Paint Loose Flowers in Watercolour & The Flower Lady Series 2

1. Here's What We Are Painting!: Hi, guys. In this lesson, we are going to learn how to paint loose and beautiful watercolor flowers, and then we're going to apply these flowers to painting these beautiful fashionistas right here. Are you ready to dig in? 2. Hello I'm Clarice: Hi, guys. My name is Clarice and I teach you how to go with the flow and paint loosely in therapeutic watercolor. In this lesson, we are going to learn how to do a lot of the very key important things in watercolor while painting some gorgeous loose florals in a very, very different manner. And you're going to see exactly how that happens shortly. So if this is your first time coming across me and you have no idea who I am, I first started out on YouTube painting for fun and putting out tutorials on how to paint flowers. Yes, flowers are my thing. I love pinks, I love oranges. I love all those pretty things, and painting flowers, loose flowers is what I love. 3. About Me & Go with the Flow: I also have a watercolor membership called Go with the Flow while being an ambassador for Princeton and I also love hosting watercolor retreats that I personally curate myself, and it's pretty much me teaming two things that I love watercolor and travel. If you're interested in any of this, I have linked it in the description of this lesson, go check it out. 4. The Lesson: Let's talk a little bit about this lesson. In this lesson, like I mentioned in the beginning, we are going to be focusing a lot on how watercolor works. I'll walk you through water to color ratios. I'll walk you through getting some brush control in, walk you through the wet on wet technique and the wet on damp technique. This is what we're going to be teaming together to create some loose florals, which we all love. That's why we're here. Then we're going to take those loose florals and create some beautiful pretty projects. You ready for this? 5. Your Project: For this lessons project, go through all the videos, sit down and paint in real time, pause if you need to try it again because practice doesn't quite make perfect, but practice certainly takes you there. Now, in addition to that, we are going to then take everything we learn and then in true Clarice lesson fashion. Meaning, if you've watched my past videos, this is what I always say. I'm teaching you how to do something. Now I want you to take it and put it together in a composition that comes from you. Using your judgment in terms of what colors, what techniques, placement, all those things. This is how you grow, not only in learning composition, but coming into your own true style of painting. And once the project is done, please I would love it if you post your work in the gallery so I can see what you have done and comment on it. I always find it so inspirational to see folks who watch the video paint along and have those aha moments, and it is so satisfying to me. Nothing brings me more joy to hear from you telling me that you got it. Please do that. 6. This is how I teach: I teach you to paint, it's not to paint to be a picaso or a mona. It's painting to find your inner calm, to find your joy and to give you satisfaction through the process of painting. We focus on the process, not so much the end result. Then we also focus on finding all the positives within our work because so many of us are overly critical over little things simply because of one thing. We copy or we think we need to copy or our brain tells us we need to copy. I'm here to tell you to let go of all of that, understand how watercolor works, and then flow with it. 7. How Watercolour Works (Magic): So we're first going to start off swatching some colors really quickly. This process is not going to be not just going to be about swatching, but it's also going to be about me showing you those color ratios when you're mixing the colors. I'll be showing you a couple of different examples just to give you an idea of the colors I'm using, I will be using the set of Provence, Mmaryblue colors. We've got some amazing jewel tones that I like to call them. We've got two different kinds of blue, a cerulean, a cobalt green, golden yellow, ultramarine violet, erzinoVolet and potters pink. That's what I have in my palette here. For this process, like I said, we're going to swatch, but we're also going to be talking about color to water ratios or water to color ratios. I'm using my Princeton number six for this exercise and we are going to very loosely activate the colors. If you're brand new to watercolor, remember a little goes a long way. If you have dried up color in your palette like I do over here, all you need to do is just activate the color by adding water to the color. Now some of these colors, the consistencies are going to be looking very different. I know the pink is very bright. I know the potter's pink takes a lot more work to get it activated. Same with the purple or the violet. Then the other colors are also quite potent like the pink is. We're going to start off with mixing very basically like this. The way I love to introduce watercolor to people is simply through this technique. I'm going to use the number eight just to show you this and then we will begin. I'm just using this to get some water on my page. By the way, I'm using Canson Excel paper here for this. Then all I'm going to do is take my color and drop it in the water. You see that beautiful bloom, that is the beauty of watercolor. This is called the wet on wet technique where you're adding color to a surface that is damp. This is what made me fall in love with watercolor. This is the part that bloom that you see is what I find so therapeutic about this medium. 8. Swatching - Part 1: So we're first going to start off swatching some colors really quickly. This process is not going to be not just going to be about swatching, but it's also going to be about me showing you those color ratios when you're mixing the colors. I'll be showing you a couple of different examples just to give you an idea of the colors I'm using, I will be using the set of Provence, Mmaryblue colors. We've got some amazing jewel tones that I like to call them. We've got two different kinds of blue, a cerulean, a cobalt green, golden yellow, ultramarine violet, erzinoVolet and potters pink. That's what I have in my palette here. For this process, like I said, we're going to swatch, but we're also going to be talking about color to water ratios or water to color ratios. I'm using my Princeton number six for this exercise and we are going to very loosely activate the colors. If you're brand new to watercolor, remember a little goes a long way. If you have dried up color in your palette like I do over here, all you need to do is just activate the color by adding water to the color. Now some of these colors, the consistencies are going to be looking very different. I know the pink is very bright. I know the potter's pink takes a lot more work to get it activated. Same with the purple or the violet. Then the other colors are also quite potent like the pink is. We're going to start off with mixing very basically like this. The way I love to introduce watercolor to people is simply through this technique. I'm going to use the number eight just to show you this and then we will begin. I'm just using this to get some water on my page. By the way, I'm using Canson Excel paper here for this. Then all I'm going to do is take my color and drop it in the water. You see that beautiful bloom, that is the beauty of watercolor. This is called the wet on wet technique where you're adding color to a surface that is damp. This is what made me fall in love with watercolor. This is the part that bloom that you see is what I find so therapeutic about this medium. 9. Swatching - Part 2: Now, let's talk about the mixing and the ratios. You can have various mixtures going on, for the sake of this lesson here, the first thing I want to say is the more color you add to your water, if there's more color and less water, you're going to get a dark result. The more water you add to your color, you're going to get a lighter result. Let's just say this is my dark tone, where you can clearly see that it's almost like a syrup base. It's very potent and I'm just going to go ahead and do a swatch. Look how beautiful and dark that is. This is very, very dark. Now, the way I like to proceed is as I'm creating more, actually I shouldn't have gotten more color. I like to just dip my brush in water and I know I'm getting a lighter version, and then I'm just going to do another swatch. I'm going to dip my brush in water again and do another one. What's happening is as we are laying down color, all we're doing is adding more water to the brush. As we create more, it's getting lighter. This to me is the easiest way to show you how you can get different variations or values for that one color. Now I'm going to try and wash off as much as I can to do this one final little blob. I should have probably had more space there. Let's just do it here. Actually, let's do a couple more because I don't want this whole area to be wasted. I'm going to try and go as long as I can until it gets completely white. Some might look marginally the same. But you get the idea. The more water you add, the lighter it gets. Now look at the very different ratios or values you're able to get with just one color. This is where you can absolutely use one color to paint a whole flower because you're getting different values. 