Realistic Watercolor Christmas Elements: Easy to Advance Holiday Theme in Watercolor

1. Introduction: Are you looking for realistic watercolor paint digitorials for Christmas? I got you. Welcome to realistic watercolor Christmas elements. Easy to advance holiday theme in watercolor. You can learn to paint three holiday elements such as cotton flower, pine leaf, and poinsettia. This class is for aspiring watercolor artists at any level in watercolor paint. Hi, I'm Bianca, a watercolor artist from the Philippines. I paint realistic watercolor flowers and fruits. In this class, you will learn to simplify the reference photo with step by step voice instructions and mostly real time painting. Also, we will use some metallic paints to level up our watercolor painting. You may use also metallic pens. These metallic paints are optional, and you can use the art supplies you have available with you. Remember to check the projects and resources section to get the downloadable file that includes the reference photo, the outline drawing, the list of art supplies, and the color mixes a use in every painting. This is my third class on skill share. I also have a class about painting realistic apples that have watercolor basic guides like transferring the outline drawing to your watercolor paper, brush, strokes, water, and paint ratio or watercolor consistency. I also have another class that focuses on negative painting techniques with a hydrna. You may also check those classes if you are interested. So if you are ready, paint with me these beautiful holiday elements and finish this class to get an exciting gift. 2. Your Class Projects: This class has three projects. For beginners, I suggest painting the cotton flower. For intermediate, I suggest painting the pine leaf. For intermediate to advance, I suggest painting the poinsettia. But don't limit yourself to paint just one project. I recommend challenging yourself to paint two or all holiday elements. Remember to submit your class projects because I'm excited to see your watercolor paintings. So let's prepare our art supplies. 3. Art Supplies: Welcome back to my class. Here I will show you the art supplies. You'll need to paint the holiday elements. First would be the paper. For the paper, I am using a sketchbook. If you have loose sheets or block, that will be fine. I'm just using a sketchbook, and this is Bao hong Academy Press paper. This is 300 GSM and 100% cotton. So hot press is smooth and it's not textured. You may use cold press if that's what you have. But for painting realistic floras, I prefer hot press, cut on watercolor paper. So I'm using a sketchbook. If you don't have a sketchbook, that's fine. You could use whatever you have loose sheets or block, that's okay. The size of my paper or my sketchbook is six by 9 ", but the kine drawings, you can use it on transferring to A four size or bigger paper. Next, we have two cups of clean water here. One is for cleaning our brushes, and the other one is to wet our paper. Next, we have mixing palette. So I use ceramic mixing palette. You could use whatever you have if you have tin palette, if you have plastic, that's fine. I just prefer ceramic mixing palette with multiple wells, so I won't mix colors to the other one. For the colors, here are my watercolors. These paints are in tubes like this, and I just pour this into small also in watercolors, I will be using tarpinelTuches, metallic watercolor paints. This one is from Daniel Smith. This is Iridescent antique gold. And I have here from CR, this is interference, green, blue shift. So these are the same colors I just poured into pans. Since we have watercolor, I have also hyped to privett the watercolors before painting. Next, I will show you would be the brushes that I am using. The first two would be the main brushes that I normally use on most of my paintings. This is around size seven. This is a synthetic brush, and also this one a synthetic brush. This is size four, fine tip brush. When if it's wet, it is very pointy. So if you have a pointed brush, that would be good. Also, I will be using my smallest brush that I have, this is two by zero, it's called the OptimoKalnski brush. This is the smallest brush that I have, and I will be using this to paint the pine leaf. If you have size zero or size two, that will also good. But if you have a small brush like this, it will be very great to paint the details or the pine leave. The other brush that I have this is an old Kolinsky brush. I just use this to pick up color from the pens to transfer to mixing paette. I do not use this normally to paint and this is Kolinsky brush, so it holds a lot of water, but to paint realistic subjects, I prefer synthetic brushes that do not hold too much water. Also, for transferring the outline drawing to your paper, I use this four H pencil. Use four H. If you have H or HB, that would be good. Don't just avoid B brushes because B brushes are smooth and can smudge on your paper. I use four H pencil because this is light enough on my paper, and it can easily remove before painting. I also use this needed eraser to erase some pencil lines. I also have a towel here, a microfiber towel to remove the excess water from my brush. Since I am using a sketchbook, I will be using also the clips, these clip binders to hold my paper. Or you may also use tip if you have tape. And the last one would be these outline drawings. So I have the outline drawings ready for cotton flower, pin leaf, and also for the poinsettia. You can check the projects and resources section to get these outline drawings together with the color mixes that I have the list of materials I use. If you don't know how to transfer your outline drawing to your watercolor paper neatly, I suggest to check my other class that is paint realistic apples and watercolor confidently. So check it out if you want to learn how to transfer your outline drawing properly to your watercolor paper without a mess. Now, let's go to painting. 4. Preparing the Cotton Flower Colors: Before painting, I prepared the colors that I will use in this cotton flower, and the main color that I will use for the stem and the leave would be English red ochre. This is English word ochre, and this is in T consistency. All of the colors that I have here on my palette are all in T consistency. For the shadows, I will have also Daniel Smith, French automarine. I will also use transparent Py orange, and this is from CR. And the last one I have is very diluted T consistency of CEPIa from Shinhan PWC. So just mix it. There you go. So these are the colors that I will use for this cotton. 5. Painting the Shadows First: For the first layer, I will be painting with underpainting, so I will be focusing on the shadows. So what I will do, I will paint here first on the left, Okay. And then here and then the stem. And last, I will be painting the cotton itself. Since this cotton is very, very light and also the stems and the leaves, it will be very thin consistency. So basically what I will do to enhance the color would be glazing, it means that applying thin layer of colors once the first layer has dried. So I will zoom in so you can see clearly where I paint. I will start here at the top. In this area, especially this part is very, very thin and very small area. So I won't paint this wet on wet, but I will paint this wet on dry. I will need to remove other pencil ins here and here. I will use thin consistency of English red ochre, and I will paint here. There we go. And I will add I will continue painting here. Now I'm done with this. I will continue painting this area. I will paint the shadows first, and I will paint I will be painting this area, the inner leaf with the consistency of French ultramarine. This time I will be painting wet on wet technique. Okay, there I will add more paint in this area. And I will soften this. I don't want to leave it dry and I will wet this area. So when you soften the strop, I drag the color and use the water that I have in my brush to wet the other areas. Okay? So here, I am going to add more blue this is the darkest area of the leaf. So I will add more blue here. This would be our underpainting and here as well. And here, soften this. I will also soften this area. Okay, it. And I will also paint here. It looks like I missed a line here, so I'll add a line here, curve line there. And I will continue painting. I will wet this area. Okay, there you go. And here's just a small area. I'm painting this part, what on so instead of what on what. There's a small area and will soften that. Now I will leave this, and then I will go here to paint this part, this I will wet this area. I will be doing wet on wet this part. This, I will soften this part. Okay, there we go. And I will add more paint here. Okay, there it is. And this area, there's like a hiding there. So I will just wet this area a little and add a little bit of blue. O. There you go. And then soften this, and then I will be moving to the stem. Now on the stem, I will still paint this wet and wet. I will be starting painting this part that is at the very bottom of the flour or cotton flour. I will still use French ultramarine. I will just paint this area, this part on the left. And a little bit here on the right, but I will just wet this again. There you go. This is the darkest part of the stem because this is the one that is right below the cotton flower. Okay, now, on the left side, I will paint this wet on wet with French ultramarine. There you go. And I will soften this part. There are parts on the left that is dark, so I will paint just a little bit There you go. I will soften this. I will rinse my brush because I will use orange on some parts of the stem. Next, I will paint this area, the middle of the stem with transparent or orange. This time, I will be painting wet on wet. Make sure if you do this, that the blue is really dry before you paint it with orange. So just but on wet a little bit, right? The color will help to enhance our brown. Okay, there we go. This time, I will be painting this area, like the sides of the leaves with very diluted English red ochre. So make sure that you have a very diluted English red ochre because this is very light, as you can see on the reference photo. I will start wetting this area, painting this wet on wet. Okay. And I will get English red ochre. Should occur here on this area. Very, very diluted, very, very watery paint. Okay, and here as well. And here. I will just pick up the paint here. And this time, I will paint this area, this small part with more of English red ochre, adding more color, but there here. Okay, I will leave it here. I will paint this area again with wet on wet. And I will start painting this in a curve manner. Okay. So to avoid our painting to look flat, I am painting in a curve manner. There you go. If you think you need to raise more pencils, you can do so. My brush is very watery, so I just use whatever I have in my brush and I will just soften the sides. There you go. Here, I will paint this wet on wet. Okay. Seems like there is a line here. I will just remove it first or release this line. There you go. I will painting this wet on wet. Sure. There you go. This is more brown. I will need to rinse my brush, remove the excess water, and then I will move the paint to lighten the color because it's too brown. It should not be too brown but very watery, very light. And there you go. And here. And here I will soften this area. The I go. And I will add more around here there. I will leave it dry, and then I will come back with second layer of this cotton flour. 