Rosy Posy - Loose Ink & Watercolor Roses

1. Welcome!: Welcome to Rosy Posy. You knew I couldn't stay away from roses for too long. I had some roses actually arriving at bouquet, and although they weren't even close to the colors I wanted to use, namely pinky reds, they did serve as inspiration. Before we move on, I'd just like to take the opportunity to say hi. My name's Holly and I live in the Lowlands of Scotland. There's so much inspiration from panoramic views of Belhaven Bay, White Sands. And Barnes Nest. Through to the smaller details in the hedgerows and woodlands. So back over to our class now going to be experimenting with the simplest flower center. Using a stippled brush or any old brush or a few tape together to create some textural stamens. We're using inks and watercolor to create beautifully loose and unique roses, each with their own character. We'll be choosing our favorite pinks through to gentle reds. I chose Moss Rose, Crimson and English Rose with green gold and Perylene green. You can do this class with all watercolor, all inks, or a mix like I chose to. And you can choose your favorite watercolor paper. I chose hot pressed, but cold pressed would be great for this too. I've left a full list of materials in the about section of our class. We'll be working with a limited palette, choosing vibrant pinks and reds, using the 70 2010 principle. And in this class, we're going to be applying that principle to the size of our elements. So 70% large flowers, 20 leaves, ten small leaf and petal accents. We're using ink and watercolor mixed with some water for base layers, then moving to neat ink for our final layer. Although we're working on a larger scale with our florals, this class is designed for beginners. When I started out with wood color, I found it really hard to get beyond a five size piece of paper. So I really want to encourage you and take you along on this gentle journey into discovering larger florals. If you'd like to access subtitles for the class, it's just here under the video next to the volume button, and subtitles are available in English, German, French, Portuguese and Spanish. And there's also a full transcript of the class available. Don't forget that you can upload your project in our projects and resources section, and you'll find the M project section on the right. It's a wonderful way to tap into the Skillshare community and a great way to share tips and feedback. And I'm also on Instagram and following a lot of you, so please tag me in any work that you post, as I don't want to miss anything. So when you're ready, let's immerse ourselves in these vibrant reds and pinks. 2. Practise | Stippling Our Rose Centres: Let's start off with our greens, and I have green gold. And Perylene Green, which you can already see. I've got a couple of blobs of that from other paintings. Okay, so we're going to start with a really fun thing, and that is stippling. So this is a makeup brush, and I'll leave details for this. You can buy a very cheap makeup brush in a stipple shape. You might have an art stipple brush, or you could just get a really old brush. Maybe if they're small, take them together and just play around and see what shapes you can get. A lot of fun. I love doing this. So let's just go straight in and create some shapes. Now, there's not a lot of water on my brush. We're looking for a dry effect. So you can see that I'm preparing the brush before I put it down, making sure that there's paint on it, not a lot of water. You get these fabulous shapes, and they're all different. So each time you place that brush down, it's unique. Such a lot of fun. And why wouldn't you want to do this instead of spending ages trying to recreate a really natural effect like this when you can do it with a stipple brush. So you can see we've got quite a few different textures there. And then what we can do is go in with the second layer with our Perylene green. So again, preparing the stippled brush, and I want this even drier. I found that it creates better texture if the second darker layer is dryer. Just have a practice and see which styles, which technique works for you. I think you'll find it hard to stop once you start on this. It's such a pleasing thing to do. I really love the texture that it's going to bring to our class project. So now to your soft brush, and putting down some Moss Rose seven A. So Crimson, 18 B. And Tom's Ink, English Rose. Thinks is my favorite. So we've got our range there of red to pink, very limited palette, really. So lots of water on your brush. And then we're just going to slide sweep up. So for the purposes of this lesson, I'm just using very simple petal shapes. I'll be going into more detail in our next lesson about the brushstroke that we're going to be using in our class project. We can drop in little bits of ink. Et's do that again. And then dropping in whatever ink it is that you want for that petal. Bottom and top, if you fancy. Dropping in some of that lovely English Rose. What we can do then, you have a choice of going in again with your stippled brush whilst the petals are wet. So let me demonstrate that here. I do love working with ink. And then let me show you that you have the choice here to do your petals first, then splattering your texture, so the paint will move out into the petals. I'm going to show you with green gold now. It's such a confident color and often spreads easily. So if that's what you're looking