Master Watercolor Techniques: Paint Magnolias in 3 Creative Styles

1. Introduction: Hi, my name is itivari. I'm a watercola artist based out of Pune, India. Over the years, I have had the privilege of teaching both online and offline students via my workshops or my individual classes across the world. This is my first cilia class, and I'm super excited to share my otical love with all of you. In this class, you will learn about how to paint magnolia in three different ways along with the leaves and the stems. We will also learn about the materials such as papers, paints and brushes that I have to use in the class. Then we will go and learn more about watercolor techniques that we'll be using in the class. After that, we'll deep dive into sketching the elements of the flower, like the petal, the stem, the leaves, and then work towards individually learning to paint these elements. At the end of the class, we'll tie everything together to form a composition of various flowers, leaves and petals, and then we'll create a beautiful composition of a final painting together. So join me in the next lesson where we will talk about materials and supply that we have to use for this class. 2. Art Supplies: Conference. In this lesson, we will talk about materials or art supplies that we have to use in this class. You can use any artrae materials. I'm just giving you some reference to get started. This does not intend that you have to use exactly same materials that I have been talking about in this class. Okay? So let's start with our paints. So I'm using paint from multiple brands. I'm just showing you these brands. There are more brands available in the market. So these watercolor paints come in the tubes, they come in tubes, they come in pants. Right? So these are the pans of the same watercolors. They are the same brand as white knights. Then I have selenia over here and then some Camlin watercolors here. This is all about the paints that we have. They come in different sizes, colors, different brands, right? So this is the colors that we are going to use. In the next section, we will also talk about the exact color that we will be using for this lesson and we'll be swatching those colors so you will have a better idea of what colors we are using. Apart from colors, you will need palettes. So here are some examples of the palette that I have. Now, pallet comes in different variety of sizes, shapes. So I have few ceramic palettes over here. This is the ceramic palette. This is an ordinary tray from a grocery store, right? And then something similar like this. So yeah, I have converted them into palettes, and then I bought some plastic bowls and I converted them else well into palettes. This is all about palettes. Then I have a masking tape, so these are washi tape that I'll be using. These are optional. If you don't have washi tape, you can use on carpenter's masking tape as well. We will also need inadb eraser, a sharpnt, sorry, eraser and a pencil. Now, if you don't have ndable eraser, that's okay. I would recommend you to sketch very lightly when we are sketching. We will need two jars of water. So one jar we'll be using for clean water, and then one will be washing all our dirty brushes with. Then we have papers. So there are a lot of papers available in the market. So this one is cellulose based paper. This is cold press watercolor paper, which is 300 GSM again, but it is sorry, hot press watercolor paper, which is 300 GSM. Then we have rough watercolor paper. Then we have cold press watcular paper. There are different kinds of paper available. For this class, I will also be showing you difference between cellulose paper, hot press paper, cold of rough paper, as in how the techniques differ in these three types of paper and what you have to remember. For this particular class, we'll be using cold press watcular paper throughout all the resins. So while we have learned all about water jars, colors, masking, taping, et cetera, let's talk about the brushes. So I have a collection of Princeton brushes in my hand, and I'll be using a couple of round brushes from Princeton for detailing the smaller brushes and then long round brushes from Princeton, right? So, yeah, you can choose any brush that you have handy. I have this flat brush in case we decide to add a background. So for background and big washes, we'll be needing a flat brush. So we can use these brushes. And then I would recommend to have some paper napkins for dabbing brushes or lifting something. And I use a good old cotton cloth with me. For me, the cloth works perfectly fine. When I'm working with water and we are working with heavy waters, washers and et cetera, I think instead of tissue papers, I think this or paper napkin, the cloth works perfectly fine, right? So yeah, I think that's about all the uh art supplies. Join me in the next lesson as we learn more about watercolor technique that we are going to use in this class. 