10. Swatching - Part 3: Now we're going to swatch the next color and I want to show you how this takes a little bit more to activate. This is going to be the violet that I'm using. I'm mixing that directly on the color well palette, whatever you want to call it. Now it's a nice syrupy base or syrup consistency. Look, when I add this in, yes, it looks dark, but the coverage isn't quite as opaque looking as the pink. As we add more water and proceed, you're going to see that it gets lighter a lot faster than the pink. This is why I always say, it's important to swatch out your colors and really get a good feel for the different values you can get with it, which will really help you plan out how you want to use these colors. This is a simple, simple exercise to just figure out the different variations you can get. I'm going to wash off as much as I can right now. Look at that. You can get super light, super dark. One thing you're going to notice is as watercolor dries up, it dries up lighter than what it looks like when it is damp. 11. Swatching - Part 4: So we're going to move on to doing the next one, which is going to be the cobalt green, I believe. Again, trying to get that nice syrapy base or consistency, and then we are swatching. I'm not going to swatch all of this in video, but I encourage you to pause or once this is done to just allow this moment or these moments to be an area of rest and pause for you. Just take your time really mixing, really noticing how the colors are showing up on your paper, really feeling how the full span of your brush is hitting the sheet. Notice how I have my full brush and I'm going back and forth. These are things that will really not just help you calm and get more accustomed and warmed up to the supplies, but it's also going to be informative to your brain as you start painting and creating. The more you tune into little details like this, the easier things get, the more you understand how this medium works and the more joy it brings you. 12. Swatching - Part 5: So like I said, I'm just going to swatch the rest of these without doing that whole process and you can go ahead and pause and do that by yourself, allow that to be your little me time. I have a little bit of green in this yellow right here, but I'm just going to use it anyways because it's still majorly yellow. This is what that yellow looks like. I'm just going to swatch out the remaining colors. I have that as a reference once we begin our painting. Like I said, you can take your time to do it with the water to color ratios so that you have a better understanding of what you're able to achieve. This is the cobalt green. That was the Cerulean sky. My mistake. Then finally, potters pink. Now, this is a very pretty color. This is also very muted tone, a beautiful earthy tone. If you're looking for vintage flowers or looking to paint, vintage flowers, I should say, this is one of those colors that will give you such a pretty effect. Look at that. It's a pinky, brownish color. But the consistency of this is very similar to the purple. It's harder to get an opaque feel for it. This is more of a watercolor watercolor, if that makes any sense. All right. I have just watched everything. Like I mentioned, take your time and swatch out the colors you have chosen or if you're following along with these, just take your time and swatch out the colors. 13. Swatching - Part 6: Now this is entirely optional. I'm also going to be using some metallics and I've got these lined up here. These are the same metallics I will be giving all my attendees for the Tuscany Watercolour Retreat that's happening in October and I'm super excited. Actually, we're missing two more. There's actually six in total, but this is what I'm going to be choosing for this particular lesson, in particular, we've got copper. To be specific, I mean, plum. Purple rain, absolutely stunning, so is the plum. Then we've got Hummingbird. Don't be fooled by the plum. I know it looks green, very similar to hummingbird, but this actually has a purple sheen to it. It's almost holographic in nature. These beauties are by MAB watercolors. Again, if you're interested in any of the supplies I'm using, I have listed them in the description, so make sure you check that out. Again, metallics are optional, so feel free to completely skip out the metallic part and just focus in on the watercolor colors. But let me just show you guys what this looks like. It's also helpful for me because this is going to be my palette for this lesson. I'm going to start off with the plum. I'm just going to do that over here. I know it looks very dark on here. But when you actually apply it onto paper, it's very light. This almost looks like a lavender. I'm going to show you a side view of this once it's had a chance to dry. But for now, this is what it looks like. When you're just looking at it simply, I'm going to do the hummingbird next and I'm going to put that right next to the plum so you can see how different it looks. Look at this. When you're activating it, to watch all that glitter go all over the place, it's so satisfying. Now, this is what hummingbird looks like. Look at all that glitter. Again, if you notice it doesn't give you full coverage, it gives you little pockets of glitter. Now, purple rain is also similar. It just has a beautiful purple sheen to it. Look at that. I'm going to do purple rain right below Hummingbird because I feel like these two are kindred souls or kindred watercolors. As you can see, little pockets, it gives you pockets with lots of white space in between. When you mix these in with watercolor, say the pink or the purple even, you get a sheen in your results. Or maybe you want to do this as a splatter or perhaps you want to add it as a pattern detail instead of mixing it in with the watercolor. In which case, that would be a wet on dry. Here we go. This is a little bit more opaque in nature, and this is copper. Beautiful colors. I think we've got some really nice glitter and glam to add to our loose florals. That's all the swatching for me. When you're done swatching, hop on back and let's get to our painting. 14. Loose Florals - Part 1: So the first thing we're going to start off with is using our angular shader brush by Princeton and it's part of the velvet touch collection. I love this to create some beautiful loose flowers and also leaves. I'm going to show you a couple of varying styles of flowers we can do first with the palette we've just watched up with, and then we're going to get into leaves. I'll first start off with doing a very basic flour, and we're going to give it a little bit of detail as well. We'll start off by really mixing to get a very light pink. Now, this is quite dark. What I'm doing is I'm just going to take that and mix it onto a different palette and then dipping my brush in water, I'm dropping in drops of water here. Now, it's giving me a nice watery consistency. I know this is probably going to give me a very light pink and we're going to actually look to see which light pink I get based on the swatching that we did too, just for funzies. Here we go. Nice watered down pink. I'm going to use the tallest portion of this brush. Hold it like a pencil as if I was writing on this tip, and then I'm going to start painting petals. The first step to that is I'm going to hold my brush halfway using the tip. I'm going to press down and trail off. Now, I'm going to modify this shape. I'm going to do it again, starting from the top, press down and trail off. Now that can be one petal. Using that long tip to pull it down. That's one petal. Let's do another. That can also be a leaf, by the way, pressing down, trailing off. You can start your second portion of the petal down this way and you're getting more control over how these petals look. Again, now I'm going to do it sideways. Using the tip, pressing down, pulling into the center. I'm going to do that one more time. A third time even if you need to. I don't know why I dipped my brush in water because it's very water down already. Here you go fourth. As you go sideways, I'm not turning my sheet. Feel free to turn your sheet though if that's easier. For the sake of this video, I'm just going loose and allowing the brush to give me different shapes. See the first two because we started on the tip, we were able to get more um pointed petals. The others because I went sideways, I'm able to get more rounded petals. Pay attention to this. I think this is a great learning curve for you to see exactly the different shapes you can get by using this brush. Now I'm going to get this brush. This is what I meant by adding adding the metallics. Actually, before we do metallics, let's just add more of that pink. I'm getting more of the pink and I'm using my velvet touch. Use another brush and I'm dropping it in. Do you remember that first exercise we did when I showed you guys, this is the beauty of watercolor in that wet on wet style. Where I added water to the base and then added the color in. That's exactly what I'm doing here except now I'm applying it to my flower. Watch that bloom. That is the effect we want. This is taking our simple flower and now we've suddenly elevated it because we've given the center depth. 15. Loose Florals - Part 2: Now let's try this one more time. This time, I'm going to show you something slightly different. We'll use the purple rain at some point. But for now, let's just keep that first one basic. I'm now going to go back in, get my lousy color. Let's do this flower one more time. This time we're looser now because we've tried this exercise already, Go looser, add more than two strokes if you need to. In fact, if you watched any of my other videos or lessons, I like to create a very loose rough circle, and this is what helps me figure out exactly where I'm placing my petals and I can work faster into really making a conscious effort to not close up all that middle white space. So try all the techniques I'm talking about. If you have other ideas, go for that and try, go rogue. When you find your flow or the technique that works best for you, stick with that. Now look, because I added so many more strokes, I've got veering outer edges for the petals and it just looks a lot looser. We're going back in now. We're going to drop that color in. To the center and some of these areas have dried up. That's why it's not blooming. Those areas are still damp so you're getting more of a bloom. Make a note of this guys. These are all things to note when you're first trying out watercolor. Now, I'm going to elevate this even more. I'm going to take this color to add some detail. All I'm doing is adding little strokes within the petals we have created. It's almost like indicating little folds within our flower. You can use a thinner brush if you want thinner strokes because if you notice, when you first add in your stroke and if the area is completely wet, it blooms out immediately. But if you want a thin line, then you use just the tip of your brush and paint thinner looking lines. Now, I like different varying thicknesses going on just to give us a nice variation. Now look, just adding those variations elevates the end result. There we go. Now, here's another thing you can do to this flower. Again, these are suggestions. Get some of that yellow, drop it in. I typically leave my centers wide open. I don't really have a bunch of center colors for the flower. I leave it open. This is a suggestion because the yellow really elevates and enhances the end result. Now there's a pop in the center. 