How to Paint a Large Expressive Floral Artwork

1. Intro: Hi. Welcome to another school shed video today I'm gonna be taking you through the steps of creating a a large scale abstract floral, only working on a much larger canvas than what I have in my other videos. So Thistle supplies campus about more used to working with. I tend to work a lot larger than smaller. So this should be a really good demonstration of how I hey lodge s so you wouldn't be working on more of an abstract expressionist style off. Um, floral inspired because suppose Andi, I'm gonna show you the sex that I used to create the palette as well. So we're gonna be working on a limited palette, like on the other project so far, and I'm gonna show you the limited palate, but we're gonna working with I'm gonna show you have to actually create those colors and then we're gonna get onto painting. Now, while I'm actually painting this large scale at work, I'm probably not going to be talking that much. I'm actually going to just paint it from Sattar finish as I normally would. So I'm going Teoh record a bit more commemoration over the top of that later on because I find it a little bit hard to you paint and being in the moment and then talk to at the same time. So I think I might find it easier if I just paint it from start to finish. And then I will create a a recording later on telling you what I'm doing. Sorry. The first thing I'm gonna do that was actually talking through the color palette that gonna be using. And then I'll quickly come back and talk a little bit about the canvas and the materials and the brushes things and yeah, we'll go from this are I hope you enjoy this video and again, like the other ones you do, you follow along. Great. You're pointing. Make sure you share them and, yeah, let's go with it. 2. Colour mixing 1: Okay, so this is the colors of the color palette that we're gonna be using today in our florals. Now, it's probably a bit more of a subtle color palette than what I usually use. But I'm just going to sort of demonstrate to you the difference between Alma changing the vibrancy of the paints that you use. So for the hydrangea tutorial, for example, I used at the fellow blue the same yellow meat and also magenta queen, volatile as my vice colors. So the yellow and the red are going to be the same in this color combination. The only difference is that I'm changing it to Prussian blue instead of a low blue suppression. Blue is a much more of a deeper, more grey blue. And as you could see, it makes the palette a bit more muted. Sorry, this is the general colors that I think we're gonna go with for these pointing. Um, so, as you can see, I'm sure list out the colors I'm using, and then I'll actually demonstrate mixing them up for you. So we're gonna be using burnt sienna again. The brand of point that you use doesn't really matter. That much. I'm using the tastes because that's the colors. Bartender. Why Jews? But most of these colors are available in every single brand. Okay, so that will have an equivalent. This is Australian Sienna, so you can see the difference here between the burnt CNN, the stridency, and I'll say that much of it back. That's easier, I said. The Australian Sea and it is a lot more orange. I have had a little people asking about this particular color if you can't get them a taste brand Australian Sienna on equivalent color is gold. Arco. So gold Okay is not o C H i e Gold Argo. The Australian Sienna vision is a little bit more orange, but a couple of other brands of Pint have a similar college of these. It's just not as orange, but you'll still get quite similar mixes. It's a very natural sort of earthy color. Both of these are so this is the Australian CNN. But if you can't get Australian Sienna gold, Arco is a very simple couple. Yellow meet eyes are You can also use cadmium yellow, very similar college of this as well. I usually have cadmium yellow as well but I don't have it here at the moment. So I'm using this a Z, long as it's a warm bist yellow that that's the most important thing. You don't really want a cool yellow. We wanted to be warned. Vice. Uh, Magenta Quinn. Violet. Another color I used in my other tutorials as well. So this is the obviously the ball purple colored magenta. So that's where the Queen Violet comes in. If you just have normal magenta, it will also be okay so you can use that as well. And Prussian blue is the blue that way using and of course, taught any what? And so this color palette here, Dr Craig and this little sort of sample color palette with a couple of other mixes on all of these colors are made with this selection of colors. So you can see that with this palette today, we're actually working with a complimentary palette. So we're actually using that blue violet hold itself more so you can see it close up blue violet, red, violet range. Am I using the orange yellow range so you can see that the opposite on the color wheel? So that's a complementary color palette, even though these colors are quite subtle. If you fall into that category, so but the orange is here. We've got black the, um the red violets. Um, the colors makes that quite subtle, but they do still falling to the opposite color spectrum. And the grains that have been mixed fall into these yellow greens here, which is still sitting opposite to the purples. So a color wheel like this is really, really handy to work out different colors, games