Transcripts
1. Welcome and get your tools ready!: Hello, everybody. Welcome to my course about painting and a cherry blossom. And today we're gonna learn how to create beautiful washes and, um, paint shadows and create gentle flower. But first, let's talk room materials. So here I prepared some much. You does that. I'm gonna use a this course and let's talk on paper. I'm using so loss paper. So 300 years M so it's pretty strong. It waits a lot. That's why I'm not actually a touching it to the table or to the public. So I don't expect the paper to go wavy. And, uh, do you change the shape? Um, but feel free to touch it with a tape if you feel like it. This paper is not meant to work off with wedding. What technique? But painted this wall where I would not read any, um, really wet layers here. So I will work with the dry or semi dry brush. That's why I'm I'm using to those paper. The friend is Ken's up, the watercolor said. I'm using today is actually a Russian brand. It's called Netscape Elite White Nights, and it's a professional where the caller said, you don't necessarily need to by professional claim to be able to to paint and what together. But you will definitely see the significant difference between, um working with a professional set and with the student. Now, let's dog about brushes. So here I have the whole range of brushes. You don't really need to to use all of this. I will just show you a few of the brushes that I'm using. So all these brushes are very good for Big Wash because they're quite quite big size like number eight number three. Well, that's abuse pretty big brushes, um, those to our nature. So these brushes are very good for what's the experience. They absorb water, and they also really use a lot of water. So this is going to be a great, great tool for what? The Knicks. But today, it's not really, um necessary, so you can use the brushes. These are just synthetic brush that has a really NYSE pointed to, so I should call her, um, because of their qualities to bounds. This is a great brush for detailed work. They don't observe much water and also don't use much water, so they are perfect. If you paint If you want to paint on relatively in a relatively dried style, this the brushes are actually, um, mixed. So they have. There are half nature and half synthetic both, and this quality gives them a great advantage, in my opinion, because you can create beautiful washes and the brush will behave the same way is nature, Um, but also keep the qualities of synthetic crash so it will absorb a lot of water, leaves a lot of water, but also keep it's shape. So make sure you have the brushes that you need for this course to feel comfortable. It's a paint. Um, this forward work, I show you the photograph. You can also download the foot from the attachments and use it on your computer screen and phone tablet or even printed. I like using just my phone screen so it's easy to zoom and just work with this screen. And, uh, also, I use a little plate to mix my colors so it is very comfortable to just apply. Um, different washes here makes them excited before actually applied my paper. Um, also, I have a box of to shoes so you don't need to shoes to lift the pigment or to raise water from your brush. So make sure you have some some tissues next to you and, of course, couple of water for working. And if you need to make a sketch, feel free to use soft, um, HB pencil to be able to create nice and smooth, um, sketches off the forward. All right, so I think this is the most important things about the tools, and let's move to creating a sketch.
2. Let's draw a sketch: Alright, guys, let's Andhra sketch for our painting. Make sure you have very light soft. I mean council. So let's to be and everything be the higher number before be letter means the softer the pencil is, or HB, which is also herself. Make sure that your sketch is very light. You almost don't see the outline that you're doing. So in the beginning, if you're not sure how to, uh, paint or draw your objects, you want to think about composition. So I will first locate the flowers to make sure that my composition it's good. So I don't want my followers to be too low on the paper or do high up. So I'm just literally drawing circles to, um to know where my followers the blossoms will be located. Then, um, I'm not sure if you can see it, but I will try to show your colder Oh, my sketches Super light. That's I did it on purpose because if my pencil would be too visible, um, first, when you raise it with the with your razor, you will damage the paper. And secondly, if you apply watercolor on top of dark pencil, the graffiti will still come through which will damage your overall final painting. So you want to make sure that your pencil is invisible. So now when I have the outline, I want to add some details to each of the blossom. So I'm adding the shapes off each petal. Still very light, very soft. But I want to create nice shapes off each, uh, each flower that I see on the photograph just to know that I keep proportions when I will paint. Uh, motorcar. - Also , I'm not bothering too much with details. I want to make sure that I have the most important outline off each petal. But I'm not gonna paint every single thing that I see in the photograph because this is gonna be done with watercolor. I don't want to overdo stressed out them flower. All right, so now that I have the sketch, I want to clean some strokes and erase the one that I don't need again very light and solved. I'm not pressing the You raise a really crazy I'm trying to be very gentle. So the pencil goes away and my paper stays. I'm damaged because if you don't much the paper with the razor or anything else. It will not absorb water as well as it can or should, so make sure you treat your paper gently. So here I have my sketch, even look at it and feel free to send me sketch first if you feel that you're not confident yet about the proportions or anything, and I can give you feedback if you need it, so let's move to the next lesson.