6. Intensifying the Shadows: No now I'm done with the first layer. Now I will be painting the second layer of this. So I will use English red ochre to paint the inside of the leaves, okay? I will use the same mix that I have on my palette. I will be painting this wet on wet. So I will start wetting this area first. I will start here. This is quite big area. So I will be painting this wet on wet. There you go. I still use the consistency of English, red ochre, whatever I have in my palette that I prepared earlier. I just glaze it. Okay. It's okay to start light and continue painting light. Since this is just a second layer, we are starting to build up the color. Okay, there miss soften that. And there o. Okay, that's it. I will leave it to dry, and then I will continue painting on this area. I will be painting this wet on wet. Okay, there it is. Okay, there I drag the paint, and I will continue painting this area this is like the folded part of the leaf and drag the color and soften. That's it. Now, here below, I will just paint this wet on dry because this is very tiny area. There it is. Now, this part, I will be painting this wet on wet I'll add more paint here on this area so that I can enhance the color and at the same time, it will help the other area to show up more So basically, we are doing negative painting on this part. And I will continue painting. I will be painting the edge, wet on joy, whatever paint left on my brush. Okay, there it is. Now we'll continue painting the stem. I will just move it. There you go. And then I will paint the stem wet on wet with English road ochre. We'll be starting here. Okay. There I go. Then I will wet this area this tower part. The getting more paint and add it here. Okay, there it is last on the second layer, I will be painting this area. I will still use English red ochre, but this time we'll be painting this wet on dry instead of wet on wet. And this part here. Okay, there you go. This is the second layer, and I will let this dry, and then I will come back for the third layer and continue with the cotton 7. Painting the Cotton: So this is the color flower that we have right now. This time, I will be painting on the cotton itself. So since it is white, I will paint only just the shadows. Okay, just looking on the reference photo, we will be focusing on the shadows because we are going to paint white on white paper. This time, I will be painting on the cotton itself, since it is white and the paper is white, as well. We will be painting the shadows. And aside from that, as for the reference photo, we will focusing on the shadows, we will keep the white as white. But we will also show where the shadows are so that it will look like a cotton and not like a transparent on paper because we are painting white on white paper. So if you have pencil lines there, you can remove as much as you can, as long it is not very visible and you could cover them with paint. So I have here a very diluted sepia. Once sepia is diluted, it won't be as dark as it is. It will be actually yellowish, brownish, grayish color. So that's what Sepia is. So I will be painting the cotton. Flour. This time before painting the cotton flower, I will be painting this wet on dry. So I will be starting to paint here on the left, and I will enhance the color here as well. So we'll be focusing on the shadows. There we go. I'm going to get pergolutd wash here and test the color here. Okay, there you go. So here, I will remove some of the pencil lines there. And I will use also the tip of this brush. I will just follow the shape, and I will just paint like the strands of the so I cannot follow the reference photo, but that would be my still reference. I cannot just copy as it is unless if you are going to paint hyper realistic, you can do that. But this is more of simplified version of the reference photo. I am painting just the strands of the hmm. There we go. So we'll be adding shadows here. If you think it is dark, you can raise your brush, and then you can brush again on your paper as long as it is very, very light, it should not be dark. You can think this also wet on wet, but not too much because this is more of the details. And I'll add a little bit more here. So basically, once we are painting the shadows here, we are actually doing a negative painting, just like the other class that I have that I painted Hydranga with a negative painting technique. You could also watch that. Okay, there you go. And here, since they are cut on here, I will paint like some strands. You can make like curve lines or curve strokes to show the shadow and the strands of your cotton. It will also give your cotton shape, unlike if you paint with straight lines. So if you do not have a pointy brush like this, I suggest use a very small brush. I think rigor brush will also do the trick. All right. And just following the sheet there. Okay, there you go. I hope this time, it looks like a cotton to you. Not just a ball of paint or whatever. Okay, so here, there is, like, separation here. So I would bet that and a thin line there. And shadows here are the division of the cotton. I will also soften this with my damp brush. And here we have the shape here of the cotton. I will just paint this with some strokes using the tip of my brush. There you go. I will get more diluted sepia here. I will add some strokes here or shadows on this side. You may also follow the shape of your drawing. I will just soften this area and this at the top. There you go. I'm just following the shape or the drawing the line joining. There you go. You can add some strands there. So your Ciba should be very diluted. There you go. Also here, And we have also some part of shadows on in this area as well of the cotton. Okay. And so often that, there you go. So we have the shape of the cotton now. Okay, since we have the shape of the cotton as of the moment, I can just I can add more as much as you want to as many details as you want. But you can also continue that later on once we are painting the details. For now, I will just let this dry, and then I will come back to the leaves and the stemp and finish it. 8. Enhancing the Leaves: This time, I will be painting more on the leaves and the stem. I will be starting here. I will just paint this time wet on dry. Okay, this is a very small area. I will be painting this wet on dry using the tip of my brush. And if you are doing negative painting or painting around your subject, it will help your subject to stand out more, especially if you have, like, white subject like this cotton. There you go. And then I will paint here a Adding the shadows there and here I rinse my brush a little, remove the excess water. And I will add more paint here. This part of the leaf is very light. So as much as possible, I will avoid adding too much pigment. There you go. And here I will soften my brush strokes. There you go. And this part, I could have done that earlier, but it's okay. There you go. And here, this time, I will just paint the details of the leaves, the lines with what on drag technique is at the tip of my brush. There I go. Now I will paint inner least here. This time, I will add more pigment. Okay. And I will be painting this wet on dry. There we go. I will add more pigment in this part so we can create D here. I will add also Sepia later. I There you go. I add more paint on this side. Okay, there. And here as well. Y There you go. And and here I will just soften my brush stroke and move the paint around. Okay. That's my brush. That's my dump brush, and this is my small brush, and I will just move the paint around. Okay, there you go. And here as well. I didn't mix any more pigment. I just use the paint that I mixed earlier. Okay, there. Now, this time, I will be painting the top. Again, I will be painting this wet on dry. This is a thin long area, so I will paint this wet on dry. There you go. I there and also the veins here. Here I'll add veins here. There you go. And I will paint the lower part of this leaf here. Y there and I'll add a little bit more lighter shade on this side. Okay, there. Now, I will be painting the stem. I will just use the color. This is English red ochre. You may also add a bit of sepia if you'd like to. But I will do that later for more darker richer brown color. I will be painting starting here. Again, this is what on dry. I move this as water. Because it looks like my brush is bit watery, so I remove the excess water to my towel on my right. I always have a towel here on my right because I am right handed. If you are left handed, you can have towel here. Okay, I added more brown on left, and I will add more on the right as well. Okay, there you go. You may add more color on the sides, but not too much on the center. You can add more color on the part that is at the very bottom of the cotton flower because there would be shadow here because it is at the bottom of the flower that it can cover the light is covering by the flower. Okay, there we go. So this is this stage and I will let this painting to dry. Then I will move on with more thicker and darker consistency. 9. Adding Darker Colors to the Leaves: In this stage, I will be adding more color on the leaf, and I am starting to build up the color. So for the leaf. Since I have sepia here, I still have some of English red ochre on my palette, but I will add a bit of sepia to make it more darker and richer, and I will use that to paint the shadow. I will add a bit of English red ochre. This time I'm mixing milk consistency of my color. I would like this to be dark because I will be painting the shadow of the leaves. Okay, I will just try this here, and this is how dark it is. You can do a little bit more darker if you'd like to. A little bit more of sepia. Okay. And let me try. There you go. That's a good one, and milk consistency. Even if I have a milk consistency of my brown mix, I will still paint wet on dry. Okay. And I will also paint some of the details. This one, for me, it is already good enough, so that's fine. But I will be painting this leaf. Okay. So I remove excess water on my brush, and I will get some paint here. I will be starting to paint this part. This part of the leaf, is it has more shadows because it is inside of a leaf itself. There it go. And here I will just soften this to make it lighter. And I will continue painting here. Get more. Y Okay, there you go. And I will add more here as well. Color here. There you go. And I will add more color here. I will add more depth here. I did not went up to the edge because I would like to show a light color light color of the leaf that is folded. So I did not continue up to the end or the edge. There you go. And then I will soften this. There we go. There and a little bit more here. Now, this time, I will be adding more color here. There you go. And also this part of the leaf. Okay, since this is the one that has also folded leaf here, so that should be darker because it has shadows as well. There you go. Okay, there and some color on this part. Okay? That's it. Now, we'll be painting this stem, but I won't add too much of the color. Just some parts of the leaves. I mean, the stem. And here, I will soften this part there and that one, too. Mostly I will paint the edges of the stem, some part here. There I go. 10. Painting the Cotton Flower Details with Metallic Paints: Lo Love Okay, so down with the shadows, I would like to add more details. But this time, since we have this since we have this mix that is dark and ch, I will just get some of this, and then I will water it down. Okay. So water it down and I will add some details. So this time, it would be the details, and I will be painting what on dry. Okay. So I got a little bit. I will just use the tip of my brush and I will add more paint here. And here as well. I'll be painting with just thin lines. There you go. And this part And here, this time, just paint, going from left to right, just Okay, there I softened it. I will just paint like the edge there and remove the excess water and soften. Okay, there you go. This time, I will be painting here with just thin lines using the tip of my brush to add details of the leaf. Since this is a folded leaf there, I Okay, there I go. Now, I will paint the details on this leaf. So I will just add some lines, and it will soften this. My brush has too much water. So I will remove excess water. I wipe it on my towel here beside me. Okay, there you go. Add more details. Aside from that, now I will add some glitters or shimmers. And for this, I will be using Daniel Smith Antique gold. Okay. I will just mix a little bit on my palette. This is anti gold. You could use any metallic gold that you have or silver. But I use that gold, and I like it so much. Okay. So I'll be using just a tip of my brush, and I will just add thin lines here using the gold. You may use small brush if you'd like to. And here as well. So it has go there, I will just soften the edge and the brush stroke, and there you go. And I would like to add more of Okay, there you go. I softened my brush stroke there. There. Aside from this part of leaf, I will also add gold here as well. And also, I would like to add a little bit of gold here. You may also add a little bit on the cotton. I will just add some thin lines on the cotton itself. There you go. And also this part of leaf in the cotton. There you go. So it would be like shimmering on in this part. I use only just the consistency of my gold, and I will add more of gold here. There it go. A little bit in this part, I think, I guess. Okay, there you go. There. I'd like to add more of gold here just to enhance and add more details. I'm just using the tip of my brush, and I just use the consistency of the antique gold. It is not very gold, but it has shimmers. So I can add here. What I like about antique gold is not very gold. It just has shimmers. It's not yellowish gold. Here is the finished watercolor realistic garden flower. 