3. Swatching: Everyone. In this lesson, we will be swatching all the colors that we are going to use, and I will start listing all the colors one by one so that we remember. This is a palette that I'm going to use throughout the class. I'll be taking out all my colors here. This is rose madder from Camln. This is carmine from white Knights. So I'll be swatching these two, and then we'll move on to swatch the rest. So I'm just dipping my brush in water and then taking a bit of color. Okay. And then coming to paper and then just making the swatch. So swatch is nothing but a small patch of color that we create in order to understand what the color looks like, okay? Again, I wash my brush, will take some water, and then pick up the other color, which is caramine. So yeah, if you see, and there's a reason that I'm doing these two colors side by side. So Caramine and rosemder they quite look very similar. I'm going to just dip my brush in water, I'm going to extend it to show you the difference. If any, what I've done is I have dipped my brush in water, again, dip my brush in water, and then now only using water to extend the color. Now I'm using a clean water to extend the color. I'm going to do the similar thing for this one. Again, dip my brush in water. Take clean water, dip my brush again, take clean water again. Okay. So we're trying to find out the color value of these colors. Now we'll move on to the yellow. This is cadmium yellow from white knights. And this is yellow ochre. This is from selenia. Now we'll be swatching these two colors. So I'm taking cadmium yellow now, and I made a swatch and I'll be washing my brush. Next, I'm going to pick yellow ochre and making a swatch. I now we're going to repeat the same thing. I'm taking clean water, extending the color. Now, you will see me always washing my dirty brush in the dirty water and then picking up clean water for anything that I have to do. Okay. So I'm going to keep my palette here and jars here so that you can see, dip my brush, take a clean water, extend the color. Wash your brush, take clean water again, and then extend the brush. Again, extend it. Okay. Now we're going to try the shades of green. I'm taking out my green color. This is cadmium green light from selenia. The other one is from whitens. So this is verde green. This is a bit dark. This is Cepia that I'm taking out now. So let me just watch all these now for you. So we're going to start with cadmium green light. Follow the same method. Okay. The Bidian green now I'm picking. See the darkness of the color, right? This is very, very dark. Count. Usually, I've seen that I try to mix my own greens because most of the time I don't like the greens which are available on the palette. So I end up using my own greens. Okay. So this is done. I'm going to take another paper to complete the swatches. Now. You can take a bigger paper if you need. Okay. So this is our swatches of those colors, and now we are going to move to the different colors. So next time swatching is CPM from white Knights. And I'm going to extend it in a similar way as we are doing. Okay. Next, there are two colors left, so raw umber and born sienna. I'm going to just take them both out. Raw umber, I'm swatching nesk. So this is raw umber. Take clean water. Okay. And the last one is burned sienna. So I'm taking some burned sienna now. Okay, take clean water. Okay, so that's our color that we'll be using for this class. Join with the next lesson as we talk more about watercolor techniques, and we learn more about how to blend these colors, how to do different types of washes and whatnot. Okay, so see you guys in the next lesson now. 4. Watercolor Techniques: This lesson, we are going to learn more about watercolor techniques that we have to use. So for this, I'm going to take this paper. So I'm using the same paper that I've done my swatches on S because it's the paper, 300 Jason what color paper, I can still use it. So I'm going to make use of it back and forth. You can do all these exercises even in your sketchbook if you do have a sketchbook. Or you can take pare paper and then work on all of these things. While we learn to do these techniques in this paper, I'm going to also show you the difference of how it looks like when we work on a cellulose paper and then when we work on a hot press paper. Let's start. The first technique is wet on wet wet on wet weaning when I will be wetting my color paper. On a wet paper, I will be putting wet color is called as a wet on wet technique. Okay. I'm using caramine to just show you guys. So see this. So when I'm putting wet colour on wet paper, how it is spreading, right? This is what wet on wet looks like. Okay. Now what is wet on dry? So I take the same color, but then my paper doesn't have any water, and then I try to do this color, right? This is wet on dry where nothing is happening. Okay. The next technique is splattering technique. We'll not be using that technique, but I'm still going to show you, so you take the color and then splatter it. Okay. Now I'm going to show you the same technique if I have wet idea. Let's say that this side of my paper is wet and I want to do splattering here. Now, this is going to be different because this splattering will behave exactly like the wet on wet. The last technique is driver's technique. So for driver's technique, I'm taking color, dabbing on my cloth, and then coming on paper. The texture of the paper plays a very important role here, see. Okay. So this is all the techniques. We'll be learning few more techniques before we dive into that. I'm going to show you the difference between these two papers and we'll look at the techniques here. Let's say that I want to practice wet on wet on a cellulose paper. This is cellulose paper. It is not 100% gotten, it is 25% cotton, right? So this is cellulose paper. And then this is how my colors react when I do wet on. Okay. And this is my colors will look if I'm not doing wet on, if I do wet on dry. Okay. Now, let's see how it will behave on a cold press paper. So on a hot press paper. So on a hot press paper, I'm