Heavenly Agapanthus | Loose Watercolor, Pen & Pencil

1. Welcome!: Hello and welcome to this loose Agapanthus watercolor class. Hi, I'm Holly. I live in the Lowlands of Scotland along the coast. I don't have to roam far to find inspiration. It's all around me. And although I don't often use a specific reference picture, I just take it all in and it seems to find its way into my painting. And then into classes for you. So why agapans? I got three stems in a bouquet, and I felt it was a really good opportunity to paint them. I've always loved them. They're so architectural, but also really pretty. And they look absolutely gorgeous in a cottage garden. So to bring those elements into our painting, we're going to have quite a bit of time just practicing techniques, seeing what we like before we go through to our main project. This is all about diffusion and definition. So we're going to create beautifully diffused backgrounds where we're going to allow all the hues to mix together. We're going to then bring in some glazing techniques and slowly build up layers. I like a little bit of mixed media, so I am going to bring some pencil in and also some pen. Just to add some really beautiful final details to our painting. So lots of background, lots of drama and texture, bit of splattering, and some lovely ribbony leaves. And as I always mentioned, there's a lovely community on Skillshare. I really love chatting with you and seeing your projects. So feel free to share a project, and you can find out how to do that under the class, and you'll see projects and resources and on the right, submit project. Subtitles are available and also a full transcript of the class too. So, when you're ready, shall we get started? 2. Materials : Let's run through materials. And if we start with paint, we're using a very limited palette, really. So I have, danthronblue, that's a lovely deep rich blue. And I also have French ultramarine, which I've chosen specifically because of its granulating properties. Rose madder, one of my faves, lovely delicate pink and green gold. This we're going to be using to allow the paints to travel. So I have my size ten escodo round brush. A size four round brush. Got two mechanical pencils here. I think I picked up both. I have a Faber Castel one, 0.7, and this is a very cheap one, 0.5. I brought in pilot pens, and I'm really loving these. I bought a set of them, and I discovered that they're really lovely in water. Either of you brush water over them or lay down water and then take the pen into it. So it's a really lovely quality over to paper. And for my project, I used Ach Hot Press, and this is 140 pounds, and it's an A four size. I do like a silky surface, but you could use any of your favorite watercolor paper. And then for the Walmart, I do suggest, actually, if you do have a larger pad of paper to go with that, this is dudent quality, which is 25% cotton. It's a fabriano studio watercolor paper. And I really love the size of this. It's 11 by 14 ". Just gives you room to practice. And that's it, really. Very simple materials for this class. 3. Practise | Mixing, Blooms & Stems: So I'm going to try and get a little bit more of my green gold out. I must order some more. And as I wrote in our about section, I chose green gold and French ultramarine in particular because of their properties. So the green gold is going to help us a lot because it travels a lot. It's very extrovert. And the French ultramarine is very gently granulating. I've also got my rose madder. And endanthrone blue, which is a gorgeous deep blue. I love it. And I'm using my fabriano student paper, which is really lovely, actually, for practiced ones like this. It's more affordable, but we'd say it's a really good quality paper. So let's start by just putting some water down. And then we're going to mix a lovely violet with our rose madder and French ultramarine. And I'm just using my size ten Escoto round brush. Both these colors together are magical. Look how they spread. And what I like in particular using rose Mader is you get this lovely pink hallo almost when it's mixed with a French ultramarine. Now, you don't obviously have to have the same paints as me, but I just wanted to show you in case you really wanted to delve into different mixes and properties of hues. Choose your favorite pink and blue. What I'm showing here is timing. Now, it depends on your paper, of course, and this is like a hot pressed surface. So if you're working with hot pressed, you have to move because it will dry really quickly, and it's also very warm today. But what we're going to do is develop these lovely, luscious blooms in layers. And you can start to see here how we can develop little florets just by pressing our brush into the page. And I've chosen this brushstroke for a reason, and that is just to demo how easy it is to create flower heads without feeling like you have to know any intricate techniques. Printing with your brush is a really lovely way to create blooms, both blooms, as in water with watercolor and also flowers. So you can see, going back to this area here, it's dried a little