11. Simplifying the Pine Leaf: Oh pine leaf has a lot of tiny leaves sticking out, and the reference photo is complicated. To simplify the reference photo and to translate the pine leaf into a painting, I remove the other leaves and added some in the areas that will be planked. So in the file attached in the projects and resources section, you will see the reference photo, the outline drawing, and a combination of the reference photo and the outline drawing, so you won't get lost. You can study the reference photo and the outline drawing before diving into painting. Take your time in painting, don't rush. You can do. 12. The Colors of the Pine Leaf: Welcome back to my class. In this lesson, I will be talking about the colors that I will be using for the pine leaf. So this is a pine leaf on my phone. There you go, and I zoom in. I will be preparing the colors. If you can see that there are some very light green, and there are some yellow or brown, we will be using just a few colors. So first, I will be using would be green gold. I am preparing only tea consistency of green gold. So this would be my underlying colors for the light areas. Next, I will be preparing sap green. This would be the main green. But then I won't use sap green. I will mix it with a little bit of paints gray, add a little bit more. So this is paints gray. I have from white knight there. I can water it down to use it for light areas of the leaf. Next, I will be using Daniel Smith, English red ochre. There you go. And for some areas, I will be adding also, we'll mix this with sepia for the dark brown color. Okay, so there. So I have just a few colors here. Okay, recap. I will be using green gold. This is green gold. Next, I will be using would be sap green with paints gray. Next, I have here Daniel Smith, English red ochre, and the last one that I have is Daniel Smith, English red ochre with sepia. I would like to add also French ultramarine. This is Daniel Smith, French ultramarine, and I will be using this for dark areas of the leaves, and I will add it here. Okay. Again, just a recap, we have here green gold. I have here from CR, sap green, from Windsor Newton with paints gray from white Knights. I have here Daniel Smith, English red ochre, Daniel Smith, English, red ochre with Sepia from Shinhan PWC, and last one I have here French automarine from Daniel Smith. So these are the colors I will be using to paint the pine leaf. 13. Starting to Paint the Top Pine Leaf: No, as you can see, the pencil lines are somehow a little dark, but I will erase the pencil lines as I paint. I won't erase the pencil lines all of it before I paint. I will erase as I paint because whenever I take a break and whenever I stop painting, just to just to let the watercolors dry, I won't be able to see the pencil lines whenever I put paints ready. So I will just erase the pencil lines as I go. But I will start painting from the top. So I will be removing the pencil lines here, but I will go as I paint there. It is very helpful to have kneaded eraser with you because kneaded eraser doesn't hurt the paper, it doesn't destroy the paper whenever you paint. I will zoom in a little bit more if I have to so I can hang. I will zoom in as much as I need to so that you can see the details as I paint. Also, since this is pine leaf and and the pine leaves are very small. I will be using a smaller brush this time. I am using it's called the optimal size two by zero. This is a very small brush, smaller than size zero or size two. So this is what I have. This is Kolinsky brush. I don't have another smaller brush than this. But this is fine, even if this is Kolinsky brush, not a synthetic brush, but it's okay. As long as you can use size zero or smaller, that would be good for painting pine leaf. Pine leaf has small tiny leaves in it. What I will do is I will paint this wet on dry instead of wet on wet because I don't want to move the watercolor around or move the watercolor outside of the lin. So I want to be careful on painting the leaf. So I will be painting this leaf. And here I will be painting this with green gold and French ultramarine. I will move paint here. So again, this would be green gold. But then I will be still using the bigger brush to soften. Just a little bit. I will pick up French Atumarin without rinsing my brush. So the colors will mix on my paper, and that is fine. I will be just careful on painting outside of the line there. I won't paint this part yet because this area is dry. So I will skip it, and I will paint this part of the leaf. I will pick up green gold and paint here. So whenever I see the part on the leaf that is lighter, I painted with green gold. And then on the dark area, I painted with French ultramarine. I pick up French ultramarine without rinsing my brush. That's fine. As you can see, the colors mix on my paper and also on my brush, and that's okay. Alright, I will be moving on the next leaf, which is here. This part of the leaf is dark in the middle, but I will just use French ultimarin and I will paint here. So wherever you can see dark green, you paint it with green and light green, you will paint it with green gold. I'm painting this wet on dry because we don't want to spread the watercolor outside of the line. And here below, I will be painting this with more of the green. I mean, blue here because this is the part that has more shadows because the leaf here is overlapping and creates shadows. So be painting this with more of blue. Okay, the next leaf that I will be painting is this area. So I'll be picking up blue here. If that happens, it means your brush is dry, so I dip my brush into the water and pick up some blue. There you go. I won't rinse my brush, but I will get green gold, and I will paint here. If that happens, it means that my brush is too dry. I can remove excess water using the towel beside me. There you go. I can go back here and paint the lower leaf here. I will be getting green gold and paint on the left side. And then I will pick up Bang ultramarine and I will paint on the right side. My brush is dry, again, so I dip my brush. My brush is dry, so I will dip my brush through the water just one time or two. And then I will remove the excess water, but I will pick up color. I will get ranch tamarin here, and I will paint here. I will add more blue on the lower side because this part that has shadows. There you go. And here I will paint this with blue here. So as I paint, I look at the reference photo where I could see the shadows, I paint it with French tamarin. Here, this leaf, I will paint this with green gold. I will add more green gold on the right, but I will pick up some blue, and I will paint blue here, blue, and also here. If it's mixed together, it creates green, and that's okay. Next, I will paint this area with French autumarin. I dip my brush my water and remove the excess water and pick up some blue. This leaf is very small. I went out of the line, but it's okay. I just grab the color and slowly painted only painted the leaf going down. Okay, next I will paint this leaf. This leaf is a little bit dark, so I will be painting this with French ultimarin there. This is the reason I would like to use a small brush. This is a continuation. There's a continuation leaf here that I will paint with more of blue because it has overlapping leaves here. Next, I will paint this leaf with also blue, and I will add more blue here. And I will paint green gold on the left side. There you go. So this is what I'm going to do for the rest of the leaf for the first layer. I will be doing time laps so you can see how I paint. But sametruction, same technique that I will do. I will switch from green gold to green, and I will be back later if I need to explain something. I paint, I will be also using this needed eraser to remove the pencil lines as a paint. For now, I will be on time laps but paint with me together with a spine leaf. 14. Painting the Bottom of the Pine Leaf : Now I'm done on the first layer of the leaves. So what I'm going to do now is I'm going to paint the first layer of the stem. For the first layer of this, I will be painting with two colors. One would be French ultramarine on the dark areas and English red ochre on the light areas. For this part, I will be painting this wet on wet, but on the other parts I will be painting with wet on dry. Like here in this part. This would be I will be painting this what on dry. In painting this, I will zoom in a little bit so that it will it will clearly see. Okay, so I will be starting here at the bottom. I will remove the pencil lines. But I will be painting this with English red ochre T consistency, since this is the first layer. And I will soften this and here as well. And here too. As I go up, I will be painting wet on dry because the spaces here are very small. But if you can't paint wet on wet, that would be good. So when I soften my brush stroke, I also drag the water going up where I will paint. There, I will soften this, and there you go. I move up with water dragging the water and then painting this with wet on wet. I will soften this brush strop and here as well. And here I will wet this area. I will zoom in a little bit more so that you can see closely. Okay, I zoom in a little bit more so you can see closely. Here, I will be hotting this area. And here, too. There you go. And there I will still wet these parts. I'm not looking on the reference photos as of now. I'm just wetting this area. So I have already vision on my mind where the stem would be there and here. There are parts here that would be like, darker because there are more thes here. Here, I will be painting with French ultramarine and here as well. I will let this dry I will soften this part. I would like to add brown here, but I will just let this dry first. Now I'll be painting wet on dry because this is really small area. I remove excess water from my brush. If your brush gets watery, just remove the excess water or else it will create puddles on your paper, and we do not want that. And here, I will paint this with wet on dry with English red ochre and soften the brush stroke. Now I'm done on the first layer. I will let this dry, and then I will come back on the second layer starting on the leaves. 