Painting Coral Peonies in Watercolor

1. Hello!: Hi there. My name is Michelle and I'm a watercolor artist from Manila, Philippines. In this guys, I'm going to show you three different ways that you can pains bright and soft peonies using water colors. This class is the sign to be easy to follow and in real time, so even beginners can pay. I'm so excited to share my techniques. So without further ado, let's proceed with the next video. See you there. 2. Materials: let me start by enumerating the materials that will be using this is a water bottle with clean water for rinsing or brush. Lemon yellow bright rose Um, these are for the pedals and thes air over from Shin Hans Professional watercolor line. For the middle part, we're going to use cadmium, yellow, deep yellow poker and burnt sienna, and we'll also be using the following colors for the stems and leaves. This is for it in hue on and pick up green. Now for the brushes that will be using first, we'll be using this cat's tongue brush. This is 3/4 inch. We'll also be using a size eight flat brush and also a round brush. Size 10 and one of thes brushes are synthetic. No, even though these air synthetic, this thes can actually hold a lot of water. So don't be scared to use synthetic precious now for mixing these colors together so we can have the right shades for our peonies. I'm going to use a large ceramic pallets that would allow me to makes a lot of shades for the pedals and even for the leads on fourth e watercolor papers, I'm going to use this big block of watercolor paper. It's 300 GSM so it can hold a lot of, um, washes, and it's cold pressed, so it has some bit of text texture to it. So there you have it, these air, the materials that will be using for this lesson, and we can go ahead now and move on to the next video for mixing her colors. 3. Preparing Your Watercolors: Okay, so that's start placing the colors on our watercolor pellets on, and I'm just going to put some that's of watercolor onto one site of this ceramic petits. Now, I understand that some of you may have, um, water color in the form of pans or cakes, and that's fine. Some of you may even have liquid water color, and that's fine as well. Um, but for this particular activity, I chose to, uh, get the watercolor directly from the tubes because it will allow me to, um, just dip my brush from color to color and mix them as they go along. At this point, let me speed up the video a bit and return to the normal pacing once were ready to mix the colors. - Okay , now that we're done placing our colors on the palette, Uhm, I'm going to get my size 10 grand brush, dip it in water and just grab some of the lemon yellow and place it on one of the, um, corners of this ceramic palette. I'm going to add a lot of water onto this because I really want the pedals to be transparent and also to be able to, um have e wash. That's very easy. Easy to spread on the on the paper. Um, having a lot of water will allow me to create softer pedals on creates very thin layers, which will give me a, um, a soft effect for our flowers. Now, let me just prince my brush and then next, I'm going to grab some of the bright rose and mix it with lemon yellow, and I'm going to, um, makes the water colors together until I get a nice, um, bubble come shade of pink somewhere between pink and orange. Now, this could take a while, so I'm going to speed up the video bits until I get the right shape that I'm looking for. And then we could continue with the next color. - Uh , - okay , at this point, I'm pretty happy with the shame that I have here on my palette. But before I completely decide to stop mixing, um, I'll be getting a piece of paper and testes color just to be sure that this is the right shape that I want for, um, the pew knees that we're going to paint. So as you can see, it's very easy to spread the color on the paper because there's a lot of water on Earth on a water color. No, this looks really nice when you diluted further with water. But I'm thinking of adding more yellow to this just so that it looks much brighter. And it looks closer to, um, the coral puny that we're going to try to paint. So adding some them and yellow to this mixture. But I'm not adding it to the entire a pool of, uh, paints that we've already prepared. Um, just so that I have a variety of shades available when I do start painting the pedals. Okay, At this point, I'm quite happy with the collars that I'm seeing. Um at one end, you see a shade that's closer to pink, um, to pink and maybe dark orange. And then the other one is a more pale shade. Um, we just perfect for creating various shades for our pet does. So I'm happy with the color said I'm seeing right now, and we can now proceed to painting our first puny I'll see you in the next video 4. Peony in Full Bloom : Petals: the first flower that we're going to paint is a puny in full bloom. And as you can see, I've just taken some water from the water bottle and used my Sison round brush to get some paints. And now we're going to, um, create very simple brush strokes, too. Paint the 1st 5 pedals. And as you can see, I am roughly making these strokes from outside, going in and encircling an imaginary circle at the middle. Okay, no, At some point, I am going to fill this flower in the center by just rubbing my brush. Andi blending the color among all of the photos Now, you don't