Mastering the Realism of Painting Roses in Watercolor: Wet on Wet

1. Intro: Have you ever tried painting watercolor roses, but feel like something was missing. Maybe you're not quite happy with how they turn out. And you're not sure what you're doing wrong. Are you struggling to create smooth layers over the petals? Are you unsure how to create depth and add cast shadows? Don't worry. I know exactly what to do and how to paint realistic roses in watercolor. I can teach you how to achieve a smooth layer, how to create a natural color for each petal, and how to add depth to your painting without overworking the areas? The key to painting Chris rose petals in watercolor is number one. To use the wet on wet technique, number two, mix colors on the paper. Number three, start with undertones. And for the shadows, number four, use primary colors if you paint a white peal or complimentary colors. When you paint wet on wet, you'll see how forgiving this technique is. With wet on wet, you can cover the area much faster. And you don't have to worry about the paper drawing too fat. Plus, you don't have to bother with many if any details at all. In this course, I'll t how to control what and paint on the paper from the very beginning, and also how to create natural shadows using primary colors. My name is Mariaa Chinka, and I'm a watercolor artist and teacher. I have been teaching how to paint with watercolors since 2016. I have taught thousands of students how to paint with watercolors. I have a lot of experience as a watercolor teacher, especially with the techniques, such as lifting colors, wet on wet. Layering an object with undertones or mixing colors on the paper. In this course, I'll teach you how to paint different rose petals and a whole rose using wet and wet and lifting colors, and also how to paint with undertones. This course includes lessons on painting multiple rose petals with each project designed to help you improve your skills in painting realistic roses in watercolor. You will get plenty of practice and gain the confidence you need to create your own roses in watercolor. 2. Class structure: The first two projects, one and two, will focus on exercises, painting two separate petals. You'll blend colors on the paper and create your own state of gray and white using primary colors. You also paint cast shadows. In Project three, you will paint the entire rows all wet and wet, and we will mostly use primary colors, so yellow, blue, and red. Project four is a painting challenge, and I will guide you through painting the first main petal. Using undertones. In this course, I'll teach you how to control water and paint. You'll learn about undertones, how to lift colors, how to layer object, wet on wet. You'll learn how to read a reference image. You'll learn how to paint cast shadows with hard edges, and then also soft shadows. I always simplify things and put myself in the shoes of a beginner. Since I was once that person who didn't know the difference between wet on wet and wet on dry. In this course, I'll teach you how to create stunning and lifelike roses using primary colors. Get ready to unlock the secrets of painting beautiful roses with a limited color palette. Let's dive in and bring these blooms to life on paper. 3. Art Supplies: This course is about painting single rose petals and a full rose, but we don't need that many colors or brushes and just one type of a watercolor paper. Let's start with a paper. I recommend using 100% cotton watercolor paper, cold press, 140 pounds, a paper that is good for layering. The paper I recommend the most is arches. Basically, you need a paper that is good for layering that has a texture. As far as water colors, you don't need to use the same brand of paint I use which is whole wine. You can use colors that you already have. As for other art supplies. A small bath towel to wipe your brush on, which is essential, a paper towel for additional lifting, three small jars with clean water for the easiness of dipping a brush and cleaning your brush, for example, a plastic palette, or if you don't have one, just a dinner plate, a good light with a daylight bowl. And preferably two lamps on your desk, plus a headlight, a color wheel on your desk, but you can use the one that's in the workbook. So let's get started. 4. Petal 1: Intro, Color Theory, Wetting: Hi, friends. Welcome to this first class. We're going to focus on painting just one petal. Try to have a larger sketch. You can use my sketch. It's available in the workbook. Or you can sketch it on your own. Just try to have it larger. This is how big my hand is next to the petal just to give you an idea because the larger it is, the more room you will have to play with the colors, the blend the colors, and something I don't recommend is using a tiny brush, let's say round two and trying to paint every little area. That's not what you want to do unless you're trying to work on veins and using specifically heavier ratio between water and paint, let's say heavy or cream top. I'm referring to dairy. Then it's okay to use a smaller brush, but overall, you want to have a larger you want to have a brush that you can cover more than just working with a tiny brush. That's something that number one thing I would recommend. Even this is a little small. I suggest like using something this size. This is my quill brush, so it's a long qui four. But if you have a regular round brush, then probably would be maybe a size 14 or 16. The first thing is to wet the petal. And then you focus on undertones and the lightest colors. Basically the lightest colors you can see in the petal. This petal is more yellow is on the bottom here, and then we see the yellow tones here, but these tones become cooler. One way to take that warmth away is by adding a little bit of blue for example, but you have to be careful because when you mix yellow and blue together, you create a shade of green. It's best to mix colors on the paper versus your palette. The thing is, to me, these areas here, they feel like a gray, a grayish tone. Now to create a natural shade of gray, all you really need is primary colors, red, blue and yellow. If you have a color wheel handy, that would be great actually dit editing this class, you can see it a time, but it's important to have it in front of you. And you can hang it on a wall. This is what I did because at first color wheel, it's like, I don't want to hear about it. It's confusing with then because you have that color wheel actually in front of you on your wall, you get used to that idea and you keep glancing at it and things start to make sense. You want to know this because it's like a shortcut in a way. You don't need hundreds of colors to use in the painting. You can simply just use primary colors to even paint this little petal here. So for example, to create that natural shade of gray, all we need is yellow, blue red. Then it's just a matter of how much you blend these colors. You don't want to blend them completely because you actually want to show the separation of colors. Then it's just a matter of adding more red or more blue or more yellow to that blend to determine if it's a yellow, gray, blue gray or red gray. I have a separate class in my other course here on skill share. I will just direct you there, and so you can take that class if you want to practice the gray. But here, I already have my palette ready to go. This is my mas on yellow. This is my cob blue here. Then I have two reds, right rose and Qin red It's up to you what colors you use for this painting. It really is up to you can paint with a different brand of watercolors. These are just suggestions. Of course, I love these. Of course I will suggest them, but it's up to you, so don't stress about that, and also the same thing with brushes. Just have a comfortable brush. Now, the best way to explain really everything is by showing actually. I am grabbing this long cool size four, and I'm going to begin wetting. I'm already wetting it and use the pointy part of your brush to go along the sketch lines. Just go along these sketch lines. Try not to go over. Although this is an extra say, so it's okay to do it quickly. You still want to actually wet this for a while because the longer you wet the paper, the more time you're going to have to apply the colors. We don't wet. I suggest wetting it for like two or 3 minutes. Wet it as long as you can. 5. Petal 1: Applying Colors: Now this is pretty wet. If I feel like I have any puttles of water and I don't want puttles of water on top of the paper, then I'm going to remove it with the brash and just wipe my brush on the towel. However, you have to be careful because when we try to remove that water, and the paper can easily feel damp become damp and you don't want that. You want this paper to be nicely wet, looking nice and shiny wet. No putles. You want it like this. Moving that water around, still trying to let that paper to absorb more and more. The first thing I want to do is grab a little bit of yellow. I'm going to start with the lightest colors first, which is my mas a yellow. More like a milky paint, something that feels milky. I can grab a little bit of red just so I can have a different shade of that yellow. Now this is a little too orange, I'm going to go back, but the idea is to mix colors on the paper, not your palette. I have a little chunk there. It's okay. As long as I know it's there. Then I'm going to wipe the brush a little on the tile because I have too much, and I'm going to pull it through a little bit. Just to pull it through. Now, ideally, I want to start adding the shade of gray. A little more of this yellow, let's say here, and it doesn't have to be perfectly everywhere. I just want to make sure I have it here, and then where I added that red, I'm going to grab that and just add it on this right side and maybe here just so I don't have a perfect shade of just that does a long yellow. I'm grabbing a little more water. This is my yellow, and I'm going to grab this red. My red. Then this cobalt blue. To move my palette, you can see it better. This is my shade of gray right here. But I'm going to grab now a little more yellow, and I want this to still be milky because I want the paint to spread. The minute the paint stop spreading, then it's like I'm going to have more visual the strokes, and I don't want that. A little bit of that, the grayish tone. Now I want to start introducing more of the red. I'm going to grab more of these two reds. This is still on a grayish side. I'm going to add it like Here, just a little bit. This is like mapping it out. So I have an undertone color too. I'm going to clean the brush quickly and I'm going to focus now on adding the reds. I'm going to grab this red and there's my bright rose. This feels more like a milk to half and half ratio. However, I really don't have that much paint on my brush. Recreating the pattern that I see in the petal. I went over, that's okay. As long as it's not a full rose, it's just a petal here. And whatever I see that pink, that's where I want to add it. The paint is spreading but not as much because I don't have much on my brush just in general. I'm going to wipe the brush, so it feels dam, and then I'm going to pull it just a little bit, pull what I already applied, toward the center, just a little bit. Now, if I want to do any more here, which I do when I add a little shadow, I'm going to grab these reds with a little bit of that gray. It's hard to show because my camera is a little lower. This is where I feel like I have this. The shade of that gray. A little more blue here. Then maybe a little more blue here and here, it's a blue gray. It's not just blue, it's just a blue gray. It's a combination. Then I feel like this should be shadowed and the same thing here on this side, those areas should be shadowed. Whatever you feel like there's a shadow, why not? I'm going to switch to a smaller brush. I'm going to switch to my long qual size two brush. It's a smaller brush just because I want to add more reds. How to make that red darker is the matter of adding a little bit of blue to your blend. These are two of my reds. What area is the most intense? It's actually right here. I'm using the tip of my brush, and that's where most of the paint is. Whatever. This is I guess heavy cream like ratio would be would I have more on my brush. I'm just going to move here. Now, if you want the paint to spread more, then you do need to grab more like a half and half like ratio between water and paint. I want to show you what I'm going to do next, once I apply these. Now I'm wiping my brush on a towel, I still have paint. So it's a flattened brush, a damp brush, and I'm just going to apply it toward the areas where I see that lines and also start pulling the paint like this. Now, this has to be a damp brush. You wipe your brush on a towel. Try not to just do it with a paper towel, it's actually more important to have a real towel. Now, don't worry about making it perfect because nothing is really perfect in nature. There's no two petals that look exactly the same for example. And it's a painting, so you don't have to make it all perfect like the reference image. I'm going to grab on the tip of my breast, the two colors, which is the quinacridal red, and some of the I'm sorry, bd rose, and this you can tell, it's like a heavy ratio. I call it a cream top. Cream top, and then going back toward these areas. Just make sure the paper is still wet. Now, how to make it even darker? This is when you would grab the two colors and then you would grab a little bit of blue, which becomes more like a purple, and you can grab a little bit of yellow. It feels more like what we see in the reference and go with that creamy paint toward the darkest parts that you see over the petal. We will practice more petals. This is just our first petal here. You get the hang of it. Because we have to be mindful of the fact that the paper literally is drying. We don't have hours to do this. But it's still easier to do it than wet on dry because with wet on dry, the paper dries so much faster actually. This is more of the quinac red that I just grabbed. I actually want to show more of that. Now I'm pulling it with that dam brush, I grab this creamy paint and I'm just pulling it downwards in a way toward the center's say. You can use a smaller brush for this, like a round eight, let's say, I'm sorry, round two or three, you can just use a smaller brush, I'll show you two. I'm not going to do it with a smaller brush because it's easier to do with a softer brush like this and just use the pointy part, and then you're just pulling the paint toward the center toward mid the line the vein in the middle. Now, this petal is not quite done yet. Because it's missing that shadowy vein. I'm going to use now this round two, for example. Now you want this to be yellow, gray. Grab the reds and then the yellow and some of the blue. I need more, but I want this to be cream top like ratio between water and paint. I guess it's more like a yellowish