Watercolor Iris in Two Ways

1. Introduction: Florals have always a special place in my heart. And today's class is all about painting iris, which is one of the very difficult subjects so that I feel anyone can approach. Today, we are going to paint iris in two different ways. One has sketchbook exercise and other of full composition. Hey guys, I am reticulata not an artist, instructor or mother, her Skillshare teacher and brand owner of fibrin puzzles. Under vibrant puzzles, we produce various kind of artist grade products, like a handmade watercolors, sketchbooks, brush roles, etc. Many of you have already joined my earlier classes. But to the people who are joining me for the first time, I go by the name watercolor illustration dot later on Instagram, most of my art works at displayed over there. We start by understanding all the materials which we need for completing this project. Then we understand everything about the colors that we're going to use in two of these exercises. One is the sketchbook exercise, and how you use a full page offers sketchbook just by stepwise process. I do explain you how to use middle part of the sketchbook and then just add some drawings on the right side and make it more interesting. Once this is done, we are going to go ahead and discuss each and every point of how to approach this yellow iris. Yellow iris is of very, very important subject. Once you get to understand that the next project would become really easy for you. This is a composition and over here we are going to approach it even innovates simple and easy way. Exactly how we have approached the last yellow iris. Be forced through the background wash. You then approach the florals, like we paint the foreground florals, first half, exactly how you see me now painting the background florals, hiding all their details. I'm finishing it with our own signature. So without any further ado, let's start with our first lesson. 2. Materials & Colors: Let's just discuss what all we need for completing our painting. I have a few set of brushes which I have gift. I usually have one nice tip brush and another one for blending it. This is for applying water in a few places. And this has got such a nice tip if you see that I can make very thin, thin lines with. So that's one of the reasons I use it. Then I have this pencil. Now, I will use this graphite pencil for drawing. I have a scale by my side. This is important for a sketchbook exercise. I would tell you the reason once we approach there. This is the eraser. This is my masking tape that I'm going to use. You can use any masking tape off your choice. There are two jars of water available. One is the trace, and one is for taking off all the extra pins. This is the Sennelier masking fluid, which we will need for our final painting. I will show you basically two ways. One is with masking fluid and one is without masking fluid. Now these are two sketchbooks. By my side. One of the sketchbook is 300 GSM and another one as one unified GSM. In my 300 GSM sketchbook, I usually paint florals. This is for our yellow iris sketchbook exercise. I always like to skip sketchbook by my side. It really helps me to give an idea how I am progressing. So that's a great way to understand the progress. Then next is mutually to tell you the other kind of sketch book that I keep by my side, it is 185 GSM, majorly used for any kind of fall. Our rough watercolor cityscape. It is quick to dry and I can work very fast in this way process. These are the two kind of sketchbooks that you can also keep for yourself. Let's now understand all the colors which we need for completing the painting. Hello is that we will be using for completing all our painting is the lightest value that has the yellow. I will add this. Take off all the paints onto your tissue. Then we will take this Winsor orange, or it is also called as permanent yellow deep. It is great for floral paintings. Go ahead and check this color out. You will fall in love with this also. I really like it for all my floral paintings. Keeping our red biocides. It comes handy for Florida. And I would say keep mine or any other kind of thing that you need. This is the pink that I'm using. Then next would be your fopen. This is the solution that I would be adding for the blue. The other options are cobalt blue or else you can even go head with any other of the wolf your choice. The greens are yellow, green. You can have sap green, then you can have hookers green. Many kinds of drinks are available. But majorly, if you have these three greens, I think it would be good for you. One can be an olive green and Adele can be or like cream that. Well it clean. Though next is going to be 1 third, it is your vindicate green or any other dark green that is that you have on your palette. Let's just name each one of them now. This is the scenario yellow. Or else you can also use Indian yellow. If you don't have both of these options go for any yellow that is available with you. Sir, orange orals. You can also use permanent yellow deep. This is any kind of threat that is available. It can be red violet. Fluorocarbon mine aren't any. I think this is a bright violet. This is the blue that we have and adjust Prussian blue. You can go for cobalt blue or any other end onto him to whatever everything can look. The green is yellow curry. This is my olive green. This can be yellow, green or maybe green, which you have on their sheer monkey palette. It can be olive green or sap green. This has been like a grape. So these are all the basic shapes which we need for completing both of our sketchbook, It's sizes. If I go over here into my next cash book size, you can understand that here there is some use of my blues. Then all the greens that I've been talking off, you can practically relate to each one of them. That's all from the materials that you need, as well as the colors that we would be using for completing the painting. 3. Yellow Iris Sketching: A very important aspect of watercolor is our sketch. Now, this really happens when you are doing a painting where you have a detailed sketch of a flower or you have a detailed sketch off family illustration that you want to paint. In these cases, you're sketching becomes one of the primary aspects. So what can go head and should follow accordingly? You can always get better results. If your sketch is good, then I guess the basis or delayed hand, you just need to go head over it to get the final hand. Good outcome. So here I am doing or rectangular structure. Now within this rectangular structure, we would be going ahead and drawing the iris. Now approximately 4.5 inches. The bottom part and the right side of this rectangle that we have is basically about 66 inch. That's what I think. Dimensions are backed up. People get confirmed a bit more as we progress. We are going ahead and market of middle part of the areas. So that's how we are going about. That's how we will be actually drawing our sketch. Now this is more from a geometrical perspective that I have practically tried to explain it to you. Now, there are many ways in which you can draw your iris, but the first coordinate starting point for any beginner can be this kind of a geometric outcome which you should go ahead and try to add your painting. Now, why I say geometric? Because we just know where exactly our sketch should be, how each of these petals should look like. So all of that put together, it is going like the bottom part of the petal is going to lie within the rectangle that you saw, right? Tao, which I did make. And now I am making lines at an angle. These angles would really help me to actually define the other parts of the petals. So overall low, when you have a look at this whole structure, you might feel that it looks more like it is geometric or it's been broken into a very simplified or maybe tough version, as you can say. I would say most simplified as I have made a few lines which are basically my guidelines. And this guideline is going to help me to define, I understand where exactly I need to place my petals. It's a very, very important aspect of sketching. Now, this can really help us to work well with the whole part of the iris. The iris is not a very, very easy flower. Because it is not a very easy flower. It becomes difficult at each and every time to understand where exactly you should place your petals, where exactly you should mark your lines, all of that together. I think this can be your go-to kind of a sketch. And you can practically nil any sketch up to this. This is almost a full version, I must say, of the iris which we are doing. We are going to do an easier version in the next composition. But it's a composition which means that exactly where we should place our two florals becomes very important. At what height, where exactly placing them for the best outcome, how our background should be. And so much more we have to decide can that part of our painting. This is practically just how to draw and how you can make your iris. Okay. I think I have said enough about how to go about. Now let's just sketch it. I have taken my pencil and 0.5 mm. And I am going ahead and adding some lines. Yes. This is the petal that I'm trying to define. Some of the places state is more curvy and some of the places there are a few lines, you will absolve how quickly we are moving between the different points that we have actually added and how we are. Done with the first petal. So it becomes really quick though this took about five minutes of our time. But this is the first petal and this was the major focus we had to define basically the subject where we will be painting and everything. So yes, it took us some time, but from here on, it would be more quicker. I'm going ahead and adding some lines again. Now, this is not the final line. So always make them the more lighter compared to if you are working on the final lines. Which means that once you are done with these lighter values, you can go ahead and add some darker values with the pencil. But in this medium of watercolors is basically transparent. Which means that if you add a lot of graphite marks, you might have to remove it before the final painting. So always go light when you are working with your watercolors. This particular sketch book is from vibrant parcels and tactically I had this one single page which was left. So it becomes very tough. You know, when you're working on a sketch book and you see a blank page, you practically don't know how to utilize it somewhere or the other. As I progress or as we all progress, can our watercolor journey, or how you use your sketch book? I think this is an important lesson. I did go ahead and paint this iris and the middle part of the sketchbook. And then in turn around I actually explain the steps that I followed for the drawing to final painting in non-small, small miniature paintings. I think that is always a great way to work on your watercolor paintings. Why I say that is you exactly do not want to go ahead and make like four or five virus on a single page. Whereas we do not want to even tape down our paper than start with painting. That's what we are not going to give you are going to go loose on this part of the florals because it's all sketchbook exercise though this is a 300 GSM watercolor paper, what I'm using for my painting, but you can even go head width, lesser GSM paper if you are well-versed with it. Like there are many paintings where I do it on 185 GSM to 200 GSM. That's absolutely fine. It all depends how you are using your paper. In case you do not have a sketch book, please go ahead and just use any kind of 300 GSM paper that you have. There are many times where people have, are many, many of my students have told me this particular painting did not exactly turn out the way we absolve you doing. And one of the major reasons that I have always seen is not using the best quality paper. So I have been always telling you that using the best kind of paper is very important when you are working with watercolors. Yes. I have told you there are two options of watercolor paper. But a 100% cotton is very, very important whether you are using 200 years and 2300 GSM. If you have a 100% cotton paper, I think that your final painting will turn out really great. So those are the small, small aspects that I want you to understand for your paintings. Because it can really give a lot of problems when you are starting out as watercolors. Big node has sometimes or the other, we are always comparing our paintings at that point in time. And slowly, steadily. We do understand that all our journeys are not same and knowledge when you spell never be same. So all of these maturity doesn't come on the first floor. Hence, if you are going with even cheaper paper, you are not getting the