3. Basics of Watercolor: transparency, opacity, density: Hey, guys, before response flying colors on our sketch. First, I would like to talk about density and tones of Would the Father. It's gonna be important for our paint. And that's why Teoh, um, talk about it more personal. So what is density off paint for off the collar? Um, the most important. He's away to remember the difference. High capacity and low density? Big? Yes to actually. So every watercolor has this quality, which is transparency. Almost every border color is transparent in some of those have very high capacity, which means that they can cover any layer. But usually the border colors are really, really transparent, so you can deploy the most transparent big money that I can. I choose kind of mean color, I said. And I'm trying to make the most transparent there. This so here you can see that the lightest and most transparent layer I can create from one . It's it's density, so the density, the lowest density that can be off Mike Army in color is this. Even if I diluted with water, it's gonna be even less so almost invisible, very transparent, and the highest density off the same color is this one. So it means that the most concentrated, the thickest, are painted. They can be cup from myself on the particular commune. Color is this. I could do it with any other pigment. So let's say Let's take violet and this is gonna be low density, which means its light transparent, almost invisible. If I need to make very high density, Um, I need to big, really thick big month from my palate. So it's not dark. It's high density. So there's the difference because, uh, if you want to create a three dimensional object or something that has a volume, what you need to do, you need to think about light and shadow. But if you just become the sickest most that's big man from your poet, you will not create. Uh, we'll just create contrast between low density and high density, but it's not gonna look three dimensional. So what you want to do to create three dimensional objects that have born human look realistic. You want to create tones so meaning that you want to have like down and Dr on the example of the same colors. If we need to create a darker tone, cover me and red color. What do you need to do? You need Teoh to have Grameen as a base and then add another color to make carny barker with what color you never want to use Black to make color, Doctor, Um, even though you have it in your village, Usually artists never use black color, So in order to create a darker tone, you need to look at color wheel. I have it over here and, UM, you need to choose the color does is the opposite off the one you're using now. So the closest to the color wheel that I'm using now iss pinkish right? So it's, um, read but leaning forwards for both. So I would say this one, and you choose the one that's opposite this one, which is called complimentary Color. And when you mix complementary colors, you create a doctor tone off the color that you're painting right now, but in a nice and harmonious way. So here you see the payers off each colors. In this case, it's primary colors yellow, red and blue, and each color has a pair. So blue has a pair of orange. Yellow has a pair of purple and red has its payer off re. So every time when you need to create a nice wash or makes with a calm, beautiful color that's in harmony and looks beautiful than you want to mix complementary colors. If you makes the color was something else, you will create a new color or Justo making my the Monday mix. So in our case to make, I were red car mean slightly darker. You want to have Carmine is a base, and then at the opposite collar, which is green to be able to make a doctor. It's all about proportions. If you have too much green, you have, um, well, basically Greep. So you need to add that as much green to create darker tone of Fred. So it's all about balance you have to make until you find that beautiful proportion. So here you see the difference between that's a people Cartman and dark in tone read. This is the same color, but Dr Tone, this is the same color but high density. So this is very important to remember, because when we will paint a three dimensional object and the fall where is three dimensional, we will need to work on tones as much as density and to be able to create realistic petals . The father we need to work with light tones, light and low density, high and low density and Dr Times. So I will demonstrate the same blue Marla. I use violet as base, and then I add a complementary color that is opposite on the color will, which is yellow to make my violet doctor. And again, in order to avoid just messy, dirty colors, you want to have the right proportion of each color. So I'm adding more violet to achieve dark in tone, and you see this violence. What now is doctor, then this color? Because this is just density. It's how concentrated the color can be, and this is how dark the color can be. So you need to remember the difference with between those two to be able to award with volumes and create two dimensional objects. All right, let's move to the next. Nothing
4. Theory talks: How to create realistic petals: all right. Another important moment before we actually start painting, um, is to think about how we build each petal. So if I would just catch the follower separately with the pencil hettel, both petal, I will receive something like this. The rough and quick skies. Just to show what I mean, each better has its own outline, right? But because our followers so gentle and and salt if we literally outline each battle with the brush with the pigment, I believe a very sharp, noticeable line just like this one. All right, so we don't want to have childish illustration. And in our case, to be able to paint realistic battle, we need to think of shades. So each petal has its own volume, and it's kind of bend it. It's so in order to demonstrate that the pedal is spending its not flat, we want to create shade. Oh, shut shadows. Um, So, for example, this battle, it has a shadow over here in the bottom. This battle has a shadow inside. Okay? And because it has a shop inside, it is able to create natural border with the previous battle over here. And the next battle has some shadow over here. And because it has its own shadow, it was able to create the outgoing Oh, this this battle has a shadow here inside and maybe just a bit on the outside. Which means that because of this shadow over here, it's creates the outline the border off this battle and also this battle and the final one has very light but noticeable shadow over here and somewhere here, meaning that because of this shadow, we see the shape off this. This understanding of shadows gives us an opportunity to build up each petal without actually drawing the outline. Because using the shadows off every neighboring battle we can outline actually the shape off the other metals. We're going to do the same, but with the collar.
