Transcripts
1. Introduction Watercolor Poppies: Kmart peeps. So how many of you absolutely loved to paint flowers and maybe how many of you dote? Because they can be a little bit daunting sometimes. Hi, my name is Kelly Taxi. I am a happy creator or with a very dry sense of humor. I also have online courses on my website, and I also have a YouTube channel and absolutely love it. When my students share their projects with me on Facebook or on instagram on Twitter's, make sure that you tag me there. So today's class we're gonna go over a bunch of different types of poppies we're gonna do. Some close buds of open buds will create a color chart and practice some wedding. What techniques on turning these little round shapes of color into actual Clowers So we'll start off with doing a couple Little demos will be working on how to create those little poppy buds when they're closed up, and the more gradually show you how you can make them open up with a little pedals. We'll also be working with some pen and ink and Cem Micron pens for some added little details illustrations, and we'll show you how to create some layers with your watercolor paints will be working with some pan pains as well as to paint, and then we'll go into a very detailed but painting at the end. So I really hope to see you in class on. If you're a beginner, no worries will walk you through this step by step.
2. Color Test: All right, so we're going to start off by doing a little color chart. I've done this in a couple of my other courses, and I find it very helpful to see what my colors are gonna dio. And I also want to practice a little bit with you on, especially your brand new the watercolor. How much water dough I use for my practice. I'm just going to be using this little black skansen pad Watercolor paper £140 called press paper. And it comes in this little ring binder so you can tear these out, which is great if you want to separate and have your color chart with you. When you're working, even you can see it's pretty thick paper, and it's a very nice soft texture. I like this one, and I could be a close up here of it. But remember there lots of different types of pads, different types of papers. So get again what you can afford. That's quality that you can afford. I will be using my Kolinsky brushes is a number 12 round again. It's just a really nice little brush you could loaded up. Make sure you went at first before you begin because you don't want to have a dry brush when you're trying to work with your wet and wet. What happens is if you make all this nice, juicy color and then you take a dry brush, it will absorb all of that color that you put in your palate. You can find what you're starting out with water colors, a little bit more frustration. If you had, don't have the a little bit better quality items, so keep that in mind. You know, we're talking about the cake pans or some very inexpensive £90 watercolor paper. It will buckle on you, and it's really hard to work wet and wet with this one works quite well. Another thing I like to do before I start is to spritz my watercolor paints before I begin . No, you get a nice little puddle going. I will say most traditional watercolors colors usually will work in a pallet high. Do a lot directly from my pan paints, so the traditional watercolors will tell you not to do that. You want to make sure you mix it nicely in your and your palate again, but I like that really rich deep pigment, and this is what I find that works for me. It's quite you. So you can see I do obviously mix in my palette as well. And if you do have a paint palette, But if you want that really deep color, you can always go directly into your paint with your brush. So I want you to choose the reds that you want to use reds and oranges, and I want you to put down a very heavy coat of pigment. So this is not a lot of water. I just have a little bit of water on my brush and I've spritz my paint. So this is going to be your darkest pigment. Go to the same thing with the orange and you can see I got a nice smooth circle and you could round it out with the edge of that point from your round brush. And I'll also rinse off my brush each times I have a clean water and I have my dirty water up here. This time I'm gonna go into just clean water. Hard to see here, but just a circle with Mr Clean Water and then inside the circle. What we're gonna do is drop in a little bit that pigment and watch it bloom. And this is how you can test your paints. You know, in your water ratio, Do I have to much? Do we not have enough? You can see how that's really just blooming out. I don't have a large puddle of water here, but I do have a lot of water. And remember, your pigments are only gonna go where the water is. Let's do it again here with the orange down below and just wedding that paper and then tapping, and you can see that beautiful burst that it creates. And more likely, I have so much water in here. This is going to fill in this whole area with color by the time it's done moving. So let's let those two dry rinsing off by brush. Let's go in and create one more circle here by our reds, and we're gonna do a little bit of a blend between the two colors. So I'm gonna put the red on the left and you could see it's gonna bloom all the way over. We still have a lot of water in here and on the other side. I'm gonna add the orange and you could see how they mingle together. And they create this beautiful variegated wash in the middle where the two colors air blending and the other thing I want to mention depending on what kind of paper you have. If you have 100% cotton paper, it's going to absorb really nice If you've got some people that has a lot of wood pulp in it because they're made with wood, wood, pulp, Lenin, um, you know it. So that's going to affect how your paints are going to work on the paper as well. So you have to test your papers with this because different papers will do different things . So this circle here, I just want to put a little bit of color in here. You have it went, so I'm lifting off some of that paint. Put that water down there. I've got too much water on their It could take a dry brush and just lift that out. We notice I'm using my smaller brush here. No, I don't have a lot of paint in there. I don't have a lot of pigment but is slightly tinted. Rinse off my brush. Let's go in with some orange here again, just dotting it. Now you could see the difference between what we did on the 1st 1 and the 2nd 1 and Alice third piece. This is not moving quite as much because I don't have as much water on my paper. It still has a nice blend. It's still moving off slightly, but it's not just you don't have that big bloom of of pigment like we did on the other two . So for the next one, let's go ahead and again. Fill it in with a little bit of water. Were to do ingredient wash with this one, and we're gonna just get start off that darker shade are running a little bit lighter as we go down. You see again. I have got a lot of water in here. It still has a nice blooming effect. It's almost doing that greedy int wash all the way down the bottom, just as is so I'm taking my dry brush again. Just weapon up just a little bit. We're soften that next layers go a little darker in here at the top, so we have dark pigment on the top and then as we move down, is going to get a little bit lighter renting off our brush. And you can pull some paint out this way too. I'm just gonna drag that down here a little bit filled up bottom piece in, and you see right now basically have two colors. I've got the real dark red and the very softer shade of red underneath almost a pink. And in the middle here, I'm just going to take out just a little bit of that. Pain ago lifted out, so I lived the pain and then a weapon off of my paper towel. If you go back and forth, you a little bit, you can see I've got my dark on the top, that middleton in the middle and then a lighter at the bottom. This is an important part to do when you're working with your paints, because you want to know what colors you're going to get, what variation of colors that your paints will create for you. These are very drastic, greedy in Washington can do those much lighter, so it's a more softer than I've got a little space that we're working in here, so I don't have a whole lot of area to go down. But if you're doing ah larger area, you can really see that gradual change of color close to the same thing with our orange skin, the darker pigment at the top. And let's just gonna blend and soften that as we go down. So this is a very important part for you to try and practise, especially if you're brand new to watercolor. The water tow pigment ratio is a very important thing. Toe learn and you'll find like different paints will do different things. Different papers will do different things. So it's all about learning what your materials will do and how you can work with them so the other ones air almost dry. Our ingredient wash is done here with the orange. I want to show you on this. Ah, this one here, he says, drying. If I try to add that, read into it, there's no more blending of this is basically dry, so it's going to you're gonna be doing what they're calling delays. It's a color wash over another, but I have such a dark pigment going over that orange. It's really hard to see that. Let's see if I can enlighten that Read up a little bit more so we can see that orange underneath. So when it prints my brush up just with some clean water and bring that down a little bit more now, you can see how you can get that third color in between those two when you do a glaze on top of another shade. So now I want to move this back and forth. I want to show you what happens if you have paper with a lot of wood pulp in it. It's 100% cotton. It's not strong enough. If you start to scrub these back and forth, you can damage your paper. This it can also happen if you use an eraser and use your racer too hard. It will actually mark your paper. And when I say Mari paper, what happens is you can see now the texture of my paper, little pieces air starting to come up. It's telling me a first of all this is probably too much water is too wet or have scrubbed it too much and see if I move this paper back and forth, and I see a lot of new students do this, um, working the area too much, you're working it too hard or maybe too hard of a brush. There's lots of different things, but if you work too hard or too long or it's too wet in that one area, you will get some of that. Pulp of that paper starts to come through. And it's now that you have an idea how your paints are going to work. Let's go ahead and do a practice, poppy.