gray. Then with that creamy, cream top like ratio, you're going to add that vein in the middle. You want to have a little bit of that blue in there because that's the shadowy part that we can see. You can change the shade of it. I just I'm grabbing a little more of the blue. It's not all the same color when you look at the vein. Then since you have the paint and it's creamy, just make sure there's no drops of water on the federal part. You can add it where we see these shadows. The shadows are right there. Now, the only reason it works when I'm doing it now is because the paper feels like it's still slightly wet and I want to do it when it's dry. Now, grab that blue is gray on the tip of your brush. And this is cream top. You can add veins when the paper still feels like even damp. You can still add it because it's still wet on wet. You can add this grayish tone of these veins or like shadow we look. Whatever you see these shadows, I'm just pulling through here and this feels more bluish. If I want to show more of that, I need more blue on my brush. That's pretty much it for a petal. There's really not much to it. It's all about, this is where the light is, this is where I need to add shadows and so on. We need to pay attention to things like that. For the veins and little lines. Let's say you can grab the creamy paint. This is my bright rose and quinacridone red. Now I have it on the dam brush, it's a creamy paint. If I want to add more veins, I actually need to wipe my brush on the toe because I have too much But I just added with that creamy pate on the tip of my brush. It's a dam brush. And now I can add these individual veins if I want to. I'm not going to do it because I don't want to make it super detailed, and it's already realistic enough. So I just don't want to sit in details too much. Just the overall idea. Thank you so much for taking this class with me, and I'll see you in the next one. 6. Petal 2: Intro: Hi, friends. Welcome to this next class. We're going to paint this single petal, and it's actually very similar to the other one that we just painted. However, this one specifically has folded sides, which is one of the reasons I chose it for this class. I want to teach you a little bit more about the shadows, those cast shadows. Whenever you paint a rose, chances are 95% of the time you will see shadows in between the petals. Some are going to be a little softer and then you're going to see that those are typical darker cast shadows. So we will use the same colors as we used for the previous petal. However, this one is a little lighter, and all the darker reds are actually over the folded sides. First, we will wet the inside, not the folded sides, but the inside of the petal, and we're going to paint wet on wet. We're not going to think about these castos yet. Yes, those could be painted and added wet on wet with that first layer. However, I am going to show you how to paint them at them later once this layer dries, so they're going to be added wet on dry. Now, when it comes to the color of the shadow or shadows. It's important to refer to the color wheel if you want to create natural looking shadows. Of course, you can go with any color for the shadows. You can even go with black and gray or whatever it is, but the thing is, I don't recommend using colors such as black, straight out of a tube or gray because those are not natural looking shadows, if you are trying to recreate them with watercolors. You need to use colors to create natural looking shadows. You want to refer to the color wheel, and you want to use the knowledge such as, what is the complimentary color of the local color of your object? I'm going to give you an example with that. If my rose, my entire rose was red. Then I had shadows in between. What is the complimentary color of red. When you look at the color wheel, you locate where the red is and then on the opposite side of the color wheel is green. Green color is a complimentary color to red. This is important. This is why you would add a little bit of green to your red to create that natural shade of shadow for that red rose. Another thing is because this is all about the color wheel and how we create colors, the green is created by combination of yellow and blue together. You would be okay to even just use some blue for that shadow. But I don't get into that deep right now. But for these specific shadows that cast shadows. Because the petal here, overall the petal color of the petal is very like pale, yellowish. It's like an off white. We can go with primary colors, yellow, blue, red. When you blend these colors together, you actually create a shade of gray. And you don't want to overly mix the colors together because you want to see the separation of colors. Then based on how much red or yellow or blue you add to that blend, determines if it's a yellow, gray, blue gray, or red gray. I have a separate lesson just about that. This is like when we were painting the birds on Skelt here. I'll just direct you over there. We direct you over there if you need more practice with the grays. 7. Petal 2: Applying Colors: But the best way to explain anything basically is in practice as we're doing something. I'm going to grab my long il size four brush. Now, try to have your colors ready to go. I have mas yellow, Q red, bright rose just because we've been using already in this through the course, and then I have cobalt blue here. Those are primary colors, basically, yellow, blue, red. I just have an additional shade of red. It's a very simple color palette for the entire class. What you want to do is wet everything on the inside. Just don't wet these folded sides, please, just so they stay paper dry. We have a little piece here. Just the inside like this, and take your time wetting because you really want this paper to stay wet longer. Because the longer you wet the paper, the more time you're going to have to apply the colors. Whenever you paint a white object in water colors, you can simply just use red, yellow, and blue primary colors. You don't need to use specific color from the palette of all the colors you have. Let's say hole bine has over 100 colors. You're adding more colors, but right now it's it's 110 maybe. Just because like, there's actually a very similar shade of that's yellow, pale, yellow. It's the an brilliant number. I look at the palette now. It's like number one, I think. I could easily use that color and you can. It's a beautiful shade. However, your petal will look actually more natural if you just go with the primary colors, yellow, blue, red. Now, about using those other colors, I tried to go with more transparent colors like John John Brilliant one is a more opaque color because the color has a lot of white in it. The thing is it's a beautiful color and great to add the last Let's say you want to add splatter or maybe more grass at the end of completing that first layer. But I wouldn't use it to blend colors together because that color has a lot of opacity already, so it's easy to get into muddiness of colors. Just F Y if you are thinking about using more opaque colors, I suggest just make sure they are separated from other colors a little more because otherwise it's super easy to get them the muddy look. The little over, that's okay. I've been waiting for a couple of minutes here. I'm pretty ready to apply the colors. I just don't want potles of water because that means the paint will just spread too much. I'm using the tip of my breast to go inside like this little corners, let's say. But I'm not adding any more water. I removed a little bit of water. I felt like I had too much. What colors, I'm going to go with this milk clad cratio because I do want as the paint to spread. Milk cla cratie of this eimi yellow, I'm grabbing a little bit of red and some of this blue here. This feels more like the yellow I actually see there. Although some areas seem more yellow cleaner. So I'm going to start with whatever I can pick up that yellow shade I just created, but it's more like what I see in the reference. If you want it to be cleaner yellow, just don't even clean your breast, just grab like a cleaner yellow, although I have a little bit of red there. And as you see, I didn't like overly mixed the colors on my palette, I quickly grab them and swirl through it. I just don't want perfectly mixed colors together because it makes no sense. You want the separation of colors to happen. Now what else can I add it? Well, I definitely see that yellow is like an orange. If it feels more like an orange, that's when you grab a little bit more of the red. Do I want to keep going? Sure, but maybe not as yellowish? This is when I can grab a little more of the red and some of this blue, but I don't want the colors to be too mixed up because again, if I do that, that means I'm going to create a shade of gray or let's say yellow and blue gets too mixed up together. You create a shade of green? I don't want that. Try not to focus on the shadows like the cast shadows. I'm talking about the one shadow here and then the other one. Other shadows yes because these are softer shadows. For example, I see a softer shadow here, I see a softer shadow here, and I see a softer shadow here. I can change that this way, I can change the shade of that yellow. I want to clean the brush because I feel like I don't want to make it too pale this petal. I'm going to go back to square one, which was just the yellow with the red. I'm going to go with this I had to wipe my brush on a towel. This is like a milk like ratio, but I did wipe my brush again on a towel because I felt like I had too much water. With that paint. Now it feels better, not as pale. I'm just pushing the paint down a bit. I'm going to grab again, there's a little bit of Qin red with that yellow, there's a little bit of blue here too. I'm going to go back here, whatever I feel like, actually, it's a little richer on that color, and then get closer toward these folded lines or the petals or the parts of the petal, the same petal. Just get closer here. And let that paint to spread. Now, we do need the darks for the shadows so that grayish mix. For the soft shadows. Red, blue, a little bit of that yellow, uh this is too much yellow and I need more of that blue. This is more like a gray. Where do I go? I'm not thinking about the cast shadows yet, but I'm thinking like here, and this is a little spreading too much. What I had to do is wipe my brush on a towel. I want a little outside too much. What I should do really is just to use a different price, but I'm going to try with this one. What I should do is use a medium stiff price. But maybe I'll be okay for now, at least for now. Then here, just add a little bit of color and what I need to really do because I'm not thinking again about these main casts. I'm going to spread a little bit of that gray here just because I want to show that it's that the shape of it like we see in the reference. Again here too, this is the gray that we created with a yellow blue red. I just need the prettier shape here. Something like that. Then clean your brush and grab some of this yellow, but more like a heavy cream now of the yellow and red right here. Add it whenever you sense that red in there. You can grab that bright rose to. I wipe my brush again on a towel because this time, I don't want to add too much paint. I don't want this to spread too much to B the paper is like ready to like it almost feels damp, almost it starts to become damp. That's why I don't want too much water. This is more like a heavy cream, but I wipe my brush on a towel, so the brush feels more damp too. If that makes sense. What I need to quickly do is add more color here. L et's see there's a line almost. Everything gently with the tip of your brush, basically want to have the most control. I'm going to grab the stream top ca with this brush and just like the brushes squished. I'm just using the side of a brush. Just to add it whatever I feel like, I can see that color, but I'm going to make it more damp the brush and pull through, although I need to be careful here, the camera. Toto close. Then go right right next to this petal right here and pull it. It's okay if you add more color than what you see in the reference too. You can make it brighter. I think something like this, I'd like to do the same thing. I'm not using the right brush for these little strokes. Just feel free to change the brush, but I'm going to grab a little bit of yellow too. And just add it here because I do see some of the red and yellow right on the bottom in a way. Then I should grab now a little bit of that blue. It's not just like a bright orange or red, whatever. I just want a little bit of blue too. It needs to have more of the blue here. The shadows, those are my shadow, softer shadows that I'm adding right away. And that's to create that dimension. I'm going to clean the brush slightly or not clean it. I'm sorry, wipe it on a towel. I need more of the blue. I'm trying to scoop a little more of the blue just so this is a little darker here as well. I am going for that realistic look overall. 