bit, so I would say it's glossy rather than a pool of water. And as we add our flowers, we can start to work with the timing of how quickly the water is drying and slowly build up subtle layers. So what now if we mix our danthro and blue, just to get a different color all in that same analogous range on the color wheel. And it's just a slightly different violet, but variety is really important. So just having this other hue to go to, I think, just makes it look so gorgeous. So you can see by that little flower head that we've almost got three layers now there. We've got the initial wash. We've got the diffused flowers that we can see there. And then we've got these, which are touching on dry places on the page, as well as the slightly damp areas. So we get a lovely effect. I love this technique. Playing with that diffusion and also more formed flowers which will move forward. And just keep in mind, this is a practice page. So anything goes, there are no mistakes. And when I get a bit tight and worried about the amount of paper I'm using, I just remind myself that the paper is there for me. I'm not there for the paper. So now I want to show you how we're going to use the green gold. We've got the gentle diffusion of the French ultramarine and the rose madder. The rose madder is a very delicate paint. So I'm just putting down a little bit more water. So there's quite a lot of water down. And then let me just show you this other mix that we can use. And this is anthron blue and green gold. I really love mixing between a kind of a warm green and cool turquoise blues. And look how that travels. So beautiful. So what we're doing there is actually using the properties of the green gold to carry our paint further. So any paint that you mix with green gold, we know that we're kind of guaranteed that it's going to travel. So have fun and just keep mixing between the colors that you've chosen. Mixing lovely deep greens and violets. You can see how quickly my paint is drying. So, work with your page going from a really wet surface to that kind of just slight sheen on it. So although this is a multi layered project that we're working towards, the palette is actually quite simple. Just practicing a few leaves there. And then let's just practice some stems. One of my favorite pastimes. So what I do is create some little canals, if you like, of water. So there's quite a lot of water in these, but the surface tension means that you can drop in water, and it's much more likely to follow the route that you've laid down for it. And then I just drop in lots of water into those stems. You can't really have too much water, I don't think. Just have a real play around. And one of my favorite things here is just dropping in color and allowing it to move along the stem. I've always used this technique from when I first started painting, and it's one of my favorites because the water in the paint mixing together just creates really realistic stems, but in a beautifully loose way. Have a play around with which colors you like, as well. So I'm really just going between the dantha and blue and the green gold. Now here, I'm taking water to the stem and just pulling it out, it's much better to take the water to the hue rather than dragging the hue out. Although I do do that as well, but you can get a hard line. It just creates a more even coverage. And then just watch those colors doing their magic. And I'd also drop in quite a concentrated hue as well, because we want a little bit of drama. We're going from very soft diffused colors to much darker colors, more pigmented. That creates that sense of dynamism. 4. Practise | Second Layer Florets & Stems: So a little bit more water laid down and back to our green gold or your warm green. And let's just practice and see how your color choice moves in that water. These alone are beautiful centers, actually, for flowers. I just wanted to show you how green gold travels on its own so you can see the full effect. It's kind of explosive. So I'm mixing some of that violet with the combination of the rose madder and French ultramarine. And I've gone down in size to a size four round brush. And the reason for that is I want to start to shape some little florets now and lay those on top of what is an almost dry surface now. So this is really our fourth layer if we go back through what we've just done. And I can take the opportunity there to create very subtle translucency by going over the petals underneath. So I just like to create some random shapes, and not worry too much about how they're all going to come together because we're going to create some lovely stems. Some can just be the shape like this. See how you feel about it. And I this still a fairly wet area here? Oops. Lots of pink there. Quite like that, though. Love rose madder. So just varying the hues a little bit, the mixes. So I'm going to pick up a pencil now. I'm using a mechanical pencil, but any pencil that you like. And just creating a few details on some of the florets. And quite like how it dragged down a line there from the paint, which is still wet. So I think I'm just going to create a few more, experiment with that a bit. Quick violet mix again, adding some water. 