Learn Negative Painting With A Hydrangea

1. Class Introduction: Negative Painting: Negatively can be tricky and it needs focus. In this class, we will paint a hydrana using a negative painting technique. Also, in this class, I will share the perfect purple mix that can be reddish or bluish. I will also explain what negative painting is and how would you apply this challenging and tricky technique by painting a hydranga. I am Bianca, a watercolor artist, I paint realistic flowers and fruits. This class is open to any level in watercolors. I provided a downloadable file in which you can get the reference photo, the outline drawing, the list of materials I use in this class, and the list of the colors to mix the perfect purple. You can use in any painting. Since the classes focus on just one watercolor painting technique, I suggest watching my first kill shark class titled painting realistic apples in watercolor confidentially. Where I have lessons about transferring an alpine drawing to your watercolor paper, watercolor consistency, brush strokes. And watercolor techniques. This class has just one project, which is the purple hydranga with three leaves. By the end of this class, you will be able to apply negative painting not only by painting a hydrange, but you can also apply this technique on your next watercolor painting projects. 2. Art supplies you will need: In this lesson, I will be showing you the materials that I will be using in this class. So I will be using a sketch book. This is Bau Hong Academy Hot Press. A watercolor sketch book. The size of my sketchbook is six by 9 ". Next I have the outline drawing. You can get this for free together with this class. I will be also using a light pad for transferring the drawing to my watercolor paper or a watercolor sketch book. I will also use a light pad to transfer my outline drawing to my sketchbook. If you don't have a light pad, it's okay. There's other way that you could transfer the outline drawing to or paper or your sketchbook. Since I will be using a sketchbook, I will have also clip binders with me. Also, I use masking tape to tape down my paper. I mean, the outline drawing to my light pad and also my paper. We will have also water colors. I won't use all of these colors. I will be just using some of it. For transferring the outline drawing, I will use four H pencil to transfer the drawing. This is light and easy to erase. So I use four H pencil. I have also a pipe so that I can pret my paints before painting. I have also a needed eraser. A mixing palette. I use a ceramic mixing palette, and also I have are a towel with me. Also two jars of water clean water. For the brushes, I will use mainly two brushes. One is size for fine tip brush. This is a very pointy brush when it's wet and size seven round brush. I have an old brush here that I use only for picking up colors from my watercolor pants. So that's all for the materials, and let's go to painting. 3. About the class project: For the class project, we will paint one purple hydranga. The reference photo together with the outline drawing, and the list of materials are in just one PDF in the projects and resources section. The focus of this class is negative painting technique. But I also suggest watching some lessons how to transfer the outline drawing to your paper using a light pad or without a light pad, watercolor techniques, brush strokes, and watercolor consistency in my first skill share class titled Paint realistic Apples and Watercolor confidently. If you are familiar how to do those, you can continue to the next lesson. If not, then I suggest watching the mentioned lessons before you start the class project. The techniques and rush strokes are repetitive, but it's also relaxing. So I encourage you to paint with me and submit your class project. You may also upload your class project on Instagram or Facebook and tag me. I'm excited to see your purple hydranges. 4. What is negative painting: Negative painting is a technique where you can paint around the subject or the negative space. In this class, we will paint a high range of flower using negative painting. This means we will paint more around the positive space or around the flowers than the flowers itself. We will focus on painting on the negative space or in between the flowers and on the main subject. The advantage of using this technique in our watercolor painting can help the main subject. To stand out more, and the viewer will rest the eyes on the positive space of our painting. This watercolor technique is tricky and in this class, I will show you the step by step process of painting a hydranga by applying the negative painting technique. I will use negative painting, not only on the flowers, but also creating veins on the leaves. Let's jump into painting. 5. Color Mixing: This time, we will be talking about color mixing. So looking at the reference photo, and I chose already the colors that I will be using to get purple, I would like to have magenta. Then I will mix this with cobalt teal. Okay. This is a good purple mix. Okay. It has more blue, I will add more magenta. You can see because I used these two colors before and it has perfect purple. This is the purple. This is ac magenta and cobalt teal. I can water it down. If I water it down, this is how it looks like. If you do not have cobalt teal and magenta, it's okay. You can mix other colors in your palette, whatever you have, or you can just water down docosan purple. If you have, just add a little bit of red to have a nice purple mix. This is Cobaltl and Kira da Magenta mixed together. For underpainting, I will be using Daniel Smith to Marine blue or French auto Marine, that