for and you're wanting blooms and merging of colours, then green gold is a good one. It's very solid for that. You can depend on it. In with the Perylene Green again. Over the green gold. I think they work together really well. That's because we have a very warm green gold leaning towards the yellow, and Perylene Green is a little cooler leaning towards the blue. 3. Practise | Rosebuds & Inner Petals: So just experimenting with color. I'm not worried about the shape of the petals. And isn't that a gorgeous mix? I think that's my favorite so far. The doctor PH Martin's Moss rose, and the Tom's Ink English Rose. Love it. I love this, as well. I think that looks like a strawberry. I'll have to remember that and come back to that. Okay, so now we're going to do double dip method, and we've done this together in a previous class in joyful florals. So I'm just going to tidy up my palette because we want a straight line of the green so that we can pick it up at the base of the brush. So I'm just creating a line of green gold or whichever warmer, lighter green you've chosen. I found this to be the easiest method. And then we're just going to bounce up and down in the paint at the base of the brush, pick up some ink, and then scrunch our brush into the page. So let's do that again. So it's quite a forceful movement. And the more that we do this, the more that the brush shape changes, we get these lovely broken edges. Love this texture. I think this with the soft brush strokes is such a lovely combination. So just get used to the brush that you're using and noticing how much water and paint works best on your brush. So we've got these soft petals underneath, and we can now go over those and start to create some inner petals with a little bit of texture. Topping up my English rose. Even though this is a very pigmented layer, you can still use your ink very neatly and it will show up. We're now starting to create the petals that we're going to be doing in our class. See here that choosing a soft brush means that the brush is very malleable and starts to change its shape. The bristles start to form gaps in between. And we can really take advantage of that to create these delicious textural petals. You can't go wrong, get used to your brush. Do it over and over again, and let's just now practice some inner petals. The base of the brush is pretty much stay put and I am moving the top of the brush around. It's a beautiful way to create petals. And you can just mix your inks intuitively. Done all three there. And each petal is very unique, and that's what I love about this technique. So I'm just practicing some half opened flowers here. Just showing you very, very slowly there, the movement of the brush. So we're kind of bouncing up and down. That creates these slightly scalloped edges. So obviously, the less water and pigment you have on your brush, the drier it's going to be. So let's just move this page out of the way now. So here I am again, very slowly, just showing you the movement. Doesn't that create a lovely texture? Just a bit more quickly there. And now showing you taking off some of the ink creates that texture, dry brushing effect. So you can look at the texture of your actual brush. So if you're using a soft brush, which I think would be the best for this, you can see that it starts to get its own shape, and we can take advantage of that and really start to use the brush. And just to show you quickly here, you can do this with a round brush. I chose my mop brush just because it's soft and I know it very well for when I'm painting roses, let's just practice some inner petals there. So you can see how the texture and the softness work together so well. And we're also getting particularly actually with the Tom's English rose, a lovely white center on some of these. So you can see just a very pale pink there at the bottom. I love doing this. It's really fun. And now I'm watering down the ink. And just going back to our main brush stroke, which we're going to be taking through to our class. Now, there I was using mainly the tip of the brush outwards, but you can do it the other way around where the tip stays in the middle and the base of the brush moves around. I also think it would be lovely to bring in some paler petals. So we're using different values. It would be nice, I think, yeah, to do some nice soft, pale pink ones amongst much more pigmented ones. You can see how they can flow together. I really love the Tomsk. To me, out of the three inks, that seems to be the closest to a rose petal. And we can also create some softer petals around more pigmented ones. I think it is freeing to have the space to do this. And then I'm showing you here how we can go in with our stipple brush after the event as well. So earlier, we did the stipple brushing first and then put the petals around it. You can do it the other way, too. 4. Practise | Leaves: Moving on to leaves and then putting down some green gold. I'm just going to keep it really simple. So just choose the two greens that you've chosen. I'm using perylene green for the darker green, which is also slightly cooler. So I have gone over to my size ten scora round brush. You could also continue with your mop brush for this. It's entirely up to you and what you feel is working for you. So I'm adding lots of water to the green gold. I want to keep this really nice and water colory, if you know what I mean? And I want things to be too