going to just water it. Okay. Then we are going to take colors and then we'll drop it. Okay. So this is how it will react and we'll also wait for the end result as in once this is dry, how it will look like. Now I'm just doing wet on dry. This is how the colors behave. Okay. Now let's move on to watercolor mow techniques where we are talking about watercolor washes. Okay. So let's talk about the first wash, which is flat wash, meaning the same it is same across the paper and I'm just going to divide it roughly again into four parts. Okay. And then I'm going to just wet the whole thing. Okay. And this time I'm going to try a different color. So we'll take green. Okay. Then because it is flat wash, meaning the whole color is same across the square, right? So the color is all same so you can paint in any direction. Just blend it all nicely. It is same across the square. Now, because this is wet, I'm going to just water here. In this, we will talk about graded wash. What is the graded wash? I'll be bringing the same color down, so it is going to change the total value of the color from high to low. Okay. I'm just going to pull the same paint down. Okay. So for this, I'm going to use, what should I show you? Say we'll use the screen. Okay, Cadmium green light. So I'm starting from the top. Okay. Painting in a zigzag motion using my entire brush, Washing my brush, coming down, right? So I'm dragging the paint down. That's it. Right? Okay. So that's it. This is a graded wash where the color value is high on the top and low at the bottom. Now let's talk about variegated wash. So variegated wash is nothing when I'm blending two colors together, like two or more colors together, it is called as variegated wash. Okay. So for variegated wash, I'm going to try the green and yellow, so I'm going to start from the top. Okay. I should have taken blue, actually, to show you very nicely, but that's okay because I've already picked up now. So and then yellow at the bottom. Okay. So because I picked up green color, which is not too prominent and let's see if you are not able to understand, I'm going to just repeat this exercise and show you with a different color. Okay. So now yellow from the bottom. And what we have to do, I want to drag both the colors in the center so that they blend together. And what are they going to form? They're going to form a light green shade, right? See. Okay. Now let's try the same slice with a different set of colors. So I'm going to again paint this thing. Clean water. So we are putting clean water. And all these watches that we are doing, we are using wet on wet method that we have lon here. Okay? So Okay. So now I'm going to take my rose madder. Okay. I'll start from the top. Take some more colors. Okay. So Rose madder, I'll come halfway with this color. Wash my brush, and I'm going to take yellow and start from bottom. Okay. And now I'm gonna wash my brush, and then I have to just blend the colors together. So I brush the brush and then blending both the colors together, right? So now when you see what is happening, Both the colors got mixed and it has formed a peachy color in the middle between this pink and yellow shade. That is called variegated wash. This is variegated wash, this is variegated wash. I can even do three colors at a time and that would also be variegated wash. This is all the watercolor techniques that we'll be using throughout the class. The last one that I want to show you again is the difference of these techniques on these papers. Why do I recommend working with watercolor paper, which is 300 GSM. Let's dive into that. So I'm going to show you one wash. So let's say that. I think that is very important in order to understand the difference between these papers. Okay? Okay. So I'm going to use the same color combination as here. So we'll start with caramine on the top. Wash my brush, take yellow, start at the bottom. Come at the top and then blend both of these together. See? First of all, the paper is coming out as I'm rubbing because it is not 100% cotton paper. Now let's talk about the hot press paper. Hot press paper is very smooth in texture. It doesn't have those mini grains like the cold press or rough paper. Okay. Then I'm going to take my yellow. And then we're going to do the same thing, so we are going to just blend it. Okay. We'll wait for some time to see the difference, but you will get the difference between all the colors, right? So sorry, my paper is still wet. So yeah. So if you see the difference right, the blending has come out very smoothly. It will even come out very smoothly here, but then the water doesn't react like the way react in a cold press paper or a rough paper. It would be too smooth, right? And then here, I think you can control how the color flows much better. I've used artists use hot press paper for mostly their botanical illustrations. Okay. And then here is 25 person cotton paper, which is cellulospas, you can see the rough edges, the paper is basically coming out, right? Now you can also see the difference between these methods, I show you this is our cold press paper. This is cellulose and this is hot press, how the color has reacted in all the three papers and the difference between them, right? It is very important to learn these differences between your paper in order to decide what works best for you and for your subject. The last method that I want to show you is the lifting technique. I'm going to show you the lifting technique. So just take clean water, right? And