'cause I'm just throwing these down. This is a practice page, and I just want to see what it looks like dragging through some lines. And I do like that, and I think that would look really nice in among Star project. So just seeing how that would look in a flower head now. It's really nice. I love little details which at first, you may not notice, and then you start to light on them. And I thought I'd also just outlined some of them as well. Yeah, I like that. I might come back and do some flowers like those on the right with the green gold. I make lovely sunflowers, I think. So I'm just mixing up as I go along. And practicing now on creating even more layers by adding less water with our pigment. So there's more pigment to water now and more formed. So we've gone from that very diffused first layer to more shaped florets now. I'm not really concentrating on creating a flower head again. This is just the practice page. And I just want to see what I can get out of this size four round brush. So let's lay down some more stems with some water, little rivulets. And I just want to pull through some very soft leaves. Just be really intuitive about this. We're just looking really for a deeper color to bring that drama now and also to bring the painting towards us. So definitely working with more diffused and more defined. And the darker hues are the top layer. So this is probably now towards the end of our project, where we're adding a little bit of atmosphere, some of these gorgeous leaves. So what I'm doing there is starting from the bottom and also trying from the top down, very soft. And if you're nervous or you're finding out a little bit of a challenge it can be a bit overwhelming, just do it in water. Just practice the brush strokes and water, and then you can drop in your paint. Because what we're doing now is bringing in a lot of character. And, of course, I'm over painting this area, but it's our practice page. And I always like to go in quite heavy. I notice that I do that when I'm thinking up ideas. And it's just the way that I work. It's so enjoyable. I mean, it's just a lovely paper to work with. And also the size, I think, helps. I think it's very freeing if you're practicing on a larger piece of paper than even the project that you're planning. So now let's practice our little stems that are going to bring all the flowers together. And I'm doing this very loosely. And although they're more defined, I'm holding the brush very lightly, and it's a very delicate kind of brushing on the page. I'm not really pressing down at all. So I'm using the tip of the brush. What I like to do then is to add a little bit of water to the base and then add some more pigmented color. It's a super cool look, and I use that a lot as well. So I'm just practicing that around the page. Dropping in quite a lot of darker color there at the base. And just keep practicing very loosely. Now is your time to really just warm up and lean into the intuitive side of this. And this is like the stems that we did, the larger stems on the right, but on a smaller scale. But have been done thrown blue with green gold. Just wanting a last little practice over here. I do love those little circles that we did. Definitely gonna use those in class. Dropping in a touch of water to the base. And then our darker hue. 5. Practise | Splatters, Pencil & Pen: So let's do some last minute textural elements to our practice sheet, and really just concentrating on pulling some color out with some water and then creating texture with pencil. So on a larger scale, really, with the flowers that we did earlier, we're just going to pull that through our leaves. And I'm not really aiming for them to look like leaves. I just want the texture. It pulls through the painting areas, and in other areas, it's pencil. All of these tiny details are the magic ingredients to our multi layered multi textural class project. So what I'm going to do now is just go in with my size four round brush and just add some more water. Don't worry about messing up the layers underneath. They won't move. Just gently putting some water around any area within the painting that you like, but also about creating some texture in the surrounding areas. So I'm splattering in some paint, and you can see that where I've laid the paint down, it's more of a diffused splatter. And this is another technique that we can bring in. We can have very diffused areas and also quite defined areas. Why not a little bit of green, as well? And then what we could do is pull out a little bit of diffused splattering around our leaves as well, which will be at the base of our class project. Lovely, bright green gold. Love a bit of splatter. And can you see the areas where the paper is dryer? We get those lovely textural drops which are closer to us. And in the watery areas, they fall back into the background. Another way of creating depth. So just as we did with our flowers, we can add a little bit of layering to our stems, the smaller stems for our flower heads. So we've