is a really, really nice color for flowers, for example. That I love to do the same with blue. So I'm going to use white with the sky blue, which is 13. Again, just try to find a similar colors on your palette. Again, making sure that my brush is very clean. Grabbing some white and then adding a tiny bit of this Blow. Not much at all. It looks really, really pretty. Another thing that might be useful is muting down your greens because sometimes when you're painting leaves in particular, you want to have a lovely variation of grain. I'll show you some of my favorite tricks I love to do. So you can also mix your own grain or you can use the one from your palette. So let's say we are using this column number nine. And I want it to look a bit more bluish so you can add a tiny bit of blue, let's say number three. Make your brain a bit more interesting. So let's see what happens when we do that. So I'm just picking up this number nine. Transferring to my mixing palette, to my brush. I'm going to add a tiny bit, just a little bit of this blue, just number free. You can add a bit more to see how your color changes. So if you're painting something like a eucalyptus, for example, this can be a really, really good trick. You could use. It's quite interesting. It's sort of times out. By the number 14, you can add even more blow to make it darker. Let's try adding a little bit of red to this grain. Subject got number nine plus number seven. If you run out of room on your mixing palette, you can use one of these plastic ones, or you can also just use a plate. A ceramic plate will do a trick where you can also just wash out. This palette, I'm just going to grab my plastic palette here and keep mixing here. Got number nine, which is our grain. Going to add a tiny bit off number seven. Donate much it. So let's see what happens here. We get this really lovely sort of olive color here, which looks really pretty. I'm going to add a lot of character to your leaf paintings. In particular, if you love pastel colors, you can always just add white, your colors. If you ever need to make your color darker, you can add black. When you do use black, always make sure that you are adding just a tiny bit. It's a really, really strong color. So let's say 18 plus Pi. Let's see what happens here. I'm grabbing what lots of this blow in a very tiny bit of black. Again, it's orange tones down your color straight away, makes it a bit darker, make, makes the bit cold dark. In a way. It's quite nice color you achieved here. Could look really pretty for some florals or lecturing as well. Let's say we wanted to achieve pastel green. So let's try and mix 14 with one. Achieve a really nice summary. Possible color, which again, you can use in your leaf paintings in particular. You don't need much. We're just doing a little swatch here. Rinse your brush very well before you dip into white. So we don't want quite a lot of white here as opposed to black. So we always want a lot of white and a tiny bit of black. So we started getting the lovely turquoise color. Those really pretty and fresh. So this is a really relaxing exercise. You can try mixing different colors together. This is going to become really, really handy when we are actually preparing our palette for a particular project. You can keep experimenting. You can try a few more. When you finish, you don't have to wash out your paint. You can leave them in there because you can always just add a bit more water and use them again from your mixing pallets. So even here, this will just dry. If you just leave it like this for a bit, it will draw. You can close it and open it again. You can just add more water and keep using it. Hope you enjoyed this lovely exercise. I hope you found this relaxing. 3. Strokes and shapes: In this lesson, we'll be practicing basic strokes. And we will also keep learning about color theory. I've also added this PDF file to being a little bit more about color theory, just to have it all written down and we'll be using some of this color theory for this exercise two. So it's just very, very useful to have a color wheel in front of you. When you are doing column mixing or when you're planning out your phrase, you're thinking about which colors will look good together. So having this color wheel printed out or just having it on screen in front of you is super, super useful. Today in particular, we're going to talk about complimentary colors. Complimentary colors are those colors that are opposite one another on the color wheel. For example, green, red, yellow and purple, blue and orange. These are the colors that the most contrasting. So it will stand out if you pick yellow and purple. Contrast really, really well. Sometimes you want your phrase to look as bright as possible. If that's the case, you can use this little trick, maybe a few words in yellow than a few words in purple. And you can use different shades of yellow, yellow, green, yellow, orange. And the same goes for purple. You can use blue, purple, red, purple, and play with these colors a little bit. No, this is great. If you're looking for a very, very bright or bold color scheme, there are sat and shapes and strokes and up letters, and we'll practice these shapes individually before combining them into lettuce and then wide. So you might know this already if you're doing lettering, but you can't practice this enough. This is really, really important. These are the foundations of lettering and as we do, these strokes will also focus on complimentary colors. So grab your color palette, make sure you have fresh pot of water. And for this exercise we'll be using a Pentel brush pens. So mine has a fine tip. You can also use any water brush you have. And we don't necessarily need to mix colors. For this exercise. You can just use college you have already, or if you still have few colors mixed up from famous exercise. And if they're dried, you can just use a spray bottle if you have one. And just spray this a little bit like this, we'll just use your brush and transfer a bit of water in here so your paint activate again. We do want them to be diluted. So let's start with the first row. If you go into practice, some downstrokes. We're going to pick our first color from the color wheel. Let's go for green. You can use any granulomas from your palette. Begin by wetting your brush. So I'm just dipping it into my water. And instead of drawing it a little bit, and I'm going to dip into this grains quite lovely color here. So I'm just going to what makes it. So it has a lovely texture. We want it to be quite runny. Your pen at 45 degree angle, make sure you are resting your elbow, holding your pen at the slant log. This will help you to use the side of the brush. And that's what we want to try and do for downstrokes, you're going to engage this side of the brush. We're going to press down, apply heavy pressure, and drag our pen down just like this. So I'm starting the first one. I'm applying very heavy pressure, gliding my hands down. And it creates this lovely thick stroke. So don't be afraid to press down quite hard. Tried to be very mindful of every single stroke. Focus in the space in-between the strokes. Try to keep it similar. Try to keep your strokes straight and carry on all the way to the right until you run out of room. Notice how I'm dipping my pen. After every single stroke. Try to start your stroke thick already. So instead of pointing the tip of the brush down, try to point the side of a down as you do this downstroke. So you can see that I've engaged the side of the brush a little bit more here because my stroke start very thick whilst I sort of pointed down the tip of my brush. Hence the stroke sort of stars thin and then becomes thick. So we do want it to be quite consistent. Make sure you have enough room. On the right rest your elbow. Do need a bit of space here to maneuver your brush. Notice how slowly I'm going try to do the same. Feel the control of the brush. Let's do two more. Some of them are going to look better than others. Warming up our hand here. Very good. So this is our downstroke by pressing the brush down, using the slant of the brush to access this side effect. They're going to rinse our brush now because you're going to dip into another color. Then we're going to practice upstrokes. Be very important stroke in brush lettering. So make sure your brush is clean. Diffusing bit of tissue. Instead of doubling it. We need a complimentary color to green. And if we have a look at the color wheel, we can see that red is right up the green. So we're going to use red color for a very, very good and strong contrast. You can use any sort of shade of red you like. I'm just going to dip straight into my palette. And I've got this lovely pink red, which is also fine. Make sure it's nicely diluted. For this exercise, we're going to hold the pen in exactly the same way. Try not to do this. I know it's really tempting to do this when you go on, try not to hold your pen in exactly the same way you did when you were doing downstrokes. We want to focus on the tip of the brush. Instead. We're not going to be pressing the brush down against the PayPal on its side. But we're going to very gently touch the page with the tip of the brush and then glider hand up to achieve thin stroke with very, very light pressure. Here we go. Just like this. You can see how it's very, very different from the fast one. Again, try to focus here as much as you can. Leave similar spaces in-between these strokes. Go fairly slowly. This does take a lot of concentration. You can make them fairly slanted. You can also go straight up, It's up to you. This is much harder than downstrokes are done by Ray. Is there looking a bit shaky at first? What I like to do, I'd like to prepare my hand. So before I start, I sort of imagine doing it in my head. Sort of sulcus where I'm going to start and how the polls then. But a lot of confidence in one movement. I'm going to do this upstroke. Not using as much pain for upstrokes. You don't actually have to date out there every single stroke. You can do a few. Once you run out of room. And you can't really hold your hand on your page anymore. You can just place it on your desk and then just use this to rest your hand on. We do want to rest it. We don't want it to be in the air. Let's finish this line so you can see how both of these are very, very contrasting already. You're going to rinse our brush before we do the next stroke. I'm going to do stroke cold all the time. Again, let's pick another color. Let's go for blue. Then check what opposite blue here. And we have a range. So we're going to use these two colors together and see how contrast in there look. I'm going to start off with blow. I have a lovely blue here in my palette. I'm just transferring a little bit here, mixing it around slightly, making sure it's diluted. An overtime is just an upside down U. So you're going to start saying, and then go round at the top and then price down very hard to achieve a thick stroke. So you're combining these two together. Now this how I'm keeping my hand in the same position, try to do the same. Try to keep your downstrokes trade. Now, this how, if you slice this in half, the left side would be thin and the writer will be thick. So do try to transition from thin to thick, right at the top, just in the middle here. Going up, slowing down before the transition happens, and starting to engage the side of the brush pressing down. So very similar to this, we want to try the underturn stroke. We're going to use orange color for this. And I already have it in my palette here from the previous exercise, so you can use yours as well. An underturn is just the letter U. So we starting sake, slowing down at the bottom. And very, very carefully and mindfully finishing this upstroke might add a bit of red because my paint has a lot of water minute here, and I do want it to be a bit more dense. So start by using the side of the brush. Press down nice and thick and the re, slowly transition from thick to thin out the bottom. And it takes a lot of focus to go. Do take your time. Right, very good. And we can see again how contrasting both these colors look. Next you're going to try compound curve connecting three strokes. To get off. For this, we're going to go for yellow color. Let's just check what opposites we have. Purple, dark yellow here, which will be nice. Just diluting my pain. Am I starting with an upstroke k? So I don't really want too much paint in my brush. So very carefully going to wipe it before I start lecturing like this. You're going to start off with an upstroke and then go down and then go back up again. Quite a lot going on here. Let's try this again. Starting very thin, very slowly, pressing down as you reach the top and slowing down before going back into very, very thin stroke. This is an excellent stroke to practice. You can just pick one of these and just fill in the whole page. That's something you can do. That'll be a really, really good exercise. So they're just sampling them here. You can always practice a bit more. Next we're going to try doing an oval shape, which again is very, very important in lecturing. We'll come across quite a lot. Again, rinse your brush carefully, clean it. I have a nice purplish color here, again from yesterday's exercise. And this is quite tricky. So we have a downstroke and then a quite a long upstroke to connect again. So we're going down, slowing down at the bottom and very carefully guiding our pen up. Notice how slowly I'm going. Make it. Let's try again. Flat brush using the side of it. Going up. I'm connecting to the top. Try not to carve your downstroke a keep it straight. Though your downstroke bit faster here. Then do your upstroke very, very slowly with a lot of focus on this, How contrasting this look. This is a beautiful combination. If you want to make your phrase pop. And two, they're going to try doing this ascending loop. On the other side, you want to try doing descending loop. For this exercise. I'm just going to go for green, blue, and red, orange. Which is going to be quite similar to this, which is going to alter the shade of blue and orange hair cell. That's going to look quite nice. I'm just going to take my grain. Then I'm going to add a bit of blue to this. To make it look a bit more turquoise. We're going to try this sort of loop shapes. So we're going to start with an upstroke. Go up and then create this lovely lobe. And then do a downstroke would lay down. So do make sure that your upstroke is fairly long. You can even make it a bit longer. So very long upstroke going up, starting with a curve and then slowing down into top and going very slowly down, pressing the brush down. So we achieve a very nice thick stroke. Let's try again. Long upstroke with a bit of movement and a thick downstroke. You can see how this could easily be part of your laptop. So we will get into that. Let's print out brush before we do our last shape here, There's going to be descending loop. We need red, orange, so orange here already. And I'm just going to add a bit of this red color here. Just to make it a bit more bold. You can use any shade of red and just make sense to hear. They sending lobe is going to be the opposite basically. So we're going to start with a downstroke and then transition into an abstract just like this. Now this have it going up, but instead of going to decide, so any strokes that are all going horizontally across your page, like cross lines, for example, are also going to be thin. So we are only applying heavy pressure to downstrokes. Just going to correct my downstroke here because it didn't turn out the way I want it to be. So this could easily be the letter J, for example. You're starting to see some similarities to some of the lactase. And before we tip it to the next exercise, do try to practice this a bit more. Grab another page and just do some of days a few more times, especially the ones you struggled with the most. In this lesson, we've learned all of the basic strokes of luck terrain. And they also looked at complimentary colors like green and red. Blue and orange, yellow and purple, turquoise and red orange. Have fun practicing days. I'll see you in the next lesson. 