have to create a day defined shape for each of the photos because the puny if you can observe, um, has very irregular pedals, and that is what gives it its charm. Now, at this point, I'm randomly adding pedals been mean these 1st 5 pedals that we've initially painted, and I'm just grabbing paint from different parts of our wash so that I'm able to get different shades of this orange and pink mixture that we have team. So it's just random addition of pedals all around the 1st 5 pedals, but we've already painted at the start. And as you can see, the brush strokes are either outward going to the center from the centre, going outward, depending on where the pedals are positioned. Okay, there's no right or wrong way to do this. Do this either way. Just keep in mind that as you're doing this drugs, you need to press on to the fresh, um, ask. You go from one end to the other because otherwise your pedals would not look full. Instead, they would look like long leaves. Now, at this point, I'm going to soften the edges of these pedals by, um, putting more water to my brush and taking off some of the excess water and just lightly scrubbing the edges of thes puddles so that the edges are soft and almost like feeding s use from these part of the pedals. One thing you need to remember, ISS When you're working on these pedals, you have to work on them continuously and not allow them to dry before you try scrubbing the edges. Otherwise, he might not be able to, um softened these edges by scrubbing them. Uh, once the water color has fully dried. So, um, assigned from that, you also need to remember that, um, not all watercolor paper would allow you to scrub, um, and create this soft effect. And for that, you will have to experiment, um, with maybe a different, um, with a set of different watercolor papers so that you would know if they would allow for this effect to be, um, achieved. Okay, at this point, we're done, um, placing the first layer of our puny in full bloom. Now, the next step is to add darker shades to various parts of this flower, and these darker shades will actually be the inner parts of the pedals that are gently curved. Okay, so we're going to create that effects of pedals being gently curved by adding dark shades. Two different pedals of this flower? No, I'm actually waiting for the first layer to sort of dry up a bit so that when we do add the dark parts in this particular painting, um, the colors would not lead and would have a, uh, a more defiant shape. I think at this point we're ready to start adding those darker shades. So I am actually going to see if this is dry. And yes, it's, um, dry enough to for for me to be able to add this, um, darker shade of orange into one of the inner petals of this puny Um Now, the nature of this flower is the inner pedals are the ones that are curved, and the outer petals are, uh, more or less flat. So most of the dark shades that we're going to add would be within the center of this particular flower and not so much of the outer petals. No, As you can see, once I'm able to lay down the color onto the flower, I soften the color by going past the pedal with, um, a pressured stroke. And you also noticed that, unlike the first layer of pedals of the painted, my color is no more saturated. I don't debt my brush too often into the water bottle. Instead, I almost always go to the water color, a mixture that we have so that the darker shades are more solid. Now. At this point, we're going to complete these curved pedals by drawing a letter C, um, at the top of these darker shades and then softening these, um edges so that we create an illusion that this particular pedal is actually lifted and it's apart from the pedal that's underneath it. You'll notice that I did not follow any particular pattern when I'm defining the curved pedals. Instead, I just randomly went from one point to another, making sure that the curved pedals are not, um, directly side by side to each other so that our puny here would look more natural. So here I am also completing another cursed pedal by drawing this see shape. And then again, I, um, dipping my brush in the water and just taking off the excess water and going over that edge to soften it and to create a shadow. Okay, so I will be applying the same technique to the rest of the curved pedals, going from one pedal to another, and I'll be using the same shade all throughout thes inner pet does. Um, this dark orange with a hint of pink shape will be applied to all the pedals that are, um, curved and are part of the inner flower. No, for this particular pedal will do the rivers instead of during the C shape I am now creating the inner shape, um, of the group to peddle, because at this point, I feel that this part of the flower needs another curved pedal. So after that, I'm just, uh, blending the center part of this puny so that there are no hard edges. Okay, so at this point, since we did not start with a sketch for this particular puny, I'm trying to decide what part of the flower we are going to place the next pedal. And at this point, I decided to add another curved pedal right here, and it's going to be underneath some of the earlier curved pedals that we've already painted. And so it will not look for it will be. We're going to see just part of this pedal. And of course, we're going to add some shadow to lift this pedal from