then swipe across the area where you want to lift the colors. Okay. See. So this is the lifting technique. It works everywhere, so it will work here. Okay. And it will even work here. Okay, so I think we have learned all about the technique that we are going to use in this class. So join me in the next lesson where we will learn a ball about sketching as in how to go about sketch a flower, and then later we'll proceed up painting all those elements of the flower one by one. 5. Sketching Flower and Elements: Hey, guys. Welcome back to this lesson. In this lesson, we will be doing sketching of the magnolia, the stems and the leaves. But before that, I will also be putting this picture in the class description section. So this is the same thing that we did. So it is also talking about flat wash, gradient wash and variegated wash, right? So whatever we have tried in the previous section, you can also try something like this using different colors would be a good exercise to understand the technique. Okay, so I'm taking this paper on a landscape mode, and we'll be continuing creating the magnolia in this one. So this is how the magnolia is. So we'll be practicing the bud, half bloom, full bloom, different types of leaves, how to make stems and the leaves together. This is what we are sketching. Okay, so let's get started, and we'll do the quick sketch of these I'm using my pencil, regular pencil pencil. Okay. So let's start by sketching and learning. So I'll start with sketching the bird. Fine. So I just look at the shape of the bird and then I start sketching it. If you don't want to sketch this yourself, you can skip this lesson and jump onto the next where we'll be directly learning to paint this. And anyways, I'll be putting a snapshot of the sketch in the description section, you'll be able to check that out later. Okay. So this is the bud. Now I'm painting the half bloom, this one. Okay. So for the half bloom, I'll concentrate on painting the main petal. Then we're going to do surrounding petals. One this side. Petals are behind. Like the main petals. Okay. So I'm taking a very rough idea of how the sketch of the artwork is and then taking inspirations and then drawing these shapes. And now we can make the full bloom. Okay. So I'll be doing a full bloom here. Right? Yeah. And here would be a tiny leaf, right? So this is the leaf. And then I can take out branches as I want. Okay, so this is the full bloom. So I feel the petals on the side have gone like too flat. So we're going to correct that. And in order to correct them, I'm going to just erase this part and redo these petals. So I'll be erasing them and re using redraw the sketch. It's okay that if you have to erase quite few times in order to perfect your sketch, I would say that take out time, do that because when it comes to watercolors, um, yeah, I think sketch if you have a nice rough sketch, um, you're already halfway through your painting. Okay? So going to sketch some stem, right? So let's say this is my stem. Okay. And then a small leaf coming out of it. So you can decide where you want to pull out the branches and all right. So yeah, that's good. So here, I'm going to add one more, and then one here, and I'm going to take some branch here and a leaf like two leaves here. So here, okay? And here I'm just going to leave that stem coming out, but no leaf. Okay. So now moving on to leaf. So we're going to make two kinds of leaves. So let's say that this is my stem, the cutout stem, and then I have a leaf here, a leaf joining it, and a leaf coming out here. Okay. Then we have a bigger leaf as in if I take one leaf and then zoom it and then paint it. So it would be something like this. Okay, one leaf. Then we'll see how to paint that. And then instead of the leaves and then this smaller one, let's say that I have to make a bigger one, right? So I would be doing this. What we are doing is we're zooming this one, this one, like up close. Okay. So the leaves would also become bigger. Okay, so that's it. This is how it will look like the sketching part. Now, what we'll do in the next lesson, we will learn to paint all these individual elements, and in the final lesson, we'll just pick up one of these flowers and then create a composition around it alone. So let's not wait and join me in the next lesson. 6. Coloring the Flower: Okay, so let's start sketch painting these flowers. So till now, I have used only one single brush for the entire thing. So we'll see how it goes further. And still I'm using my Princeton long round brush. We'll start with the petals not petal as in the bird, right? And then as we were using, we will use my palette. This is this is my caramine and I'll start with using the caramine as a very light shade. Okay. Now, before I start with caramine, we can also work on this petal wet on wet. So let's wet this petal. Okay. And I'm going to just back and forth so the water goes inside the sheet very nicely. Okay. And now start by I'm using a diluted version, if you see, there's a lot of water in my color. So we'll start at the bottom, see how the color is flowing. So this is watercolors and this is wet on wet. I don't have to do anything. So Watercolor does the job that it is supposed to do best, right? So I'm just going to spread. So this spreading technique, if you remember, we have learned in the technique section. With this right, we were spreading the paints, right. So we have already learned this technique. Okay. And then the bottom top section of this bird is a bit lighter