15. Second Layer of Pine Leaf: Welcome back to my class. On the second day, I will be painting the green areas, the leaves first. I will use the green mix that we have here. So whenever I paint, I can pick up more light green or I can pick more green, okay, or more pigmented. What mix here. And it depends how watery your brush would be to pick up the color. I will get in on this area. I will get more so I can get darker green. But if I have a watery brush, I will get light green. To paint this, I will still use the smaller brush that I have. This is two by oh or 00 on other brands. Zoom in a little bit so that you can clearly see where I am painting. And you can also see how I pick up colors from my palette. Okay? So my brush is wet. I will be painting this wet on dry. But still, I will use the big brush to soften the brush strokes if I need to. So for the yellow areas or the yellowish areas, those are those are the areas that I will paint very light green. It will show light green, and then the blue areas that will be darker Okay, so I'm getting some paint here. Remember, not too watery. I will start on the left. I'll start here. Still, I am using T consistency of my green mix. I will be just painting some of it, but later on, I will be on time lapse. I'm just showing you how I paint this. As you can see, when I added the green mix on the yellow, it becomes yellowish green or lighter green and darker green when I paint on the blue areas. If you notice there are some parts of the leaves that I did not paint on the sides because I would like to paint it with just green, and that's okay. There you go. I will add a little bit more here. Okay. And here if you notice my brush is not very watery and I control the water on my brush even if I use a Kolinsky brush. I'm done on the second layer of the leaves. This time, I will be painting on the second layer of the stem. I zoom in a little bit so that I can show you and you can see how I paint the stem. Okay, so I will be focusing on some areas only that I can paint on the shadows and more of the stem. For this, on the top, I can paint this what on dry because the areas are small, but here I can paint this what on wet. I will start here. I can still use I will still use the smaller brush in painting the areas here on the top, I will be using the dark brown mix, which is English, red ochre and sepia and I will paint here. So this is still tee to coffee consistency because I am just glazing it. But this is just the second layer. And then I will smoothen the edges and here as well. So this is this stem is inside the middle of it. So there would be shadows forming there. Okay, and here I will get more paint. I remove the excess water from my brush. There you go. And then I will smoothen the edges. This happens if you have too much water on your other brush or the big brush, so I will just pick up the water and I will paint it again. So I picking up color on the side that it's not really wet. See, if your paper is very wet, that will happen. Your paint will run. So I will just smoothen this area. And here. Okay. And this time, I will just paint some areas only that is, like, beside the leaf, I will remove excess water from this brush by tapping out my towel and here as well. And here. I will just add more brown on some areas. I will add here because there would be shadows on this part because there are leaves here. So I'm adding more brown here and here. Be careful, also on painting. You can put paint on the areas that are green, or you can go out of the line to just be careful. And I will just add more here. Here and here as well. And here. So you don't have to copy as it is what you can see on the reference photo, you can simplify it. If you know where to put your colors, then you're good. Well, I'm adding brown on some areas like this area because this is where the leaf attach. So I'm adding shadows here and there. Or more color. Okay, there you go. My brush is too wet, so I will just soften. I will remove the excess water from this brush. I tap it on my towel beside me. There you go. If that happens, it means that I have too much water, I will remove excess water and soften this. There you go. My brush can be too wet, even if it's small, it's okay there. I think this area should be brown. I'll add a little bit more. So here. So here I can just add brown here. But I think I can paint this wet on wet instead for smooth blend of colors. I will use this size of our brush. And I will add more color on this stem. I will still leave some spaces unpainted to keep the lightness. I do not follow the reference photo that much. I'm just using it as my reference as my guide, but yeah, I'm not painting hyperrealistic, so it's okay. You can simplify your painting. Remember that? And later on, I can still add more details on this. Okay, and I will just soften the brush strokes. Well, I remove the brush stroke here, so I will paint again. There you go. So I rinse my brush. I will let this dry and I'll come back for a third layer where I will build more colors and finish this painting. 16. Defining the Shadows: Welcome back to my class. In this lesson, I will be painting a third layer of the pine leaf. I zoom it a little bit so that you can easily see where I am painting. I will be using the same green that I have on my watercolor palette, and I will be painting the third layer. This would be wet on dry. What I am going to do is that I will paint more on the dark areas and the shadow areas of the pine leaf. So I will be using the same green that I have. I'm still using this small brush that I have. I have here the reference photo beside me. Alright. And let's start painting. So I'm using the same watercolor mix that I have in my pad. I did not mix another one or added more, but that's what I have. Okay. I will be adding more green on some of the areas. I won't paint all of the leaves, but just some of it. I'm painting this wet on dry. I'm picking up color on the most green here and not on the watery part. So I will add more green there. Next, I will paint this part. And I'm trying to paint slowly and carefully because the leaves are very thiny and thin. For the others, I won't touch them anymore. I will just paint on some areas that needs to be more green or darker green. Here you go. If your painting is still bluish, you can add more green to that because the blue what we've painted earlier to be shadows of the leaves that we are painting right now. There you go. Especially on this area that is very near the stem. And if we're getting lost, always check the reference photo. There you go. I will just I will add more green here. For the light green areas, I won't touch them anymore or maybe later, but I will just add shimmers with the interference watercolor that we have. I move the sketchbook a little bit. I just want to make sure that all of the pine leaf is seen on the video or the whole leaf is shown. A Make sure that your brush is not very waterly like this. So what I'm going to do is to get my big brush. I wet this and remove the excess water on my towel and just soften it and soften or else it will dry with harsh edge. So I will be continuing painting here and here as well. I do look at the reference photo right now, but I'm looking on my watercolor painting where I added blue there. Especially, I will add more green on the sides that are very near the stem because there would be shadows there. Like here this part. And here. There you go. And there. Then I will move on the right. If you notice I paint from left to right because I am right handed. I make sure that I won't smudge what I've painted on the left. That's why I do this. If you are left handed, you can do the opposite right side first and then left side. And this time, you should be able to see the division, the separation of the leaves between Okay. Here. I'll add more paint here. Here. Here we go. I remove the excess paint here, this is way. Add more paint here at the bottom, and here as well. Here too. I hope this time you can see more difference on your painting than earlier. There and added here. And here. Almost done. And I hope that you are also happy with your painting. Like how happy I am with this. Almost done here. I'll add more paint here and here too. There you are. I finish with the leave the next thing I will paint would be the stem. 17. Adding More Shadows: Now, the third layer of the stem, I will be starting to paint the details. I will be starting with the English red ochre here, and I will add more paint here on the bottom. I'm painting wet on dry this time. I would like to paint more on the details now. I'm starting to build up the colors for the details. The and I will add more color here and here. I'm going to painting wet on dry this time. We're done with wet on wet stage. We are now painting wet on dry. But still, I use a tea to coffee consistency. But what I did is just I glazed. It means that I painted a thin layer on top of a dry previous layer of the stem. There you go. This is the finished third layer. I'll come back later to add more details on the fourth layer. 18. Painting the Details of the Pine Leaf: Welcome back to my class. On the fourth layer, this time, I will be painting more the details on the stem, and also I will start to add shimmers on the leaves. So for that, I will wet this paint, this is the interference green blue shift. I will be using the paint directly from my hand. I won't mix it anymore on my palette. For this, I will just use the interference green blue shift and I will be painting on the leaves only. I have my small brush here and I will get paint directly from my hand. There I did not mix it anymore to my mixing palette. I will just use what I have here. So I will just get paint here and I will start painting on some areas. It's up to you where you would like to add the green, blue shift. It's up to you, but I will add paint on the dark areas or the dark leaves only. I won't add the metallic colour on all of the leaves. I will just add on some leaves. A almost done. I think it is very nice to add the metallic color on the side of the leaves that are the end. I don't know. You can experiment a char on your own. But do not overdo it. You just some of the leaves. So This time, I will be adding details on the stem. I will be painting wet on dry using the dark brown that I have here. So just paint some details like curvy lines and shadows on the stem. So this would be the final detail on this pine leaf. The shadow areas there and some details. There we go. And this is our finished pine leaf. And look how shimmering it is. 19. The Colors of the Poinsettia: I am preparing the colors that I will use for this wine seta. So I will have here French ultramarine. This is from Daniel Smith. For the red that I will be using, this is a mix of azarin crimson and pyro scarlet. So the azarine crimson that I have is from Windsor and Newton, and the pyro scarlet that I am using is from Daniel Smith. Next mix that I will do is for purple, I will just use a little amount because we have just a little purple on the reference photo. So this is a mix of cobble teal and cinacadonmfenta. Okay. I'm preparing only tea consistency of the colors. So this is what I have. For the green, I will have sap green. The sap green that I have is from Windsor and Newton. I will mix only tea consistency for now. Then I will also mix it with French ultramarine to make it a little bit bluer. And I will also mix it with a little bit of the purple mix that I have here. To make it a little bit darker. I can make this a little bit darker later on by adding some red. This is the sap green mix or green mix that I have. So again, this is mix of sap green, French ultamriin with purple mix that I mix with, cunado machenta and cobalt teal. For the yellow, I will use a tiny amount. This is naples yellow deep. And to add shimmers on a painting, I will be using antique gold. This is Iridescent antique gold from Daniel Smith. And I will add also a bit of interference green blue shift from core. Green blue shift is hard to see because it's really transparent, but when you put it on a dark color or the green or any color, you will see them. Okay, so this is it. 20. Underpainting of the Poinsettia: A recap the colors that I will be using would be French ultramarine, a mix of pyro scarlet and a azarne crimson, cobalt teal with Cacro and magenta. This is a mix of sap green, French tamarin cobal teal and magenta, naples yellow deep, iridescent, antique gold, and interference, green, blue shift. I will add a bit of red or Alyzare crimson to the green later on to make it darker. But these are the colors in t consistency. For the first layer, I will be painting with blue first of the red and the dark areas of the painting. I will be starting on this part on this leaf or petal Okay, I will start painting here at the bottom. I remove the excess water from my brush. So if you are painting, remember