and things that you want to experiment with because you can see on the back of it here actually tells you how to work at a tertiary color scheme. Expert, complementary color scheme. Just by turning these around here, so we're working with we make will make the violet sorry, the volatile mind color scheme. So we block out these ones here. Consider that way. Using this callous came here, So ignore the yellows. Oranges? Well, I should say so. Anyway, just gonna use this some sketchbook here. Just show you how I mixed up with these colors. So these are the sort of base mixes most of these greens and pinks and purples and mixed up from these base mixes. Sorry. Now this first color here is basically just being CEO. Okay, if you add a little bit of what to do in Sienna do you can see it comes down to this for the last little flesh time. The other color that we're gonna using. Of course. The Australian CNO, as you can see, has a lot more Bay Orange turned to it in the burnt Sienna. Can we add a little bit of what? To that you say that the orange comes out a lot more vibrant. This color makes really denies greens so that you can see here The's green selections have been mixed from the bench CNO and the Prussian blue. That's where these came from. So I thought a little bit of oppression balloon he had to the bend CNO can see that's where they makes us have come from So much of the grains got me mixed up using Thea, Betsy and Orange, but so that we can get some more vibrant greens as well We are going to add in this yellow . However, I'm not going to be using it strike like that very often. I'm gonna be mixing mean, that's the That's the strike color farm exiting with a little bit of burnt sienna and also some warrant actually gonna mix it down. It'll be more of a crane, so it's not a straight straight cover that's been so in regards to our color spectrum. We're gonna be using it as more of a. I actually feel that interview picks that was dark. Use it as more off white cream color. And we can also use this color here again in this mixture to create more vibrant grains. So I just exciting. With the mixture of the Australian sienna and the blue, you can see that we can come up with some water grains, some different variations on that a soft green color. 3. Colour Mixing 2: Okay, So this one here is just a mixture off, um, bit CNN and magenta. So we get the magenta and a mix up. Betsy Emma, Almost 1/2 half makes we come up with this color here. And, of course, if we add watch this, you're gonna start getting these lovely, soft, pink colors. What some lovely soft pink colors. If you mix it in with the yellow, that will turn into some that really know us PCI colors. So we can use these for flowers and things as well. More white, more yellow. Okay, so that's what we get. They sort of Norris mixes for the flowers and things you can add into that a bit more. Hello. Okay, then, of course, watch. Oppression Balloon is going to be out, Doc. So too much day, that's going to be a dark color. That's what we're gonna be using to mix up Dr Greene's also the pimples and also just using it. I like him using it just as some points of darkness within our composition as well. And the lot of vision down here is basically just a sign color with a bit of water. Now you can all. Sorry, adding a little bit of the burnt sienna to this color that's going to come out to that North Korea color as well. So we can use some of that in Egypt. A little bit more white command, more gray. Now, of course, we're gonna add in some of these purple colors, and the purple is just created from the Prussian blue ends, the magenta. That's where these people colors come from. I think we'll watch. So it just got a lot of them up so they could be used in here as well. I think that's what standing here, this sort of rough little, you know, sketch together of colors is a really good thing to do. Because sometimes when you list out colors in these little lines like these, they react differently to each other when you overlap them. And so creating just a little hodgepodge of colors together like this that you're gonna be using, it's going to give you a much clearer idea of how the color is gonna work together, then doing them in this sort of straight line. That's why I'm doing this little bit here because just helps a sort of gauge whether the colors are actually gonna work. Well, what? She start laying them on top of each other, especially because some of the colors, such as Liam Australian Sienna, is actually transparent. Sorry. So, yeah, lay it on top of other things. It's gonna change what's underneath it to see how it's a transparent color so you can layer it on top of things. It's gonna change what's underneath it. So sometimes it's really good to actually practice and play around with it on your actual Just describe piece of Piper just to see how things are gonna work together. So I will list, um, the names of these paints in the materials. Um, nothing makes every single one of these colors quits. As I said, all of this that you see here, all of these colors are combinations of these colors. So you can play around yourself before you start painting. Just mixing these different colors together to see what happens to see what you can create . And then, as you actually stopped painting, you can explore different mixes and things. Generally speaking, these are the colors that we're gonna be using. Sorry. Um, just