and then yellow in shade. So we're going to do that. Like put some yellows. Okay. And now I'm wetting my brush and then just going over to make it a bit lighter and then using our caramine colour to paint this area. Okay. Okay. So we'll just let this one dry before we do a second layer or do another round of the colors. So I'll now jump onto this one. So the technique is same. So I'm going to again show you a couple of petals as in how to do it, and then I'll just speed up the video. So let me show you a couple more before I speed up the video. Again, same thing. Dropping colors. Now let me just show you a method. Now because I'm painting it and I'm mostly painting it upside down, I want to keep the colors. On the bottom more, the color value is high, and as I go on top, the color value is going to reduce. See what I'm doing is. I've just tilted my paper and I'll just let the colors flow. Okay. And then we will just soften everything so that there is no hard edge. Okay. See. And then when you do this, just return it and then just do some strokes like this. Okay. It is a very easy technique instead of painting the right way. You do upside down. It helps in building the color value. Moving on to the next one. So because this is still wet, I'm just going to cover the petals which are behind. Okay. Now for this one, I'm going to just make some peachy color. To make peachy color, we have seen this. I'll be mixing a bit of yellow to this mix and it down using yellow ok. Okay. Then I'm going to use a very watery version of this at the back very nicely around these edges, right? Okay. Watch my brush and then just blend everything together. So in case you're wondering what is softening methods, I also wanted to show you something. So let's say that I have done this color which is wet on dry, right? So now, see the edges around this is too sharp, right? Now, how I want to do? So if I want to make it soft, I will just dip my brush in water, take the water, just wipe across, right? See? And just lift anything that is unnecessary. Now you see the edge that is as hard as this line has become so soft. That is what I meant by softening, softening the edges, the border, blending it together. Moving on to the next one because this is dry wet. I'm going to just leave this and then do this. Wash my brush, and again, blend all together. The other thing is why I keep jumping from petal to petal. Let's say that I have painted something. I have painted something here. Now immediately I go ahead and then paint something beside it. See, you can see the color is flowing backwards. This is what we try to avoid. Hence, if the layer is wet, I will wait for the layer to be dried up before I move onto it. Okay. Okay, so let's see that this is dry enough. So it is not dried, but it is dried that I can jump onto the next petal. So we'll start wetting the petal here. Okay. And I'm taking some rose madder and just putting all the colors here at the bottom. Wash my brush, take a clean water, again, wash and then just blend it. Right? Okay. I'm going to do the same thing here. So just going to speed up this video because the same thing that we are doing again and again, the methods are same, not changing anything, so I'm going to speed up the whole video. So I'm also lifting when I feel I have to lift the colors. Okay. Any area has to remain light in tone, I will just lift it up. So let's do our third flower, and then we can do the leaves. Okay. So again, same method. I'm going to just show you this petal, and then for the whole flower, I'm going to just speed up the video. So you can go slowly and then cover all flowers all petals one by one. Okay. So I'm taking rose matter. Dropping it here because this is the leaf we set, so we want to avoid that. Now, to make this flower a little bit dark and then show that it is connected to stem, I'm going to just drop some burnt umber here at the bottom to make it dark so the colour at the bottom is a bit dark. Okay. Say clean water and just go through the whole thing. Okay. And then we're going to just repeat entire thing again and again for all the petals. Okay, so now we have completed all the petals of all the flowers. Now it's time to move on to leaves and then the stems. So see you guys in the next lesson. 7. Colouring the Leaves and Stems: In the last lesson, we have learned all about painting the petals. Now it's time to move on to our leaves, and then the last would be our stems. So let's say how we want to paint our leaves. For painting knees, I prefer to mix my own green color. So what we'll do, we'll do a combination of yellow, the cadmium, green light, and odigreen in a mix and match quantity, and then we'll create our own greens to do this. Okay. So I'm putting water first. We'll take a yellow color. And I'm gonna drop the yellow. Then we'll take my cadmium green light, and I'm going to drop it on top of the yellow. Okay. And then I'm going to drop some water green as well. And now it's time to bring it all together by blending them. Okay. So I'm gonna drop some more green at one side of the leaf. Right? Okay. Now, this is one method of painting the leaf, okay? What is the next method or the best method that I love to paint. Leaves is what I'm going to just teach you next. This is a game changer because then you don't have to do one leaf by one leaf. So take any round brush, okay? And what we have to do is take your brush. Okay. To your brush. Swipe lift. Okay? No dip your brush in water because it's just too dark. Tick for me. Again, touch