Paint Botanical Illustrations with Gouache : 7 Days of Painting Simple Patterns | Neha Poddar (The Doodle Keeper) | Skillshare

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Paint Botanical Illustrations with Gouache : 7 Days of Painting Simple Patterns

teacher avatar Neha Poddar (The Doodle Keeper), The Doodle Keeper

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

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About This Class

About This Class

We will be focusing on how to paint floral arrangements with Gouache Colors. Gouache is a dynamic medium and can be used as watercolors. It even shares a lot of its properties with Acrylic colors. Its creamy consistency gives a beautiful matt and opaque finish making it a dream to work with.

In this class, we will be covering all the basic techniques required to get you started working with Gouache colors. These techniques will get you comfortable with the medium and also prep you for the class project.

We will cover

  • Water Control to get the right consistency of the paint.
  • Layering Gouache to get the perfect light to dark and dark to light layering.
  • Different Brush Strokes and brushes and how to use them to make florals
  • And Finally, we will paint 7 beautiful class projects of floral arrangements or patterns using the knowledge we learned.
  • Art supplies I use, including paint brands, paper, and brush types

This class is suitable for beginners as well as for well-practiced artists. As a beginner, you will learn about the amazing medium i.e. Gouache, and how to confidently use it to create the most magical florals which can also be used as patterns or illustrations.

This class is for you if you've

  • Always wanted to try Gouache
  • Always been fascinated with flowers and their colorfulness and wanted to capture that with colors

So, come join me on this amazing floral journey with Gouache. By the end of the class, you will have

  • A much better understanding of Gouache and how to use it.
  • Confidence to make and compose your floral arrangement.

Don’t forget to follow me on Skillshare. Click the “follow” button and you’ll be the first to know as soon as I launch a new course or have a big announcement to share with my students.

See you in the class!

You can check my previous class on gouache

Adventures with Gouache : Painting Fun Florals

You can also follow me on 




Meet Your Teacher

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Neha Poddar (The Doodle Keeper)

The Doodle Keeper


This Class is suitable for beginners 


Hello, I'm Neha. I am a Mix Media Artist. I love to experiment with different mediums.


As an artist, I have always been drawn to the beauty and complexity of the world around me. From a young age, I found solace and inspiration in art, expressing myself through painting, drawing, and other creative mediums.

Over time, I have honed my craft, developing a unique style that blends vibrant colors, intricate textures, and bold brushstrokes. My work is a reflection of my passion for life, my deep empathy for the human experience, and my desire to create beauty out of chaos.

As I continue to explore my artistic voice, I draw inspiration from the natural world, the people I meet, and the experienc... See full profile