4. Alphabet lettering: In this lesson we're going to practice lettering alphabet. So basically we are going to connect all of the strokes we've practiced into actual letters. I'll guide you through each uppercase and lowercase letter very slowly. So let's do this together. In terms of color theory, we can also try something interesting. If you have a look at this page, you'll see that the color wheel is split into two halves. 1.5 is cool colors, and another half refers to warm colors. You can try picking either warm or cool and doing our alphabet using all of these colors on the left. All right, I think I'm going to go over the cool color scheme here, just because I have quite a few blues in my palette here, I'm going to pick three colors and just use them throughout my alphabet lecturing so those color to be blue, blue, purple, and green blue. Before I begin, I'm just going to make sure that I have those colors available. You can also use your ceramic or plastic palette. And because we have some of the colors here already, you got a lovely blue. So I'm just going to top it up. So I'm going to grab a bit more blue, mix it in here, lash in some more water, just have it ready to go. I also have this blue purple here. And I think I'm just going to add a tiny bit more blue to it. Take your time preparing your chosen colors by adding hotel and mixing them around. And have a lovely green blue here already. I think that's going to be the color I'm actually going to begin with. So before we start letter in the alphabet, I highly recommend just grabbing a pencil. I'm just doing very, very rough guidelines. Just having some sort of a line to follow. It will be very, very helpful. So we can fake letters, a, b, c, d in here. Then dou E F G H I J K L M N O P Q R S T U, V W, X, Y and Z. And try not to start your fast laptop very close to the edge. So we do want to leave a little tap on the left and on the right. We can also divide this. So we have for little grass, this is the space for my first letter. Second letter, letter for lactose. So just having a little grid to follow will make things much, much easier. I'm going to start the first line with this lovely turquoise color, which is just green and blue mixed together. So preparing your paint, mix it around later, bet. You're going to start the first letter, which is the letter a. And as you do these letters, notice which shapes they consist of. So you're going to do the uppercase a, which is just an upstroke, a downstroke. We're going to do this lovely cross line. Let's do the lowercase a. We're going to start a lowercase with a C shape or O shape. You can pick up your pen is omnipotent shape for the rest of the lactose. So just now notice how these are the shapes if practiced in the previous exercise. You're going to do with the uppercase B. Starting it with this ascending loop shape. You can pick up your pen, maybe dip your brush into more paint. I liked my letter B to be fairly stylized. You can always make this loop a bit bigger to make lighter more interesting. Let's do the lowercase b. So starting with an ascending loop again. Next day I got the C shape, which looks very easy, but it's actually really tricky because we need to transition from light, crash into heavy pressure and finish off with light pressure again. All right. Heavy. Night. Take your time here. There we go. You got the letter D. Starting with this same shape as the letter B. We have lovely loop. I can stylize it slightly as well. Notice how slowly I'm going. The lowercase d, duty our shape. A very controlled downstroke. Upstroke for the rest of the letter. I'm going to rinse the brush and I'm going to do my next line in this blue color. Let's say the letter E. Let's try and do it in one. Go. Keep an eye on your paint. Notice if it's still running, maybe it's a bit too thick. The lowercase n, starting with a very long upstroke, so do make it fairly long. Then using a water brush, your lettuce won't be perfect and they don't have to be trained with this brush. We also have going for us in particular. So try to embrace it. Let me start with this downstroke and then do these fun. Wavy lines. The lowercase is a bit more tricky to this shape first, so we're quite familiar with this. For the rest of the left, salvage is doing this thin stroke. If we go up to the left making this little loop in the middle. Let's stretch in the last straw to the right of the letter g. Starting with this outer shape. Lowercase is exactly the same. Now this how they finished with this descending loop shape. In automate the uppercase hedge quite stylized. So I'm going to start with this loop. Shea. Let's just do this. Pick up the pen. We're going to continue with this cross line and guide the pen off again. For the lowercase. Go up and down. Let me just add a bit of balance here. Very good. Rinse your brush again before we deep into this sort of dark or below this purplish color, might need to mix up a bit more. I'm going to grab a bit more blue and a bit of red or orange. Let i is fairly simple. We just got this downstroke. These wavy lines. Again. The lowercase letter j. Quite a tricky transition here from thick to thin. Maybe slow down before the transition happens. The lowercase j in one go. Murray, right calf. When we finish that upstroke here, the letter K, going to start with this shape. Then are done through this letter. Guarding the pen to the left and back to the right. The lowercase is exactly the same, just with smaller. I said the letter L. Try and do it in Mongo. The lowercase Latin letter E. Just that have longer rally. Alright, let's go back to this turquoise color for the next line. Make sure that your paint isn't to Rene. Mine is a bit runny, so I'm just adding a bit more green and blue again. Let em, let em, instead of naturally very bouncy. The lowercase is the same. If you've got over your square a little bit some letters or to the white doll, that's okay. Tend to lead to n. You can have a nice stopping point here. And then we're going to do this lovely O shape and in practice this already, but this time it's going to add on this thin stroke. Then doing your lowercase o in exactly the same way about uppercase, just mole of alum, the letter P. We'll just start with this loop shaped going to rely. And then pressing down and then adding on. Making this latter fairly stylized. We can do the lowercase. Going to do the lactic q. If you do it is our shape. You can then add in this lovely little detail and a lowercase letter j. So starting with this O shape again, I'm just making this lecture bit more interesting. The lead to our lovely loop shape. Quite tricky. Let's take it slow. So we've done this loop shape, picked up the pen, and then go back in here, started upstroke, down stroke, loop around this downstroke here, and then again down and very slowly called backup. And the lowercases bit easier. I usually like to do this little loop. And then finish the rest of the letter. Unless they're the letter S. Let's make it flow in one go. And the lowercase is the same. We've got the letter T, which is a nice little laptop. Normally cross line. The lowercase, always play with the cross lines here. You can make them a bit longer, even flourish. And if you lie, quite hard to do flourishing with this brush, but even just adding a bit more style will look good. I'm going back to my darker blue. Notice how your color scheme sort of starts to look really nice. Have a nice variation of days, cool towns, laser, the latter. You can notice undertone shape and then go back in. You can go over your abstracts are once again making it thicker. They're going to do the same thing. Lowercase. So starting with the U-shape, then going in and adding another U-shape and Doppler effect. I said the Latin V. My paint is very, very watery here, so I'm just trying to make sense. More red and always sort of wipe your brush a little bit. If your paint over able to read this will help. Lovely elected v lowercase. Try to keep this set of triangles shape upside down triangle here. The guiding our pen slightly to the right and then backup to the right again. So our downstrokes and abstracts are a bit Slanted. Lens or the letter W. Slanting does downstrokes quite a wide lactose, so torta account for that. There we go and nearly that. Let's let x. You can start with this downstroke and then do I convey the upstroke going up? Nice and stylized, smaller version of it. So you're going to finish with light is wines that. And I'm going back to this turquoise color. Starting the vector y with a nice entry stroke. You can pick up your pen here. Go down. Let's do the lowercase. Keeping it fairly simple. So starting with the U-shape, then going down, we've got the last lecture, which is the letter that you can do the first part of the laptop by starting with this upstroke and going down are done. The second part. So the trick here is to sort of play with this last upstroke as it is for quite a few of these lactase. So when we finish our lattice do extend this law strokes quite long to the side. And a lower case. It's sort of like a number three. There we go. So this is the alphabet to try to keep it safe. You can always refer to this when you're left to right and phrases the next exercises. And if some of the lectures didn't quite work out, trust me, that's so normal. It just means that you need to practice them a little bit more so you can maybe pick the lats you struggled with and filling the whole page with that. And that'll be an amazing exercise. Before we carry on. I'm quite pleased with this color scheme as well. I think all of these sort of cool shades look really, really good together. If you're done mattering for today, rent your brush. Make sure it's clean. Use a bit of tissue to draw it or just let it air dry. For the next exercise. I'll see you soon. 5. Practicing words and exploring colour schemes: For this lesson, just make sure that you have a fresh pot of water. And I recommend having a bigger brush for mixing Payne's, we will be using our Pentel brush for lecturing you just a little bit too fine to be doing a lot of mixing. So a bigger brush, any sort of water brush, similarly sized to this, there'll be perfect. So we've talked a little bit about color theory. You have this PDF file and I highly recommend giving it a good read. But have to be create beautiful color palette. Where do they seek inspiration? How do we make them look harmonious? That's the most important thing. You can be very theoretical about it and you can just follow the rules. You can pull out some color theory, refer to the color wheel, and I will give you a few more tricks. Another way is to seek inspiration somewhere else. There are a few resources I highly recommend. For example, this palette perfect book by Lauren vega is a beautiful book full of inspiration. It's got lots of different color palettes inspired by fashion, art and style. And if you need a bit of inspiration, you can always pick some of these color combinations and then try mixing them yourself. Another way is just seeking inspiration in nature. If you go for a lovely walk one day, just notice some flowers. Notice what color flowers grow close together. Notice different greens in nature. It's all really, really beautiful. And by following some of those patterns in nature, you're just going to achieve very natural looking, beautiful color palettes and color schemes. So let's just jump in with a little bit more theory. So we've covered a few basics about color wheel. We know what the primary colors are. I mean, are the secondary colors are the rest of the colors in-between, like blue, purple, red, purple, red, orange, are the colors that are made of primary and secondary colors mixed together. We can use this to our advantage by knowing a few tricks and we have already covered some of them. So for example, we know what cool colors are, warm colors are, and we also covered complimentary colors. So those are the colors that are opposite one another. Another quick trick you can use to find colors that will look great and contrasting together. So similarly to find the complimentary colors, for example, purple and yellow. If you form a triangle within this color wheel, for example, you pick one color, let's say orange. And then you go three colors down. And there's purple. You go three colors up, and there's green. So we get this lovely triangle here. So again, these colors will look beautiful together and you can vary these throughout your phrases. And you can do it other colors as well. Pick one color and then form a triangle from dark color in this color wheel. So that's a great trick you can use. Another thing you can do is you can try finding analogous colors in your wheel so you can read about it here. Basically what it means is finding one color and then using other colors either to the right or left of this color. And you will just achieve, again, beautiful harmony. So let's say red, red, purple, and purple. They look lovely together. Or yellow, yellow, green, and green. So that's one of the ways you can create beautiful color palettes. And lastly, one of my favorite things to do is creating very simple, minimalist look palette. And to achieve those, you can pick one color and then keep adding white or black to it to vary its tints and shades. So let's say if you pick red, you can then achieve a lighter red which sort of become pink. And keep adding white key part in black. And again, those colors are going to look beautiful together. Very simple, very minimalistic. I thought we can try mixing some of these colors together, creating a few color schemes. You can also refer to the PDF file I've