final results you might give up on this hobby. And that's what is not a great idea to do. So yes, I think that's what is the main point which I was trying to say that never use a cheaper paper and give up on something that you'd really like to do. So That's where the whole energy should be concentrated to get a good paper and have a great outcome. Okay, I guess while you were painting, we had a lot of discussion about paper, not painting exactly Adding graphite on your paper. But sketching, as I always say, is a very, very important aspect. Before you start with your watercolors. That's Dean of very important part of my journey. Always, initially, you know, I was never concerned much, but what I draw, but slowly, steadily as a progress ten, my journey, it became one of the most important. But how do I walk around with my sketches? If my sketches good, most of the time I saw that the final outcome is great for whether it be florals, whether it be an intention, whether it be anything else that I'm trying to achieve. So I would always stress on that. Try to have all goods sketching, try to break up each and every subject into small, small aspects as geometrical shapes and sizes. Then you have a greater, we have even added a small stem. Now let's move on to the next part. 4. Yellow Iris Layering, Glazing & Detailing: I know you guys are done with the sketching part and now we will have majorly two brushes. One would be applying the water or our blending brush, you can say, and another would be adding the colors. I will use about three sizes of brush for this painting. And this one is from the Vinci. I've been using it for a while and it's been one of my favorite brushes till now. So here it is. Cc'd or more brush that I'm going to use the cosine series for adding the water. Once I'm done with that, I would go ahead with the Vinci peptide plush to add some colors. Now, the colors is basically, you can say the Naples yellow that I'm adding. But once I add this Naples yellow, I do understand that it's not giving me the warm color, which I really want for this yellow iris. That's one of the reasons I had to shift to Senegal a yellow. Now, these kind of small, small aspects of watercolor painting you prepare to understand when you start adding your colors. If you are also sailing in the same boat where you are trying to understand which colleague who might use, I think always using a lighter shade or a less warmer shade like Naples yellow is a great idea. Once you are done with that, then always you can go ahead and apply colors like yellow, because even on top of this, yellow can work. Though you can directly go ahead and apply even Gallo, either a decennalia yellow Indian yellow, any kind of yellow that is available with you. Don't try to use lemon yellow. Lemon yellow is a bit opaque, as I always say, though, I would be using lemon yellow in my final composition. Another thing that I want to tell you where you can go ahead with this shade of Winsor orange. It's a very light shade and it is majorly something like oh, permanent yellow deep, which is in-between your yellow and orange and it looks convincing when you apply it on the paper. I would be using it pretty often along with red, violet, or you can say crumbs and whatever is available on your palette that is good to even rose madder is great. So these kind of colors would also be required for some finishing touches. Let's go ahead and apply this color on top of the people. Majorly your second layer, or this is the layer where your painting is defined in a better way. We are doing glazing as a technique leasing is actually going ahead with your second layer on top of your first layer. And exactly not covering all the parts of your first layer. It is going over your first layer and be finding a few areas which you think is necessary for your. Secondly, those kinds of definitions is very important because we need to show these petals have these kind of curvy structure. Those curves can only be defined with the help of your forearm. Yellows that we add to the painting. These kind of small, small aspects are these kinds of techniques. Of course I would keep letting you know. Along with it. Do make sure that you do have about two to three brushes, biocides. One is a very base small brush that I'm keeping thymocytes size one brush from is caught up. Though. I feel that I do not have great depth with this. So I might go ahead and change the brush in the next painting. But yes, it's a good one to go head with. If you have a great tip, that actually matters a lot when you are doing the final details. I'm going with my water again. Now. This water comes from a fresh supply that I always have by my side. Now, fresh supply of water is really important when you are working on your sketchbook exercise. If you need any time, some amount of your fresh water, you can go ahead and use the other jar of water that is kept with you. One is the clean jar and one is where you actually take off all the paint off your brushes. So that's something which I really like to tell you when you are working through watercolors, an important aspect. If you see I am pulling the colors from the sides towards the middle. The middle part of the flower is more on the lighter side. That is, we would let the transparency of the watercolors shine through it. Keeping more of the white that we have on the paper of the paper to be shown off. Well, whereas going from the sides and just applying the yellow flag washers are not a great idea when you are doing florals. What do you mean by flat wash? It is applying your colors evenly over the entire surface. Now, this is a wet on wet technique. You can do flat wash either on wet-on-wet quad, even on wet on dry. That option, I would leave it up to you. So I think as we are applying the colors, this is more of a variegated wash, but with one single color, variegated wash is not going evenly over the entire place where you want to apply the colors. Varying the intensity of applying your colors can few of the places I'm touching more of yellow, whereas in few of the places I'm leaving it as it is. So I think it makes lot more sense now as we are covering a lot of techniques like we did for placing, then we are applying the variegated wash As you saw me doing it right now. As well as this knowledge, a variegated wash will be very important when you are going ahead and working on don't background. Now, I have explained these two washers in lot more detail where through my other classes. So if you are looking through these details, yes, you can go head and try out the other classes which I have on florals, you will find it out. And now going ahead and applying some of my Winsor orange towards the bottom right side petal. Now you can see the backside of the petrol turning towards us. It is basically flipped. So these kind of small, small aspects becomes very important tall when you are working through watercolor paintings or majorly florals. So if you have a leaf which is twisted, carbon dioxide is seen on the front side is not seeing. You will have to add different values of the color to show it properly. I think it's a small thing and you already know it how to apply the colors. I will wash my brush now and start applying some clean water. Since we are working more with the warm colors, I know that. I mean, the jar of water that you are using might not be completely bad. So even if you want to use the same jar of water, you can try it. But keeping another John is of course, always, always helpful. This brush has got such a nice step and it can make such beautiful smaller lines that I love to use it for most of my watercolor paintings nowadays. Going ahead and just applying and blending the colors with some water. This is a great way to walk around with your watercolor painting. Always wash your brush wherever you want to add only, only water. Go ahead and apply. There would be some amount of water which would move from your more pigment and space to the less pigment that space. That's how the color usually flows. So in an adult, going ahead and applying some more yellow and few of the areas. Now, this whole part where we are moving from our sketching to our final painting of the yellow iris on the sketchbook is done in real detail way I must say. But as you progress through your watercolor journey, you will understand that. But I do not like to actually give all the instructions. You can, of course, just have a look at your painting or whatever I'm doing and painted along with me. We will do that more when we are working on our next composition. Going ahead and adding some colors on the top of the petal. Now this is the last petal that we are doing. Always make sure that you move around the petals only when it is completely dry. If you weren't going from one petal to another and it isn't assigned to each other where it has still not dried. Then always remember that your paints will move from more pigment that space to let, less pigment that space. Which might lead to lot of problems in the way that you want to preserve in your other petal too. So small things, but that should be kept in mind while you paint. I have taken some similar yellow on my brush orals. You can also go ahead with other yellows that you have been using for this painting, and then start adding another layer of glazing. Now, this even helps to define our petals in a better way. So I guess so it is more of a definition that you add into your painting. And it's more of details that you add. Now, this can be usually seen when you are working through any of your watercolor paintings are very, very important aspect of watercolor painting. Though. I always tell you we are not here to go with absolute. I mean, I do not want to copy the entire thing and it's absolutely fine to not have a very realistic approach towards any painting, but adding the details becomes very important as you progress with watercolors. So you can have only one or two layers. I would leave that up to you as a decision. But always adding two to three layers is a great idea. Going with a very light washes to the beginning and then moving on to the smaller lines of details is how you should progress with a transparent medium like this. Though, when you are working on landscape or any other kind of structures, it might be very different compared to what you were doing right now. So I guess this is what I wanted to tell you and now I am going ahead and we'll keep adding these smaller lines. There's nothing much that I have to explain over here. And few of the places I'm planning with my clean water and few of the places I'm adding these lines. That's how I like to go about it than you just need to follow along with me. Throughout the sketchbook exercise. I have not added any music. You can use any kind of music that you like to listen to this point in time and work along with me. I think music really helps us to concentrate the decision of music. I would leave that up to you. I will continue letting you know what exactly on how exactly you can progress through this painting slowly and steadily. Few of the ideas I do change even the intensity of the color. Some of the areas are lighter in intensity and some of the eight years having more intense yellow color that I have applied. So something like this can always work out better for you. Changing the intensity practically gives you a lot more depth into the floral. If you observe for a particular flower, you will not see the similar amount of pigments are the similar amount of colors at each and every place because it is nature. And nature has its own way. It is never, I would say perfect. And if you want to actually imitate nature, it's very important to go ahead and change the intensity. As I say, I'm using the tip of my brush. If you see closely, I have taken the yellow and I've started adding small, small lines. Some of them I'm branching out and some of them I'm just leaving as a test. I would be even breaking up these lines and few of the ideas everywhere you do not need to actually go ahead and keep adding on these lines. So just like just like you see me doing, a straight continuous line is not what we require. A few places you need to break it up so that it looks more organic. So you continue working through it. I am adding a bit of red into my orange that I did apply earlier. Now going ahead with more lighter value, I must say and take all the extra pins that I had. Once I have added this, then I would start adding some more lines. Now this is more of details. So I must say it's not that this is the most necessary step, but it is something that would really help you to define it better way as I always say, something that I really like to do, even for my own paintings. I'm not very happy with