would be for my underpainting. For the leaves, I will use green gold. This is from core, some parts of the leaves. Also for the leaves, I will be using sap green. The Hap green. I will mix it with a little bit of French to Marine. Sabran and French tomarne. And I will also add a little bit of purple mix that I will have from magenta and Cobalt teal. Because subgran is a bright green, and do not like it to be bright green. So I add a little bit of purple mix that will be I will get it from the mix of magenta and cobalt teal. If you don't have the two colors, you could also use the oxycin purple. However, you need to water it down so. This is in purple, and you can water it down. You can also use this. If you don't have the colors that I have, it's okay. You can mix the other colors that you have in your palette, use whatever you have in your palette. I will show you the magenta and the cobalal mix. So if I have here magenta, and I will mix it with cobalt teal. All right. I have a lot of bac til. I will get more of magenta this time. All right. So if we mix cba tl and magenta, we have a very nice purple. Then if I will have more of magenta. Okay. And I will add a little bit of cba tl here. All right. We'd see this mix. But if I will have magenta, and I will add more of cba tal All right, you would see that's more on blue side. So here, I have more magenta than the cobalt teal. So the purple mix that I have is reddish. Here is more on cobalt teal. So what I have is more on the blue side. So even if I have two colors ses mixing well, I will get here to get more of the blue side, I will get here to more on the red side. I don't have to mix three colors like one here for the perfect purple or middle purple, and one with more reddish and one with the blue bluish purple. So I don't have to do that. I just mix one in one well. So I can get either of the sides of red or blue. So it's up to you if you would like to mix in es one well, or if you would like to prepare three color mixes of purple, so you are ready for painting. But for me, I just use one mixing well, and I will get you will see me picking a color on either on the bluish side or on the red side. So it's up to you. 6. Preparing the Colors: We already know what colors that we will be using for the hydranga. As you can see, you can adjust actually the reds and blues on your purple. So even if you have more reddish part and more of the blue, you can just adjust it with the color mix that you will have. So I will just prepare the colors that I will use. So this is French to Marine. This is from Daniel Smith. This would be my underpainting color, especially for the hydranga and also the dark areas. For the lease, for my underpainting, I will use this green gold. This is from green gold from core. I will mix the purple. I will mix it here, this is a magenta. I will mix consistency of the purple. I will get cobot Tal. The two colors that I have cobotl and magenta s are from core as well. I will add a little bit more of cobot. That's a beautiful purple color. I will try it here. It's more of red. I can add a bit more There we go. And more of cobotl. You can adjust how you like our purple. This is also good. There you go. I already have the nice purple. I can just water it down if I need to. Now, for the leaves, I will use sap green. I just put it here. Sap green. Most likely, I will use the sap green if I'm going to paint the second layer of the leaves. I do not like it to be so bright, so I will add a bit of French automalin. The sap green that I have is from Windsor and Newton Professional. That's a bluish green that I have now, and I will get a little bit of purple here. I can a little bit more. I added a little bit of purple to my green so I can lower down the brightness of my green. This is what I have now. You could see it's a little bit muted, but beautiful green color. These are the colors that I will be using for the hydrana. 7. Painting Process Preview: Whenever I start a watercolor painting, I study the reference photo. I look for the shadows and the highlights. Also on the form and shape of the subject. I zoom in and out of the reference photo on my phone so I can see the details. I also change the reference from color to black and white to see the shadows. For transferring the drawing to my watercolor paper, use a light pad, so I can avoid erasures and it can be a clean transfer. If we don't have a light pad, don't worry. I have an alternative way to cleanly transfer the outline drawing to your watercolor paper. I showed the step by step process in my first class, titled painting realistic apples in watercolor confidently. When it comes to the first two layers, I always use tea to coffee, watercolor consistency. As much as possible, I would like to use a very light wash on the first two layers and glaze them. On the third layer of the painting is where I start to build up the colors and I use coffee to milk watercolor consistency. I use the wet on dry technique for painting tiny areas and painting details. I painted that tiny center of the flowers plast. It is up to you if you would like to use a maskin fluid or not. I didn't use a maskin fluid in painting this hydranga. If you are not familiar with the watercolor techniques and brush strokes, I suggest watching some of the lessons in my first skill share class, painting realistic apples and watercolor confidently. The techniques and brush strokes are very repetitive. I have a step by step guide in my lessons. I talk as I paint. But since the steps are repetitive, the rest have part of the lessons we speed up with relaxing background music. 