Level: Beginner

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1. INTRODUCTION: Gosh, my look like an intimidating medium, but it is in fact quite fun to work with. I work a lot with gouache and I loved the worst reality of this medium. The fact that it dries matte and write attracts me to it. One of my favorite quality of gouache is that it can hold multiple layers. In today's class, we are going to learn about gouache, It's techniques. And we're going to make seven beautiful, loose floral compositions using this medium. These projects, you will get a start with making different floral arrangements are patterns. And also these projects will ease you into using wash regularly. I everyone I'm need help with that. And I'm from buying there. I go by the handle, the Doodle, keep her on Instagram where I share a lot of my art works in different mediums by style of painting is mostly centered around lose freehand florals. I love to use bright colors and my compositions. And I even love to explore new videos and techniques. If you're a beginner and want to know more about, gosh, then this course is for you. Even if you're familiar with this medium, then also you can join this class. We will be delving deep into gouache compositions and techniques. Through the seven-day course. We'll be learning about water control and how to layer our gouache colors on top of each other. We'll be learning brushstrokes and also do a blending exercise. The application of this project is numerous. The final projects can be used for cards or print purposes. You can also use them as patents for various surfaces. After the seven days are over, I'm certain that you will be tempted to continue painting more florals using gouache colors. I'm even certain that I will be seeing variations in your class projects. So join me in this magical journey and let's get started. 2. OVERVIEW OF GOUACHE: Gosh is said to be opaque watercolor as it shares a lot of its properties with watercolor. With that being said, it is extremely different from it too. But that's not. It was also shares few unique similarities with acrylic colors as well. Hence, it's somewhat bridges the gap between watercolor and acrylics. And yet it is different from them. Gosh, is water soluble and can be vetted on paper even after it dries. Because of this property, you can blend it well even on paper. Gouache is a fast drying medium, unlike watercolor, and hence, it can be laid multiple times. So this layering of multiple times, it's quite similar to acrylic colors. This property helps in adding a variety of details to wear at work. It is opaque and dries matte and often does velvety to this quality, gives vibrant illustration look to our artwork. Wash color comes in a variety of packaging, like tubes, dubs, and even jars. I've talked about different gouache colors in my previous class. So you can check that out for more information. I have structured the project in such a way that even while painting fun florals, we are in fact learning new concepts. The projects are based upon either techniques like layering, color control or based on color theory like monochromatic, warm, cool color palette, or split complementary color scheme. You will learn new concepts in each class while having fun painting florals. So now let's move on to the next section. That is the materials required for these projects. 3. MATERIALS REQUIRED: So now let's talk about the materials required. Essentially while using quash, you don't require very expensive materials. You can use what you have or you can go for raw student grade materials. Also. In case you are a beginner, you can start with primary colors, red, yellow, blue, along with white and black. These five colors can be used to mix most of the colors. I generally tend to use direct colors are pistols, which has a lot of white in it. Hence, I have invested in a variety of colors for this series. In case you do not have goulash colors, you can go ahead and use booster colors, acrylic wash, or even acrylic colors. I have shared a lot of varieties of gouache colors in my previous class. Adventures with gouache, painting fun florals. You can check that out. In this class. I'll be using different gouache colors from different brands. This is just to show you a variety and how most of the time brand doesn't matter. What matters is to get the basic techniques right. Now, let's talk about the paper. Gouache can be used on a variety of papers as a big meal. You can also start with a lesser GSM, people of 180 to 200 GSM. It should just hold the water and not bend. I personally like to use watercolor paper of 300 GSM, 100% cotton paper. I also mostly use cold press as I liked the texture that is there on the cold press ones. You can go for any watercolor paper for your projects. I'm going to use Arches cold pressed, 100% cotton, 300 GSM paper for the entire series. For all my projects. It holds a lot of water and it is convenient in layering of the colors. But believe me, go wash doesn't need any fancy people. You can actually go for anything between 18200 GSM paper also. This now talk about the brushes that we are going to require for our projects. For your projects, you are going to require a flat brush for all your backgrounds. Also, one of my favorite brushes, which is a filbert brush or an oval brush. You can go for any brand that you are comfortable with. We will require fewer round brushes in different sizes, like 468. We'll also require some many toothbrushes, along with a rigger brush. Rigger brush for our stems and the minutiae brushes for a finer details. In case you're taping down to people like me, use masking tapes or paper tape. You can also go for scotch tape 3M, as it also gives very crisp and good edges. Please don't judge me, but I use these toothbrush holders for all my projects and they don't spill. And I use two jars of water for all my wet mediums. We will also require a clot or few tissue papers. For pallets. You can actually go for anything. It can be ceramic, it can be plastic. It can be like just a plate or just to recap, you can go for anything as a palette. So now let's move on to the techniques of gouache. 4. GOUACHE TECHNIQUE - WATER CONTROL: So a lot of questions that I generally get from my students is how to use gouache. What is the right consistency for the gouache? How much water should be mixed into it. So let us see how we can control water and what is the right consistency to use y using the gouache. So this is called water control. So I've already put some red color in the pallet and this is straight out of the tube. I've not missed anything. And I'm just taking a brush which I've dipped in water and I have PAD dried it. So right now I have almost none or very little water on my brush. Consistency of the paint is very dry and it is take and it does not come on the brush very easily. So I have to take a lot of strokes to get the paint on my brush. Let's start with our swatch and there can you see how we can see the paper underneath? That's because we have not used any water in the color and there was a very tiny amount of water on the brush. And since this is a cold press paper, it has this rough texture and the Pinto has not gone and the ridges that is there on the paper. So now let me add a few more drops, like just one or two drop more. And we'll try with the second swatch. So as you can see, it is become more creamy and now it's coming onto the brush quite easily. So you can see now how this has more opacity and it's much creamy on it. So easy to swatch on the paper than the previous stroke. And by just adding a tiny bit of water, the property has changed from a very dry stroke. It has gone on to a much smoother one. Oh, let's move on to our third stroke. And I'm just adding one or two more drops of water. And let swatch. Wow, Can you see the consistency? So as we keep on adding water, they come a time when our pain becomes extremely transparent and we can see the paper through. So at the end, it will give like a wash effect. And it will be almost like using watercolor. So now let's just keep on adding some drops of water. And let's keep on watching. So as we keep on adding water will soon start to see the people underneath. See in this one we can actually see the white paper from beneath. This last swatch has the least amount of color in it and it has more water to we can see from these swatches that we can go from a very thick consistency to a very light consistency. There is in fact no right consistency. You have to see which one works for you. Like the last one, this one, I would probably use it to make a good, very diluted background. And the top fund, this one, I can use it to make textures. The consistency that I generally like to work with is this third one. For all of these have their own users. But for this project, I would recommend that you use this third one, or in fact, even the fourth one is okay. So let me show you a close up. As you can see that this one has the least amount of water and hence it has got, it is taking the texture of the paper. Then as I've added more water to it, it has become transported to this one. The last one is almost like watercolor. I use this last one sometimes for my paintings as this is quite diluted. And when we have to do a lot of layers, what happens is while I'm making some petals or leaves, we can accidentally scrape off the layer beneath. So I will sometimes use this as this comes in handy to solve that problem. Another thing which I would like to highlight is in order to achieve a lighter color, they took wash. You don't need to add more water because that will make it transparent. So if you want to continue using the same opaque that you want, then you have to add white to it. So unlike in watercolor where we diluted move with the water to get a lighter consistency. So I'm taking some white in order to demonstrate this example to you guys. I'm going to use the same red as before. And I've not missed any white in this one. So now let's add just a tiny bit of white to this read. So this is attend to the previous color and we're not losing the opacity like this. Now let's keep on adding more white to this red so that we keep on getting go one then lighter than the previous one. Just remember during this exercise that we do not have to add a lot of auto, refrain yourself from adding water, just put that much which is required and you're good to go. You can see how I've just added white. So this is not making it transparent because I'm not I'm not adding a lot of water to it. But to get tents or even she do for shades, you can add a tiny bit of black. But in order to get the lighter tones, you have to add white and not water. 5. GOUACHE TECHNIQUE - LAYERING OF GOUACHE: Another property which I love in gouache, since it makes my compositions look so beautiful, is that the way that I can layer it up? So I can layer multiple layers of gouache on top of each other and still get a good, opaque and really good vibrant compositions. Let's move on to some exercises of layering wash. I'm taking the same rate as before. So this is how I do my background also, I go from left to right. I tried to even out as I go along and paint along. Just look how beautiful and vibrant or this color is coming. And it is opaque and Matt, which is to my liking. So I'm just evening a doubt my background as I really liked them that not so many strokes, but it's okay if you don't get that. So I've just put down a very vibrant color. Now, let's go for a lighter base, maybe like a yellow. So this is a nice bright yellow. Let's use this. Just remember to mix it to the right consistency and then use it. This looks so gorgeous and I loved the matte finish. And this red one has almost starting to dry. And it's it does also turning out to be a good Matt Galla. Now, let's start layering our gouache colors. So one of the basic rules that we have to follow us that that the layer beneath should be completely dry. They should not be any moisture on it should not be wet. Otherwise, what will happen is that it will, the new color will reactivate our old one. And it might even scrape off the layer beneath. So let's use the white for our first layering. So I've loaded my brush with white. Let's just put a stroke. This white color has come on so beautifully on the red color and it has come, come out completely opaque. So another rule that we follow and squash is why layering it up. You should use very less strokes. Because if you use a lot of stroke, what will, what will happen eventually is that we will end up tripping up the layer beneath. So I'll just show you an example of this. I'm just putting the stroke again and again. And what is happening is that my white color and red color, it's mixing and it's giving me a pink color. So this particular technique can also be used like while we are blending. So in case you want to blend particular color from one transition, a color from deep to light, you can use this technique, go for that. So just to summarize, when we're using multiple strokes, what it is doing is it is reactivating the layer beneath. So just avoid it if you're not going for a blending look. So now let's put a deep color on top of this yellow. Since I have lot of red on my palette. So I'm just using it up and I'm not putting a lot of water in it. I'm not diluting it. So it will probably come in this second number category. Just to check before being think if the surface is completely dry or not. And since this is good to go, Let's paint. So now can you just see that this is all to come out quite opaque and we cannot see the yellow underneath. Now let's take a deep color and see how we lead a deep color. So dark color will be very opaque and it is going to hide the color beneath much more efficiently than the lighter one. Now let's put the same blue on yellow and see how it does. So now let me show you something interesting, blue and yellow. When we mix, we get a green. So I'm diluting my blue quite a bit with a lot of water. And what I'm going to do is I'm going to use multiple strokes on yellow with this blue. So can you see how it is turning green? Just see how magical it is. And this thing you can use, this technique. You can use it for your composition while you're making leaves and all. This comes quite handy and just use it to your advantage. So till the time our layers are getting dried, let me show you another technique. Of course. Let's do a small blending exercise just to see how the color they mix together. Let's use up the red, which I already have in my palette. This blending technique, it comes in handy, like go when you go photo, blended background, or you want to blend your leaves or flowers. This especially comes in handy when people are into landscape and they are making a gradient sky. So now let's make this gradient with a blue. I've taken very less color on my brush. So just make sure