not to have paddles on your paper. Okay, so I will paint this in t consistency. And I am painting the shadows area. You can paint this with very light purple if you want to make it darker. But later on as we paint on the next layers, I will show you how to add more shadows to add more color so that your painting won't look flat. Okay. And also in this area, you may soften your brush strokes. Okay, there. And then I will be painting this part. 21. Finishing the Underpainting: Okay, I will continue painting on this part. And this has small leaf here, that is green. So I will be painting this what on dry. And here. Okay. Make sure your brush is not watery. So I remove the excess water from my brush and I soften it. Okay, this part is big red leaf. So I will be painting this. This would be wet on wet because this is how big I will start it here on the edge. And I painted with to consistency of blue and spread it out. Okay, and soften this. Especially this. I remove the excess water from my brush. Okay, there we go. And here as well. I will wrap this area. There you go. Okay, and make it dark here and here as well. There you go, and here and here. And here as well. There you go. Then I will soften my brush strop to make sure that they won't dry with harsh edges. Okay. These areas actually dark. So I'll be painting this wet on dry because it's small also. So getting blue here, this is the part that is inside or the very bottom of the Poinciata and you could see whatever that is below like other leaves. So there. A so I'm carefully painting this part, this area. And I love the center unpainted. I won't use masking fluid. I will just avoid painting them. And here as well. I will soften this part, and I will also paint this with blue. This is a stem there. Okay. I like painting with my phone on my left so I can see the details. There you go. And then I will just leave this dry. Okay. Now I will continue painting this Poinciata on the first layer. I will speed up the process of the video of painting the first layer. But then I will also put the reference photo on the side so you can see where I am painting. Yeah. Yeah. Yeah. Okay, so this is the first layer, I'm done with it. I'm just letting it fully dry. Then I will build up the colors. I start painting with red and green, and I'll see you on the next lesson. 22. Let's Paint the Poinsettia Red: In this lesson, I will be starting to paint the second layer, and this time, I will be painting with red and green. So this is the reference photo on my left, but I will zoom in, so you will see where I am painting. So I would still use the consistency of my red mix and my green mix at this time. Even if I use the consistency, you would still see the difference, and you would still see the colors starting to build up with the shadows. So let's start. I zoom in so you can easily see where I am painting. So we'll start at the very left part of the poinsettia. I will still paint this wet on wet. So I will wet my brush, and I will also use the consistency of my red. So by this stage, for the second layer, you will still see some blue from the bottom of the paper. But eventually, after this layer, you will see that the blue is lowly covered by paint. Okay. So I'm starting to paint with the consistency of my right. I remove the excess water. Remember to remove the excess water as you paint, and avoid puddles. So here, since there are puddles, I slowly remove it and use the towel here on my right to remove the excess water. I'm dragging the water or the bead Okay, there. I added more water and more paint. Okay, there you go. I will suffer this edge. Then I will paint this area. Okay. There I go. And I will soften this and drag the paint. Then as I do it, I also wet the other areas. There I go. There. There you go. Or I will let that try. I will continue painting on this area. A I use pyroscardt because it is orangey red. And pyroscard is a fiery red color, which is really, really nice. Okay, there I go. I will paint this one first. Okay. I'm trying to leave the paint here, but it's okay. I will paint this side, left side of this leaf. As you can see, as my first layer, they are. It's very light orange red. Yes. Okay. And here I'm dragging the watercolor bead or the water Heart. Okay, there. Okay. There you go. Next, this heart. Okay. Make sure that Okay. There you go. I will drag the paint going down and soften the edge. Get more paint. This time, I will paint this part of the leaf. This is the big leaf here. And I will be painting this what on what? Most likely, I will paint this lower part first or the left side. I will soften this part. And here is to make sure that I will have good color transition or color blend as I paint wet on wet. Okay. I will move the paint here and so often that edge. Still. Okay, there. So Okay. There, and then I will paint this part of the leaf. 23. Adding More Red to the Poinsettia: Wetting this area. It's okay if I went out of the line. I suffered the brush, stroke, and away, but it's fine because I will be painting it with red as well, so it's okay. This is just the second layer. So remember to paint likely as we build up the colors. There, I will be painting this area. I will be painting just the red area first. And then later on, I will be painting the greens. So for now, I am focusing on the red leaves of the point sectia So see when I paint, I press my brush hard on my paper to release more paint, and it's okay because my brush has a big belly and it can release more paint. I'm painting just the second layer this time. I'm not painting the details yet. I'm also painting big areas, so it's okay. Just remember whenever you paint for the second error, it's just tea to coffee consistency. No dark colors yet or saturated colors yet. Consistency is still very light as we are going to blaze the colors we're painting layers by layers. Okay, there. And I will be continuing this part. But I will avoid painting this small area here that is supposed to be green. There you go. Y. Okay, it's getting dry, so we'll just rewet this area. Okay, there which is soften brush stroke. And here I will need to add a little bit more of red here, small part. This area would be green. So I left it untouched, and that's good. Now we'll go back here at the top. I will start painting this small area here. Okay, for this one, I will paint it wet on dry instead because it is very small. It is a very small area. If you think you need to paint with a smaller brush, that's fine. The brush that I am using has a very pointed tip. So there. Now I'm going to paint this big leaf. Here are the top as you can see, I left this part unpainted. I will keep this very as well because on the reference photo, there is a highlight on this part of the f. So there As for the first two layers, I'm not painting with shape and form yet. It's just the base, the underpainting, the colors as I build Just the colors as I paint. There you go. We'll drag the color. Well soften that soften here, and lift up the color there. There you go. Okay. Sure. All right. As much as possible, I will paint this area very, very light because I don't want it to be I don't want it to be dark because it is the part of the leaf that is a highlights. So there I just paint it up to there, but I will just soften my brush stroke. There you go for a smooth blend of color. There it is. Okay. I will just soften that. There you go. Okay. Now, this time, I will be painting this part of the leaf. This is quite this is quite big. Okay. I'm removing excess water. I can see this leaf has highlights here at the bottom. So that's why that's also the reason that I did not paint this area blue. So I will just keep my red very light on this area. But I will still paint this with red, but I won't build up the colors later on on that area. There you go. And there. Okay, now, this part, I will just wet a little there you go. And then I will add it here. Make sure that when you paint in a small area, your brush should not be soaking wet. There you go. Okay. Now I'll be painting this big leaf here because this part is green with this one. Okay. And of course, since it is a second layer, I will be painting what on what? So we'll paint this area very lightly. There we go. We'll soften this. Seems like it is dry in that area. There you go. I I'm trying to avoid to go out of the line because this part is green, a little bit. I think that will be okay because it is complimentary colors. So it can be darker if I will put red, and then I will paint it with green on top. But for now, I won't touch that, and I will keep painting on the areas that has red. Okay. I will soften this. This part has already dry, so I need to soften the brush and move the water there. There you go. While waiting this to dry, I will skip it, and I will paint this area. 24. Painting Red to the Right Side: So here I will be painting this wet on wet. The leaf is not fully painted with blue. There are some areas that are light. So I would like to keep that light as well. There For now, the painting looks flat. But it's okay. This is just the second layer. But later as I build the colors on the third layer and so on, I will also paint with shadows and form there. And here, Okay. There you go. I soften the brush soap there, and then I re wet this area because it is drying. Make sure that I can have nice blend of colors. Okay, there you go. This part is red, and I will be painting this part also. If this area is dry, this part is not. Now, I will be painting this part. On the reference photo, has been cut here, but I just added pointy line here. I just added some lines there so that I can make it as a hoof leaf instead of cut like on the reference photo. This area is light red, has been touched by the light. So I need to paint this very lightly. There you go. Next, I will be painting the small leaves in the middle. There you go. I remove excess water from my brush. I wipe the excess water using the towel beside me. Now, this area is the red with purple. So I will be painting this red, and I will also drop some purple here. I'm starting to paint this what on what was red. And then I will smoothen my brush through, especially on the sides. I'll add a little bit more red on the areas with shadows. And then I will smoothen my brush strokes again to make sure that those won't end up with harsh edges. So I'm painting with the purple mix right now. I will drop some purple on this leaf especially on this side. So I wet this side, so you can drop the purple. I'm adding purple on this leaf. I add it on the sides first, then smoothen my brush strokes. And then I will add purple. I make sure also that I smoothen it, and then I do the area where I will paint to make sure that my colors will blend smoothly. So I can just add purple on this leaf. I don't have to copy exactly as it is on the photo. This time on the second day I will be painting green on some areas. For some small areas, I will be painting wet on dry like this one. So I have my green mix here. Again, this is mix of soft green, the purple mix, which is cobaltil and magenta. It also has French ultamriin and I will be painting this wet on dry on this area. Remove the excess water. There you go. There. Now, I will paint this area wet on dry. This part, I will be painting this wet on wet. So what my brush, remove the excess water because I don't want to create puddles on this part. Small area. There you go. And I will soften. Now I'll be painting this area, this big leaf here, but I will be painting this wet on wet. So I start to wet this area that is from the center going out. Okay, got my green mix here. It is darker on this area because this is part of the leaf that is below I mean, under other leaves. So there will be shadows here. But before it will dry, I will soften and soften this. There I go. It's okay if I painted this a little bit darker because this is supposed to be darker area of the poinsettia. I softened that area and wet the other parts dragging the water I drag the water to the other part of the poinsettia to have nice land and transitional paint. There we go. So here, I'm dragging the paint going down. There. There you go. Next, I will paint this area green as well. This is green. And I will be painting this wet on wet. I pick up some green and started painting from the center going out. Then I will soften the edges, and also rework the lower part to prepare to add in there on the side. 25. Painting the Center: Now, this center, the one that has painted with blue is actually appears darker, but is actually red. So I will be painting this with a darker color. I will get here also the mix that I had earlier. I will be painting this part. I The semi painting what on dry instead of what on wet? Because I don't want this to mess up. It's small area of the center, so I don't want to ruin this. So I painted this what on dry. Now for the center, I will be painting some areas with green, but I will be painting the wet on dry. This one was green. So there are like four like buds the middle here. And the next one is here, and the other one is here. But on the top, there would be a small area that is red and yellow green here in this area. And for the red, I will get I mix here. And Okay. I will get Napal seal deep, just a little amount. And it's just with the t consistency, I will paint on this side. But I will paint more of the center later on. I will paint more on the center later on. But for now, I will let this second layer dry and I will move on to the next layer for more saturated colors. 