got kind of a softer green in the background. And now we're using a darker mix to bring that forward. And I really want to add some dynamic here. You know, I want to add some quite dark colors in, just in areas and then pull that out and diffuse it around the edges. So we're going from very pale to quite dark for our last layers, in places. So now on to my favorite bit, which is using pilot pens. Now, I bought a set of these, and I'm going to tell you why I love pilot over bit or any other make. And that is that I've discovered recently that you can't ruin them and knowing my track record with pens, I was very excited to find these. They will run through water, and no harm will come to them. And in fact, they actually move in water, which is a lovely thing to discover because I'm definitely going to be using that. This is a lovely purple color. I'll share details of the set that I bought. And we can both create little stems, and we can also create buds and flowers. And this color is perfect for this. Just couldn't be a better purple, really. So just go around and have a little practice making tiny little agapans heads. We're not doing a botanical painting here, so anything goes, I love bringing some pen and pencil into paintings, and it goes so beautifully with the soft water colors. So outlining some, bringing down stems, creating extra little flowers. I'm still working quite loosely. I don't want to be holding my pen really tightly or towards the bottom. I just want to create some little pretty flowers, not too heavy on the pen. So you can see I'm just getting carried away, just practicing my little florets. Do as many as you like and just keep experimenting. Just so you have an idea of what you want to bring into your class project. How about some green pen now? And again, holding the pen quite lightly and sketching really, not wanting it to be too formed. It's very free because we've already got the small stems laid down, so we can either follow those or add some extra ones in between. Now, let me just show you here a technique that I quite like, which is following down the stem just on one side with a pen, and it creates a lovely shadow. And without being too defined, it just allows that stem to become more three D. And then you can see I'm holding the pen now right at the top and just allowing it to move around the page. Again, not trying to form leaves, but just to add texture. Really allow yourself to let go because this is very much a freeing, kind of loose watercolor. We don't want to get too tight, so holding pen towards the end, when you just want to add texture and loose leaf shapes is always a good way forward. A little bit more water. We're not spoiling the layers underneath. We're just adding water on top. It's a really lovely way to get to know your watercolors and to trust them. So now I just want to show you how we can create lovely ribbony leaves. So I'm just going really slowly there. Tip, belly tip. And we can go out the way. And just with a flourish at the end there. And having that little bit of water laid down just helps it diffuse, but without going way into the background. So we don't want really pale paint here. We just want to have maybe a 50 50. Oh, see there how the water is waking up that pilot pen. I'm just gonna try that up here because I wasn't really expecting that. I've only just started using these pens. So let's just see. Oh, I love that. Just adding a bit of water over it. That definitely is another texture that we can bring in. I love when these things happen. Let's see. So painting it after the water is laid down is much more pigmented. But again, we've got two little layers there already very quickly. Back to our main area, and let's just go back to doing our ribbony leaves. So pulling down or pulling up, whichever you prefer, or a mixture of both. Little wiggle there. So it's actually got really complex now all of a sudden. And if you're wanting to bring your leaves further forward, just use a little bit more pigment. So one last little journey around, adding a little bit of water and just dropping in some green. So this is what we might do in our class project, just to create a beautiful, diffused surrounding for our agapanthus. And just practicing some very loose flowers there, which we could do around the edge as well, just rolling our brush around. I love this method as well. It's a very loose way of creating diffused flowers, a little bit of green. And this brings the drama and atmosphere. So although this is a practice sheet, we can start to see how we could use this technique to support our flowers. A bit of green gold in there. A little bit of splatter. I'm getting excited now for the project. There's so many little techniques that we can use here take forward. While we've got our practice page, let's just go in with quite a lot of pigment now. So I would say it's probably 60 pigment to 40 water. We want that to lay on those diffuse leaves that we just laid down. And because it's very warm and this is hot pressed, the underneath layers have dried very quickly. Really allow yourself to experiment. Dropping in some more pigmented areas, probably, I would say 80 pigment 20 water. So don't be afraid to just experiment with that dynamic between the diffused, gentle layers and really colorful pigmented areas coming forward now. So what we're doing is splattering over splattering that we've done. And that all really starts to bring everything forward and all of that diffused gorgeousness falling into the background. 