that your brush is loaded. You have enough color and the consistency is good while painting backgrounds or larger surfaces. Now, I have put in both the colors red and blue. So what we can do is either we can blend it in-between with some white light right now what I'm going to do with since lake red is the lighter of the two colors, I'm going to take a pull down the red towards the blue side. The point to remember while blending is that gouache is water-soluble. So it can be reactivated on people, which means that even if your colored had dried right now, you can still blend it. To get a smooth blend. Just keep blending from left to right. And you'll see that there comes a point where would the colors have started to merge and you're getting a new color. So right now, blending might look a little bit difficult, but in fact, it just needs some practice and you will get the hang of it. With experience, you will know that whether to pull the color down or do you have to take the color up? And our blending is done? It's come out fairly okay, I would see, and let's hope we can do an exercise where we are using this. Let's come back to our lettering techniques. Since our colors are all dry and I'll be sharing it with a light color, which is white. We're going to put some lines and dots. These lines and dots that we do. This particularly comes in handy way making tiny stems or when we're giving those veins on the leaves and the dots, how we do the center of a flower. So all these, they come in handy, so it's good to practice them out. I'm putting white to color on top of the green one. And as you can see, I use the two strokes while doing it. So sometimes when you're layering light color on top of a deep fun, you might have to go for a second stroke. By layering, it is important that we go at least for the second or the third. Color consistency. Eating go deeper colors on top of light colors is easier than painting light colors on deeper tones. With the light colors you will generally see there is translucency. And you might have to go over it again sometimes. But that is not the case with deeper colors. I love the translucency that we get using these colors. So I use it to my advantage for my petals especially. So let me just summarize this section for you. So we learned about water control. So in this we started with dry stroke and we kept on adding water till we get started getting very transparent color where we can see the people beneath. And so we understood that these three are the best consistency to work with. But as I said that you can go with any of these for your backgrounds, for layering up a lot of these, you can use it for different applications. Then we learned that how we can put two white color and we can just get tense without losing the opacity of gouache. And we also saw few lettering exercises in which we laid light colors on top of the deep funds and deep colors on top of the light ones. We'll disorders blending exercise. And you can use this blending technique for your compositions, for a lot of backgrounds that you can create with it. I hope that these techniques are clear to you. Now see you in the next section. 6. IMPORTANCE OF BRUSH STROKES: My friends, let's talk about brushstrokes. So different brushes, they give different types of strokes. So let us start with a round brush number six. And I've already put the color in the pallet. Let me just mix it. So I always recommend this exercise to everyone. And it especially beneficial to you if you are a beginner or do you want to practice your brush strokes? So I've loaded the brush and the first thing that we're trying going to do is meet lines with it. So just the tip. I'm I'm holding it at an angle of probably a 45-degree and I'm just using the tip to to make this line. So another one. So this just gets you into the groove of knowing your brush more accurately. And I'll show you another exercise which is, which is Lake really important while doing petals and leaves. And that is the tip and the belly exercise. I know it's funny but still it's like, Oh, this is the tip of the brush and this is the belly. The factor part is the bunny. And so we'll try the first step. So you go ahead and start making a tip, you know, a little bit of tip and then you put in it's like dip. And then you slide in the full pressure. That's the belly and then you lift and then that is the tip. Let me just show you a close up. The belly. Then again, dip, barely dip, bendy, bendy. So this, this exercise, this kind of helps us in making floss Betty's. Then this is something that you can use to make your stem. Then another thing that you should always practice is, you know what kind of spots your brushes making. So this is like sideways that I'm doing. Then you can use the actual dip to make more rounded. Dots. Vary the pressure. You just vary the pressure in on some veritas light somewhere it is little d. So just see what the brush is doing and how you can utilize these strokes further than European doing. Now, I'll just show you an example of how we can use these to make a very small composition of Florida with some petals and leaves. ****, barely remember to twist and turn your hand, your wrist to get the perfect leaves. But even if required your people, you can use the spots exercise for the center. And then you can use the line exercise for the stems of the flower. So for a stem probably you will require lesser number of brush. I'm using a brush number six. Yes. And you can go for brush number two or four. Keep fine-tuning your leaves as you go along. Another brush that I absolutely love using as a filbert brush. So this is an oval wash, so it's like a flat brush with a rounded tip. So go for a filbert and oval brush. Anyone with will do. So. This is it. This comes very handy when we're making flaws. So again, let's practice some lines with this brush. First. Since this brushes thick, it is giving me thick lines. So this vary the pressure and see you will get different types of lines with it. So I'm using it sideways. You tried to bend the belly exercise so with a brush what Frank and sideways. So again, let's do step, belly, the belly. You should definitely check like, you know, what kind of strokes the brushes making. So this is like a full belly. This is like something like this. And then you're giving the lake a full belly. This particular brush. It holds, it takes a lot of color. So that is why I keep running out of the color. So as you can see, it will give you different types of sports. Also. See how it can be used for fishes scale, or maybe like giving texture to your flower. So just see how we use the full belly of this brush and we get like big petal. You can use this to cover more area. Also, when this brush is you sideways, it gives it gives such pretty strokes. And then maybe you want some spots in the middle. You should definitely practice more strokes with your brushes, different brushes. Your favorite one round, flat, then your spotters. So this is a miniature rigger brush. And just show you like just load your brush. And then you get the thinnest lines over your. And then you can even practice your belly and the DIP exercise with your spotter and see how many leaves forming. One thing you would notice is while I'm painting with gouache, it is not 100% opaque, but there are places where it gives this translucency feeling and the color beneath, like in this case, it's white. The color beneath SP is like a beeping. And I kind of liked that feeling while I'm painting. And it just gives it more natural feeling and has this shadow effect of deepened light. And I kind of go for it. So use this to my advantage, and I hope you use it to practice your brush strokes. And now let's move on to the next segment. 7. TAPING THE PAPER: So let's start with taping the paper today. So I'm using this paper tape and I'll show you how I take my people. I like clean edges and hence, I always use paper tapes. Lake 0.5 centimeter. And we just measure the how much steeper I want. And then I just put it lightly and then I press it with my fingertips. So just putting a little bit effort and then come out nicely. Came out crooked. So I'll just put it again. So in case you're also a person who likes clean edges. So you can go for a variety of tapes, lake or washy tapes, paper tape, scotch tape, 3M, if even that gives wonderful clean, crisp edges. Let's do it for the sale as well. So again, I've just placed it just placed it and now from the center, I'm just putting pressure with the fingertips and then just swiping it across the tip. That's it. 8. DAY 1 - PAINTING FLORALS: So for the first-class, we will be requiring three brushes. Flat one, I'm using a number 10.1 round brush. This is number six. And I'll be using one line or you can use another mini liner for the project. So for the first project, Let's start with a violet color. So I've taken some color in my palette and I'm just mixing it to the right consistency. And then I'll just check whether it's good enough. I think that's good enough, but I will require more than just putting it some more paint. Now let's start painting. I'm painting this horizontally. As I feel that it gets less stroke and I can even adult. So the background depends entirely upon you. Whether you want it even or you wanted a little patchy, or you want to do two backgrounds, two colors in the background. So the background to be quite contrasts quite deep. I want the background to be very deep. I mostly like to put the color force, like even in sections. And then I go about and even now to the gallows, my strokes. So in case you want to touch up some places that you feel is light, you can go ahead and do it. The deep color will tend to dry out a little lighter. So what you're seeing, which is so deep, it will turn out to be a little lighter than this. I think this looks good. Let's wait for it to dry down and then we'll start with the composition. So now my background is completely dry and it has turned out very opaque and it is very vibrant. So let's start with a very easy foliage on it. I'm going to use a titanium white color for the plant or the leaves that I'm going to make. Just put in some color on the palette. Let's mix the paint to a good consistency. Since a background color is so deep, you have to be extra careful while being done with a light color. On this. I will use a rigger brush for the stems and branches. So make good line. You have to practice your line exercise and just make a beautiful thing the line. Now take out some branches and then go for more branches coming off from those branches. So I think that's it for the stem and the branch. Let's start with the leaves. And in case we require some more branches, will do it. For this, I'm going to use my round brush number six. So let's start from the top. So what I'm basically doing is that I'm making leaves, which has this rounded edges. Just take out a tiny bit of a stem and then just please the tip and the belly part of the brush. So we're not swiping the brush with just placing it on the paper. In order to get your shape, your desired shape, just to keep adding more branches, as in when you require it. So we have started with a very simple exercise. And the basic purpose of this exercise is to get to know your colors much better. Hence, I've just started with two colors, deep and a lighter one. The best part about this project is that I'm just showing you one way of doing it. So just to practice your colors, you can go about making a elongated leaves. Also, even that is fine. You can practice with different round brush or any other brush that you are comfortable with. Go with the filbert brush also. So this is just to get you started. In this exercise. It's really simple. So just to put dip in the belly and you're good to go. Enjoy what you're doing and try to come up with natural shape and keep modifying your flower as you go along. To make it look more organic. Just to keep changing the shape of the leaves. Some can be bigger, some can be smaller. Since we're just placing our brush and we're not putting up of lots of strokes. What is happening is that we're not activating the color underneath. So hence, we are easily able to put a light color on top of the deeper one. Just see how beautifully our composition is coming along. And if you want to take in those centers stem, you can go ahead and do that. Even that look good. Don't dilute the color in case your color is getting finished. Add some more color to it and some water. Don't just keep on diluting the color with water. Adding some of the stems as I'm going along. And I feel that the space needs to be filled up. So I'm doing it very instinctively. I have used a violet color background. In case you want. You can go for the deep red. We can go for a navy blue. You can even go for a black in that will look good. So experiment with most of my floral artworks are very instinctive. But in case you are not comfortable, you can go ahead and do a template or a structure which you can follow for the leaves. They're just about to finish this. Let's just finish it off. Just put in some more. Just filling in for most people that we have. The points to be noticed in this exercises that they will be few petals or leaves which will take on the background color. So always try to work into advantage. And while working with the deeper layer, there's a high tendency that it can get reactivated fast while using a very light color, like white or creams, your yellows and all. So it's good that we do fewer strokes are just one through painting. So now let's just take off the tape and see how the artwork has come. Always build the tip at an angle. While this looks so gorgeous. So this is our first painting. I hope you like it and see you in the second class now. 9. DAY 2 - PAINTING FLORALS: So for the background or we start off with the lightest of the greens, and I'll just take some of the ballot. So let's get started. I have done been my brush a little bit and also wiped it all know, clot. And I'll just load up my brush. Now, started horizontally. So I just add some water so that it doesn't come out to streaky dry. You have to come up towards the right consistency for this. For the background, you can even have a little watery background as you will be layering it up. And I'm having a very, very thick background also means that there's a very big chances of reactivating the layer beneath. I just smoothing it out as I go along. So keep going and make sure to smooth that out as you go along. Even when you have two mics, like very tiny amount of color. Then also just make sure that you're getting the consistency right. So don't dilute your wash colors with water. Okay. Just add more color to it and then add only that much water that is required to get it to the right consistency. Now let's just even adult. So that's it. A background has done. So let's