pigmented. We want quite a lot of flow. I love the color of my water at the moment. That looks like strawberry ribena. Do you have ribena where you live? I wonder. Okay, so picking up some of this lush green, and we're going to just put down a very quick stem with the tip of the brush, and then we're going to do a side sweep. Tip down, goes down the whole way of the brush there to create a nice big leaf. You know that I love these side sweeps because to me, they just create really organic looking leaves in perfect shapes, which I think is really attractive when we're doing loads of leaves like this. And then dropping in your darker green to the base of the leaves. So let's do another one. Here I'm just showing you in slow motion, as it were, how to do the side sweep. Tip down, and we're going to use the whole side of the brush and then bring it up to a tip. So down again, the whole brush and up to a tip. And let's just do a few of those so we get really familiar with that movement. And just drop in a little bit of your darker green. I just want to show you the tip, belly tip. You could also bring some of that in. That's the more familiar way, I think of painting leaves. And you will have seen that a lot in other classes. So you could definitely go for a variety of shapes. Let's give them some little stems. And I'm varying the size, and this is also something that really makes them look appealing. I love adding tiny little leaves to the stems. So changing shape, changing size. G two thirds of the way down for these smaller leaves, so not the full brush. Just play around with how much of the brush you want to use. But I really find it hard to beat this brush stroke. I use it all the time for leaves. I love it so much. I found this really difficult to master at first. I just couldn't tell what was happening. So I really want to just take my time over this. And then why not just drop in a little bit of the perigreen? Another way of creating leaves is with this little zig zagi movement, another leaf shape that I adore. I'm just going back to this page because I think it would be nice to practice that around these little buds like we did earlier. Let's create some sepals around these buds. And this is a tip belly tip movement. And I'm using a mixture really of slow and quicker movements. A little bit of a wiggly movement there, zig zag movement. And then back to our side sweep. What we can do now is work around a petal. And the way that I approach this is not to think of them as leaves. At first, I'm just going around shaping the green around that petal. And then I think about shaping it into a leaf. You can leave a tiny bit of white space, if you like. Let's do that again. So there I've left some white space, and then I'm shaping that into leaves. So we've got these two approaches now that we can use. Let's do that again over this flower here. So just following round, not worrying about the shape and then just thinking about that after I have gone round a petal. And it almost paints itself really if you're not worrying too much about, does it look like a leaf? And we're just creating a spldge of green around the leaves. If you look on it that way, it's much more free, very effective, pushes the flowers towards us and creates a more three D effect. A 5. Practise | Inner Petals, Splattering & Flower Centres: Let's delve in a little bit more to our inner petals. So I have water on my brush. I've taken the excess off and just dipping the top of the brush into those two roses again, English rose and moss rose. We're doing the same movement as we did with the larger outer petals and moving the tip round with the base pretty much in the center. And let's practice those broken lines again. And also, the speed. Sometimes I like to work more slowly. And to get these very textural strokes, it's often best to press the brush right into the page quite quickly. This is definitely neat ink now at this point, as well, for the most part. Just trying some of those more forceful movements. And I'm just wondering about these centers. I've picked up a size five round brush. And I have an idea. I just want to see if it works. And I do like that. Yeah. So what I decided was to go in with some watered down green gold and softly paint in the center. The layers underneath won't move, so we know that they're going to stay put. And what this does is it shows the texture coming through from the stipple brush, but we can also soften it where you want. You don't have to do this on all of your centers. But I thought I'd just show you because I really liked the effect and just dropped in slightly more pigmented areas there and maybe a little of the darker green. Just have a play around with that, see if it's something that you would like to do in your class project. Cool. So now I want to move on to some really fun splattering. And I'm using some white gouache. I like to do this when I'm spattering because it's slightly more opaque, obviously, with using the white, and I really like to add a more opaque color to our inks. You don't have to. You can just stick with your inks and just add a bit more water to them. But I thought I'd show you this as well as an option. And what I'm doing is just trying to pick out areas around the flowers themselves. And using a size five gives me a little bit more control than if I was using the larger mop brush. Again, it's a tactic which allows a little bit more dimension to come in as the splattering comes towards us, the flowers are more in the mid background. And just demoing there, just watercolor without the white gouache added. And for the centers and the leaves, we can go in and just splatter some green. I love this. I really do love splattering. I don't use it a lot. And when I do, I know that I have to control myself. I may be some of the dock aperolin. 