6. Class Project | Our Foundational Background: I have some agapanusFlorets around just to keep me on track. And let's replenish our paint. So we've got the rose madder in Danthron blue, green gold. And let's start with that. I don't have a lot left of this. Hoping it's enough. And then cleaning out a well for our rose madder. So let's start by just moving some water around the page. It doesn't have to be a flat wash. It can have a small white spaces, if you like. But we're just making sure this is clean water that will give us a really good base to start our work on. And then mixing some of the rose madder with the French ultramarine. Graves a little bit of scrap paper next to me. And what I'm doing there is just checking out the value because we want this to be very watery. This is our background, which is quite a diffuse look. And we want the paint to move around. Just enough. So you can see I've not got massive big pools of water, but just enough to allow those buds to take shape. Then pulling a little bit of that color around. And here is our third Agapanths head. So we've got one up here, one on the right, and then this one here at the bottom left. This is a very simple way to start this painting because all we're doing really is pressing in the brush, the shape of the brush, and allowing the water to do the rest. So I've pulled out some stems there and dropping in some of the endanthrone blue and green gold mix. And then what I like to do is just to pull up some water, not along the whole stem, but just little areas, and I just think it looks gorgeous. We're keeping this level very pale, and we're going to build up our layers as we go along. So a little bit of the danthron blue with the green gold. And I'm just kind of mapping out where the bottom of the flowers will be. Again, very gently. Lots of water still at this stage. And because we know that green gold travels so well, let's just drop some of that in and let it do its thing. I absolutely love working with green gold. For this very reason, it can be relied upon to travel, and that's just what we want with this painting. 7. Class Project | Building Up Our Floral Layers: Bit of French ultramarine, a bit of danthrom blue, and some rose madder, because we can vary the hues as we go along. That's a very deep color. I think it's too concentrated, so I'm just going to add two drops of water to that. Take the excess off my brush. I tend to just blot the bottom of my brush and then just press in some more of the buds and flowers. This variety between the two blues and rose madder will really allow you to bring some complexity in terms of palette. But it's still such a fairly limited palette. I love doing these little flowers, so we're just pressing three or four petals. And I also love how paper has started to dry now. And if you're using hot press paper, then of course, it will dry quite quickly. So just going between those three colors, It's always best to bring water to the pigment. It just allows it to diffuse really well without a really hard line. Now, there, I didn't want to go to the edge of the page, so I've defined where that stopped running. But look at that rose Mada and French ultramarine together in the bottom left. So just forming some more petals this time, less water, slightly more pigment. And we're just building up those layers. This project is also about timing. That's pretty important because we're looking for a sheen of water to work with for the first layer. And then as it dries, we're going to use that as much as we can to start to lay down subsequent layers. And that's a dry piece of paper there, as with the top flamer and that's lovely to see. So we're starting now to see more diffused areas and more definite bud shapes coming through, and we can also just almost paint a shape in without having to use the full brush. So just pulling this out a little bit more now. Oh, that is so nice. And then on down the right side of the painting as well. A little bit more french tamarin and some more rose maader. The French ultramarine is a lovely paint to use because that also granulates very gently, which is why we have that lovely area on the bottom left. So I don't want to ruin that, really. I'm just going to dab around it very carefully. I'll try not to lose that as we go along. So again, just pressing the brush into the page, and that gives us a very distinctive look. So let's just continue to build up these layers with each flower, just slowly building up the value of our paint. 