Transcripts
1. 1. Intro: Hi and welcome. I'm
so happy you're here. In this class,
we're going to slow down and paint something
delicate and symbolic, the sakura flower using the
Ngatic painting technique, a beautiful method that helps us see shapes and space
in a whole new way. We also add touches with
gouache and a crayon to make your piece come alive
with texture and depth. This class is designed
for all levels. Whatever you brand
new to watercolor, are just looking to reconnect
with your creativity. Think of this as
your creative pause, a quiet, refreshing
moment in your day. So take a deep breath, set up your painting space, and let's begin this gentle spring inspired
journey together.
2. 2. Materials: We need to have some
watercolor paper. I will use 25% of cotton watercolor paper
from paper concept. It's a polish company, but you can use any other watercolor paper
which you have in your house, and I will use AF size. In the project section, I will attach you sakura
sketch so you can transfer it to this paper
in the next section, we will just start our work. As usual, we will paint
with watercolors, so we need to have some paints. This is my set. It's a mixture of Roman Schmal Aquarius
paints and white knight. But still, you can use whatever
you have in your home. You can use your
favorite colors. You just don't have to follow exactly the
same colors as me. These are my paints. We also will use white quash. I usually use Windsor
and Newton Designers, permanent white quash. We need some brushes, and I particularly
recommend you for this class rigger
brush for details. We will use some smaller brushes and bigger brushes
for background. But still, remember, you can use whatever
you have in your home. We will use we also
will use a crayon, but just one color
for adding details. This is 589 from luminance
and it's crimson alizarin. For the last stage. And at the beginning, we also need masking fluid
to mask stems on our flower. In this class, I will use
Daniel Smith, masking fluid. Also need some paper towel and I think spray bottle to spray our paints is also useful.
I think that's all.
3. 3. masking fluid: First thing we need to do is
to mask our statements on a flower because I don't want them to be
in reddish color. I want them to be yellow. So these are very
small elements, and it will be hard
to paint around them. That's why it is easier for us to mask them with
the masking fluid. I will use Daniel Smith,
artist masking fluid. And once again, just
like I said before, these elements are too small
to mask them with my tip. That's why I will use some foil. And I will squeeze my
masking fluid on that foil. These elements, these
tments are too small. That's why I will use not even a brush
but a nail stick to place my masking
fluid on a paper. And I will mask only the
centers, the circles. This will be dry after
about half an hour. But if you don't want to wait
and still want to paint, it's okay because
in the next step, we will paint only the area
surrounding the flower. We won't touch the center, so it's okay to move
on to the next step.
4. 4. first layer on background: Okay, so let's prepare colors
for the background colors. So we need some
blues like rise for the sky and three shades
of green for our leaves. One will be light
green, medium green, and one dark green. Let's go. If you paint with me, you probably know
my favorite colors. First one will be autumn green, and we need to mix a lot of these colors because we have
quite huge area to paint, and we will mix this
color in 50 50 ratio, so it's not very translucent
and not very thick. Probably, you know right now that autumn green color
is granulating one, so we will have some granulating effects
on our background. The second green color is also my favorite one and it's called QuadriconGreen gold. If you paint on my classes, if you see my previous classes, you already know that I usually use the same colors
over and over again. This is the second one and still I need more of this
color because I know that it won't
be enough for me. But as you can see, it's my favorite
color and I have to buy a new one because it's
already almost empty. So this is my second color. The first green color
will be something new. This green is my
new one in my set. It's also granulating
color from Roman Schmal. I don't remember
right now its name, but I will put the number and
the name of this paint in the description in the
project area and also on on this film. This is my third color. If you don't have
it, you can still use dark green color which
you have on your palette, and you can mix this
dark green, for example, with a bit of paint
gray or a bit of some kind of blue which