6. Practise | Small Accent Leaves & Petals: So with our size five, let's do our little side sweep leaves. So it's really just a small version of the leaves that we did. And let's add some little accents, sweet little leaves. And we can add some little stems. I tend to do the stems with only a small amount of water on my brush. Certainly with leaves this small. Now, back to my size ten. And let's just do some really loose finishing touches in the form of some lovely expressive petals. I'm holding my brush right at the top, because I want these to be more about just the movement of the brush. I don't want them too controlled. And what I'm doing really is what we did earlier with the mop brush, that kind of slightly squashy move rolling of the brush. And these could be our last minute kind of final details. So you can see there's just a twisty move. And just keep dotting these around. So that you get a feel for the brush that you're using and achieve these very expressive little movements. You could always use your mop brush for this. You don't need to switch over to a round. And I was using English Rose there and lots of water added. 7. Class Project | First Layer Roses & Centres: So let's start by getting the majority of the water off our stipple brush. And then we're going to do as we practiced, bounce up and down with the green gold. So I just did three little bounces there. And I'm going to start off with the Moss Rose and Tom's Studio English Rose. I do like a petal where the brush has just got water on it, and then I dip it into the ink. Just really makes it much more realistic as a lot of roses have that pale area just before they get to you the stamens. And then I'm just dropping in the same mixture but almost neat. I thought I might just add a little bit of peri green in this one. We are going to go back in and do a darker green on top, but just wondered what it would look like to start with that. So there's that Moss Rose and English Rose again. Oops, oh, dear. Let me just show you how we can pick this up really easily. So fresh water, just a slight rubbing with the brush, and then blotting with some kitchen roll or cloth. Now, because it was ink, there is a slight kind of stain there. If it was watercolor, it would lift completely. So some inner petals here, which I love to do in a very rich colour. And we can always come back to petals, so keeping it simple at this stage, I think is a really good approach. So a bit of both of the greens with this one. And I wondered what it would be like if I scrunched that up and did a smaller flower center. And then I want to get in really quick, so I've just picked up some water on my brush and kind of just allowing that center to move out a little bit. And because it's got green gold in it, it will want to do that. But it's very, very warm here tonight, so things are drying up really quickly. And then I'm just dropping in water down ink in various places. I quite like having a softer, paler flower in amongst these very rich, ready pink flowers. So another smaller flower center there. Just trying to allow it to move out a little bit by catching it with the base of my brush and then swooping up water to the center. So that's just basically the water from my jar. Then maybe do some textural brush strokes into there and also the other pale flour. Now I've got the Perylene Green, and we're just going in with a second layer to the centers. Less is more just one or two pushes down on the brush. And then this is Tom's English Rose again. I do think that's my favorite color. Okay, apart from the Moss Rose. And in again, just with a double center there, green gold, then Perylene green. So I like these paler ones, and I thought I'd do a third one here, kind of poking out behind that rose there. And I want a very gentle watered down color. So I'm dropping in Crimson at the base and on some of the petals. And then I want to get in quick to allow it to disperse a little bit, so the centers are not divorced from the petals on all of the roses. English Rose, and I purposely not got loads of water on my brush, but enough to create that white center. And that's because I made sure I had really clean water on my brush and then just the tip into the ink. Because I want these roses all to be different, you know, to have their own personality. I'm having a go at all three there. Why not? I like to see what comes up. It's a lucky dip. Oh, love that. Love that color. That's gorgeous. A little bit of Tom's ink now, and I just want to scrunch in some grungy petals. Because texture here is part of this class. It definitely brings a kind of a real feel to the rose petals. This is a little blobby sum. I'm just going to add some texture into that one, a little bit there. So we're actually working with the brush here, and that's why I chose a very soft brush because it stays in this kind of splayed state, and we can use that to our advantage to create these kind of broken petals. So I'm just looking around and I want to keep the composition fairly random. So I'm preparing my