the pedal underneath it. Okay, now that we're done with that, I'm looking at the flower again and trying to figure out where the next pedal would be. And I'm seeing that this could be another curve pedal. So I'm going to add another C shape to it. And, of course, like the previous pedals that are curved. We're going to, um, create a shadow underneath it. I think so. Now the good thing about this kind of painting process is you get to observe as you're painting and allowing something to inform as you're going through the process. It's not defined its something that, um he did not plan about. There's no sketch to begin with, but in the process, you're able to look at the shape that's in front of you and then see the potential of those shapes and who eat from that. Now I'm seeing that we already have enough curve pedals on this puny. So from now on, what we're going to do is create or highlights the flat. The latter pedals around these Kirk battles so similar to what I did to the curved pedals. I am highlighting or drawing around the pedal entry, eating a shadow underneath it now for these pedals, we're going to use the other shade that we have on our palates, that which is more of a yellow orange hue. Um, basically, because these air lighter and we want to create a soft, overall feel for the puny. So we're going to use this lighter shade for the outer pedals. - And okay , at this point, the flower already looks very nice and soft, but I sort of want to add some more shadows to some of the pedals. So I'm just going to add a few more darker shades to some parts of this puny just so that we could have a more dimensional flower. Overall, - we're now done with painting the pedals for our puny in full bloom. And now we're ready to add details into the center of this flower. I'll see you in the next video. 5. Peony in Full Bloom : Stamen: in this video, we're going to add the middle part of the puny um, which I think it's called the steam in. And they are hair like structures found at the center of the flower. No, at this point, we're going to make use of the tip of our round brush. It's the same round brush that I used earlier and just a tip t with the tip of the round brush. I am getting some of the cadmium yellow deep, uh, color. And likely we will be creating very thin outwards strokes all around the middle parts of this flower. As you can see, I, um, flicking my brush. I'm not exerting pressure at the middle portion of the hair part of my brush, which is called the belly. There's no pressure, but only at the tip of the brush. So that be maintain uniformity, uh, throughout the hairs, or what ISS properly called this demon of this puny. You also noticed that even though this cabbie, um, yellow color is lighter than the orange shade that we have at the base, it's able to stand out because we're actually using a very thick water colors. Um, consistency for this one if you've noticed when I, um after I've wet my brush and taking out some of the excess water, I immediately went to the color dot of the cadmium yellow deep, and I did not dilute the color with additional water. Okay, so we're actually using a very solid watercolor for this one. It's a very thick consistency. No, at this point, it doesn't look so defined yet. So what we're going to do is we're going to let these, um, hair like structures, um, stand out by getting some yellow joker and eventually burnt Sienna key. We're going to also just use the tip of our brush again. And we won't tell you the color with so much water. My brush is them, but it's not too filled with water. Okay, so the yellow joker, we're going to add these to the sides of thes hair like portions of this puny. We're not going to, um, draw them apart or too far from the yellow ones. Instead, we're going to use it to act like a shadow for each hair so that each of these demon would stand out okay. Yes. You can see adding the other hooker did help these here like things to stand out, but it's not still that different. So last but not least, we are going to a burnt Sienna and justice. We added yellow walker. This color would be off a very thick consistency, and we are going to add the's. Um well, we're going to to the brush strokes alongside the hair like structures that we already have in place. We're not going to put them on top of thes statement, but instead these air going to act like shadows so that the statement would be more defined again. We're going to do very light strokes. We're not going to put so much pressure on the brush. And we are going to create very fine thin lines using this brush. Okay, now we're done painting the statement. Now let's move on to the next video where I will teach you how to add the leaves and the stem to this full bloom. Puny 6. Peony in Full Bloom : Leaves: in this video, we're going to add, believes to our full bloom puny and sends It appears to be seen from the top. The leaves would be coming from beneath some of those pedals. Okay, so at this point, I'm mixing pick up green and buried in Hue so that we could come up with a really nice rich shade of green. And I won't be adding too much water to this. Just enough water because I don't want our leaves to look transparent. I want them to look solid, but I also want to be able to do the press strokes with smoothness. And I don't want the watercolor to be to drive. Okay, now I think the