your brush, press it down, and swipe and then done. Right? See? This is so easy to paint leave instead of doing the leaves in this way. Now what I was saying this method, it's a game changer. Let's try with two different colors. I'm going to take this verde green over here and then green on the other side of the brush. Then let's go ahead and try again. Press the brush, drag it, lift it. I'm going to take a bit of water. Press the brush, drag it, lift it. This is how you can make any leaves, and then for that matter, if you want, you can make any shape also, press, lift. Press, lift. Then if I want to drop some colors, I can just go ahead and drop in later. Okay. So yeah, I will be making glass the next two leaves in the similar manner. So let's go ahead and create them. So I'm taking the ordigreen and bit of yellow and touch, drag and lift, touch, drag and lift. Okay. And now this one. For that, I'll take a bit of green, touch, drag and lift. Okay. Touch, drag and lift. Okay. Then if you want to correct the colors, you can just go ahead and lift from wherever you want to lift. Okay. So this is how you can paint the leaf. Now, even the bigger one that I want to do here, right? So I'm going to do same way. So touch, drag and lift. Now, I'm just going to take some water and some lemon yellow. So I've just mixed green with the yellow mics it makes it lemon yellow. Okay, so touch, drag and lift. Okay. Now, just blend all together. And then I'm just going to just take this drag it. So it forms my stem. So now I'm taking a smaller brush because we are doing the branch, which is comparatively smaller. So let's start. So clean water, and then we are going to wet the branch. For this one, we are going to use born sienna. Born sienna, and then we just go over this branch. If there is any extra water, you can remove it because it's such a small area. So one thing to make sure is when you're painting with watercolors, if your paper has a lot of water, make sure that your brush has less water in it, and if your brush has a lot of water, paper should not have a lot of water, right? That's how you can control the water quantity, the ratio between the colors and the water. It works out perfectly, and it helps you in blending everything. Okay? So let's start by adding the leaf. So I'm going to just take my yellow mix with cadmium green. Okay. This time, I'm going to do wet on dry. Okay. So for smaller spa areas, if I'm looking for a detail, I will not go for wet on wet mostly. I'll go for wet on dry. It gives me the upper edge, like I can control it, right? And then as you can see, one very important thing that out of all two jars of the water that I had, one jar is dirty because I have been washing all my brushes in this jar while I'm maintaining the clean water. That is how we have to work with watercurs. Okay. So let's do another one. This time, I'm going to show you how it looks like when we do wet on wet. So this we did wet on dry and this we are doing wet on wet. So I'll take the same color, dropping the color only on one side. Okay. Now washing my brush, taking clean water. Every time I wash my brush, I'll go on paper towel or my cloth to dab it. I prick up clean water to shed away extra bottle, I didn't dab it. And then just blend it. Okay. Now try more. Again, take the color. So wet on wet has its own charm if you know how to work through it. And after a while, you will also understand the importance of working wet on dry. So it all comes from experience, right? And this one I'm making wet on dry. Okay. And then the last one Okay. So I've shown you three or four methods to paint leaf. You can opt for anyone of your choice and whatever you like. And then create these awesome, amazing green leaves. Okay. Okay. I'm done. Now, what we'll do? I'm going to add a bit of CEPIA to this stem to give it a shadow. Okay? So on the one side, only on the one side, I will be filling this with a touch of CPR, it is also a very diluted version of the CPA that I'm using. We have another branch to finish and then we have branches of these to be finished that we are going to cover in the next class lesson. Let's go to the next lesson. 8. Finishing Stems: Come back. And today, now we are going to in this lesson, we will just complete all these stems that are pending. We also have one leaf here that we did not complete in the previous lessons, so I'm just going to do it now. And I have changed my water jar legs I was too dirty, so I have changed it, and then bought a very fresh jar of water to start, okay? So the leaf, it is, again, we are going to do in the same pattern. Okay. Okay. Now I'm coming to the stems. So this one is pretty simple. So we're not going to do back and forth filling, right? So we'll just try to create this in one go. And now I'm taking burn sienna and Sepia as a mix and then using dabbing extra water on my cloth. Okay. So we'll just go in one stroke. Okay, in one stroke. And make sure that you're using a pointed brush for this. Okay. And now we're going to just read the leaf. I'm mixing my Verdi green and chrome cadmium green light, and we'll just use the method that we learn. So this method, right? So I did it with a bigger brush, but then now we can do it with a smaller brush. See, the same thing, Touch your brush, press down, lift, touch, swipe, lift. Okay. Okay, so this covers our smallest branch. And then now I'm just going to do the stems of these things and then we'll complete this one. Okay. I'm going to show you something interesting here, so