stippled brush again. I think I need a little bit more green gold. So in with the stipple brush. Always have a little practice before you put it down. And then let's do on here. So that has a bit more paint to it, and I wanted to see if I could pull that out a little bit, so the center bleeds out into the petals. And you can, of course, always add a little bit of color to the base of the petals just to make it travel more. Into the moss rose. Kind of doing an inner petal here. A little bit of Crimson as well. Just to keep that variety so all of the flowers are different. I thought I might just add a little bit more paint to the center of this one here and some perigreen over the green gold on that stippling. How simple is that technique? I love it a lot, and you can either do it in the two ways that I've demoed here, starting with your stippling and then doing your petals or putting in your petals and then stippling. And that way around, you will get some bleed into the petals, and that might be something that you're aiming for. So now I want to demo that double dip technique that we used in joyful florals. So just bobbing up and down in the green gold or your choice of light green. So it's at the base of my brush and then just the tip into the ink, and then pressing down and kind of scrunching the brush around. So what we get there is a green base and the pink at the top. It's just a really neat way of creating partially opened roses or rose buds. I love how that works. So again, trying to zoom out and have a look at where I want these petals. And I was thinking, if I put some here, I can bring out some leaves in that direction. And I think that would look really cool. Maybe just one extra little flower here. And then let's move on to our inner petals and leaves. 8. Class Project | Inner Petals & Leaves: Let's move over to some inner petals. What I found works the best is to not feel you have to do inner petals on every outer petal. So kind of just doing maybe a couple, even just one on some of the roses. And we're generally going for more pigment here, more ink, so quite rich and colorful centers so that they really stand out. Remember in watercolor and ink, we're generally working from light to dark. So, how about this one up here? Have you seen some Tom's English rose? I'm in my happy place right now. I also use this brushstroke in Briar Rose. It's a lovely organic, semi dry brush effect, which I use quite a lot. Now I absolutely adore it because it brings so much character to your work. I love those broken lines. A lovely pink one here, I think, with the moss rose. I do love this range of pink to red. I'm really now also changing my mindset almost to be a lot freer and throw away very quick movements rather than the slow, more considered ones that we started out with. So now I'm going into the Perylene green, and I want it to be darker to show up. This is a challenge for me because I always overcomplicate things. But these are really simple. And I actually prefer the ones like the top right one there, where there's hardly any texture at all. It's just a hint of the center of a flower. But you get such a lovely look for your centers, which if you were trying to do that with single strokes would take your ages and not look as organic and free. So my favorite bit or one of my favorite bits over to our leaves. So I'm watering down some green gold and our Perine green just so we're ready. To touch more green gold down. Lots of water. Because our flowers are so delicate, we don't want to go in with a really pigmented color. It's always best just to start off anyway with a lighter value, and then you can always add in a bit more paint. And let's just see what that looks like before we commit to the page. I've also chosen green gold because it's so bright and really compliments, especially the doctor PH Martin's moss Rose ink. So it's very important, I think, to kind of get the balance between the nature of your florals and leaves. So side sweep and then just some little details around. For these leaves, I've taken the inspo from my peony class. So we have done these slightly on a smaller scale and with a thicker value, but it's very similar to that movement. Also, at this stage, I am looking already at the direction of the leaves. So as you lay them down, what we're trying to do there is have them aiming in different directions so that we can create a lot of movement. Having our leaves going in different directions, I think is always a good move. So I think I'm just going to do some leaves around this half open flower here. And drop in a little bit of the perigreen and maybe do the odd little leaf or two in that. Very loose, side sweeps and also the tip belly tip movement. Dropping in some perigreen. The perigreen doesn't travel a lot because green gold is such a dominant color. It kind of stops it in its tracks, but that's good because we're just really using the pelean green as an accent to the base of the leaves. So let go here and aim to create leaves that are all slightly different, some scribbly, some larger than others, some a little broken, some perigreen at the base. So there, I actually worked around the petals and then added that deep green right next to the petals, which allows that flower to come forward. I love this perloin green with the green gold. It's so sweet. I don't want to get too fussy around these buds, so I'm not going to put myself under pressure to do perfectly formed sepals or anything. I'm just bringing some leaves up to it very gently. Now, I want to bring these buds into the fold. These little leaves and little dots and gestural movements. It's such an easy thing to do, but it really elevates your work because it's so pretty, and it also has that lovely 70 2010. Now, that's often used in interior design, but I also use it for the size of my elements. 