the orange, so I might have to add some amount of pink and toward, though the orange can show off over here in the middle part of the flower. And then blending it with clear water would help me to show it in a better way. Yes, it's important to blend it with some clear water. It has some yellow under it. So yeah, as you blend, you can see some yellow moving. I guess. So. That makes lots of sense. When I see it closely, I'm pretty happy with how it is turning out every place. So wherever I am adding the colors, I go ahead and start adding color, blending it with my brush. You can take some amount of carmine or you can also go ahead and take any kind of thing cross model that is available on your palette, and then have a color like this. It is very important to define some more lines as yellow and yellow colors. If you see they're all seem to change the value. It's important to add something that is a bit more on the red side. It's just one few of the places that I would be adding this red. It's not that I'm going to add it everywhere. And this would even helped me to define the middle part of the petal of the iris. And a better way, I'm going towards the left hand, towards the light as well as I'm keeping this in mind that I am not doing or continents movement of this line. What I'm not continuously painting these lines. Some of the areas I'm breaking up and then going ahead and painting it. It's very important to show this break-off lines or else it just looks like it's not that organic. Yeah. I have even made those continents lines Initially when I was painting and then slowly, steadily. There are four of you paintings where I do these lines continuously and for a few I don't. Has has it is required. I do add it. Yes. That's it. And keep adding some more lines as you progress through these middle part of the flower. And I guess this was way more in detail than I would really love to explain, but this is good. This is the only petal which we are going ahead and adding so much of details, the other petals will not be with so much of detail that you absorb. So yes, this is the flagship petal, I can say this is the major one that you have to pay a few of the areas, I'm adding some more lines. As you also to show the petals have these goals and a better way, those change of intensity of colors can really help. Does not even changing the intensity is actually changing the color altogether. Coming up with various values as I always say, values, and even adding some more paints. But though all of this is more from the warmer side that I have added, I would be adding more of greens and darker values it to make it the cooler background, I must say. Usually I use an approach where I'm making warm-up flower. I would go with cooler shades of gray, not all of them. I would use cooler, but yes, it would be on the darker values so that you can see the contrast. Contrast is very important. It shows the depth as well as it helps to actually showcase your subject in a better way. That is an important part, which I wanted to, of course, let you know more in detail and I will explain you more in detail as we progress the greener part of the background. Many of you have so many questions when we are working on this green side, that how do I practically decide which to paint first, whether it be the floral or whether it be the background. But there is no perfect answer, I guess, for it. When you are a beginner, you can start with your background, painting first, game, lot more confidence and then move on to your metal part of the floral painting. Because you know you have already near the background courthouse. If you want to go ahead and paint your genre. Main subject, which can also help you to gain a lot more continents. What happens is usually as we progress in our painting, if power background is simple, then we gain a lot of confidence. And that helps us to Neil, even the subject matter. Even if we go wrong somewhere or the other, we just say that the overall painting looks nice at this point in time. Whereas if you are following the other way around where you are painting this subject first and applying the background later. If in case your subject and not no, not exactly the way you want. Or it is. There are some happy accidents that you met. You might not be willing to, again, take the risk of going ahead and painting the background and then coming back to the painting. So those small, small aspects I guess, is better covered when you are working through the painting, adding some green. Now, this is basically the yellow-green. You will see more of yellow in it rather than the green that you have applied. I'm applying it on the left and the right side of the petal, which is just had to send to the bottom petal. It is adding a better fit and then blending it. I do these kinds of small, small tricks because usually people don't get to understand that this is the green that I've added. When you see the complete painting, you cannot practically guess, but it had so much more volume to this flower. Now, volume and depth is something that I always look forward to. Now, depth, of course I have told you you have to create different various values and then you get it and volume is majorly to show that it looks big. And also, um, that's one of the reasons I tried to paint. Like when I, when I am working on any kind of subject, I must say, now, this is something that I must tell you never paint small or never sketched small. If you can sketch large, your final painting will turn out well. And if you are even failing at some point in time, do not get disheartened. Do try to keep up. The hope that you can really meet the hoop is very important. My nine started off with my watercolor journey. I never thought that I would be adding fluoride to my portfolio are together. That's something you get to understand when you progress through your watercolor, yours, you do understand what you'd like to think. You change a lot or you evolve a lot, I must say. You'll get to understand what are your favorite subjects that you love to paint. Do you like to add a lot of really awesome or do you like to keep it loose? The draw these small, small things. And so many of you say that how about particular artists teraflop their voice, teraflop their style. Yes, it takes time to develop your style, to develop your voice. But as you practice, as you keep painting, as you explore your new subjects that you want to paint, you get to understand this is exactly how you want to work around with your subjects. Walk around with your paints, work at home with your paper, sketching and everything becomes detail in that way. So it's all about time that you have to give. It's a journey. It's never a destination that you reach. You have to enjoy the process. Even if you are sometimes not very sure of what's coming ahead or is this the best outcome that you have? Still keep up with the journey? It's important. And just the way I told you, I've added a darker value of yellow for the curve of the petal that goes from the bottom or the middle part towards the top. That's how I see it. And then again, adding these smaller, smaller details or the smaller lines, I mix up some red or you can also go ahead with some orange to add that cost value which you want. There is only a very less time photo, five-minutes, which is left in our painting. And over here, I am only adding this smaller lines or the glazing layer to add the depth to all these petals that we have added. Now, these are the petals where we are not focusing a lot on the lines are on the depth. To huge extent. The major important battle that we wanted to explore was the bottom one. And we have already added that in detail. Another thing, another point that you always should note is not to keep exploring each and every part of a particular painting in detail. Yeah, That's very important. You have to keep some of the areas too loose so that people can focus on a few of the areas of your subject. It's not that we are going to go overboard with each and every part of a flower. Yeah, you can also do that. But for me, and with the style of painting that I follow, I always focus on one part of the subject more. It's not that I'm not focusing on other funds. Of course, I'm focusing on the other parts. But adding lesser detail can make it more simpler, quicker, easier, as well as it looks up, you know, each and every place doesn't demand so much of an attention of yours compared to what it can to add. Of course, you might be thinking that I have to add a lot of details even here, but it's not required. Few of the places can be left just like that. It will automatically do its job. It's not that each and every place where it has to be a lot of friends. If you see, I have added a lot more reds while we were towards the bottom part of the flower. But I'm having lesser amount of red has p are going towards the top part. Now, just showing the part of our petal of it. And then moving on to the right side. Now over here, in this particular case, you can move between adjacent petals. Has, there's not much that we have added. It's just a bit of your lines that you have added for the glazing thought rest. Everything remains the same. I have added some more vermilion into the yellow that I half on the palette and then blending it with more yellow. Yeah, let me get more, more, more yellow yard. That's how we change the values. So something that I love to explain blended with a lighter value or with a warmer shade wherever it is necessary. Adding a bit of green into the yellow that you saw. Tacacs. There's lot of change that you can do in a watercolor painting and then blend it with your blending brush after one year, you can treat this as a blending brush or a brush which you use for applying water. You see how much there has been a transformation from just a sketch to the entire painting that you did. Now. So the transformation happens and it takes a while. This is our real-time video or have not practically done hanging thing in terms of increasing the speed of the video. Hi, I am painting at this speed and I'm even explaining at the same speed. Whereas the next video for the composition would have taken on sars. If I were to have not gone ahead and just made it quickly or not increase the speed or the speed has not been increased to a huge extent. It's just a two-week speed that you would see. It's basically a composition. You have to Iris flower that you have background, you have leaves, etc, coming up together and you will practically get bored if I keep explaining each and every detail. Now, this is a major part of a sketchbook where I do like to teach you exactly how you go ahead and paint the iris. We would be just repeating the same process though. The iris will be changed in that. And there would be a bit more difference in terms of what you consider as your subject, but it's not a lot of difference that you see. So yeah, we are good. And now adding the final few lines towards the top area, the petal. I guess I'm pretty happy with how exactly the whole lawn flower has turned out. It's just that when you add the background, it would give way better outcome. Now, you, many of you might even like to add two lines. So that is majorly line and wash. But I would like you to leave this painting as it is. Do not try to add any more lines or any more white lines in black lines, whatever it is, just leave it as it is. It looks already a lot amazing. We would have the background in the next row, as well as see how to use the entire space of the sketchbook rather than just painting only the iris flower. It's actually an added advantage to any one. Now, when you have a blank sketch book and you can fill it up effectively. 