26. Enhancing the Shadows: Welcome back to my class. This is a third layer of painting the poinsettia. This time, I will be adding another layer of t consistency on the dry layer. It means that we are going to glaze. For now, on the third layer, I will be painting just de consistency. But still, I will be building up colors. I will building up shadows. I will be building up the color and the form of the point setia. So in this stage, it will help our layers to be less flat than this one. Okay, I will be painting on the left side first. The left side. Going to the right. I would still use the same consistency and same color that I have in my palette. I was just going to wet it. To prepare for our painting. Okay, this area of the leaf is light. That's why I just leave it as light as possible, but I will add in more color to it. And in this stage, you will see you will slowly see that the blue would be covered with another layer or green or red. But I will be just focusing on the red. I will be painting here first, and I will be painting wet on dry. I will start painting from the center going outward. So you can see I mix my paint here. Okay, move the excess. At this area again just to make sure. Okay. We start painting here. Here on this I carefully painted it with the tip of my brush. Go. I have too much paint and water. I remove excess water from my brush using the towel beside me. So there and soften and soften in this area. And soften just to make sure that this area won't dry with harsh edges. I'll try to avoid that. Now this leaf, I will be painting this wet on wet, but not the entire leaf. I will leave some part would be red. So here, I will be painting. We'll start painting here. This time, my brush I follow the shape of the leaf so that it won't dry looking flat. But this time it still look flat, but lesser flat and adding more color on this side in this part and here as well in the center and wet this area. Okay, I will leave this part dry. I will move on to this leaf, which is bigger. Since I am focusing on the shadows, I will be adding more paint on those areas. And for others, I will leave it as it is. I will be painting on this left side or the top part first. Painting this area. My brush is too dry. So I will get a wet lace brush and get more paint so I can have nice color transition of paint. I will have add color here. This time, I am creating I'm slowly creating veins. Okay? Using negative painting technique. So for now, I am painting as I'm drawing as I paint. Let's try. But in this area, it is darker because it has fold on this area. So I watch that part and adding more paint here. I'm wetting this area and I will add more paint in this side. And here as well. There are some areas on these leaves that are dark and some are Light. Make sure to look at the reference photo very well. You don't have to copy as it is, what you can see, but you can simplify how the point setia looks like, and that is what I am doing right now. Okay, so there's there here. I will add more here. I'm just starting to build up the color. I'm not painting the details yet, the color. Okay, this area is dark red, so I will be adding more color here. And for that, I will be getting more of the red, and I will be painting this on wet. It looks like this part is darker than the one on the right side. But this time, I will soften my brush stroke. There you go. There there are parts that are darker, red, and some are lighter. So I left those area unpainted. There you go. I softened my brush stroke here. There we go. Now I will move on to the top area on here. This area is small and this one, so I will just paint this little wet, not too wet. Okay. I'll just add water here. Okay. There are some parts that are dark, but I can add more color later. I will build the colors more later. There you go. And I will soften this here as well. There you go in this part. This area, it is very small, so I will be painting this wet on dry and careful carefully painting There I painted just these areas that are at the very bottom or beside the other leaves and soften it. There now, I can paint this big leaf. I'll be painting this, but on dry. I mean, wet on wet. I could start here on the bottom and then on the top. So I can avoidmudging the paint. There you go. I will get more red and I will add more starting here. That's why I like this brush so much because it can reach thin and small areas like that. There you go. It's getting dry, so we'll wet it and smooth then wet the other areas. Okay, there you go. This part. There There are some parts of this leaf, I did not. I was able to paint blue for the underlying colors, but it's okay. I can build up the colors here. There it is. Okay. And pulling the water there. A and more color here. And this part also. Here. There we go, and I will add more color here. I will soften this. It seems like I added too much of paint, but it's okay. As long as your painting is wet or you can rewet it, you can easily correct your mistakes. As long as you just put the color there. But if you painted wet on dry, it would be very difficult to lift up the color. I think you will need to have lifting preparation, liquid on that if anything that you cannot lift easily with water. Okay. There we go. And adding more color here. There are some parts of this leaf that are folded, so be sure to add more color into it and build more colors on them. Okay. Like this part, I added too much paint, but it's okay. I drag the color as I paint and here. There you go. And I will soften my brush soups there. There you go. 27. Improving the Poinsettia's Shape : Now, I will paint this area. I will be painting this wet on wet right there and soften. There we go. I will add more paint in this area. This is supposed to be dark here, and here as well. And more of here. And here, as well. There it is. Okay, now I'll be painting here. This leaf is folded. So I will make sure that I won't add too much colour on some parts of this to show the fold of this leaf. Okay, with wet on wet. I will add more red here on this side this part. And then I will soften this area. I would like to make sure that I won't I won't add color or dark color on the areas that's supposed to be shadows. But for now, it's sit there and here I will soften this and soften here. Okay. There you go. I'll soften there. Okay. Okay, there it is. I will soften them. There you go. And here I will add a little hotter on this side. There you go. Here, I will soften it and I will regret this area. I will add more color on this side, especially on the areas that I painted it with blue. It means that there are shadows there that I will need to I mean to paint more of red there and soften soften Okay, there. Here, I will need to add more paint here. My paper dries so fast. I am a slow painter. That's why. And I will need to rewet my paper again and again. Okay. This part Okay, and soften this. And here I will need to wet this area and soften and add more of red. There are parts here that are very light touched by the light, so I won't paint them. I will leave them unpainted for the highlights. But here, I need to paint this. What on dry. I mean, wet on wet. Building up the color. There you go. There. Okay, now I will paint this area. Okay, I wet this earlier, so I will be painting just more on the side inner part of the leaves. Okay, and soften and brushes rope. There you go. Okay, so now on the third layer, as you can see, there are a lot of difference. From the second layer, I'm building up the colors here. Okay, I will paint this area, but on wet. But I will be focused on the dark areas. Okay, it's still dry. I will wet more on this and I will add more water on my brush. I dip my brush into my jar there. Okay, there it is. There you go. Oh Okay. There you go. Now I will paint this big area. Since this is big, I will paint this what on I mean, what on what. As you can see, I left this part earlier unpainted. I will still leave that part unpainted. I will start on the left side first. A But I will still build up the colors here. I will soften this and re wet the other parts. This middle part of the I focus on this middle part there and soften and soften, especially this area. There we go. And there. So some parts I added more of red, and some areas I left it untouched. There you go and soften here. I will move my paint here on the right. I will be painting in this area. There we go. And here add more bad here. And Okay. It's dry there, so I soften it. There are some highlights on this leaf, so I'm carefully painting this. But I just add more red on some areas, but later on, I will be focusing on the shadows. Okay, there you go. Okay, now I will be moving on to this leaf at the bottom. Okay. This leaf has more highlights than the others. So I will be painting this carefully because I will be adding more color on just some areas, especially those dark areas like here or the shadow areas. There go. And for some parts, that will be just like and soften and soften, there you go. Whatever left on my brush, I just drag the water to move it to other parts of the leaf. There and soften that part. And here, this area has more has shadows on this area. That's what you did this part. There. And for this area, I will just add more paint on some areas here, especially this part that's supposed to have more color. It's folded in this area, and darker color can help to have fold, form and shape with whatever subject that you are painting. In this area, too, I am adding a little bit more of red on this area, but it won't make it too dark because there's no shadows on that part of the leaf. This part of the leaf is more light, more highlights than the others. But yeah, I'm adding more shadows and colors on some parts. Okay. This one is quite big. I will be painting this one on in wet. 28. Elevating the Poinsettia's Redness: I will start from the top here. Okay. This area is at the bottom, just below of another leaf like this. So there I will just add more paint or more red on this leaf. Soften. Remember to soften before it will dry. Okay, there you go. And add more color here and here. For some I just add more red, but I will add just more on those areas that has more color. Okay, r there. Okay. And I'm adding more of red here. Again I'm just using the consistency of my red mix for now, as I glaze them, and more paint here. But here, I will add more red in this side, and going to the left, I will curve my stroke here, curve my stroke to show that there's actually fold on this leaf. There you go. And more color here on the one that has blue, there is highlight there, so I won't touch this area. Okay. I just soften my brush strokes, right. I will soften this. And here, there you go. Now we'll move on to this part of leaf. This was quite big and folded. So painting