8. Petal 2: Soft Shadows: But I don't want to do too much detail. That makes sense. I grabbed a little more of the yellow. This is it like a typical damp brush technique. When you have a damp brush and you either use just a damp brush or you use a paint on your damp brush, you're working on a still like shiny paper. If your paper does not have that shine anymore, then stop your work right there because you will just lift the colors. The paper needs to feel damp. I'm going to clean the brush now. I'm going to show you one more thing we can do. Again, with that damp brush technique just to make it clear. It works as long as there's still shine on the paper. If there's no more shine, leave it because that means the paper feels damp and you're just going to start lifting colors, basically. If you need to lift, as a matter of fact, you can do that. Let's say I added too much color, so you would use a damp brush and lift there, for example. Then thing you can do is grab the reds that you grabbed or you used. The reds, yellow, something like that, and then use a cream top like ratio between water and paint. I need more red. And add lines with a smaller breast. This is my round three, and you just add lines where we see that pattern like a little bit of this texture. This is two orange. I add to grab more of the red. Actually red rose would do well here, like a cream top like ratio between water and paint, just to add these lines. Now, quickly, before this dries too much, this is when you want to add the yellow, blue red. With that damp brush, the paper is still wet, but it's damp, but it feels damp. You're adding creamy paint on the tip of your brush only. This is important. The paint is just sitting on the tip of my brush. Almost like I want to say it's dry brushing, but it's not dry brushing because the paper is still wet, but you're just adding some veins. We have s. You can do this easily with a regular brush, which is normally what I use anyway. But you can add a little bit of that shadow. Here and I'm just following my sketch lines basically, but the veins. I need more paint on my brush because the brush is so damp. It's just a dry brush almost, and I'm just adding these veins. But I want to add them to the wet paper. While this is still wet, I don't want to do it wet on dry. It's just with wet on wet, you'll get a smoother softer look versus adding these veins wet on dry. Wet is the way to go. You can of course do it wet on dry, but it's just one of the techniques I use, and this is what works for the softest effect and look. There's something more to it like a little spot there, and you can add these grays through the peal. But that's pretty much it. Unless again, you need to lift the colors, that's a different story. Then you want to clean your price and use a dam price to lift the colors. Let's say I want to show you example, but maybe let's say need to lift something here. I would use a DM press to lift the color, so you clean your press wiper on our tel. But anyway, we got to wait for this to dry because I can't paint these side, the folded sides of the petal yet. And this will create a nice contrast because these are pretty rich over all, and then we also have the cast shadow. So let's walk away from it and let it dry. 9. Petal 2: Petal Folds: I my friends, let's paint these the sides of the petal or the folded parts. This is my round eight, golden one. I'm going to wet it first. Both of these or this 12 because there's a tiny one, separated, but not really. Wet it first, just like we wet the inside. We're also going to start with the same colors, so the yellowish undertones. Then slowly, we're going to start introducing the reds. Use the pointy part of your breast to get closer toward the edges or the sketch lines. I'm going to take that long because the petal is small anyway. It's easy to get through it. A little more water. A. I'm going to start with the same colors as before, which is quinac red, some of the yellow. This part right here is definitely more orange like. Then we have all this. I don't need to add it everywhere. It's feeling it out wears more reddish, Maybe me wears more yellowish and keep grabbing that sheet of yellow with the red. But not too much of it, and this was milk like ratio. I'm going to grab a little more red with it. It feels more orange, maybe to orange. I'm just going to add it in one little area right there and then I'm going to grab with that dirty brush. Some of this quinacridone red, bright rose, just go for it. I'm going to clean the brush, wipe it on wel, grab a little bit more of that quad b rose, and just add it toward the areas that I feel like it's the most pink itch. Then not to forget about this area, although it doesn't have much this part here. Of that red. Just let that to spread, fill it out, I'm going to wipe the brush from a towel, and when it's a damp brush, you can go through these areas. Again, I change the shape a little bit of the pile. Then go through fill it out. Pull, pull it toward the right side, just as we see how the pattern is. Because what we're going to do next is grab creamy paint, cream top ration between wa and paint, of the red, but in a second, we're also going to grab some of the blue because some parts are a little more shadowed. It's just the darker sheet of that red. Start from the left and then with that creamy paint, pull to the right. This is think of it like this is the darkest part on the bottom there. Doesn't need to be all the way to the end of this side. Just keep pulling, but it's not everywhere as rich and I'm going to grab now some of this coal blue. As I'm grabbing coal blue on top of my reds, I'm changing the sheet of this red and it becomes more like a purple. I often say blue violet, but it just depends what you see. What color mix you have. Then all the way to this part. This is my folded part of this first side that's folded, and then just maybe add it a little bit here and then I feel like a little bit there. This should be. This is like a gray. To make a gray, we need yellow, blue red. Let's do that quickly, but like a creamy paint on your brush. Cream top, and this became a yellow gray. Something like that, maybe a little bit of that grayish stone here, maybe here. That's it for the petal part or this folding part. If you add it too much, you can use a damp brush and go in through in between and lift. I need to really ite my brush tel. And then just lift. Now let's move on to this other one, so the top one. We're going to wet it. Same thing, you want to take your time wetting the paper. You don't go on the inside. Then we also have the cast shadows to add, which we're going to use the same colors. It's all primary colors, yellow, blue red, just a matter of using additional shade of red, for example. One more time. Milk crati of the yellow with a little bit of red. Let's start here. This is like a reddish area anyway, and then go here. If it feels like it needs to be cool down a bit, this yellow and a little bit of blue, which I just did. It's not so bright. Although that side b, whatever I was carrying more of that yellow, it was brighter. Now I clean my brush. I wiped it on a towel and I'm moving whatever I have. It's not so dark, this petal. This petal this petal, this side is a little I'd say lighter than the side. Then here too, we need a little bit of that, so I can pick up some paint from here. Then let's grab this creamy, bright rose and red and start adding a little more color here. I went over again. That's okay. Then it goes all the way to here. But you know what, first, I need a little bit of that milky paint, not right away like heavy cream to cream top as I started. I want to have a softer transition. Using the side of my brush to spread a little more paint here first, before I create this lines, I jumped into the lines right away, but I don't need to do that right away. Then this is the end of the petal. Now I'm going to grab this creamy paint, which is the quince red, b right rose and cobalt blue. This is darker. I'm starting from the top and I'm pulling down. Pulling down. Then there's some maybe dots. I can leave some more dots on the bottom there. What else do I want to do? Show. Maybe grab more of that yellow, add some blues. It's like again, combination of yellow, blue, red, primary colors. This is more like brownish, but we should make it like a yellow gray. Yellow gray is right here, I'd say. This feels more like that. This is creamy paint now because this is the end of it. With time, you start decreasing the amount of water in your paint on your brush. You have more and more control. That's all we're going to do for this part. Now next step is going to be adding the cast shadows. 10. Petal 2: Cast Shadows: Hey, friends. Welcome back. Let's make these shadows. All right. So I'm going to use a comfortable brush. This is my round eight golden one. It has a nice fine point. So you want to have something like this with a nice fine point. Now, when you look at the reference, the left cascho is lighter. The values are much lighter compared to these values here of this cascho. That's exactly how we're going to do it. We're going to paint it wet on dry. Once we start moving from here, you just want to keep going and make it darker here. Now, the best way to actually tackle something like this is if you have a little sketch. Go very daly with that pencil. Over the petal, gets more narrow here and then it goes like this, it goes like this, and then we have this shadow come in like this, it goes really along this line here, it gets a little whiter, wider here, and then it goes like this, and then it ends like this. Once you have a little sketch, it really is much easier to go about it because then, this is, I'm following the little path here and adding these colors. We are going to mix colors on the paper because it's very important. Yellow, blue, red, primary colors. However, this side is more yellow is this sides Let's say like blue and then red, gray. Three colors. My palette is very dirty from all this painting. I'm just going to have my yellow here. Some of this red here. There's my red and there's my blue. I don't want to overly mix these colors. That's not the goal. You want to have nicely separated colors. If I need to grab more red, I'm going to go here. Now, if I want to grab more blue, I'm going to go right here and then more red. Now, you want to have also a very light value. Just keep adding water until it feels like water down paint and feel it out on your palette because that's very helpful. I'm going to grab this diluted paint with water. I'm going to start adding this shadow here. I feel like I actually need to make it more bluish, so I just grab more blue now. Now, I am going to go all the way here, but I need to make it more transparent. I clean my brush, wiped it on towel very fast, and I'm coming back here all the way to the petal and keep moving. Now this is a little too rich I feel, I'm just going to move this pat this way to travel up here. I'll keep adding colors like right here. Keep moving and keep mixing colors on the paper. I grab a little bit of blue. Maybe actually this should be more like a red gray, so I just grab more of the red with the yellow and blue. If I need it to be ler, I'm just going to push it. I'm going to lift it a little bit like this and then push that paint because I'm not done with the shadow. It keeps going all the way here. Now, this side needs to be definitely a little darker. The value needs to change from a light value to a mid value. We're not even mid value. It's still a light value. Just feel it out, grabbing more paint. Again, I'm mixing colors on the paper because that's very important. If I don't want any whites here, then I to go closer. Now, this does feel way more bluish. I'm grabbing more blue. Not too blue. But it does feel bluer, blue, more blue. All the way here, however, this part of the shadow is like a D it's very light in the value. I'm going to use just a clean brush and pull what I have here from this side. To make it very light. If I feel like I need to make it a little darker, then I'm just going to add more of that paint, closer toward these edges. Simple like that. Let's see, do I need to adjust it? I don't want to go back because it's not really good to go back, but maybe here since this is still wet, a little more color. Other than that, this should be a little lighter. Generally, I actually prefer not to go back to whatever I already added something because of the paint, because it's easy to create a bloom and just messing with it is never really good with a shadow. Once you keep moving, you just let go of it like it is what it is, and it will dry much lighter anyway because right now this is all wet. Thank you so much for your time. Please let me know if you have any questions. Have fun with it. 11. Main Rose: About the Process: Hi, everyone. Welcome to this class. Thank you so much for joining me here today. We're going to paint this beautiful rose. I actually took this photo myself. I did a little test piece here for you of the first and the main petal. I think this is going to be easier a little bit to explain the process overall, how we're going to apply the colors, what colors we're going to start with and where we have to pay attention to shadows and lights and so on. First of all, we are going to paint this rose wet on wet. We're going to paint each piece separately. Of course, there's 1 million other ways we can paint these roses, these petals. This rows, specifically, we could just wet the whole the entire rows, all the petals together, even including the stems, the leaves, and then painted wet on wet, create like very light values and then let that to dry and then separate the petals then, or we can just wet the entire paper and then apply colors wet on wet and make it very loose. But with this approach, I find it that it's a little easier to understand the process and less to having to have to focus on in a way. Instead of working on the whole rows, all at once, we're just focusing on one petal at a time. Let's talk about the colors. Colors are optional. You don't have to use the same colors, even the same brand of watercolors. The only thing I suggest is to choose a good watercolor paper, 100% cotton watercolor paper, cold press ideally because it's just very like in the middle of paper. With rough, you have more textures, so the paints and water is spreading even more. Then with hot press, the paper just dries too fast. When you choose the cold press, just make sure the paper has texture because there are some papers that are lacking on texture even though they're cold cold pressed. We need to start with the lightest colors first. You wet the entire petal. Wet it for 2 minutes, 3 minutes. Whatever it takes, so the paper stays wet longer. Next, we have these yellow tones. We also have shadows. There's a shadow here. There's a shadow here. There's a shadow right here, we have a shadow here. Shadows can be added later in the same wash or even separately, but we're going to do it in the same wash. We only do one layer for each petal. We apply first the yellow tone. By adding when you have that yellow, you can add a little bit of red and that automatically changes the shade of that yellow. You can add more red and that becomes more orange. First of all, we're going to keep the palette, the color palette very simple, yellow, blue red, except that we can add an additional, let's say shade of yellow or additional shade of red if we want to. Change the shade of that red is very easy just by applying a little bit of blue to that red or applying yellow to your red. Now, when it comes to the yellows, What we need to focus on is applying a little bit of that yellow here and there. But the yellow changes because everything in nature is affected by light and shadows. That's why that yellow over the rose looks different here where it looks different here and here. Here it's more shadow. This is where I started introducing some of the blue blue tone here and here. That's what helps me to also create a shadow just by basically using primary colors, yellow, blue, red. Now I do need to stay away from some areas. I don't need to apply colors everywhere. Also when we stay away from one area, let's see here, I stayed away from it. I know some color will bleed in there. If it feels too white like paper white, I'll let more color to bleed in there, but I don't have to go directly in that whiter area. So yellow first, and then I started adding a little bit of blue to my yellow. Now here's the thing. When you add yellow to the blue, you can easily create a shade of green. Here, this part of the yellow and here fuels on the cooler side. This is why I added a little bit of blue. This part can be warmer and that's when I added a little bit of red. It's not that necessary, but I wanted to have a little more red here. But to create this shadow here, I added so I used yellow, blue and red. The same thing for