move that out the way. So I'm gonna bring in some lighter colors in here just to make sure that the pinks of things are gonna go to peak. So it's gonna be the white to this mix, which is the mix of the Australian Sienna and the magenta. Something a little bit more magenta say these colors. Do you work quite nicely because they that set complementary color scheme that I was talking about? Of course, if we add some more of that yellow into this mix here, you can get some more law and greens as well, just to bring out a bit more vibrancy. And, as I mentioned before, was about. That's always good to work in a nice, neutral color with these pallets so you can create a neutral color, which is what I spoke about briefly in the, uh, hydrangea. Been hearing about mixing all of the colors that you're using together. You will create a nice neutral, so it's fun. It's gonna add a bit more. Want to that mix? Just Teoh. Lock it up a bit more so these neutral colors will are using in the background because it's a mixture of all the colors at what was quite nicely in amongst in amongst them my even gari washer. Again, I'm just adding a little bits here and there, just a test to see, see how it works and have the balance of colors work Before I commit myself to a large scale printing, pretty happy to tell that he's Those calls were last together. I've got quite a good range of different colors, too. So I've got some darks and lights. Its environment colors seem more muted colors, and I'm pretty happy with that. Sorry. I think that's what's the color skin. We're gonna go ahead breeze for this demonstration. Um, before you start working on your larger place, I would recommend that you spend a bit of time playing around with these colors and, um, just working out how I play together and have I mixed together Onda, um, onto a big painting 4. Brushes: Okay, Sorry. Never. We've worked out a color palette that we're ready to stop painting, but I just want briefly talk about brushes first. Now, because we are working on a larger canvas. This campus is I think it's a naughty standing made by 110. Say tomato is something like that. Um, you don't really using small brushes. So these brushes that I tend to use I have some actual Atis brushes. These are just relatively cheap quality brushes. This brand thing is mon tomato, but you could get These are cheap brushes at most craft stores. They just soft acrylic brushes. However, I also use a lot of brushes from hotlist ALS. So for exactly this is just a regular house paintbrush, um, campus. Like this. It's a lot easier to use a brush. This is like a nice it's more of a corner brushes. Let's go back a bit of an angle on it. This is a nice squishy, so they're really not fancy brushes. But you don't want to be pointing this whole pointing with one of these. You really continent to have a bigger brush so that you have got freedom movement and we can get plenty of point on your campus, so I recommend going down to your local hot way stole and just picking up a few cheap house paint brushes. You probably find it a lot easier to do this with these brushes. Now, um, mixing up tensions. The point is also something that people ask me I actually use, um, because about mixed up before actually drawing the outfit. I usually take away containers, so if I know that I'm gonna be using the colors a lot and made me using them in more than one painting, all mix up larger amounts in his containers on. Then you could populate on. And because of that kind stays, which is long air ties, there's a study pretty much fluid for a while. The reason why I just wanted to be hot is, but generally speaking, you can just use them and said, that's one color that some still quite way. So if I know that we're using the same colors over and over, get a lot. I will mix up these logic containers of colors and just bought them pop a lid on, and then it's it's good to use lighter on for another painting. Um, so yeah, that's why I really need to sign. Now. I'm just going Teoh, begin painting. And I would record a narration and put on top of this part of the video. Um, and try and described to his best as I can my thought process behind what I'm doing. But you probably gonna learn much from just watching. And I will answer any questions that anyone has in the comments later on. So there's something you want me to talk about. What, specifically? Then leave a comment and I'll try and cover it. And, um, yeah, I'm not gonna do the spit up. I may speed up some parts of it, especially understanding, drawing, But generally speaking, it's all gonna bay full real time. Okay, Sorry. I don't work very quickly. I don't expect most people toe work this quickly, especially you are beginning paint out. However, I've been painting for a very long time. So I do went quickly And part of his whole abstract Expressionist style does involve a love , spontaneity, a lot off intuition and our fund that working quickly helps bring that out because you're not worried so much about what you're doing. You're not really thinking about what you're doing too much. You're just letting your hands and your brain and everything worked really quickly without over analysing. So that's why I work quickly. And if you haven't really worked quickly before, maybe have a go at working a big pickup, it's just paint. You ruin your painting, just let it dry and you campaign over. It's not pee into the world s Oh, you just just trying, you know, re keep that in mind, trying to tweet you fussy about it. Um, yeah, I guess I'm gonna get started. 