you have on your palette. Because we only need to
have the three colors, just like I said, one light, one tium and white, one dark. Still, remember that
this is the first layer, the first background layers. So don't bother
if it didn't come out as you wish because we
will put more layers on it. Just like I said before, we need one more color
for our background. For sky and I will use TurkiseTTurquis is
from White Knight. I will place the numbers, the exact colors in
the description, and also you will see
it here on the video. We have our colors ready. One more thing we need to do is to change our water because we will start painting wet on wet technique and we need
some clean water for that. Okay, so I am ready. I will take a bigger brush. It's a mop brush from Roman Schmal because it
holds more water in it. I will start from this area
because it's easier for me because we have a bigger area to paint on the right side
than on the left side. I know it would be better to start from
the left side because we get we won't
smudge the wet paint. But still, this time, I will change my rule and I will start from the right side. So at the beginning, I will only place water on this part
of the of our work, I won't place at the beginning the water
on the whole area because it dries too quickly and I wouldn't be able to put my
paint on the paper. That's why I will
paint it inch by inch, you can say, or area by area. I will put the water on the
places where I will place my to quise and on some
bigger leaves in here. Let's start from the to quise
and let's put it in here. We start from the sky
and one more thing, I don't like how this
drchu is mixing with our autumn green because we will create in the edges where
these two colors meet, we will create this very bright green and I
don't like this effect. That's why I leave this
area unpainted white. But we'll take the slighter
green and I will add it to this edge so that these two colors bleed very
lightly with each other. And here I will paint
on some of my leaves. Then I will adhere some water because I don't
want my edges to dry. I want them to be still very
wet and I will move on to this area and take
my medium green, so this autumn green, and here I will add it. H we will make similar thing in
this topper part. I will add just water
to the edges because I don't want them to dry and I will move on to this part
right now and I will add my medium green
to this area in here, we can paint with
medium and dark green. I will place my medium, add some water take
my darker green, add it in here, make it flow, add some water to the rest
part of my leaves. Here I will add autumn green, this medium, medium
value which I have. Look how this dark
green granulates in this area and it creates
some beautiful effects. If you have some greens
which are granulating, this is perfect
project to use them. Still remember that this
is only the first layer, so we will paint on top of that. So don't bother if something doesn't look exactly
how you want it. Perhaps I want these
edges to be slightly. That's why I will I will try to make them lighter with my water brush and
add some more green, medium green in here. We have our background
done and we need it to be dry before we
move on to the next layer. In the next layer, we will
paint the first background on our petals and it's safer for us if this background is dry because we will
avoid these moments where the screen will bleed on our reds and create
these muddy colors. That's why I recommend you to
dry it with your hair dryer or something like that
or leave it to dry by itself and see you
in the next video.
5. 5. first layer on petals: Okay. Now let's move on to
the petals to paint them, we need to prepare two colors. We need to prepare two colors. So let's move on to our palette. The first color will be
very translucent magenta. I will add I will spray some water on my palette because it's easier
and faster for me. I have magenta in here. And for that, I will use
Magenta from, uh, rare. I don't know exactly
how it's spelled, but this magenta is very dark, and this is a liquid
watercolor on acrylic base, and it's a bit different than regular watercolor,
but I like it. And I use it just like regular. I have one drop of that paint, put it in here, and I
usually leave it to dry and it acts just like
every other watercolor. So this is my first color. I mix it with a lot of water, and I know that I need to
have this color a lot. I will spray some more
water, add more paint. Check on my scrap paper, how it behaves and how it looks. And the second color
will be magenta, will be Once again, the second color, once again, we need a lot of
this color will be magenta mixed with alizarin. Alizarin is very