this shadow. Now, what about these reds? First of I started with a little bit of yellow here. Then on top of that, I start applying quacinal red and I think I added quacon violet. I normally don't use quinacon violet. Here's the thing. If you don't want to add an additional color, let's say you just want to use quinacal red, that's totally okay. You can just add a little bit of blue to your red to change the shade of that red. And then for the shadowed areas like more intense colors of darks, that's when I was using yellow, blue red together. Now, as we're painting, first we wet the paper, we apply colors with a ratio of let's say water like ratio or milk ratio. I refer to dairy whenever I explain the ratio between water and paint. The longer you work on that petal on anything with a wet on wet, The more time goes by. The more you decrease the amount of water in your brush. The paint consistency goes from milk crate, then it becomes like a half and half and then heavy cream, and then at the end, you apply like a cream top crato between water and paint. Less and less and less water on your brush to have the most control. By that first, you want to start with water to milk like ratio. The paint spreads because you do want this paint spread. However, you don't want it to spread everywhere. That's why it's also a matter of how we wet the paper, so you don't want to leave the paper water sitting on to p once you're done like wetting the paper. That's the first part. But I will guide you through as we're painting the rows because there's a lot of information that I'm giving here right now. I know when you first starting out, you're not new to watercolors, all this information can be confusing. The best way is as we jump in and start painting and then I'll explain everything along the way. Please have your color palette ready to go, so you dilute your colors with water to a consistency, I like to call heavy cream like ratio between water and paint. Right now, I don't have these colors diluted yet, but I'm using a butcher palette just so I have more space. I'm going to put this on the side. 12. Main Rose: Applying colors: My color palette is super simple. Mas yellow, coupled blue. Qua Cordon red. However, I decided to use bright rose. That's going to be my additional red. Now, next thing is to wet the paper. I am going to first use this flat 24 Da vinci Cosinel. I am going to take my time wetting. Now, here's the note about the paper again because this is a rough watercolor paper. I need to be very careful when I start applying colors because I definitely do not want to have any puddles of water. The reason is because with the rough water color paper, the paint and water spread even faster wet wet when you paint wet on wet. Cold pressed, 140 pounds is the best choice overall. If you don't mind the smell of the paper, then I suggest arches. Arches was my first watercolor paper and I love it. Again, they use animal sizing surface sizing. That's why the paper smells a little bit. But if you don't mind any of that, then go for arches cold pressed. That would be my suggestion. Another one would be like Sounders Waterford or even Canson Heritage, not the other ones, but the heritage line, which is a little expensive. If you don't mind the softness of the paper and you're used to, let's say painting on smooth watercolor papers like hot pressed, and you're in Europe, then they have this paper called centinir, and that's very similar to the new batches of the collection by H anime, which is very smooth paper. That's a cheaper version and it's basically the same. We're going to wet this paper for two, 3 minutes because that will allow us to have more time to apply colors wet on wet. We need the time because we're going to be jumping around from one area to another area, and we're going to be playing with the grays. When I say grays, I refer to three colors, primary colors, yellow, blue, red. That's how you create a natural sheet of gray by mixing yellow plus blue and red. You don't want to overly mix the colors. On the palette, you want all that blending to happen on the paper because you want to see that there's a yellow gray, there's some blue gray, and we also have the red gray. Now, I have a separate lecture about this. It's in my course about birds. It's in the course about birds. I painting realistic birds. I'll just add the link under the class, the course. You can find it easily. It's specifically about how to create natural shades of gray in watercolor. I'm pretty ready here. The paint on my palette is diluted to a consistency I like to call heavy cream like ratio. That's because I don't want to start with a very diluted paint like water like ratio because then it's going to be harder for me to grab this thicker paint. At the beginning, I don't need the thicker paint because I do actually want things to spread, but It's easier to go to water like ratio from that heavy cream versus the other way. Now I have a little too much water, I'm trying to grab it with this brush and move the water around, but if it's too much, I'm just going to wipe my brush on a towel. I think I'm good now. I'm going to grab like a softer brush. This is my long quill size four sung bird. If you don't have something like this, this is a quill with a point, you can have a size 12 or 14 round brush, try to have a softer brush. Let's first grab like a milky ratio. I'm grabbing a little more water here. This is den yellow. I'm going to grab a little more water here. It feels milky. I'm going to just start with the msn yellow. With the tip of my brush, I'm aiming already for this little area here. Now, if I want this to be at the value to be lighter, I need to add more water. And I do want the paint to spread. I even more water. Maybe you need to go with a water like ratio. I do have some yellow. I would have yellow undertones where I have red, for example, and very gently touching the paper with the brush. Very gently, I technically don't have that much paint on my brush. That's another thing. It's important to notice. It's very gently touching the paper with the tip of my brush basically. Sometimes when I need to release more paint, I'll press a little harder like this, and then I'll release more paint. Now, this is nice, how it's spreading, but I feel like this is not the shade I'm looking forward to see. Yet, I'm adding with the tip of my brush, tiny tiny bit of quinacridone red. Whatever I see like a warmer yellow, which is like here and maybe here. That's where I'm going to apply it. Maybe too much here, but I'll tone it down once I grab a little bit of blue. It was mentioning that this yellow is cooler a little bit. This is the time now when you grab a little bit of that yellow, it's okay if you have a little bit of red, and then you grab a tiny bit of blue. Try not to over mix that on the palette. I'm grabbing a little more of the blue. That's because you don't want to really create a shade of green. You rather go for a shade of gray. I'm grabbing even more of that blue. I want to show that this yellow has a cooler tone here and there. Again, I'm not going back to the same spot, but I'm actually grabbing a newer blue with the tip of my brush. And I'm introducing it whatever I feel like I see that shade of blue a little bit, in that yellow, that makes sense. It's like in this area here, in this area. Something important to understand too, with the colors, the longer you paint, the more you're going to get used to these colors, how to mix colors. It's just something that comes over time, experience that the more you paint, the better basically you get at it. But what I need to do is clean the brush quickly. And I'm going to just grab some of this cobalt blue, but I'm going to wipe my brush on my tel because I don't want to have too much paint on my brush. Just a little bit because this area right here, when you look at this petal in the reference, it feels a little more bluish, doesn't it? The same thing here. I also use blue for highlights a lot of time times. I'm not going to clean the brush. Instead, I'm going to grab this yellow, a little thicker, I'm going for thicker, but I need to wipe the brush. It feels a little thicker than before and then a little bit of red back to the same spot where I started. This is I went for a maybe half and a half cation, just very small amount of paint on my brush. I do want that little tiny area to feel richer in a way, like right here maybe and here. Now, what will help is of course, working with the shadows, but I have to think about other areas where I have not applied the colors yet, which is all this. What I'm going to do is quickly clean my brush and go for this quinacal red and bright rose. Now, because I've been painting for a while now for a few minutes, I'm going to grab this paint, try not to overly mix it more like a heavy cream like ratio and just not that much water on your brush, and feel it out because the ratio that feels right for me might not feel right for you, just depends what the paper is. But what you want to have is control when you pull the paint from the top. It's like we're pulling it as we see how the petal is shaped. It's really not shaped this way, so I'm going to have to fix that part, but here for sure goes like this. And I grab more like a heavy cream to cream top like ratio between water paint, I didn't grab any new water. Then with the tip of my brush, I'm getting really close here. Then right underneath, I want some paint as well, the color, and I use this part the brush is shaped this way now. What I need to do is squish it a little bit, so I didn't really squish it. Instead I wiped it on a chowel. This is like a drier brush, like a m brush. And then I'm just going to go right underneath wherever I can feel that color and I want to show that color. Now, the process at these reds can't take too much time for me because I have to add the grays to these areas. It's like you're juggling a little bit between the areas here we have a little vein, and this should be a little reddish, for example. I'm going to pull the paint, grab a little more of this heavy cream to cream top, grab a tiny bit, 13. Main Rose: Adding More Colors and Lifting: Of blue two cream to chop, and go back here where the color needs to be really intense. We can come back here because we just wetted the paper, so this will stay wet even longer for us. That's the thing you're choosing, what's the next area you're going to work on based on, I just worked on this part, but this is dry and I need to quickly come back here to add the shadows. That's what I'm going to do. I'm going to clean this brush because I don't have time to add the shadows there. Instead, I need to work on these shadows. What I'm going to do is use this squished bruh, damp brush. This is my yellow. These are my reds. And there's my blue, but I want to show more of that blue. This is my shade of gray, and I'm going to go apply this shade of gray toward these shadowed areas over the petal. Now, it's a matter of how much yellow or or how much blue or red, you're adding to the paper to that area to determine if it's like a yellow, gray, blue, gray, or green or green gray or blue gray or ello, gray or red gray. I also need a little bit of that here. Now you can easily switch to a different brush. If you feel like you would have more control with a smaller brush. Also using the side like a squished brush side of it to create some of these veins. You can do that too because this should be creamy paint with a damp brush, and you can go back to those areas and pull it down. Now I'm not done with these shadows. I actually need way more of that blue. I feel like this area deserves way more of that shadow. There's also smaller shadows here. But think about it because maybe that needs to be a yellow gray. I'm going to grab more. Yellow with that dirty brush, and I'm going to come back here. I don't want to cover too much because actually there's light here too. I get to be careful and think about all these shadows, how everything changes because everything in nature is affected by light and shadows. At first, it might feel intense a little bit thinking about all these colors and I get it because I have been there myself. It's something that you learn with time. Here, this is another area I have to think about it because again, I didn't add the shadows here. Quickly coming back here with that yellow, blue red. I'm going to grab even more of those reds. I lifted the color. Why is that? Because I'm running out of time to apply the colors. The only way I can still ply colors is if I use this heavy ratio between water and paint. The blues and the blue Mold blue plus the reds. That's the only way at this point how I can apply more color there. It's the heavy cream like ratio between water and paint. I'm going to quickly grab a little more blue It has to be creamy paint. On the tip of my brush, I could easily switch to a different brush, but you know what? I don't have time. I added a purple instead. I'm okay with it. It should be a different shade. But you know what? It's a painting, doesn't have to be exactly the same. I do want a shadow though, so I grab more of the blue. And I'm going to do the same thing. Just add it there, and then I'm going to grab my other brush, my smaller size brush. I'm going to squish the brush between the towels, and I'm going to show you I'm going to do. I'm going to pull it so it's softer. The whole transition will be just softer here. If that makes sense. If I want to add any more ops, a little water here. A any more paint for the shadows or anything. I have to squish the brush between the towel pieces. Grab my gray. Grab gray and let's say I want to come back here and add more shadow. This is with a damp brush, and then the same thing here. Let's say I want to have that gray here. Something like that. Another thing which you could do is actually do work with a smaller brush. So you quickly, I just have to clean both of these brushes, so I don't forget. This is my round three. It's a small brush now, but this is what I'm going to do. I'm going to grab this thick paint. This is my bright rose, a red, let's see some blue. Yeah, I think blue maybe a little bit of red. Basically primary colors. I'm going to come back here, creamy paint? It has to be creamy paint. Like I was explaining at the beginning of the video, that we slowly decrease the amount of water on your breast, on our brushes. The same thing here is happening. I have less and less and less of that water, becomes very creamy, cream top like ratio between water and paint. And then I'm going to go here. Now, this has dried too much. Now, what does it tell me that if it dried so much that actually it's a perfect timing to lift the colors. If I want to lift colors, I need to hurry up. This is a perfect timing right here. I just want to I really want to add a little more color. This is a little richer all this pulling through and I can feel like I'm lifting. You just have to be careful and make sure this is like a creamy paint