8. Agapanthus | Flower Head Stems & Main Stalks: Just starting to bring some spokes down now in the flower heads. Just a little blot, quite like the effect that blotting has on the paint. So I'm still using my size ten, but I find it has a really good tip. Looking at my agapanas head, with a bit of inspiration. Now, before that dries, on the top left flower here, I just want to drop in some color. So there was quite a lot of water in the stems, and that just buys us time to build up the color in them. I really love this technique where we're painting with water and then dropping in the color. Again, it has a softer effect rather than painting it with a higher value paint. And some of that in Dan throne blue, green gold mix. So that's dry already there. I thought it might be nice to just draw down some paint on one side of the stem, almost like a little shadow. Again, in dan thro and blue, green gold. Now, leaning heavily on the dan thro and blue and dropping in a little bit more paint. When in doubt, you could just drop in water, and that buys you time, and it also keeps that soft look that we're aiming for. So again, just down one side of the stem and maybe here as well. Dropping in areas of water. So another stem, painted with water, and then dropping in paint. So whilst that's still wet, I just want to keep that diffuse up. So I'm pulling out some of the color just with some water, and I'm using my size four round brush. Some very loose leaf shapes now. Again, painting with water. It's very freeing as well, because if you don't like it, you can just blot it and it's gone. So it's a lovely way of just gently adding color and seeing if you like the shape of where you've put the leaves. And if you don't can just lift it. So I don't want any hard lines still at this stage, so just dropping in some of that in Dan throne blue, gorgeous color. D and maybe some leaves further up here as well. That feels a little hard there, so I'm just going to pull that out as well with some water. Sticking with the predominantly blue mix and just building up the stems. Very swift movements. And then, whilst it's still wet, dropping in a deeper value now of that in Dan throne blue and green gold, but certainly leaning on the dan throne blue side of things. So now let's mix up kind of a 50 50 there with the dan throne and green gold and just keep adding some paint in areas, slowly building up the value and the top layers. And also, just thinking every now and then of a background wash. 9. Class Project | Defining Buds & Flowers, & Pencil Details: So some more rose madder and French ultramarine. And just shaping a few buds and flowers so that they stand out from the background now. It would be easy to go in too harsh here. So I am mindful of that. And, you know, I don't want very stark kind of dark flowers over that gentle diffuse background. I just want to bring out a few details. What that does is bring the top layer towards us, and it pushes that back layer even further back. It's just tiny little teardrop bud shapes and flowers. So let's not forget our third flower head down here. Just starting with some of those lovely star shaped florets. I'm just working around between the three flower heads, trying to keep it nice and fresh. So little tip belly tip shapes and just varying the hue a little. We've also slowed down a lot here, so the background is very quick and fluid. And now we're slowing down just to add these little details and just to bring everything forward. A few little extra dots here and there. Now, in some parts, this is still wet. These little buds are, and I thought it might be fun to just drag down the paint from the buds and flowers with a pencil. Again, it's that kind of slight mixed media feel where we have lots of different textures forming. As you know, I like using pencil. It's just very gentle. And then I'm going to just outline some of the buds or create new ones with the pencil. Back to my small round brush. Because I like the pencil so much. I'm actually creating new little pockets of paint that I can pull down. Very sweet. I like that a lot. Think I might do that a bit more. Oh, that's slightly odd. I like it, though. I'm just going to lift a bit of the color. It's just like one little rose madder one on its own. There's always something quite like it, though. So I'm just trying to pull out a few flowers either side 'cause this flower looks a little blocky, a little square. So I just want some outlaying buds and flowers. 10. Class Project | Adding a Deeper Value to Create Depth of Field: And So just stopping and having a look, and I think it might be nice just to add some pencil very loosely to these leaves. The pencil is more about the building of texture rather than it being very apparent. It's a step along the way. I'm just putting some water down and dropping in some green. I don't want the background to suddenly come forward too much, so I'm keeping it fairly watery. Oops, that's quite dark. I'm just gonna pull that out a little bit. And here just laying some water down around the flower head there. Dropping in a slightly darker value now between these buds and pulling that out. So the danthronblue, and green gold mix again. You And then let's go in now and make some harder lines. This is the final layer, really, of the green. And