5. First layers and color scheme: Let's finally start painting. I have my get ready over here. And the most important, one of the most important rules, I should say off color ist Do, um, start from the lightest area and moved to the darkest area off your painting. So you want to start from the lightest color that we see and on the photograph? Of course. The lightest area is the background. But talking about flowers, we need some sort of very light and gentle tone off pink color. And then the parts that are inside the forward there are likely darker. And then the stem is, um, the doctors part off the whole composition and hoping so first, I would like to prepare. Um, I light pinky tone and I will just take I will just take our mean color from my Netscape a little upset, and I will start from the top. That's the easiest. So, in case you're sketch is dark erred, then you think it's good you want to kinda erase the darkest areas off your pencil so they don't come through your light with the color mayor. So a point. My first super light later. That doesn't really look that light. But another quality off watercolor is that after it gets dry, uh, it lose the color. So if you think that you were, uh, there is too dark, you can it actually will lose the color, so it will not be so bright. Sorry, Dr Bright. It will lose the color. The capacity feel like it's way too much. Uh, you can just lift the pigment and keep the layer the way you like it. That city, the way you like it. And in the second battle right away. And so I feel like it's a bit my son. I'm kind of picking up the excessive amount of pigment a water if you have from from my mayor, there's something inside over here some gonna market just slightly, but pain, too much attention to it. So here's a moment when I want to switch to my synthetic brush and maybe just take this one to use tone and paying the details. So, as I mentioned before, if you want to create a darker tone, you need to use complementary color. So Adam Green to my read the pain and I'm creating a bar. Crotone, um, that I'm going to use forward the inner side of power here. And while my layer is still mm. What? It allows my colors to move and land smoothly, so I don't need to worry about sharp jokes Are mines in my So I added this doctor tone in the areas that I see has some shadow. And also, um, I reads the excessive amount of water. So it's not too much of my my brushes not too well. And I'm kinda extending beach each shuttle in the battle to be precise, uh, to get rid of any two visible dark strokes. So now the first, um, but saying under painting the first layer off one of the pedals wanted to follow story, really? And, um, I will move to the next follower. But for now, I don't want to touch this follower, because if I do, this border will disappear. The colorable just bleed inside off this. That's why I will start working on this blossom and wait until this farmer gets completely dry. So under the same, I buy a very light, transparent layer on the petals off this forward, and I kind of forgot to raise my pencil. So I'm afraid that now defensible cannot come through my picture. So make sure that next time if you if you forgot as me the same way you raise your pencil, make sure that you do it next time before you apply your first mayors. So you see, I have my makes prepared already here on the plate. You can use bullets for that so I don't need to mix it every time. And since the paint and is not really big, I can just have small wash snow makes prepared over here. So I need I don't need, like a big mix for this particular painting. I'm trying to keep my brush Sammy wet so it's not drinking water, even have too much water on my brush. It will create, um, drop on my layer, and this drop of water will actually dilute the first lady and their painted. That's why I want to make sure that my branches semi wet so I can control the amount of water that is coming out from my brush. All right, so under painting for another lost and I call with under painting because this is finished , it's literally just the first mayor that year through eating and Dr it gets, um, dry, We will add and you layer to create that in all the painting. Okay, so changing the brushes again on and I'm gonna work on this plus so yes, do not forget to the race dark lines, if you have any, because using a very low density off your pigment