70% flowers, 20 leaves, and then 10% are going to be the little tiny throwaway leaves and maybe some tiny petals later on as well. I'm using my size ten round, but just use your favorite brush. Doesn't even have to be a round brush. You could use the fill bit here. The most important thing is that you're comfortable with your brush, and you know it well. In with some perigreen. I haven't used it for a while, and I don't know why because I absolutely love it. I love Perlein colors. So this is really coming together now. Adding that lovely spring green really complements the pinks and reds. It's taking my time dropping in that darker green. And then to my 10%, where I'm just adding some very simple, tiny little leaflets. Oh, just loving this. Really enjoying doing these. You know how much I love Roses. And I know you do, too, so happy to oblige. Just some little details around these so they're not out there on their own. A little bit of the peri. And I'll maybe just do a little bit of a sequel there. Right. A little pause. Take a breath in. See where you're up to and what you would still like to bring in. 9. Class Project | Soft Roses, Inner Petals & Gentle Wash Over Stippled Centres: So into Tom's c and the Crimson, just to vary the petal colours. And I'm putting this here just because it felt like there was a big gap there. I'm thinking I can incorporate that bud and make it into a whole flour. A little bit of stippling. So I'm just gonna add a tiny petal there, and that's it. Love that now. So another gentle one down here in this corner. I do love mixing up the different values. It's another thing which brings character to our paintings. Just adding a little bit of green gold to the center there of those. I'm pausing every now and then because I know I get so into the joy of painting. Sometimes I paint too much, so I'm just trying to keep this so it has lots of room to breathe. So I'm just really defining and adding some textural petals now. Moss Rose and Tom's ink. A bit of everything there. Crimson, Tom's ink, and the moss rose. The thing that I love about moss rose is that it creates such beautiful translucent layers. So really slowed down now and trying to keep the whole picture in mind. Picked up a little bit of blue there. I'm not gonna panic. I'm just gonna put some Crimson over it. I just wanted to soften that it's quite a dark color. And this is another thing that moss rose is good for. Back to our stippler and going into the perigreen this time, I want to take most of the moisture off. So I'm not gonna push down too much. Just one movement into the center with this darker green. I'm so tempted to do more, but simple is best. I didn't like the texture of that. Just a tad too textural, maybe. So whilst it was still wet, I just went in with some water to smooth out some of that. And then I thought, Oh, well, it looks quite nice. So why don't I try that on some of the other centers. I really like that. It kind of softens it without losing any of the texture. And then just adding in slightly more pigmented areas. Do you know what we could use this for is thistles. I think this would be a great technique for thistles. And I know that one of you did ask me to do thistles, and I've written it down on my list of your favorite flowers. So just gently adding some very watered down green gold. It's very watery. I don't want to make these too heavy. So nice. I always looks good if you do a little bit of shadowing on one side, and that brings it into a dome shape a little bit more. Very delicate manures here with not a lot of pigment on my brush. Always best to go in with a more watery look if you're a tall unsure, and then you can always drop in extra bits of paint. A bit of perry there in that soft flower in the corner. I could faff around with these more, but if I did that, I think we'd lose the nature of the whole flower because these are very loose. So I'm now aware that some of the flowers, the centers look kind of divorced from them. So I just wanted to add a few more petals closer to that center just to make it look part of the same flower. So that lovely mix of moss rose and Tom's English Rose for some further inner petals. Just where I feel that the centers are just looking a little bit lost. So there's pressed in kind of scrunchy movements there. We've got all the softness, and now we just want to bring in a little texture. Just neat ink there so we can really go in quite vibrantly now. Very hard at this stage not to do too much. Right, little pause. 