5. Stage 1: Okay, sir. Um, here, I'm going to be just talking me through the process that I'm town taking while on painting . Now this painting begins in the same way that all of my paintings begin. And if you have watched some of my other tutorials, you'll know that the first step is always to cover over the white of the canvas. Sorry. In this case, I'm just using a mixture of white but sienna and a little bit of Prussian blue. And I'm also using a mixture of plush and blue and watch. That's the gray color that you can see putting me putting down now. And I'm just using these two colors toe loosely blocking and cover a role. The what? In the canvas. This is usually a fairly thin layer. It doesn't need to be super thick. I just want to get rid of all that what on? And it also helps create a nice base to work from For this particular painting, Um, I'm using colors that out in a color palette that would already chosen. So that's, you know, a good way of thinking about what colors to start with as well is just pick colors that are already in your color palette. And as long as all the white is coverage, that's what you really need to worry about. But this this layer does need to be completely dry before you move on. So once you blocked in that the color and you've gotten really white, you need to just dry it. I dried off with their hair dryer, so actually skip it in a moment because you don't really need to watch me standing there with the hairdryer. If I just But he wants. This liar is completely dry. You we can move on to the next part, which is just going to be building up. More liars similar to this one and there is not dubious is because it adds a bit more of an interesting texture to the artwork. It creates some interest, and it also because we're working in sort of an intuitive way by building up a few of these loose, more abstract liars. It kind of gives us somewhere to go, and it gives us something to work on. So all I'm doing here is adding in a little bitch of another layer of that mixture of, um, the burnt Sienna and what and as well as Thea Impression Bloom What, just to cover up any patchy bits you can't really say from this far away. But there's always gonna be some patchy what beats showing through as well. Sorry, I'm just going over it again to make sure that that's all completely covered over and that there's no patchy bits left by creating this base coach on your painting as well. It also helps create a nice a surface to paint on, often painting just on straight. Just so the just so does absorb a lot of paint to begin with. Sorry, this correct? Just another layer on top of the jets. So So the surface is a bit nicer to work on. And once that liar is completely dry, I'm they're gonna come in with a lighter color. This is a much lighter color. It's actually just watch with a little teeny tiny touch of the Prussian blue just to make it more of a off white. And, um, I'm just again using really expressive and loose brush strokes, not covering over everything completely. There is still some areas showing through, but I like these gestural marks and brush strikes, and I sort of wanted the background of this painting to be a little bit lighter, which is why I'm going in with this lot of color, and I'm letting the paint run and drip by just adding a bit of water into it, mixing in a little bit more of that, um, the burnt sienna mixture that we had before creating a bit of an interesting, that abstract background and texture to the network. This is all a part of just building up layers. Ah, lot of my artworks have lots and lots of layers in them, and lots of interesting that bits and pieces that happen just spontaneously while I'm painting. So once I've added in some of the lightness, I then come in with a that mixture off Prussian blue and watch again a bit of a doctor mixture. Now what are used this dark a mixture for is I use it to help block in a rough composition idea. So where you can see me putting in this blue area is where I want most of my flowers and my brok to sort of sit so by blocking loosely in the shapes and the gestures of the flowers in the blue. I can then sort of stand back and have a look at it and decide whether you know the composition works. And if I'm gonna be happy to build up on these marks, you can see I'm just squirting. That was just regular water out of a spray bottle. That's what I was squaring. You can spread that dripped onto the canvas and that will help make the paint run. And, yeah, I'm just continuing to make some loose gestural marks. You can say this sort of kind of marks indicative off leaf shapes. It could even be like the shadow will the silhouette of the bar. Okay, I guess you could think of it in that way. And I'm just letting a run and drip and makes a marks. So once I've done this again, you need to make sure this leg is totally 100% dry. Before you go any further. If you try and paint on top of acrylic paint that is wet, you're lift off. What's underneath? Sorry. That's why it needs to be totally dry. So we're just gonna dry it and then we'll pick up after After 6. Stage 2: In the next stage of creating this expressive floral artwork, we're going to start laying down some foliage colors, some least shapes and representations of leads and foliage. Sorry off using. It's a