16. Loose Florals - Part 3: On with our study of these flowers and I'm going to continue using this brush because now for this third flower, we're going to finally not only add the yellow, but we'll also add a little bit of the metallics. Here we go. Same thing that we did the first few times. Actually, this time, what I'll do is I'll start off with a center. Then I'm going to make sure I have enough water left. Here we go. Starting off. This time I'll start up this way. And then go sideways. I'm going to try and leave some white space in between my petals too. Let's see if I'm able to do that. I'm going to do one more. Then another one. Now notice how much looser my strokes have gotten. I've gotten away from the semi perfect flower to now really loose over here with lots of white space in between. Now we're going back in with this. I'm going to get nice fine pointed brush, get some of that dark, beautiful pink and drop that in. Remember to breathe guys because this is the part that adds so much like joy and calm that you almost hold your breath because you're thinking, wow that looks so pretty. Now look, notice how because I've got white space, it just mildly trickles into the petals. Beautiful effect. You got to notice the importance of white space. I can't stress that enough. Now I'm going to take that same amount of color on my brush and I'm going to start from the top and I'm going to lightly pull downward. I'm just adding little bits of detail, just like we did in that first one. The first one though, I did get a lot more color, which is why a lot of it was very dark. And really good contrast. I'm showing you different ways and how you're mixing the amount of water to color ratios that you use for all these different areas while painting do play a role with the end result. Now I'm going to take this flower a step further and instead of doing more of the pink, I'm going to get some of that yellow. This time we're adding that yellow right in the center here. I'm touching a little bit of that pink before I get right into the center and start dabbing. Again, even with this part, we are leaving we're leaving the center with lots of white space. Now because I added it in while the area was damp, it did the exact same thing that it did here, that it did there. We're doing a wet on wet bleed, which is a very pretty effect again. Then now just to add a little bit of contrast, I'm dropping in a little bit more of that dark pink right at the base. Of this circle or the center. The consistency here is more color, less water so that it doesn't fully bleed into the background, but it retains its shape. I'm not going to fill up the whole area. I just want mostly the base. Now we've got more contrast going on for the center. If you notice, all three look vastly different and it's all dependent on how how the brushstrokes are, the ratios of mixture, and then also adding in the timing of when you're adding in plus the ratio, plus the brushstrokes, plus the white space. Lots of elements over here that you really need to be very intentional with while painting. 17. Loose Florals - Part 4: Okay. The next thing we're going to do is I didn't add any of the metallic in those flowers, but there's more opportunities. So we're going to move on to the next flower and I'll show that to you there. I'll be literally the same kind of technique technique, if you say. Getting some of the potters pink mixed up because we're going to now do very loose roses and I want to show you what that will look like. We'll start off with using the number four and then I'm going to use the number eight to give me some nice beautiful blooms. I got a very thick syrup like consistency of the potters pink, and we're going to start off with doing little sea curves just like that. And then we're pressing down to really build up on the curves. Then as I'm going more outward, I'm creating more. I'm just dipping water on dipping the brush in water and that's how I'm getting the dark to light consistency. Then I'm going to use this brush. Just going to get a little bit of that pink. It's full of water and I got a little bit of that pink hue and I'm going to continue doing the same strokes. I'm going to add touch to get a little bit of that potters pink from here as well onto the brush full of water, and we're going to continue creating these sea strokes. Essentially, what we're doing here is we're blending two colors to get this pretty variation and we're leaving lots of white space in between. Now this rose is facing upward. As I'm creating more petals, I am using just the tip of my brush to do the top petals. This way it really gives you that impression that it's going upward. Now, the center, I feel like it's very dark. All we're doing is taking some of the color and you're moving it around. So that it doesn't quite sit there without giving us a nice smooth feel. We do want that nice contrast for the center, but we also don't want it to look completely out of whack. Now, when I say out of whack, I mean we go directly from dark and then light. We want that smooth transition. Sometimes you might find yourself going that's not a smooth transition. It's a bit too stark, so I blended it out and now with a clean number four, I'm going to go in and lift. Lifting is another great way to add or rather we're subtracting color, but we're creating white space, and we're allowing the folds to give as negative detail, I guess you could say. What we're also doing is blending the color more smoothly. We're using this technique to lift color and then also blend in areas that we see fit. That was looking more like a blob before and now because I've gone in with these smooth little strokes, it's given me a little bit more loose detail in the center. That's one way to do it. If you feel the need to go back in and add more, just to touch up in some areas because sometimes the lifting is not as perfect and that is completely normal, go in and help it along. All I'm doing is using just the tip of the brush to lightly add these strokes in. That's how we get our rows. Now, let's try that one more time. 18. Loose Florals - Part 5: Time I want to challenge you to do it with this brush. Remember, guys, it's just a piece of paper, so don't worry if it doesn't look too great. But we've done three flowers with this angular brush. Let's do one more. This time we're going to do the rose. I'm going to get some of that potter's pink. I'm going to dip it in some of that regular pink of mine just to see what it's going to get. I lightly got some water on there just so that the two colors at the tip of this brush can maybe blend better and let's keep the number six handy. It's a clean brush right now. Clean wet brush, it needs to have water on it so that you can spread the color around. Same thing here. Let's start off with quick little sea strokes. Then as we create outer petals, we're pressing down. Then I'm going to dip the tip of my brush in water just to get more color flowing. Getting my wet brush. I'm now spreading this color around, leaving white space as I do these large strokes, pulling some of the color from the center to flow into the new strokes I'm creating. The white space is where the magic happens. I cannot stress this enough. You need to have white space, otherwise, your flower tends to look like one big blob. Okay. Whitespace or even having two different color variations. Those are what's going to cause differentiation within your flowers or your petals and that's what adds to everything. If you're not careful, you could just continue creating so many petals, making it super huge and big or just going over it and making it big. I'm just going to get a little bit more of that color. 1 second. I need a little bit of water on it. It's very dry. Then all I'm doing is dropping in some of these strokes. While it is damp, just to get a nice bleed. Now, this was unintentional for it to be that dark out there. Sometimes that happens and sometimes this is what I like to call a happy accident because, hey, now that this color is very close to the center, guess what I'm going to do. I am going to make the center even darker. This is what my brain is telling me to do right now just so that the center always remains the main focus. Mind you, it looks great the way it is right now and we could get away with just leaving it as is. This is just me honing into my creative intuition, thinking, I want to do that. What I can also do, and now this is my brain thinking a different way is taking my brush and just like we did here, we lifted. If I take a clean brush and I choose to lift and then just dab onto paper towel, I am now taking back control of this color that just spread out and gave me the results. I did. You can definitely control what you get if the timing is right. This needs to be damp for that to work. I'm going to get a little bit more of that color, potters pink mixed into a little bit of the regular pink. I'm going to drop that into my center here. Yes, I am using the number four because I want to be very intentional. You can use the angular brush for that too. I want to be very intentional of where I add these little strokes. So three things, making sure that we have lots of water as we go out, and then the center is the darkest. The more syrup consistency needs to be in the center. As we go out, it's very watery and that's what gives us that dark to light effect. 19. Loose Florals - Part 6: Really quickly to revise what we've learned. Let's do this all over again. I'm going to stick with this nice angular brush of mine. I love a good challenge, so we're going to stick with that. Here we go. This time, I'm going to try and do my rows this way. Slightly turning my sheet, creating these nice little strokes here to indicate where things are going to be. Then taking this brush, mixing in some of that pink because I love that whole transition that happens with the two colors. This time, you know what? I'm going to try and not really mix too much in the center. I'm just going to lightly try to have them connect. Without overworking the center, I'm going to leave a lot more white space in between I still get my very light pink here. Then what I'm doing, if you notice is I'm adding more pink on the outskirts here. I'm going to lightly touch this area here so some of that color seeps in thicker strokes down, thin strokes at the top to indicate that it's pointing upward. That's how you go with that. Then I'm going to get a little bit of that darker pink. I just want to enhance this area here, have that bleed into some of the petals just to give it a very smooth blending, maybe a little bit down in these petals. Then I'm just going to let it do its watercolor magic because we're not. These are loose. Remember, these are supposed to be loose, eclectic and the colors are supposed to speak for the beauty of it all. You can even go in and add some really loose fluffing strokes at the end to shape it, give it that nice rosy look. We've got dark to light effect happening. Great way of doing loose roses. 