it's gonna be so light of transparent that, uh, even with the lightest refeed sketch, the pencil will be still visible. So I want to be saved. That's why I it raised the pencil and I see, like, slightly ignoring of it left. So that's enough for me to know where to place my layer. And you can see that my layers super light. So the first know density transparent layer is ready. And I'm gonna at some doctor tone, which is not, as I said, My answer, I said before it is not here is not the density that I'm increasing its the tone that I'm using here. It's a darker tone because if I would just be cup higher density current meeting my palate , I would have just a brighter colored. But it's it's not gonna help me to create William. That's why I need to mix the doctor tone instead of just using more concentrated pigment from the ballot. Um, all right. And here you see that my colors glad a little bit, but it's okay. It's not a big deal. Fix that a bit later when the hole there is drying up. What I need to do right now is to mark the areas that are show. Is there some inner petals? I think I do makes more off a doctor because now it just gets brighter with something darker and more green. That's mind Do. Also, if you use pants, uh, hence means like small, um, shouldn't. The big one is in pen, not into. Sometimes it's quite difficult to be proctor the color from it. I mean, it's easy to get out, but when you mix that you have a lot of water in your bullets, so could take some time to actually repaired. Mix that it's not to watch this one, but if you when you mix that you just read it on your tissue and you're good to go, right, So 1st 1 is ready. There's Colonel under painting over here. I want to be raised line right away. So because if it gets dry, it will be quite difficult to Yeah, while it's still wet trying to erase the visible stroke here and over here, when I move into the next forward, I use my bullet. I mean, my little I'm so let's the engines just plate to dilute the color with water. So you don't bring sick pigment on your paper right away from from the set. And no, I'm ready to Why first, Right there. And I think, Well, this one is fine, but next month should be lighter. Is this one of a kind doctor than the other ones? Wonderful to grab. I'm not really boring much about, um, borders between battles yet, but I'm working it just in a bit after my first layer gets completely dry so I can use blazing the Kik to build up the layers and create William in my painting. Amazing technique is one of the most but music techniques of watercolor. When you create, when you use different layers, do you create depth and water? But the point is that you're layers should be drawing before you appoint you. So when I first layer. I need to wait until it gets completely dry and only them I should deploy next layer bank. So this way the previous layer will shine through the new one. And you will you have this beautiful affect off transparent. What a collar. If you applied on a weapon here, like I know you were just basically creating mixed washed, which means you're just used but to keep to apply, um, to mix the mayor's So it's basically just one there, but you injected you color or tone into, but it's still just one later, so it's going to wash any first layer you apply. It can be one color, few colors, few tones. Uh, and it's called Wash. Okay, so it's almost done. I have my final follower over here to finish, and the same thing. I'm going to take away the pencils. Cash make it as invisible responsible, and the watercolor dries. Read. If I so I can just I'm sure that this was already drying, and I'm going to that transparent layers here and because I'm kind of almost touching this border. Oh, this power, they don't bleed, so the colors the next because there Dr I mean, the first, the first layer. This flower is dry already. So that's why even if I touch it, it doesn't really bleed inside my new follower. Okay, Some details here. Just creating some shadow. Nothing specific yet work. I'm creating the house and more specific calm elements. It's a meter when our first mayors of dry Okay, So the first, um, in the years, here's washes off our followers already. So I need to wait until they get completely dry, and then I come back and add more new mayors that will create is effect off first transparency and, um, more that into the painting.