8. Class Project: 1st Layer: Now, I will be painting the first layers of the hydranga. I can start painting from the top going to the bottom of the hydranga. I will be doing the veins of the of this leaf. Very likely. I will erase the dark pencil lines. But I will be doing this negative painting. Whenever I paint, I do not raise the pencilines all over. I just raise the pencil lines as I paint. I do not raise everything in one go. Since I am going to paint this area first, I will start there. I'll be painting this but looking at the reference photo. First, I will be painting with green gold and French ultramarine. I will be painting this wet on wet. So the middle, I will be painting this with green gold and some area here. And F in some areas, I will be painting it with French to Marine. I this area. I will soften this area with my damp brush. So I use my bigger brush here. This is the reason I use two brushes painted at the same time. There we go. And here. Here, I will use French to Marine. As you can see, it's very, very light. And here also. Okay. And softening. Okay. I'm going to wet in this area. One more time. Okay. And I will be painting with green gold here here as well. And here. We're not on the details yet. It's just painting the underlying colors. The is brush. I will paint with French marine on this tip of the Okay. This time, I will be painting the hydranga, wet on wet, and I will just paint the areas that have shadows. I will start here. For the hydrange I will start with the French auto Marine for the berg areas of the hydrange this is wet on wet. I will soften this with brush, the wet my brush. If you don't have any french automat, you could use warm blue. I will speed up the video without voice instructions because the process and the techniques are the same. B. B B M. M. M. Oh. I'm done with the first layer, so this is how it looks like. I painted on the shadow areas or dark areas on the flowers and on what you could see like insides of the flowers and whatever that is at the back. So that's what you could see. I'm painted it French train. I will part of the d, but the rest are good to paint to. 9. Class Project: 2nd Layer Hydrangea Part 1: So I will start with painting the flowers with the purple mix that I have here. I will be doing it on wet this time for the second layer. So for the second layer, I will be starting to build up the colors. And later on, as you build the colors on the th and layer. It would be on the shadows part. We will be doing more on negative painting. But for a second layer, I will be just painting. As it is. Okay, I will be painting starting at the top. I will just cover this area, just to make sure that I won't pass it up or there will be no drops of paint. I zoom in a little bit, so it's easier to see. My paint here on the mixing pet has already dried, but I will just use this pipe to rewet the paint and so that we can start mixing. And also doing wet on wet technique for this painting. As you can see there are some parts of the flowers that are not painted. Those are the light areas of the flowers. I will be starting to paint on this flower. I mix the color here, the purple. As much as possable, I would like to get the light color like that because this petal is very, very light. I'll be removing the excess water on my brush and drag the water drag the bead on my painting. I will get more of the paint. I will just follow the shade of the itself here. I will add a bit more of paint on this area. And a little bit more. Move the excess water from my brush. There we go. Just moving the paint up and down. I will soften this area with a damp brush. So my big brush is damp. I lease it and remove the excess water, so I could use it to rea the next area of the flower. There's a little bit of bleeding here, but that would be fine. I will just fix it, I will build the colors later on. So that's why I will leave this wet. I don't want to paint this area because this flower or this petal is still wet and I don't want to bleed the colors. When you look at the reference photo, you could see that there are some areas like especially this is very light blue, so I didn't paint that, but I will just leave it unpainted for now, and I will paint it later on. And so as you can see that my color mix here, there are some parts of the paints here that is more of blue and some more of magenta or mix in it. So this is where I will carefully get or pick up paint from my palette to mix it on my paper, since I don't want to bleed this area. I will protect that. I will continue painting on this petal. Here in this petal, it's more of purple on this side and more on bluish in this side. I will wet the area first with my brush, with me bigger brush. The reason that I like painting with synthetic brush because it holds good amount of water, not too watery, especially if you like painting realistic subjects, it will be really helpful. This area is more light. I will just get more of paint here, and I will just move the paint around. There we go, and just move the beat, move the paint. There I will just soften this. There we go. I will get more on the blue side here, and I will add on this part of the flower or pet I mean. And I will just a. There it go. I will leave this to dry and then I will move to the next pat on the left, which is this one. I will move the pencil lines on this to make it a little bit more lighter. Since this is small area, you can actually paint this on. But, you can also pick this on we It's up to you, but I would like to pick this on wet so that I can have a good transition of color and blend. And more of purple on this side. I will leave that to dry and I will move to this petal on the right. I will do this wet on wet. I'll get this part of the palette and will be here. In this area, I will just soften this and what the part of the petal here, move the excess water. Paint Whatever paint on my brush, I just use it to paint and I curve my brush stroke as well. And on here. I did not pick up any more color I just use, whatever left on my brush. This is supposed to be very light. I softened it and added more paint on this area and here as well. Okay. There we go. I will add more paint here going on the side while. It's still wet. There. Now, I can paint this petal. 