dark, is darkish red. I will mix my mix my magenta
with a bit of alizarin. I need two reds which
are in similar shade, but one is a one ton
darker than the other. I will add more
Alizarin to my mixture. And the second mixture should be a bit thicker
than the first one. Perhaps I will add some
more this is how it looks. So once again, we have
to change our water. So we will paint petal by petal. And just like before, we will start simply from water. So I will also
prepare leave next to me medium brush and some smaller brush from me
will be far from Princeton, number six from DaVinci. I just like before, I just use Roman Schmal
for wetting my paper. Let's start from this one. We will put some
water on our petal. We don't paint this stem
this stem at that moment, so we will leave the stem white. So I have placed my water. I will take the slighter color and put it here, let it flow, make it flow, let it flows as it wanted. And let it create this
beautiful blooms. Though I don't put it only in the middle part of the petal, I want this middle part to
be white light magenta. Well, the lightest
part of this petal. So I will clean my
brush, make it dry, and I will take my darker color, and I will add it from the
bottom and on these edges. Because our petal is still wet, this color will bleed with each other and they
are similar in tone, so the transition
should be very delicate and and very beautiful
as they dry. I will add some areas colors of this dark color in here to make this petal more interesting. Let's switch to another petal. Perhaps I will rotate my work and I will
move on to this petal. Once again, we start with water. I will add my this medium brush, take the lighter from
these two colors, added from the inside. Just look how it
flows. Beautiful. I just love that effect
and to the edges. I like this stage and at a very, very much because
I just love how these colors bleed and flow
and so relaxing to see it. Right now I will take my darker
color and we'll add it in here from the center of my petal and perhaps
maybe some on the edges. Because at that stage, this first layer is very dry, so this will create just like I said before, some
beautiful transitions. Let's leave it that way. Once again, we need to move
on to another petal and we need to choose which petal to choose because this
area is a bit dry, is a little bit wet. This one is more dry. But for this petal, this area is more dry than wet. And this is more wet. I assume that if I start to
paint this petal, the color from this edge
could bleed on my petal and we could have similar
situation in here. But I think the safest
petal is this for now. Let's rotate our work. Once again, let's
start with the water. Perhaps at the beginning, I will put my water so that it don't touch this edge because I don't
want this color to bleed. But if this happens to you
that this color will bleed, it's not a very
big thing because remember that this is
the first layer and we will place another one
on our petals just like we did the green leaves. I will put this layer var Oh, just like you see
it bleeds in here. But it doesn't matter. Don't worry if it did. Be it won't be a very big
bloom right now because this paint is dries
at the moment, so it won't flow as much. So I will add my
lighter lighter pink. I will take my darker
red and add it in here. I make it flow, make it flow on my petal, perhaps some on the edges. Beautiful. So let's
move on to this petal. And once again, let's
start with water. You see that this color bleeds
a little on my new petal, and that's okay. That's okay. You shouldn't be
worried about that. And let's put some
lighter value first. So lighter on the edges, We can even simulate
these lines. And let's clean our brush, dry it on paper towel and
pick this darker tone and add it from the
center from the vh, like the center of the flour, right? Make it flow. Just play with it. Play with it and
see what happens if you add something
unexpected to your work. Okay, so the last one. And we should be aware
that this is not dry yet, so this one is still very wet. So it will probably bleed
on this bigger petal. But we can take this and
don't worry about that. So let's put water on our petal. Let's pick our magenta. Well, my paper wraps is warping, so that's why most water
on my petal is in here. And just like you see, this area is already dry. I put too little water on it and perhaps because most
water just move to this area. Let's add some darker value Okay. And that's all for this stage. We need to leave it to try. I think we did a great job and created a very
beautiful transition between these two colors. So you can dry it with hair dryer or leave it to dry and see you in
the next video.