attached to this lesson, giving you some ideas if you want to mix up your own palettes. But also just keep experimenting. I'll just show you some of my favorite ones and then we'll try lettering. A few rods are washed out my palette and maybe how few colors in this over day, that's fine. If you run out of room, you can always clean it as well. To clean this, I usually use a big brush and just run it under some cold water and it'll just wash the paint out. So we're going to use my sharpie again just to label a few things. So let's just draw and see how a triadic color palette would look like. I've got my triangle here, and we're going to sample some green, some orange and purple. So I'm just picking some green from my paints here. You can also mix this up a little bit. You can add maybe a bit of red if you want it to be a bit more earthy. I also need some orange. And actually from the previous exercise, I have read in here already. I'm just going to dilute this paint. And then odd little bit of yellow to this to create a lovely orange color. Let's sample this. I also need purple. So I'm just going to mix blue with red. So I have blue in here again. So I'm just adding quite a lot of red. Does quite a dark purple. Looks quite nice. So this could be one of the color schemes you got four. Next, let's try mixing some analogous colors. So those are the bonds that are very close together on the color wheel. So let's say I'm going to go for yellow and then I'm just going to add some yellow, green, and green. So those would be my three colors. You can pick any color you like. I'm going to start with a yellow. I'm just grabbing some yellow from my palette. And then I have some green in here. If you don't just add a bit of green, and I'm just going to mix green and yellow together. Achieve yellow, green. That looks quite nice. That I just need a regular green. So I'm just going to dip my brush in here. Every gun that looks really, really subtle, very harmonious. It's just beautiful. Let's say you wanted to let tau and inspirational phrase in these colors, that will look really pretty. The last thing we can try is a monochromatic palette. I'm going to use this palette and just pick one color, any color you like. I'm going to go for this sort of pink, red straight from my palette. I'm not mixing this color. So I'm just going to transfer a little bit in here. And I'm gonna do my first swatch with just this original color. Then you can either add white to it to achieve different tints of that color, or odd a bit of black to achieve different shades of that color. So I'm just going to try both. So I'm going to add a bit of white. Just make sense. Tiny bit of white. Becoming a bit lighter. I'm going to make sense, even move by. Just transparent white paint to here. And again, it's going to be much lighter. And I'll try to lighten it even more. Because I'm going to add quite a lot of white. You can see how it's just sort of becoming much lighter and it will look really, really pretty. If you, for example, use this for your lettering phrase. Let's just try adding a bit of black. So I'm just going to pick the same color again, transfer all little bit of it into here, and just sample it again. I'm going to start adding a little bit of black. So weak acids the block again, it's a really, really strong color. You don't need much. Just dark and beautifully. So these are just a few tricks you can use, is really, really important to understand. This color of the eraser. You can then start experimenting on your own. Next, I thought I'll just share some of my favorite color palettes that I really, really enjoy. Using, so one of my favorite things to do is combine Navy and yellow. But I'm doing floral paintings, but also for lecturing. So let's just see how it looks together. Maybe have a look. They are actually quite contrasting. So if we have blue and then we have orange, which has the same warmth as a yellow color. So that's quite interesting to note that I'm gonna do, I'm just going to add a bit of yellow here. And then I'm going to pick up a little bit of blue. And then mixing a, the dark blue or black. You darken this color. Adding a tiny bit more blue. I'm going to sample this. Just looks really, really pretty already. So you can use these two together. I also love adding a little bit of purple and pink. Today's combination. We have some purple here, but I'm just going to add a tiny bit of white to lighten it up. So I mean, like a violet color, more like a lavender. And that can look really nice. And let's add a bit of pink. And we have some pink here already. That could be a really nice color palette. For example, one of my favorite colors to mix is a peach color, and you might enjoy it as well. So to achieve pH, we need to grab a tiny bit of red. You're going to combine that red with orange, which we have in here already. Or if you don't just mix up some red and yellow, just transpiring quite a lot of orange in here. Then we're going to add quite a lot of white. There we go. Two lovely, beautiful peach color. Another color I really loved mixing up these days is jade. It usually looks really beautiful. You went to grab some grain who prefer some of these colors and then later some rods then may need like a darker blue for this, like a royal blue. And then we need a bit of black or very dark navy. That looks really dark. I'm just going to add a bit more blue. Maybe a bit of a lighter blue. Sometimes it takes a bit of experimenting to achieve the color actually planned out. That looks really, really pretty. Even these two together look wonderful. We can keep experiment that you can keep trying out different things. Actually, you have a few colors mixed up before we start practicing some words. 6. Phrases and composition: Water has become really diaetae. It's a good idea to change it now before we start lecturing rods that just practice lettering some rods. So I'll just give you a few tips when it comes to joining got letters. And before we begin, once again, we're just going to do some guidelines. We're going to let out the days of the week. So we will need seven lines going down, like so try to keep them fairly centered that I need to be perfectly straight. 123456. Seven. You can use any of the college you have in your mixing palette. We'll be focusing more on lecturing at this point. So we're going to start lecturing and you want to hold up brush at the slant like this, make sure you rest your hand again and your elbow on your desk. You're going to make sure that our paints are nicely diluted. So I'm just going to dip my brush in water. And then I'm going to dip into this lovely jade color. When you start your VOD, always make sure you start with a nice long entry stroke. So do make sure you lift up your pen frequently. You can refer to the alphabet page. If you need a bit more guidance. Now it is how I'm bouncing this letter M below the baseline. Pick up your pen after you finish your fast lacto. Then we're going to do the next letter O. Notice how I'm bouncing the light and also below this line. Remember to keep picking up your pen. The letter d, we can do something interesting. We can start with a little flourish here. Like this. Bring it slightly below the baseline. I'm dipping my pan pretty much for every single letter. Or even more frequently. The letter y sort of goes all the way down. Now this how I finished this bar with a long, long exit stroke as well. So let's do that by Tuesday in a different color. I'm just rinsing my brush. I think I'm just going to pick up a little bit of yellow for my painting palette here. I'm just diluting the paint slightly. So let's do it about Tuesday. Starting with the lead to T. Doing a lovely cross line. You don't have to follow your lines perfectly. This time we're going to keep the letter D sort of regular. Somehow. There's little bit of green mixed up into my yellow, which is fine. You can also of course, combined pains like this you can do if you will, that is in one color and then rinse your brush and dip into another color. I'll just blend beautifully. In finishing the bug. Lot of focus, stretching to the right. I'm just going to edit my lines slightly because I wanted to spread these rods out a little bit more. So I'll make my next line here. It's useful to have an arrays the next two years. So you can always adjust. Lovely. So let's do it about when new day, which is pretty long, but I'm going to use this lovely peachy color may mixed up here. It's quite watery. Notice how water it looks. I'm going to start this right a bit more to the left because it's a bit longer than these two. Starting the letter W. Dividing this letter into two parts. Keeping these lectures fairly small here. Just to make sure we have enough room to fit all of them. Keep going, keep lifting up your pen frequently. Try to have a little stopping point after every time you've finished your letter. Lovely. So that's our fad, but let's see if I need to adjust my guidelines in the next part. Here. For the next part, I'm going to use pink. You can use any color you have available. Might odd a little bit more red. So I'm gonna go back and add a bit more white. That'd be lovely color. Again, this is quite long, but another interesting thing you can do is vary the color within your rods. So Let's say if I wanted to add in a bit more orange for the next lecture, make sure you rinse your brush and then dip into your next color and tone it to be too dramatic. So we do want to keep sort of colors in a very similar color scheme. So if I won't call it stick to warm colors. Making this word fairly bouncy. You can make some of the leftist lighter by Adi more water and then come back with a stronger color. You can even go back in and just top up your letter with a bit more paint like this. Dabbing your brush. Lovely so you can see how the letter S is much lighter. I wanted to draw it to the left. Really pretty. I'm going to add some blue color to here. So let's do Friday in blue. Sometimes this can happen. One column might bleed into another color. Sometimes that can also look quite nice. I'm just making my blue bit brighter here. Now it's quite dense, so I want to add a bit more water, so just keep playing with your pain. It's quite a slow process. Sometimes you can let your brush run out of paint. You can see that I'm not taking care of my letters just become lighter and lighter and that can look beautiful as well. Creating a lovely gradient. To make my next line a bit lower. I'm going to use this lovely lime green we mixed up previously. It has a quite a lot water. Here. You can see the base color is very light. So it looks very soft tone. We can now add a bit more green to make the color a bit darker and maybe use it for the letter R. Sometimes you need to adapt your word to your previous word. And just because I had a very long lecture, why going all the way down, I didn't have much room for the letter D. So just bouncing back, made it a bit loud and they just rocked out. Okay. So we got the last word Sunday. I'm not very happy with my yellow here. I think my brush was a big data set. I'm just going to add in some yellow in here. And try again. Again, this is quite watery. Always draw your brush like Tibet. If it has too much water and paint in it. To go to rate might be quite difficult to control your brush. So do make sure that it's not the puddle, but we do want it to blend nicely, so do make sure that it is quite diluted. There we go. Lovely right here. And again, extending that law strove to the side, sadden colors convey certain emotions. For example, yellow can look cheerful, happy, energetic was blue can look very calming, fresh and clean. If you're lecturing or by calming phrase, you can use blue or green colors. So that's another part, It's called Theory. To take into account. I hope you enjoyed this exercise. Do let me know how you're getting on in Facebook group. And we have one more lesson left for this week. 7. Painting leaves: So let's try and paint a few simple stamps. So I'm going to start with a fairly dry brush and then make sure the consistency of my paint is good. So I think I need to add a bit more actual paint if you're using this Winsor and Newton Palette, I find that it needs less water than this one golf palette, which is interesting. So that's just something to remember. I'm just adding a bit more green to my earthy green here. And I might need to splash in a little bit of red. So keep mixing your paint along the way. Just making this a little bit thicker. Lovely. So let's just start with a simple little branch, simple little stem of leaves. So I'm going to do a very, very long thin stroke going up and up the top of pain, the first leaf and I'm gonna do a myriad leaf. So I'm doing 1.5. Another half. There we go. Then I'm going to do this side. So I'm holding my I'm holding my brush at a slant here. I'm going from the stem and imagining how they would grow naturally. So I'm starting from the stem and then just auditing on another leaf. Correcting the tip of the leaf a little bit. If you have two, I'm mixing a bit of, a bit more red just to bury the color. Make it a bit more interesting here. There might be one leaves looks a bit brown in a way. So I'm gonna do another one here. And this time we're going to try and pointed down. So we're starting from the stem. But once we reach, once we reach, once you read a thick middle stroke, we're going to press the sourdough our brush down. And that looks very, very brown. So I'm just adding a bit more green again, doing the second half. So that can look quite interesting. And then I think that's plenty for this side. And I'm just gonna do the same on the other side. So keep varying different grains. Try not to have really drastic variation in color. Tried to stick. I wouldn't dip into green blue here because that will just be a bit too much and the contrast will just look a bit unnatural. So I'm sort of going between these earthy tones. I'm going to do the second half in a mirrored way. So just like here, they're all sort of coming. So they both come from the same base. So I'm going to try and do the same. There we go. I might add a bit of this sort of brownish color. I mixed two days grain. Just keep varying your shades of green. Again, starting from this base and this time I'm going to hold my brush this way. So instead of having it at the slant of how it operates a bit more, it just makes it a bit easier to go in a different direction. Starting thin, then pressing down. I made this one a bit thinner. So try to bury them in size and shape and color even if they are on the same stem. So this will just look more interesting. Let's paint another leaf. And this time I'm gonna go for this blue green color. And instead of having them come out of the same base, this time, we'll try and alter them. So again, starting with the stem, I'm going to keep the sort of longer and a bit smaller. So my first one, and I'm going to start my