because you can still add color if the area is like slightly damp. This is fine, this is fine. So clean this brush. I squished my brush between the pieces of a towel I have, and then you're just lifting. Lines. My favorite way to lift actually is using a rigger brush. Now that takes a little practice. If you never lift it like this before, you want to use a smaller breast and maybe practice with the rigger on a side. Because the tricky part about the rigger breast, you just have to make sure that you wipe your brush on a towel, that's with just everything else like when we paint like this, but it's like pulling it. Now, I just grab a little bit of that gray which is yellow, blue, red. To add those veins. I'm a little in a hurry now because the paper is drying right, but this is yellow, blue, red. And a drier paint so cream top. There's something here actually on this brush. Then I can just come back to a couple areas to add maybe these veins. It's not really that important to me to do that, but Cs wanted to. Then we have these lines. Now, the lines I created my test piece, I did it much earlier. You wipe your brush on a to first and then you lift. Here's the thing. I have a separate lecture just about lifting colors. If you need help, just let me know, I'm actually going to mention it in the workbook as well. As I'm preparing the class later on, and so you will know exactly the timing because it's about the timing to lift colors. Lifting won't happen unless the paper is still wet, of course, it has to be slightly damp. It's like the shine goes away from the paper and that's when you begin lifting colors. Now this area should be lighter. I should lift a little more. I'm cleaning my brush, wiping it on a towel. And then just going through. Now, all depends how much detail you want to add to this painting, of course. I generally, I prefer less than more because I feel like it doesn't look as pretty if it's like too much lifting or too many veins, too many lines, and so on. Just keep that in mind. I'm going to leave my petal alone and let that to dry and then we'll begin working on all the other petals in between I challenge you to paint one little segment on your own. For now, we just have to walk away from this and let it dry. 14. Main Rose: Next Petals: All right, my friends, Next pedal. Let's try with this one. Let's do this one now. I'm trying to see or decide what is that blackish thing in the back, but I guess it's the separation of two petals there. What we're going to do is make this altogether like it's just one petal. Because when you look at the reference, there's something like dark in the background there or inside this petal, and that's because we can see a little bit of that wood, the fence. That's because these are actually two different petals, but I'm going to make it into one to make it easier. What I'm holding here is a round brush, says eight, golden one. The first thing you want to do is wet the petal, and then we're going to apply colors wet on wet. Again, we're combining two petals into one basically. Here I'm not going to touch this. Why am I using this brush is because it has a nice fine point. It's medium stiff, gives me a lot more control. It's a smaller area. If it was a larger area like the other petal, then I would definitely use my long quill, which is softer brush, but here I want to have more control and fine point is very important. Try to have a medium size brush with a finer point. And just so you can easily wet it and then apply colors wet on wet. It is a smaller petal, so I don't need to really spend that much time on wetting it. Although I do need to go through these areas a couple of times. This petal, technically, is more, much lighter. Let's grab some of this is yellow, not too. I want to have very small amount of paint on my brush. Then tiny bit, I'm grabbing tiny tiny of this quinacrid red. No trying to overly mix the colors. Let's just pretend that that dark little spot there is not there and this is all one petal. Here is a little more yellow. Then I would go right here too because this part of the petals folded. I don't want to add too much color again because it needs to stay more pale in a way, but what will help is just using smaller amount of paint on my brush. I'm not quickly clean this. Work with what I have, just a clean brush, wipe my brush on my to too. Sky side. I felt like I had too much water. That's why. And move the paint, what I already have a little bit here and there. Now, grab a half and half like ratio of bright rose, let's say, maybe quit on red, but bright rose is enough and try to add it toward the edges, just like we see the color showing on top, which is that this nice bright pink. Right here too, just with the tip of your breast, if you can do that, or just grab a smaller breast. Now I just grab also a little bit of yellow. It becomes like an orange, but the thing is I'm not trying to over mix the colors on the palette. I'm sorry. All this blending of colors should happen here on the paper. I'm going to pull the paint a little bit. Now, wipe your brush on a towel. Make sure you don't have much. It's just like a damp brush, but I'm going to actually clean it. Clean it all the way, wipe my breast very well, and then go touch these spots with the pink color. You try to pull it down a bit. Then go over these areas where we applied the pink as well. Keep it all very light. You can also grab even more, but cream chop like ratio. If let's say you want to add a little thicker paint or more bright pink in a couple other areas. But overall, maybe this should be a little bit richer here, a little more red. Notice how I'm adding the color. It's from the bottom pulling up. That's all I'm going to do for this. Pero, now, here it is. If let's say don't like how something is spreading, just use a dam brush and pull the paint. You can soften it, soften the layer. Now, we're using this damp brush technique in my other course on scales here here. It's about painting realistic apples. If you go there, there is the damp brush technique explained more. But here we need to work on other petals. We can actually start working on this one right here. That's because we have these folded edges here, and we just don't touch this petal at all when we wet this one right here. This one is actually much larger. It goes all the way there. I almost feel like I should switch to a different brush, but I'll see how I feel about it once I'm done wetting. Because we do have all these little tiny areas. Stay away from the petal that we just painted, because if you touch the petal we just painted, that means you're going to create a bloom in that petal. Generally, I suggest using a softer brush unless you are working on details and you want to have a lot of control. I do have my other round eight actually. It's a softer brush, technically we could make it into all this into one, but I'm going to divide it just like it's in the reference. Be this part, this one here is much lighter than this one, like this petal here. So wetting it, we it for a couple of minutes. Stay away from that one. Then the same thing, although this one here is like a cooler yellow. Let's grab some of this mas a long yellow. Water to milk like ratio and tiny bit. I grab a little bit of co bald blue and then a little bit of my red. You know what, it does feel too small. Now I know that I felt it. It just feels too small that brush. What I'm going to do is grab my long co to and feel it out with this one. I think I'll be much better if I have this brush. Just whatever feels right in your hand. Now I'm going to grab again this milky paint, which is the yellow, some of the blue, and a tiny bit of red. I have a cooler shade of that yellow. It's almost like you want to say it's yellow, gray, but not quite. And then I'm going to grab a little more of the cold blue and just introduce it right here. You start feeling like, this is very similar now to what we see in a reference, just because we added a little more of the blue. That shade of blue. Now I'm not going to clean my brush, I'll see what I can do just by adding a little more of red. Let's say this is the bright rose. Actually, you know what I don't like it because it became too orange. What you have to do if it feels too orange, things got too mixed up. Just grab fresh paint, like here and then a little bit of yellow, let's say, and then go back to the areas here over the petal that feel like that pink. But you know what? I don't want that yellow anymore. I just want the pink and see how it settles if I just apply a small amount of that pink toward my petal. This does feel better overall. I'm just overall keeping these petals lighter here, except for this folded part. That's going to be more vibrant, but it's not time to work on it yet. Now I'm going to go all the way to this folded part here. This is all on the tip of my brush. As you notice, I switched to a brush, the reason is because with a smaller brush, it's harder to cover a larger area. You want to have actually a larger brush for more coverage. You don't have to fuss with that one little area too long. It's just so much easier to work with a softer brush with a fine point. Because if I want to release more paint, release more paint, then I will just do this. I'll press a little harder on a paper. I'm going to leave it the way it is because it does need to be more delicate this one here. Now, technically, technically, I could work on this one right here. Let's do this little piece here. For this, I am going to go back to my round eight. This is my round eight, golden one. It's a stiffer medium size brush, and I'm not touching these other petals because there's these folded parts. Make sure you don't touch the petals that you just painted. Go. Then one more time because you still want to wet it for a minute or two, even though it's a smaller area, just so you have enough time. Then grab that yellow with red. Try not to overly mix colors on the palette. All that blending of colors should happen on the paper. I'm grabbing more of that alone yellow alone. I wipe my brush on a towel because I felt like I had too much paint and water on my brush. Then I'm wiping my brush even more on a towel just so I can grab that was what it to milk ratio, and I'm grabbing like a heavy cream on the tip of my brush. Because on the tip of on the top part of this petal, I see a little bit of pink, and I do want that color. I wipe my brush on a towel more, and then just adding a little more here of that red. There you go. Then with that white brush again, it's more like a damp brush. I'm going to go through here just to soften this top part, like a damp brush technique. Cleaning my brush. What else? There's another petal, which is much larger. We're going to paint now. 15. Main Rose: Side Petal: So same situation. What I like to do and you see it all zoomed in already, but when I paint anything and I'm getting into one specific spot, I will zoom in onto my reference image just so I can see like a petal or something else app close. I'm just focusing on that specific spot so my eyes don't travel anywhere else, especially that this is separated from the other part of these other parts of the rose. So You want to have a Zoomed in, and you will when you watch this class, because you will see the reference image top right corner, for the most part. Here, I'm wetting it first, and this is my long quiz two brush. It's a quill brush. When you hear quill brush, the sizes are different compared to the regular round brushes. If you don't have something like this, try to have a softer round brush in size like ten, 12, 14 even. So the size of all the fibers will be altogether look the same. This way you have more coverage than working with a smaller brush. You want to have more coverage. You want to train yourself to use larger brushes because you really don't want to sit on a area like this with a tiny brush like this. That would drive me crazy personally, but you don't want to do that. You want to see the overall picture of the petal and capture the overall. The little tiny details are really not that important because it's all about light and shadows we want to focus on. If there's no light, there's no dimension. If there's no shadows, there's no dimension either. You want to think about all this how to create something to look natural, realistic. It's all it's not about the details. Really, it's more about the contrast, the balance between light and shadows. Take your time wetting. This is a larger petal overall, not as as the other one, but it's a little larger. Wetting it. This one, we can tell right away, it feels more yellow like yellowish. I need a milky water to milk like ratio. This is my emits yellow. Right away, I'm going to grab a little bit of this quacal red. Here, I'm going to focus here right away. Closer toward this petal here. Now, the reason the color doesn't match to what we've seen in the reference is because I actually need a little bit of blue. Once you add a little bit of blue, you'll see that the colors start to match to what you see in the reference. I just grab a tiny bit of cald blue, just a tiny amount. Now what I need to is clean my brush. I still have water on it, but grab a smaller amount of this paint. I can travel to the outside areas because I can't make it as intense as this part, because this is the intense part of the petal. Everything else looks lighter. Doesn't mean it has to be paper white. No, we still want to add some color. But what we can do now is grab a little bit of red, either qua red or bright rose on the tip of our brushes. Just like we see it's like a pattern almost like pulling it, and then we're going to have more of that pink toward the edges. Again, I'm working on that balance. I don't even care that much if I go over my sketch lines to be honest. It's more about that light that shadows, the contrast. I grabbed a little more of the red with the yellow, and I'm going to go closer toward this petal rate here because this petal on this side, this one right here is so like pale, it's so much lighter that if I add more color on this side on this petal here, I will create a larger contrast. I got to go really close. We do have a nice contrast because of that. Now I'm going to grab this creamy paint actually. This is my let's say quinacridone red and some of that bright rose. It doesn't have to be as intense, so it just depends how much paint you have on your brush. What I'm going to do is I just wipe my brush on a towel. I'll continue because I do want more of that pink closer toward the edges. Now remember, if you don't understand something, you can always ask me questions. This is the red with the yellow. You can ask me questions and I can always direct you to different classes, for example, where you can get the idea more like a dam brush technique and so on. By the way, this is yellow, blue, red, I'm going to do this again because this is important. You're grabbing a little bit of red. This is my yellow, and the grabbing blue. This is becoming just make it like a yellow gray, more like a yellow gray. Something like that. Well feel it out because you want this section next to this petal to be darker, shadowed, more shadowed. We need to shade it more. This is yellow, blue red, and it's like a yellow gray. However, you want to feel it out on your breast because maybe you will see more of the blue in there, so you make it blue gray. Maybe you'll see more of the red. You grab of the red to make it more like a red gray. Let's see. There's a little fold. Let's grab the combination of the yellow blue red, and these are little folds here. Might as well just add it with the tip of your brush. I'm going to grab this grayish tone, which is like a blue gray, I'd say. Let's just go closer to this. Even more of that blue I'd say here. I really want to show that this is shadowed. I'm doing all this work with the tip of my bridge. Now, you got to make sure that paper is still wet because if paper start to dry, it feels damp, then you don't want to do that anymore to continue adding these colors. It's very easy to create a bloom. Instead, just wait until the petal dries and then you can rewet it and add more color if you need to. I'm going to leave this the way it is, and then we can move on to another petal to finish the petals altogether. 