mixture of Prussian blue and the Australian sienna. Sorry, etcetera. From what I used them to create this sort of rich green color and you think quite a large brush and holding the brush quite far back. I'm just loosely gesturing in some, um, floral source of them leaf shapes. I'm not. You can see I'm not really painting Leafs shapes. Quite specifically. I'm just adding in some areas of grain, Um, and using the brush to create some gestural marks that represent foliage. I'm allowing the paint dripped and on being quite loose with it, I'm making sure that I'm standing back from the canvas and just doing it quiet intuitively and not really thinking too much about what the leaves look like. Um, I then also you should once you're putting quite, I always start with a darker color. So once I put in some of these DACA marks, I think makes up a slightly ah lot of vision using more of the Australian Sienna and do the same thing. I just go out with the lot of vision of the grain, creating some gestural marks and adding in a bit of extra folate and again, a little bit of a lot of color. You don't want toe completely cover over the whole background. I still want some of the background showing through, but I'm just creating a gestural sort of expression of where the leaves and the foliage and the the bulk of this Burke hes going debate. You'll notice that I do stand back quite often as well. Should always stand back and have a look at what you're doing from a bit further away, especially with this type of expressive at work. Because because there's no plan, you sort of need to be audible. Catch. Look at it from further back to make sure that everything's balanced and in place, and there's nothing you know, standing out too much. You can be a lot really expressive as well here, like I'm just flicking some paint on now just to sort of create a bit more interesting. Boot up another layer of texture. Now I've just changed to a slightly smaller brush and a lot of color. And again, I'm just gonna come in and lay on top of what I've already done. And I'm just layering some loose leaf sort of gestural shapes in a lot of color. On top of the darker color. The paint underneath is still wet, so it's still picking up What's underneath. I know I'm standing in front of the canvas quite a lot for this video, but it's kind of difficult to position the camera in a place way. You guys are gonna be out to sea. Everything that I'm doing clearly on, sort of try to do it on an angle before and it didn't really you couldn't really tell what I was doing. Sorry, I know I do stand in front of it quite a bit, but hopefully you still get an idea of what's going on here. Second, the paint that I'm using. This quite wet so it is running on, but it's sort of dripping down the campus. I'm doing that intentionally. I wanted to run, and I wanted to drip because I really like that, um, that effect and if you find that your paint is not quiet dripping at all you can go back to using that spray bottle that I used earlier and just spraying water directly on the canvas that will help it to drip down as well and just help them paint to move. However, you don't want to do it too much. You know, you can, um, wet the paint down so much that it completely runs off the campus. There's a bit of a fine line that you sort of have toe practice to get the hang off, so you don't want it to be too wet. Um, but you don't want to think ate up. Sorry. Now I'm pretty sure we need to let this one dry as well. Just like every other layer. It's really important to make sure that the light of the dry in between, especially because the next stage is going to be coming in with some other colors and some flowers. If I did that now, on top of this grain, uh, the flowers just mix up the grain on Snaith. Sorry, it just makes brands and wouldn't really come out quite clearly, So that's parking s. So you need to make sure this this layer is dry. So again we'll let this dry and then we will carry on in the next step 7. Stage 3: Now this layer of college is dry. The next stage is to come in with a background color and cut in around some of the foliage . This is a really good way of creating a bit more negative space in the painting, sometimes with that initial gestural floral, um, sorry foliage that you put in. You can sometimes go a little bit overboard, so this is a chance to sort of rain in the composition a little bit, and that used this neutral color to edit out some areas of foliage that you maybe were a little bit of board. We've and Teoh bring in some lightness back into the composition and also sort of, um, it it a little bit, I guess. So this light color. It's just sort of off white gray color made from titanium white and a little bit of the Prussian blue. And again, I've got it. The same size brush I was using the force was quite a large brush. By using a large brush, it makes it a bit easier to keep loose because it's really hard to do detail with a large brush so you can keep your marks quiet. Quite large. and quite fresh and loose and not get too fussy with it. I suppose that's the best way to sort of describe it. Um, so you can say I'm just cutting in around and creating some negative spice in between the leaves and bringing that background color in two areas where I feel like the following is a little bit too, um, clumpy and condensed. This is also a really good way of sort of working at your composition as well. By