5. Yellow Iris Background & Sketchbook Space Utilisation: Using the final left-out space off my sketch book, it is majorly, understand. How do we use the complete sketch book as well as painting the background. Painting the background is going to be simple. We will be using a few colors that you are yellow than yellow, green, I would say. If you don't have this yellow-green just mix up some yellow with green that is available on your palate and then you can get something closer to the green that you absorb. If you are from not having this particular green and want to purchase something like this, yes, it does supply the login from sending your army green from Shimon case. So there are lot of options that you get. And either you can purchase them or you can just make them on your own. That decision, I would leave it up to you, but according to me to not go ahead and purchase all the colors, if you are using it more extensively than I think it makes all the sense to purchase or just go ahead and use the mix of your screen as well as yellow, more of yellow and valence or crane, you will get a color that is similar to it. Once that part is done, go ahead and start adding the color green. Now, either you can use an olive green on a sap green for me, molecule looks better. So I have gone ahead and added the old queen for my painting. This is more darker compared to the green that people are using. And the whole of the painting is real time. So you get to see even this one small piece having different, different spaces that I fill up with my brush. So it takes a while. This painting of flour has never been very easy. It does take a lot of energy and I would ask you to do it and breaks. So this one I told you is real time. It took more, longer compared to what you would see in the next painting. Now, that would be a two speed, as I've told you, there's so much that I have to cover within the time limit that I set for myself, but I can't So we are having or to speed on that, but major things would be explained well, and I think you can follow along with me. It should not be a problem. Wherever you want to take a break, go ahead and just stop the video for a while and understand what they think. Once it is done, you can resume the video that way you can really control on the speed of the video. I hope you guys know where to actually change from the bottom and from the top right-hand side, if you are watching on smallest, clean, the bottom area where on the left-hand side basically you can observe it when you are watching on the smallest screen. These are small, small aspects which you can always follow. You can stop the video wherever necessary. You can just follow along. Very, very simple with another aspect that I would like to tell you is whenever your paper is wet, coming back to the painting, you can do a lot of things in that phase, some, because if your paper is wet, what happens is that your colors automatically starts flowing. And your colors starts flowing, then it becomes really easy for any artists to work along with it. I am right now using my brush to blend my colors as well as I'm using a very, very thick brush to add water. Now, this is the clean water which pipe keep hiding to my painting. Has, I have not gone ahead and added water for my background. And I'm doing it once, so it is actually drying up in some places and it is wet in some places. So those ways you can always manage your work. I am not a believer that you have to continue working on it or you need only wet on wet technique. You can have wet on dry technique. Just the way we are doing right now. That is no one way or one best way to work around. Now. So always remember that whatever you are more comfortable with, this process might not be the best way to progress. So when you are having less than 300 GSM paper, if you are having a less than 300 years some cotton paper, then I would ask you to go ahead with the wet on wet technique rather than this wet on dry because your paper will not stay wet for a longer period of time. In that way, you should use your wet on wet technique where you can just go ahead and add more paint to flow exactly what you absorb. Right now, I have mixed some amount of my Sennelier yellow or Indian yellow, you can say into this color of green and I get three light greenish kind of color. Many people also like to use quinacridone, gold, that's one of my favorite colors which try, go head and try or use during my watercolor painting. And you can see me using it very often in many of my other paintings though you might not see it right now, which I'm using. I think that can be also a great mix of your green and your yellow. You can even try out quinacridone, gold, and lactase. I am pretty sure about it. You will really fall in love with that. So yes, that's the thing. I wanted to explain it, to go along with it, the guards to three or more aspects of watercolor, which I want to tell you. Now when you are working on a blank page, it is very difficult or it becomes really challenging to understand how you want to actually just paint the whole of this page. And sometimes what happens is when we're starting out on a sketch book, we are so skeptical of what to do on the sketchbook. How to progress, you know, in a recent sketchbook exercise, which I was doing, I just painted one of the European buildings and then I was not sure what I want to draw next on because there was some amount of empty space. I wanted to give drawing a shot. I went ahead and added one of the tulips. So actually is there's a lot of tulips and bunch of tulips and Vos. And we'd either shading, drawing along with it. It was so amazing. It was so liberating as a challenge for myself. Every time you do not need to add things to your paper to create the beauty. Using any part of the sketchbook. I would leave that up to you how you want to use it. Sometimes you can do two or three paintings. Sometimes you might just go ahead with one painting like this and explaining the steps of how you have gone ahead and added the steps or how you did hand each and every point of this watercolor, whether it be step one of adding the first petal, then step two of creating more petals. Then step three, shear force, just the way we would be doing in the stack, can be another way of working on your sofa. Or they can be two different, two different contrasting paintings that you can create. One can be with black and white, and another can be with the colors. Those kinds of anything can be created on a sketchbook. It is so much helpful when you are working as an artist, you just get to understand how you develop yourself. You are using both sides of sketch book page, which is the best way. Use all cotton paper. If you're using both sides, start becomes amazing. Right now I'm using or sketchbook from vibrant parcels. And I have been using these sketchbooks very often I'm in one of my sketchbook is already done. I'm onto my second sketch book now from vibrant muscles only there because I just like to use a 100% cotton sketchbook. And hardly there create sketch books which are available in the market according to my requirement, I would say. So. Yes. I think that that's the one which I like to go ahead with. The I use both sides. And if you don't, I don't like something's in one of the paintings. That's okay. I just believe it. And I move to the next page. That's the liberating part of our sketchbook, which you can keep for yourself, as well as its adjoining. It covers your whole journey of how you have a vault as an artist, even over a few months. I started off with one in this sketch book about in February, and I ended it in May, June. Do I keep working on other sketch books too, but yes, that's how I ended up finishing off the painting on this one. Yeah. Like I think you guys should take care of the progress that you do in your painting. If even you are just trying to hustle between work, relieve your stress. It's great to know that you are progressing. And when we're doing an amazing job, believe me, has always been a vaccine for so many of us. But when we come to painting and when we start adding the colors on paper, it's a different feeling or together, blending some paths which I feel is necessary as you can absorb. So here we are, back to the spot where I'm going ahead and adding some more green. I initially added a lighter shade and now I try to add a darker value in and around the flower because my flowers or the watermelon shades. So if I had this contrasting color. You will not get the exact app or the whole subject will not come out. Well, that's one of the reasons for me to apply the darker values. But you can even try with lighter values or conduct colors. I would leave that decision up to you backgrounds, you should always experiments and understand what works the best for you. Handle. Frankly, there is nothing which I can say is the best thing that happens. It's just trial and error. Go with as much trial and error as possible for your backgrounds. And I'm pretty sure about it. You can actually maybe your backgrounds, there is not much of different IP while you paint the background. But guess there's lot of confusion as an artist when you paint the background, whether to go with background post and then go with the flower, or whether to go with the flower and then the background. Now I've already explained it, which you can go ahead with us. But still it's, it's there in a minute dilemma. I would say just go with continents. That's the most important aspect of watercolor painting. Go with confidence and I'm pretty sure about it. You would hug, going to nail it, going with my size one brush do I was not very happy with the tip of the brush tool later on and changed it to the best step pitches is called optimal brush. Anymore if you have already absorbed me using that brush for quite some time, and I know that whosoever has seen me using that brush is pretty happy or even if you have purchased it, you're pretty happy with that. So it has got a very nice tip and you can use it for anything lines as well as it has caught oh, nice. I mean, the thinnest part on the tip, whereas the bottom is more tickers, which gives you a lot of flexibility when you are painting and going with some more darker value of my Olaf and then blending it wherever. I think it's necessary. I keep my blending brush very handy for these watercolor painting and do not worry about hard edges. We can just try to have the soft edges, but every time you know, it's difficult to get those soft, nice edges. You're working on a sketchbook or just completely drying up pan. I am actually in the northern side of India. It is so difficult to keep your sketch book wet. The paper on which you are painting wet for a longer period of time. The amplitude over here in degrees Celsius as close to Forty-seven sometimes. And that's one of the reasons I say that you will get these kind of hard edges because of the climatic conditions. There are a lot of climatic conditions which actually ruled the kinds of paintings that you do. I always feel that whether monsoons, It takes a lot of time for the paint to dry up. That's one of the reasons. So you always go ahead with the quick drying or you can use a dry it and those seasons or else you can even, you know, how face simple thing happened to me while it was the monsoons pain. So we're becoming wet. And initially I was like, why is it becoming wet? But slowly I realized that it's because of the monsoon season. There's so much of humidity in the air. Those were the initial years for me and I'm never sure of why things are happening to me that way. But yes, overtime, I have realized climate has a lot to do with your painting. You're painting dries up quickly or painting might stay wet for a longer period of time, so you get more time to work on it. Those kinds of simple, simple things to keep happening. Adding some what amount of lows matter towards the bottom area. You can see this is just to show the stem in a better way. And I would go ahead and blend it with the green that I have. I like to show this contrasting color even on the stem that yeah, I paint. I take care of every detail which I like to add in my painting, but not going too slow with the process. That's something which are liked to follow. Don't go very, very slow with the process orals, what happens is you might lose your interests and painting, at least as a person. I like to work quickly. I like to finish off our painting. And that's one of the reasons I like to go ahead with A5 size sketchbook. To sketch book that you now see is K5 size. I use both the sides together or sometimes one side and later on the other side. But it's quick and easy as well as you get so many unique and beautiful paintings together. So overall, it's a great, great experience. So I think that I highly, highly recommend a scheduled exercise for each one of you in case you do not have a police go ahead and use of paper to do this exercise. That's also absolutely fine. It is just that I like to keep a track of how I paint and what I paint and as well as how I'm progressing as apt, all the audio going with some light colors of the rose matter or carmine, whatever you have on your palette. There is no rule as such, you have to go head with one single color. So I leave that choice of color also up to you, mixing some more color and then just pride in one or two lines here and there. It's just to create the depth and contrast and few of the places not that I'm touching each and every place I'm thinking before I touch any part of the flower. Because had this stage going back into your painting becomes very tough. So you have to practically look at only the details which you want to add rather than going ahead and changing the painting altogether. Small aspects, but once taken care of