10. Class Project | Splattering & Finishing Touches: So I've picked up my size five round brush and adding a little bit of water to that green gold area there. And then let's just splatter some painting around the leaves. So it's mostly green gold with just a touch of the perylene green. I love splattering, but I try not to do too much. I do think that just a few little splatters is better than it taking over your whole painting. Again, something that's so enjoyable to do, and I know I need to restrain myself. So that's a little bit of green. How about some pink? Now, I do love this moss rose, as you probably gathered by now. I think that's my favorite color out of the three. But I'm going to bring in something that I do when I'm splattering, and that is some white. I'm using white guash, but you could use white watercolor or dot pH Martin's bleed proof white. Or just stick with your favorite pink. Just going to squeeze out just a little bit more there. It's needing a little help there. I want it fairly light and like a baby pink or pastel pink and adding a little water. So it should be just for splattering. I I'm just gonna have a little trial run. Yeah, that's nice. I like that. And I'm going to try and aim that at some of the darker sections. And it just allows that darker value to come into balance. Plus, it just looks so cute. Oh, my gosh, I could do this all day. It's so dangerous. I so tempted to just do this all over the place. But I'm kind of trying to target the flowers. And yeah, less is definitely more. Little darker, crimson here. Don't want too much. And I find using a small brush for this is much better than trying to do some splodges with, say, my size ten or the mop brush. It would just be uncontrollable, and I'd get really big drops, which would be hard to lift because we're using inks. So happy with that. Having another look over, seeing where there are spaces. Now, I did want to do a kind of a random placement. So I don't want to get into my old habits of when I was doing surface pattern design. I want to keep this as a very loose painting, which has a lot of room to breathe. So I realize that the bottom part of this painting, it's not going up to the edge as the top is, so I just want to kind of bring out these leaves and conquer that border. And that's looking better already. I just wanted a bit more movement around the edges. Now, what I'm doing here is another of my favorite moves, which is to draw your brush around the edges of your flower and just then bring it out into a leaf. So whilst you're going around and outlining the flower, don't think of, Oh, this has got to look like a leaf. Just place down your green around areas like this, and then you can stop to shape it. And the dropping in a tiny touch of the dark green allows the flower to come forward. We get that three D look. So doing that again here. And I love this combi because we've got most of the leaves coming out on stems. And what we're doing here is just softening that look by suggesting some leaves which are underneath the petals. I love it. And again, very enjoyable. And you can start to actually define the petals doing this as well. So that pale petal, now we can see it. Very slow movements. With the addition of the paring green at the base on some of them. So I'm leaving a tiny, tiny bit of white space. I'm so glad I did this because it's really softened it. Plus, it's a joy to do. Always a plus. So adding that green there, that darker green just starts to create that dimension very subtly. I've got a little blank space up there. You don't have to fill it, but I think I'm going to just add maybe a half open flower or two. And pressing the brush, you see me doing this a lot where we're just using the shape of the brush, really, and printing with it. It makes very lovely buds and half open flowers. I love it as a brush stroke. Like a mini version of what we did when we were creating the larger petals. Yeah, it's looking lovely. Happy with that. So I realize, obviously, I put some white in the moss rose, so I'm just going in with some neater moss rose a little bit of green, just to tie that together. And what you get with the printing method is you can see in the top left there, the two buds, you get a lovely cup shape where the sepals would be supporting the petals. So now just adding tiny little touches of leaves as if they're blowing around in the breeze. And I'm just using my size ten, but you could go down to a smaller brush here if that felt more comfortable. So just where there are white gaps adding these tiny subtle leaves. And then why not tiny touch of very pale pink around them. This is definitely our 10% now that we're working on. I love 10% finishing touches. So I'm actually going to stand up here. I am disabled, and I can't stand for very long. But I just wanted to zoom out and really loosen up my brush strokes. So I'm stood a little wobbly with my size ten round brush, holding it right at the top and not thinking of them as anything really other than little moments of color. You can see by adding this 10%, it almost feels like the flowers are springing out towards you. And I'm loving these little features. It's a lovely aerial view of our rosy posy. 11. Thank You!: Thanks so much for joining me in Rosie posy. I hope that you can take away a newfound confidence in painting a little larger. Also mixing and using a very limited palette to create lots of different hues. I try to bring in brush strokes, which we've done in other classes so that you get a real confidence and start to build up your glossary of brush strokes. So in this one, we used our mop brush again to create lovely textural marks, as well as soft watercolor petals. If you have any questions, don't hesitate to get in touch. You could create a discussion. You could also get in touch when you upload your project. Or, of course, over on my Instagram page, Holly Thomas Art. Thanks again. Take good care of yourself. Bye for now.