wait for this to dry and we'll come back with the first layer of the leaves. So now we're going to start with a second layer. And for this, we'll be using this green. This green is a little darker than the previous one. So in case you're using a light ranges go for a dark green. Just add a little bit of white to black to your color to get this. So you can use a viridian green and just add a little bit of white and black, more white and a little black. And you'd probably get closer to this. So I've already makes the color in the pallet. And let's start with the second layer. For this, I'm using this round brush number six. I've mixed my pin to the right consistency. It's creamy. It's not watery and it is not very thick. But let's test it out on the paper itself. So this scattered leaves, and let's start here. Just use the tip of your brush. So now we just use a single brushstroke, one or two brushwork and make the leaves. This is the first one. I put in the full belly of the brush on it. And it gives you one that it looks a little flat on the other side. Just go ahead and give it another one, another swoosh and make a point as well. And then let's go about doing this. Let's take out a stem and leaf. So give me a leave some sheep. You can definitely go with little downward and give it does not have to be stunned as well. So some can go downward like this. Let me just take in this stem out. So since we have put borders, it is okay if the leaves are going out a little bit. I'm not overlapping these leaves. I want them team. And then Casey want you feel like that maybe the leaves should be overlapping each other. You can go ahead and do that as well. So now you're just being silly. Little leaf is going out. So this is the first leaf. Let's make another one here. Making this a little smaller because I want to put another leaves as well. It started making this big. See how different angle like this is. I'm taking my leaf from upward or downward. So it's gotten the full belly and the leaf as turnout, so organically beautiful. So just keep going and give the leaves different directions. As you go along. You can see how I've mixed all to the two colors. They are quite two beside each other. As they are from the same family. It doesn't matter if you put the deeper one and mix it with though. We know that we have already done. So now we're done with this layer off and on. We wait for this to dry. Now, our first layer off, the knees that is dried. And the second layer that I'm going to put as this one, and I've just put some in the palette and mix it to the right consistency. It's okay if you are mixing your previous color also into it. It just takes one that shade a little bit. I feel, and you can do that. So now let's plan or rod book. Since you've already used are these two. So I would now like to put in this one from here. Although color and then the third layer will be overlapping it more. Let's start and I think both legs go from top to bottom. Just use the tip to make this in case you're not very comfortable. You can go with a rigger brush or the smallest size brush. So it's put in. He sends up previous layer has completely dried out. It's so much easier to put in the next layer. The key takeaway from this project is how we are layering different layers on top of each other. So you can see how they are overlapping each other and the layer which is blue, it is not getting activated. It's essential that the land below is completely dry. Otherwise you will not get consistency, will not get this opaqueness. This is one of my favorite books to do it. So meditator, actually, very easy and it looks pretty. I just put my hand over there so I'm just detaching that leaf. So just be careful while painting and where you're placing your palm or your wrist. Hence, it's always good to come from top to bottom. But that's not the case for the first leaf that we drew. But that's okay. Sometimes forget that and Let's move forward. Also, making these overlapping leaves is like an icebreaker to me. So whenever I have an odd blog or I don't have a lot of inspiration to go for. What I did was I just make overlapping leaves in monochromatic color palette or even a lot of times. It also helps me into testing different colors combinations with each other. Now let's go ahead and paint another one in this right hand side corner. I think the stem is little thin, so let's just even a doubt. So use the full belly of the brush and make sure that you lift the belly up for fast and do not elongate the leaves. So in this batch, a lot of overlapping is not going to happen only this leaf, I feel really good overlapping, but that's okay. We will be putting in another color after this so that we get that overlapping effect. Much more pronounced. Just extend your stem a little bit outside and then you can come with few leaves from outside to inside so that it looks continuous. So I think this is done and in case I feel that I require or not this time maybe I'll just add some random leaves over here or some hill. So let's first do the blue layer, and then we'll see if some motors are quiet. So let's wait for this layer to dry again completely and then move on to the next layer. So now our second layer of leaves are almost dried. Only few parts are a little bit better, Better. Cotton was probably a little thick, so it doesn't matter. We can go ahead and start planning our composition. I've already put in the color. And this is a blue-gray. So this is a grayish blue. And you can mix this color also with your Prussian blue or your indigo will also go well with this and just put in some white in it and very, very tiny black. So you will be good to go for this color. Now let's first plan again as to where we want to place next door layer of the leaves. I think we can start with til, where we can cover both of these lead and maybe one from here. And let's see if we will require another one. And we do that too. I just love this part where it is just overlapping all the previous layers and it is still not smudging. The beauty of this project is that you can go ahead and just experiment with any color that you like. You can go monochromatic, you can go with contrast colors. You can go into shades of reds, yellows, oranges. So there's no limit to what combinations you can come up in this In your projects. I would love to see your imagination go wild and show me different colors and just express yourself. There. See, it's come out really nice. Now let's give another one over here. Nice. Really light with the light hand, you have to do this. I have been doing overlapping leaves for quite some time now. And I've been doing it with a lot of mediums. Whatever mediums I get my hands on. I think I start with leaves, so I've done it with acrylics, watercolor. I've also done it with brush pens and markers, posco pen, so that I don't think so that I have left any medium which I have. So go ahead and experiment. This is quite fun. Actually. Don't be afraid to go out of your frame so that you get that perfect leaf. That's it. Now, let's go ahead and give, let's give another olive green leaf OVO. So it's okay if it's overlapping your previous leaves, it's completely fine. I guess he warned you can even mix these two and put in another layer. So that just gives you more dimension to your art work. This is turning out really nice. I hope you're liking it to. I think go away, just give another leaf over here and this will be the darker shade. Just a tiny one coming out. I didn't want this one to touch this. So that's why I got shot though. Stem. I think we've pretty much done Let's do a tiny one in the corner just to fill up that space. This blue layer is the top-most layer, and hence it will be visible the most. I just wanted to give an overall balance to this artwork. And hence I'm going for 1 mol in this corner. So I think that's it. We're done. The composition looks so beautiful now. It has a few places where you can see the background. And also it has those areas where it's so dense and the layering can be seen so well. So I think we're done with this. Now let's remove the tape is going off my best spot just to see my artwork framed because it gives instant framing. Beautiful, crisp edges have come. There's a painting is complete and you can see it's looking gorgeous. Somebody loving it. It gives you want to give one more layer of more darker blue. You can go ahead and do that as well on this. It's like going from green to blue. But it's come off nice. So I hope you enjoyed the class. See you in the next class. 10. DAY 2 - COLORS AND BRUSHES: Hello everyone and welcome to day two of my class. Today we'll be doing a monochromatic painting. And this will be only leaves and the colors that we will require for this. So I'll be using this. He made me a gouache set and I'm taking colors directly from it. So this is the turquoise. And in case you don't have this color, I'll just do a swatch and show you. This is a turquoise color. In case you do not have, you can definitely go for a green and mix a little bit of white in it to get the background. So go for an emerald green or a viridian green button, a little bit of white, and you can come back to a little bit of similar color to this. So this is the first color that we will be requiring for the background. Then there is this another color, It's a little grayish green, quite similar to the background itself. But let's do this. Similar to the one that I have used earlier. Only. The difference is that this is a little deeper. So that is why it is monochromatic. So in case you want to go and do this, you can add a little bit of a little bit of black to it. There are similar tone. So just add a little bit of black to your color. And of course, a white will be required to get that piece to look. So this is the third color, and the third color is actually a bluish, grayish shade. And you can easily get this by just putting a little bit of white and a tiny bit of black to your Prussian blue. Oppression or indigo. You can also go for indigo for this. So as you can see, this is the third color that we'll be using. So as you can see that these three are quite monotone as they are quiet. They look like as if they're just ends and shades of each other. So the fourth color that is there is an olive green. So does he need not mix? You will probably have it and in case you have like, you wanted to tone it down and make it a little bit off base still, then you can just add a tiny bit of white to your olive green, green so that it just gets the space delay loop that is there all alone. The other colors. These four colors we're going to use. Also the brushes that we're going to use is this round brush number six, I'll be using this Princeton Neptune one. And for the background I'm using an oval wash. This is a half-inch oval wash and this is from Dallas County. So let's get started. 11. DAY 3 - COLORS AND BRUSHES: Hello everyone, welcome to day three of our class. And today the painting that we are going to make is this. So this looks like a classical painting. The classic colors like red. Then there's yellow, There's brown, and then there's green. So this will be our color palette. We're going to start with the Naples yellow background, and then there'll be red. You can go for vermilion, scarlet L, good, bright red. Then we'll be having a burnt umber for the centers and older for our leaves. And I generally tend to mix two of my colors. So red and amber mix, I get this color and you can go for this or just slightly just put in a little bit of flack for it. And you're good to go. It just swatch out some of the colors so that you get a hang of the colors that we're going to do. The first one is this Naples yellow. I'm using heavy Mia Gua Sha for these. So I'm directly using the colors. So this is the Naples yellow. So in case you don't have Naples yellow, what you can do is you can go for a yellow and you can put in white in it and you will get this color. So don't worry if you don't have Naples, yellow just to mix these two colors, yellow and white. The second color that we are going to use is a red. So you can go for any bright red. I'm pretty sure you must be having a good read in your row colors. So just go for a scarlet, red and you are good to go for this. So I'll just watch this so that you get a high. This is a little bit of orangeish red. It has, I think a little bit of yellow in it. But you can just take a good read and just go ahead with that. We're going to use a good bright red color for the flowers. And the third color that we require as a bond, umbo. And just do a swatch that a bit for you. So go over the very deep brown color. Further deep brown color. You can, if you have a lighter brown, just add a bit of black to it and you will get this color. Or this is too dark for you just add a tiny bit of yellow so that it tones down. So these are the three colors. And then the last color that we require is an olive green. So we use the olive green for the leaves. I believe that this olive green, it's a little bit, it has a little bit of white in it. So just to get the space to consistency, you can definitely add a little bit of white to your olive green. That's it. So we're going to use these four colors and like go just for the leaf center part of the leaders center line. So what I will do is I'll probably just mix a few of my colors and see what I get. And I will use that for the leaf spot. For this project, we require just three brushes. One is this flag half inch flat brush, and this is from around me. You can go for any flat brush and filbert brush. Then the second brush, which we are using is a six number Princeton brush. I really loved this brush. I think it makes the most beautiful petals. And the third brush is this bruce role to by zero rigger brush. This is just to do the center line of the flower, the petals. So let's start the painting now. 12. DAY 3 - PAINTING FLORALS: I'm going to start though with the Naples yellow. And now I'll just make some pallet. So let's start now. I'll just do I've loaded the brush and I like to go for the medium consistency. And I always prefer to start horizontally as the smallest strokes and I don't get a lot of streets. So in the background, make sure to cover your corners. It's very, very important. It has happened to me that when I'm actually in a rush, I miss out a few spots just to even it out when it's wet. So this Naples yellow is such a soft color. I feel it just gives the right amount of it just gives the right amount of color. And some red spots. That is, they must have fallen. This yellow gives a dusty yet bright look to the background. It has little b still feeling. So there are background is complete now and we just wait for it to dry and then we'll come back for the first layer. Now we are back. Our layer is completely dry it out and just see how much it is and how even out. It looks like