first one on the right here. And then I'm going to do the one on the other side a little bit lower. So it comes out of this stem here but just below this leaf. And again, I'm going to do this right side underneath. Again. Keep going, keep varying the position. I'm going to blend in maybe a bit of this brownish green. See what happens. That's quite a nice variation there. Then we can make one. Maybe you can make some of them a little bit smaller. There we go. So that's quite an interesting little branch just lengthening my stem here. And the stem always wants to be sort of dark course, you can always go over your stem once again. That looks quite pretty. We can do another one here. Maybe one that goes down. You can try some models around leaves we've practiced that might look quite pretty. So they look very, very different and keep altering the grains again. You can always dab in a bit more paint again here on the stem. So just to bleed out into the actual leaf. Maybe do a little wonder. Then the bigger one here. That looks quite pretty, sort of comes down, hangs over. It looks really nice. Now I'll show you one of my favorite tricks you can try and do. I really loved doing this where I'm just painting a little branch, will stem and then just flattening my brush like this. Then I would just sort of flattening my brush. I'm going to rotate my page. And I'm just a flattening like this. And he just may exist the natural-looking leaf. I'm going to carry on in this side. Just make sure that it's pointed bit is the top of the leaf here. So you want the flat, you want a thicker. On the top of this thick debt of the brush B and the stem. Your paints do want to be very wet for this. So given this ago, this can look very nice in wreath, in different rate or floral arrangements will probably use this technique later on. They probably use this technique later on. You can also do like more of an interesting leaf auditing, a bit more movement so you can carve them with a C curve a little bit. So the C curves are really, actually useful to practice as well. So you have a lot of movement here going in different directions. Maybe some of them look a bit folded and again, maybe some of them. Go to the side. Maybe you can only see half of the leaf. This can look really pretty. Maybe there are a couple coming out to the same stem. Use the tip of the brush to control the shape of the leaf and then use the thicker body of the brush to add in thickness. So this can be quite interesting as well. The last thing we're going to try, we're going to try and paint a little eucalyptus branch. So we're going to add a little bit of more blue to this green. You want it to be very sort of blue-green looking quite dark. So I recommend using navy or purple. To achieve this look. I think that looks quite nice. I'm going to just start by painting these round, very, very round leaves. And they're going to start with the top one. I'm going to start from the bottom here and then round my brush. You might do this and you might need to do this again to make the bit around a bit more round. So I'm starting from the base here, curving it. I'm trying to do the same on the other side, so base, just sort of carving it back. We can also just add on another one on top, like this, starting from the base here and then I'm curving it. Make sure you have enough water. Then you can then you can just sort of add on another one next to it. And then just curve your brush. They don't have to be perfect. You can do some of the other side. So very laying around motions, hate, maybe even a bigger brush would walk backed up on this. Tried to find the position of the brush that feels comfortable. I'll just keep on adding these leaves. Maybe one of them is sort of going across the stem like this. Just press down to achieve the thickness. Then I'm going to grab this little brown color I've got here. You can just use brown from your palette. Ideally, we would want to wait for this to dry, but I'm going to very carefully use the tip of my brush. I'm going to draw a little stem. And then just connect all of these leaves to the stem. You can correct a few bits, can make sure your leaves look good here, you might even add in another one. The thing that eucalyptus is that all the leaves are very, very close to the stem. Mike, even correct days and make them appear even closer to the stem here. Just go back in with more paint and you can all tell the way you position them basically by going over again, making them a bit more puffy, a bit more round. Audi more water to some of them so they look a bit more transparent. There we go. That looks a bit better. So I do want to meet in the middle here that we got. So just keep practicing. Maybe paint a few more. Try different colors again, keep experimenting. Maybe try using a bigger brush. That might feel really nice. So I just grabbed my size 12. And this is quite very big. Should feel very different. So another way to make your lives more interesting is use a bigger brush. So I just grabbed my size ten. This is going to make your leaves look a bit more puffy. A bit more interesting as well. You can play video stem, you can make it a bit more curved. You can see that this is much thicker. It's also just adds like a smoother texture. It looks really interesting. Keep varying between your grains. Maybe our donor little odd then a little odd in a smaller one. So try to vary the size. A baby one that sometimes you might need to extend the stem. There we go. That looks quite pretty. Another thing you can do. If you want to add like more detail into your leaf, you can wait for it to dry and then go back in and just add in these little lines with a darker color. I'll show you in a minute. So just wait for this to dry. And I've grabbed this tiny, tiny brush which is size 0. And I'm going to grab like a saturated green. I'm going to wet it. And then grab this sort of very thick green color, preferably darker. So I think this will be quite good. And then you can just add these lines in here like this. So more paint, so just a quick little lines going through the middle. We have a line going through the middle here. You can also are then they sort of smaller lines that go to the side. Right? Quick movements, very thin strokes. I don't usually do this. Our minds do the middle line sometimes. But because I'm doing quite a lot of loose watercolor painting, I don't necessarily think this fits with my style, but sometimes definitely has its place. This one's still a bit too wet, so it's hard to it's hard to see, but it definitely adds a bit more depth and it's a good way to add some details later. So keep practicing these leaves. Maybe you also have some references here you can grab from your garden from are always find some photos of leaves and try to deal with them. Try to copy them. It's just really, really interesting to keep experimenting. And I'll see you soon in the next lesson. 8. Practicing florals - Rose: In this lesson, we're going to practice painting petals. We'll practice some different petal shapes, and I'll give you some tips on painting three different flowers with the petals will learn today. You'll do more floral painting next week. But let's start small and just practice a few flowers to begin with and use them for our watercolor wreath painting. Later on, I'll show you trade the front petal types. And we're going to start with a C curve, lactose. So I'm going to use my number eight brush again and make sure you have fresh pot of water for this lesson. You can grab any color you like. You don't necessarily need to mix colors. For this lesson. If you don't want to, maybe have some colors ready to go, It's up to you. I'm just grabbing this lovely yellow color and I'm already some water making sure it's quite watery. They're going to practice these C curves. So basically we're going to start thin and then flatten our brush and then curve it slightly. And finished thing again, so very similar to what we did without watercolor leaves in the previous lesson. So starting thin, flattening the brush. Just making like a little curve. Let's again try doing it from different angles. Try one going from the top to the left and down. And then maybe one going horizontal. To draw some vertical ones. Try some horizontal ones, keep adding water, maybe do a few that are very, very watery. See how that looks. Now this hello, I'm holding my brush so it's still at a slant like this. Try to do some smaller ones. And to very watery once you start to notice what's happening here, It's so start to form a row. So obviously this is far from rows just yet. But combining the C curves together and adding a bit of theory into this, you're going to paint a really lovely rose. Let's actually go ahead and do that. So fasting I highly recommend is just grab a pencil and draw a circle. Try using your whole arm to draw this instead of doing this. So drew a fairly sort of medium-sized circle like this. That looks quite big actually. You can even go a bit smaller if you like. So very, very faint. What are you going to do? We're going to start with the center of the rose. If you feel confident with the shapes, Let's give this a go. If you need a bit more practice, pause this video, practice a bit more on, then come back to this. For this route, we can eat two colors. One is going to be slightly darker and another one's going to be a bit lighter. So I'm going to use yellow for this rose. And what I like to do, a lighter made the middle of the Rouse a bit darker. You can do that by just making your paint a bit more saturated. But I also just like adding a tiny bit of brown. So it does create like a dark color. Looks just a little bit. There we go. So that looks quite good. Mustard color. And if you have a mass and a color, you can also use that. Of course. We don't want it to differ from the yellow will be using too much, but making it slightly darker will be really nice for the center. I'm actually going to make my circle a bit smaller just so we have enough room for all the other flowers on this page cells. Just going to make it this big. Sorry, faint. That'll be good. So I have my darker center color. Ready? We're going to start by sort of adding tiny, tiny C curve shapes right in the middle here. So I'm starting with the tip of my brush. With ferric saturate paint. I'm adding these little curves, leaving little white gaps in between, like tests, just like we did here, but sort of placing them a bit closer together. And then doing a little big one. Once it starts to get further away from center in auditing another big one. And then this is where it gets a bit tricky because we want all rows to base the fading out towards baseline, the circle. So all the outer petals want to be quite diluted. So I'm doing one here and I just dipped my brush into water. Then I'm picking up tiny bit of paint, but I'm still keeping it very watery and I'm doing this very, very diluted strokes following the circle line, making some of these curves, baker, making sure to leave nice wide gaps so they'll form really natural highlights and it's going to look really pretty. And you can keep going of course far you want. It doesn't have to be this small. But do try and keep it in a circle shape. And then you can go back in with your saturated paint and maybe just dark and it's slightly again, just adding paint to the edges of the petals if you like. Just auditing a bit of this darker yellow to some of the strokes. So the idea is to keep that middle quite dark. You can even allow for this to dry and then come back. An odd mole. Darker paint in the middle. Once it dries, you can erase the pencil lines. So this could be a lovely rose example. What we can do, we can add in some leaves now as well. Just going to grab my greens here from previous lessons. Maybe are then more of the sort of regular green color. And remember, we want the brows leaves to be quite big and round. So that's what we're going to try and go for. And I will try and imagine that my leaves behind the flower like this. And they are sort of coming out here. Coming out like this. Nice and round. Too late to leave it like this. From the same stem but going different directions. This can look quite nice. Don't worry If a little bit of green bleeds into your petals. That can actually look really, really nice as well. But if you do mine that I know some people do, just make sure that your rose dry before you paint at hopes. This c curve is really, really useful for lots of different types of flowers. And Rao's is one of them. 9. Practicing florals - Cosmos: Next we're going to practice Islam. They jagged almond shape. It's a lovely, lovely shape. I do like it a lot. And I'm just going to use some sort of purple color, pink or purple. I'm into my palette here. These are particularly lovely for Cosmos of flowers. We're going to try and do single petals and fast. So what I usually do, I place the side of my hand on paper and then I'm going to do one that's sort of facing that way. And I'm starting, notice how I'm holding my brush, so I'm not holding my hand like this, but it comes up here. Then I'm starting this upstroke. Then I'm sort of doing this is like jagged movements. And then I'm going down to connect to the stem. And we're going to try and do another one. So holding my hand like this, Going up with an upstroke and then sort of using the tip of my brush and applying a bit of pressure. And if you have a bit of a gap here, you can always call or retain. So if I was gonna do it with a pen cell, it will look like this. So I'm sort of coming back to this base with my brush. So that's what we want to try and copy here. So this little shape and try doing some of them may be a bit more watery, so I'm just adding more water to my paint. So light pressure and density of going a bit more heavy down. Maybe try another one that's facing that way. So now I'm going to hold my hand like this. So instead of this, I'm doing this. I'm sort of slanting it docked Bay going up. So you can really get creative here. Just do this jittery movement up and down and see what happens. This is a lovely way to get creative and just experiment. Maybe let's try going down with the next one. So I'm still holding my hand in this position. Is it tip of the brush that creates this lovely, lovely edge here? I'm just moving my hand down some slant towards me. Using the side of the brush when we need to fill the shape with paint, I'm using the tip of the brush for this to create this lovely role looking edge. Right? So let's go ahead and try to put this into an actual flower. So once again, we're going to draw a circle and then mark the center. So sand is going to be here. This is a very simple possession. I'll talk about different ways of positioning your flowers in next week's lessons. But for now let's just do the simple one where we have circle and a small circle in the middle. So this is quite visible, so I'm just going to make it a bit more