again, just to establish the stems. A little bit of green gold. A little bit of French ultramarine in with the in danrone and green gold. Now, this one needs a bit of help because it's not clear where the base of the flower is. So I'm going to now go in and be very definite about that. And it's fine because the diffused area is staying well in the background. And we can start to really define those spokes going out to the leaves and buds. That looks a lot better. So you can pull out with water wherever you want to create some blooms. And I'm embracing this darker hue now, a darker value. As it's nearing the end, we can start to make our painting slightly more dynamic between the very soft, diffused, pale colors and the more vibrant dark colors. Oh. 11. Class Project | Splatters & Defining Our Floret Stems: Should we have a little bit of a splatter? I think we shall. So I'm just going to put some water around the edges. So what I wanted to do here was splatter some painting, but have it very gentle. So I placed all the water down first, around the flowers, and then splattered in, and it gives you a much nicer diffused, splattery look. And do a little bit of green towards the bottom there. So we've got that lovely lilacy wash at the top. And we've got our lovely warm and cool greens towards the bottom of our painting. So now I just want to merge the two together, so dropping in very watered down, green gold, and in Dan throne blue mix. Rolling my brush around there and going back to the areas where we're forming blooms and building up the value now. So at this stage, don't be afraid of a darker color because we want to encourage that dynamic. I'm just going to run the pencil along some of the stems and just really creating lines, not really thinking of them as anything, mark making. So again, the danthrone and green gold mix. And that's a very dark color. Some of that in the bottom of the flower heads, and then bring that out with the pencil as we brought the buds down. So again, at the base of our third flower head. And then just pulling out some spokes from that with our pencil. And I'm just going round and adjusting certain areas. Pulling out a little bit of that green, so it's not quite as stark. 12. Class Project | Finishing Touches With Pilot Pens: So another pause and just looking over it again. And I have got out my new pilot pen, and this is purple. I'll try and find out the correct name for you. It came in a set. And I really like this purple at the moment. You can't really ruin it, you know, when you like to just dab in pen at the base of a flower and allow it to bleed out, normally, it ruins your pens. These seem to be indestructible. And in fact, if you dab in pen at the base of some water, it will actually leak some color into the water, which is lovely. What I'm doing here is just really creating small outlines on some of the flowers and buds. That one needed a little help a little rose madder one. It's very delicate, and I don't think it needs too many. Maybe extend some of the buds here into flowers. It's such an easy pen to use. I'm so glad I've bought the set and a little tiny flower all on its own there. And just flitting around like a butterfly would on flowers and lighting where I feel that I would like to, I had a little bit of texture. So that's our purple pen. Maybe, nope, I don't think I'll put anything else down with the purple. So now I have a green version. Again, just a pilot pen. All the materials will be listed. So you can always refer back to those very minimal really with that pen just to scratch some lines in the leaves. And then I just want to pay attention to the bottom half and maybe just a little bit more in the top there. And just rolling my brush around, it creates very organic marks and allows us space to drop in a few more leaves. So I'm not afraid here to go in with a darker color because we do want that kind of contrast now. These are the last few strokes, I think. Might be nice just to paint in some more leaves as well. So just dragging down those lovely long elongated leaves. Very fun to do. Tip and then just pulling it down. I love those diffused ones on the right and left. Put your brush down, and then I'm just pulling them through really quickly, and it takes the headache out of trying to form leaves and just allowing the materials to do their job. So one last splatter, I think, splattering in some of the green mix. Still a little dam paralla bottom, which is great. And then at the top, some purple and pulling out the ones that I don't want there, just leaving a few. So I feel we have reached the end, and I'm so pleased with that. And hope you have really enjoyed this, too. 13. Thank You!: I thought I'd leave you with a few images of these heavenly Agapans. I hope you felt you've had time to roam and experiment, create blooms and textures. And that you feel you can recreate these techniques in your future work. All that remains to be said now is a huge thank you for joining me. I'll see you over in discussions. Or you can always get ahold of me on Instagram or Tik Tok. Holy Thomas Art. Take care. Bye for now.