20. Loose Florals - Part 7: All right. Moving on to our next flower. For this next flower, we're going to use let's use the Princeton number six, and I'm going to get some of that purple, mix it in with some of the pink that I had on to this palette here. We're going to use a nice watered down version of the purple, more watery, not syrup like. I want to paint very basic flowers that look like maybe they are on a spray. Holding the brush loosely here, we're going to lightly notice how my brush is going sideways and then trailing off, and then I'm going to use the tip. That was way too curved, you can do that. It's supposed to be just almost like a tulip shape flower. If you create several of these and you have them on a spray, you're getting more of a loose background flower effect. I'm going to get some of that purple. I'm dipping it into that pink. I love getting those two tones, and I'm just going to drop that into the bottom of this flower. Now, it's not quite giving me that immediate bloom and that's okay because sometimes if you have too much water on your sheet, it doesn't quite give you the prettiest bloom. I'm going to do the same thing that I did with the flowers at the top. I dropped in the color at the bottom, and then I'm just outlining very lightly to give us a different variation of the purple outside. That's typically the idea of how we're doing these spray of flowers. Let's do that again. Same idea, loose or watered down rather. This time I'm going to do, let's say, I'll do three. One. This is one flower and we're going in right away. Let's get some of that purple with the pink. Drop that in. Watch it bloom, add a couple of strokes in there to really give it some variation. Now let's do another one. Feel free to have the topmost version that you paint to be the uh, the smallest, you can have from small to large if you want, or you can have them all of approximately the same size. I'll leave that up to you. I get some of that. Let's do one here. This time I'm deliberately touching this petal or this flower right here. It isn't quite damp, so that's why I'm not getting a very startling blend, but I'm just going to help it along while doing that. I'm getting more of that pink this time, dropping it down in the bottom of this flower. Perfect. This is the idea. It doesn't have to be as detailed. You could be a lot looser and maybe just drop the color at the bottom. This is just a suggestion. Then we want to take the number four again and this time, let's get some green. Love the idea of using the yellow and any one of the blues to create a green. I'm going to challenge you to insert me telling you what to do. Pick any blue and any yellow and mix it together and form a green that you like. Now, one word of advice is if your flowers look like this, you want to get something a little bit muted so that it doesn't quite fight with the flowers. I'm getting some of this oliv green and lightly with the fine tip of my brush, we're going to create those little tiny bits of green at the bottom that hold these flowers together. Then the idea, once we progress on is to create a stem like that and then we have several of them all over. Now, just to give you an idea of what this would look like is if we elongated these stems, and created additional little areas for more flowers. This part getting those nice thin areas takes a little bit of brush control and practice. Make sure you're able to get a little bit of that done in. I do have another series on here on brush control and stuff. Do a revision if you need to or just stop, pause the video and do your own brush control techniques. All you need to do is make sure you have a nice fine pointed tip, lots of color, and you sit down and you literally use the tip to lightly graze and create pretty lines and check out how thin they can be. Now, here's my base adding some detail to these buds. You can literally just drop in little strokes. Because remember, these are still supposed to be loose and fun. And almost background like, but I ended up making them a lot darker. I'm just going to run with what I did. But this is the idea. They could be a lot lighter so that they don't fight with the main flowers, in which case, you can lift some paint. That is always an option and just dab the excess paint onto paper towel. Now you have a little bit more control over how these look. That is the idea for our nice little array of flowers. 21. Loose Florals - Part 8: So now we're going to move on to doing a more full version of these array slash spray of flowers. Again, using the fine pointed tip of the number four, taking some of that green, let's go in and first draw in how we want this to look. So even I'm not perfect guys, look it's thicker at the top and thinner at the bottom. It happens. Thankfully we are painting very loose, which means we're going to get we're not focusing too much on things like this and we can actually cover it up. As long as it's not super thick, it's all good. We're all work in progress and sometimes there's a lot of beauty in imperfection, embrace that. So I'm going to I'm going to use my angular brushe. I'm going to get some nice little buds happening and I'm moving faster. You're going to maybe notice that the color looks slightly different because I had some leftover pink, I believe. Same idea that we used to paint the initial round we're using here. I'm just rushing a bit faster because I want to go in and add my darker detail before these areas dry up. That's the whole point. That's what's going to give us some nice little round, contrast and loose detail. I want to make sure that wet on wet technique or effect takes place. I'm getting some of the dark purple with that second brush, going to get a little bit of that pink, start off with the first flower that we painted and really drop that in add a darker detail there. Sometimes when you move fast, you get different results. Notice how you're going to get different results based on timing of when you drop things in. How much have you mixed your water to color ratios, proximity, white space. All these factors play a huge roles in what you get. This one is almost completely dried up, so it's not giving me that soft bloom. Lots of different things to pay attention to and notice how you're going to get a different result. Look at all my flowers that I have painted. Look at all your flowers you have painted. Really pay attention to what you're seeing. Remember, I don't know if you feel that you can remember if you look at them like what you had done, but paying attention to details like this will go far for you when you're trying to get results, when you're trying to understand how this medium works and really grow in it and get the best out of it. 22. Loose Leaves - Part 1: So for the leaves, we're going to paint something very similar to what I have over here. I'm going to be using the angular brush, and I've taken some of the yellow and I've mixed it in with the cerulean blue. Now, these colors almost look like granulating colors, so you're going to get a beautiful you're going to be able to see little hints of bluish green within your green. Stunning, just a stunning effect. I love it. So it's more of a water down consistency between the two colors and I'm using the long area of this brush. We're going to first start off with the tip press down. Notice how my brush is fanning out, and then trail off. That's a good enough loose leaf. But if you are someone who's more of a perfectionist, you like to, like, tweak things a bit, go ahead and do that. There you have a two stroke leaf or even three strokes. Entirely up to you. Now, I did that in slow motion. We're going to do that a little bit quicker and you're going to notice that we can get some really nice results. Fine point to tip, press down, trail off. Fine point to tip, press down, trail off. I'm going to dip to get a little bit of water because I can see the white space happening within here. That means my brush doesn't have enough water. I'm going to do that again. Now, you can go ahead, like I said, and you can shape them up if that's what you feel like doing, or you can just simply use that fine pointed tip with a lot of control lightly grazed to get some nice thin stems happening. Then you have some beautiful whimsical leaves. Now, let's try and do the two stroke leaves, and this can be maybe your larger leaves. Fine pointed tip, press down, trail off, and here we go. That's one leaf. Okay. Very intentionally, starting with the tip pressing down and trailing off, that is what gives you a nice thick coverage without you sitting there and having to go over it several times to fill it up. When you press down the brush and then trail back off on the tip, you're essentially doing all that work that you typically would if you're using a pencil, you draw one arc, then the second arc give you that shape. You're getting full coverage and without having to sit there and paint in. This is what makes your end results smoother, gives you nicer results and looks really loose and fun. 23. Loose Leaves - Part 2: Now I'm going to show you how to do this from this angle right here. Again, fine, pointed tip. Press down, trail off on the tip, and then using the tallest portion, lightly grazing to attach that stem. Again, you can leave it as is or you can go ahead and create another little stroke to perfect that shape and then you have your leaf. Let's do that one more time for more clarity and observation. I'm going to start with the tip, press down, trail off on the tip, and then just have that connect. And there we have our leaf. 24. PROJECT 1 The Lady in Roses: So for our project, this is what we are going to be painting. We're using everything we have learned. We've learned how to paint the flowers, and now we're going to take those flowers and we are going to get started on painting this little fashionista right here and give her a dress of flowers. I hope you're excited for this. Let's hop right in. 25. Lady in Roses - Part 1: So on my Strat moore watercolor sheet of paper, I have quickly sketched out a very basic shape like head shape with a hat just so we don't have to deal with the facial features and then just very slim neck and shoulders. Now, this is literally just a base point for me to know exactly where I'm going to start painting the first set of flowers for the bust and then go off into the skirt. I also have very basic feet here, AKA with some shoes. I don't know why I said AK but yes, feet with shoes is what's at the bottom. So now we're going to fill this up with the gorgeous florals that we have learned. One way to deal with this is, like I mentioned, I put these little points of guidance over here for me so I know exactly how to go about doing it. But now we are first going to tackle off with using the number four so we can start off with the bust and create some beautiful flowers right there. So for this one, we can use the basic flower that we've learned, the one with pink, and we are going to start off with using a very muted version of the pink. I'm taking some of the pink, mixing it in, and I'm going to get a little bit of the lemon in at some point as well just so we've got some nice beautiful mixtures of different colors happening. We're going to start off with that and then slowly flow into the other details. I hope you're excited. Here we go. Let's begin. 