faded. You're going to start doing these petals. And they will also end by the circle line is. And you're going to leave the middle and then let the petals dry a little bit and then odd in the middle. So let's have a painting, a Cosmos flower here. I'm wetting my brush. I'm making sure I have paint ready. So maybe mix little bit of this pink or any other color you're using. And you're going to do eight petals. So I'm going to start from the middle facing up. So I'm positioning my hand this way again, just like we practiced here. And going back to center. So this is where our center is. Maybe do the next one a bit more saturated. Just keep going and you can rotate your paper as well. That helps. You can rinse your brush, maybe add some more water to do the next one. A bit more diluted, maybe even bigger. So we got 12341. I need to kind of fit for more. Don't worry too much. We can always imagine that some of the petals are hiding below are the petals. And also don't worry if you go over your circle a little bit, That's also fine. Nothing is uniform in nature, so we can experiment a bit. Another thing I like to do, instead of auditing in this same Strauss, if you need to like correct, sound the shapes or just sort of making those petals. A bit more interesting. So there we go, That's our flower. And we're going to wait tiny bit before we do the middle because very often it can just bleed everywhere and it just won't look as good. So let's give it a second. And whilst we wait, we can do the leaves. And cosmos flowers have a really, really thin leaf. So we're going to use the tip of the brush to kind of achieve that shape. So we're not going to use the flat part of the brush too much. And I think actually this lovely green blue is going to look really good. So feel free to use any granulomas. I'm just going to imagine where the stem of the flower is coming. So I would say it will be here. You can draw a little stem and I'm going to very big one because we have another flower here. Then I'm just going to start painting these very, very thin leaves. Very thin, hardly coloring the men as well. So you can leave some highlights that maybe some of them can come out of here imagining hiding behind the flower. Sometimes painting base can be a lot of fun because you don't know what's going to happen. And sometimes a bit of paint might bleed into your actual flower off like it did here. I like this blue accidents I think. Just makes your flowers look really cute. She wasn't the tip of my brush and odd in this very delicate little leaves. So they quite very long. Then it can be shaped in any way you like really. There we go. The middle of my flower, I think, is fairly dry. So I can use this lovely yellow for the middle. I don't want my paint to be too watery, so we're not going to or too much water today. We're going to do little dots. So basically, when your brushes ready, Try sort of like dotting it in the middle to begin with. Like this. So that's usually where the pollen of the flower is cell. Yellow always looks really nice. If you want, you could add an even smaller circle in there. Like a dark color. I might grab a little bit of this mustard and having it very, very saturated, I might just dab in a few dark adults or even tiny bit of brown. There we go. Unwanted dry again, you can erase the pencil line, but you can see we get a really nice go here. 10. Practicing florals - Geranium: Alright, and the flower will try in this lesson. Is it uranium? So that's again, another lovely flower. You got to practice doing heart shapes, which are always fun. They can look really, really lovely. They can add a lot of texture or very soft look. And I'm going to use this red for these heart-shaped petals. So grab your paint. You can use any color you like. And just very similar to what we've been doing with our leaves, will be made at round leaf. You're going to start with a fast half of the heart. So going up instead of down and then just adding on another. You can make these as wide as you like. You can make them long if you like as well like this. Then you can color in the highlights or leave a little highlight. And then Mr. starting from the same stem during the second half. And you can sort of finish a bit higher up. You don't have to go all the way down. Try doing another one that's very watery. So I'll just sort of went off. Then I flattened my brush and it made this lovely half of the little heart. Then I'm going back to the base and doing the same thing. And it just creates this lovely looking petals. These look really nice, especially when they're quite watery, so try not to make them too saturated. Something fun to do is also to maybe blend a little bit of yellow into this. Again, petals can't be identical pandemic, so bearing the color slightly might look really, really nice tool about that flat brush movement. And they sort of look like Valentine's Day cards done there because they're red. You can make this a little bit jittery. If you like. The top here, then I have to be very smooth and even. Alright, there we go. So again, practice this a bit more. If this feels quite difficult to tell. When you're ready, we're going to try painting a little geranium. Very similarly to this. We're going to circle. I'm gonna make this fairly small. The center of the flower is going to be here. Again, I'm just making sure that my paint is very watery. I'm not picking up too much effect. Then I'm going to stop with this fast heart shape. I'm starting from the middle, Vi, from the center here. During the first half. The second half. Then just keep going, going back to the middle, starting from here with a thin stroke going up. The odd in this lovely round shape. You can always correct it slightly. So make sure you reach your petals right to this circle line. It's okay if you do go over, try not to, but if it happens, it's fine. And I might blend in tiny bit of this orange I mix. We're kind of aiming for five petals here. They can overlap as well. That might look quite nice. Some of the sort of blended together. But it still looks really pretty. Similarly two days we're going to wait for the middle, just to dry a little bit whilst we paint the leaves. Uranium leaves are very big, so it's actually the shape with them practice. You can just give it a go, get creative. So I'm going to use this sort of yellow, green mix for this one, it to be fairly bright. If your pains get to big data age. So grab a clean brush and just slightly mixed set and rinsed again. You can do this a few times to make it look tidy. Again. I'm quite happy with this color. I'm just going to draw a stem fat again and try to imagine where is my stamp coming from? Some outside It's coming from here. Let me just go into odd index like jittery, round leaves, Auditing like three little leaves to the base. The base is here, so I'm just sort of Oddi country different leaves. You can do another one. Round and very, very uneven. Here are the top. Maybe there's some hiding behind the flower. Again, I'm just being careful not to touch the red because it's still a bit wet. I can tell. You sort of slumped in that way, but that's good. It's good to practice different positions here. So yeah, that's something you can do to make the leaves a bit more interesting. We can blend in like a darker green at the base. Just let it bleed. See what happens, making the stem bit darker. For the middle, you can also use a dark red that will look white noise. It's still a bit wet, so I'm gonna give it a second. And whilst you wait, you can always practice during this lovely leaves a bit more if you like. So they're really, really interesting. So just make sure your brushes into a rat. Mom is a bit too wet here. And if it ever happens, you can always grab a bit of tissue. And this is called lifting the paint. So you just lift a bit of paint with your tissue and then go in with a dry brush. And you can always blend this out a little bit. All connecting here on the base. I'm just adding these textures here. If you ever want to blend colors, you just draw your brush on in like a darker color and just blend some of the ten. It looks really pretty. I think this has dried a little bit. So I'm just going to pick up dark yellow again. Just dab in here. It was still a bit wet so you can see sort of bleeding out. But again, it looks quite pretty to be honest. Yeah, feel free practicing these a bit more before we paint a ray. And I hope you enjoyed it. Let me know how you get town with ACE. 11. Floral wreath design - part 1: In this lesson, we'll be painting a lovely watercolor floral wreath. And we'll mainly be focusing on roses. So that's a flower with practiced in a previous lesson. So we'll need around objects. I'll usually use a vowel like this. So this sort of sides kind of fit your page to have it too big because we do want to have a bit of room on this side at the top and bottom here. So I'm going to go for this one and then make sure you have freshwater and decide what colors you're going to use. I would say golf or maybe two base colors. I'll probably do pale pink, orange, and then just have plenty of grains ready to go probably from your previous lesson as well. Step, I'm going to grab my pencil, and I'm just going to trace a very, very loyal to circle with my pencil. So I'm just going around, but I want to make sure that positioned this very centrally so you can use a ruler, of course, if you like. But I usually just sort of imagine how it would sit in the middle. So this seems right. And I'm just going around very, very sort of faded light pencil line here like this. I hope you can see that. The idea is to paint a cluster of roses here, for example. So you can do maybe one big one and again, maybe do these very large circles. Just to give you a little bit of guidance, to remind you to keep those roses nicely round, to have a bigger one here. And then I'll do sort of smaller ones on the sides. And then I might do quite a big one here. Quite a big circle, maybe a smaller one attached to it here. So have a look. Quite nice. So let's begin by just preparing the palette. So I'm going to grab some red. I'm going to transfer it into here. So depending on what colors you are mixing go slightly different. I'm going for pale pink hair, so I'm mixing red and white. I'm just going to take some of this white and start adding it to my red. So I need quite a lot of white. So I'm just my y is getting a bit darker, but that's okay. I'll just clean it afterwards after I've finished. Otherwise, if I keep rinsing my brush, I'll end up wasting a lot of paint. Today. We got to have some sort of pale pink here and it looks quite nice already day. And then I want to do some orange. I have some yellow here from the previous lesson. I'm going to add a tiny bit of red to this. That looks quite nice. I also make sure that yellow is available. We might do something to yellow as well. And for leaves, I know that they're mainly wanted to use like a blue green and I want it to be fairly dark. So I'm just making sure again that it's ready to go. I'm just combining green and blue. Dog blowing particular. You still want more green than actual blues. So I might actually add in a tiny bit of red to make it a bit more muted. It's quite bright at the moment. There we go, I think they're starting to become quite nice. There we go. That's my green ready? Hope yours is ready to. There we go. I'm just going to rinse my brush, make sure it's nice and clean. And we're going to start painting the rows. I might actually grab the brush number ten for this. So we want those two big fluffy petals. And having a bigger brush might make it easier for us to start off with this big arose. It's gonna be right in the middle. And just like before, I'm starting from a center doing some of these C curve shapes. Then starting to blend it out. The more petals. Making them very watery than going back in with dark color. Blending in some more paint in the middle. I'm sort of using the tip of my brush to dab in some more paint here towards the middle. And also just around your battles if you like. If you want, you can grab a bit of red and make your paint a bit dark coffee using the same color. And then just blend in even more darker color. Looks quite nice. And the next one I'm going to do, I think I'm gonna do a yellow next to it here. You don't have to follow your circle exactly. Again, of course you can go over the lines just doing these big petals. Around the middle. The Rouse is going to be a very loose watercolor rate, so you don't have to worry too much. You can make it quite loose and just try to have fun with this. Once it dries, it always looks better. So I'm going to grab a bit of mustard and just blend. Landed here into the middle Leyla bit. Just to make no distinction between center of the flower, the petals, and they still have bled together. And that's okay. That can happen. When you do this sort of orangey loci in one here. I'm just adding more yellow and more red. Doing a little one here. And you can always position the center of your flower at the different angles. So it can be facing towards the left, towards the right. So I've made mine a bit lower down to the left. And I'm just gonna do more petals around it this way. There we go. So I have a little bit too much water in here, so I'm going to use a little trick. I use a bit of tissue and just dab it. And then I can go back with my brush and just correct it slightly and my brush might be a bit too wet, so I'm just drawing it and then just correcting this little petal data. There we go. I'm going to go ahead and do the same on the other side here. I'm going to maybe to one in this pale pink, but I want it to be more pale. So now it's just how you will keep altering your pains. Might need to add more white or a different color to make it the way you like to be. I wanted mine to be a bit more pale. So I'm gonna do this one. Lovely pale pink color, making bigger strokes. And he can go sort of a big motor the inside of your race. That's absolutely fine. Blend in a bit of this orange towards the middle. And I'm going to do another yellow one here. Wetting my brush on a more paint. So this looks very, very summary. Lovely colors. Maybe dab in tiny bit of mustard in the middle. Not too much. We go. So you can always wait until your flower dries and then see if you want to change anything. If you want to add more color in the middle. 