16. Main Rose: Smaller Petals and Folds: Right here. I'm going to wet it first up to this other petal here. But I'm going to leave a little space between this petal and this petal because we can see like a folded part and it's highlighted. So don't wet all the way. So you can leave that little tiny area paper white to show those highlights. There's a little more of those whiter toes through the petal, so we don't have to wet it all the way. I'm going to wipe the brush on the top because I had a little too, water on my brush. Now what I'm going to do is grab the same yellow combination with some maybe tiny bit of the red and blue. Again, it's like a yellow gray. It does feel like a yellow gray, doesn't it? Then more closer toward this petal, which is lighter. Again, contrast. This petal here is so pale. If I add more color on this petal on this side, right here, I'm going to have a nice contrast. More of that blue, but you know what? I should start with the yellow. I'm just going to clean my brush and then grab again that yellow, more like a milky paint, but keep an eye on how much water you have and paint on your brush. It should be very little small amount. I'm just pulling it upward. I should have left a little space here, but I didn't, but I have a little space here. Just keep that in mind. We should have a little space. I just didn't. Now with the tip of my brush, I'm going to grab like a creamier heavy cream like ratio of this bright rose with quinacridone red, and just on this site as we see in the reference. Let that to bleed. This is a small amount. Of course, I can easily just switch to a smaller brush no two. But I'm a little lazy now. I just want to finish this quickly with this brush. I'm going to wipe the brush on a towel, pull it. This is the damp brush technique with a damp brush, you have more control. When you have a damp breast now, and you just let's say adding more paint. I just grab more of that heavy cream to cream top. At first it may seem like there's so much information and I'm telling you and all this. But you get used to the more classes you take with me because I rather share all this than you not knowing certain things, and it's important. I think that you know why certain colors like why am I using right now I just grab more blue with a little bit of that yellow, and I'm pulling it on the top of my brush, and this is more like a milk like ratio. That milk like ratio, heavy cream like ratio between water and paint. Let's go to actually here. I want to show you something you can do. Right there, we just finished painting this petal. Let's quickly grab a round stiffer brush. This is my round three. Before it dries, I actually should have a little lighter top here. Now, if I was adding background, it would be easy just to do that because then I would just add color with the background like maybe outside a little bit, make the petal larger. I'm just lifting colors here on top, just to bring that light back to this petal on top. To lift the colors, you want to wipe your brush on a towel very well, and then you go through with that dam brush. Now, it's also a matter of paper, what paper you're using, what paints you use, what colors? It all matters when it comes to lifting colors. Of course, it's about the timing. The perfect timing is when that shine from the paper goes away, when the paper becomes feels damp, and you're using a damp brush for this too. Now I'm going to go for these folded parts of the petals. For example, like this one here, it's actually very light. I'm going to use this round three that I'm holding already. I have this round three here. I'm not going to add much to it. I'm going to go as close as I can to this petal, but don't stress too much about going too close because you can just use a brush or brush. You can once you have a color on your brush, that's when you're going to get closer. Then let's grab a tiny bit of the heavy cream like ratio of the both pinks and start right here closer to this edge, and then a little bit of the yellow. Actually it's like a yellow with a little bit of blue and pull it a little bit. Just so we have a little bit of a color and hug like the bottom part when you add this yellow, something like that. Then same thing with, let's say this little area here. These are all tiny spots, but we still need to cover them. B and then let's see, that's more like a a little bit of pink with the blue. On the tip of my brush, more like a milk like ratio, but I really don't have that much paint on my brush, and then creamy paint just to add a little bit of more concentrated bright rose on top there. And then another one. I just painted this one, I can't touch this one, although this seems like it would be separated. I can wet it here. I'm looking at the reference. Looks very rich, this folded part of the petal. I'm going to grab this heavy cream like ratio of bright rose, cal red and tiny bit of blue. I could even use a little bit of yellow, but I think just because it's so small, keep it simple. Every time you grab color from your palette, you're changing the ratios between the colors itself. Sometimes I'll have more of the bright rose like right now. Sometimes more of the Qin red. Then you can pull it from here, something like that. Just so it's a little richer. I wouldn't mind adding a little more blue. Blue with the reds, right here, dos feel like a little darker right here. It's nice to have this shadow there. Clean the brush. I'll continue moving through these folded parts. Let's see for this one here. Of course, you can do this wet on dry. It's easier a bit, but the paper dries so fast. What if you want to go back and add more color? The paper more likely will be dr by the time you go back and just grab more paint. That's why I'm pre wetting it. This is the same thing, just the pinks, maybe with a little bit of that blue. I'm starting to add it from the top more and creamy paint. Try to grab more like a cream top like ratio, referring to dairy to describe the ratio between water and paint. Mostly from the top, but I do want to op so I want a little too far, that's. Then I'm going to grab a little more just to add it maybe right here on the bottom as well. Just to give it that nice crisp. I'd like to challenge you to paint this little edge here or the folded part of the petal and this part, and these two pieces by yourself. It's the smaller areas, but it's good to practice, even if it's just a smaller area, and then we're going to paint together the leaves. 17. Main Rose: Painting the Leaves: Let's start with this first leaf right here. First of all, the first thing to think about is, how is that green color created? When you take a look at the color wheel, you'll see that where the green is, and then on the left side, a little farther down, there's blue and then on the right side, there's yellow. To create a shade of green, all you really need is blue and yellow together. This is why, it's important to use blue and yellow when you paint a leaf plus another color is important, is red. Now, why red. When you look at the color wheel, there's green, what is the color on the opposite side of the color wheel? It's red. Red color is a complimentary color to green. What does that mean? That also means because there's other reasons. That means that you want to add red to the green when you create a natural shadow for that green leaf. The best way to show things is when you actually see it. I'm just going to jump in and start doing it. First thing, grab a medium stiff brush and wet the petal or not petal, but the leaf first. We do have the lighter areas over the leaf. These are this part, for example, the edges, we can lift those. Gently, you go with the tip of your brush closer toward the rose, the petals, so you don't go over. You don't lose you don't change the shape of that rose. Now, let's start with a yellow undertone. Just like I said, the leaf or green, I'm sorry, it's created by a mix of yellow and blue together. There is some of my yellow. We can write away again right away or later add a little bit of blue, but I'm going to grab some red just because I feel like there's a little bit of orange. Again, to create a shade of orange, all you need is yellow and red together. Let's start by applying this. It's actually a little too rich, but I'm okay with it. It would all get to do, toned down when I start applying other colors. For example, this is my milk like crato of yellow, and there is my sep green. Milk like cratio. Now, you don't want to add it everywhere, aim for that middle section. You don't need to add it toward the edges. The edges need to be lighter anyway. The color will bleed there, so don't worry about trying to get the color in there. Then dip your breast slightly in water just in case this is too dry. Grab this sap green and then grab a little bit of follow blue sap green. Ops. There we go. Then grab a little bit of red. Now you start seeing more of what we see in the reference once you apply this combination, and you're just pulling the paint down and you start realizing this is more like what I seen in the reference. More of just maybe the green and blue together just to make this a little richer and more like that green that we see in the reference. And maybe over here. Now, how do I make parts darker? Well, that's when I said like, you need red with the green to create that shadow color for the leaf. What you can also add is blue to make it even darker. That's because to create a shade of green, you need blue anyway. We can add that if this doesn't feel dark enough then just add a little more blue. But we are adding red to the green, just in general, because red is a complimentary color to green? This is becoming a little darker now. I added a little more just because of the shadow. What I'm going to do is keep an eye on it because I do need to lift this area in that area there. That's pretty much it for the leaf, although I didn't really finish it here all the way. I want to grow up a little more of that green and red. Not quite what I see, but it's okay. I'm okay with it. Now, another thing is if you don't like the way paint spread, just squeeze your brush between the toile pieces and then just go through it to smooth this layer. A damp brush technique. While I'm waiting for this to dry, I would like to paint another leaf, so I'm just going to wet this one, but just the inside part. Just like this, right underneath the petal. There you go, and then we have this lighter part, I'm going to wet it too. I don't want to keep it paper white because then I'm going to have a hard edge, and this is all one leaf. But I'm separating just this part because it's folded. Keep an eye on this one that you just painted because this will drive fast, especially if it's hot, let's say, you got to remember all those things. Depending on the paper you use as well if you use hot press and for sure, your paper will dry super fast. I don't want to start painting this petal or this leaf because that one is almost ready for me to lift. Again, the perfect timing to lift the colors is ones that shine from the paper. First you see all of it shining because you have water, you have paint, but that shine slowly start to go away and the papers start to be feel damp. That's when you want to lift colors. For example, this is a damp brush. For example, one of the areas I need to lift, is this middle section. I wipe my brush on a towel. And I'm just going to lift the middle. Make sure you wipe your breast because otherwise you can have too much water, and it's easy to create a bloom. I actually prefer to lift with the rier breast. I'm going to grab my rigger. And all the way. This feels a little too early to lift, but I'm still able to lift enough. I just keep going. I just want a little bit of that lifting. You can't lift with a smaller brush, just make sure it's like a medium stiff brush because then it's much easier to lift. Back to this one, One more time I'll go through it just because it dried a little bit. I'm going to grab the yellow, I'm sorry, I mean that's a long yellow. Just a little bit right away of that green. Yeah, this feels more like it. Then closer toward the petal. And then I'm going to wipe my brush, so I have a heavy cream like ratio between one and paint. Now, I grab a mix, basically. It wasn't like a pure green because I already had a little bit of yellow and red just FYI. I'm going to try to grab a cleaner green. Then maybe green plus a little bit of blue now. It feels like I keep grabbing a little bit of red, which is okay. But I prefer to start cleaner way and then slowly introduce the red. I wipe my brush on a towel, wipe it on the towel and I'm going to grab blue, red and green. Just because this area right underneath the petal needs to be darker. Use the tip of your brush carefully so you don't touch the petals, just underneath. Where you see the sketch line, and we need those shadows. You do need to add a little bit of that. Plus you could add a little shadow color right here because that would be coming from this folded part of the petal. Then you can wipe your brush on a towel if you want to squish it between the pieces of a towel basically and just pull the paint. So you can control the way the color is going to spread. If it doesn't feel dark enough, then just keep adding, let's say that yellow blue red, let me grab this. I'm sorry, not yellow, blue red. The green blue red. Then you go back here. But now adjust the ratio, let's say heavy cream to cream top. Just because this is drying and with time, you want to decrease the amount of water in your brush paint. Just a little bit more of those that shadowy color, and then with the damp brush just to soften it. Do I have to lift probably the sides? I