26. Lady in Roses - Part 2: Starting off with covering up this area with flowers, we're going to do tiny little dots. I'm just placing my flowers before we actually begin. Let's just say this is a strapless dress. I'm just placing things so I can fill up the top portion before we get into other areas. Now that I have that in, I'm washing off my brush really quickly. Now, because this is such a tight space, we need to have a lot more brush control, less water on our brush and I'm going to pull out these petals and create our flowers. Or sorry, pull out those little dots of color and paint our flowers. This is a great standpoint or a starting point for where we want to place things and then from here we are just going to build up to see how this all fits in. Now that that's done, I'm going to get a little bit more of that darker color and I'm dropping that into the center just like we did when we were doing the flowers. Great way to create that nice depth within these little florals. Now using the same color, what I'm going to do, I just want to make sure this one's blending in properly, so I'm getting second brush and blending it out. Now the next thing I want to do is just add a little bit more detail using this darker tone of color and we're filling up this space. Dipping the tip of my brush in water, I'm just going to go ahead and create a couple more. Actually, you know what? I'm going to give this girl a beautiful dress that is one shoulder, one of those one shoulder dresses, if you know what I mean. I'm lightly creating these little left out or standalone petals to fill up the area. Then let's do a cute little flower over here. So we've gone from strap less, we've now evolved to one shoulder. Feel free to go strapless if that's what you want. This is where my creative journey is taking me, and this is what it means to go with the flow as you are painting because you're going to be inspired as you paint and I really want you to honor that intuition of yours because this is how we learn and grow. This is how we grow in confidence. Once you grow in confidence when it comes to creating your own pieces of artwork, there's no stopping you from really learning and growing because now, um, you're confident and you're ready to bloom. This is going to be the top portion of the dress. We're now going to go down to the flaring out portion. For this one, we're going to be adding a couple of green leaves and then we'll get into some nice blooms. 27. Lady in Roses - Part 3: Okay, so I'm going to continue using this brush. Can also use the angular, but I'm going to use this brush just so that I'm just very comfortable with it right now. So I'm going to make some of my green. Let's just get that here. Make some of my green. I think this would be a great green to go with the pink that we have. Now once we have this, we're going to start off by creating some nice leaves coming outward. What I'm going to do is turn this this way. Now I have more idea of where my flare is going to be so I'm going to start off with the tip and go outward and then create a nice leaf, starting with the tip, pressing down, trailing off. I'm going to get more color. I'm going to create another one right here. We're starting light. When we speak about color ratios from the beginning of this class, we're tuning into our senses of making sure that we are not starting off super dark, but we're starting off light and we're still giving it some beautiful movement with our leaves. Some are here, some are here. They don't all have to be absolutely consistent in terms of sizing. For instance, this one here I'm going to do is just going to be a side leaf and I'm leaving it open ended that way. I'll do another one over here. And very light, dip the tip of my brush in water and I'm going to do one that's just flaring outward. I have a little bit of something something here. Let's take that out. Perfect. Now that this is done, what we can also do just to build and add some depth is add a couple more leaves and this time, we can make them darker and a little bit darker in color and also more in terms of ratio, more color, less water. And let's just I'm going to start one right here. So kind of going over what we've done to create a little bit of depth. My base is a little bit damp, so I'm going to get some nice bleeding, very basic or blending of colors. But this is just making it more layers, if you know what I mean. All right. Perfect. I think if we need to add any more, I'm always going to come back. I can always come back, I mean. But for now, I'm just going to leave this so and we're going to continue creating more down. So we've got some beautiful leaves, now we can get into some flowers. 28. Lady in Roses - Part 4: Flowers down here down below. Again, I'm going to have an array of flowers, starting with these basic ones that we did, but we're going to go lighter and we're going to have different variations of sizing and placement will start our big ones first, and then we're going to create our smaller ones around it. Exactly like you would do in a composition, you create your main blooms first, and then you add the smaller ones around it. That's exactly what we're going to do here. Starting off with some of the yellow and also just to keep in mind, we're going to use two brushes for this. Number four, to add the yellow for the centers and then number six, to get some pink and spread it out and create some beautiful petals. You can also use the purple if you wish. I want you to give more. I want to give you more creative freedom in terms of selecting your own colors color choices for this. Here we go. I have my pink set up. Yes, I do. I just want to make sure it is active and ready. All right, starting with the yellow, we're going to start off our big main flower, one of the main flowers here. And then immediately I'm going in with the pink dipping my brush in water so that as I am painting more, I am able to pull from the yellow and spread it out with the water. This is the idea right here, and then you can drop in more of the yellow if you really want that nice pop. Look how pretty that looks. Let's do another one happening around here. Like I mentioned, if you're able to really control, these will be the biggest flowers, so we want to place at least three or five around these areas to help us fill up most of the spots before we go in and add some nice filler florals of a similar kind. Getting more of my yellow, we're going to create another one, a couple more around here. Because of the tight space and because you're trying to maneuver and create that beautiful shape for the skirt, you're going to find yourself having to go a lot looser and that is completely okay. When we try to fit things in tight little spaces, you're going to find that's going to be something you got to be very intentional about doing. Now some of them can be peeking out from underneath. Like that. You can keep switching back and forth for this between the two brushes and continue painting your petals. Notice I'm going very light with these flowers and again, very loose with how I'm painting these petals. Now, what you can also do is get a little bit more of that pink. Let me just wash off all the lemon or yellow from my brush. I'm going to get some more of that pink and you can drop that in. I need to get it mixed up a bit more. Drop that in. Just so you can get slightly more details in some of these flowers, these background flowers, that is. Then continuing on with our lemon. Really figure out where you want to place these flowers. Now as I'm creating more of the outer petals, I'm going to leave a lot more white space, a lot more looser to fan out from tight painting to looser painting. Just for the sake of this video, I'm just going to give this way, I have an idea of where things are. I'm just going to give a basic outline for the shape of the skirt. Now I know exactly I where what my outlines are. This is definitely a lot more helpful. Otherwise, you can get lost in the sauce. As we're going outward, I'm going to fan out leaving more white space. What I'm going to do at some point, I'm going to mention that as we get there, but I'm giving you a warning is we're going to add a couple more leaves and we're going to add some roses. The roses, let's have one here, one here, one here, this way, we're going to fill it up with some cute little flowers that we've learned how to paint. Probably should have put one of the roses in the center, but that's okay. I'm just going to fan these out these little basic flowers. And Run with that. Time is of the essence here just so that we can get some beautiful center blooms. That's why I'm doing a little bit of a quick rush here. These are okay for now. I'm going to move on to doing the roses, like I mentioned, and for that, I'm going to keep using the number four brush for more control. 