12. Floral wreath design - part 2: The next thing we're going to do, we're going to start adding leaves. And from this section we're going to odd leaves this way. And this way. And from this section we're going to go off to the side here, so they're going to meet right in the middle. Hopefully. Let's see what happens. I'm going to use my green color here. Probably start painting leaves here. So we do want to follow the circle. So the first thing I'm going to do, I'm just going to add in some leaves coming out of this rows. Remember we were doing big lovely leaves here. And then maybe another one facing this way. And then try to sort of follow this pencil line. And this could be your stem essentially. And then you can keep adding leaves too wet. And I'm just going to add a bit more blue to my green, so it's nice to all the color slightly as we did before. I'm going to add a few, maybe even coming out of here. This will take time. It will depend on your individual composition. So try to imagine what some of these leaves poke out of your flower. I'm going to leave it there for now and then try doing this side as well. So again, we have maybe a nice leaf coming out of here. Notice how I'm holding my brush here, so this position is very handy. Wanting a smaller one might add a bit of red to my green to keep it interesting. Let's say we have like some leaves coming out of here. Maybe hanging, poking out. You don't have to be too precise, just really get creative here. You can also grab a smaller brush. So I'm using ten. I'm going to go back to my eight. I might add tiny bit of yellow migraine. Maybe add another leaf here, maybe go over this one once again. We can also add a different type of leaf Coast. I'm just going to mix this, blow. Me have a few they sort of leaves poking out. Remember when we were using our brush and I'm just making these blow these colloquia noises, pillows. Then again, imagining that those leaves are underneath as well. And like how would they come out? Maybe there's another one poking out here. Auditing some more here. We can also try and maybe blend in a little bit of brown. Perhaps add some fun berries here as well. I'm just going to change to this number six brush because it's a bit thinner. And I've got some brown color here. I'm just picking a tiny bit. I don't want too much. I want it to be fairly dry because I need to make quite precise strokes here. So my flowers have dried already a little bit more into sort of make like very thin stems. Some bearings here. When be some coming out here as well, going towards the inside of the wreath. Subject meeting each other here. So it'd be just be lots of berries. So it won't look unnatural where these meet, which is nice. And coming out of here. Maybe. The idea here is just to add a branch with lots of other branches. Always looks quite nice when it's very delicate. Mighty, even dark and this sort of circle here where it carries on. And I'll use the same brush and add another leaf in here, it looks a bit empty. As I paint. I'll make my berries in this lovely mustard color. Just adding little circles. The tip of my brush here like this. Instead of berries you can also maybe are done tiny flowers if you like. It's really up to you. You can also make them red or pink, Of course, if you like. Well might make some of them a bit more. Orange. Might have another of these sort of low leaf sticking out here. So just keep filling it. Keep going for as long as you like until you're happy with the way it looks. Swapping to a smaller brush can really out in lovely detail. Having fine strokes and contrast with these big leaves. Color quite pretty. I think I'm nearly done here. I'm just going to maybe blending few more of these berries. Close this little gap here. But I'm doing a stem, so I'm being super light and quick as well. I'm just using my brush and then just imagine how this first branch sort of grouse going different directions. Maybe add some yellow berries as well. Why no more of this orange one as well? I'm just going to do it, this one coming out of here. And then just try and assess your wreath. And jack if you have any big gaps and, but you need to add in maybe some leaves. I have a bit of a gap here. So I might actually make another leaf here. So that might look quite nice. Just make it a bit fuller. And this here looks a bit sort of empty. So I might bring out another leave to the side, a little cluster of leaves like this. You know, you don't want to overdo it, so be sure to stop eventually. I think I'm just going to leave it here, although it is quite sort of leaning towards the right. So I think I'll just add in another leaf here. Perhaps just hanging out here to sort of make it a bit more central in a way. There we go. This is our array. Let it dry, and then you can try doing some lettering on the inside. 13. Floral wreath design - part 3 (lettering): When you're ready, grab your Pentel brush pen and you can go for very light pastel. You're looking color, any color you like. I think I wanted to go for this very, very dark blue, almost black, to be honest. So I'm just going to make sure that it's nicely diluted. I just made a bit of mess here. So if this happens, just going to have a bit of tissue and very quickly dab at it, soaks it up straightaway. I want my lettering to have a nice gradient, so I'm going to add quite a lot of water. I'm just going to lead to something really simple. Just two words. They still, I think that will look really nice with this design. And I'm just going to use my pencil tool very likely. Do the layout just to make sure it's nicely scented. And if it's not, just erase it again before you do actual lettering, right? So I'm going to go in with my brush pen. Just like we practiced before. We're going to separate those strokes stop from time to time. Although I'm using a very dark color, notice how it sort of becomes quite light. Band diluted with a lot of water. So that's quite nice. I'm sort of altering between dipping into a darker color and then dipping into this sort of diluted paint here. Just add a bit of variety. I'm trying to make my lettering look way round so I wanted to look very soft. And rounding up those edges can really, really help with that. Transition. Here is extra round if you have a left. And there we go. So this is a finished look. The last thing I'll do, once it dries, I'll just take my eraser and very gently go over those pencil lines. But to be honest, I can't actually see many of them. There are few here, and obviously the text as well. But I need for this to be completely dry. Before I do this, I would love to see your wreath. Please let me know how you're getting on. I really, really hope you enjoyed this lesson. Good luck with practicing. 14. Painting different types of flowers part 1: Hello and welcome to the third week of this course. I hope you're feeling inspired and you're enjoying painting with me. And this week is going to be all about painting beautiful flowers, practicing different type of flowers. Arranging them into different compositions is going to be a lot of fun. Let's begin with this week's first lesson. Make sure you have some freshwater for this lesson. And I'm not going to mix up new paints for the first exercise. So I have quite a few panes here in my palette or how migraines and I have a few colors mixed up from the previous lessons. I also have my palette here. I'm, I just dip my brush and water in them down a bit when I need them so you can do the same if you don't want to wash your palate. So in this lesson we're going to practice painting flowers from different angles. So if you remember last week we painted one which we fit into a circle. So there's a perfect circle. We had a center and we painted petals around that center. There are also similar length and they all ended at this sort of circle shapes. So it was a perfect round flower. But nothing is perfect in nature. And we want to show that natural movement so we can paint a few flowers that may be facing to the left or to the right. Or maybe sometimes you'll only see half of the flower. Maybe you'll have some buds which haven't flowered yet. Let's just try to fit those sort of natural aspects in your paintings as much as we can. Let's try painting this one. We're going to start with the middle. This time. I'm going to grab my number eight brush. And I'm going to pick up a bit of this yellow. You can use any yellow you like. I'm just diluting it slightly but we don't want too much water here. So I'm just going to add the center fast. So I'm gonna do with this yellow half circle. I'm going to make sure it's not too watery. Try not to add too much water in there. Like they're sort of half the circle shape. Rinse your brush and pick any color you like. I've got this lovely blue here is going to add a bit of a darker blue, bit of a lighter blue. Mix them together, make them very watery. And just start auditing lovely petals here. I'm just doing the sort of one stroke petals or marriage stroke petal just like with the leaves, if you remember. I just have coming out of this base complained in a dark color to bury them slightly loose, very simple, which is going around this shape and odd again, these petals. I also have star from this base here. Feel free to leave some white for highlights. This is just a very simplified version and we can only see half of this flower in a way blend in some brown specs in the middle if you like. Just to make the color a bit more interesting. There we go. And let's just add a simple sample stem. So I'm just grabbing a bit of grain. Imagine that there is a green stem here and then the leaves are coming out with a stamp imagining that I'm starting from the stem and then the pulp out here. Stack could be a lovely little flower to try. You can always blend in some darker blue. Add in another layer of color. If you like. Audience and dark lines here. Just to fill it in a bit more. On these quick strokes. Making sure that the leaves are quite close to the base. I'm just sort of going around in a very dry brush, just correcting those petals, just blending in a bit more color. So this could be a nice little example. Let's try another one to have some reddish orange color here. I think I might add a bit of white to it. I'm just grabbing a bit of white audience in here. I'm just gonna do a couple of days. Very jagged movement, petals here like this. They also have base here and they're all coming back to it. Basically be sweet peas for example. And then I have a dark version of pink here. And I'm just going to blend in tiny bit of this color in here as well. Maybe do another one. Now this time going up, flattening my brush. I'm going down, again, starting from the same base. So very, very jagged. Perhaps you could do another yellow here. I'm just going to dilute my yellow. Run out of space. I'm going to do it on mobile. So you do want these to be fairly watery. This one is very watery. So soon as you get like a lot of water on the surface of your paper, that just means you probably have too much water. So are they more paint or draw your brush? This can look really pretty and again, very simple. We're just doing these very soft movement here. Now we need to wait for this to dry slightly. So whilst I'm waiting, I'm just going to mix up a green color, Adi and more green in here, making sure it's nicely diluted. I'm just going to add like little stems here. So very, very loose. I'm doing very thick, rough lines here. So I'm just using the tip of my brush and just dragging my brush very quickly. And just are done some leaves. I'm going to go for smaller leaves that are sort of coming out from a similar base here, but going different directions. So keeping them fairly, fairly small. Mine to another one. Just playing with the leaves. Lending domain might touch the base here, make it a little bit bigger. Sort of like a little triangle, upside down triangle. This is the base of the flower is very delicate little flowers with small little leaves. These can look quite nice. Maybe one is hanging down like this. Maybe another one's hanging down. Keep playing walls. You'll petals are drawing here. Landing a little one. Might need to extend your stems so it looks a bit more proportional. And once they start to dry, we're going to blend in like a darker color in the middle. So I think I'm just going to go for this very dark. It looks like bargain day. Almost. Actually it's quite light, so I might need to add a bit of lack or navy to this is going to blend that in. So I got like a little purple color in array. I'm just going to add more of that red is it does take time because it makes what you've imagined. So it does need to be darker and also more saturated, so less water or more paint. And just make sure that this is dry. We're going to do, we're going to think By the middle of the flower would be here. I think I could fit a little circle shape in here. So that's what I'm gonna do. I'm just going to add in a few dots here. Just imagining this is the middle of the flower. Be quite tricky. Finding the center, raise. This one here. I'm just going to go for a mustard color. I've got it here already, so I'm just going to grab a bit of that. I think I could fit a little circle in here. So this could be the middle of the flower is served nicely opening the sides here. If it's still a bit too vacuole, see that it starts to bleed a little bit, which is fine again, it just looks quite nice when it does blend tiny pits. So for this pink one, I'm just going to grab a dark red. So we just wanted to find a darker version of this original color. And that would be the middle. This could be the middle here. If you get it wrong. Dunbar way, it's your flower. You can always learn from your mistakes as well. 15. Painting different types of flowers part 2: As we keep going, we're just going to experiment with some other flowers. One of my favorite things to do is grab a bigger brush. So let's say I'm going to go for number ten and I'm going to find a color I like. So perhaps I'm going to mix this color in here. So I think I had a bit of green in that. Sort of muted it down slightly. It looks quite nice. So making sure it's quite saturated and also watery. And what I'm gonna do, I'm just going to add in the set of stamps of my brush. I'm just stamping my brush like this, going different directions and as I go down, it gets a bit more narrow than you would have one at the top and one at the bottom. And then feeling besides going a bit wider, if that makes sense. Let this dry slightly. And I'm also, you guys might actually do another one. You can grab smaller brush. I have brush number eight here. I might try and do this in different color. Let's say I'm going to grab more blue. I want this to be sort of very bright blowing away. Do another one here. There's one at the top and I'm starting the sides. Lovely. And then you have a smaller brush that'll be really, really helpful. So this is number six. And all I'm gonna do, I'm gonna draw stem so it's a bit too dry, it might pick up a bit more. Then just connect all of these together. You don't have to be too precise. They also have connected to the middle here. This could be a lovely little filler. This can look really, really nice. And you can do this with a lot of things. You can also decide maybe to paint Lots of tiny blue flowers. I'm just picking off a bit of this brighter blue. I'm just going to stamp my brush again. I'm going to make these five petals. I'm gonna deal