this, even though feeling in my paintings. So the next value that we are going to use, this, this bone Dumbo. So we're going to meet the center of the flower with this. I start by generally just giving some random, so good uneven circles. And I start with the top of the page left-hand side, and just put in uneven, round shapes. And it's not necessary that you have to come here only for another one. It's just random, so just give it to her in there. And it's okay if it is not in the perfect so-called something. Since we have taped the paper or painting will go out a bit. So try not to be in the street line and give the dots a little upward down. You'll see that eventually it does Don't out into some sort of line. But that's okay. I think we're good to go. And now let's start with the next color. The next color that we are doing is the red color. I've already put some in my palette so that we can go ahead and start painting. So I'm using the, so I'm using this round brush again. See what we're going to do is that Toby will be Angus six or seven petty flaws and this. So let's start with the top-left. So what we're doing, we're using the tip and the belly. And we're forming, we are trying to form a tip and the end also not overlapping the petals and just giving digging another petal beside it. This will generally come to around six or seven petals. So I'll just leave it like this. I will not fill in this gap. It's okay. If I start filling this gap, I will. It will overlap. So that's EBIT. And then we'll do another one here. We'll just take it slowly. You can give it a full belly or if you don't want to give a full belly, you can just lift it and it's okay if it overlaps your brown part. You can very well go ahead and finish the brown part again. Since this will not turn out to be full. So I'm just still making a half for flower, we'll just giving it full petals. Maybe a tiny one over L. So I'm avoiding touching the petals together. I'm just avoiding it. But then it becomes necessary then definitely overlap your bed to come out. So pretty I guess this one, no, overlap. This. Remember that we are making fun petals. And you really don't have to be very serious. So with how these go. So made some smaller petals over their female do we'll, I'm doing this one so that I get the full flower over. Yo, I want this flower to be and not a half. So that is then going ahead and doing this one, forest main Daniel obesity. And since we're doing it on a lighter color, it will not matter a lot. Let's do this. Is you feel that it needs an intimate off refinement, then definitely go ahead and do it. So I'm going to leave this piece, probably will come back later and put a leaf. This one again has a good space. So generally try to utilize the space as much as possible. Instead of putting a very diagonally e to each other, you know, try to put one battling between the others so that you can just do overall, the painting will look good like this. So again, we have another one which is food. So let's make this one half one. Again. I'm trying to place a bet in-between the gap. So now we just have the last two ones. This one will definitely. Gum as a full flower. So again, I'm going to go first. I'm just trying to fill in the gap. Now this last one is there and I think Let's give this a half, Betty. And since this is going this way, Let's do it the other way. So I guess we're finished with our red part. Now let's do the green part. Since we will not be overlapping. Go much. I think we can go ahead and start with the Reyn-Bardt. The next color that we are going to paint is olivine. And I've already mixed some of my palette so that we don't waste time. So let's go ahead and start painting our leaves. Again. I'm using my round brush number six. So like go for leaves. It's basically to fill in the gaps. And let's start with this OVO. So what I'll be doing, I'll take out a tiny bit of a stem and then I'll go ahead with the nice thing goes for this. Consistency looks a little watery Yo-Yo, as we can see, quite a bit of the background. So it will just kicking it out. Yes, This is much better. See how I do like since these have got the leaves now. So I'll give this one leaf. Just remember that it's not necessarily all the leaves have to look fairly similar to each other. Just so you know what, just get this shape and have fun might be single use SAML going left, down, up. This makes sure that these are not unidirectional. They're scattered everywhere. So it's important that you plan the leaves. Just think a little bit before putting in the colors like how and where, like which flowers should have the leaves. It's important that, you know, you don't want to make all the leaves come out from the same flower as, you know, that will not look good. So try to see mix-and-match. This one already has two. Now let's give others. So I guess so we see this is a full flower, so this might have more leaves. And this, these are the half-life, so let's give them a little less leaves, it doesn't matter. So see these two, if I give a leaf, look very similar to how these are. So, you know, let's just tried to extend some leaves. This remember, some leaves can also come from outside. So now this basis there, and I'm just thinking, oh, how to go about putting the leaves? So if I put a leaf from your TA look quite similar to this one. So I don't want it to look very monotonous. So I'll have to plan it. Maybe, you know what can come from below. And so somebody. So even little part of the leaf mottos, so don't leave it out. I think we are now almost done. I don't see a very specific space which is in D, but let's fill out some species. If we have left out any. I could see this one. So I've just filled in that one in case you feel that yeah. Maybe that is a blank spot and just store it will not look empty when it's finally done. So this is the time. I don't know, I feel like maybe this one heel and acquires one. So yeah, I think we're good to go now. I've fulfilled in most other places in case I feel like there's a gap. I come back to it again and I'll do that. So now let's go to the next fellow. Now start with a rigger brush. Let's mix the red and the green. Olivine. Taken some brown also. We are going to do the dip in the belly exercise over here also, but not the full belly. We need to try to have a light and then it just feeds into a tip. This one is a little thicker than I wanted, but it's okay. So try to just lift up the brush in the end so that you get, oh Good. Find that. How would the center of the leaf, this line is deeply. So you have to lift off your brush to get that effect. I'm not dividing the leaf. And just to live in the top part. See how it just gives you the dimension to the leaf and the leaf is now not looking flat. I don't want to complicate my design months. Hence, I'm not doing, you know, giving the veins of the leaves as soon as possible. This one don't know the little tick, but leaves are not equal, so that's okay. So I haven't left any leaf. There is one. I think we're done. So yeah, the painting is now complete in case you want to add some more details. But this is like a full-color painting and I would like to keep it that way. So now let's take the tape off. Before taking the tape off, I just felt that if there are few connections that needs to be done, you can go ahead and do that. Like this petal is completely coming above the center part. So just make the center part a bit more, a bit bigger. So just to finish your finishing touches, a few have this to do the finishing touches just so that the painting looks how you want it to look. Now, let's take the tape off. So this is definitely one of my favorite part to do. So always take the tape off at an angle. Always take, take it up. Don't go like this. Just try to be like, Wow, this is how lobbying thing has turned out. I love each and every part of it. This is like a classical painting with red flowers, green leaves, browns. So there's very less chance of us to get wrong with it. But this is actually turned out way better than I had imagined. And I hope you enjoy though, making this. So see you in the next class now. 13. DAY 4 - COLORS AND BRUSHES: Hello everyone and welcome to day four of a class. And this is the painting that we will be doing today. So this is the practice sheet again, and I thought that let's do a neutral color palette. So till now we have been doing mostly like a cool color palette or bright color palette, warm color palette. So I thought let's do something which is a neutral and width, some bits of a cool shades to it. So this is the painting that we'll be doing. And the colors for this that we will be requiring is gray. So you can mix in your white and black for that, or even a little bit of yellow to get a warm gray. And then there is a cream. There's a Prussian blue. Then there is a grayish blue, which you can mix the Prussian blue with the white and a little bit of black to get this. And then there is a tan sheet which you can get my mixing brown and white or as just put a little bit of brown in your cream and you will get the shade. So this is the painting. So let's get started. So let's start swatching the color. I'm using hemophilia gouache set, and this is the gray. And let's start with this. This is the first color that we'll be using. So you can mix this Carlo with lots of white and a little bit of black. And if you want, you can just put in a tiny bit of maybe like tiny bit of yellow to it. And you will get a warmer shade of gray. And in case you want like cooler shade of gray, just put in a little bit of blue so that you get the cool shade. So the second color that we need is a green and just makes it to the right consistency. And let's try this. So use a cream if you have in your colors. Otherwise, just dilute it with dilute your yellow with a lot of wider, even for that matter. Take your white and just a bit of brown to it and you will get the cream color. So this is the color that we'll be using for our flower. So the next color that will be requiring this, this tan color. And for this, I am taking it directly from the tub. But you can very well add a little bit of brown to your cream to previous Gallo and you will get this tan color. So this has more brown to it than the previous one. So these are just like tints and shades of each other. And you can see how neutral the color palette is looking till now. Then the next color that will be requiring is Prussian blue. So this is the color, and I'm sure you must be having a Prussian blue and your ballot. So this is a very, very deep color of blue. And this is what we will do the center and leaves with this one. So this is the blue. I hope you can see the blue. This is the fourth color. Let's come to the final color. So this is like a grayish blue. You have used it earlier also. So in case you want to mix this, then you can very well go ahead and make some Prussian blue with a little bit of white. And in case it's required, then give a little bit of black to it. Just a tiny bit. Well, just got it. So pretty and just love this color. So these are the five colors that we'll be requiring to make this art book. And these are unusual color tones and then these are a little cooler ones. So just like Coventry neutrals that we are going for. So now let's talk about the brushes. I'll be using a half-inch flat brush for the background. And then we'll go for half-inch oval wash or you can use a filbert brush also for this. Both are from Dallas County. So these makes wonderful petals, as you know by now. And then I'm taking a round brush number four, which is from the brand silver. And with this, I will be doing the leaves. And then I'm going for long rigger brush. And with this, so we'll be making the stems and little details with these ones. So now let's get started with a painting. 14. DAY 4 - PAINTING FLORALS: The first color that we'll be using is this tree I've just mixed the right can sustain the tub itself as requiring a lot of grief for the background. So that's why I'm not putting in the palette. I'm just using it from the dub. So again, I'll be going for horizontal movements. I'll be painting from left to right and right to left. Just even out as we go along. And it's even a doubt that it is. The top part is already started to dry as well. Again, the corner don't miss all the corners. Very important. Then just one final evening out. And that's it. Now let's wait for this to get dry. And then we'll put on the next layer. Now let's stacked over the petals first and we're going to use a cream color. And I'm going to use this oval wash all the filbert brush for the petals. So just dampen my brush. Dry it and I'm, I've already mixed the color over. Yo I'm soaking in the color with my brush ovale. As you can see. I wonder to be loaded. The belly of the brush plays an important role in this composition. So load up your brush properly. We're going for a five petaled flower, and this will be one stroke or maximum two strokes that we're going to do. So let's start. A lot of time, goes into mixing colors, so I'm skipping those paths, are forwarding those parts a bit. So first just place it dip and then swiping the full belly. So I liked the translucent fluid that is coming from underneath and it gives you feel that you need to give you a better one. Most definitely go for it. Just wanted to give the petals a little bit more body. So that's why I'm just swiping one more time that I'm happy with this look. So now we're going to paint another flower over here. And that will be the Don Carlo. I've just put some on the ballot and mixed it to the right consistency. Again, we're just going to load our brush with this. I'll make sure your tip. And I also alluded quite nicely. I'm going to put it over here. Got it is so rich. It's okay if you're Florida is going outside. So I think that's it. The second part is also done. Now, we'll go ahead and do our leaves, but now let's put onto another color. And we are going for our bluish gray. For this one, I will be making leaves. Now. Let's fill about the empty spaces so we can go for like maybe one stem over A0 and then another y'all. And probably one can come from Hill. So now let's start with the leaves. I'm going to use this round brush number four. So let's go ahead and stop the leaves. So giggling to use the dip in the belly. Dig out a little bit of depth. And then we'll paint. The leaves will have a little bit off stemmed. Do it. See how I'm using? First, I'm just taking out the tip, then Ms. Patina and the tip. And then again to get the shape of the leaf. You can go for a bigger brush size and gives you warned leg bigger leaves. Dr. to date different directions and different shapes for the leaves. See how well it is coming along the gallows and on. So keep on with the dependent Valley. Go out of the frame as it will just give you a seamless pattern. Notice seamless artwork. I