3. Let's take a look at some poppy shapes: everyone you. So these are some beautiful popular. As you can see, they are there so many different shapes. You could see this one's more, opens a bell shape. We have one right next to its closed a little bit mawr. They come in all these beautiful, different shades and shapes. So when you're thinking of painting your poppies, especially if you're not going to sketch it in, you can see that there are so many options free to go with. This one is a closed, but you can see the highlights of little fuzzies on there. We look down there, some that are fully open. You've got some that have some black centers. Some don't you guys again, beautiful bell shaped ones. Here, there's orange poppies. There's pink poppies. So there's so many different ways you can create these. So we're gonna do a few little demos with some different buds and different openings. And let's just take a look a really quickly at a few of these shapes that we can create. So we have this one here that's more you could see. A lot of them are upside down, so they have that little bend. You have some that I have already passed by. So you've got just that, Lee for that that's left over after the bloom because he here one is opening of stooges, a little sliver of red in the middle. This one is completely closed again. Lots of little fuzzies. I guess I'm that a partially opened so lots of different ways. If you take a look at Poppy's Teoh, picture them somewhere very rounded. So study, um, a little bit in 90 of what they look like. But I don't want you to be to crazy about the exact shapes because a lot of these air just going to fill in with your eye. We take a look at this one. This is very bell shaped, and you can see you've got that little David at the bottom and it will stem there, and you can see where we have mawr, a light coming from the top part of the flower. And all of those shadows are on the underneath and you can see the different color. You got a light or in the middle. You've got some deeper red red oranges on the side. Here's another one. This one's very close nice lighting on the top. So again you got that little bell shape. You get that little piece where the stem comes underneath in the standard comes down. Highlights up at the top. Here you can see where there's just a few a few ideas of petals forming, and again you've got the light coming from the top, and you've got that darker color that darker orange on the underneath. If we look at thes thes again, are very red, bright red and more orangey again, you got that similar bell shaped There are just somewhat opening, and there is four different ones here that you can see. They're all in different shapes is pedals, air forming in different ways. So when we put down our color will be able to really just create that shape, using just those colors, some dark er's and some lighter shades of oranges and reds again light coming from the top and you've got the darker values on the underneath. Let's take a look again at the closed poppy again. You've got that upside down bell shaped. You've got all of those little fibers of those little hairs that stick out. It will be using a little bit of Posca pens for some of that. We also be using some micron pen. So just to get a little texture in there and again, you can see that you have dark on the left and up on the right hand side, it's more of that lighter shade light green versus dark green. One more. This one is partially open again. You got that pedal. That green is just kind of opening up and you can see the blooms starting to form on the underneath, so we're gonna start with creating some of these.
4. Practice a Quick Poppy: It's another. We have our color chart done it with our pan pains. Let's go ahead and just whip up a quick little poppy and this would be a little bit more abstract, very loose feeling. So this is going to your first try, and I want you just to relax. We want to be very flowy, very free with this and not think too much with this one. I am using the color Windsor Red, and I'm going to shape out the pedals of my poppy right off the bat. No drawing, just taking my brush with a good amount of dark pigment. There's not a lot of water in this. And again, almost like I'm drawing with my paint brush and just going to shape up just that rounded area. That oval shape of the flower itself. However, that flower ends up whatever shape it is. Just go with it because you're gonna fill in the other things in your eyes. You're gonna fill in the rest. So now I have a little bit of the orange when a tap a little bit of that in there while it's still wet, just to give myself a few highlights in here and another shade of color. And I think going around at the outside here, just a little bit with the orange is gonna shape these, believes or the puddles out just a little bit. And if I go up and over it a little bit, you can see it gives the illusion of some light, most like the lights reflecting through the pedal. And again, you can help reshape your flower if you're not happy with it. At this point, everything is still wets. You can blend that in there now going to you in with little bit of the ivory black and tap in just a little bit of the center of a poppy, just using the very tip of the brush. You don't want to push down too much, or that's going to bleed very heavily in the rest of it. So it was a little bit of pain, not a lot. And just watch it and see where it's going to go. And now just a really quick little stammel that still wet some of that red bleeds down in there. This is the Windsor Yellow. You had too much. You could always wipe it up with a dry brush, But I kind of like that. Look, I'm gonna add a little bit of black to that as well. Well, it looks like a shadow on the underneath. And now that red is dry, just a little bit more can tap in just a little bit more black. And now I'm gonna had an took the blow dryer to this. This is completely dry now, going back in now with a little more details adding some of those little I don't know what those little steam ins they call those little things and a little shadow on the underneath of the flower. You don't have to use black. You could always use the greens underneath their opinion. Part of the fun is just coming up with your own abstract types of ideas. Because this flower is more an illusion of a poppy. It's on an exact replica of one. So how quick and fast it was that. And then if you want to take your little fine detail brush and some whitewash, you can put a little bit of these fine hairs that are on the bottom of the stem. I don't know what you call him. They probably have a scientific name, but there we go and put a little frame around this. And how cute is that?