with this quite a few times. I'm just moving my brush, keeping the same point of the brush towards the middle of the flower. Making some of them a bit smaller. I think five petals here or six aiming for five really. You can also do a set of scattering them around, but kinda keeping them fairly close. Landing in some very small ones here. Now I'm just going to rinse my brush and pick up some yellow. Again, not too wet. I'm just going to dab in yellow paint the center of the flower. And some of these might bleed a little bit and that's fine. I'm just going to grab this darker brown here from this palette. This was a bit too light. Again, just sort of connect them all together. Let's say we put a little branch here in these thinner lines. That's definitely something you can try. It can look really, really good. We can also paint a lovely flower. Let's start with the yellow center for examples. I'm just dabbing some yellow in here. And I'm going to use this reddish color. And just start auditing in the single stroke leaves. I'm just going from the base and just around. You can blend in slightly different color, maybe dilute it a bit more as you go. This can look really pretty. Make sure it's nice and watery. Just go round and your brush. Flattening your brush. You can use any size brush you like for this. Might just brown in here. So dark in it. In the middle. And you'll see once this dries, it will look quite nice. You can just add them like individual leaves to this. Maybe have some leaves poking out of here. Can blend in more of these strokes wherever you have a little gap. These are very watery and it kinda looks really nice. Overlap some of them. Some keeping these very thin and watery here that we can keep going until you're happy with desk. And I'm just going to grab a bit of green here. And remember when we talked about an odd in detail in your leaves, always is odd then this little line and then smaller lines show a bit more detail in your leaf. Again, it's just needs to be a bit more dry for this. Then painting metal batteries is always a lot of fun. This could be a really, really nice fill out. So I'm just definitely to my brown. I'm going to start with a little stem this time. So very, very thin. Quite far coast. Just adding lots of little branches coming out with this main branch. Can definitely be a lovely little filler. I'm just going to pick up a bit of red. This looks really good. I can look autumnal. Philip. I'm just adding this little circle basically on top of each other. Another thing that's quite nice to do is paint a BAD. So sometimes your flower Omby fully opened. You can pay like a lovely little bud. So I'm just sort of starting from the top and flattening my brush down like this. Then you can also add like little petal on the side like this and just color it in. Leave a little whitespace that ideally this would be dry, but sometimes I just like dabbing a bit of green in there like this. This can Beth, they look really nice, especially if it's like hanging out from the side, like going down, maybe dab a bit of green in there. Let's say this is a rose. Just something to try, something to experiment with before we start arranging this. 16. Painting Peonies: And another really, really lovely flower we can paint to get out is a peony. So peonies are just beautiful. They look lovely in watercolors. I thought we could do it in a separate page because sometimes they can get really, really big. So I don't want you to run out of room. So let's go ahead and practice painting some P RNAs. So I highly recommend using the biggest brush you have. How number 12 here? That's what I'm going to go with. And pianist come in different colors. They come in all sorts of colors. That can be sort of dark pink, very light pink, purply pink. So just pick up any color you like. And they go for this pink here, which I'm kind of running out of part a should be enough. I'm just transferring some of this to my mixing palette. I'm going to start with very watery strokes. So again, make sure that you dilute your paint very well here. My data bit of white because I want it to be a bit more pale like this. So that's quite a nice color. I think. Maybe even a bit more. Why? There we go. So that's sort of looks like a P on a color to me. Before we begin. So I highly recommend just using a pencil and try to do a very light U-shape like this, sort of, this vague hope you can see right here. This will be the middle of our flower. And that's why we're going to begin. So we're going to do the fast stroke right in the middle here. I'm starting by sort of going up and pressing my brush and then going down as well and kind of pressing it again. And I'm going to do one that's suicide, sort of following this U-shape. Like this. You can leave a bit of whitespace in-between if you like. And then doing another one here. So really flattening my brush, making these very, very chunky strokes. I'm just making sure that my paint is very watery. I'm going to paint sort of very faint. Petals are sort of like a rough shape here on the top. So leaving this white middle way and just make sure that it does go like in a round shape as much as you can like this. And then I'm just going to keep painting petals coming out of here. Sort of going off. Very, very light, very watery. You can have some poking out here as well. Coming out to the sides. Now this is how I live, my paint this here. And again, just maybe adding some petals here at the top. These C curve shapes, if you remember, we practiced before trying to keep everything in this U-shape as much as we can. Maybe another one coming out of here this way from the base and kind of going to the side. Very watery, very light. Then have another one here. So I'm leaving work late too wide up here. Some of these petals fold towards me. Are the more water to my paint. Again, the jagged movement here, big battles. Lending some smaller ones and going over this middle again, Mark need to make them bigger. Just odd in this C-shape. Petals here to fluff it all up a little bit like this. This is a very, very light color I'm using here. Notice how light it is. So I'm doing these very, very quick center. See calves just add shape to this a bit more. And I might do like a very watery, a few very watery petals behind here. So this is like the back of the flower in a way, very, very faint. When you're ready, grab a darker version of this color. So either how much in here, but here it is, just going to dip in here. Then I'm just going to add a bit of this dark paint. It's going to blend it in like this whilst it's still wet. So this is why the base starts. And this is where these petals fall towards me. So I'm just blending like a dark, call it that. And also I'm going to blend like a darker color here in the middle. Then you can also add a few dark or toes. Just do a bit of layering here. You can go forever here, really just maybe odd in these quick align to the tip of your brush. Especially here in the middle. But it's usually all very dense together, isn't it? So just doing this very quick, quick movements. More water here, maybe close those gaps. If they are a bit too big. This can look a bit confusing because we don't really have the center of the flower just yet. So when you're ready, grab a bit of yellow. When it starts to look like a peony, bobby do have this U-shape going up and this sort of round shape overall, I'm going to grab a bit of yellow and just start dabbing a bit of yellow here in the middle. This starts to look a bit better now. It looks a bit more like a peony with this middle here. Odd in this like tiny dots. Some of this yellow might bleed into my petals, which I don't mind. I think it looks quite nice. I'm going to leave it there for a second and you might need to add something in once it dries. So just have a look. You can go back in with a darker paint and just add in some more petals, some fine lines again, if you like, or you can draw your brush and blend your petals a little bit, see what it needs. While surveyed. I'm just going to make migraines. So peonies have kind of like a dark green color. I'm just going to make screen with a little bit of navy. Black as well would look white noise, but just a tiny bit, not much at all. That sort of very, very dark rain. Piano usually has leaves very, very close to the stem, to the bottom of the flower. So I'm actually going to start with those leaves. So imagining that coming out of here, peony just has like quite big brown leaves, doesn't it? Maybe one. Instead of going this way, hiding behind the petal. You can draw the shape with the tip of your brush fast. Then Cholera ten. Then I'm going to do the actual stem coming out of here fairly thin. And imagining again, there are some leaves coming that way. So I'm painting this little shape of the leaf. The coloring attain, try not to touch the petal because it's still wet. Might actually come back to this. While the petals a bit more dry. Maybe one of them is hanging down. Like this. Again, you can correct the shape with the tip of your brush. Always going to make my stem bit darker, so I'm going over it once again, quite likely. Then just keep adding some more leaves. Your big brush. Again, I'm starting with a standard kind of imagining that I'm going through here and then having leaves come out of it, trying to make them look natural. Fairly big leaves here. It makes them a bit more jagged. Make it interesting. Maybe a bit smaller. Keep playing here. There's no right or wrong. You can position your leaves where revenue like even if they look a little bit out of place to you, John, to tell when this dries, it's just going to all fit nicely together. So try not to worry about it too much. Actually have a really big gap here. But sure how that happened. So I'm just going to clean my brush, just making sure that it's very, very clean. I don't want that in green on my just fill it in slightly like this. I'm just going to mix this darker green with a bit of black to a T like a darker green color. So again, not too watery. This time. Then just odd again. Quick little line in here. Just for a bit more definition. You'll leave don't want to be fairly dry for this and maybe darken it my stem a little bit as well. The EBITDA. And once this dries, obviously we can go back in and erase this. Pen cells are very gently. I'm still wet a little bit, so I'm not gonna do it now. This could easily be a really nice little poster. So you can always lead to something if you like, of course, grab a bit of yellow, maybe. Dilute it slightly. Just try lecturing something. Even just one word might look quite nice. It'd be hard, it'll activate these brushes, but you can always have a go. Just gonna write summer. And that's the finished lecture. I hope you enjoyed it and don't worry, if it didn't go right the first time you did at peonies, how particularly difficult flowers to paint, but the top tricks, or just to have your paint soup watery for those initial petals. So very, very light and diluted. Keep a bit of space in the middle so you can add in that yellow and then go, although a darker color, once you initial light color dries and just fill it all in with leaves. And I'm sure it's going to look pretty. You can always paint another one next to it, like just a bag of peony if you like. Try not to overthink it and just have a go and have fun with it. 17. Floral Composition part 1: In this lesson, we're going to paint a lovely floral arrangement. So put everything we learned so far, tickets are combined all the flowers. Before we begin, I'll just talk about the composition a little bit more. Let's say have a greeting card or a bedding imitation, or just a poster. And you would like to add some lovely floral arrangements. So there are a few base, you can position them. So the one we're going to do today is just going to be sort of in the middle of the page. Very irregular, classic looking wrong. But let's say you wanted to have your flowers in the background and then maybe do some lecturing in the middle. I'll just show you two of my favorite ways of positioning your flowers. Such stationary. So the one I like a lot is positioning your flowers in coordinates. For example, you would do a big rows here, then do a smaller roses here, and then have some leaves coming out of here and some filler flowers, like the ones we've practiced already. So we would do it here. Then we'd have the leaves come out of here. Maybe blend in some more flowers here, like branches of low barrier. So that could be a really, really lovely floral combination. And then we'll try and mirror that on this side as well. So again, we do a bigger roads, let's say two smaller ones, lovely cluster. Then have some leaves coming out of dam. An audience of filler flowers as well. That could be one of the debates. We're not going to paint this. So this is just to give you an idea. Always try positioning them in such way. Another way you could try and fit your flowers in the background is having them here and then here, leaving this middle for a wedding invitation, for example. Well, let's say you're doing like order of service for a wedding. Just very rough example just to give you a bit of inspiration. And then you could do like a bigger flower here. And again, smaller ones on this side. Having like leaves come out of that. Again, having some filler flowers that this is just a very rough sketch. Just to give you a little idea really what it would look like. Then try and mirror this at the bottom as well. So we will do another big flower to smaller ones and just fill it in with leaves and filler flowers for the rest. That could be a really, really lovely way of doing this. Just to show you a quick example, I've got this card here. You could always just do the top as well. So I just have some roses here coming out to the top and the side of the card. And I have lecturing here at the bottom of the card. So there are many ways to position your flowers and combine them with your lettering as well. So today we're just purely focused on making a lovely composition in the middle of the page. So let's get our college ready. So let's make sure we have enough pain. We have some freshwater here. I'm going to probably use my number ten brush for now. And the college I will use today are blue, yellow, pink, maybe a bit of purple cell probably have yellow from here as it is. I have my blue here, so I'll probably just mix it in here, maybe add a bit more blue color as we go along. I don't really have purple, so I might actually mix a bit of path will have some red here already. If you don't have any orange or red, just grabbed some from your palette. And I'm just going to add this blue color here, which is sort of purplish is Raul. I'm just mixed up this lilac color. That looks nice. I'm just preparing this. I need a bit of pink, which I'll prepare here in the middle. So I'm going to grab a little bit of this red. That's the one I used for