for one side, let you know about this. I think I would be more at ease. No, I know you have already created a lot of contrast with the greens and now you can easily see the medial part of the flower is so well since I'm in the whole of the flower, has become contrast in terms of the cooler greens that you see somewhere in and around the flower. But in few of the places I want to touch it up a bit more. So I am keeping one blending brush, which has a lot of water in it, as I always say. And another one is majorly my very thin size, one brush, but had these smaller details urine there, we would go ahead and add it even on the right side of the floral. These things I think is not a very much a necessity. But it's more to just let you know that it has a lot more insight and it adds a lot more beauty into your painting. Along with it, I must say that we should know exactly where to stop. Sometimes what happens is we keep on adding these small, small stuff and then we are so much, God, we just go with the flow so much that there is no end to it. So you must know where to stop yourself and just let it be as it is. I think this is it. I'm not going to touch more on any of these pieces after this. I would go ahead and utilize the other part of the sketch book. If you see I have lot of space on the left bottom side. I have lot of space on the right side which you will be seeing after this. How to use those spaces for me since I'm eating this floral to you, as well as creating the lessons. So what I just thought that let me use it for stepwise explaining the process of how we went ahead. And I did draw this flower for you and then even paint on top of it. So that's what I'm going to explain through the sketchbook part. You can do a lot of things and sketchbook you can have lot of paintings, as I've told you together. You can have less number of paintings. You can have drawings. You can even have postal stamps if you are doing urban sketching on various sites wherever you think it is necessary. According to me, every painting that you do want to sketch books should tell a story. And I love to do that. For this part of the sketch. It usually see is that we have started off with a sketch on yellow iris. And there is a step-by-step process which has been explained. So that's what is the story all about for this particular sketch in my sketchbook? Whereas you might have multiple stories that you create in your sketchbook. It can be about food, it can be about lifestyle, it can be embargoed places. It can be about anything that you think is important. Over here. It has only the structure that we are following. How he did go ahead and just make those petals, florals, etc. So all of that we are trying to explain over here step-by-step. There are basically four steps that we would be doing. This is the step number one. It's a very, very minute kind of painting or a structure that we are trying to create for any. A person who absorbed. So it all goes through your sketchbook, really gets to understand what's going in the mind of the Creator. It creates a voice for you. For me, I guess it's very important to create or to have this voice. Artists will always have a particular story-telling way or they will have a voice off your own. They will even know the kind of paintings that they do, the kind of style that they follow, all of it put together. It is different and different approach that you must go ahead and take care of. And that's where the whole of this thing comes to life. This is just what are the florals which we are adding on which we have. There are a lot other floral so that you can make like this. Even if you were studying, like hibiscus saw you are studying any other flower like Mongolia. Anything that you want to do, maybe release. So whatever comes to your mind, try to study this way. I think it would be a great approach when you are starting out or you are new to watercolors. This way you can practically understand how to break your subject, how to start out with that particular subject. You can make these small, small, or joys initially. And later on. Go ahead with the final painting. I would again leave that up to you how you want to approach the painting, but that should be the way you should approach it. Now since I wanted to use the space, yeah, That's why I have this kind of approach, but that can be your approach even for your future projects or florals, et cetera. I think we are quite happy with how this whole of the painting has turned out. We will go ahead with the next painting, as I've told you, it's more about composition. It is taking lot more time than what we have over here. It was more of a quick one, and we just had to paint one floral over here. There would be multiple florals, then there would be even know some leaves that we are adding. Overall, it's going to be interesting. So I hope that you guys have piped up for it. I'm already excited to approach our next painting because it has so much to do with the guidance of likes and the kind of work that I do. It is so much nice to see everything coming to life slowly, steadily and how I approach a subject that I like to even share my knowledge with you guys. Saw easy one, but it might take a while for you to understand. That's one of the reasons we did the sketchbook exercise so that our next lesson becomes very easy for them, for us, for all of us. Because many of you might be just new to watercolors for them, I would always, always suggest your sketchbook exercise. Once this is done, let's have a look at it as we then move on to our next painting. 6. Blue Iris Composition and background: Okay, So here we go. And as I've told you, this sketching and the background is going to be up to speed. So you can always reduce the speed when you want to have a look at it in a slow way. On the left hand, bottom side. Or if you're watching on a bigger screen, you can adjust it on the top right-hand side, there is an option if you're watching on a smaller screen, I would request you guys to watch it on a bigger screen because this is a bit smaller than A4 size paper. And since I wanted to cover the most of the paper, whereas there are places where we have gone ahead and even worked very closely at each of the painting areas, but still, I would request you to go ahead and make your checks and how you want to paint it. It's great to always work on a bigger screen that way, you know, that's one of the most important parts. So for watercolor journey, or if you are watching anything on a bigger screen, it gives you more opportunity to go through all the detail that you see. This is more of a drawing, but not having so much of, I would say, not going through so much of geometric patterns or trying to actually break up the subject and to an absolute geometric way, I would request you all to go head and forestall download the painting from the resources section. I have already intuited it. It has good paintings together. Now, this one does require some amount of help. So go ahead and keep it by oocyte before you start painting. I am going freehand with this drawing because I have already helped you out with how you can draw these irises and the last sketchbook exercise. And it is important for an artist Steven to try a free hand drawing every time we might not be successful at getting the best outcome, but it's Cauchy. We will go wrong and still we will be in a position to get whatever we want. So yeah, I think it's important to fail and then learn. But along with it, I have to tell you that if you are good with the kind of weight that I have taught you in terms of just breaking this up into four smaller details. Please go ahead and use that method. I'm not saying that's bad method. That's always a great method to go ahead with. It's just that I wanted to do a freehand drawing and I wanted to give you a feel of even a free hand drawing. That's very important for an artist to have Outlook or have an understanding. If you go directly out with a free hand drawing and becomes easier, you have by now understood that the actin, which is there at the bottom is longer, whereas the petal that is, that is there on the top is shorter. So that kind of approach, of course. So we are going to have is the flipped back in which I am trying to add right now, on the right side of the top iris. If you see the bottom iris on the left is closer to me and I have actually made it more bigger in size. Whereas if you go to the top iris, it's a bit smaller in size compared to what you saw on the left side. Now, this is basically a full-screen view which you are observing. Now. As I do not want you to, who do the very, very close up view right now? It's not unimportant as such. It's just these two iris that is the major subject of our painting. Along with it. I will teach you how to do negative painting. I have taught that subject even in my last class where we did try to actually make florals and seven different ways. So 07 days that I guess was one aspect where we learned a lot about flow rules and how to go about painting the flow rules, etc. Now, so I guess yeah, That was something of which you can look forward to and paint along with me if you haven't tried, start out with that class and then you can come back to this class. That would be a good way to approach a whole lot of these paintings and it will give you a lot more confidence. You know, there are no, um, I would say there is no final composition like this. The way we are drawing right now, whereas there are more of single florals that we have approached through that particular painting. Overall, it's been great, I would say, to approach a subject, it's very important to get into the easier as well as a bit more complex side of it. Over here, the complex side is going ahead and adding this kind of a composition. I'm here to guide you through the entire process. But along with it, there are a few important smaller points that I want to highlight. All this painting that you're going to do for this composition needs to be done on my A4 size. A3 size are a bit smaller than a full-size. Don't try for an A5 size. Because if I've size is going to be really small as a paper for your painting. And second part as if you are not following entirely right now, do not worry. You can watch this video and then start painting. That would be an easier way to go about it. Rather than drawing along with me, painting along with me together right now, as it is a bit more complex than the last painting that we did. So that would be my suggestion for you, but I would leave that decision up to you as there are small, small important, important things that you might lose. So, so my app from your focus, That's the thing. Hence, just watching it too will give you a lot more confidence and then you can approach the painting. After that. That's a great way to go head, I would say. I'm just adding a few leaves for the background. Has unlike to go more with the flow. Which means that once I have added the leaves, I would go head and force mask out all the areas as I do not want any of the mouth water from the background or any of the colors from the background moving into my florals. Masking fluid, which I'm using is from Sennelier. And I have been using this masking fluid for more than three or four years now. And it is a great masking fluid. It can really help you to preserve the areas as well as it dries off pretty quickly. The thickness of the masking fluid is not as much. So it gives you a very quick results in terms of just two drying off quickly. As I'm one of the persons who doesn't like to use a dryer for any of my paintings. So the colors fade away to a great extent. That's what I have talked, though. I'm sure of it completely. You can do it from a distance and still preserve it. So there are lots of ways to even preserve the colors, but for me being more traditional and going with the flow as well as not using a dry box really best. Now without the drying time for this painting, you might take about two hours. Yeah. I have practically shrink the whole of the painting to an hour. But it's okay. Don't just go with the time that you have to give to this painting. I can tell you, you will find love with it once you start painting the background. The background has so much to learn in terms of negative painting, in terms of changing of the values of the color, in terms of even working through the different shades, building the app. How do you create value shifts within one belief? Then it's a lot using some blues, etc. Overall, it's going to be a great experience. I can tell you that I have about five colors on my palette. One is the yellow that they can, then is some amount of yellow green that are taken. Then is my yellow sap green that you can keep or olive green which you