5. Poppy Shapes and layering petals: So we're gonna practice again. Just a really simple poppy shape. And this time, for those of you that are interested in using to paint, I want to show you the difference between your two paints and your pan pains. Now, these air, both artists agree that we're using today. This one is permanent, Eliza in crimson. And we'll also use permanent Rose. These are both Windsor Newton and they are in a 14 milliliters is the size of these tubes. I'm also going to use some sap green for this one for the stem. So I have my porcelain mixing tray so we're actually going to mix. He's right on the tray a little bit different than what we did with the pans. And again, I have my clean water. I have two glasses, one for the dirty one for the clean, and I want to add just a little bit of water to that, both on all three of these colors. And I'm just going to bury carefully touched that. You can see you get a really nice little light shade. If you add just a little bit of that pigment to the water, we don't want it quite too dark. Just start out with. The nice thing about the two paints is that that you can get some really deep colors very quick and very easy. I would always recommend for new students or to start out with the pan paints only because it really gives you a better idea how much water to use. You have to work a little harder at the pan paints and you do having the two pains. But keep in mind these two pains. If you squeeze, he's out into your pants and let them dry, they become the same thing. You can get a lot of pigment for a very little amount of pain, and you can see um, I don't I'm not using much of us all. So a lot of things. Another thing that new students tend to do is they squeezed out too much of their pain, especially with the tubes, because it really goes a long way. Of course, you can always leave these in your palate and let them dry and Rees them and just by adding some water to them later. So we're just practicing just those shapes. You can dio you know, four or five of these on a piece of paper, and you can see there they're very random. You just want to get that little half moon shape and you'll see em. As I'm doing is I'm holding my brush more near this century, and if you want to be the bar loose, you can hold it even further up the closer you get to the tip of your brush, more like a pencil, the more defined details that you can get with it. So if you're working loosely, I always recommend, you know, moving up a little bit further on your brush. When you're working with it. You know there's I have, ah, very light shade that I'm working with to start, and then we add a little bit darker shade. Now on top. It's always fun to mix and match your colors. If you want to use the crimson, you can use that or you can use the rose. You can use a darker shade of each of them. You can always add some orange in here. It's free game, but you just wanted to show some deeper shades and another pedal, maybe towards the front area that looks like it's curling up on you and again very loose. Don't think about it so much. Petal shapes could be pretty much anything because they could be blowing in the wind that they could be banned. That could be reaching for the sun. So as long as you have just that's sort of distinct shape of a flower, your imagination will really fill in the rest for you, so we're gonna take my feet gun. You can also use a blow dryer if you want, like the heat gun on the smaller projects, and it's very handy and doesn't very quickly. And we're just going to blow dry this before we add in a few more detail. They see every one of these flower shapes are completely different. And now that that story, let's go ahead and add another darker shade. On top of this, you can see the the first time that we did this. We did get to different colors, but it's so watery, and as it dries, it's going to lighten as well. So this one I'm going really, really dark with the pigment can just creating an third pedal in here. It's always fun just to follow what you have for a shape. Let your imagination fill in the rest. Now remember, these are very loose. It's not a very defined flower. This point, we're just doing something very organic looking. And that is another reason why I like to use the larger round brushes for this. So it's size 12 is a little bit easier for you to be looser on the smaller that brushes, the more detail they tend to be. So this one is a nice, big wide brush that I'm using, Miss softening those edges just a little bit, cause that's where it's gonna curl upward. Then rinse this off. And now we're gonna go into our sap green in just a little bit of water. I want to keep this fairly light. Mix it up in this other palette here just to keep it nice and airy and just a little dot on there and bring that line down this list little squiggly line. You'll notice poppies. Air Very squiggly there. Ah, very um, very fine and dainty little stems on them. So simple. I also put a clip you'll notice on and my pad of paper on because my blow dry. They tended to curl a little bit, so having a little clip just holds it in place. It's always nice to have that. So let's go ahead and add a little bit of the blue to that color in the middle, just for a nice deep shade. In the middle of poppies have that rial distinct center again using that same brush. It's nice, and why does have a nice point on it, which is helpful if you want to get a little bit more detail and they're just used the tip of the brush and not the belly of the brush, then we're that was still wet with a red. I could just lift that out a little bit underneath except blue gets down in there too far, and you'll notice I have a little tissue and just wipe my brush off Heat 10. My left. The paint out I'm gonna blow dry was one more time, and I'm just gonna show you just a couple little things that you can do to either overdue your painting or and not leaving with that very fresh look. So I'm adding one more layer here, which looks fine. But then if I go a little bit too far to show you here in this middle Poppy and you end up losing that whole nice organic look also had another one right here. We've got lots of little layers with this one. So as you can see, even those these started out with just a little bit of color. Very nondescript little poppies. You can continue to add a little bit of layers to these and make them more defined.
6. Practice Poppy Buds: So we've taken a look at some of the different shapes that you can have for your buds from open to close to from anywhere in between. So I've added some PDS for you to print out, but we're going to do this one free hand. Just want to show you that a lot of times you can make thes shapes very easy, just with your brush without doing a whole lot of detail So you can see I have some orange and I've got my 12 inch round brush and you can see I can make that shape of a closed poppy fairly easy by just using the tip and the belly of my brush. I start off with just the tip, and I can almost draught in here if I want with my paintbrush. So this is a little bit more to find. You can really get that shape and have left little white space in there. I can make that more pointed at the end by using the tip. I can bring that out further if I want to make it appear that that Bloom is opening mawr if I want to, or making a little bit larger. You can see that the poppies, a lot of times in the end, are not quite as pointed. They can have more of a bell shape at the end, spending on if they're upside down or not. And because my paint is still wet, I can continue to shape those anyway that I want. Let's go ahead and add a little bit of that rose in here, and it makes a beautiful color combo. When you add some of these two shades together that could make this a little bit bigger if I want. I don't want them all the same size, all the same shape. We have some really pretty poppy, bud. Some are upside down a summer right side up. We're gonna continue without permanent Rose. I'm gonna make a few other poppies down here is the one that doesn't have quite as much paint. It's more translucent looking and more water than I have pigments. I'm trying to side what direction I want these flowers to go in. We will do this. One is more upside down. You can see those pedals Air starting to bloom out a little bit is not perfectly closed. So we're gonna build upon the shape. Add just a touch more of that Turn it rose pigment just too dark in that a little bit more . And I feeling in that whole area, I'm just dropping it in and letting. It's letting some of that more translucent color go loosely and let the darker pigment go where it wants to go a little bit. We went out a little bit of some sap green. We're gonna create a really fine stem again. I'm using the tip of that brush. I'm using that same wide brush, but I'm just using the very tip of it going head and adding a little bit of that green in here, getting a really dark, dark shade that's blending with that permanent rose, just adding a little bit of that leaf for the outside the layer of the puppy show. Now, for me, that really organic look is really pretty, because I'm mixing in those colors all while they're still wet. So you get a lot of different variations of color even for this green. So even though I'm using the sap green, it's blending with Atmore orangey shade, creating ah, a darker pigment, and it's doing the same thing with the permanent rose. But I'm getting some of the parent roses coming down through the stem because it's blending with some of those other