bringing this background lion in, you can help to sort of work out where your flowers and things are going to go and fix any compositional problems that you had before when you started putting down the layers. So it's just a way fixing what you've done. Eso you don't wanna cover of everything completely, obviously, but it's a chance to sort of get it in some areas, and so you can see again. I'm keep standing back as well to look at what I've done, and I'm working quite quickly because I don't really wanna fuss about it too much, and I don't want to get bogged down on trying to perfect everything too much either. I still wanted to be quite loose. Sorry, you can say that I'm standing back every now and then. I'm still holding my brush quite far back and keeping it as loose as I possibly can. Ah, and there we can start thinking about adding in some flowers. So I think that's what I'm going to be doing there, right? But I remember rightly. Yes, sorry what I've just done there as I picked up some of the Magenta Queen violet and a little bit off the Australian Sienna into a copy concern. Just mixing this paint in a paper paper cup because I like my pain to be a little bit more fluid. It's easier sometimes to do that in a cup and without thinking too much about it, are just diving straight in and adding in some blobs for want of a better word of color where I want some of these flowers debate. So I like to cluster them. You've seen some of the other flora workshops that I've done on skill share these flowers A very similar I'm keeping them quite loose, like I'm not worrying too much about you know, the shapes of them or trying to make them look too much like flowers. You know the great thing, which I have said on these videos before. The great thing about painting florals is as soon as you put any kind of color against any kind of greenery, your brain is going to turn that into a flower so you can be really, really loose with shape and your brain and the viewers Brain is always going to register that as being a flower. Sorry, I'm just playing around with some larger shapes and some smaller shapes. Because I want him. I want to have a bit of a mixture. I don't want all the flowers to be the same size. So you can say that I've created some smaller ones up around the top, and I got some large ones at the bottom. For those more orangey colored flowers, I've just added INM or of the Australian Sienna rather than the Quinta crime, a gentle just to change the color on that. Slightly and again, you can splash around and adding the some flecks of paint as well, to just loosen it up a little bit more on, and I'm lightened up that color a little bit, and now I'm just adding in a bit of a highlight into what I've already done. I think I'm gonna go back and add in a bit more pink into that and then go on to the pink flowers with a bit of a lot of pink color. It's actually a doctor. Big cover. Sometimes the color I'm except first isn't quite right. Nobody's perfect way. There's a lot. That's what I was expecting. Um, so yes, it just adding in some touches of losses. Well, again, I'm keeping this really, really spontaneous. You can see that I'm holding the brush back quite far. I'm just stepping in, confidently, adding in these marks and stepping back again to see what I've done, trying hard not to stand in front of camera the whole time. Now I look like I'm mixing up a bit of a more Ah ah, warm, agree Nkala. So it looks like Australian sienna. We've probably some more of that Prussian blue, and I'm coming in with some smaller college mocks in amongst the flowers. Stuff just added in at lining some of the leaves, keeping the mocks really loose. It's always good to add Ian the same Qala in a few different places, you can even see with the flowers how I've added some of the pink flowers to the left, and then I've added them to the brought as well. I've added some orange flowers, some of the larger ones down the bottom. I also used that orange as a few touches of smaller flowers up the top. And with that lot of grain, I've added some in a few different places around the painting and you guessed it. It's time to drive us because once you put a few lies a pint down, if I continue to work on top of this, as I mentioned earlier, I will start to sort of paint will start to mix on the campus. I don't really want that to happen, so we're gonna completely dry it off again and pick it up once it's dry. 8. Stage 4: Now that the flowers are totally dry, we're just gonna keep building up the layers and building up the, um, lightness and texture on the pharaoh's eso those orange ones in front. I've just added some centres into that because I don't want them to be roses. I want them to be interpreted to something a bit different to the pink one. Sorry, I've just added some dark blue centers into them. And you want to go with a sort of abstract flowers that if you haven't already watched the other, um, flower tutorials that I have shown on school She yet I recommend going back and having a look at those because I do go into a little bit more detail about how and why I'm building them up in this way. But generally speaking, you want to start with the darker sort of base and then keep adding lighter layers onto the flowers so that you've got a couple of different layers of value. Sorry, I wanted to make these a little bit, make each fire more different looking. So I've added some lighter