personally love the leaves. They are going out of the frame. I just put it over the petal and that's okay. In case you want to go that way, you can do that. So I guess so for right now, the scattered is done in case I feel like maybe you want some overall. I do that a little later. So now let's move on to the next color. This is the Prussian blue. I have already filled it over here, the ballot, and we first start doing the centers. So doing descenders pretty much are very easy. You just fill in, in a, in a circle. You have to be very careful of these. I just put some on my hand. So just be careful about the leaves that, that is wet. So go about it organically and don't just put dinosaur. Make sure that there are some VV edges to it. We lose them over. I think that's it. Don't go overboard. And now let's put in some dots around it. Just have to do just have to use it to very light handed, very light handed. Just have to do like bom, bom, bom, bom, bom, bom. Make sure you hold the brush street almost like perpendicular to the paper. Be patient while you're making these dots. As we don't want a lot of model two dots together. I think we are good to go. So now let's start with the second flower. I'm varying the size of the dots that I'm doing. Some big ones scheme your butt. I'm just trying to show you. We'll let it get to love the tip of the brush properly. We don't require a lot of paint in the belly of the brush. I want to share a close up look of the center of the flower that we're doing. So in case you feel like you can just put in some dots over yours so that when it dries, no, maybe it will not look flat and nice dots will come up. So now we're going to make our lives with Prussian blue. I've made some more. And first door, let's go about the places where the leaves are not there and then we'll overlap these also because they are still not dry. I'm waiting for them to dry so that I can overlap them with the deeper blue. Just be careful whenever you're painting on the sides, just to make sure that there is some element of the day. So this is money owed is almost drying up. Just this leaf has left. So what I'll do is just put in one more stem from you. So I'm making the new stem a little away from the previous one. It should not cover it up completely. Let's wait for the previous layer to dry. And meanwhile, let's do some twigs. This take out some branches of it, the Prussian blue color. With this twig. I'll just cover up the water drop and paint over it. Let's do one on the top as well. Let's make one more trick over here. This is almost completely dry. So I think we're done with the twig bud and case. I think I will require one over u. We will definitely go ahead and do that as well. Just leave as Dr. Phil, let's go ahead and leave. You can use one or even two strokes to make the leaves and adjust what you're comfortable with. So sometimes with the top leaf, I generally go for a two stroke leaf. They go, do another one over here. This bit of leaf has done. I want to overlap this one as well, and I'll go in the opposite direction. And just being done a few leaves. I still feel like there's some space over here and over here. So what we're going to do is first, let's fill in our other small, small bits and then see how we're going to use this space. So I'm going to now put on some tiny bugs with this green that we've used audio. Just don't. Some flat belly dots to give the buds. Now with some Don Carlo will do the same for this branch. So I didn't want to do a free meal as some of the branch will go on this flower. And if the color theme, then you need to just merge. So that is why for this one, I will go in for tan color so that it's visible on the background. So keep going with these dots. It gives you one to introduce another color. Then you can go for a very deep brown also. You can go for a very muddy red beans, some extra Basel two. We can just link them to the branch a little later. Let's give another one at the bottom part. For this one will be all. Let's go for a cream color. Don't put it on all the stems or the way that look very monotonous. Since there's branches coming go onto do badly. I'll just put in a little bit more of the stems over Yo. I think that's it. This was done. Really don't like to leave all these empty spaces. And we just put on some leaves over there. These leaves the eye just like as if they're going out. So that's it. I think this is done. Now let's do some detailing part on the leaves. For this factor will be doing some detailing line. And what we're doing is we're just doing a deep blue or Prussian blue or yellow. And then this blue-gray on this leaves. Some start to go with the Prussian blue. You can do this step earlier also, but kind of like go that they are not joined. There. They have a little casual effect. Just use the PIP. Rigger brush. Now let's finish this and redo the lighter blue gray. Make sure that your color is not very runny. Since it happens that when you are using a rigger brush, it tends to gone a lot of water. To make the center part of the leaf you have to be really light handed. So just use the tip of the brush, show over the shape of the leaf. Okay. I think that's it though we're almost done. I hope I've not missed out on any bud. I'm just double checking it and feel like maybe I can give 1 mol by hill. That's it. I know I keep on saying that that's it, but I kind of get carried away a little bit. But I think the stem would be the last one. Just joined us. And that's it. I think we're done. Just wait for rho. I think they had done. No, we don't have to wait. Let's just be the tip. So this is just the dry bean. Don't worry. You can just dust it off. It's come out so beautiful. I'm just loving go the entire feel of it. I would have avoided this time probably. So. So in case like go when you're going for it just a wide this time it's okay. Otherwise it's come out really nice. I hope you enjoy the painting and see you in the next class. 15. DAY 5 - COLORS AND BRUSHES: Hello everyone and welcome to day five of her class. And this is the painting that we will be doing today. The colors that we require for this artwork is light green, deep red, burnt umber, olive green, and violet. And maybe you can mix these colors to form some more colors. Like I tend to mix these two, these two to get different shade, variation in the leaves or the petals. So let's get started with the color swatching. Let's watch this. This is the lightest green. You can go with the cream color background as well for this one. The second color that we'll be using is this red, deep red. Since we're doing a variation of a puppy or a loose puppy. So you just need to get that color right? And this is how the color looks. So coaches as cutters, really pretty. So this is a second color that we'll be using. The third color that we'll be using is a bond Dumbo. We've used this before also. So we're going to use this again. This is the third color. Using this color for the center and this center part of the flies. And in case you want to go for orange, you can just put an, a little bit of orange. Yellow are cool for this part as well. So the next color that we require is an olive green. You can actually go for any other green light go forest green. The green, anything will work. Just make sure that you can make two shades out of it. And you're good to go. Next color that I'm going for as this violet. And this is just an accent color. It's just to give a pop color to the entire painting using a violet, because this is like the violet and the red. They get there like a split complementary color for the greens. So that is why I wanted to go for a split complementary color composition in this painting. And let's do violet in case you want to give a little warmth. Then you can go for orange color as well. Then the pseudo violet color that we're going for and we're going to keep it as an accent color or a contrast color. Now that all our colors as Watched, Let's start with the brushes. So essentially there are just four brushes that you require for this project. So there's a flat brush, you can use a filbert also for the background. Then I'm using dollar roundly, half inch flat brush. And the next brush is, of course, my favorite filbert. This is six, It's from rostral. And we'll use this to make the petals. I'll be using a rigger brush and a miniature brush, rigger brush for the stems and the miniature brush for some final details. Now, let's start with the painting. 16. DAY 5 - PAINTING FLORALS: So the first color that we're going to start with, this light green. I've already put some in the ballot. So Dan, I'll start with the horizontal strokes. Don't forget to paint the corners. Also flatten the background as you go along. In this composition. I'm mainly going for a little diluted the background. It's not like a very thick consistency. Having a watery consistency of your background, it just helps in putting up more layers on top of it. You can also go for a two color background. Like it just gives that ground feeling like in this also, you can go with a light and a deep green or some parts of it is brown. In case you're a beginner, you can definitely try going for, at least in one of your projects, that your background is a little watery. Let's just even it out one more time. There. I think a background has done on, Let's come back to the next Carlo after this dries out. So now our base is completely dry and we're going to take filbert brush and VBP painting the petals. I've already mixed the red colored if you're going to use. And this is the composition. So there's one main Florida and then to medium and one small, small flat. So they do small flowers and one big flower which is the center of the attraction. Always try to keep the composition in mind. So this one here is an oval or you can see a semicircle. You can put. And this is like a circle and some petals are coming out of it. And this is again a semicircle. So keep the shapes in mind and then put your petals. You can even draw a line, the shapes on your people for guidance. So we're going to use it flat and it's loaded, completely loaded. And it is, the consistency is medium. So let's start. So this is just one petal, since these are puppies. So you'll see that Bobby's, they generally have the petals are wary. Like if you're making them than they are continuous and they are not like these ys are that way, so just don't put in like a smaller one. So twist Antonio filbert brush. That's the beauty of this brush that even when you use it sideways, you get a different type of petty. Now let's make another flower. And this one also will be a side view one. Keep refining the shape of the flowers. Just fill in any gaps that you see are elongate any better. There you go. I think both of these flowers are looking good. So these both are the side view once. And now let's do one big one where the Florida is showing its face. So let's do that. One. I'll be making like three bigger petals. I'll mix some more red and do this and my brush is loaded. I really want a very thick Gallo. I'm using the flat part of the brush and I'm just putting in some intermingled brush strokes with it. So this can be the first flop, the first button, sorry. The shapes of the petals can also be achieved with a pencil. You can just outline the pencil mark and then fill in with the brush strokes. So our third flower is also done now. So now let's go ahead and use, are born Dumbo. You can use a deep brown for this. And I've already put some of the palate. So what I'll be doing is I'll be finishing these. But it's attaching the brown stem from Yogi take some, will need to put some green as well. Seem to be doing over the hill. I'm just using like really small strokes. Really, I'm using really small strokes and just trying to get it to a point where from where I can start the stem. You can see like God at two points which are coming. So that will be used for the stem. To put in the center part of this flaw. It's a little parenting just filling it with the dot dot motion. I wanted to show you the close up of this. So now what we'll do is we'll just put in some tiny dots around the same TO make it very random. Just the tip of your miniature or rigger brush. So now let's start with olive color. Wheel. We have to make the buds of the flowers. So let's put in some which are going out. So the puppies, they have like very roundish ovalis Chabad. They are mostly facing downwards. They are in random directions. I'm using a round brush. I didn't mention it earlier. But you can go for the round brush for this one. Now let's continue making the stem. And I'm using the rigger brush. So let's give stem to these beautiful size. I don't want to overlap the main flower. Hence, I'm just putting the stems behind the flower. So at three or four main flowers, they are done. What I'm going to do is now let's do these ones. So it gives you seen the scene. Bobby's some, a lot of the stems. These buds, stems. They, they are like going as if it's just tiny. So make sure that you're covering the covering this piece. I'll making these stems, just plan them and see that it's covering the blue part of the page properly. So we're done with the stems. And now let's put in some details on the bud. And I'm mixing my bone Dumbo with the green with olive green. And I'm putting a little stripes, so little shaded effect on the bud. What I'm doing is I'm just mixing the brown and the green and just putting some shading or you can see the, how we put this stem, but it's just somewhat similar to that. Now since these are bad, I just wanted to put like little dots so that the flowers, flowers or petals are bursting out of the buds. I'm using the red color that we used for the floss. Now let's move forward and make the leaves of the flowers. I'm using the same olivine that we had used earlier for a buds. Consistency of the paint is medium. I'm using a rigger brush for this. You can go for a mini liner also and just take out some tiny, tiny strokes from outside to inside or even inside to outside is also okay. Since this is like a loose representation of a poppy flower. So if you'll see the leaves of the poppy flower, they are generally in a bunch of three. Or even to keep putting up more leaves, especially on the lower part of the page. Show you a close up. We're doing this just near the center. So me coming from out to in like this. I went ahead and made few more leaves and nbsp require we'll come back to it later. Now let's move on to next color. And this is this bright violet color that we're going to use. I'm really excited to use this vibrant violet color. And I'm going to use it in places where I can see lots of spaces there. I'm using like really tiny strokes or you can say dots and forming this elongated flower. This is in fact a very loose interpretation of a lavender or Wildflower. I want to show you a close-up of what I'm doing. For this step. You can even go for a little diluted consistency of your color. You can vary your brush strokes in between like having a very thick consistency and as well as a little transparent consistency of your paint. Doing this will give you a dimension. This lightened shadow effect with the same color. Tried to dispose it all over the page or in case you don't want just go for just two or three at the top of the page. I think that's it. Enough in case we need more overlap it with a lease and we'll put some more. Let's come back to olive green. I can see like an unfinished leaf and few empty spaces where we can make more leaves. So let's start. Right now I'm just filling the gaps that I can see. And I don't like like leaving a blank spaces are just makes my artwork of unfinished. So let's go ahead and do it. I want to like really thin blades of leaves coming out from the stems. So let's go ahead and make that and fill in any space that you feel that it is required over there. Also, let's go ahead and attach these white lavender to some stems. What we're going to do for these flowers, just pick out some tiny branches. Now let's go ahead and just give some finishing touches wherever it is required. Let's just put one last lavender color flower on the right side. This is just to balance out the overall artwork. Third, I think we're done with this. Let's just build the tape and look at the final piece. And our artwork is complete. I love the look of it. I hope you liked it too. So there's this bright red poppies, some pop colors with this lavender, and then of course there's green. So I hope you liked it and see you in the next class. 