colors, and it just creates a lovely variation of all these different shades in the painting without having to work really hard at it. You can do this more of a natural way by letting the paint and the water do a lot of the work for you. So if I go back and I can add just a little bit darker pigment of that sap green, if I want to deepen those shades and deep in those areas of shadow, and we talked earlier about how where there is water is where the pigment wants to go, so as you see my stems, they bring it down. This is basically on dry paper, so that is going to be a lot lighter shade of green. I'm not getting as much color mixing down there, and then we want to expand these flowers because that first layer is just a little bit drier, not completely dry. So I'm not getting any blooms in here, but I'm getting another variation of color again using that same pigment, but because it's not as wet you could see it. This is really light, not using as much of the pigment in here. I got a little bit deeper on this one. It's a different color. This one's hitting the green a little bit, so I'm just expanding out those flowers, creating another pedal. If I were to do that all while, it's still extremely well when I first started. Remember those all blended in together. So because I've waited just a little bit and you know, you have to look at your paints that you're using the paper that you're using, how much water you using? All of these things come in with practice, and this is why it's so important with watercolor to practice. And you can learn about your materials. Really, because I've used other materials, other papers, other paints, and it's not going to work the same as some of my other ones do. So you really have toe learn each one and see how they're going to work for you. So I've gone ahead and I've dried this, you know, when I add just another couple little pedals again, I'm just mixing some of those colors in here just to give another variation. Within that color group, you can see I could just make some more pedals that could make these larger. So these are starting toe open mawr and getting that wonderful variation of shapes and sizes. I look so soft and so pretty. We have all these beautiful colors going on here. Let's go ahead and just a couple of the closed poppy shapes with the sap green making that same shape that we did when we first started. This is a closed poppy bud. A little bit of the orange or yellow in here begins, always just not all the same color and maybe some blue and well deep in that on the underneath again creating a little bit of a shadow. No need to blend a little bit more of that. It's too blue. I can add just a little bit more green to that and bring some of that blew down in here is well, you can also lift if you get too much color and they're just taking my brush and I'm wiping that off and then taking my paper towel again and just wiping up my brush and removing some of that color. It also gives it a beautiful little highlights like the sun shining on top of it. No, Another one over here, maybe upside down Can adding that darker shade just a little bit more pigment, a little bit less water and letting that move naturally in there, we'll put another little one down here upside down again. I'd like having those extra little colors in there. So I'm gonna throw a little bit more of the dark blue, maybe a little bit more back in here as it starts to dry again and can go back in. It's not completely dry, so it's still moving. But that paint doesn't want to move quite as much. I'm just doing a few little touch ups here getting a little bit of a darker green under east. And then we're gonna get ready to actually do some final details on this one. So I want to be able Teoh, give it the illusion of some of those fine hairs that we had in here. Um, I'm going to do that with one of the Posca pens. We're gonna want to dry this completely grab your white paint pen because the background of this is all white. So this is just a little bit easier way to do this. You can also use some whitewash to create this with a brush as well. But this I find this really easy to use. It's a little bit more mixed media with the pasta penne, but you can get some really find the little lines in here for those things. Were they called again? Try Combs gets how they're pronounced all those little fine delicate hairs on the poppies. I don't know about you, but Oriental poppies air. Probably my favorite poppies. They think they get to be like three feet tall or something crazy. I cannot grow them, always wanted to grow them. So just filling. Finishing this up away those those few little tiny lines on the close buds and that will be moving on to some more open flowers. And we'll be doing some pen and ink in our next lecture.
7. Pen and Ink Poppies: in the past lecture. We've gone ahead and created the full poppy blooms, but I thought we would put them all together here in a grouping like we did with the buds. For this one. For a change up, we're going to use a little bit of pen and ink. Once we get those initial little shapes down, we're gonna continue with the same colors with that lovely little shade of orange. And just like we did any practice, other practice Poppy Bloom, you're just going to drop that color in there and let it take its own shape. I find these type of paintings air really relaxing very fun. And again, you don't have to have it look exact. Remember, there are many different ways that you can view this poppy in all different angles. So that's part of the charm of these type of warm ups or types of practices. You don't have to fret over perfectionism at this point. We'll do it another little, but in here your minds will do some more buds, and we have some of these open flowers do a little bit of both, and then I have this lovely, peachy color that it makes between that orange shade and that rose shade. How pretty that is very soft will throw a few of those in here as well, using these two colors really usually a nice split compliment of color. So you're choosing one color and using the colors pretty much on each sides of raising the reds any oranges and you get a red orange in the middle. So these look really nice together. They complement one another quite well. I'm going back in with a little bit more of that rose for a deeper shade that's going pretty wet. So we're gonna blow dry in this at this stage, and then we're at another glaze on top or another layer of paint with a little bit deeper, maybe maybe some deeper shades, maybe some later shades. We'll see how this goes through the same thing we did with the buds. So I start off with this and I didn't make didn't ah wash my rinse my brush off. So I have a little bit of that permanent rose in here, so it gives me a darker value of that same orange, just awful little businesses deep into just a little bit more and enough of ah color change . Teoh, make some more definition in those pedals. We'll go on a little bit darker of the rose on this one. You could see how it just makes pedals on on its own. Almost again. Thanks practice. So don't get frustrated. But again, you just sometimes you can see it. Sometimes you can. It just looks like a bunch of color to you right now. Once we get our pen and we do a little bit of detail ing on top, they really start to pop. So when I blow dry this again Actually, it was my heat gun and why It's really quickly. This is how you can get the lovely layers and your pains, and you're just very lightly changing those colors, and it creates a lot of drama. So now got my micron pen out and we're gonna creates a outlines on these. This is a very fun and more illustrative way to create your paintings again. Following the shape of the flower, you can see where those pedals for a little bit darker. So I'm just gonna go ahead and doodle around those. Then I can see if I want a center in here. Those puppies have that really pretty black center. I'm gonna do some will. Crisscrossing little scratch marks and a little line work here to give the illusion of that center conduce, um, dotting. Then you go a little bit darker or a little bit later that if you want that micron panda is fine with their water colors, you can drop some color rate over on top of that. If you want Teoh, sometimes it's good. Just a little hint of another. Another color in there. Please continue to work around the other ones. Get the center on this one and your centers. You'll find, like the perfect little spot, usually in between those those pedals. You may not see all of it. You may just see a portion of it. Some might go down a little bit deeper like this one. I see that pedal is really separating right here, down on the bottom. So I'm gonna go in a little bit heavier, darker the bottom. You get a little bit lighter at the top. I mean that if we want to add again a little bit more of like yellow in the center of that . We can do that. Well, let that dry. And we're gonna continue on now for the XYZ. Go ahead and just do the stammer with our micron pan. And then we had done some of those little hash marks for those little fine hairs with a white before we're gonna go the opposite. We're gonna use a little bit of the micron pen to add some black in here if you're new to my crumb pens there. Very fine tip marker. Very, very fine. And they do come in a couple of different sizes for the my crumb pens. But they come in a lot of different colors as well. And it's a beautiful way to work with your water color is a mixed media. So I'm gonna continue shaping these up, just putting