have. The last would be over Nike Green. Along with it. I have kept some amount of blue. It is the ultramarine blue. I'm not very okay with using only on Germany. I might go ahead and use one or two other shades of blue, but you can always replace the ultramarine cobalt. What happens with our domain is ultra marine has this sort of thing. Granulation. And sometimes it happens on the people in bigger paper. You can see it more hybrid sick. And that's one of the reasons I want to avoid ultramarine now most of the time, but again, I'm coming in, It's such a beautiful color. You can't avoid it every time. So yes, I do keep that also in my mind. And hence I have taken ultramarine taught this painting. Okay, I have this size six brush from silver black velvet. Which I would be using, I have changed my size one brush with my Skoda optimal brush. It has brought a better tip. That's one of the reasons I just wanted to change it to this new brush. And I hope you guys will also like painting this one along with me, because if you don't hold so much of water, it's called airbrush, as well as not only that, the silver black velvet brush that we are using, even this da Vinci brush, everything holds a lot of water. That's one of the important aspects of watercolor painting when I am working on these kinds of backgrounds, any brush which can hold a lot of water gives me so much more confidence to go ahead and add the colors in one go. And working on a bigger paper becomes so much more easier. It's such a huge relief than you are working on a bigger paper. You just know that I have still a lot of color left out on my brush and I can keep adding it. But once you wash the brush, what happens is sometimes the color also stays. So you have to be very sure of taking it off on your tissue. If you see, I always place everything on my right-hand side. I am a right-handed person. That's one of the reasons placing all of them stuff for my painting on the right hand side comes very handy to me. I have a kitchen towel by my side or you can say kitchen tissues by my side when I paint. So those are small, small things you guys can also follow as a routine. And what I usually do in RD where I have to paint something like this. I try to just go head a day before at night, set up my table. The table does only have the sauce catching book, or it might have just one paper that I want to use for my painting. This set of things, the palette that I'm going to use, some water. I always prepare it one night before. That really helps me to take out the stress in the morning to clean up the space and start working. Guys. I know that many of you might think that it is not unnecessary to have a clean space always and you can keep working on it. But believe me, the kind of three mind that you get when you see a beautiful space or the set up in the morning, you just need to go ahead and start working on it. Something that helps me to do so well. It really, really helps me to go ahead and work on anything in a better way. I am just adding some more greens. So if you see there is lot of water that I'm adding. The water is flowing towards the bottom area when I'm adding from the top. So this is the whole way that I follow for making the background. It's something that I have been doing for quite some time when people asked me or any of you will do ask me, How do you think that these are the colors that I want to use for my painting? What I usually think of for a particular painting is, should I go ahead with the background first or the painting first for me, sometimes it's the background. It gives me a lot more confidence and understanding of how I should go about within the painting. If your background is great, once you are done with the background, you get so much more continents and now you're going to nail the painting. So that's what makes me very, very energetic. It helps me to build up that confidence. It helps me to go with the flow that I want for my painting. Overall, it really boost my energy, I would say, for this painting. And it helps me to understand how I should progress even within the floral. See, it's not always on very, very easy way to go ahead and make everything beautiful at the first school. Yes, it takes some amount of energy. Not only energy, it would take you a lot of time right now, getting back to this, if you see my people is all dry up and I'm just adding some colors. So I have taken even some Hooker's green I think on my palate, That's it orients. You can also take some sap green, see each and every brand that you use has got a different set of colors. You know, the sap green that I have with Winsor and Newton is very different than the sap green, that is dead Magellan Mission Gold. Hence, you cannot practically see that these two brands will have the same color as the pigments that they have been using is very different for both of these brands. If your pigment is different, your final outcome that you see are the watercolor that you add on people will also be different. Hence, I guess so. That's the kind of difference which we always observe. And hence, whatever is available on your palette. Go ahead with that. Don't try to buy anything for now. If you really like to paint florals, then always go head and give it a shot with some beautiful new colors. Whether it'd be Vanguard, whether it be any other than like Winsor and Newton sending LEA or whatever you want to purchase, go ahead and try that out. I am adding some more blue into the painting. And you know that this is the ultramarine blue. I have kept some amount of Prussian blue by my side. These are the two beautiful blue start we are going to add. I will keep adding these blues and small, small areas as you see me doing it right now. Once these smaller areas are done with the darker values, you can practically see how we ended up doing on negative painting so effectively and so nicely, giving this whole painting an absolute New Look. That's how your negative painting is. You don't paint within the subject. You paint outside this object. Yeah. And just cut out these leaves or particular kind of stems with the help of negative painting. So all of this put together, we do a lot of negative painting which we might not always get to understand that the first call. But as we progress, so you can know that this is a negative painting. Negative painting or indices work on the background, and this is not how we work on the background. So those small, small aspects of watercolor will be more clear as you progress and the journey. Okay, now I'm just blending the background a bit more so that you can see my leaves in a better way. Again, this is a negative painting and I am adding some colors of the sap green, olive green, whatever is closer to the color that you also want the people in an add-on. But we are going to paint as you absorb the leaves are all these colors because our background with some various color. And that's one of the reasons. So overall, painting looks more and more interesting as we progress through it. I would say that this is somewhere where I would like you to just step back and see that you are not actually working too much on the background also. Because if you just work a lot on the background, what happens is the whole flow and the whole energy that you put into the painting might go for toss. Always, always. Try to take a break and see how it goes. If you see there was a small break that I took right away now to see how I would go ahead and approach my leaf that's there, which is overlapping with the leaves in the background. Overall, these kind of small, small approach can really help you to get through your painting in the Gobi, I must say each and every detail is important. And you can make paintings which are loose. But for this particular painting, I know that each and every detail is important for all of us. If you miss out on the details, what might happen is that both, he said you see over here, which we were painting might look similar. And that is because you do not cut out in space. And that's one of the reasons I always say that let your paper dry off and then approach to painting. Again. Just the way we are doing right now. I am just adding one more layer so that this looks so more darker and it adds the depth. And one that is in the front, of course, has the viewer's eye and it has to look more organic to the nature, which means that you need to make it more colorful, etc. Hence, you would always go ahead and find the one which is there in the foreground, make it more detail compared to when you go in the background. I'm slowly adding colors, so towards the bottom first and then taking it towards the top because I already know that I have added the color for this particular leaf and pretty happy with how it turned out. Some more row in few of the places. I think this is the Nike Green, which you should go ahead and add. Now, if you don't have supposedly disband ikea green, mix some blue with the tablet screen that you have and you will get the color that is closest to it. Now the blue that you can add, you can add the indigo. I think that really gives you a great color which can be used to mix your indigo, mix the green, whatever you have on your palette that would give this. And if you were thinking about how to use your hookers green, I have a great idea. Mix a bit of brown into your hookers, green or viridian that you have. I think viridian works better. You will get beautiful olive color. Now, you can have various shades. When you are mixing your colors of Hooker's green audits the viridian. Now, taking viridian into account, the radiant plus the brown can create multiple sheets. Do check out the shade on the paper. That's one of the reasons I have so many greens that I'm telling you as this is more of a beginner friendly class, I am not trying to introduce various sheets that you see. So it is something that I wanted to tell you over here that we're not trying to go ahead and mix a lot of colors that can be parked for an underclass. We can just go ahead with whatever is available on the ballot, but a few tips and tricks can of course help you, is through your paintings. Okay, We are having a very close look at how we're going to paint the rest of subject. Therefore, there has to be a green in between this first part. And I think I missed out on it, but it's okay. If you do these small, small misses, It's good. Now, go ahead and paint in it. Why I say this? It shows that, yeah, we have missed out, but still we can cover it up in this go over here, go ahead and just add some amount of darker value, and then you can add olive oil, yellow-green can cover up the area. It would give a good outcome. There is a small cut out, another leaf that we are going to add. Now this leaf, you can cover it up or else you can even cut it out. Now, it's a part of the leaf and continuation which goes towards the right side of bottom. That's it in and around it. You can paint with some olive. Later on. We will see how we work that out. It's a small, small cut out. I'm not thinking much on it. I would like to actually now go ahead and start painting my floral, floral I think as pending book quite some time. And many of you might use patients. You guys, the whole lot point of working through watercolors is patients. If you have patients, you can need any of your painting and watercolors. That's something which I have learned over the years is having lots and lots of patients for your watercolors, have patients and you can practically get through annual helping kids. So yes, I would say that do this for your work and I think you would be in a position to get through all the beautiful paintings which you always think that you can do or something like that. I'm adding one more darker layer for the bottom of the leaf. That's okay, just to match up with the color that I apply on the top. That's the only idea. Just use it in continuation so that it gives good outcome or a good look altogether. Once this part is done, we will see if we can cut out somewhat leaf. It's a small part two that we're going to add. I think this is, you can use your pencil. Now. These are kind of additions that we go that we usually do on the group. I think that I have already told you everything about the watercolor show background, how you can actually mix. Colors, get different kinds of variations in the background. Use negative painting as an important tool for yourself. Fan down. Then even not painting in the smaller areas with various colors by implying layers on top of it. So once you've applied one layer, we're going ahead and adding another layer for glazing technique. Or else you can also say it has glaring. So that other layer looks up and it looks more organic because each and every leaf in