this wet on wet. There are some parts that are have more shadows. Like here in this area. So I will add more red on this area to show that there's fold here. There you go, and add more red on this area. And here. I'm trying to avoid that to paint this with just putout strokes because I'm trying to maintain the highlight here on the reference photo and here as well. There you go. Here, I will wet this area and prepare and add more red on this part and here as well. There you go. And remember to soften the brush stroke there, and I will paint here first, add more red on this side. Here. There are more highlights on this leaf is so I'm careful on adding too much of red because I might regret it later. There. It's dry. Okay. There you go. I regret it again. There you go. And soften and soften and wet in this area. And soften there. Now I will be painting this part. This leaf has more shadows than the others because this leaf is at the bottom of other leaves that I painted earlier. And also it's the reason that I have I added blue on most of these areas here, earlier. So now, when I added more of red here, you can see that this leaf on the top pops up more. I will soften my brush strokes just to make sure that they won't dry with harsh edges. A more paint here and here as well. Okay. Basically, what I'm doing now is negative painting, as I painted more of that to help to stand out more. Okay, now, this area And of course, here I am wetting this area, so I can add more of red in this area as well. There you go. A there and I will add a little bit more of red here. Okay. I will leave this dry. I will go to the small leaves here. This area is small, so I will paint this what on dry instead. And I will add red more on the ones that has in the bottom. And it will soften because I don't want this to dry with harsh edges. I now on this part, I will paint here first in the middle. But I will soften this. I think it'd be better if this is painted wet on wet, especially also this part, so it won't have harsh brush strokes it. There you go. It's just that I'm trying to be careful because this area is very small. Add more. I will go to this area. I want to add more paint here and cover the brush stroke that I did earlier. Okay. Now, I will paint this one last, but I will paint this part of the leaf. This part of the leaf, it has highlights here, so I won't add too much color, but adding more here because there's a shadow on that side and here as well. Now on this part of the leaves, it actually has two leaves, but I think I missed drawing the line here. It's supposed to be like this. Okay, so I will paint the part of the leaf here, and this one would be a little bit darker. Okay. There you go. Adding more color and paint here. And in this area, too. This part should be darker. I was able to add blue here, but it's okay. I just I is just a small area, and it won't be noticeable. Okay, so that's okay. There. This part has more shadow, so I add more color here and the other leaf here. Now, this part of the leaf, it has purple as well. So I will prepare my purple and my red. Now, I will paint this wet on wet. I will be dropping with red and purple this leaf. This is the only leaf that has purple. We'll add more here. I will get purple and I will drop some purple I added more purple on this side and here as well. Okay, there it is 29. Increasing the Poinsettia Shadows: This time, I will paint on the green leaves. I will start here. I will get more green. I started from the inside going out, then softened the brush strokes. I we the left side for smooth blend of the color and painted the tip going to the left. And I will soften this part and here as well. I will add more here and here. I will skip some lines. I mean, I will skip some part to create some lines. Okay, soften. And here I will add more green on this side. I painted this right side, wet on dry because this area is very small, using only the tip of the brush. There you go. Now this time, I will paint this area. I will paint this we on. What? I added more green on the inner part as there are shadows on the overlapping leaves and smoothing the outer part with a damp brush. And I will be painting this wet on dry because these are small areas. Okay. I'm almost done. I will just paint this part of the leaf. I'm painting this, on what? Because this is bigger leaf than the previous leaves. I started painting from the inside going out, then smoothing the brush strokes. Here as well. I'm leaving some part of the leaf that are unpainted because I would like to use that space later or part later to built to paint the veins litter. So I will paint just the center, like the bottom center with darker red here. We'll pat this on dry because I don't want this to disturb the other areas of the painting. It's too wet, so I remove the excess water from my brush and drag in the water bead or the watercolor bead and paint a Okay, that's it. This is the finished third layer of the poinsettia. I did not touch the center or the small areas here. I didn't touch that. I will just paint it later on. But for now, I will just leave this to dry. And then when I come back on the fourth layer, that is a time that I will add more shadows painting with milk to cream consistency to enhance the color, the shadows, and the depth of the poinsettia. 30. Boosting the Colors: Welcome back to my class. In this lesson, you will be painting the fourth layer of the poinsettia. So before I start painting, I'm going to prepare the colors that I will use. I am going to prepare more saturated color and darker colors of the red. This time, I will prepare, like, milk to cream consistency of the red mix. Olive here, Lazard crimson and pyro scarlet. Et me test the color. Now I have my watercolor ready here. I will start painting on this side, and I will be painting this wet on wet technique. I will be starting here, remove the excess water. I will be painting using more saturated red mix, and I am going to paint just the shadows. I will enhance the colors of the shadows of the pinseta. I will soften this. All right. And I will soften this. At the same time I drag the color. I could see there are more these are more darker. There you go and soften there. If you have the stil wet, you can add more colors on some other areas as well. There you go. Then here, I will add more shadows on this area. And here I will soften this. And here, Okay. This area should be a little bit darker here because it is overlapping leaves. So this would be darker here. Remember to control your water. If your brush holds too much water, I suggest remove excess water. It is the reason that I like to paint with synthetic brushes. The synthetic brushes do not hold too much water. All right. I cannot copy exactly the colors, unless if you are trying to paint hyperrealistic, you can do that. But for me, it's just some areas only. But this part of this would be obvious because this would be an overlapping leaves, so I need to add shadows here. Ligo, and here as well, and soften them. Now I'll move to this area this area first. We'll add more color here. Well, there you go. There. As long as your paper is still wet, you can still blend the colors. It would be nice to blend colors with your colors. But then if not, yeah, you need to wet your paper. There it is. And here, this part is more darker red, this is, like, folded in the middle. So I need to add more color here. There you go. And add more color on this side. As you can see, I'll also covering the areas where I painted blue because these are the areas that have shadows and darker areas here as well. I will be on time laps again, but I will come back later with an explanation of the other details. This area is very small. So instead of painting this wet on wet, I will be painting this wet on dry. Just painting just the inner part that very beside the other leaves. Okay, there. Now I'll be painting this area. This area is a little bit bigger, so I will be painting this wet on wet. Especially the areas that have dark colors or shadows like this area. As you can see, my paint brush is not very watery. My brush is very controlled. I will dip this brush into my water just once and then get more water I mean paint, what this area that I'm about to paint, and I will add more color so I can have smooth transition of colors. There you go. There and smooth in these areas. And here I will drag the water. So every time I smooth in an area, what I do is I use the same brush to drag the water and wet the other areas as well. Okay, there you go. I'm not painting the details yet, just the underlying colors, the redness. And later on after this layer, I will be painting the details, and we will paint with more saturated colors. There you go. So I just use the same technique. I will be on time laps again while I paint the other areas. A a I am painting this leaf wet on wet so I can easily blend the colors. Same technique. Then I'm focusing on the shadow areas or the dark areas of the poinsettia. Okay. As you can see, I'm avoiding painting this area because it has highlights. So when you paint this leaf, as you can see, I am following the shape and where the the leaf is going. Like there's a flow of this leaf. Like here, it's going inside and it's curve the same time. So I'm carefully painting this area. Okay. If it's still dry, get your brush and wet it, and I will dip this brush a little. There you go. So I can easily paint there. All right. As of now, I am using the tip of the belly of my brush as well, so I can disperse more paint. Okay. On the left, I just ran a little bit to add a little more color, but I do not add too much of it. Remember, we have highlights here that we need to preserve. So I keep it that way. I do not paint on that area. I just painted on the other areas or beside it. Okay. And here, Okay, there you go. So that's the left part of this leaf. I can add more color or more shadows here. And look at the reference photo as well at the same time while you paint. There you go. I will paint the right side now, but I will wet this area first. Okay. Again, this leaf is curvy, so we need to curve our brush strop. And here, I'm wetting this area and add more paint here. Kis, I press heavy on my brush, and I disperse a lot of paint. So if you think that you're not dispersing more paint, I suggest press your brush a little bit to the belly. There you go. And here as well. Be adding more paint here, more here. There you go. I remove the excess water from this brush so I can soften my brush strokes to avoid letting it dry with harsh edges. There you go. I will leave this dry. I will move to the leaves here to bottom. But I will add a little bit more of pad here. Okay. Just a little bit more and soften. There you go. I think I will add more red on the middle. But later on, I will paint the fine details on this onsetia. Okay, there. 