some centers in a few of these. Follow that around again, just following the shape that we created with our paint. It doesn't even matter if you go outside those lines. You can do that as well. You put a couple of little stems in here just using our micron pen. For that, it's one darker underneath the flower. You'll notice I'll take that stem all the way down, through and behind, so it's not going to go directly over the flower. We want to keep those flowers front and center. We go in behind and touching a petal by was create another center in this one. That's is where I see that little space that a center could be. And every one of these flowers is completely different about when the winds blowing those pedals are always moving. That one on the right looks like it's, you know, that winds taken that pedal and lifting it up. Team created pedal. Whether isn't one of some white space if you want getting going underneath here, just darkening that a little bit and creating that little stem. So I do this in a very haphazard way. I'm filling up those little spots in my painting to make that a little bit darker if you want, so it's got more of a shadow underneath there. We could do a double stem if we want to again. This is where I see that centerpiece coming from Were that those two colored really meet together in their last with one create other pedal down here and in bringing a stem all the way down through. So how simple is that? And it's just really pretty. These will make beautiful cards, too. So once those air dry, just do some little final details in here. Maybe I want to put a little bit more that black in where I had added that little bit of color in the center. And I could make a fuel designed in here, almost like you can see the texture of the leaf pedals and that really kind of shapes out that leave. You can kind of tell which direction that pedal is going in the outline of the little buds here, and I like to go outside the lines. It's fine to be outside the lines. It's fine to be different. It's fine to do what you want to dio, and I hope that's what you grass from this whole project, because really are is what you create. It's a feeling that you have inside you, so it cannot be duplicated often, and it's really about the process, not necessarily outcome. But it's great to learn how to do things the correct way, but it's also great to try things out. Try things differently and do things your own way. And that, really is how you develop your own style. So give it a go.
8. Masking Practice Abstract poppy: So we've done some free can poppies by just using the paint and that wet on wet technique to create our little poppies. But this time I want to do something a little bit more controlled, so you can use your masking fluid for this. I like to use my calligraphy pen that we don't have to worry about ruining any of my brushes, especially my watercolor brushes, because they can be expensive, so calligraphy pens will work wonderful. You can clean these up really easy by just either peeling off the masking fluid if you get it dry dried on before you actually get a chance to rinse it out. So I love using, um, the pen for this technique. So I'm just gonna go ahead and make my outline of that poppy using the masking fluid. And this will help contain that watercolor in place. So we're just gonna fill in the inside of that. You want to make sure you give this a chance to drive for at least 15 minutes or so before you add the water to it and make sure you do rents off your clothes, repent right when you're finished. I'm doing this one really quick. A lot of times I won't leave my cap off my masking fluid. Well, actually, put it in a little container while I'm working with it. And you do want to make sure that you tip your mask, include back and forth. You don't want to shake it because it conformed bubbles. You don't want bubbles in your masking fluid. So we've got this one I'll set up. I'm gonna let this dry. We're gonna come back. We're gonna paint this in, and before I go any further with this, I want to make sure I rent out my calligraphy pen. We don't want that. The hardening their it just makes it more difficult to try to remove the masking fluid once it's dried. So we're inside off, and then just wipe it down, and you can put that aside. You do need to make sure that you change out your water if you use the same water that you're renting your calligraphy pen in because it will leave a masking film on top of your water and you don't want to use that with your brush by masking fluid is completely dry now . And I'm going into a wet my brush, using a little bit smaller brush for this amusing a size eight, and I'm just filling that inside of the area with water, and we have that masking fluid in there. Remember, that's not going go outside that area. It really contains it nicely. And if you end up doing a background with this type of work, it really does a nice job separating your flower from your background. It will also leave a nice white area around it. So if you want to add your highlights, you can always do that using the masking fluid and then remove it. And then maybe if you need to go in closer to your flower with your background, you can do that after your masking fluid has been removed. So I am loot, using my Eliza in crimson and my orange again and just mixing those two on the paper using that one. And what technique? Nothing. They just blend. I'm going in with a fairly dark pigment. This time is not a lot of water here. They want that very vibrant color, and if you do go outside of the line here, you can have a little bit of highlight with insides. It almost looks like a pedal where your masking fluid is so you'll see when we will remove the masking fluid when it looks like I would extend that out just a little bit beyond it. That will give me an illusion of another pedal on the outside. We'll go into a little bit of sap green out and create that stem you'll also notice with masking fluid. I put a little bit of those will find hairs that are on the poppy stem as well. I know a little bit darker, using some black for that center, and this is still wet in the middle. When that's OK, we'll let that blend a little bit in that black. You wanna go out too far outside that area, but he tried to keep it is contained as you can, and maybe do a little shadow down here on the underneath as well of a little bit of the black. I am going to give this a quick, dry and then we can go back in and add another layer of some deeper colors. So I'm back now. It's completely dry. Let's go back in directly into that beautiful shade of red, and we're gonna create another pedal in the front and you will see once you added this other deeper color pedal, it really makes that that flower pop even more and a little bit here could be a touch of it on this side. You make that a little bit bigger. You could really change the shape of your flower this way. Give us a little bit of a ning in here in unison with that darker color. Let's go back into the stem here. I've got a little bit deeper shade of green. Just toe. Give it a nice shading on the right hand side. We blend. That's still a little bit. Was pretty start. They're going to some black. I'm gonna darken it up just a little bit more. I can shape that around that pedal that we made. You can see where the white is. That's where the masking fluid really shows up. You can see that's really Ah, kept it nice and white underneath the paper, so I have dry that again, and now I'm going in with my Posca paint pen, and this is always fun to do Now, if you don't have masking fluid, you can use this Posca paint pin very similar to how you would use your masking fluid or does the same thing. But it does it in a different way. So this you would put on top of your flower once you'd finished it. You'll see when we pilla masking fluid off, you'll see where it's white. So if you don't have masking fluid, you can definitely use a paint pen to give yourself some highlights. Do you see you get a lot of detail ing with his pen? So let's go ahead and remove that masking fluid now. And I waited for that pen to dry, and then you could just peel that off so you can see where the mass influence is. White paper. So it's very bright white, and if you look closely, you can really see the difference between the white of the Posca pan, which looks more muted, and the white of the paper that we used the masking fluid on it's just gives you that the brightest white that you can possibly get and a lot of folks what happens when they're first going out with watercolor they cover up their paper entirely with paint. So having that white of the paper really is what gives you that bright highlight? I'm gonna go in and just a few more final details to this one, some more black and to maybe the little. We'll build detail ing in the center here. So as you can see, you can continue the later these poppies and make them really pop off the page. You can go from a very soft look to a more detailed book, and it's all by doing layers. If you don't have a white paaske, opinion could also use a whitewash, which is what I'm using here. Morro Peaks. It will actually cover up those areas of black very easily. You can also use a white gel pen, so there's lots of different options. And if you were out of everything and you're just starting brainy with watercolor and you have white acrylic paint, you could do that as well. Just keep in mind that acrylic paint will not reactivate once is it has dried, so just make sure you use that as your last step