6. Building up depth, working with new layers: All right. So my painting Mr To Driver now And you can actually just wait until you're painting gets drive by itself, or you can use a hair dryer to speed up the process. I just took a break so I can relax a bit and also changed the water if needed. Also, I erase some extra lines that I don't need battle lines to make to make sure that I don't have any bare feet on my blossom. And now it's time to work on some details and shapes. So first, you can see here that, um, we have some slightly yellow areas inside the power. No, I just inject, you know, collar in the heart of followers where concealed. Um, you can do it. Actually, before you applied the doctor tone, Uh, it doesn't really change much from me because I'm not really focusing on making like a copy off this. It's more of a reference for me, too, um, to paint a protocol artwork so I can modify and changing the way I want. But if you eager to, you know, make a perfect copy, then you should have left some space over here for yellow parts. our um no, I would like to. I have You can darker tone mix in my car meal with green again. I am. I have quite sick a big month right now, and, um, I don't have much water on it. So I can work with, like, more precise and create. Somebody does. So I'm going to at some I call it Bates. Um, I'm using Very I would say Sure. The pointy end of the brush. Yeah, to be able to create nice and smooth right sharp means. But also I want to achiever slightly darker tone. So I kind of blended this dark tone over here. Teoh, have nice shadow instead of sorry. You know, I'm ready to move to the next for work. And here I will try to differentiated each petal one of another, one from another. But the way I do it, I didn't want to just outline the petal with a darker color. I want to create a shadow off the neighboring flower story that will automatically create the shape off another brother for more interesting color game. It's likely blue color, each petal just to heaven, right? Interesting Carlo game. You don't need to do that if you don't want to. I like to play with different stone, different tones and colors. So why not? Then? Over here, we will have slightly darker elements in the heart where just mark randomly. Um, and here the petal is just a little bit doctor. So I do the same thing I read show here. And with this shadow, I'm sort of, um, showing their line off this battle so it makes it easier for you to see each petal separately. And also, this mother has kind of like a bandit side. So what you do makes blue with Murray, I think to be able to create slightly bluish and actually kind of violet to show this rendered battle over here. Okay. And using the same tone, I just show in my search Deeper shuttle here in the bottom, off the right e I won't do is sort of the same thing. We're here and again. I don't just need the line like these, right? I want to blend it inside. So it is actually a shadow off this battle, but also at the same time, it is the border off another petal. We don't call our the coloring book. We don't want to see the outlines or borders of each, but don't we create them? Why? Using, um, shadows more interesting. I want to mix blue with my, I think, he added, here in the bottom. So it becomes a bit darker being no, do not have too much of a contrast. I'm kind of blending this color here. I'm here and I don't want to keep a lot of white space with one of them. As long as you're Russia's wet or semi wet, you can actually change your, um, shapes. Do the way you do when you want it the way it's comfortable for you. With a clean brush, I can erase visible lines, so there's no no strokes. Then I'm moving to my next battle sort of X forward, and I work on the pedals over here. I also better blue. I just don't remember who to be able to different shade each purple. Also, since the battle over here, it's likely dark recuses and shadow add just a little bit of a darker tone that I already mixed. That's blue and here is well, so because this pedals are on the back. Uh, they have this natural shadow from other petals. So that's why we want to show it with, like, Dr Tone. It's blue. Um, I'm gonna do the same over here, going this pepper and again, I just don't I don't leave the line just like that. I want to wended inside this metal on the left. Do you make sure that I don't have any rough orders? But in the meantime, I have nice shadows and each Bekele is visible. Then we're moving to over mix where I'm picking up some blue nice and soft Warren Cower. And I want to create this show over here inside the petals that has been most shadow tomorrow being. And I'm not particularly covering everything in this battle because over here you can see that there is a bended area off the petal bat is lighter, so I want to keep it lighter. That's why I don't cover it my blue layer. But I still that some doctor tone here at the bottom. Actually, the next battle, you're gonna start right here, do I will in it. And actually it is, doctor, because this previous battle is kind of shining through so kind of market with Yeah, when you don't hear this federal is also a little bit bended here. Like trying several years of darker tone. Consistent consists with I'm here to show that is slightly bend it. You know what the same. Oh, here and again. See, create stroke. But I don't want to leave it. So I will. With west brush I literally and this strong inside do you get three very noticeable line? So now it looks just like a petal that got that got bended, but not my car. Random stroke that accidentally left with my painting. So this slightly blue collar injections make money, my follower even more airy, more transparent. And because I use a very low density color so it's transparent, it's almost invisible. That gives me the opportunity to, um, actually show this lightness. And the previous layer is are able to shine through the new one because my new mayor was very transparent. If my blue mayor would be dark. Hi, that cities very concentrate. My first layer would not be able to shine through. And here's an interesting moment, because over here I have this battle that's bending. Um, but you don't see this edge just yet. So to be able to create this edge, I want Teoh Makesem baked with blue in this case and I will create this middle part of the flower. And because I created this middle