31. Strengthening the Redness: Now I will move to this area. I will start here the big leaf. So I will add I will wet this area. Then I will start painting on the edge going down using the tip of my brush, and then smoothen it. Okay. There we go. And we this area. And here, I'm painting this, adding more color here and here. Then I will soften this area and drag the color. I'm going to wet this area. There, and I will add more color here and a little bit here on this side, and I will soften this rewetting this area. I would like to add more color here since it's too light and my pencil line are very visible in this area. There, I will add more paint here on some areas to show that this leaf is folded. There you go. And here I will add more paint there. Here. I will add a little bit dark here to show that this leaf is folded here and there. I will add more color here, more shadows to emphasize this leaf. There you go. And more on here this area. I will add more paint in this area and here. There you go, and here as well. This time, this part of the leaf, I'm painting this worked on dry because it's a small area. And I will soften. There you go. There. Now I will move on to this leaf. This part of the leaf has more highlights as well, so I will be just adding more color on the dark areas. Okay. Like here. There you go. But there are highlights there. Okay. As you can see, I'm dispersing the colors from my brush. There, I will just soften this area. I will add a little bit more of color on this area there and will soften. There you go. There, I will wrap this leaf and I'll add more color here on this part. I dip my brush into my water so I can add more water to my brush and get paint. There you go. And here I will add more paint on this area. There you go. The and here I will add more paint on the dark areas only. Okay. Remember, there are highlights on this part. So we need to avoid painting on the highlights and add more color on the shadow areas. There you go. And here I will just soften the brush strokes. And I will add more color here and here. There are some areas that are highlight, so I avoided painting on them. I will add a little bit more of color on other sides like here. And I will just soften the brush strokes there. There you go. To add more color here, it seems like it's too light. It's still wet a little bit, so it's okay. There you go and add more color on this side to emphasize the leaf here. And when I emphasize another subject on another part, I'm doing negative painting. There you go. And I will soften the brush strokes. There you go. Now, as you can see, there's more shape and form on this leaf. Next, I will paint this part of the leaf. I will follow the same technique. So I will do time laps on this area. This time, I will be painting this area, and then this one. Okay. I will start with this leaf. Then I will be painting this wet on wet. There are also highlights on this leaf. So there are some areas that I won't paint them, leave it or I will just ran a little bit of color. There you go. And more of color here. And there And now here, we'll be adding more paint here. I'm starting on the left. It feels so dry so smooth here and rewet the paper. There you go. So adding more paint here and there re wet I will re wet this area because I picked up some color earlier. There you go. And here as well. There, I will just soften this area and disperse the color. Okay, there you go. So you can see I drag the color that I have in my brush, but I will clean this brush, totally clean it. And I soften the brush stroke. And here I will add more color here and there. As long as your brush is wet, you can soften your brush strokes. I just added just a little bit of color here and there, and there you go. And here, I will add more color here, more pigment here to show there are some folds and her contrast. I'm just softening the brushes roof that I left there, but I will leave some highlights on this area. If you look at the reference photo, there is a highlight there. I will add more paint here. There you go. And I will just soften these brush strokes. There you go. Now, I will heat this leaf. This leaf is supposed to be darker. So I'll wet this area this area first. They are adding more color here will help to help to help the other leaves to stand out. A and I will soften this. But here I will this area because I will add more paint here. There you go. You add more color here to show the curve of this leaf on the left. I drag the color here. It's not too white or not too light, but it has color. So I drag the color here. Just a little bit, but not too much, but I add more color or shadow on this area, and I will add more here as well. I will add more color here to emphasize this area. And there, I will add a little bit more of saturated color here to emphasize the leaf on the top. There I go. Now I will paint this leaf. For this leaf, I will be painting this wet on dry. So now you can see there are more colors and more saturated winsetia than the one that we have earlier. So I'm painting the more leaf. And I will add more color here as well. As for this leaf, I will just fit it there. Now, I will be focusing on the center part, which is below, but I will be painting it on dry instead. So here we on dry with saturated red color. A So there I added more saturated color on this area. Okay. So it helped our lease on the sides to show up more. Okay. Now I will be painting this area. I will just do the same, but I will be on time labs. 32. Emphasizing the Form: Yeah. For this leaf that has purple, what I will do is I will just add more purple instead of red. So I rinse my brush and I will use the purple mix that I have here. Still, I will be painting this area wet on wet. But I will be painting this with more saturated purple color. There you go, aqui see it's more saturated. Next, I will paint would be the green areas or the green leaves. So I will be starting with this. For that for painting this, I will add a little bit more purple on this or more red, rather. Okay. Then I'll get a little bit of red, and I will mix this with the green here that I have. So there you go, it's more darker green. Alright, so I will be painting this with what on what technique. Yeah. Yeah. I'm soften the sides. Then I will add more green here. There you go. And I will just soften the brush sorpes there. There you go. Next, I will paint this area. And add more green here. It's not too wet, not unlike those areas. Those leaves I mean cause there's also some highlight that I need to preserve as well. There you go. I will remove excess water on this brush by putting it here under my towel, and then I will paint green here and here as well. I there you go. Next, I will just use the same green that I have in my brush to paint the center. There are some small this here there. Just soften it. I'll add a little bit more of green. There you go. This is the fourth layer of the poinsettia. I will just leave this dry, and then I will paint the details. 33. Painting with Metallic Paints: Alright. If you notice there is, like, a smudge of red on this area, I will wet this big brush that I have. I remove the other paint that I have on my brush, and then I will try to lift the paint. I will use some tissue as well to lift the paint. I'll try to clean it, and hopefully that will lift. The red that I use is staining, so hopefully I can still fix this. I tried to lift the color, but then it did not lift fully, but it's okay. It's not very visible unlike a rear. No I will be painting the last layer or the details of the poinsettia. What I will use would be the tip of the brush that I have here. I will just paint with the lines, and I will be doing what on dry technique because I will just paint the details like the fine lines. I will be using the same color that I have here. But I think I will add a little bit of green to this. So the red will be a little bit darker. So I have the green mix here, and I will add it here. There you go. I just added green, a little bit of green. I will be starting to paint on the left side. I will just be using the tip of my brush. If you don't have a very pointy brush like this, I suggest to use a small brush like size two or zero or it can be smaller than that. But I will be painting what on try with this brush. So we'll be starting here. It will be also helpful if you would like to paint, like, thin lines or a line directly using your brush. Now we will be painting this line here on the left, here. And here, I will brush a little bit on my brush there. It's still wet. So I will drag the paint going here, and I will, as you can see, I still have paint that is wet here, so I drag them. As of now, I'm just using the tip of my brush. Okay. There you are. It's up to you if you would like to paint that is from the center going out, or if you would like going in, it's up to you. I will use my pinky to rest on my paper so I can draw lines. There you go. I won't draw the lines all of the lines. I will just paint some of them. But later on, I will be using a metallic paint. There and here, I will just add some lines there. Okay, I do not follow whatever the reference photo, I just paint whatever I see there. I will just continue adding more of the lines, but I will be on time laps Here for the lines, the leaf is curve. I will curve the lines as well, like this. My brush is too dry, so I wet it. Then I added the curve line there. So it will show that the leaf is curve or folded. And here and here, again, I will rest my pinky on top of the paper to balance. There you go. Just some of the lines, there you go. And here, I avoid adding lines on the highlights. To try, I just dip my brush in to the water to wet my brush and pick up more color. And here, add more paint here and there and line here. My pencil lines are not very visible at this time, but it's okay. I'm just following whatever I see on the reference photo. Here. I And also, I will add lines on this area. There you go. For this part of the leaf, I will use purple. I will just finish adding more lines here there. So I will rinse this brush. Rise this brush, and then I will get purple mix here, and I will paint here. Remember to curve your lines. Okay. There you go. Now I will be painting the center here. I will be using green. I'll add more details, just the shadows. I know the yellow has been covered there, but it's okay. I could just use red and add more color here. I will be re wetting the antique gold and the interference green blue shift here, so I can use them to paint the details. For painting with the metallic paints, I won't mix them on the mixing palette. I will pick up the color and directly use it to pink. For the green, I didn't add more green or nice, but because I will be using the interference green blue shift there. But I will start with the green blue shift. Okay? So this is how it looks like. I will just remove the excess water here on my towel. So this is the one that I will be used to paint the lines here. And also here. But here I will just use to paint here. I added green there, but I will soften the brush stroke there too. Okay, to add shine on the whole leaf. Then I will add more here on this area. And here. Then I will soften the brush strokes. There you go. Now if we ran this brush, I remove the excess water as well, but then I will get the antique gold directly from my pan. So this is the antique gold on my brush. And then I will just add this to some of the areas I would like to add here on the center. Then I will use this to add more lines. You can use this to add also some metallic color on some areas like on the highlights, like here. I think I would like to add here. It's to gold, so I will get my big brush, remove excess water and soften it. There you go, just to add shine. And then I will also add more here. I don't have any specific brushes rolls but I just added on the highlights, and I will add also here where the highlights there. I dip my brush into the water a little bit. Okay. There you go. I added more here and also here. I don't have any specific location in mind where to put the Antique gold and specific brush stroke. I just add wherever I would like to have litters. So I decided to put them on some of the highlights. You can put gold metallic paints on other areas as well. That's fine. I will add more gold lines here and there. So you can start here, and I will add more gold here as well. And here I don't have any specific location where to put the gold. But I think it would be better if to put the gold on the highlights. I won't put the gold on all of the leaves or I won't add too much. I would just add some here and there. I will soften this. And there I added on some of the highlights there. And here. I will soften this. This is a finish point set ya. I hope you like this. Again, adding metallic colours are optional, but it's up to you if you'd like to use it or not. 34. You made it!: Good. You made it. I'm happy you made it this far, and I would like to congratulate you on finishing this class. Have you submitted your class project? If not, then take your time to finish your class project. I'm excited to see your watercolor realistic cotton flower, pine leaf, and poinsettia. 35. For you: Good. Did you see something else in the projects and resources section? If you see those printable Christmas cards, great. That is my gift to you. You can create it on a good paper and give it to your loved ones. Happy holidays and enjoy