ones and this one in the front, um, I wanted to darken it up just a little bit and then add a bit more tics. Job through the brush strokes. I think a little bit, doctor. Start with. That's why you can see me. I've just changed it to a bit more of a lot of color again. The same big flat brush, the brush that I'm using at the moment. It's just a house painting brush it's about I think it's all the two inch or three inch brush, so it's quite bigot, holds quite a little paint in it. And it's actually really nice brush to paint we've, especially when you're working quite large like this, so you can see that I've just coming with them. That would be Australian CNO and made that orange flowers little bit bigger. And I'm adding in a bit of a watt or Lotte hard lashed onto the miss well and spreading that color around a little bit. Sorry. Now I want to sort of start adding in the some small of flowers because of the moment. Must the flat was going on here that the Skylar is quite large? Sorry to add a bit more visual interest. I'm gonna add in some small of flowers sorry, I'm using the queen decor in magenta and a small a flat brush to adding some. I guess you could say they were daisy type of flowers, I suppose. I don't think the variety of flowers really that important, but I just want to add clusters of a different sized flower. Sorry, I don't want them all to be the same size. I want to have some little flowers, some bigger flowers just to make it a bit more of an interesting that painting to look at. So I just put days in wherever I feel like it needs some. This style of painting requires a lot of confidence. Obviously, I have bucket loads of confidence. When I'm painting. I don't really hesitate and worry about where I'm going to put things. Um, sorry. If you don't have a lot of experience with painting, you may find it difficult to have that confidence and to just trust your instincts. But the more that you pints, the easier that gets. And at what I told of my students in my floral workshops that I do in person is to just remember that it is just paint. And if you put down something and you don't like it. Just wait for it to dry, and then you can go over it. It's it's really not that important. And I don't think there really is any mistakes when it comes to painting, especially this style of painting. Because mistakes, um just add to what's already there. And if it doesn't work, it's not really whether it's a mistake, it's whether doesn't work or not. Sorry in Constant, really reevaluating the color choices that you're using and the temperatures of the colors that you're using, or even to the lightness in the darkness. And sometimes you can make something to light. Or you could make something too dark. Um, but it's not the end of the world. You can just go back and change it. Sorry, I've just added a little bit of, um, but look ceviche Australian sienna to that mix to make a bit more orange. And again, I'm just adding little touches off that color here and there. Now, these little like dots of color that could be buds of flowers that could be enough. A small flower that you know you're adding in again, working around the canvas. I'm not. You'll also notice that something I will point out as well. You've also noticed that while I'm painting, I'm not really focusing on just one area on painting the complete painting as a whole. So every layer that I add in I'm adding it all over the canvas. I'm not just focusing on, say, the top right corner and getting that completed and then moving to the next part. I'm working the whole painting in one guard, and I think that that's some really important thing to point out here, because that's what's gonna help the balance of the painting and the colors in your painting and how it's going to make everything work. Well, because, as you can see, I'm adding in Come on at some areas of cholera in a few different places on the canvass, all in one layer, and then the next liar. I'll add a few different places all over the canvas and building it up and building up and building it up. I'm not just focusing on completing one flower at a time, so by the looks of it, he are. So I'm trying. Remember what I'm doing here? I think I'm Yeah, that's what I came in with a bit of a darker color, cause I hadn't really resolved that bottom area yet. And so my thought process at this stage was probably something along the lines off. I need to put something down in this area down he out because at the moment there's nothing there. So I've just chosen a blue collar made from probably from the Prussian blue. And you know what? Just adding something like I've just putting mawr of these floral gestures. Sorry. Foliage gestures in the blue to fill out that spice, and you'll notice that I will come pick it coming in and adding in more things down there as well. But because I added it in down the bottom, I've also added it in on the sides. So just to really reiterate the point that I was making earlier in that you need to make sure that you're working the whole painting and not just one part of the painting at a time so you can see. Also adding in those little of flowers has already started to fill out the composition a little bit more. And I needed that little punch of a more richer Kulla. So I think I'm coming in with a lot of grain because another thing that I tend Teoh remind my students as well. When I'm doing these workshops in person is