PNAS as well. I'm going to combine it with white. Just odd in quite a lot of y. I want it to be quite pale. Color theory we learned, try to pick the colors you prefer. You must have experimented quite a lot at this stage. Just like combination of these four colors I'll use today. You can do the same if you like. I'm going to be paying such compositions. We always want to start with bigger flowers fast. So that's what I'm going to do. I'm just going to start with maybe a big brows slightly to the left here. Starting with the middle and starting to OD. These diluted stroke. So very soft battles. Do-overs the outside, and then coming back in with strong the paint. Just grabbing a bit more than dark or red. Blending some in, especially in the middle here. So imagine that we're looking at these flowers from above. Basically, we won't see any stems really, so it will be all just flower head and some filler leaves. Jane, just a very loose watercolor style, doesn't have to be super detailed. Nice when it's just sort of blends and creates this array instead of soft looking strokes. Lovely. So that'll be my first Rouse. I'm going to add perhaps another one using my yellow. Got some lovely yellow here. Might add a tiny bit more white to this. How it a bit more muted. There we go. I'm going to position this sort of very, very close to the fast Rouse, but just a bit lower. The petals are almost touching. Don't want the big gaps in between. Very big chunky strokes here for this row is trying to make it fluffy. Once your browsers have slightly dry, you can go back in with a bit of a darker color. I'm just grabbing a little bit of this red color here. I'm just going to blend in a bit more. In the middle. That is very light brush strokes in say, straightaway, sort of looks. There's a bit more depth to this flower. Just blend it, some thickest strokes as well, kinda keeping them quite watery, stale. I'm going to rinse my brush. I'm gonna do the same thing with this yellow, making sure it's not too thick. Just adding a tiny bit more paint in here. Now what is how this rouses are very, very close together? What I'm going to do next, I'm actually going to add button does flower is we've practiced in the previous lesson that I've sort of had this middle of the flower. And then I did blue petals around it. Basically, I'm just mixing this lovely blue color. I want it to be fairly dark. Bit more water, a bit of a darker blue in here. I'm just going to start our denominator a little petals here, making them quite long. Not really overthinking hair, just going for it. I'm just imagining that this one here hiding behind this flower, some gently going around. This way. It's going to blend in like a darker blue here. The base. Just letting it dry. All of these flowers are very, very close. So I'm not least, I'm trying not to leave big gaps between them. So it's nice to stop it. Bigger flowers fast to have these rows is here in the middle. I might just odd in polygon P on a flower here. Just starting with this sort of shape. And don't worry if some of the paint bleeds. A little bit of this blue sort of got into here. You can even lift it with a bit of tissue or just leave it that might actually look quite nice. I'm going to blend in some darker color in the middle here. I'm going to wait for this to dry slightly. And then our data bit of yellow in the middle here. I might add in this little purple flower here. Again, I'm trying to sort of fill in this gap here. Making this sort of burgundy color here. I'm starting with this little bet TO imagine if my center of the flower is here. I'm just making these little petals. Odd again, this thinnest strokes. Just to fluff it up a little bit. Actually, no, I did another one bath. So this is quite watery here. Just waiting for these two to draw it to odd in some yellow rust away, they can start playing with the leaves a little bit. So I've got a green color. And remember we are looking at these flowers from above. So we don't want to see any stems, Rayleigh, So wait till believe sort of coming out or the flower poking out on the side here. So here's one for this rose. Maybe there's another one coming out that way. Another route here. And I'm just thinking how the leaves fall from here really. So let's say my stem is tilted down that let's say it's coming out like this. The flowers are fairly dry, so I'm just grabbing a bit of this yellow, making sure it's quite saturated. And just adding some dots here. And also here, this flower. I'm going to add some black to my green. I have a darker green for this peony flower. Maybe do a few leaves here. Imagining the day sort of coming out of that. Maybe having some leaves poke out of here. Makes up this other green here to add in some leaves, this flower. So I would imagine that the stem is sort of coming from. The leaves would probably come out of here. So let's say it's going behind. I'll make these sort of quite thin, bit more clustered like this. Now let's say we have another one coming out that's very similar from this flower. Imagining that there's a stem of leaves of reaching from here. So if you're unsure where to position thing, just try to imagine what's going on behind and by the stem start. That's usually very helpful. Lovely. So I might add a bit more blue to this burgundy color. Maybe do one of those little flowers with practiced in a previous lesson. Imagining that it's sort of popping out of that. So the stem will be behind this rose marred actually ordered one here as well. So imagining that instead of coming out of that, this way of thinking actually have to be quite focused thinking that the stem is and how does it reach behind other flowers. So I'm going to wait for this dry slightly. Then. I'm going to Alden, darker middle, center of the flower. I'm really tempted to do another blue flower here. I feel like there's a little gap. So your composition might vary from mine. You might have gaps in different places and it does not have to be the same. So just use mine as a guide, but don't worry if if it turns out very different, That's also fine. Again, I'm trying to fill in these gaps. I'll start my first petal here. Against it are waiting for this to dry before I do the middle. And I might do a few buds. So like a rose bud. Let's say we have one bulky Note here and maybe another one poking out here. Next arouse Israeli. Maybe one's hanging out of here. Rinse my brush and then grab a bit of grain and dabbing bit of green here at the bottom. So it's sort of bleeds out and connect to this little bulge. And it might look quite nice. So I'm imagining that this is hanging this way. So I'm just connecting it to the flower, all that stuff next to it really. So it looks natural, becomes out of that Ralph Iraq. And with this color, I'm just going to add a bit of black to this. Again, you might be at a different point right now. You can just use this as inspiration and just create this lovely dark color which I can use for this flower. I'm just dabbing in. This one wasn't quite dry scissor blade quite a lot, but it will still look nice when it dries. And then I'm going to grab a bit of yellow again. I'm quoting patient. So it wasn't dry either. I'm just going to grab a bit more blue. I'm trying to even it out, just blending in more blue color down and it will look quite alright. I think. What I'm gonna do now, I'm going to switch to a smaller brush. So it's quite nice to have a variety of stroke thickness. Thin out leaves or stems might look really good. In contrast with these big flowers have some green color here and I'm just going to add in some leaves really just imagining that they're coming out of here. For example, let's say there's a little stem of leaves. What migraine to be fairly dark, so I'm just going to add a bit of black. So that's quite very dark, actually. Odd some leaves to these buds here. Small little leaves in contrast with the bigger ones, which makes this darker green with this lighter gray. Just to tone it down slightly and add some more leaves maybe here. This flower, just keep going, just auditing in more leaves, different types of leaves. You can make some of them round like this. A bit more detailed. Might have a similar ones coming from behind of hair. 18. Floral composition part 2: So now it's all about sort of filling in the blank space, Israeli. And what we can do, if you remember what we did in the previous lesson, why sort of auditing? Lovely little berry, so lovely little flowers. I'm just going to mix this very, very pale pink here. So I'm just diluting this pink with white. Now I want these to be fairly neutral, so I'm just going to add some of these. Remember Bobby just going to flex stamped our brush imaginary that some are coming out of that. And maybe there's quite a lot going on here. So I might actually have some here, maybe, maybe actually here. It's quite neutral, this color. So what actually look quite nice. So I'm going to rotate my page for this, starting with the top and then making it slightly wider. Before make me narrow again. I'm going to let this dry a little bit. Quiet time to, to blend in like smaller. Flower is my deal with little cluster. Let's say here. Again, I'm just stamping these little petals. So very slowly, take your time here. Maybe even some here. I'm going to do it in middle of the flower a little bit later. Let's wait for this to dry a little bit. These don't have to be perfect really just kind of back your way around by filling in the gaps here. Let's wait for that to dry. I think that's all I'm gonna do, flower voice. And what I think I'll try is maybe throbbing even smaller brush I will have number six. Make my grain fairly saturated so not very thin as it was before. I'm really tempted to just do like some tiny, tiny little leaves, so much more delicate, so very, very small stem, very thin stem. I mean, they just are adding on these small little leaves like this. Using the tip of the brush to make the shape and the color written. Maybe have another one come out here, sort of done that already here. So again, very similar. This time fast, make it come out of this arrangement naturally. Also paid for these flowers to dry. You can also grab like a darker green. So just add in a bit of black if ally, I'm just going to add these very quick lines. Do you remember? We kind of did a little bit of this in one of the lessons. So I'm not going too crazy, but just adding a bit more depth and detail. You have time to do this. If you're waiting for your flowers to dry, That's something you can do. It looks quite nice. You want these to be very thin. Very quick, thin movement to the tip of the brush. And also use a smaller brush if that's easier for you. I think number six might even be a bit too big. The more I look at it, the more leaves I want to add. So do make sure to stop eventually. I think you can just keep going forever really. If you don't know what to paint, just odd and more leaves, That's how it goes. Right. So I believe these are fairly dry. I'm going to stick with this number six brush. Just dab in a bit of yellow here in the middle. Do be patient for days to dry. Otherwise, I mean, see mine aren't actually that dry. So they are bleeding slightly, but I think it looks quite nice. Then lastly, we're going to grab a little bit of brown so we can finish these lovely pink petals we've painted here and also connect these. Blue flowers. And I want to use a very, very thin, tiny, tiny brush. And the smallest you have, I've got this size 0 here. This can be tricky to collect the paint wet. So just make sure that you do have paint on it may be tested on another page. I've got brown color here and I just want to make sure that it's nice and dark. I might actually add a tiny bit of black. You don't have to, but I just feel like it might look a bit too light. Now it's a bit too dark. It takes time to find. I'm quite happy with that. Now what we're gonna do again, imagine how they're coming out to pair. So let's say I'm connecting one to here and this is going behind. And this one's falling from the same brand. Same with these connected. And let's connect these again. These are coming from here. Let's say I'm just adding these thin little lines connecting them all together to one stem. You don't have to be super precise here. You can make these barely visible, but it's good to connect them. And again, try to saying how they would grow naturally, escape and imagining what you're looking at this lovely flower bouquet from above. So what do you say? Bad days leaves come from? Rather they fold. So this looks good to me. I think the only thing I can see that on this side, there's a bigger gap here, which isn't a huge problem, but I might just quickly corrected by adding in some smaller leaves hanging that way. So just assess yours and you might need to do something similar. You can just leave the little gap. It's not a problem. I'm just balance it out. I'm going to add a few more leaves here. It's quite easy to overdo it as well. So do stop. At some point. Also have this thin brush. I'm just going over some of these leaves again. These are new that I've painted artwork into thin line. Very light pressure. I think I'm going to leave it here. Otherwise, I'm never going to stop. And this is just a really lovely little composition. And you can always lead to something at the bottom if you lie or sticking to your ball, something to look at. And also don't get frustrated if it didn't go the way you want to. Trust me. It took me a long time to practice. And it's all about just maybe finding references and recent photos. You can always google a flower bouquet from above. And then you can just try and see where the flowers are placed and try to copy that in your painting. I really, really hope you enjoyed this class. I had so much fun putting it all together for you. I would love to see your work. I hope you feel inspired and ready to keep practicing. And I'm here for you. If you need me, you can always post in a group. I'll be happy to help give you some feedback or answer any questions. And I really hope to see you at one of my other courses again. Thank you so much, everybody take care and happy lettering and painting. 19. Well done for completing this class!: Well done to you. You should feel very, very proud of yourself. I hope you enjoyed learning with me. It was an absolute joy to teach you, and I really hope you had fun exploring your creativity, working with watercolors. And I hope that you'll continue practicing this scale because it is all about practice or learning a new skill like this. It was really lovely to have you here. Make sure to check my other courses. If you're feeling inspired and motivated to learn more, and if you'd like to connect more, follow me on Instagram. You can find me at creative field designs. You can also find me on Facebook. And I would absolutely love seeing some of your work. Happy lettering, and good luck with everything. Take care.