we'll cover that in a bit. Okay. So again, I'm doing whatever I'm doing is wet on dry. Here I have not wet the stem beforehand. Now the other thing that I wanted to show you, so I'm going to use some of my ultramarine blue. Now this stem that we have pasted or painted just right now, I'm going to just take my ultramarine in a diluted quantity, of course, and then drop it here and there in that stem. So blue mixed with ultramarine to form a paints gray color. But now whatever will happen will happen naturally, and then we do not have to interfere in the process. Okay. For this one, I'm adding sap green, sorry, CPA color or sap green, CPR then I'm going to take out the Dan using CPI itself. Okay. Now we'll move on to this and this and then lastly, we'll come on this. This one, I'm going to keep it pretty simple. Born Sienna, and then CPR and some ultramarine blue at the one side, like Okay. At one side, I've just dropped that color. Okay. So what does that mean? So let's say that I have painted this branch, right? Now I'm doing it bride so that it is visible and then you can understand it. Okay? So this is how it will be. And now I'm going to just take my ultramarine blue, drop it. That's it. That's what we are doing. What it will do, it will turn that color into darker shade. Even if I have to go and drop Spa, I'm going to do the same. So I'm just dropping it. I'll let watercolor do its job. So we're not trying to control too much. Okay. Now coming to this one. Lightly added bon sienna, then took a lot of water on my brush coming through. Now I'm taking CPA. If you don't have CPA color, you can mix paint gray in your bonsiena a brown shade and you'll get a CPA. Now to make it more dark around this corner, I'm just going to drop ultramarine blue. And then drag everything to one side. Okay. So that one side stays dark and then you can lift also colors, right? So wherever you feel you want, lift the color. We have already learned the lifting technique here. Okay, now we are on to the last. For this one, I'm going to just turn the paper upside down. It is too easy to paint this way. And now let's start by wetting this branch stem. Okay, I'm starting with raw umber and bon Sienna mix, and I'm going to just drop it. Take some Cepia and then drop it. Okay. So I'm going to wash my brush and then again, put water here. Okay. This is not brown, but this is going to be green in shade. To take your green color, you can mix your golden green with cadmium light and some bit of cadmium yellow to form your own green color. It would be too vibrant. See. Wash your brush and then just finish it off. At the bottom for this branch, when I'm going to add some ultramarine. If I have to create pattern, what I'm going to do when I drop the color, I drop the color in this motion. Then I am able to create some patterns within that stem. Okay. This will naturally form a very nice blend of brown CPR, the altamarin going to form it very nicely. Now, what is left, right? So we have done this. But now, detailings are missing, right? So join me in the next lesson and we'll complete the detailing and then we'll move on to the final composition. See you in the next lesson. 9. Sketching the Final Composition: So let's start the new composition of whatever we have learned. So how are we going to do that, right? So if you remember rule of third, then I divide this paper into three columns and then three rows, right. This area would be my focal point. Okay? So I'm going to draw the biggest magnolia that we have. So we're going to draw this biggest magnolia that we have here. Okay. Or we can make the composition using a half bloom. Okay? So that also works perfectly. And in the size of paper, I think that will fit nicely. So instead of making the composition with the biggest flower, I think we'll use the half bloom, the bird, and then the branches. Okay. So let's go ahead and then do this half bloom. So Okay. We have and then the center petal. Yeah, I think this looks more good rather than that full bloom because it gives me a lot of room to add extra stuff, right? Okay, perfect. I think this looks nice. Okay. So I think I like this composition better. And now what we are going to do is I'm going to just use like this small leaves around here, right? So So leaves around here, something like this. And then we'll pull the branch down. So my branch is coming down. Okay. And then I'm going to take out this branch for the bud from here. So let's say that I have this, my branches coming out, the stem is going, and then here I have the bud, right? So here I have the bird. See, how it has naturally tied up. So now it looks like one single branch. It should not look like to segregated also, right? So this is important. And then now let's go ahead. Right? So magnolia, so it is a lot of branches can come out here and there. Um, we can try something from our composition as well now, right? So we can add some leaves to this one. So let's say that. I have some leaves to be added. Okay. Even I can add a leaf here as well. Okay, or we can add more branches, more blooms, whatever, right? So it is up to us as in what we want to really focus on when we are trying to create that composition. So we can have a leaf branch coming here in a different direction. Okay. So something like this. And then it can also have a branch coming out that we just leave it. Okay. What else? So I can have a stem coming out of here. And this can be a super closed bid right not this one, a very teensy, tiny bird flower bud that is