10. Class Project: 2nd Layer Hydrangea Part 2: Now, this petal is more on purple on the sides. I will get the part of my pet that has more magenta. Right? It could see here, and then I will add the paint here. And moving on here here. I will soften this, move the paint going here. I will this bruh. Now this time, I will get the part of my mixing pallet that has more blue and I will add the paint here. You could see that I blended two parts of my color mix, that this part has more magenta, and this part has more blue and just it with each other. I have a damp brush here so I can soften brush stroke here like that. I finished one petal. I mean one flower. Now I will move to this area. These areas you can see that we have an underpainting or underlying colors. Okay. So we'll just this area Then I will get the part of my mix that has more blue on my palette, and then I will start painting from here, starting from the one that has shadows. Okay. My paper dried fast. What I will do is I will just get this dump brush and I will just soften my brush stroke, like that. I will remove the excess water. There. I will continue painting on the rest of the flowers. I will do the same process as I showed you. I will speed up the process, so it will be faster, but you will see that I will use the same technique every flour. Oh. D D There's Oh There there Oh. 11. Class Project: 2nd Layer Leaves Part 1: All right. Second layer of the high ranges already done. Now, I will be painting the leaves. Now, so we have only three leaves. This is just only the second layer. On the third layer, we will be focusing on the shadows, intensify the colors. As you can see, as we do negative painting, And if we paint dark colors on beside the light areas. The light areas pops up more and they become more visible. That is the beauty of negative painting. But on the third layer, we'll be focusing more on the shadows, intensifying the colors. For now, let's paint the leaves. So I will be starting on the leaves here or the top, and I will be doing this what on what. So I have my green mix here. Here on the blue side. If you will notice that when you paint green on top of the blue, that will be a little bit darker and intensified color. I just the left part, I did the entire leaf because it might dry. I have here a consistency of the green. There. You would see also difference if you have different color on under painting. We have green gold also here. I will add more green here. I will remove the excess water from my brush and get more paint. There you go. With then from the center, I will be moving around. I drag the water here. It won't have water too much on this side. There you go. There are some parts of the leaves that are more darker that would be with the blue underpainting and lighter leaves when we have the green gold underpainting. If we didn't have green gold, you could use yellow like a bright yellow lemon yellow and add a tiny amount of s green. I. Now I will be continuing painting the center of the leaf. I will add more green on the side and also following the shape of the leaf. And softening this part and here as well. There and you will add green on this side of the leave. Here, I will be adding more green on this part of the leaves. You could see when we have a blue undertone, we have a darker color of the leaf, and we have yellow, we have a lighter green. This is just a second layer and I will be intensifying the color on the th layer. So basically on the first and second layer. I use only tea to coe consistency of my water color. And when I go to the third and fourth layers, that is a time that I use more saturated colors and more concentrated colors of the water color. There as I drag the water. I also in the edge. I also lift up the other paint there. Hey. And softening this part. Lifting the blue here. It's supposed to be just very light purple there. I will add more green a little bit here, and soften. I will leave this area, then will move on to the next leaf here on the right. 12. Class Project: 2nd Layer Leaves Part 2: Because it will be starting on the left going to the right. If you have too much water, if you see that there are puddles of water under paper, you can just remove the excess water. That is the reason I always have a towel on my right so I can remove the excess water. I'll remove excess water also on my small brush, get some green here. I'll start painting on the left, moving on to the right side of the green of the leaf. Here when I rest the belly of my brush, it releases more paint. Painting on this side. I can start also do negative painting on this leaf. While softening this edge. I will add more here on the left, and follow the shape of the leaf and also the veins. I can ski the veins. And continue painting on the next part of the leaf, but I will rewet this area because it try. When you skip a line there or the vein, it will show that there's a vein already. So that is the reason I like doing negative painting on because you cannot actually remove the paints or lift them up especially when the paint has been. There. And here I will soften this and will drag the water and rewet the other part