just have to keep an eye on it, so I can lift the sides. I got side track and I forgot I was going to lift, that's what happens all the time. I'm quickly here lifting the sides of the petal or leaf. And I made it right on time. I'm just going to quickly go from the middle just a little bit, even though I don't really see big vein in there. What we can do is start working on this other leaf. 18. Main Rose: Third Leaf and a Fold: All right, my friends, let's paint this s leave now. We're going to wet it, but not the folded part. Let's leave that alone. We can add that piece later. I'm going to use the same brush. This is my round eight golden one. As you see here, I'm going to stop right there because this is the folded part. I can break it down to two parts, so I don't have to wet this part yet. I can just do it later. If you want to just focus on one section at a time that's fine. I'm just going to put it all the way up to this pedal right here. Go through it a couple of times. One time is never really enough. Then we're going to start with a yellow undertone. We can grab right away a little bit of green too, I guess, just to make it more like a cooler. Yeah, something like that like a green with a I'm sorry, yellow with a little bit of green. This is milk like ratio. Like milk, maybe water like ratio. Whatever it feels right because your paper, the level of that wetness would be different compared to my paper. Whatever feels right to you. More of that, when you grab the two colors, you don't want to mix them really on the paper on the palette. Quickly grab those colors. Let's see be nice to grab again this milky actually sub green and some of this follow blue right away. Because the sides need to be a little later, I'm just going to stick to this middle section and it feels like this part should be more greenish. But once I place the color, that's when I'm going to start moving things around. For now, I'm just going to place it and then go back here a little bit. Add it toward the sides, not necessarily in the middle. Whenever it feels richer with that green shade of green. I'm going to clean the brush, wipe it slightly on a towel. I guess I do need to wipe it more on a towel. It feels like more damp. Then just move that paint. Wipe my brush on a towel again, you can clean it too if you feel like you picked up too much paint and just move whatever you have there. Now, I'm going to get closer toward the petal. To fill in that spot there. Now, whatever I'm going to add more now, I'm going to change the ratio between w and paint. That's because I don't want the paint to spread anymore as much. What I'm going to grab is this heavy cream to cream top of the sap green here, and then there is my fal blue, and then thicker yellow. I'm going to go back here where I have this so this needs to be darker here. But next to this sound like a vein, looks like a vein, but that middle section there, I can lift it to. I'm going to go back, grab more of that blue, and now grab a little bit of red as well. That shadow should be like right there. Then I didn't have to go back through the middle section. That's because the paint is blot there anyway. Quacal red, follow blue. Some of that I'm sorry, follow blue, Qc red and green. Now it's a creamy paint on my brush. The paints not spreading as much. And I want to have that control. Then I can go back here though this is almost, but I'm still going to add it just a little bit here. And we can lift it or we can leave it. I feel like I need a little bit of more green with that red. Just because this area right here should be darker. Now, when you mix the green with the red together, you create a shade of brown. That's exactly what I have on my brush. If it feels too brown is, then I'll just add maybe more green to the blend. But the darker part should be right there. I'm shading it. Do I need to lift? I don't think I actually do need to lift because I stayed away enough. But if you do, then you wipe your brush on a towel first, wait for that moment until the papers start to feel damp, that's when you go through that section, the veiny part. That needs to be lifted. If you need more darks, just mix in with that green and red, a little bit of blue. I'm going to move on to, let's see this section here. Now, this here is tiny. I'm going to actually use. Actually, I can't do this one. What am I saying? I need to go like here because I just paint this sleep. I'm going to wet this part. This is my round two, b details. Let's see. This has a lot of light on this side. Here we go. Wet it. Wet it. Then we're going to apply colors, same way, wet and wet. Drying pretty fast, it's hot outside. That will make everything dry faster and I have a window a little bit open. If you feel like things are drying too fast then just close your window. This is some yellow I grab, a little bit of blue. And some green. Basically, I just went for all these colors, but you can start slower and just maybe grab even like act right and follow blue would be fine because this needs to be lighter. But when you apply colors, don't apply it directly toward this lighter line to stay away from it. Then now this was milk like ratio. Now I'm going to grab this heavy cream of the green sub green and some yellow and blue. I'm going to go on the right side only. Had the right side when you add it to the pints not spreading as much. There's really not much that we need to do to it. It's just that if we want to play with colors, let's see want to add the shadow. For the shadow, you don't even have to clean the brush, grab a little bit of red with that green and blue. Let's say it's this side. Again, if you don't want that brownish shade, just add more green to it and if you want to make it darker, just add a little bit of blue. And it looks like I don't really have to lift it, I can, but I think it's fine the way it is. Let clean the brush. Let's see. I'm might have to wait until this dries, although this one is almost dry. It's just going to be a minute because I can't paint the stem either and I can't paint these. Next time, everything will go faster because now I painted the pieces that are in the way. Let's walk away for like 2 minutes and then come back. 19. Main Rose: Painting the Stem: All right, my friends. First thing is to wet this little section. This is part of this bud little piece here, sticking out. Wet it. This is my round two. Some bird detail. It's a medium stiff brush with a fine point. That's what you want to have a brush with a fine point, that's a little smaller. Let's grab some milk like gracia of the green and yellow. Sap green Is a yellow. Now, creamy paint, either heavy cream or cream top of sap green and a little bit of red and you're starting to introduce that red. Find the darkest part, the most shadowed area on that bud here. Then Add the color only there and you have this creamy paint. Now wipe your brush on a towel. So it's a damp brush and move the paint a bit. Just feel it out. Now we have a little section that's lighter just like in the reference. Now, grab cream top of the same colors, red, green, plus a little bit of blue just so we can make the top right here a little darker, but I really this to be creamier. I'm trying to grab more creamy paint and it became a little too red. Now I'm feeling it out just to make sure it's more like dark green with a little bit of red basically. Whenever I feel like I see that shadow, that's where I want to add this combination. Change the shape of it a little bit. Here, this is the area again. I'm going to grab more of the colors. Creamy paint on the tip of my brush. I really don't have that much paint. It's just all on the tip of my brush and going as far as I can here, just almost touching this petal. Actually, I could touch the petal here because when I'm looking at the reference, it goes all the way there. That's it for this part. Now, since we're already here, when we paint this little piece of the bud right here. Same situation, it's a very small amount. Just grab some green, yellow, although I already have red. Yellow, green, red, basically the same colors. Right in here. I'm making it a little more shadowed, I guess. I don't feel like I need to do more than this. I just want to make it a little rounder. We also have this little leafy here part. How is this going? It looks like this one is coming from somewhere else. I'm just going to paint this one quickly. Wetting it and I'm going to grab yellow plus green plus blue. It just feels like it needs to be very light value. I removed a little bit of the paint. I'm adding it on the left side and just watching how the paint spreads, but that's not really what I see. I'm just going to use a damp on the right side. That's fine. Although it should be a little bit sheeted on the left side. I just grab that blend that I already have of the green red. I'll continue here. This is the lower part of this. And then yellow, green, blue. Let's see this one here. There you go. I'm always picking one side just to keep one area lighter and then I'm going to grab a little bit of that red, green, and blue because this part of the sleeve is hidden behind this one, so it should be a little darker here. I'm wiping my brush on a towel just so it's a damp brush, but actually want to clean it. I'm just going to go with that dam brush on the right side, push the paint a little bit. That to make it too complicated. I feel like this but piece does not make sense because it should be like this. I'm just going to add another part of it because it's going to bother me. I'm just going to reactivate a little bit of that paint here. So the right side matches the left side. That's so much better. Let's paint the stem. We're going to wet it. The reference looks like my finger is over it, but we're going to we it's the same color, same thing. I'm using my round eight, golden one ium using the fine part of it to be closer toward the leath parts. And take a look at that stem because it looks like it has lines that are a little lighter and then it gets darker here because it's shadowed. Let's start with a yellow undertone. When you ready? I'm going to start with the yellow, a little bit of green. Let that to spread, watch how it spreads. Then I'm going to grab more of that green. This is milk like ratio and some of the blue too. But this is to bluish. I just grab more of the green now and I want more of the yellow. Yellow and green again, more like a half and half ratio. Then getting closer to the top here. A lot of times like, I don't like that there's so much green or blue, whatever. I'm not going to remove it. I'm just going to play with it, move it around and so on. Now with the tip of my brush, I'm spreading the paint, and I'm wiping it on a towel of my brush. I'm going to grab this heavy cream like cratio or even cream top of this so green with a tiny bit of blue and just going in the middle here. This is a creamiest paint will give you the most control. I'll grab creamy paint, the same thing, plus a bit of quinacridone red and try to go along the edge here because that's where we see a bit of that, shade of brown, just a little bit. If you don't see it, then of course, you don't have to do it. It's up to, it's your painting. Then here, I grab a little more of the blue, and then I'm going to grab more of the red with that green and I didn't clean my brush. This is all the shadowed areas right here. Then I'm going to release a little more paint Since this is underneath this leaf here, so it should be darker. I'll just go a little lower here. And go through here because that shouldn't be extending out so much. I'm trying to see if I see anything darker, but technically would be like on this side a little bit. I don't want to work too long on it. As long as I have lighted shadows, like the balance between lighten shadows, that's all I need. Then I'm going to grab my round three brush because I need to make sure this is all lifted, but you know what it's a little too early. I'm going to wait a minute. While I'm waiting, I'm going to quickly wet this side here. This is my round three. This one is a little more highlighted. What I'm going to do is grab actually at first a little bit of that I'm sorry, blue and green, more blue. Then grab some yellow. You're playing with colors, colors that actually give you that shade of green, which is yellow and blue. Then cream top of that sap green, maybe some blue, but creamy paint on the left side, just so we can shade it a little bit. Then maybe tiny bit of red just because we would have a shadow right here. Keep an eye on the stem because if you want to add any more to it, then you've got to do it before the areas to dry. Cleaning my press, wiping it on a towel. Now this is my approach to lift this part here. I'm trying to flatten the brush and wiping my brush before I touch it again, wiping it again, just so I can lift it feels more like what I see in the reference. There's one more piece, which is right here, so the folded part. We're going to wet that now. I'm going to wet it one more time, because it's drying super fast with this weather super fast. Then I'm going to grab this green milk like cation with a yellow. Try to add it toward the bottom. See how that spreads because we do want that green on the top. I just to go there by itself and then grab this cream top like ratio of green and blue and just on the bottom, which means the right side only and led that to spread but have a cream top. The paints not really spreading that much. If you don't like that light, then you can just clean your brush, wipe it on a towel, use a damp brush and push that a little bit. Now, we do have these little spiky parts. What we could do, we need to have a very diluted paint with water. You would go away from you would touch like the end of the leaf in the way. Maybe like that, and you can just add the hair or whatever. But I wasn't thinking I guess that far to do that to add that much detail, but you can do this. And then you can grab a little bit of red to add at the end to. Just a little bit of that. Maybe over here, but it needs to have more red. I am going to zoom out and guess what? We finished it. 20. Main Rose: Summary: My friends. Big, congratulations. You just painted this rose. I would love to see your versions from this rose class and the petals that you'd be painting. Please let me know if you like the class. Here's a little secret. I'll share with you. I am not a type of an artist, a person that likes to paint small pattern things like let's say a flower that has 50 petals. Some point that would drive me crazy is just part of me I guess my personality. I don't like the repetitive things like strokes and the pattern. So this is why I purposely choose roses, for example, that are like this. You have a big petal that covering most of the rose, the picture. I purposely choose that versus having the center of the rose like you see the center and you have a hundreds of these petals. It's just not something that I like to paint. I have to be in the mood to do something