mixture is just right, and so we can now start adding the leaves. Um, okay, so But start with this portion and I'm going to do an outline of the pedals here and an outward brush truck. The leaves would be narrow and long with a pointed tip. Now I'm really loving this shade of blue green, which is perfect as a contrast to the very soft pedals of this puny No, we're going to add another leave right here beside this first lead that we did. And again, we're going to outline the pedal and just adding the rest of the color to create a solidly no. We're going to do random positioning of the leaves. They don't have to be all in one place, and they also do not have to be equally distanced from each other. Um, if you observe in nature most of the shapes a random, the positions, the patterns are there. But they're not perfect. They're not perfectly formed. So as much as possible, we want this to mimic the natural things that we see. So we're going to do the leaves, um, positioned randomly. Now, while I'm happy with the shade of this color, you can see that leaves me appeared flat. So after her done plotting the leaves, we're going Teoh some shape to the inner portion of the leaves to give this some depth. Now you'll notice that whenever I paint the leaves, I would normally start by outlining the pedal where it's connected to, and after that I draw a line at the middle, which I use as a guide, so I know exactly how long my leaf would be and Also, I would know when I would need to taper off. I believe so that the tip would be pointed. Now. I want to add some depth to these things, so we're going to get some of the pickup green color, add some water to it, so it's not too thick. The consistency is just right. No, I'm going to use this water color to initially outlined that part of the leave that's nearest the pedal. Then I'm going to dip my brush into the water bottle and take off some of the excess water , and I will use this. Just soften the color as I go towards the outer tip of each leaf. So in effect we would have a very mild radiant that would show the dark color of the peacock green and us. You go towards the end of the lead, it's going to be lighter, and it's going to reveal the layer underneath it. Right there you have it. We're done with our first puny. I hope that you enjoyed watching my process and learning from the techniques that I've shared, and now I invite you to create your own. You can get this tutorial and paint along with me and share your project with the entire pass. Now let's move on to the next puny. I'll see you in the next video. 7. Peony #2 : Petals: in this video, we're going to use a cat's tongue brush to paint a puny that has just bloomed. Now I'm going to add some water to this palette because the paint has tried the bids. Um, we don't want the water color to be too thick, so I'm adding just the right amount of water to get the consistency that we want. And now I'm just placing my palm on my paper and sort of plotting a letter C shape on it. Keeping my brush plant. I am doing some upward strokes, curved upward and downward strokes to sort of form a letter. C shape on my paper did not quickly did my brush and take off the excess water so that the color would be much lighter than the opposite side. And I'm going to use the stamp brush also to soften some of the edges because we want our puny to look light and soft. Now we're done with the first layer of our puny on. We will now proceed with adding a darker shape to some of the pedals to create they mentioned to our flower, and I'm just going to get some water color from this dried a portion of my wash using this damp brush. Now, at this point, as I go and add the darker shades of a flower, I'm going to just lightly flicker my brush, making sure that there's enough space in between the strokes so that each petal is defined . Okay, be careful not to make the strokes very near each other. Otherwise, the pedals will not be, um would not look separate from each other. No, I did my brush in the water bottle, and I'm going to soften some parts of these pedals. Okay. Okay. Now I'm going to check this portion of our planning to see if it's tried. And with them Russian going to take this darker color game. No, the water colors I'm putting down is quite big. And just adding some finn nines over to this portion. Okay? No, I will be softening these lines as I go over them using the stamp brush. So again, what? I did waas I just dip my brush in water and took out the excess water. So now, as I brush over these lines, they become softer. Okay, So, um, I'm going to stop, uh, softening these just for a while and concentrate on the middle parts. Um, just because they don't want these corners to be pointed and to have a very hard budges that I'm going back and just flickering my brush softly King to create some sort of very faint pedals in this section. Now I'm going to let that part dry, and I'm going to move on to painting the outer layers or outer petals of this puny on. For this. I'm going to use the yellow orange shade from our ceramic pallets. So I just did my brush on Get some of this color from the pallets, and I'm going to aid whiter pedals this time. Now, you don't have to worry about having the perfect shape, because now I'm dipping my brush in the water. And again, I'm softening thes edges with a damp brush. OK, so the key to having