nature does stand up. Some of them will be at a distance, something not be so darker compared to the other leaves which are in the foreground. So depending on that, you can do those small, small changes and then have a look at this part of the painting. Once this part is done, we will go head removed the masking fluid off the left side of the floral, and then go ahead and start adding the colors on the foreground. Then not exactly the foreground, it is the main focus of our painting. The smallest one that is on the top, which is our popularised, we will actually go ahead and paint later or false. We will go ahead and paint on the left-hand side. 7. Blue Iris Painting the florals: Here we are. On to the second part of the painting. I am not taking out some violet tortoises, the blue iris, but I wouldn't be using some amount of Fallot and to what? Bjt as I go ahead and start adding the yellow. Once I've added the yellow, I would add some amount of my blue or the purple. But before I add that blue and purple, I need to add some amount of water so that the colors to move on their own. That's the beauty of watercolors. You fix some of the violet with the Prussian blue that you already have on the palette. And then this automatically starts moving the colors, so start moving into each other. And I feel that's one of the most beautiful aspect and watercolors, we don't need to do a lot of work. Colors, do their own job. It's just that some of the places we need to touch and digesters done on its own. That is not much of explanation that I have to give over here. Has there will be different petals that we would be working on slowly, steadily. And you need to just keep on working in the similar way. The middle part would be more of the yellow that we put ad for our Rome. And when we go on the right hand on the left, you will add again the darker colors only and some of the areas. So we have to add the lighter values to guide you through the entire process of how we do it. If you see, I tried to pull the paint towards the middle area. The middle area is more on the white side compared to it being more on the pulpal or blue side. That's what I like to keep it as such for my painting. Then I'm adding some yellow. I'm mixing this yellow with whatever. And you see how beautifully the colors are blending towards the middle part of the eye, this battle, once this part is done, you already know that there has to be some more yellow which you need to add on the right button. Go ahead and start adding it. You might feel that, of course, the process is pretty fast forwarded, but don't worry, there's just that speed. If you start painting it, you will understand there is not much that we are doing. It's just taking the same color, mixing it when adding it on the petty, I have already taken a mix of the scholar on my palette and now I'm going ahead and adding it on the paper. That's it. Always keep a small well, there for yourself. Whenever you are working, it becomes really easy for you to just go ahead and add those color on the paper. I feel that that's a very important step which anyone can follow and you can practically nil any kind of painting. We're going ahead and adding now this color on the Hudson petal. I am trying to not actually go ahead and touch the area which is for the wet autos, the paints will move into each other, which I really want to avoid. That's something which I like to avoid every time, whenever I'm going ahead and painting on the interests and petal never never tried to just let your petal dry off. That's the best way and then go ahead. Oral pains might move from one petal to another. I'm doing a wet on dry method. Again, I'm mixing some colors, that is my Prussian blue and some amount of pople before I added on the top petals. Now the top petals are a bit more smaller in size compared to the ones that we have towards the bottom area. Once that part is done, I'm moving towards the left and then again, blending it with water. I play with what, what in watercolors compared to the pigments, that's the best way I can tell you when you work with watercolors, the more you can work with the water, the better would be your outcome. I'm going on the ancient battle with the view that I will not spoil it. If you are just too big, not let this petal dry off and then only go head and had gallows on the left side of the petal. It is very hot right now in the northern side of India. That's one of the reason I can take this kind of a risk. But if you're not in another inside of India where there's humor it or it takes a while for your paper to dry off. I would ask you to wait before you start adding your colors. Going ahead and adding the blues on the right side of the petal as you absorb. And this is the darker value that I'm adding so that all the petals that we have can be differentiated. That's something which I like to do, creating the contrast and treating their depths, creating the different values for each of the petal is very important. In few of the places you need to add the darker values and in few of the places you need to add the lighter values exactly the way you absorb. And mostly I'm mixing my Prussian blue, my ultramarine, and some amount of violet to walk on this blue iris. A little bit of violet, of course, you need to get that beauty out. Again. I'm adding some amount of blue and then blending it with my brush. This brush can hold a lot of water. That's one of the reasons even if I golden with less pain, you will see that 200 apply quite a lot of paint or even Effect go with very less water. Yes, it has good amount of water which can be added to the sulfur. So he's dry. I think most of the place it just covers off. And on smaller painting like this, it works better. I'm going ahead and just stop using water to blend the colors. Using some of my greens to just in the leaf. I am not doing any negative painting. I'm going within the leaf and painting it. That's how I go about it right now. And some of the places wherever I feel that I just went overboard with the colors, I will go ahead and just remove those. So paints, It's very easy. Just wash your brush, take off all the extra paint on the tissue, or you can even take off all the extra colors so on the tissue and then start adding some water, you will get a lighter value, adding one more layer on the bottom area of my background, though, leaf, I think. Small, small aspect of watercolors. I can leave it up to you if you want to keep it blue, you can keep it blue. It's just that I felt that adding this layer would need better. I have added it. That's it. Now I'm mixing some colors for this left out petal. And then we will again blended with our blending brush or with the same brush, whatever we have used, that as also up to us what we want to use. Now since we are using more of blues, etc into the painting, there's less of yellow to use. These kind of risks can be taken anytime we always have these two jars of water handy for us, which can help us to work through the entire painting. The bottom petal is close to being dry. So now I'm taking a chance and going ahead and adding these broken lines. These broken lines are basically those thin veins kind of lines which usually arise at any kind of iris flower. You can see has many photos as you want and you will be in a position to see these kinds of lines. And really they give so much amount of flavor to your painting. I must say. I just don't love that. The kind of energy that it brings, the kind of deep learning that it brings, the kind of depth that you can create by adding these lines is something that you usually don't get to see. If you do not have these kind of lines being added into the painting. Once you have added these lines, go ahead and start adding few more lines. When you go from the bottom towards the top. That's also a good way to understand how many lines you want to add spilled the line side, keep breaking it up because it's nature and nature will not have all continuous lines. So like we usually do, It's not mechanical and hence, it has to be random, it has to be organic. Those kinds of small, small aspects of watercolor painting. I will also, this is more to do with depth, defining each and every aspect of floral. It brings up the energy that you need. It actually helps you to create the kind of contrast that you want, even into your petal, few of the areas you want it lighter. This is again, a part of glazing where we are trying to actually a car paints towards the bottom from the sites. When you are done with your first layer and then you go ahead with your second layer on top of your first year. It's usually glazing technique and it can be used in any of your future paintings. I am so happy with how it has turned out the tip of my brush is amazing. If you were walking with very thin brush, I would request you to go ahead and work with size one or a size 0 brush. The one size, our demo brush, which I have from a SCADA was not that great. Hence, I did shift to this optimal one. I would leave the decision up to you. Whatever brushes you want to use, please go ahead. Is whatever existing with you. Use it for your painting. I'm pretty happy. I just need to make these small, small dots on this petal and then I think I would be in a position to finish it off. I would move to the next petal from here, I'm working on this part of the painting first, as this is the foreground and I want to, it to look more beautiful, more engaging. I want all the energy to be concentrated here for the painting, some pet to what we do. On the top one. It's not that we're not going to focus on the top one, but lots more focus lies in this one. Once you have added these smaller dots, It's very random. You don't try to add a lot of them and don't try to go very low on. Both of them would be harmful. You go absolute random, go absolutely In a way you want to follow. Just don't make it like stars. It's song, a simple adding with the tip of your brush. Now, it's time for the right side of the petal. Once you are adding a small, small lines on the right side of the petal, make sure that you go with the flow. Now what do I mean going with the flow is exactly the way your petal, the petal is shown from the backside. And we really want that. The person who is observing it also sees it that way. It's a bit twisted and that's how we are going to also add it. I'm working with two brushes, everything you see. It's kind of a reason when I see myself doing all this, but it's so much love, you know, when it's florals, I can go all over whatever I want to paint. I like to paint that. I go ahead and start adding these smaller lines as I want. Absolutely random, not making it so much detail. Just adding a few lines and creating the depth. Creating lines really gives me, first of all, it is therapeutic. Okay, that's one thing with watercolors, which I do understand. That detailing part is so much more therapeutic compared to the initial part. You have to just go slow with the floor. Do not lose your patients and you can nail it because most of the things that had to be done is already done. Your there is no way you are going to go wrong. It's just that if you have some Amanda fishes, you can make it this because this sketch is done, you cannot go back condom on a bad sketch, then your background is set. Your background also you can go back, that's a pretty background that we have already done. You can go with so much more confidence when you approach this painting. So altogether, I think you would be happy when you approach this. I'm going ahead on the left side and again, making these kind of smaller lines. Once you are done with all the three petals, so you are left out with the petals on the top. Now what happens is you don't need to actually add a lot of depth to the petals which are there on the top. As few, small and only a few lines would suffice. So what you need to do from Huron is to create a few lines and those lines should be enough to cover out for the top few petals. I mean, each one of them will have only a few line with the middle phalanges the way we always do. And you can observe me painting as well as keep painting along with me. This part is really going to be simple, as I've told you, the initial part was being more difficult when it was part sketching and then going ahead painting, so everything put together was be more difficult during that time. But now I think most of the difficult part we have already crossed and this is pretty simple in terms of how you're going to go ahead and make the painting. Okay. I have two to three ways in which I need to add these veins. It is majorly to do with the direction of the petroglyph. The direction of the petal is falling towards the bottom. Then you have to make the veins, in a way