of the leaf. There. Self in this. Okay, now, I will the right side of the there. You follow the shape of the leave. There. This part I will soften this with a damp brush. Hes damp because the fuel brush is too wet, it will create blooms. That's what you intend to do to create blooms, but if not, damp. You can remove the excess water from your brush. There and soften this and here as well. There. Self in this area. Now, I will be moving on the last below. Okay. So in. And then I will paint the last. I will be doing. I will be starting on the part. Okay, et my green. Okay, I will soften this part of the and t the next part. Get there and will solve in this part. And we this area. There we go. No, soften this part and here as well. You could see I left this part painted. This part. I can create veins. Okay there. Okay so next area. 13. Class Project: 3rd Layer Hydrangea: We are now on the third layer of the hydranga. So this time, I will be focusing more on increasing the saturation and also painting more on the shadow side. This will help the light areas to show more and elevate more by painting the shadows and the dark areas of the painting or the hydrange. So we'll be starting with the flowers at the top. And then later on, I will be painting the leaves. I zoom in a little so that I can show you how I will paint the shadows and also the dark areas of the hydranges. I will speed it up later on, but this time, I will just show you how I do it. In my next here, I have magenta and cobalt teal. I did not fully mix them, but I will just pick up some color whenever I need. So I will be starting here, and I will be doing this wet on wet. I will cover this part first. And this is more on the more red side. I'm picking up color on the red side of my mix and I'll paint here. Very light. I'm not using a thicker consistency as of the moment. What I'm using now is coffee to milk consistency, that is a little bit thicker, but not very light. There we go. And on this side, I will add on the blue side here, blue. I use of my bush bit, so I can release more of the paint. There you go. Then I will soften this. Here, I will drag the color here. Li. As you notice, I did not put paint here on the second liter, but I will do that in a bit. I will get more on the blue side of my next. I mean, I will be painting this. It is very area. I will skip this petal here. Because this is very light, so I will skip it. I will paint on this petal. I'm doing the that not that one, but this petal. For this petal, it's on the red side, so I will pick up the color, more on the magenta. A there and this, I will soften this area. I will add more paint on the side here. Get a little bit more I. And here. No, I will soften this. I will add more color on this side. I didn't put color yet on the center of the hydrange but I will do that later on. Okay. Okay. There and I will soften this. Now on this petal. This is actually the inner parts of the petals that the overlapping. I will use darker and thicker consistency on that. I will get more paint here, more on the magenta side. I will pin There we go. Now since I painted this dark, it helped the other petals around it to show more. I will also do it here. So it's very helpful if you have a very pointy brush like this. There we go. It helps to elevate the other petals here. This is the reason that I like using this brush because it's very pointy when it's wet. If you have a pointy brush like this, it will help you to paint the small areas. Okay. I will add more paint on the side on this part of the y drain and I'm painting this what on because this area is just small. There you go. And here as well. Sometimes you will see me picking a color on the blue side or on the red side. It depends on the reference photo. Whenever you paint, always look at the reference photo. I. And I will so in this. Add more paint here. There you go. I will just speed up the process and I will show you how to do it. You will see me doing the same process like what I did. Oh. Bo. Bom Bo Bo Move. Move. Move. Move. 00. Yeah. No. Yeah. Yeah. A D. No. No. No. 14. Class Project: 3rd Layer Leaves Part 1: I'm done on the third layer of the flower, so it is done on the third layer. Now I will be focusing on the leaves. So this would be the third layer of the leaves, and I will be adding more dark colors on the leaves. I will be using the same mix. I will just glaze them. I will start on the top. So for the leaves, I will be painting the leaves section by section. I will be starting here the bottom. Because it's quite big leaf. So I will painting this section by section, and I will be painting wet on wet. Okay. I will soften this area, and then I will wet the next area. Let me look flat there, but I will be s like a line. So that will be there will be veins there. All right. And I will add more darker green on this side. And here I will soffit this. Also this part. There you go. And the whatever left on my brush, I will just use it to wet the next area, and I will add more paint here. I will skip some lie I skip a part here to create lines or veins. Then I will solve in this. There we go. We with this area. This time, it will be a green. Yeah. Okay. And then we solve in this area. There we go. And then I will be wetting this right side. I will just get some green. I did not pick up a lot of color. I was pressing my brush harder to release the pigment from the belly of my brush. Soft in this. And here as well. Okay. There we go. I will stop in this. Okay. Ss, I also did negative painting on the leave. As of now, I do not follow much on the reference photo, but as much as possible, I look at it and see where I would put the darker colors. But we won't paint the leaf as detailed as the leaves as we see on the reference photo. Okay. What this area Yeah. Z. Okay. This time. I will add more green on this part. I will solve this. And here I will just cor, I will add more. And south this and here as well. There we go. Add more green on this area there. 