29. Lady in Roses - Part 5: For the roses, I've taken the potters pink and I'm going to mix some of that on here. And then maybe even get a little bit of the pink involved with it. But let's start off with this and then we'll slowly build on the darkness. Again, roses, we start off with the C shaped curves curve, comma strokes, we want to try and leave lots of white space in between. Then once we've created this, continue with your comma strokes or your se strokes and be very intentional. Take your time adding these in. It can look like maybe some of the rose is hidden behind some of these flowers. Something like that. I'm going to leave that for now. I'm going to create my next rose, which is going to be around here. It's exactly how we have been how we learned to paint the roses, just on a smaller, more controlled scale. Lots and lots of white space, leaving lots of beautiful white space, which is what really makes this loose style of painting so much fun and um, relaxing because it takes away that added pressure of having things to look a certain way and filling every nook and cranny with color. You know what I mean. Now, once these are done, I'm going to get a little bit more of that pink and this is me just going with my intuition. I'm dropping in some of the pink in the centers here just to give us a beautiful tie in with the colors from the other flowers. Again, this is also something we explored when learning how to paint the roses. Really hone in on that. Et's do one more rose because I like doing things in threes and I've got some of that leftover potters pink. Let's make one rose peaking right here, and this is going to be super controlled. Let's try and make this super small as well, peeking out. All right. That's for that rose. I'm going to get a little bit more of that pink, drop it into the center. Really give it some cute little detail so you can see that it's a rose. What I'm also noticing and you might notice this in your work, when it starts drying up, if it's the wet on wet technique, sometimes it just blends in super fast, and then it gives you a beautiful blend. But then you lose that detail for the center. In which case, just go over it with a thicker, more creamier consistency of color, where it's more color less water and you're just enhancing the areas to hold the shape some more. 30. Lady in Roses - Part 6: All right, so now why don't we add a little bit of those cute little purple flowers that we practiced at the very end. I'm mixing oops, mixed it in with the pink. That's okay. I think that'll be a pretty color too. I'm going to get some muted purple and we're going to place in our cute little purple flowers. Let's do a couple here. Again, you're going to notice that I'm going very loose with how these are looking. Literally just a couple of strokes and maybe a couple of dots to indicate, buds. That's what I'm trying to say. Buds. Let's do some here. And I'll do a couple here as well. Then once we have our placements, we're then going to get into adding some darker tones within it. Just hold off, finish the placements first. Get this to a point that you are satisfied with it. Okay. I'm going to add a couple here. Really focusing on the shape of the dress as well. Use these buds as an opportunity to really connect or shape the dress a bit more tightly tighten up everything, the skirt. Now that this is done, I'm going to get some darker tones of my purple. I'm just going to drop in little stroke. Again, this is a lot looser in comparison to what we painted the first time. That is okay because we've got very tight spaces here. This is a different feel, but now that you had that more intense lesson on how to paint those flowers first, now you're trying it in a space that's a lot smaller and this is a different feel. We're going to pepper in some of this in between Okay. Now finally, what I want to do is go back to the pink a little bit and pepper some of the pink in and around these areas here. I'm getting a very muted tone of pink. Let's just add a couple of spots here and there. You could even add some right around the purple bits, so it can look like we've got some purple mixed in with the pink, which I think personally is a very nice touch. And then added pink in areas like at the bottom here. For instance, you want to just make it look like there's more petals. Ended up painting that whole flower there. Now, what I also would love for us to do is get a little bit of a splatter happening. I'm going to use the pink for a splatter and I'm watering it down a lot. Very watered down and I'm just going to add a splatter right around these areas here. Just on the outskirts of the skirt is where I'm adding the splatter. What you can do, I've got some nice little larger splatter here. Like I said, watered it down a lot so that it isn't overpowering. Then you get some of that happening around here as well. Then you can just take your brush and lightly blend some of this in it looks almost that it is coming out of the dress, maybe some cute little details like that. 31. Lady in Roses - Part 7: So now that placements are done, what we need to finally do is go in and enhance a lot of this a bit more to get a little bit more detail out of what we've painted. I feel like this has got some really nice detail and we could leave it as is. These flowers over here can use a little bit more detail to stand out. So we're going to use more of a darker mixture, more color, less water to get a slightly darker tone than what we've placed down, and then adding detail in a wet on dry technique. For instance, I'm going to use the number four again because everything is fairly small and tight. We're going to select certain flowers to enhance and allow some of the other flowers to fall back. Here's one flower that I'm like, I'm going to create some loose little details within it. So now all of a sudden this flower stands out more. In the lesson for how to paint these flowers, we had done this we had done this step right when it was still damp. I'm doing this step right now while it is completely dry. The main reason is because we needed to get a full setup done before we could do this. You're getting again, the best of both worlds, learning when to use your judgment when to use, wet on wet, when to use wet on dry. Notice what I did. I added those little details and then I went in and dropped in more of the color to really enhance that center. Let's do something like that over here for this flower. If you notice, I'm not painting the entire petal. I'm just adding in two little curves and then I'm going in and dropping in that darker color right in the center so that it really sticks out. Now, if you notice some of the areas where the color is just sitting, help it, move along. Otherwise you're going to get a little bit of a cauliflower stainy effect, which again, if this is what you like, you can absolutely keep. But I prefer a nice seamless blend, so that's why I'm going in and slightly touching stuff up. Here's another flower where I'm going to highlight by adding these details. All right, so there's another one and then I'll add just a little bit around this guy here. And then just adding little dabs so that it stands like you're giving it more texture, like I said, you're adding value to value texture, depth to your flowers, okay? I'm going to add a couple of tiny looking very ambiguous shapes to make it look like there's little darker flowers peeping out from little areas here. This is again going to help tie everything in together very nicely. Notice how all of a sudden this is starting to look very different. This is how essentially you're flowing with where your artwork is taking you and you're using your creative judgment to figure out what is happening where. It's all entirely up to you. 32. Lady in Roses - Part 8: So now I'm going to get a little bit of green and I'm going to drop in some green spots in and around. This is going to help break up everything we have just painted. So we're creating visual interest and a little bit of loose separation. This way, the eye is able to tell or the brain is able to decipher and tell that there's some background foliage happening and there are leaves going on. I am also going to get more of that purple, just like we did with the pink flowers, we're going to add a little bit of dark purple dab, more color, less water. And let's just add. Remember I said this purple, you really need to activate it. So I'm really adding ton of water here to just kind of get it going. Otherwise, it's not dark enough. Then I'm just dropping in little dabs like that within the flowers that we've painted. So take your time and figure out where you want to add these. I'm really honing in on all these little areas that I think need it. Then you can drop some in between the pink flowers too if you see value in that. 33. Lady in Roses - Part 9: Please with how this is looking. Now I'm going to take a darker green that I've mixed. I mixed a little bit of purple in with the teal and the lemon. I want to go ahead and add some detail happening with these leaves that we've painted. Starting with the tip and pressing down and I'm just adding similar detail to what we had painted with the flowers. It's that same concept of going in with a darker tone and really just adding some layers to our leaves. I'm adding a couple more lines or stems to really tighten up this area and then just make it look really full like that. Then we're pretty much done. We're going to end off with doing some metallic and I'm going to add some of the purple metallic we have. Then we're going to put our brush down and sorry, we're not going to put our brush down. We're going to stop painting flowers, we're going to paint the girl. Adding some of this metallic, let's get some detail within our roses. All I'm doing is just highlighting those darker bits that we've painted in. And just giving it a little bit of glisten and shine. Okay. That's that. We're now going to paint the hands and the face and all that good stuff. But I want to keep this more centered on the flowers. What we're going to do is get, again, a fine brush and feel free to use a pen like an ink pen, a black graphic pen or whatever you call those things. I have some by etcher, but I'm going to continue using this and possibly create darker black or color that looks black. We've got not a harsh looking black, but something that's related to the colors we have on the palette. I'm using this tone right here. It's a very grayish looking color. Something I learned in design school that you never use black. You use the darkest color you can achieve with the colour palette you have. I'm lightly grazing. I create her arm. Her neck. I'm extending here because it just makes sense to have her arm hidden down, possibly behind. It's behind the dress. Then this is her face. Perfect. Now let's get a little bit of detail for the shoes. I'm going to elongate her legs just a bit. I'm not listening to what I had sketched out. I've just made it a bit longer. It's more of a cocktail dress, you can say, as opposed to a gown. Then I'm just painting the shoes in. Obviously, she's wearing stilettos, and these are pumps. Stiletto heel pumps. And let's paint the hat really quickly. I think for the hat, I think if we do a nice wash of the same grayish tone that we have just so it doesn't interfere with the rest of what we have, I think that might work out nicely. Something like this and just outlining it. Then what I'm going to do is get a little bit more of that purple and just drop it at the top of the hat. Now we're getting some nice loose purply hues within our hat as well. I ties in with everything else. Then I'm just dipping the tip of my brush in water and then I'm using that leftover color to paint the inside of the hat that you can see there. Just because I know everything watercolor dries up lighter, I'm just going to get a darker variation mixed and just drop it in at that base portion of the hat. I think we're done with all the elements. 