that whenever you add in a flower, you need to add in foliage that's attached to that flower. So that's what I'm doing here of all flowers and things have added in. I'm just coming with a different color folded so that this, in this case that's a lot of colorful ege. And I'm just making sure that there's things attached to those flowers that I've just added in just little touches here and there. Sorry, You will hear my dog barking in the background every now and then. I've just mixed up a more of a yellow vision of that grain, so I would have used the the laser yellow in that mixture just to create more been vibrant yellow color 9. Stage 5: So I'm just continuing now to add in some, um, a lot of MOX on the flowers. Just add a bit of a highlight here and there. I did a few more gestural marks on the flowers. Look up there. Adding, you fly was where I think that it's needed. No, it's just a matter of just building up some more layers now. So I've decided to add in another pink lower down the bottom and also a cross over to the edge there because I felt like the Paquet was sort of ending a little bit too abruptly at the edges of canvas. So I always like to make sure these flowers going off the canvas. So I'm just mixing up another lighter conversion of that pink just to add a touch of high lodge here and there. Because this is an expressionist painting. I'm not worrying too much about, you know exactly where the lot will be falling on each flower. It's just meant to be a loose representation, so there's a bit of a lot highlight on them in Germany, the same area it's going to read, as you know, as it's supposed to. - Now that I've picked up a bit of a lotta version of that orange color, and I'm just adding some more date house to these orange flowers. I decided that I want to make them a little bit more gesture. Also, I'm gonna dry it off a little bit first, because again, the layer was a bit wet. And as I mentioned already, if you try and work too much wet on wet with paint, you end up picking up the paper underneath. So I'm just gonna drive it off a little bit it just to make it a bit easier to work with over the top. - So , as I was saying, I wanted to bomb make thes orange flowers little bit more gestural. So I've just bought in a bit of a lighter color and a smaller flat brush, and I'm just outlining some areas off the flowers, just adding a few touches of lightness and some more sort of marks and gestural sort of shapes. Um, I came in as well. We've, um, the Australian Sienna again to make them a little bit more orange and to bring out a bit more of a highlight. I guess that's sort of one of them to look more like poppies. I suppose second time I've got quite loose, loose, gestural lawns around the outside of them. And what I have that cover of my brush. I'm just gonna touch it around the painting to make sure that color appease in other areas other than just on those flowers just to help the balance of the finding. - Oh , - so now that I've added in some more lightness, I need to balance that out by adding in some dark. So there's always a bit of a a give and take with this. Sorry, but if you add in some light areas, you need to balance that with some dark areas. So I've come back with this darker green color, and I'm just gonna go over the top in a few areas just to bring a bit of depth back into the painting, some creating these really loose, gestural, um, almost illustrative leaf shapes here and there again just to take the painting away from being to riel. I don't want a realist painting. I'm sort of trying to create a bit more been expressionist painting. So by coming in and actually instead of creating leaves that are filled in shapes. Drawing the outlines of the leads here and there creates a really nice, illustrative sort of texture. - Se hiding in the darkness is now added some more depth to the painting again because we don't do it lost. We lost a favorite of the original darkness that we added in by I'm adding in the lot of flowers. So and I realized that I am standing in front of the painting again. No, these teachers to remember to stay away from the where the camera's pointing, but I'll move to the side of the moment so you can see what I'm doing. I'm just adding in some blue onto the leaves that I just added. - Okay , so once again, I'm gonna let this painting dry and then come back in again and adding some more details. 10. Stage 6: Okay, I'm done. At least I think I'm done anyway, I probably this for a day or two, and I might come back to it at a few touches here and then once it's completely dry. But I'm pretty happy with how this is coming off the colors of work beautifully together, really happy with culls. And as you can see that the composition kind of build up as I don't I don't really have a plan pointing, but, um, it's kind of a little bit and yeah, I enjoyed that. And I heard that you've done that really helpful. And again, as I said, it's Salaburu. Did you have any questions you'd like me to clarify? Anything have done them. Please leave a comment and I'll try and get back to as soon as I can with the answers to that. And if you do happen, Teoh, try this out or have a goal Painting this, um, in this way again post your paintings down the bottom in the comment section, and I really like to look at them And, um yeah, thank you again for joining me. And I have you have some painting and I hope you'll stay happy and healthy.