17. DAY 6 - COLORS AND BRUSHES: Welcome to day six of our gouache floral class. And I'm so glad you're still here and I hope you're enjoying it and will continue to the D7. And today what we're going to paint is this one. So this is my practice sheet again. And so this is like, this has a very Van Gogh feeling. I've tried to pick a few colors from there. And as you can see, like we are going for a very lavender pistol background. And then we're going to use an ocher color and we're going to add white to it, maybe some yellow and continue giving it tense like we discussed. And then there's another thing that we'll be doing is of course we'll be using this burnt amber for AI centers. But these greens, as you can see, will be making the greens lighter using yellow. So we have already, in the techniques section, we had already discussed how adding white and giving things too, I'll color. But what happens when when we are using a yellow or a warmer shade to get the things. So let's start with our color swatches. So I'm basically trying to mix a good background. Taken white, blue, and violet light. So now let's start swatching. The first color. I mixed violet, Prussian blue, and white. So now let's move on to the second Carlo. And this is yellow ocher, and I'll be putting some white to it because this is a little bit more volume for me. This looks good. Let's try with this. This is the yellow. So let's go for this yellow color now. So I've used, I've put in a little bit of yellow in my yellow ocher and white mixture to get this bright yellow. Now for the highlight spot, we can use this color that we had earlier mixed. Can you see how I'm mixing white and we're getting different tense or I've added a little yellow to it so that I get more warm, shallow, but eventually we are adding white to all of these colors. So for the center part, we are using burnt umber and I'm using it directly. I don't have to mix it. Such a pretty color. So now comes the interesting part for using greens. So what I'm going to do is I have this deep green and I'm going to mix it with my brown. This is our deep olive green. If you have a deep olive green, you can go for it. I have mixed to my deep green with my brown bone Dumbo. So this is a main color and now we'll lighten it by adding yellow to it. So I get B still affect, it will give me a more warmer green. So let's try this. So I'm mixing yellow, the green. And you know, it's quite, There's that I generally take the yellows which I already have in my palette and use it to make another colors. But it will look all muddy over A0. So I'm not doing that. This is a deep green and this is the medium green that we will use. You can use this method of adding yellow for more colors like even with brown, you can achieve this sonata. Finally, let's add some more yellow to green, and let's make it a much lighter one. You can go for even one more light TO lambdas. So you can keep on adding yellow to it. They come a point where the green is almost not there and you will get very good yellow. So this is a good example of how to lighten your colors. So now let's go to the next segment and we'll talk about the brushes that we are going to require. But this exercise, I'm using all of this data around me. I couldn't find Series brush. And we're going to use this flat one for the background and the long round or which is six in the cities. And we're going to use this for petals and use this one. This came from set those probably a size two. And we'll be using this to make leaves. And I'm just keeping this flat brush with me so that in case I require a little bit extra help for my petals, I'll be using this, but I think we will not require it. 18. DAY 6 - PAINTING FLORALS: So our background colors there from before. So I just don't react if we did it with the tiny bit of water. So let's start painting now. So nice smooth strokes. Just makes sure that the whiteness of the wall paper is not seen. Smooth strokes from left to right. Then just even a doubt. These white stroke that you see right now, they're not like the paint is dry. It is because the color is getting finished on the brush. Because you're using it on such a wide surface. Tend to put my background real fast as I as I just like to even it out when the paint is still wet. There. Such a pretty background. I think we're done for now. So let's wait for it to dry so that we can start with the petals. So this is still getting dry it or not store dry, windy. So let's mix a color. So I'm using yellow. Cool. Let me just take some from the previous sunlight, from the previous Gallo. Yes. So this is the color that I'm looking for. My colors mixed and now let's start making the petals. So I've loaded my round brush. And I mostly required though color on the tips. And you have to think of imaginary round over you. Or else if you want a guide do you can make a circle with a pencil or a circle or an oval, whatever you want, you can do it like that as well. So now what we'll do is we'll go from outside to inside to make the petals. And we're going to use a very light hand for this. Just flicks that we're making. So keep on changing the direction of the petals. If you want, you can, if you're not dipping, it will be, but you can rotate the paper as well. The board that you're using, you're done. You can even go over it, a petal that you've already done. Let's put another one over here. So one would keep it a bit more crowded, so not giving much space to it. I'm just loading the tip of the brush. So now let me show you how we can make a similar kind of petals by using this small flat brush. Just don't your brush sideways and then use it to make the petals. So in case you're a big node, definitely practice a lot for lines and dots and different type of strokes with all the brushes that you have. We've done three almost full flowers. So I would like to put in some more over here and maybe he'll know, let's paint the partial ones. Ovo. So again, think of an imaginary center and just start placing your battles. Let's make some Julio little tool. So in case you don't need a quiet like some strokes over your Go for it. Just leave your corners. So the second color will have more white. So I'm just mixing it with the previous one. I'm also mixing some yellow in it as I want it to be bright. With this color. We don't have to cover all the petals. So I'm making these new ones in-between the previous ones. And I'm also overlapping them. This glaring, it will start giving a rod work more depth. So remember to make these petals, you just have to load the tip of the brush. That's the most important part. To be a naught using the middle part, the belly, but we're just using the tip and we're just making flakes. While making these Betty's just fill in the gaps between the two petals that's already there. I just don't mix some more Carlo. So keep mixing more when and as you require it. So we just fill in the gap and just make sure that you're following a sheep. Wow, can you see how beautifully the depth can be seen now? By painting from deep color to light color, you can get a perspective and depth, even if you're using post two colors or acrylic colors. I think we're done with this color now. And now we'll add more white to this. Now with a final layer of the petal, this will be even less so. Soviet button like a lot of strokes for our first yellow color. And then the second one, the medium tone, was lesser than that. Now this one will be even lesser than the first two. It will be more like a highlight. So spreaded nicely, it should look natural. You can also add another layer and add more white to your yellow and just go for it another layer. If you want. Just one or two strokes. This will be the top players. So make sure that the petals are looking really fluffy and free-flowing. Also keep maintaining the shape of your floss. I think I need a tad bit more highlight. So let's add a little bit more white to the mixture. This lightest to make sure I don't put it a lot, just do three or four petals is enough in a flower. Can you see how this highlight is just making the floss bop? That's it. Yellow for the petals, is done with, and now let's move on to the leaves and the center of the flower. I'm going to use burnt umber as usual for the center of the flowers. And I'm going for the dry consistency. I'm not putting in a lot of water in this. Now, just use the tip of your brush to put in dots. We have done this in our technique exercise and just scatter them randomly and try to cover your center packed nicely. Try to put in the spots and connect all the petals end the thinner part of the petal that is inside the circle. So try to connect those dots. Again, the water consistency that I am taking is not very wet. It's almost to just lower to the most dryer one. It's in fact drier than the yellows that I had used earlier. The reason to use a dryer consistency, the color is because I want these dots to come out more distinctively. I don't want it to look muddled together. Don't forget to put the spots on the incomplete flowers also on the side. I generally tend to forget them. 19. DAY 7 - COLORS AND BRUSHES: Welcome to our seventh and final day of our gouache florals journey. So today we are making something similar to this. And it's a very simple one. But we're going to try a new technique. And this, which we have done in a technique class. And I would like to show you how we do a gradient background. Do it's not dead, but still. Let's do it on our main paper. And the colors for this is, we're going to use a light blue. For this. I've mixed a Prussian blue plus white, and then a yellow color will be going for a good bright red color. But in Dumbo, dark green plus dark blue, I want the leaves to be a little colder. So that's why I've just stopped putting a little bit of blue. And then in case we want to go for another deeper color, then maybe we can make the dark blue and brown together to get some more shade variations. So let's start with our color swatching. So as I said, we'll be doing a gradient background. So let me show you. We start with a deeper blue and then go and add some white to it. So that's how we'll do a gradient background. And the second color that we're going to use is a good bright yellow. Third color that we are going to use is beautiful red. Good bright red. Then, as usual, we'll be using burnt umber for the center part of our flower. So this is generally my go-to color and I mostly use a burnt umber to make the centers. Now, the next color will be a cool green. So to make this color, I've used deep green with my Prussian blue. And you can get this color. So just a pro tip like go since I'm making a cool background. So that is why I want my leaves to look a bit cooler. So hence, I mixed a little bit of the background color to the leaves. Now, just to go for some shadow effect, or just to go more deeper than my burnt umber, I'm mixing a deeper brown and I'm using burnt umber, and I've mixed my Prussian blue or a deep blue. And this makes sure. So with this, I can make the center part of the flower and go for finer details. So you can mix this or you can go for direct color or just mixed tiny bit of black. So this is our final color chart for this project. And now let's move on to the brushes that we need. So the brushes that we'll require is a flat brush. We will use this for our background color and one round brush, those round brush number six. And this is a little longer round brush. So we'll use this for our petals. And I'm keeping my rigger brush. This is for all the fine lines, the stamps that we'll be doing and a round brush number four, you can go for even your six round brush, even that'll do. But I'm just keeping one more round brush for the leaves. So let's start with the painting now. 20. DAY 7 - FLORAL PAINTING PART 1: So I've mixed a deep blue over here and I've kept some white over here for the shading part. So let's do a gradient background for this. So I've loaded the brush and my consistency is not very thick. It's somewhere around the number will fall. They want it to blend very nicely, so I'm not keeping it very thick. As I'm moving down, I'm adding more white. So just remember, just go to and fro where the colors are meeting. Adding some more white again. So put down your color for us to fill in all the spaces that is there. And don't worry, we will be blending it. And now I will start taking my brush strokes up foot. And I will take it all the way to the top. Slowly start coming back down, maintaining the left and right movement of the brush. So again, I'm using the lightest of the blue and I'm filling more space with it. I will be doing a much lighter shade of blue at the bottom. So after this, I will be going for more white on the blue path. So what I will do now is just filling the gaps and then I will go upwards and try to blend it more. Go up, go up. Since our color is still wet, nothing will happen. And then come back again down. So keep blending as you go along. Now, let's paint the last part of the people. And since my colors blue and I don't want to add white to it. So what I'm doing is I'm directly taking white and painting with it. So before blending it further, just to fill the space with the white