34. Lady in Roses - Part 10: This is what my end result looks like. I added some glitter to the leaves and as I'm looking at it and critiquing it, I'm noticing that the perspective for the shoes is off. Now, happen to the best of us, and this is a perfect example where show yourself some grace because mistakes happen, happens with me and I'm going to try this again. I'm going to try it with maybe different placement of flowers and perhaps, like I said, you don't even have to show the feet if you're uncomfortable painting them and all that stuff. If you don't want to get challenged on that level and you just want to flow with the flowers, go for it. If you want to try some of the other flowers, different colors, try it, really, really sit down for yourself and paint for yourself because this is how you get to compose and design a dress in this case, and maybe have several versions of this. For those fashionistas out there, I feel like this would be a great way to relax and paint, but then also great gifts because this framed on a wall would look super cute. Hope you guys enjoy this and can't wait to see your project. 35. *BONUS PROJECT 2 - Lady in Pink: Hi, guys. In this video, we are going to paint this cute little flower lady. Absolutely love how cute and delicate she is. I hope you're excited. 36. Lady in Pink - Part 1: So I've sketched out my drawing of the girl and I've left pretty much most of the area open. Let's just see where the flow takes us with this. A little goes a long way in watercolor. If you're wondering, how come it's so little? A little does go a very long way. I've got water handy on the side, so I'm going to start mixing. Let's get some of that purple. Mix that in here. Then I get some of that pink, put it in here. Look at that beautiful beautiful purple. That jewel tone, I love it. I think it is so stunning.Ga get some water in there. Mix that up. Now this is more of a 40 60, 40% colors, 60% water. Et's get a little bit more. Perfect. I've got a good amount of water on here. I also want to mix some nice green yellowish tones for the center and something like that over here. I mix some of the yellow with one of the blues, I believe, cerulean. What I'm going to do actually is I am going to get another thin brush that I'm able to use for the center. I'm introducing this brush. It's the Princeton Heritage number. I believe this is zero. Yeah, it's the zero. I'm going to mix that in here. I want to get a good enough. I want a very pretty green which is like that. But I also want to add a little bit more of the yellow. To get a slightly more yellowish tone for the center first. Mixing that in. This is a good enough tone. Let's start with that. I'm going to start with the first flower being around here. We'll do the petal just going up there. So here we go. I'm going to do a couple of little lines to indicate the center of this flower. Then using this brush, I'm dipping the tip of it in water. We're going to do our first petals. I'm going to start about here. This is where she's going to be covered. Very basic looking petal like that. I'm going to get some more color. This time, I'm going to shape another one around here. Then what I'm going to do is get some more of that color, drop it right here to give me a soft bloom of color going on there. Now we're going to go ahead and create a couple more of these. That's one. I'm going to add another little bit over here. Then from here, I'm extending and pulling out. I'm going to dip the tip of my brush in water, extend this. We're doing these flowers or these flower petals exactly like we did in the lesson. Um, Let's do another one over here. I love that that happened. That just pretty much means there was not a lot of color or water on my brush. I'm going to add one more little stroke here for another petal. Look how open ended. I'm leaving this. I love the various tones that are going on. Let's go and get some more. I drop some of that in here. This time, I'm trying to give this a shape. We're going to build on the layers. I'm going to do one petal coming out from here right into that. Another one here. Then you can drop in the color in the centers here. If you're looking to give more of those variations in values that really make things stand out and then we proceed and build up on the dress. Let's go ahead. Let's do a couple more happening this way. 37. Lady in Pink - Part 2: So let's start from the center a little bit. This way I get my bearings, getting some more color on my brush and we're just going to again go very loose. What I'm going to do is do two petals. Then I'm dipping the tip of my brush in water to get a slightly muted tone on my brush, dipping again and I'm going to proceed to continue creating these petals. Now once that is done, I'm going to get some more of the darker tone and I'm going to drop it in very simply in the center. Perfect. This is how we want to do it. We want to have those different varying tonal ranges. We want to create that beautiful beautiful feel for romantic petals and colors and flowers. That's where we are going with this and we're going to continue creating more flowers. I'm keep this not as complicated, so we're repeating the same flower over and over again. Then you can finesse some of the petals if you want to if you want to just push in some of the color, flatten some of the areas, maybe even add some of the pinks in some of the areas to enhance it even more. This way, we're getting different tonal ranges. Okay. Now all of a sudden you're getting more of a pop. Then what we want to do is as we're going outward, we can't be creating full flowers everywhere. The idea is to build the shape of the dress as we go along. So why don't we just do this portion first and then as we go outward, we're going to see how we create these flowers and how we're going to tackle the half flowers on the sides. I'm going to leave a little bit of space. Let's do another flower here. I'm just dabbing and doing a couple of little lines to create that center, dipping the tip of my brush in water, and we're going to create another flower. This time I did more of a curve at the top, so it looks like that petal is folded a bit. Then I'm just creating the same petal style outward. Look at that. Beautiful again. Go back in, get a little bit more of this color. Let's do one over here. This one, I'm going to create this way. Getting a lot of water on my brush, and loosely adding these little details. Then let's just create another one here. Now if you don't want to touch the center, that's totally fine. If you want to leave more white space in between. That's also a thing. This way we're going really loose and white space is the epitome of loose style of painting. You want to go that route, that is totally fine. I love how this looks. Really and truly, this could just be the dress, but we're going to enhance and create those loosy flowers going outward. For this one I'm going to do is get a little bit more of that purple. I'm going to mix that in because now I want to get a slightly different tone. And value. This way, we're creating more depth. Let's just create another one here. Then now you can go in. We're doing the reverse and drop some of that color in. Again, continuing on. Let's just create maybe another flower here at the bottom, peeking out, and then I'm dropping in that purple. Simple enough. We're just peaking little flowers here and there, but it's tying all the colors in to create this holistic view. Let's do another one over here. If you need to turn your sheet to get better reach or just better strokes, that is totally something you can do. I might end up turning my sheet as well, and you're going to see firsthand what I mean by that. Now let's do another one here. Going to get some more color, drop that in, drop it in, and just watch the color flow and bleed. It's beautiful. This is the therapeutic part of watercolor that so many people fall in love with and also get frustrated with. It's a two edged sword almost. That's why I stress so importantly on how learn the techniques, learn how this medium works. That is what's going to bring the joy. The more you do, the better you get. So all these things to keep in mind. Instead of doing that, we're going to continue creating open ended flower petals like this. Notice the white space is what makes it really airy and fun. Giving it more of that loose effect. It's the white space, guys. And now as we go this way, I'm just kind of building up on flowers that are kind of going downward. 38. Lady in Pink - Part 3: Okay. This is the part where I'm going to stand up for this portion to just see where exactly do I need to add extra little petals. That's one area. I'm going to get some more color. Let's get a couple of petals just peeking out from there. Then I'm going to get one flower here. I'm just going to do that and then extend to get a petal kind of like that. Still keeping with that whole loose effect. Sometimes, see if you can use paint the pedal, so it gives you more movement going on. I'm going to add a couple here. I'm trying to see if I can maintain this whole cocktail feel for this dress. Then as we go along, we've got a full flower here. What I want to do is this almost looks like it's going upward and this is just down. Controlling, I'm just going to do a couple of petals there. Then I'm going to get a slightly different tone. I'm just going to mix a little bit of that purple in. Then I'm just dropping in little strokes to indicate loose petals like that. You want to add these little what I like to call fluffing it's literally just extra strokes that enhance the flour or make it look, enhance the overall look to create more shape if you're trying to finesse things more or tighten things up. That is what fluffing is. When I refer to when I say let's do a little bit of fluffing, that's what it means. We've got some of that. I'm going to get a little bit more of the purple. Let's get that's the top and we're going downward. Let's get another one going on here. I'm going to spread out some of these other ones that I have. I would love if some of these strokes that we add are super light and almost like fading off. That's why I'm not adding any extra color. I'm just pulling from the first one we painted, and I'm continuing to create a underskirt so to speak. This is where a little bit of brush control comes in. So long we've been pressing down and pulling the color and all that fun stuff, but now I'm really managing how these petals are showing up. It's a little bit more control. Here we go. Let's do if we do a nice little flare out, let's just say we do couple more flowers here. Let's say we do one there, and I just extend it towards this hand. It looks like this one is in the hand or covering the hand. Then we just add a couple more fanning out. Then dropping that lemon for the center. I love how this is turning out super pretty. I'm going to create another I added a little bit more purple sorry pink to that color mixture. Then I'm just creating more little extended petals. I'm going to add some of that pink on here too. It's again, more of a fluffing technique where I'm showing that there's a lot more of this pink in other areas. So you're teasing the eye to kind of notice other things happening with that same color. So she looks like she's fanning out her dress a little, right? 