6. 6. second layer on leaves: Okay. So let's move on with our work. So right now, we will paint this stem simply with one color, and we will paint the
second layer on our leave. Let's prepare our colors. We don't need light value. This time we will mix three greens and the first one will be once again autumn green. You already know that color, and we mix it in 50 50 ratio, 50% of water and 50% of paint. I call it that way because
I don't want it to be very translucent or transparent and I don't want it
to be very thick, it should be in this
middle middle stage. I call it 50, 50%. This is my first color. The second color will be
green from white nights. This color looks like this. It's quite dark, but when
you mix it with water, it's not as dark as it
looks on this scrap paper. It's quite dark, but a lot
of water is a medium value. This is our second color. If you have some granulating
colors, for example, like the one which I used while
painting the first layer, you can still use it. It's also fine. So you can try different colors
at this stage. And the first color will be the same green
from white knight. But this time, we will mix it
with a bit of fallow blue. Or you can mix it. If you don't have fallow blue, you can add a little bit of pink gray because we just
need some darkish tones. This is only green
and right now, I will add some
fallow blue to it. I have greenish shade. Let's see. This one is too
bright, still too light. That's why I will
add some more of my fallow blown let's check
once again how it looks. And perhaps I will add a bit
of pains gray to my mixture. And let's see some
more palo blue, some more pains gray. Sorry. Okay, so we have this so we
have these three greens. And just like I said before, we also need our magenta and we don't need much magenta
color. So this is enough. Okay. I remove the masking type because it's already peeled off. So as a first thing, we will paint this
area with one color. So it's a quick thing. We can add more color in here. So I will take it
straight from the pan, and I will add
some darkish tone. Just like that. Okay. And let's switch to
the medium brush, and we will paint our leaves around the flower in the
negative painting technique. And let's start from this area because we will move
on from left to right. If you're right handed, it will be easier for you because we won't
smudge anything. So this leaves in here, we have the darkest
tones in here. So we will take our
colors one by one. We don't paint
exactly two leaves which are next to each
other with the same color, we try to avoid that. For example, let's
start with this medium. Color and So I don't have my masking type, so I need to be more
aware of the edges. But still, it's doable. You can rotate your work. If it's easy for you, so we leave our stem
unpainted in here. You can use my guidelines
or you can create your own. In this area, I will
switch to my darker color, so I will pick this one to
paint the side of the leaf. You can mix colors on your work. So for example, you can
start from the darkest one and pick this medium one. I clean my brush, make it dry on paper towel, and I will switch to
my autumn green color, and I will paint
with it the sleeve. I do that because I
clean my brush because I don't want this color to be darker if I have um other color on my brush. Right now, I just pick
the medium value. In that case, these two
colors will mix on my paper. So in here, I will
start with the color which I have on my brush and switch to the lightest of the
three which I have, so I will pick autumn green. This stem is too wide. That's why I will
make it smaller. Okay. I will clean my brush, make it dry on paper towel, and I will once
again pick my green. Okay. And let's switch
to the darker one. Oh Perhaps I will paint this leaf right now and I will take my autumn green. I think it will be easier
if we start with the leaf, which is outlined in here. Will be easier to see where we should put
the other leaves. So I will make this lighter one. The other side, I will mix my autumn green and
green on the paper. So I will start
from autumn green. And while painting, I
will add this green. So they will bleed on the paper, will they merge and
create transitions. In here, I would like to have
in here the darkest tone. So this side of the
leaf is still wet. That's why I will paint this at that moment because I don't
want this to bleed to mix. Sorry for my cat, and I can
paint this area right now. So I will paint
with this darker, darkest dome of this tree. Let's move on to this
side at the moment, so we will pick the lightest. So autumn green. And perhaps we add some this green at the
bottom of this leaf. I will clean my brush, make it dry on paper towel, and I will pick the screen, and I will add in
here and you see how these colors flows and perhaps
I will add some in here. Okay. And this leaf let's
start with the green. So the same color
which we have in here. That's why I don't care that perhaps this will
bleed in this area. Let's switch to
the autumn green. The lighter one, color. At the edge of the sleeve, I have a less color on my brush. That's why it's lighter shade. It has a lighter shade. Let's start with this
medium value in here. Because this side of the
leaf is under that one. That's why it will be in shape. That's why I use this darker, then I'll start with this darker and once again, we switch to the autumn green You see how it all
comes together into one piece as you lay a
layer by layer on it. And let's move on to this part. And let's pick
this medium value. I didn't draw any
outlines in here, but we can still paint
stems by ourself ourselves. So it's easier if you
first draw outlines, buy your brush and then
fill it with paint. Okay. So also in here. And the last leaf in here, let's start with this. Oh, I smudch with my hand, so I will try to fix
it and I will put my darker tone here. So while I have this
dark value on my brush, I will start with this leaf. Then I will change my color to this medium one in this
area will be the darkest. Okay. And the same in that. And we start similar in here, so from the darkest color. But still, you can make it a bit lighter by adding just
a water on your brush, so I will clean my brush. And make this color. Even though it's the dark tone, I will make it lighter on my paper simply by adding
water on my brush. Right now, I will switch
to this autumn green Okay, so that's all
for our second part. Second layer of watercolor
for our leaves. In the next step, we will do
the same with the petals. So we will add the second layer on the sakura flower petals. So see you in the next video.