like this. But this is more satisfying to me. Now, If you're new to painting flowers or just in general watercolors, I do suggest taking photos of roses like this. You're not overwhelmed by all these petals. I feel like it's more satisfying because you're done quicker. I do have a couple of these classes already on Patron, I think. But it's just YI. If you're looking for something like easier to paint, less time consuming, I suggest finding or taking photo if you're taking of the flowers and something that's positioned this way versus showing the center. Thank you so much for your time and let me know if you have any questions. Thank O. 21. Rose Challenge: Intro, Wetting: Hi, friends. Welcome to this class. Actually, this is going to be your painting challenge. Normally, I just give a sketch and share reference image and I suggested list of colors, but this time I'm going to help you a little more by painting the main petal with you. I will paint the main big petal with you and then you'll paint everything else on your own. This is the last part of the course. Only show you my test piece. Here's the test piece. Basically, I started with yellow undertones. I wetted the petal entirely, and then I started with these yellow undertones. Basic yellow. I add it at bit slowly, I start adding a little bit of red to it to change the shade of my yellow, so it goes a little more into orange. Also here I added blue for the undertone. This side is highlighted. I wanted to show a little bit of that blue in there. I'm going to use a paro red, which is another basic color for me for my palette. It is a primary color according to Holbeins color charts, so it's a primary red, but you can use, of course other colors, if you would like to. Now for the darkest parts, these little folds or the areas are pretty dark overall. You can add an additional color. In this test piece, I actually use Quinacridone violet. Now you can use that color or you can simply mix in red, so mix red, slightly not overly red that you're using with the blue. For example, cobalt blue. You can also add a little bit of green because green is a complimentary color to red. I didn't add a test piece on a different watercolor paper just to show you the different This is painted on a very smooth watercolor paper. The company considers it a cold press. It is not really a true cold press. It's actually a hot pressed watercolor paper. So paper dries very fast. I just want to show you the difference. Yes, the petal is smooer, but when you paint on a smooth watercolor paper such as hot press, everything dries faster and colors blend a little bit differently. There's a plus and a minus two it. If you need more time, I definitely suggest using a texture paper. This is on the smooer paper and the other one was on the rough water color paper. Now, the first thing you want to do is actually have your colors pre diluted with water, so the palette is ready to go, and then we're going to begin wetting the paper. This is my long cool size for breast and I'm going to begin wetting this entire petal. Use the pointy part of your brush when you get closer to these not straight lines here. We have all the folds and everything over the pedal, and you go inside. You can use a round brush, like a larger, softer round brush. Let's say size 16. This is a four because it's a quill brush. For quill brushes, the numbers you see are very different. Size zero is going to be much larger compared to a regular round brush. Size zero on the regular round brush will be extremely small compared to the quill brush. So here we go, wetting a little more here and take your time wetting because it's important to wet your paper longer. So you have more time to apply all the colors wet on wet. So I'm going to go through this patter five, six times. 22. Rose Challenge: Applying Undertones: All right, my friend. First thing, let's grab some of this yellow. This is my primary yellow. I'm going to grab right away a little bit of red. That's too much red. I'm going to grab a little more water, wipe my brush motel, feel it out. I don't want to overly mix the color. I also want this to feel more like between water to milk like ratio, is probably the right way to describe it. The reason I want water to milk like ratio is because I actually do want the paint to spread. I don't want the paint to have so much control at first. I'm grabbing a little more water this actually does spread because at the beginning, it's just like mapping it out all the colors, whenever I see the yellow, that's where I'm going to place it, and then it's this sit here. Later I'd start to decrease the amount of water on my brush and the paint itself just so I have more and more control. Here for now, I am adding it here, actually, that's because it's a very bright red area. That yellow will make that red area pop even more, will be just brighter. Now, before I continue and move around here with the yellow, I actually need to apply some of the blue or my highlights. This way is also another way to map it out. I'm grabbing this pink here, and then there's my cobalt blue. Also more like a watery water down paint, feels more like a water to milk. Then whatever I feel like there's that highlight, that's when I'm going to place it. Here, a little more, maybe here even. I feel like Yeah, definitely, more red with it. Now, now it's the good time to start adding the reds, but I'm going to clean my brush. I don't have any of that blue anymore in my brush. Now I'm going to grab some of this quincno red and some of these bright rose rates. I'm going to go for these rich areas, but I need to decrease the amount of water on my brush. Something that feels more like a half and half like ratio. I'm going to grab a little bit of yellow too just to have a soft transition. I'm also grabbing some yellow. This feels more like here, like what I see in the reference, soft transition from yellows to reds. This is like orange this side. That's why I'm adding more of that yellow plus reds. The same thing here, and then there's a couple more areas like here, maybe more orange, I don't want to lose the yellow spots, so I'm just going next to them. More of that yellow and red, let's say here. I'm not trying to directly go over the bluish areas quite yet. That's going to happen later. When I'm going with a full on amount of that red, which is going to be like the quacno red and paro red, for example. Actually, I didn't mention before. I am using the bright rose. Maybe I didn't use it my test piece, but for share in this one. I'm going to Now, grab some of this para red. Act red, bright rose, all three colors. These are really pretty. This is heavy cream like ratio, I want to say on my brush. Something that feels very like heavy cream, like creamer, you would add to your coffee, something like that, and you can still see that spreading because it's not between let's say heavy cream to cream top or just cream top. That would be very concentrated paint. Whatever I feel like these areas need to be richer, that's when I'm grabbing this coacal red, br rose, quick grabs of the paint, not trying to mix them one. Palette. Everything needs to happen here on the paper. Use the tip of your brush. If you can get that tip, fine tip, find point, just to add it over closer toward the edge there. Let's go back here as well. Use the tip of your brush, feel free to change your brush, so Something more comfortable. Let's say around brush size eight would be fine. Something I'd use like that size. Then if I want it to be brighter red, just I'm grabbing more of that per red, and I'm going to go here and I'm here. But this area right here needs more of that per red, maybe even bright rose. Then we're going to mix in some of the blue and green to make these edges, stand out the darker parts. Now here with the tip of my brush, if you feel it's spreading too much, go back, wipe your brush, maybe on a towel, make it like a damp brush and grab this heavy cream to cream chop of the paint, which I just did. It's a thicker paint on your brush and start adding This shade, which is a combination of all three reds toward these richest areas. Now, I'm not done here yet. What I need to do is wipe the brush on a towel. I still have paint on my brush. I can clean it. I'm just going to pull through these areas. It's like dragging the paint from where I at it, I had the most of it, and just going next to that the yellows. I need to leave the yellow areas alone. But here I can drag it a little more, like this. So I have a soft transition. I don't lose the yellows. Then here I'm actually going to switch in a second to a different brush, but for now, I'm just going to grab a little bit more of that bright rose. Add it from the top. It's just feels like a damp brush that I'm holding now. This was almost like a bloom because I got too much water on my brush when I'm fixing it by using a damp brush. I'm wiping it again on a chow, so it feels like a damp brush, and I'm going to pull through here. Thing we're going to do is add veins. I can continue adding this shade of the reds. But I also need to again add these darks here. This is very important. I'm going to grab one more time the reds, just to make it more stand out this line here. Same thing here. It's richer. You know what? This needs to be a little more red or orange like this side of the petal. But I can pull through a little bit. It's just the dam brush going through and the soft transition as soft as I can make it. I pull through actually almost looks like a vein. Just because I have the side of the brush. I'm going to grab a little more of these reds. This is the area that needs these reds, very rich, picking all the paint basically that I have leftovers on my palette just to make it as rich as possible with that cream top like ratio. But quickly, I got to add these 23. Rose Challenge: Applying Deep Reds: The darker sheet. You can also add some of the banda ground too. I'm going to scoop all that right that I have. I'm going to show this to you right here. And then the blue. And then I'm going to add some of the green as well. More blue, more of that purple. There you go. I'm going to add it right here. Now, this is important to add it right before this is dry because otherwise you're not going to have that soft transition. I had a little bit of too much of that blue that was not well mixed in, but that's okay. I need more of the green to make it more brown. Now why is that? Why these colors? Because to create a shade of brown, All you need is red and green to blend those together. That's all you really need. Then you can pull it with that brush because this is green top like ratio between one and paint. So you can pull. Says you're using the D brush, pulling it and so on I'm going to grab a little more of that paint. So I can pull through this area needs to be darker. This area as a matter of fact should be darker. I missed it a little bit. But the paper still feels like it's wet. Keep adding. Now what I need to really really do is grab like a cleaner red. I still have the shade of that brown. But this is a smaller brush round three on the tip of my brush with that cream top like cratio, I grabbed also here. I'm going to show the s. The red. This is red red with some of that mixture that I use for these parts. Then I'm just going to create some of these veins. But the thing is the tricky part is to have this cream top like ratio between water and paint. And as thin lines as you can create, and I should have more here. This has dried at too soon for me, but that's okay. I still have time to work this a little bit more. I'm going back to whatever I can add, some of these veins and maybe more color, pull through this part where we have the darks. But the most important is I have that light here. That is really important. A little more of these reds may be here before this is too dry. But you need to stop as soon as the paper feels too damp, it's so damp that it feels like you're painted wet on dry. That's when you definitely want to stop. I'm still okay. That's why I keep adding color. Otherwise, I would stop. Now I'm going to show you how I'm going to do this with a rigger brush. I'm going to grab all the red cream top like crater between wit and paint. This is how you can also create veins and veins are going to be even finer when you have when you use a rigger brush. It's even prettier when you do that with a record press. You can also lift if you need to lift anywhere. I will tell you one area that I can see where I would want to lift. I just want to add a couple more of these veins before that because the paper is so ready to it's just everything is ready to completely settle and I won't be able to do anything wet anymore. Maybe here. I was talking about lifting. Let's say I want to lift in area. I was thinking about one. That would have to be with a round two brush. Let's say it's this area right here. Paper feels damp. This is a good spot to lift because I have this site that's darker and that gives it a dimension. I'm going to pull through a little bit more. Is there another area I should lift? Probably here. Why not? The perfect timing to lift colors is right when the papers start to feel damp. Actually right now, it's perfect timing. That's when you can use a damp brush you wipe your brush on a towel. You never want to not wipe your brush on a towel because then it's super easy to create a bloom like a guarantee almost that you're going to create a bloom. Then I think I did manage to show in this petal is adding a little bit of green here, it does feel like it. Technically I could rewet it and add a little bit of that green in there. To mix in maybe with some of the yellow and here just a little more color, but it feels a little too dry. I just want to show some dimension there's so much going on with this petal. It's the main petal. All my friends. The rest of this rose is all yours. Have fun with it. Think of the undertones. If you have a very bright red area, you want to start with yellow undertone to make that red pop. For shadows, you can use some blue. You can also use a complimentary color green. Blue is okay because to make that green, you need a shade of blue anyways. Just have fun with it and try to do everything you do. Before the paper is too dry. So it doesn't end up being like wet on dry, for example, it's very easy to do blooms and get hard edges if you pass that time. Finish as soon as you feel like the paper feels too dry. All right, have fun with it and Ly if you have any questions and I'm looking forward to seeing your paintings. 24. ROSES conclusion: You have just completed this course and you have learned so many new techniques to paint realistic roses in water color. You not only learn how to properly wet the paper and apply colors wet on wet, but also how to paint with undertones and how to create natural shadows using primary colors. Congratulations. Please don't forget to share your beautiful paintings in our community. And please keep an eye out on my new upcoming classes.