39. Lady in Pink - Part 4: A little bit of a splatter. I'm going to get the Princeton number six. I'm going to get the leftover color that I have. I'm going to get water on my brush because I want as much water as possible. It's going to be very faint. I'm just going to do a splatter just around the edges of the skirt. It's fanning out. Let me get some more water on this. More loose detail. Then I'm going to use the number six, sorry, the number four brush. I want to get a slightly darker variation of that pinkish hue. Maybe we can get a little bit of that purple and. Really see which tone you like. Then I'm going to go in and add a couple of little details within this flower and these flowers and this is what's going to make the rest of it just pop a bit more. For instance, I'm just going to go in, create little lines pulling from the outside into the center of the flower. Same thing here and I'm lightly grazing my brush. This is what's giving me full control over the strokes. The more I'm pressing down, the thicker the strokes, but I'm just lightly grazing and I'm painting in uneven lines to really bring some texture to these petals. And it needs to be in a slightly darker tone than what we painted with and this is what gives us those details, those very loose details. This is what makes it stand out from the rest of the painting really. For example, let's go here. I'm lightly just grazing. I'm creating these lines in the direction or shape of the petal. Again, you're giving it some movement, very, very loose movement. I would stick to keeping this just to a couple of flowers so that it doesn't take over the entire bit and it still gives your brain a little bit of an idea of where the key elements are. Pause if you need to, don't forget to breathe as you're going outward and painting these in, you don't have to do it for every single petal. You might just choose to do it for a couple and leave the rest of it open. Again, this is fading out with the detail. You go super tight with the detail on the main ones and then as you go outward, just peppering a couple of details here and there to give the brain some guidance. For instance, if I do one here, if I do one on this flower, leave most of it open ended. Then I always say take a stand, look at it as a whole, and then see if you need to add any more details anywhere else or if you're happy with the shape and the placement of where things are, then you allow it to dry and you can proceed. Now before it dries up completely, I want to add the centers. 40. Lady in Pink - Part 5: So I should say while it's drying, I'm just going to add a couple of light green to some of the yellow centers. I'm going to do is get some of that light green. We're just going to go in and lightly dab to create the tiniest, most delicate little green details. Doesn't have to be steven or evenly placed. As long as we pepper it here and there, it's the perfect amount of green without going overboard. I just in some of them, I'm just adding one or two dots and the other ones I'm spending a little bit more time. Similar concept to the details in the petals where I said, for some flowers, we're adding details all over. Some of the other flowers were not. We're leaving things loose and open ended. You know, use your creative intuition. This is where you decide what's going where and how you would like to see things happen. 41. Lady in Pink - Part 6: So I'm actually motivated to add a little bit of green in between, instead of keeping this strapless dress, I feel like I want to add some green leafy details here. Here's what I'm going to do. I'm actually going to just do very light little strokes within here. This is supposed to mimic more, I guess, the flowers just being connected. It's the tiniest detail. I think for a lot of people, it might be like, is it even worth doing? But I love how this green looks against the pink and so I'm going to take full advantage of that and create my own little connections here. Then at the bottom, maybe even add a couple of green little strokes to show there's leafy action happening or even on the edges. And you can go lighter on the edges. This way, it doesn't stand out as much. By lighter, I mean, adding more water to the color. Just very delicately. Now for the straps that I was mentioning. I'm just going to get that green mixed up. You can see how beautiful this brush is when it comes to really adding details. Sorry, I'm just going to add a couple more of these strokes at the bottom too. I want to make it seem like there's leaves just trailing off from the dress. Okay. So now here we go. For the straps, I'm just going to lightly graze. To create one strap and then another one right here. So very simple. Nothing super complicated, two little straps to kind of really give it more structure, and then that is it. Now for the shoes, let's talk about the shoes real quick. Let's go with a nice pink. I'm just going to take that pink. I'm going to paint it in. Two little triangles, very simple, very very much brush control. Now, I'm taking a little bit more of the soft pink. What I'm going to do is just for these little bows, I'm taking the softest color and I'm just doing a twirl around just like that. You can do the same thing on the other side. Those are the shoes with the little bow action. Then we're going to go in and outline some of the body details. 42. Lady in Pink - Part 7: Design school we learn and even art school, you learn that you never really use a harsh black. You use a mishmash of the colors to create the darkest color you can get, and then you use that as your black. So I've mixed a little bit of green. I've mixed some of the purple, and I've gotten like a brownish hue. I know I can get a better, darker tone. But let's see. Here we go. Something like this, this is a very dark brown. I'm going to continue to use the number four brush. Notice how I'm twirling my brush around to get a nice fine pointed tip. This is where brush control comes in handy. I'm going to lightly graze to very lightly draw this base drawing. For the body. What I'm also doing is varying my pressure, and also not fully connecting every little stroke that I do. Leaving a little bit of white space in some areas. Some areas are thicker. This is how we get the nice lousy feel because we're going away from the whole even things out. Take your time, maybe practice on another sheet before you try this, especially if you're not fully comfortable getting thin strokes with a brush that's a number four. I promise you, it's not that hard. It's literally just you getting used to muscle memory and then going with the flow that way. Try it a few times before you sit down to do this, and that might give you a little bit more comfort and confidence. Same thing with the feet. I'm doing the thickest strokes more towards the feet and then the thinner strokes coming from above, the fineer strokes coming from above. Perfect. Then for the face. For the face, I'm just going to keep it blank and minimal because I'm going to put a nice little flower on her head and it's going to be more like a rose. Let this dry and then come back to finish with that final detail. 43. Lady in Pink - Part 8: So for her cute little rosy hat, what I'm going to do is get some of that leftover color that we have here. And I'm going to start off with doing the roses just like we do it. I'm going to position it over here. Let's start off with little sea stroke, another sea stroke, pressing down to create more thicker ones. I'm leaving white space as I build up. Then we're going in with the number six and it's got water on it. It's got a very little bit of this color on it. I'm just going to go in and make it bigger, bolder. I'm getting most of the color off. I'm leaving lots of white space as I do very light strokes to make it seem like a big flamboyant looking rose on her head. We don't want to make it too big, it might get too intense, but we do want to have a little bit of a darker center to the rose here. I'm just dropping that in and then leaving it. And then I'm just going to get very, very muted version of the green. This is entirely up to you if you want to. I'm just dropping in a little bit of green at the top, in make it look like it's one of those really fancy hats, a fascinator. Then I'm going to leave it like that and let it dry. 44. Lady in Pink - Part 9: All right, so this is the end result. I hope you love it as much as I do. I am actually motivated to do a couple more, so I'm most likely going to do a couple more. But this is part of the Skillshare lesson that is also something that I have opened up to the Tuscany Watercolour Retreat workshops. It's part of that as well. Yeah, it's just a snippet of what we have learned and the flowers that we learned through this process using the Mamary set of colors, which is called Provence. Yeah, lots of great little tidbits in this lesson, including learning how to take the flowers and make it into something else entirely like a dress. 45. Intro Conclusion: So if you're watching this portion of the lesson, that means you are done. Congrats. It takes a lot of dedication and consistency to show up for yourself and carve out time from your busy day to sit down and do what brings you joy. I'm happy you're here. I hope you enjoyed this lesson. As I mentioned before, if you want more fun with watercolor in this style of teaching, check out my YouTube channel. If you're looking for something a little bit more consistent that will help you just grow on a more consistent basis and you want to make that commitment for yourself, check out go with the flow. All right. Thanks, guys for watching, and I will check you out in the next lesson. Bye.