very soft pedals it's always softening your edges with a damp brush. No, I'm taking some of that or in shallow and adding it to the opposite side of a flower, and as you can see, I'm using it to fill in some of the gaps in between those brush strokes. Now, I accidentally the, um, splattered a teeny tiny dot of water on my paper. So let me just get a tissue paper. Andi, um, take this off, Okay? Just lightly dab it. Okay, Now that's done. Let me go back on and add some color to the rest of our puny. So I'm taking this, um, darker shade on just adding this to pedals here and there. Thing just to add definition to the puddles and, um, sort of creates an illusion. Um, thes pedals are separate from each other. As you can see, I'm just making very, very light tabs for strokes. And most of these are curved strokes. No. If you're wondering why I chose the cat's tongue brush for this particular flower, Um, basically, it's because this type of brush is able to create very sharp pointed tips and at the same time, wide, um, white bodies for the pedals because of its very unique shape. Okay, now I'm just adding a few more very faint, um, meadows on. I think we're done. We're now ready to move on to the next video where I'll be showing you how to paint the stem and the leaves for this puny. I'll see you there 8. Peony #2 : Stem and Leaves: in this video. We're going to add a stem and the leaves for this puny, and we're going to start at this point, which is the middle portion of the flower, and we're going to use the same mixture that we've already prepared for the first puny that we painted earlier. The stem will be slightly curved, and I'm going to start from the bottom going up. As you can see, I'm just creating a very thin line using a light stroke, holding the brush close to the tip. Next, I'm going to load my brush with more water color, and I'm going to use the side of my brush to create a thin leave just beside that's them. Okay, then I'm going to do the same on the opposite side, and it's going to be the same curved leave. That's thin King. Maybe a few more on this side, so it looks more natural and balanced again. I'm just using the side of the cat's tongue brush to ensure that the leaves are narrow. Now I'm going to get some, uh, some of this color off from the pedal, and then I'm going to add the darker shade, which is peacock green, similar to what we did in the first, puny from the part of the leaf that's closest to the pedal. We're going to add the pigments and then slowly, um, create a radiant using a brush. So here, halfway through the leaves, I am softening the darker shade with a damp brush so that the color underneath it would show and create ingredients, and we'll do the same for the rest of the leaves. - Now that's also defined this them by adding the start or shaped to this thumb again, starting from the part that's closest to the pedals going down. No, that's move on to the next part of this tutorial. I'll see you in the next video. 9. Peony #2 : Petal Glazing: in this video, I'm going to add a few more details to the pedals, and I'm going to add break rose to the dark Orrin G shade that we already have on our palates. Um, using the tip of my brush, not exerting much pressure on the brush to keep these plans are very thin. I'm going, Teoh. Some, uh, light and thin curb strokes towards the bottom part of this flower. Now I'm going to take out this watercolor for my brush, rinsing my brush and taking off the excess water. Now I'm going to soften these edges by scrubbing using the tip of the brush. So, as you can see, the effect is I am sort of defining these pedals at the bottom part of the flower and creating soft shadows underneath them. Now that's add some definition to the sides and to the top of swell. So we'll do the same for these parts and lines of this very strong shade of pink. Then, with a damp brush that I've rinsed, I am going to create shadows by softening the edges of these lines. Now, let's make this flower look more vibrant by adding a darker color below the lines that we've just created. So, using bright roads, a hint of bright grows. I'm going to add this to the orange shade that we already have on the palate. And I'm going to add these shades on to certain parts where I'd like the flower to have, um, more shadows, creating an illusion that these pedals are not just looking flat, but they're actually curved on flowing. I'd also like to add more shades of pink throughout the flower because, unlike the first punitive painted, which is fully bloomed, this one has just started to bloom, so its color should be more vibrant. And at the same time, there should be more shades of things throughout this flower. Always make it a point to soften. Um, your lines and edges with a damp brush came all you need to do. Simply dip your brush in the water, rinse it and take off the excess water, and then go over the portion that you want to. Um, soften. Okay, there you have it. Now this flower looks more vibrant, and now we're ready to add the details at the center of this flower. In the next video, we'll see you there 10. Peony #2 : Stamen: Hi again. Now we come to the part where we add this demon for the hair like structure at the centre of the puny. So for this particular video, we're going to use a size 10 round brush. And I'm just going to quickly what? My brush and take out the