it originates from one single point in the middle and goes towards the bottom. In the similar way, if it goes to the top, you have to make it from the middle part of the floor and go till the top part of the petal. That's how this whole thing should work. According to me, for anything that isn't the foreground, of course, you have to make it more darker, whatever be in the background. You can leave to an extent and not think about it much. That's how I think about painting the foregrounds in a better way compared to the background. It's basically more detail in the foregrounds compared to the background. That's how I think the foreground so worked for me. Once I'm done with the foreground part, we have to go ahead and start with the loss of floral. And that's where something a bit different things to happen. It will be, of course, detail. It is detailed in a way that you observe me painting this first one. But we have to cautiously moving ahead while the paint of the top petal, keeping in mind that it has even a buck. As well as if we keep our complicating everything, every, every small, small things, then the whole fun of painting with watercolors would go away. So that's one thing we should always keep in mind when we paint. Never, never allowed the fun to go away for watercolors. Always try to keep that and always try to enjoy with watercolors. I have always done this and practically it then only becomes more and more rewarding when you start enjoying the process. Just the way I am removing the masking fluid now. That's something we didn't really like you to even to remove the masking fluid, whatever we do, you have to enjoy, whether it be sketching, whether it be drawing, whether it be adding the colors. Adding colors, of course, is way more fun. But when you are making them based off of flower, it is important to understand how you draw, how you sketch. And that really gives, I think it really creates that base for you to even approach gaining new subject. The way you should breakup of flour, the way you should have a look at how you can actually sketch a floral and then move ahead and painted. That's something which I would really like you guys to follow. I know it's difficult as an artist initially just to go easy on it. Start painting rather than for schooling. And then adding all of this and didn't fainting. So yeah, I know it's not a very easy process, believe me guys, when I started out, I did not want to sketch even a single floral. And I used to say that I am not a First sentiment can flag the glue paint florals. But over the years, I see that my love for flow rules has grown so much. And I, as a person, has grown so much to love loans that I enjoy painting the floral size was I liked the fact that we are here to even now understand this breakup of how you go stepwise and the process. That's something which I have enjoyed and no one has practically gone ahead and taught me that it was so difficult initially when I was trying to work out all the flow rules, how to do it, how to get everything correct. And it had so many failures at that point in time and every time I wanted to approach your floral, it used to be a failure. But slowly, steadily I got to understand how I want to paint it. How my inner voice tells me to paint a particular fuel in my own particular way. Every time. It's not that you'd like to copy or you like to actually understand. Sometimes what happens is you like to practically painted a particular way, but you have your own style too. So you might like to have a painting which is in-between. And that's where the major challenge is how to get your own words, how to understand what you'd like to add into your painting, how you want to practically, I think, uh, how you would like to move step-by-step, how you would like create that niche, how you would like to create your own artistic voice becomes very important at this point in time. So I might be digressing a bit because you already know how we paint all of this, so it's not a major problem for me know, you guys have made this flower on the left side as well as you have made another genre painting which we did earlier on the sketchbook. Overall. There's not much that I can tell you right now. And some going ahead and painting for row, thinking for getting out of stress. And all of this becomes important. Okay. I guess this is it that I wanted to tell you. Yeah, there's lot many things that we can keep on discussing, but let's come back and focus on their flow rules. So I'm going ahead and adding the yellow first and then we will add the poeple here. I'm not going wet on wet. You can see that I just had the yellow and then I add the blue and blend it in the middle. That's another way of painting. Or going ahead and approaching a subject. Either you can go wet on wet as beaded old your orals. You can even work it out this way. But do make sure that you have some empty space in between the yellow as well as the purple that you apply. This is something which I want to really tell you that you should have these things orals. It could become really tough for you. Now, going ahead and adding some water in the middle part. Once you have added the water and the metal part of the flower, go ahead and add some more of this purple is so pretty, I really like it. And when you add some amount of blue in it, It's absolutely the front of both ventricles look very different, but don't worry, we will have almost similar color. Its nature as I say, it's very random, so never vary when you have done these kind of small, small things in your painting. It's absolutely perfect. You will get where you want to. So yes, That's that's all I can say. I think the color that I was asking too much of glue. So I did go ahead and use my blending brush, make it a bit more lighter. And now I'm going ahead and making these lines. Again. The process is same math that I've explained you audio. This is nothing but creating those wings. So just like we did earlier, I would leave it over here and then get back to you when we have to start adding the other colors or when I feel that there is something more important that I want to let you know does not match, which is left anymore in this whole of the painting. And just draw a few more dots as you observe. Few more lines that Solon, then you are done. I am so excited to see this whole painting coming to life from scratch. We're going to see a paper which is completely empty. It becomes so for me to absorb the fact that how am I going to even fill it up? This happens for even know any new person who's starting with watercolors or any other hobby, you know, initially when we start, it is so difficult for us, but as we progress, things become more and more easy and I'm pretty sure about that. You guys will also enjoy, though we painting, you will enjoy how I worked through it. And I think this is one good exercise. So you have practically learn how to draw. And from the drawing, you'll go to the painting. I mean, yes, I love to paint loose florals, but somewhere or the other, I even believe that sketching is the base for your final outcome. And if you can sketch well, I can tell you many of the issues you can solve in the beginning or whether it be any kind of painting or any other kind of stuff for you will, you will see how you are going to enjoy the whole process. For me, working with watercolors has always been very, very exciting. And with every excitement, I do understand that a set of challenges that you face with any new medium. So just try to have control of where your water. This is something that everyone might tell you part Believe me, no one can teach you how to control water. It will only come a lot with practice. And secondly, by experimenting, you can just experiment on a paper and you can understand how it works. I think this is a vector. I have added some rose matter into the painting. Notice is the color that I really like to add. I'm creating some gradation of washes for the green, even for the stem area. Those are small, small aspects of watercolor, which we always do. So, yes, I think that's sad, happy with the fact that this He's coming to life and this is one of the paintings that I'm super proud of once did. And I am so happy, I was so happy to see each and every detail being taken care of. Everything looks so amazing with even small, small aspects are being taken care of. I'm adding some white pen marks. I don't know. All of a sudden started adding. But if it's just a very random, these random things do happen to me. And even if I tried to go in on process wise manner, sometimes it's just the y's which says to add all these things. As highlights that would make the painting look even more amazing. So, yes, these small, small things you will see me doing. And it's not that it's very intentional that you go about doing this right now. You can even do this once you finish off the painting, but you never know. Sometimes it just happens that your essays and you just do it. This is how you should go about it. And because your paper is almost dry, if you even work on the background that has no issue. It's just the floral part which you have to take care of and rest most of the things that are completely dry down. So yes, I think that is it. Adding some water colors and then blending it. Florals becomes easy in a way to me because I feel I have to worry less. I go innovate stepwise manner. I have been iterating this again and again. But it's just that you paint one petal. Move to the next, and from the next petal you paint and move to the third, like this, you are moving from 1 to another. You know what to paint first, whether it be background, whether it be florals, even it'd be the floral. So you can just paint and then move on like that. But when you are doing landscape, so you're doing urban sketching, it's a very spontaneous thing. You have to practically walk through the entire painting together. And that's where I think a lot more intensity, I am lot more knowledge as well as lot to do with the approach that you take becomes very important at that point in time. By the way, we are on to the last few minutes of our painting and I am super thrilled and happy to actually get this thing done. It looks so, so good. They are nice, pretty turtles, which you can see along with it. There is some blues, so on the top you have blues and purples are populous, very important. They are purple is something that I really like to add for blue iris, you don't get OCF much over the whole of the painting. But wherever you see it, you will love how it actually creates that different gradation, that variegated wash for even smaller spaces. You'll get to see that. So overall, it's a great feeling to add this beautiful purple color at each and every place. These are small things. Now I guess so V are close to being done most of the ideas, so I have added the colors is just a few lines, Stan, I might go ahead and add towards the top part of the petals and then we will just get done with this hand In the next one. Now, it would be moral conclusion. And how did you like the whole process? I hope that you are pin and join because if you enjoy the process, you are going to practically meal this painting. If you enjoy painting florals. So that is something that I must tell you. It just gives so much of inner happiness. Once you see this painting come to life and to the people who even see these kinds of flowers. It's just that living in India every time I don't get to see all of this. It's very hard over here. And that's one of the reasons we get to see less of number of flowers during the hot summer season, whereas during the winter season, yes, still these are beautiful blooms each and every place them. I love to see that I have so many plants and my small balcony and that really makes the whole thing come to life. I guess. That's it. Overall. Let's choose to have a look at the final painting and then we're done. 8. Conclusion & Tape Removal: I hope you enjoy your loss to lesson one was so I feel a bit tough compared to the other one. Would be that progress pretty fast in the process. But I'm sure once you start painting it, you will equally find it useful even for your other future projects. In case you like anything about this class, please leave a feedback. It is a great source of motivation. Not only for me as an artist, but also as a teacher. Give me some improvement points where you think this class can become better. You are painting along with me, do upload the projects in the project gallery. I would love to see your projects as well as give my valuable feedback. Thank you for taking out time and going through this class. It means a lot. See you very soon in the next class. Doesn't enjoy the TP and have a final look at both of them.