7. 7. second layer on petals: We will move on to the
second layer on our petals. I have changed my water because we will mix
some reds right now and green is opposite
side of the color wheel. So when we had green water
and mixed red colors, they will be muted and I
don't want that effect. That's why I have
changed my water, so you do that the same. And we will mix our
colors for the petals. The first color, which we
will mix will be magenta. This is my magenta color and
it's not very translucent. So it's like 30%. So it's not like 50 50 is with a little with
more water than 50 50, but it's not very translucent. And the other color will be
magenta mixed with alizarin. So once again, I will mix my magenta with Alizarin color. Okay, so let's move
on to our work. And once again, we will
paint petal by petal. I will take my medium brush. It's number four from round
number four from Princeton. And we will start adding
some details with our magenta color
and we will add some details to the
edges of our petals. So I put first layer, clean my brush, and smudge the edges of my
color, my new layer. And I will take this darker tone and add it to the bottom of my petals because I want
them be the darkest. I want them to have
the darkest value. And still I can add while this layer is be tried
some more color in here. And just like before, I clean my brush, dry a little on paper towel
and smudge this color. And let's speak. Yes, the accidents
accidents happen sometimes. I will try to make
the marks which have made with water so they are not as visible as they were
when the accident happens, and I'll have picked a
smaller brush number two, and I will use my
lighter collar, lighter value and paint some details on my petal. If something is too
visible for you, you can smudge it
with clean wet brush. And similar, let's take
darker value and leave some marks with this darker tone. Okay. So let's move on to the next petal and
let's pick this one. So I will rotate my work Okay. And let's start just like
before with the slighter tone, add some outline smudge the edges. Pick the darker value, add it to the bottom. Once again, smudge the edges. Also, you need to remember that the effect will also depend on the
quality of your paper. If you have cell loss paper, it may be harder to achieve
these beautiful transitions. I will pick the smaller
brush and lighter color and I will add this marks If I don't want this because
it's quite sharpening here, so I will smudge the edges
with my smaller brush and I will take the darker color and
make some darker marks. Okay. Let's move on to
this leaf because this is almost dry now. So I will rotate my work. I will start with
the lighter value, and I will add it in here
and perhaps some in here, you don't have to add it on
the whole edge of your petal. You can add it in several
places to make them darker. I think the most important
thing in here in this process is to make
the center darker. But the rest of the petal, the edges of the petal, if you like how they
look right now, you can leave them as they are. And once again,
smudge the edges. Big smaller brush,
lighter color. And the same with
the darker color. So let's move on to
this petal right now. So let's start with this lighter tone I don't add it as much because I didn't mix it the perfect
amount of my color. So I will need to mix
my color once again. You here on the edge because this petal
is under this one, so it's in a shade. And once again, let's
smudge the edges. And with the smaller brush, lighter color, add some details. And with the darker color, also, let's add some details. In the last one, I will
mix my magenta very quick. So let's start with this
light magenta color. Et's pick this darker color, add it from the center. I left this little
part unpainted because I want it to
be lightest light. That's why I am avoiding
this area right now. Mm hm. I can add some dark tone in here also and smudge it
just like before, we smudge the edges in here too. I try to leave these white
areas in the middle of the sleeve unpainted because this is where the light shines. Once again, smaller
brush and lighter color, let's add some details. Details make the difference. These lines shouldn't
be straight. They should be just like
the shaggy shaggy lines. And once again, let's switch to this darker color and make some details
with this dark tone. Well, if I don't like this, what happens in here, then I try to make it less
visible simply with wet brush. And for example, this
I don't like this. Okay, so we have our second
layer on petals done. Perhaps I will add with my smaller brush and
this dark color, some detail in here because I want this part to be bit darker and I will
smudge the edge. So these are my two favorite. I see that I smudged
with my hand, but we can correct it in the next part or perhaps I have still my
greens on the palette, so perhaps I will
paint it right now. So we need this to be dry while we go to the next stage
because in the next stage, we will remove the masking
fluid from that area. We have only few steps
left to finish our work. See you in the next video.