excess water. And for the first set of stamen, I'm going to use cadmium yellow deep. And this is going to be a thick water color consistency. Notice how I'm going to hold my brush and the flickering motion that I'm going to make. This will ensure that I create very thin fine lines. And I'm going to start at the base of this pedal right here. Okay, remember that this particular puny is viewed from the side and not from the top. So the statement, unlike the first puny that we painted, will not be emanating from the center. Okay. So as he can see, all of the hair like structure are coming from a particular pedal which is seen as the base . Um, if the flower is viewed from the site now, at this point, will be creating shadows using yellow again. This is also somewhat of a thick consistency. But I'm only adding this color to the tip of my round brush. And again, I'm going to use this color to sort of fact like shadows to this demon that we have in the center of the puny. We want this part to be very light to have very thin lines because in reality, this portion, um of the puny is very is very thin as well. So we want to mimic that reality as much as possible. - Next , we're going to use burnt sienna also to add shadows to the, uh the center part of our puny, so that this demon would be lifted and would be seen more clearly given that it's very thin . So adding this darker shade of hair like structure in the middle will help define this demon for this particular flower, and this flower is finally done. So I hope you like the process that I shared for this particular puny. And hopefully you could create your own and share your project with the rest of the class. 11. Peony #3 : Petals: the third and last puny that you're going to pain. It's one that is just about to bloom on. We're going to use a flat brush for this. I'm adding some water to this dark orange shaded they have on my palette. And in the middle part of my paper, I'm loosely painting an oval shape, which is the middle part of the flower that we're going to paint. No, this first there will be very night. We just want to establish a shape for this particular puny. No. As you can see, I'm almost always using the flat side of my brush, dragging it in the curve like manner. And I'm usually just following the shape of the oval in the middle and just adding more pedals around it. Now I'm mixing bright rose with this very dark born inch shaded we have on the palate. And this color will be used to form the base of our flower. Okay, so I'm going to use the side of my flack brush and gently outline this the base of this puny. All right, then, after this, we're going to add the same shame in this section of the flower where the pedals, which have not yet unfolded our position. And since we're adding this color, um, to this flower, while this portion of the paper is still damn, you'll see that the water color, um, blends with the first layer, and that's all right, because we don't want any hard edges to be formed now that softened this portion a bit by dipping our brush and rinsing it in water and taking out the excess water and just lightly lift the color by brushing over the edges of the bees of a purely Okay, so at this point, I'm letting my brush a bit and getting some water color onto that brush just at the tip. And this would enable me to create very fine and night strokes towards this part of the flower to define the pharaohs from the rear portion of the flower beyond that center part where all of the unfolded pedals are located. Okay, and now I'm softening the edges again by just using a damp brush. I'll prince my brush and taken off the excess water found brushed over these details so that they all become nice and soft. So I'm loading my brush with the orange, um, shape at this point. And I would like to create the outline that would separate of these, um, unfolded pedals from the rest of the flower. Okay, so this one is a more saturated pigment. Okay, My brush is not as wet as when I added the lines to the back part of the flower. Um, and this one, even if this part of the paper is still done. Since my brush has less water and more water color, you'll see that the color here, it's more solid. And even if some of the colors have bled into, um, with previously er okay, it's still very much defined. Now I'm adding some more color onto this, and this one is more orangey. Then the outline that we have laid out later on, you'll notice that I am going to plot different shades within this section so that we can see an illusion of the different pedals inside this flower. Now, I'm going to leave that section for now, as I try to add pedals on the outer part of the puny. So with this dark orange color, I'm going to, um, start painting one of the pedals And as you can see, I've softened this pedal by painting over it, using a damp brush again. Just rinse the brush in water on, take out the excess water and then, um, brush over with the section that you want to soften. Okay, so he can see that I'm also trying to create a softer tip for the pedal by brushing over and not just throughout the whole pedal so you can see that the lower part of the federal is actually darker than the ones, um, toys a tip at the opposite end. I'm also adding another pedal using the same so the same technique and again soften the outer portion of the pedal using a temp brush. No, I'm