9. Practice Poppy Backgrounds: we're gonna take a look at a couple of different backgrounds and how you can create these using a wet on wet technique so you can see these air very similar. But the top one has a little bit of more of a organic look and more of a burst of color in there. And I'm gonna show you the difference between the two. So I'm gonna just take that same brush and I'm gonna wet this area. Just a little square. And this is a great way to practice a practice in. You're either your bullet journal or in your little binders. You can also use a regular watercolor paper for this as well. But we're just gonna do a couple little demos, and I've got a very watery green in here of what? That paper had a time. So I'm just tapping in those colors and letting them bloom. We go where they want to go, using a little bit of the cerulean blue, the tap that in over that sap green. You can see it just gives that lovely burst of color wherever there's water is where that pain is going to go. So you could just mix and match. You know, if you want a background, you can pick and choose any colors you want to go with for this. If you want to add a little bit yellow in here, maybe a little bit of purple. Your background colors can really re beautiful. Um, group of of shades. But you want to know how they work together Before you do this on your paintings, What's always good to practice? If you're going to be doing a background, you don't want to turn it all into mud. Always good to practice so you can see eight. This is a lovely little background. Don't let that dry. I want to practice the 2nd 1 You can see this is pretty wet. Hold the paper up. Have a little bit of a buckle. This is some heavy duty paper. You know, good quality for beginners. If you have. Ah, really fine paper. And the sweating went, Technique will buckle. So you're your bust to either stretch your paper beforehand. Well, make sure you're using a heavier weight paper or tape it down, so I'm gonna go in now without wedding. That background, you can see the difference that This creates that watercolors not flowing quite as much as as it did in the in the top one. And if I went around gonna create my little square shape here, you can see it's just not moving like it was. I could keep tapping in some color. It's lightening up a little bit, getting more of this paper wet now. This is the longer process you can see. The top home was a really quick, and you let the water do the work and the pigment do the work. I'm doing a lot of the work with a brush on the 2nd 1 because it's not a sweat. Let's go into some of that darker sap green. And now that I have the paper underneath way, you can see that that's moving again, a lot better and so local darker, maybe a little muddier and doesn't look as pretty. It's not quite as flowy as that 1st 1 Waas. It's more mixed to see some of those colors air really mixing in a lot more. Let's go ahead and give us a quick blow dry leaving. This funny thing is your beat two of you want to make sure you keep it up, we'll hire you. Don't want to get too close to your paper and it doesn't get give off a lot more heat, sometimes in a blow dryer. What blow dryers air? Fine. If you don't have a heat gun, he can just doesn't produce quite as much air. It's more about the heat and less about the air. So it dries it really quickly So you can see the two differences between the top one and the bottom one, and I'm gonna show you if I go ahead and put in my a lizard crimson on top, You can see how that looked muddy. That's not quite as vibrant as what this is with just the regular white paper underneath. So you want to always, depending on what you want for a look, this looks more muted. So if you want a beautiful fresh poppy without real bright, vibrant red, you may want to consider leaving some white space or doing your poppies first in your background. Last. So let us show you one more here, going to wet the paper again. And this time I want to show you another way that you can create a background. This is really fun to do as well, doing all the same steps that we've just done to go ahead and wet that paper. I'm turning it sideways things. He has a little bit of a sheen year. It's always hard to capture with the camera you don't want to wet, and it's again practicing when we did our color chart. Practicing what? How much water to use with your wet and wet and you get a better idea only by trial and error. This is something that takes some practice. You hit it right off the bat, then you are very lucky. This has taken a long time to practice this. So we're gonna go ahead and he's a little bit of blue in here again, letting that water do most of the work and the pigment do most of the work. Try not to overwork it too much just by tapping a little color, helping it spread here and there. Done all we need to dio. And now I have a little trick that I like to do for backgrounds. I have a little bit of 91 isopropyl alcohol. I have it on a spray bottle. This is the large spray bottle. I have some smaller ones too, but not handy with me right now. This is actually scored a lot. You can see that That has a big blooming of fact. And while that's what you're just gonna sit and watch it, you can see it expand, and it just pushes this water droplets, asides, alcohol and water don't mix, and it just creates a lovely textured background. And once they see that, that is not moving a whole lot more. I'm going to take my gun out again and just give this a another quick blow dry so you can see what interesting texture that can make in a painting as well. So let's go ahead and do the poppy. A real quick poppy down here, just that blob shape. And I'm gonna show you how you can work around your poppy once you have it in there so you can see how much brighter and vibrant that color is, rather than trying to paint over that Doreen. This gives you a beautiful translucent glow with your flower without having that muddied appearance. So where do that poppy shape the same way that we did some of our practice ones. Then once you get your poppy shape down, but go ahead and I'm below dry this one more time could want to make sure that this isn't going to bleed into your background again. We wanna make sure it's completely dry. Remember, paint and paint will go wherever water is so you don't want that green to balloon into your flower, so that's completely dry. Am like to touch the painting just to make sure it's nice and warm and there's no dampness to it. And then we're gonna take some clean water and just go up around the edges. If you want have a really pretty glow on your flower. You can leave a little bit of space or a little bit of white space up at the top so it looks like light is happening and maybe come up right up to the edge of your flower on the underneath so some of that darker color will go in there that looks more like a shaded areas. We're gonna go a little bit darker with the color on the bottom. So again I'm jaws putting in the good shade of green and going right up to the edge of the flower on the underneath here and then letting that light hit on the top a little bit more , going back in with that darker or deeper shade, a little bit less water. So you have a little bit more richer pigment and tapping in some of that cerulean blue. And just like we did in the practice sessions. And then I think I want to add even a little bit deeper shade in here when it's real dark around the edge. You see where I brought that blew all the way around the edge of it. So this is where my shadow is in the underneath, and the light is hitting up at the top. And if I go into some clean water and just very lightly soften that edge a little bit so it doesn't have a big stripe all way around it. Yes, with a little bit of clean water, and that will help move out a little bit more. You know what, a little bit darker on the underneath and let's go into a little bit of red and blues. We're gonna make a little bit of purple I'm gonna have that right on the underneath. You can see you can add some other colors to this. Think about where your shadows are and where your light is, and then you're gonna go ahead and blow dry. That and then I decided it's not completely dry it. So I wanted to do a spritz of that alcohol. I'd forgot to do that because here it started to dry a little bit. So you don't get quite as much a definition as we did that first time hit a little bit more down here to making it a little bit more movement so you can kind of control a little bit more how much movement you have them, the dryer that your paints are, the less you'll have those little dots and splatters from the alcohol. It's the underneath it with a little bit more wet, and I've got a couple little drops down there, but that you know, that just adds beautiful, beautiful texture to your painting. And it's always fun toe get those surprises and see what it's gonna dio. You know that is completely dry. I'm gonna go back and just adding a little bit more of that deeper value with the red. And then I thought, we just do a little bit of pen and ink along there. You could see if I go with a deeper shade of red on the underneath. It gives it a nice, crisp, dark line on the underneath of our flower here. And then I've dried it completely and go to go back in with my micron pen and just you a few more of the details, like we did with the pen and ink to finish this off. So that gives you some ideas on how you can create some really pretty backgrounds to go ahead and take out your paper. Give that a practice before we dio our main poppy.