8. 8. details on petals: This is the time when we
remove our masking fluid. I simply do it with my
finger just like you see. Okay. So in this moment, we will paint the stems. For that, we will
use two colors. I will place my palette like
that because I will use these two colors yellow
and naples yellow, and I won't mix them with water on my palette because
I want them to be thick. The trick is that I usually use it straight
from the palate, with a smaller brush, I'll just mix them with
the sprayed water. Make them tick in here. This is my first color yellow, and this is my second color, and this is naples yellow. We need this paint to be thick. So for example, I have
apples yellow on my brush, so let's start with that and I will paint
some of these stems. I usually with the
darkest yellow paint the ones which are behind. So for example, if I have
three next to each other, I usually paint with the darker shade the ones which are supposed to be behind. So something like that, let's switch to yellow. And with my yellow, I will paint these
two bigger once. Let's go once again
to an apples yellow. And with an apples yellow, I will add some shade
to these bigger ones. This last three or four, let's paint with
the yellow. Okay. Now, let's mix some Alizarin
crimson on our palette. We need it to be thick
because we will painting some details on our flowers and also we will paint
the stems lines. I don't know exactly
how it calls. Calls even in my own
native language. So I will call it these lines. So let's mix Alizarin crimson. And this color should be thick, so less water, more paint. We will use liner brush. If you don't have liner brush, you can use a smaller brush, smaller details
brush, for example, two, one or number zero. But if you have a liner brush, it will be easier for
you because you can paint a longer lines
with one color. Let's go back to our work. Let's paint these lines in here. Some of them you have outline. But you can draw some more. With the same color, we will add some
details on our petals. I will create tiny, tiny lines you can use if you
want my outline for that. But this is not necessary. You can paint your own Okay, let's rotate our work
because it will be easier. Once again, let's rotate. Okay. Another leaf.
Another petal. Okay. We could also add
some darkish red in here and perhaps dilute the edges of the two. Okay.
9. 9. third layer on green leaves: This time, we will add some details on the leaves
on our green leaves. This will be a first
layer on some leaves, not on all of the leaves. Look, this is my previous work. I just add a third layer on the three leaves which
created more shadow on it. I mean that we need
some more contrast in our work, more shadow. That's why we will paint the first layer on
these three leaves. In this way, the other leaves will be more present,
more near us. For that, we only need
to mix one dark green. So I will mix um Green. This is from White
Knights green. So I will mix Green with paints gray to
create this dark green color. Of course, if you have some
dark green on your palette, you can still use it. You can use your own mixtures, favorite mixtures, your
own colors if you have. This is green, and I will
add paints gray to it. Make it darker, to
make it even darker. I don't usually use black for
that perhaps a little more. Okay, we have our color ready. So let's go back to work. Let's start with this. We can still rotate our
work to make it easier. So for example, let's start
with that with this leaf and you can still just like
the the last time, simulate the stems on the leaf. So don't paint the whole
leaf with the one color, but leave some unpainted areas which will simulate the
stems on that leaf. So I will add one and two
more stems on that leaf. Okay, let's paint this one now. And once again, let's
create some stems, for example,
something like that. It's almost dark in here. So it has a lot of shadow. No. Okay. And the
last furt leaves. So let's rotate our work. And for example, we
have a stand like that. And for example, in here, we have something like that. Okay. So this is all for that stage. We're almost done with
watercolors. Not almost. We've done with watercolors. In the next step, we will add some details with
the white quash, and the last step
will be pencils. See you in the next video.