there. Okay. Now, just going it down and I can have something here. Okay. Yeah. And from this Branch, I can have more leaf, even leave here. And that's it. I think otherwise it's going to just overdo the composition. I like this, so it's flowing like this. Looks good to me. Because of the focal point, the viewers attention is going to go here, then here and will come down. Okay? So I think this is good. Now to paint this, I'm going to just tape the paper so that my paper is not moving and then we can paint all the individual elements very nicely. Before we get down to the painting, I'm going to use my kneadable eraser, uh, to lighten the colors of the final artwork. If you don't have kneadable eraser, you can just dab your current eraser like this and the graphite marks should come out. Okay. So this is how your pencil sketch should look like. 10. Painting Final Composition: Okay, so let me just tape it down and we'll start with our lesson for painting this. So I'm going to use my washi tape. And because we are not yet painting the background, I'm just going to tape it from two sides like this, so the paper stays in the place, or you can also tape it from four sides. All right. If I have to paint a border, then I'll just tape it from all the sides. Okay, so that's it. Now, let's get started. So we are going to just do the same thing whatever we have learned. So with this petal now because you already know this, I'm going to draw two, three elements just to show you and then we'll just feed up the video to cover it. Okay? So I'm using now two brush at a time to speed up the process, so I will wet it with one brush. Okay. I'm going to use the second brush to quickly color it. I don't have to wait to change my brush, wash my brush again and again. Okay? You don't have to do this. You have to just take your sweet time in doing whatever we have learned. We have already learned everything. I just trying to tie all together in this composition. But we have already painted all this, so you know how to do it. Okay. So now, I'm going to put on a very nice soothing music so you can paint along. But this is what we are going to do. Now my stem part is done and you're going to do the leaves. I'm going to do the leaves very quickly as we have learned in a different method. Okay, so touch drag swipe. Okay. I'm going to show you one more. It some water, use your entire brush, dry. This way, I'm going to cover all the leaves. So now we are done with this, right? The next thing for us is to complete our flowers, so we'll just continue doing that. Okay, so this is done. Now I have to do the detailing. So for me to do the detailing, I'll have to wait for this one to dry up and then we can do the detailing. Okay. In the meantime, I think we added a bird here, but I converted that to a leaf, so I'm going to add a bird over here now. So that's it. Then I have to wait for this to dry up to add the final detailing. See you in the next lesson where we'll be adding detail to this particular floor of composition that we have created. So see you all in the next lesson. 11. Adding Details and Finishing: Okay, so for the finals, we are going to just add the veins to these petals. And last time as we did for the other ones, you go to have it like a debuted portion. Okay? Okay. And just to finish that off, either you can use a white gel pen or a white gauche. If you don't have both, you can also use white watercolors. I'm just going to show you one little difference trick as in how to make this fork, right? So what we can do is I'm using white gauche. I have using whitewash. You can use white watercolor or even a white gelpin. So it also works perfectly fine. Now with this white gauche, what we have to do is make sure that your artwork is dry and then you just create a very small separation between them, right within the petals. Shadow and a highlight, which will tie everything together. Okay. Mostly to be done in the center petal, which will lift the center petal and then it will give an upper edge to all the other petals. This can also be done by lifting, but because we have already learned lifting in a lot of areas, and I think we also left the color light in this one. There are different ways of how to achieve that. I just showed you another way of doing it. Now you see this with such a small detail, it has made that whole flower stand out. Okay? So I think that's it for this lesson where we have added all the details. I'm not going to add tiny details to these leaves, but I'm going to show you one if you want to add, so maybe very thin lines of watery green color. You want, you can go ahead and add details like this. Okay. Okay, so I think that's it and see you all in the next lesson. 12. Conclusion: Congratulations on completing the class. I hope you're feeling confident with whatever techniques we have covered and that you enjoyed painting Magnolia in three different ways. I would love to see what you have created, so don't forget to upload your project to the Project Gallery. Whether it's your final project to progress shot, I can't wait to see how you applied the techniques you have worked upon. If you enjoyed the class, I would really appreciate if you could go and leave a review and follow me here on Skillshare to stay updated on future classes. Your feedbacks help me improve and create content tailored for you. Thank you so much for joining me on this creative journey. I can't wait to see how beautiful your works are in the Project Gallery, wishing you a very happy painting.