10. Project painting a large poppy : So here is a beautiful flower. You don't see the center with this one, but you can see the vibrancy in it. And I'm actually playing here on my iPad and I'm adjusting the brightness and the color, and you can see how it really changed the way it's going to look so it can help. You have an idea of how you want to paint this particular flower. You can also bring it down to black and white, which is a great way to see where your light areas are. So we have the light hitting here right here, and you can see where the light's hitting on those little little fine hairs, which actually had to look up there called Try combs. And what they do is protect the plant, usually from like insects and things like that. The other thing is, when you're looking at black and white, you really can see the darker areas as well. So underneath of the dark areas you have that mid tone area, so it really gives you an idea of the maybe the three different shades of reds or oranges that you might want to use in those areas to make it look more realistic. No, they've studied that a little bit. We're just gonna go ahead and sketch in the flower now. I'm not doing this exact when I sketch, I like just to get a rough idea of the shape of flour. It's not perfect. And you can obviously do perfect but perfect with flowers. Consume plans be difficult, especially if you're just first starting as you have all those little folds in there. So we're gonna just eyeball it. And I've also added a pdf for you. Gamble is, if you want to print it out and just go by my sketchy can do that. So I'm just trying to get some of those little areas where I see the light. Maybe a couple of little spots where I have the light shining in this little creases almost looks like Little Bay ning in there. But we don't want to get all of that training in there. We just want to do lights and darks. I like to shape up the areas of lights and darks and you'll see I have my ary sir, and I love the polymer Racer. Some artists do recommend the kneaded erasers they don't have a tendency to mark your paper , but I'm sketching. I usually sketch very lightly and I try not to rub so hard when I'm using my eraser, you know, in a dark and I'm just a little bit more so you can see it. And I've got the photograph up here for you. If you want toe get something that's a little bit more exact, then we have a little stem down underneath here. So we've got that sketch in and we're gonna get ready to paint. First thing I want to do is before paint actually is to use a little of the masking fluid. I wanna mask out some of those highlighted areas. It just makes it a little easier when I go back in with some other color. So I've gone ahead and used my calligraphy pen to just put a little bit of that masking fluid in those real bright light areas. You wanna make sure that that's nice and dry before you start to paint? About 15 minutes usually is sufficient enough. And now we're gonna take our brush, and I'm just going to put in the clean, clear water down here and I find supposed to be working with flowers and things like that. It's always a little easier for me in my eye if I just go into one pedal at a time, I first begin and that when you can look at that photograph and just focus on that one portion. So when a mix up a nice light orange to begin with there again, we're gonna add layers to this. So when you start out started off with your lightest color. First, you're than oils. You know that it's completely backwards for oils. Oil's usually start with a darker color, and you work your way up to the lighter colors. But with water colors. You want your latest shades in first, and then you're gonna add glazes or washes on top of those two deep in them. So around the outside here and notice, it's a little bit lighter, and you could see that pedal in the middle. There is really deep bread, and what I'm doing here is where I have just too dark. I can actually live that paint out, and I can pop in another color. I find it's just not the right color orange put a little bit more over here, where I've left it blank. There is where it's a little bit darker red, just a few of them. If you look close up, it's hard to see from the from the small picture here. But we've got a little bit of a ning in here with some deeper shades of red underneath that pedal. And because it's wet, it just wants to lend a little bit, so it softens it a little bit. Let's let that dry a little bit. Work on this pedal up here now again, taking in some clean water. And I do have masking fluid on most of that where you can see where the oranges bleeding in the where it actually touched some of the other color. But it's OK working on the same shades here. Where were that masking fluid is? It gives it a nice separation. Can I put the top so you can see it's a little bit deeper shades of red and again, this is not exact. An easy to move some of that red down and thereby just dragging your brush down through. Since this is all wet, you still have a lot of movement that you can do with your brush. Narrator moved on to the next one, and this one's even darker. He is going around the outline of the pencil. Remember that masking fluid is is going to be bright white, so we'll be able to go back in with some of that lighter orange after again. Where I see it might be a little bit later. I can actually take my brush in, Lift that pain out, drag it, wipe it up on my tissue, bring it back in, drag it again, lift up and wipe on my tissue again onto this puddle over on this side again, a little bit darker. You'll notice if I need to lighten that a little bit. I'll just dip it into my clean water and pick up a little bit more water to blend some of that. What if I need to go darker? I can go into my pigment and just tap in. It's still a little bit more. Here on the ends is where it's a little bit later. Closer to the center, it's a little bit darker values. I also want to mention the nice thing about having these pads of paper that it's connected to you can turn the whole pad, so if you need to work on your project, it's easier for you to turn your painting as you're working in those areas. The pad makes it very easy. I'll often also take a foam backer board, and I'll tape down my paper to the phone, Backer Board said. That way I can move it as well, because I'm doing a real heavy wet into wet wash is wet and wet, but it's not moving. I don't need that to flow so much. A lot of artists will actually tilt their paper up slightly, so that paper that wetness will run downward. But for this one, I just have it flat just shaping up the ends on that. And again, we have just one little spot left here to Dio. That should be dry enough now where I can go in and fill that one in again. That was a really dark rid in this little area, so you can see by dropping in those colors like that, you get so many different shades and values in here within just those two colors, it makes it really easy to make a fast painting. We are going to go into it again. This would be pretty, as is very light and airy, and you could be done. We're gonna go in a little bit more, get a few more details into this one.