15. Class Project: 3rd Layer Leaves Part 2: I will leave this painting to dry. I will move on to the next leaf here. This leaf is more lighter than the other green or other leaf that we have on the left because this is part of the leaf or part of the plant that is touched by the sun as we have here, the reference photo. I will do this painting on wet. I will start here I will paint on this area first. I soft and we'll add another part of the, green here. This time I'm using only coffee consistency of my green as I glaze. B as if we remember, we are going to glaze, we are just thin layers of the colors. Here. I will soften this. I will wet this area. I will add green on this part. I left the edge unpainted. Okay. There we go. I left that part unpainted, but I will soften it and here as well. Then I will wet this area. I will just paint first here, the part that is at the edge of the flower. Then I will concentrate more on the side. And I will leave that part unpainted. I will soften this. There you go. And then I will wet this area. We'll add more green here. Because this part of the leave that is under the flower. There would be shadow forming there, and I will paint on the side, leaving space here, so we could show the veins. I'm painting like a little brush strokes, going to the right, and I will soften this and here also, I will pain going to the left. This is a very light and coffee consistency of the green. Then I will soften this. There we go. I will do the same on the other parts of the. But here I will I will wet this area to prepare it for wet. S. I will start here. And I will paint, going to the right here. I left this part unpainted, so I can leave a part for the veins, that will soften that and so as well. Now, get more green. All right. There we go. And I will solve in this area. Now I will skip some part of the leaf here. I'll read that. I will add more green here. I will start here this time. This looks like easier to paint, so I can soften the green as I go pain. There we go. Some part of the leaf I did not paint, I just let the watercolor flow there and soften this. L a little bit more of green on this area. There will go. Then I will move here. This is a part of the leaf that has darker green. Then after this part, I will speed up the process. I will be doing the same process as I paint the leaf. But as you paint this, make sure to look at the reference photo to see where are the dark color, the part of the leaf. There you go. For now, Let's sit. I left some part if you see unpainted. I would just soften that and soften this and also this area the veins. I will speed up the process, but I will be doing the same technique as I did earlier. 16. Class Project: 4th Layer Hydrangea: In this lesson, we will paint the details and add more shadows to help the other petals to stand out. This time, I will paint wet on dry using the tip of my size four fine tip brush. If you don't have a pointy brush, you could use a small brush like size two or zero or smaller. I will start here at the upper left and I will paint fine lines. I will also add more color to the edge of the petal. As you can see, as soon as I added a darker color, the petals with a lighter color showed up more. Then I will soften the brush stroke for a smooth and color transition. I'm getting color on the bluish side of my purple mix, and I will paint on the top part. Then I will smooth in the bush. As you can see, the petal on the top is very light and showed up more when I added shadows. I will add more shadows to this petal and on the edges of the light petals. U U I will add shadows on the right to show the fold of the petal more. Then I will smooth in the brush strokes. I will add shadows around the center of this flower and fine lines to the light petals. I am using the tip of my brush and fine lines are very thin. I am leasing my brush to remove the excess peak because I have a lot of pigment on my brush. I am adding some thin layers on this petal. Then I will smoothen it. I am carefully adding purple and shadows, especially to the light petals like this. I also ensure that my lines follow the shape of my petals. I am carefully picking up color bit by bit and painting the center with a cross. As I paint, I look at the reference photo zooming in so I can see the details of the hydrange I carefully add shadows around each petal. I will also carefully paint the center of the flowers. I will do the same to the other petals. The technique is the same, and I repeat the process on every flower, so I will speed up the video. Here, I'm adding more green to the different areas of the leaf. I am leaving thin space to create the veins of the leaf, and I will do the same to the other leaves. As you can see, I have my reference on my phone as I paint so I can see the details. And here is the finished watercolor hydrant painting. I. 17. My Final Thoughts: Wow, you made it this far. I would like to congratulate you on finishing this class. I know painting a realistic hydrange is a challenge, but I'm happy that you took a step forward and took the challenge. I hope this class help you understand what negative painting is, and how would you apply it to your next watercolor projects. Remember to submit your class project and upload it on Instagram or Facebook. Tag me as well because I would like to see those purple hydranges. Once again, congratulations.