first, make sure to mix it to the right consistency, which is to your liking. Also, don't worry that in case your layer above the light blue layer is dried. So don't worry, we will not have any problem with blending. Since we are using wash color, though. One of the best quality that it has is that it can be reactivated even on people. So we're done with the white nodes. So let's start blending. I want the light blue to come down, and hence, so what we're going to do is we're going to load up our brush. Light color that we had used and will blend on the line, the line where the white and the light blue is meeting. And we'll start blending and we'll first try and come down while blending. So in this way, we are kind of pulling the light blue color down and not having the whitest white color which we had placed at the bottom of the paper. Now I want to blend it further. So what I'm doing is I have cleaned my brush off any color and I have almost bad right? It it still has some moisture on it. I am again blending it and I'm taking my white further up towards the middle of the people. So just remember, like for blending, it is really very instinctive. And you have to know like which color you want to pull up or which color you want to pull down. So I hope you use this in one of your projects. Just check before painting that the background is completely dry and it completely dry. So let's start with the next color. And we're going to use a yellow point to remember is that the in color theory, like how we use yellow with blue and we get green. So there's high chance that when we use yellow, it can turn out slightly greenish. Let's paint and check this out. Another point that I would like you to know is that when you're painting a lighter color on top of a deeper color, then just make sure that the color of the paper is completely dry. You can even read for an hour, or sometimes they wait for an entire day to paint on it. So just make sure that it's completely dry. I will not matter much today as the yellow is just just in the background so it will not be seen much. So you can go ahead in today's class and just use your yellow. So I've mixed a yellow to my liking. And what I'm going to do is I'm just going to lay down yellow in circular sunrise sort of way. I'm using a round brush to lay down the yellow color. I can see slightly greenish color coming through the yellow. So it's like a way transparent, translucent and fact. And it is because the layer is a little thin and the blue and yellow, It's mixing up to give me a green. It is like a wash, like go a whole we give wash and watercolors, so it's almost similar to that and it's very interesting. So you can use this method when making leaves and all. It will come in handy. I'm putting in some just random petals strokes because this is going to be the background layer as I'll be painting a red color petals on top of this yellow ones. One way that you can hide this translucency effect is once your layer is completely dry, you can come back to it and then again put another layer of yellow on top of it. So now let's go for another flower. And just to put in random strokes, it really doesn't have to be like really beautiful looking because this yellow color will be peeping through the red petals. So it's more of a background colors, so don't be serious about it. Have fun with it. Since I want like a seamless look. Let's go for another one in the corner. Oops, I I just activated the layer beneath. So can you see there's a green, no, blue and yellow mixed into green. And don't worry, what you can do is just leave the layer, just put in few strokes and just leave it and let it dry. Go for more color and less water. I think there was slightly more water too. My color. That's why the layer beneath got activated. Since this was like the deepest part, hence like putting on a lighter color, it got reactivated. But we're not face this in the lighter color, like the North Face it below. It is so much easier to paint a lighter color on a lighter background in wash. Now, let's wait for yellow to get dry because I don't want it to be wet when I'm putting the red color on top of it as it will just get muddled together and it'll form orange, which is not my motive. Our yellows are completely dry now. So we can move on to our next color, which is this red. And the name of this red is madder lake red. It is a beautiful, deep, bright red. So yeah, you can go for any red that you have. So the petals that we're going to make is more or less similar to our row sixth day project. Use a round brush like we did in the last exercise and make a really long thin petals and come from outside to inside. You just have to load the tip of the brush properly and make few strokes with it. So we don't require to use the belly of the brush in this, but just make sure that the tip of the petals are rounded. And in case you don't get it rounded, just overlap it. To get a beautiful rounded tip of the petal, It's quite necessary that your tip of the brush has to be loaded properly. So I'm just putting in more row. But wherever I'm seeing gap and I'm overlapping the low ones, as will not be going for another color on top of the red one. And I don't want the outer edge of the yellow color to be seen. So just go ahead and make a lot of petals over here, but make sure that they're thin and they are long. Now, let's move on to our next flower. You have to be extremely light handed. While making these petals. I'm mixing my red as I'm going along. And the consistency is quite close to number two from a technique class. Oh no, by mistake. This just came out a little longer. But don't worry, we'll be doing the center part and I'll cover it up. When I'm doing that. Our petals, they are thin from the insights, so it gives them a little petty look. So make sure that they are a little thin on the inside. Just remember to load the tip of your brush properly, as this gives us a really good round. So this is where the color should be. Made sure the petals are really light and fluffy and following a natural direction. This see how the color on my palette is finished. And I got like really thin line as the tip of the petal. So I'm putting in more color and loading the brush up. Now, let's move on to our last flower. I'm just so happy making this last flower. It came out so effortlessly and really pretty. Just fill in the gaps if you see any. Can you see how the yellow color is? Just WE been through our red and just making the center glow. I'm just loving the look of the gradient background behind our flowers. We don't have to wait for this Les to get dry. And it's due a center with a bone Dumbo. Who I love painting the center. This try to cover up the blue and use like dot dot method and cover up the center. So I'm finally hiding that though. Extra read that came into us and don't forget the finer details in your smaller or the corner flaws. So I want to give this burnt amber or red outline. So I'm taking the red that I've used in the petals. And again, just using dot dot method, I'm just connecting all the dots and giving it an outline. While doing this just to make sure that you're not covering up all the yellow. 21. DAY 7 - FLORAL PAINTING PART 2: So now let's go for our stems and leaves. And I'll mixed green and blue that we already had. Since I want like a cooler green. So I've taken blue in it and I've mixed more green and less blue. So that for me it's like it matches the background. My background is cool. So I like to go for row Hulu leaves. Let's start placing our stems. I've taken a rigger brush now. Just connect your floss to the stems. And it is also key that you go out of the frame with their stems. So while planning your stems, just stand back and this vectorized way you want or which stems to be and how the flow should be going. So we're done with the stems. Now this will be a framework and we'll be putting on leaves. So in case we require more stems, we come back to it later. I have taken my round brush number four, and let's make some heart-shaped leaves. Let's start from here. I'm just making an outline, heart-shaped outline and filling it in. And now just take out the tip of the leaf, just elongate it a little bit. I just feel that the leaf should be a little bit more bigger as we have made a really big flowers. So in comparison to it, Let's make a little bit bigger leaves. These two full floss is like the focal point of our artwork, will not be putting any leaves on top of this one, but you can overlap your leaves with the plaza like partial ones. Since these leaves are bigger, so it's okay, they will be going out of the frame. So make sure that the few of the leaves are actually going out of the frame. Let's do a big partial leave OVO. Now, let's make another one at the top. And maybe that's like stem is coming from outside to inside. And there we can have a leaf over there. I'm absolutely loving these heart-shaped leaves and they're just so fun to make and just looked like they just changing the entire artwork while making your outline, try giving it a good shape. Right now I'm trying not to overlap my leaf over the flower that is there. So I'm trying to get it like it's as if it's underneath the petal. Now, I've tried to fill in the spaces with the really tiny leaves. There. I just failed that it required another layer. So in case you feel that the color is light somewhere, just to put another layer of your colors. Can you see how the yellow color is making a huge difference on a red petals. Parts of the red petals which are falling on blue color is like is having the shaded effect, whereas the center part, which has the yellow, is giving it a glue. It's like almost oranges and it's giving our flower of glue and utilize this space. It can give us a like a full heart-shaped leaves. So go for it. Just make sure that you extend the edge of the tip of the leaf. Let's go for another big leaf over here. I'm going to go ahead and fine tune the composition and just fill in the spaces where I feel that maybe I could put a tiny leaf or even stems if required. Now I'm just giving some extra streams and also linking the leaves. Do the main stems like go, this one is floating, so let's give it a stem. I think they've done with the leaves now let it dry the land. Let's do the center part. So I wanted to give more depth and a little dark color in the center. So I have my burnt amber and I'm mixing the deep blue in it to make it like a cool brown, a little much deeper brown. It's, it's almost close to black. So what we're going to do is that vehicle just going to place some tiny, tiny spots in the center of the flower. Also, can you see how the two reds are just merging the petals and the center of the flower. So now we're going to please really tiny dots on the outline of the red circle that we had done earlier. This is how our center is going to look when it's finished. So can you see how previously it was looking unfinished? And now you're adding these finer details and Making go. The whole composition come alive. So friends just remember something like always push yourself to do more finer details or add more details. Like sometimes I just come back to an artwork the next day. And I feel that it requires that a little bit extra effort in giving some more detail. So don't just leave your artwork in a very primary stage. So don't forget to add details to the corner floss or the incomplete ones because you don't want they just do add to the overall beauty of the composition. And they just pull the art work together. So now let's solve it for this to get completely dry, I want to add some more details to the leaves. The leaves dry and then only we can work on it. So now the green is dry. I think just a tiny bit of red part is left to. But we're good to go. And we'll be using a Posca unit, Marco, we can go for any Marco good marker pen for this. And we'll just put in some veins of the leaves, so forth. I think for Posca markers to work really well, the base has to be completely dry. And I think still some are really not entirely vent, but they are not dry as well. So that's why I'm having some difficulty with the Bosco Marco. Using a mock-up n is completely optional. You can just go ahead and do these fine lines with any detailer brush that you have. Just don't mix the deep color that we had used in the center of the flower. So I think my boss come, I couldn't live, broke. So I'm going for another Marco to finish it off. So remember to fill in the smaller details even when you're going outside of the bow lake over hill so that you get the full details even the last bit. I've not left any leaf because I generally tend to, but I think we're good to go and do. Now, we can take the tape off. This is actually one of my favorite part. So can you see how the shading effect is giving it to like a sky feeling and you've made your floral designs. Let's do this guy in the background. They are final and the seven painting is complete. Can you see how vibrant it has come? The shaded background is looking really nice. It's coming from very light to go into deep. And you can do this with your oranges. That'll give you a good background. Lake from yellow to red. Orange, you're coming. Wow, this has come out nice. I hope you've enjoyed all the classes and I hope to see your projects. And any questions you have do let me know. So that's it and see you in the next class. Bye. 22. CONCLUSION: I'm so glad we made it to the last thing and completed all our classes. Thank you so much. I hope you enjoyed the class. In this class, I've shared a lot of techniques and a lot of compositions with you. I'd love to see what you come up with. So run your imagination wild and try something new. You can, you know the basics now. So go ahead and experiment and come up with something really interesting. Don't forget to upload your projects. The project upload section on Skillshare. I'm already looking forward to what you guys are coming up with and looking at all the projects and giving my feedback over there. I would be delighted to see your feedback in the review section on Skillshare so that even other students can benefit from your review. You can tag me in your projects which you're uploading on Instagram and I'll share them on my stories. Don't forget to follow me on Skillshare to get new updates on my new projects, new classes that I'm working on, as well as discussions that's going on. You can try a new medium in the next class, like acrylic colors are poster markers or watercolors and brush pens. So I would really like to know what you want to try next. And it will be really helpful that you give your opinions and the discussion section and also follow me on Instagram, Pinterest, and YouTube when I post regularly with different mediums and techniques. I hope you enjoyed this class and I hope to see you in the next one. Till then, take care and bye.