10. 10. Gwash: On this step, we are going to add some details with quash. So I'm taking a thin brush. In my case, it's a size too. I add a little water to
my quash and mix it until I get a smooth fluid
consistency, just like always. If you don't have white quash, you could also use a white
posca pen, for example. Unfortunately, my posca
pens are worn out. The downside is that if you
don't use them regularly, they tend to stop
working properly. The paint inside gets too watery or sometimes it separates. So mine just die naturally
from lack of use. That's why I've switched
to quash instead. Here, I'm just checking if I can paint a ten line
with the squash. And yes, on the petals, where we want more highlights, I'm adding a bit
of white squash. For example, here on
the curved petal, this area will catch the light. Same here, and along the edge
where the two petals meet. We can add a little
touch of white as well, specifically on the side of the upper petal because
it's lifted higher, so it would naturally
catch more light. While the lower one
stays in shadow. That's why I'm adding
some highlights there. This is a bit of an experiment because in my first
version of the painting, I didn't add this step. If you feel like it
doesn't look quite right, feel free to skip this part. Because if you add
white highlights to one area for consistency, you'll want to add
them to others, too. Just a little tip. Try
not to overdo it with the white quash
everywhere because it can start to look a bit too
heavy or artificial. It's better to add
less at first, see how it looks, and only add more if needed. We're not going to add any
highlights to the green leaves because our main focus
here is the flower itself, and we want it to
really stand out. Definitely, though, we should add a bit more light
to the stamens, especially the ones
that stick out higher, they naturally catch more light. All right. We're almost done. Now we'll move on to
the final small details using colored pencil. We only need the red
pencil for this last step. Just want to deepen
the center area a bit more to create stronger
contrast and make it pop. If you like, you can also add
some details to the leaves, but personally, I'd like
them the way they are. So I'm only going to use the red pencil for
the flower center. So see you in the next video.
11. 11. Details: I'm back, as I mentioned, I have a red pencil here. This is number 589 Alizarin
from the luminance range, a deep burgundy red. If you have a similar
color from another set, that's perfectly fine, too. Keep in mind that this
is the final layer, so it doesn't have to
be a watercolor pencil. And now we're going
to darken some areas. I'm not pressing too hard, I'm gradually building
up the texture, so I'm working very lightly. This isn't a watercolor pencil, so it won't blend with water. Here I'm just deepening
the shadow areas, especially where there should
naturally be more depth. Of course, you could create this effect with another
layer of watercolor, but using a pencil gives
you much more control. The only downside and
something I'm not a huge fan of is the paper
texture, which shows true. If your paper has
a strong texture, the color won't lay down
as smoothly as pink does. You'll see little white gaps where the paper peek through. We can also darken slightly
between the petals, which will help the whole
shape stand out more clearly. At the junction
between two petals, we can define a bit more shadow if we want the area
to appear darker. If you enjoy the look of
the textured surface, you can absolutely
leave it that way. Textures can be
very interesting. It's really a matter of
personal preference. Sometimes it's easier to
just rotate the work, and I'm building layers
and shadows step by step, petal by petal, and I'm adding shadows where it should
naturally be present. And sometimes I just
even darken detail lines which we made earlier
with the watercolor. And Wala, that was
the last step. I hope you like the result. The very last step
is to sign your work because every piece
deserves your signature. So don't forget it. And
see you in a wrap up.
12. 12. Final: Thank you so much for
painting with me. I hope this class help you
discover something new about watercolor or about
the beauty of slowing down. If you enjoy this class, I'll be so grateful if you
could leave a short review. It really helps other
students discover it too, and don't forget to upload your finished piece to
the project section. I truly love seeing
your interpretations. You can also tag
me on Instagram. If you'd like to share
your work there, I'll be cheering you
on and remember, even the most delicate blossoms start with just one brushstroke. See you in the next class.
Anna Krupa, graphic designer, photographer