going to note my brush again with water color. I don't need to load it with more water since it's still down, and now I'm going to add color to the rear part of the flower. You'll notice that I constantly rinse my brush, take off the excess water and brush over the edges to keep these edges soft because, in essence, that's what pew knees look like. They look very vibrant that they have very soft pedals so we want to maintain that's office in this artwork by softening the edges. Next, we're going to add the pedals at the base of the flower and notice that I'm just lighting my brush sideways to keep these pedals narrow. Um, given that this flower is seen somewhat from the top, um, leaning towards the back so the pedals at the bottom of the flower would not be seen in their entirety. Now let's go back to the center of the flower and add a few more details to this again. This is a part where all of the pedals that have not yet bloomed are unfolded our position . And, um, instead of sketching them with brush one by one, we just want to create an illusion that the pedals air there. And one way to do that is by using different colors for different shades within this section, which is why you will see that I'm actually alternating, um, the layers within the section, um, using these two very bright shades of orange and the other one that's more pink in color. - Okay , at this point will be leaving this section to dry a bit, and I'll be moving on to the outer portion of the flower, and I'll be adding somewhere pedals to this. Okay, so here I'll be adding a few more pedals on. You'll see that this time I am going to, um, create an outline of the pedal instead of painting the whole pedal. Um, that's because if I did paint the whole pedal, then it might, um, cancel out the pedal. Decided. Okay, So once I've outlined the shape of the pedal, I'm now using a damp brush to soften the edges and create a shadow. Okay, There you go. You know, I'm going to do the same thing at the right side of this power. Um, since I've painted over this portion with a damp brush, um, I'm now going to, uh, use a thicker consistency to outline this pedal just to be sure that I'm able to create a distinct, um, outline of the pedal and that the watercolor won't just spread on this portion of the paper . You see, when the paper is still them on your water color consistency is very thick. That would prevent the water color from bleeding on to that whole section of the paper again. I'm softening the edges using a brush, which I've rinsed a bit and taken off the excess water. Now, at this point, I'm going to add a darker shade, um, all over the flower and different areas of the flower just to create, um, depths and an indication of, uh, layers of petals fall over it. That's another pedal over here, que again with a tap brush, just soften the edges. - Then that's define the pedals at the back of the flower by just lighting the tip of the flat brush over this section. - And it's further defining some of the pedals, but adding shades their shadows behind them again. We want these to be soft, so with a damp brush, we're going to have to soften the edges. Now let's go back to the middle part of our puny. And with this dark pink shade, we're going to form, um, this shape of the pedals on again, soften these pedals or the judges of thes um pedals. At this point, I want to lift some parts of this middle section, um, so that the overall softness is achieved, and I'm going to do that by, um, using a dry brush to. So as you can see, when I scrub the brush against the paper, I'm able to lift some of the water color off. Not completely. But at least you're seeing that some of the parts of this section are actually lighter and were able to sort of achieve cloud like structures within this part of the puny making, it looks soft. 12. Peony #3 : Stem and Leaves: OK, in this video, we're going to add this time and the leaves, um, on. We're going to use the same, um, combination of very thank you and pick up green, um, for the base layer of the stem and the leaves. Okay, so we don't want a very watery consistency. We just want the water color to have enough, um, water in it. Keep. I think this is about just right. So from the center of the flower, we're going to create a slicker downwards again using the A round brush with this on. Now we're going to add a couple of leaves to the side. Okay? Just narrow. Kurt believes that air pointed at the end. Maybe we could add one more here, Drawing that center line actually helps, um, formula E. And make sure that you maintain a nice shape. Okay. And then now we're going to add pick up green at the part of the leaves that are closest to the flower. And we're going to soften this by rinsing her brush a bit in water, taking out the excess water and blending the dark shape. Just pick up green s you Stroker brush towards the tip of each leaf. Okay. So again, we're able to create dimension by using a darker shade. Okay, Now we're going. Teoh, do the same for this thing again. Adding the darker shade, Um, towards that part that is closest to the flower and then creating a nice grade. And as you move away from the flower All right, There you have it. We're done with this third puny. I hope you enjoyed the processes that I've shared. And I hope to see your projects here in this class soon. Please don't share them.