part it allows me to show the shape off the petrol that suspended and I dont covering everything. I'm kind of keeping some white space that gives more air and lightness. Do my my picture. So now, just because I created this inner side of the follower, you automatically see the petal shape the Peto over here. So I don't want to overwork my bossom. I want to keep him light and, um, inspiring and Avery So that's why I don't want to end mawr layers or tones. Maybe I'll just, um, and a little bit here inside to point out that the heart of the flower is darker. There's something here, and it's really just more for contrast rather than anything else. So you have nice countries between the heart of power and light and transparent pedals. And also, if you feel like you can add some veins off the the father, but, um, kind of tricky. So For example, you need to do a very sharp and dry stroke to be able to create a thing. Sing line with your synthetic brush. And if you do it very fast, we might be able to create a very smooth I mean, let's but very dedicated and kind of sharp. Uh, be inside the Bethel. What? This is not something that I would really focus my attention. So if you feel like you're not confident you can make a nice and strong shark wine, you probably want to keep this bark just time. Keep your keep your petals a soft and gentle. Actually, I'm not gonna overdo it as well, because I want to keep it light and airy. All right, so let's move to the next lesson where we will finish the stuff. And at some final details on the blossom
7. Finalizing our work: So now let's work understand these air final elements and details that we will have, um, to our painting. And even though this time it looks pretty dark and kind of brown what you wanna do, we want Teoh, uh, still be able to work with light and dark tones. So, um, first, I would like to look hate some areas where this time in the parts of the stem are also make sure that your blossoms are actually on one stem, so you want to make sure that each each flower is sitting stem or branch or something. Sometimes you can get excited and you don't really see where the father is sitting on, like, for example, these followers and not really aligned. So I will make sure that they're all kind of sitting on the same Brent brunch and on the same level. So using really know Cassity color over here. And I picked up the burnt sienna and using Rigano then city. So my my collar is really light interest Paris what can and some other tones layers in a bit. For some more interesting epics, you can even at some other colors to your stem like yellow, for example, just to make it more interesting. Um, but here we come to the same situation where we need Teoh. Make the colors like the doctor and brown is one of the variations of from orange in the if we look at the color wheel and over here, if you look at the orange color, it's opposite to blue. So let's use blue. Complimentary color too able to dark. All were burnt sienna just ground to have a darker tone. Some of you probably have the darker tone, Dr. Collar Already your bullets, The real artist should be able to makes Carl restrain themselves as well. As you can see, I'm not really covering with the darker tone, everything that I see. But, um, just applying the darker tone in some specific areas off the stem. This way, I cannot allow this time to breathe with other different colors tones in it. Sure you don't cover your couple, you know, we've got the first in the year for our stuff, and later, when it gets dry, we can add some more details. Meanwhile, you can add Are there details if you like, Like so much of this middle pains inside the battles. But this is not something that I feel like I need, but I would like to do. What I would like to do is actually to use, um, the white Children like this one to create this inner, um, parts of the forward. And because my power is trying my layers air drying, this joe plan is able to paint on top off my picture on top of the layers or just market here here as well. So they not all going to be white. I'm going to add other colors just in a bit. Another way to actually do the same thing would be to use a mosque in liquid before your pain. Um, but the problem with most liquid is that it's really hard to to create very same lines with it because you usually use either a pen that's quite thick or brush, and then you just push it out. Sometimes you can damage the paper doing that. And in other cases, um, this middle strokes are too thing for that to so I didn't use mosque in liquid here, but it is definitely an auction as well. So now in some areas, I just at kind of a shadow on top of my white Joe open to to show the's in your parts in the same here. So now they're kind of shining all together with right Joe Pan and also my thank you. It's jokes. Is it conceding this particular artwork? I didn't really use the whole scale off my palette that in years old colors available and you don't really need that. So this is a beautiful example of how you can create wonderful artwork with limited palettes. - As you can see, I marked the dotes really around them leave, so some of them are bigger. Some of them are smaller. I have no system, and that's what makes it look more metro and beautiful. Great, and I can use the same. Actually, I want to make it as I mentioned before. Some of you probably have just that brown tone that's already ready, so we matter, too. Save your time. You can just use it. It sounds like it's it's brown, but because it's what you can't decide black. But when it will get dry, you will see it's not black. It's from with this groundstrokes. It's also a great way to first show the texture off the tree. And also, I mean of the stand for the brunch and also to actually separate the flower from the white background and to show the outline off the I don't even more cream. So, honestly, I think there is nothing more to add in this artwork. Except if your signature, of course. And, um, I don't want to overdo it. So in watercolor painting, it's really important to stop the right moment. And I think this is right moment. So please feel free to share your final results with me. If you need any help, I would be happy to help you and answer any question in the comments. So I hope you drink this cause and see you in my next courses.
Yana Shvets, Professional watercolor artist