11. Adding the first layers of your large poppy: so we let the flower dry, the pedals dry. Let's go out to work on the stem. So I have a little bit of sap green, green and lemon yellow, and I'm mixing those together to make a very nice light shade of green. And I'm just going to fill in that stem line you see in the picture. Here it's a little bit darker on the right hand side and underneath the flower, going into a little bit darker shade of green, bringing it in there while it's still wet with the very tip of that brush. Because this is what it's still going to slightly move a little bit of shadow underneath. Heroes left side as well. You can add just a little touch of like ultra marine blue to that green to get that really deep shade of green, most like a blue green or even a little bit of any brown that you have a number romper, and it will dark in that green change. Just a little bit more, I added just a little bit more darker red underneath that, I'm going in with my very fine micro brush and I'm going toe. Just bring a little bit up. I think I would have a little bit of green in here is while it's got, like, a little tint to it on the underneath, just a very little amount that's going to blend a little bit more with that red. You gotta be careful cause you don't want to get to muddy looking. If you're adding green to the red somewhere deep in this, just around the outside here and we're gonna add a little bit of a ning in here. I've got a little bit of darker red just in some of these old spots here. Just a little bit of light up at the top and just mixing a little bit of that red and orange on the side on my plate. Make sure God, not too much pain in there. And then we're gonna create a little bit. You can see the few lines that we have over here on this right hand side. I don't have that curve quite right. It needs to come up and around a little bit more. My pedals aren't in the same exact spot. That's part of when you're not doing exact. You have to go with a with a feel of how your flower, as I could see, were underneath here. This should be attached a little bit more, but that's all right. So we're gonna future little veins in here. It's gonna look really dark at this point, but this is gonna dry, and we're gonna do another light wash over the top of it. I was gonna get that allusion in here if you've taken my leaf class. We did something very similar with the vein ing our in our autumn leaf that we did. You see, some of these are very squiggly little lines. If you squint your eyes, sometimes that can help. When you're putting in some of these darker colors, squint your eyes and look at the picture that you're working with or hold it from old at a distance So you don't see, you know to paint in all of the little details. With this one, I'm going to continue to work around and just adding some of the darker values where I see it in the photograph here and there. And we still have our a masking fluid on here. We'll be taking that off once we get this in here.
12. Filling in the background and final details of the large poppy: So I finished that up. Blood it all dry and we're gonna go ahead and do Our backgrounds were gonna do it same way we practice before we're doing are different backgrounds and going just to wet the area first. And because this is a larger piece working on a nine by 12 sheet, I'm going to work quickly. But I'm going to work in two sections so that they make sure that it doesn't dry completely on one side before it begins. I don't want to leave that dry line if it starts to drive with the top here. So I'm going to start with just putting in some yellows here and there. Everywhere I see that brighter shade of yellow green in the painting or the photograph. And then we go in with a little bit of the sap green and add that to it because you have a little tinge of brown in here is well, so I have a lot of paints mixed down in here. So again, part of the fun is just using what you have. I don't like to throw away paint, so I will often grab colors of premix. It may not be the exact shade, but I'm OK with, especially from doing background. I want all those different colors in there, and this has more a green blue to it, the gang going in with those darker shades. Now where I see them on the same section again because I want to work quickly. I'm not overthinking it. Too much of just popping in the color, tapping it in here and there. Know where to start on the other side before this dries. I don't want that a sharp line there. So gonna add the water to it again all way around the side and adding the yellow first and then going back over a little bit of green. And I have a little bit more dark on the left middle and underneath here. So I'm gonna go a little bit heavier with a darker greens Here. This is more green, but I do like that lighter shade lighter, yellow again. It's part of the process. When you're working with a photograph, it doesn't necessarily have to be exactly like the photograph. This is where you can use your imagination and you are an artist. So that's really part of the fun is It's how you see that photograph. How does it make you feel? I'm gonna go in really dark now with that real deep green again. Before this drives, you wanna work all of this wet and wet, You can see I have a little bit more than blue green color going on. That's what's so fun about. If you have all those different shades in there, you're gonna really pretty background cause it's just picking up some lights and darks illusion of some other flowers and trees beyond your flowers That brings your flower up front. And remember how we used the alcohol to sports that we're gonna do that again? This is a better picture of the isopropyl alcohol in the spray bottle, and I'm gonna hit that again and you could see all those beautiful dots. No, it's completely dry now and now we're ready to take off the masking fluid and we're gonna go for the final details. So I have a little magic eraser here? Not really. It's just a little rubber, um, rubber tool that works really well for helping off masking fluid. And I do want to mention when we're talking about masking fluid. Try not to leave your masking fluid on there for too long because it's ah, sometimes hard to remove. Another thing that will make it hard to remove is if you put a lot of heat on it, it sticks. So use cool settings when you're using a blow dryer or heat gun. I make sure that you have it a distance from your painting when you're when you're using those tools. So now that I have that all taken up, I want to go in with that more of that lighter orange, and I'm gonna fill in some of those white areas. There's a couple spots that might be left white just around the edges, but most of this if you look at the photograph, it has a more of a lighter orange shade in here. You see, I went in with a little bit too dark of his shade around the edge of that one's I'm schooling in now. A little bit of orange. I'm doing a wash right over the top of it or another glaze and then softening that a little bit more, and I decided I wanted a little bit more over here is well, and maybe even a little bit up here, So I'm gonna go back in with that. Where do you read and just give it another wash to soften everything that I've put down. Then we'll dark in that edge route along here as well. You look at the photograph. It's really not white parents. It's a nice divider line. So this is what we have at this point. This could be done again, but I thought we would go a little bit darker. Just want to show you how you can darken this up, even if you've already finished it. Like you could see that I love this light and airy. Look, if you want to make it look even more similar to your photograph, I'm going back into this wash with some Clearwater. And this time I'm going to use just a square brush or flat wash brush just so I could get around the edges a little bit better. I'm gonna wet this one side again. You can see my paper has now been removed from the pad, so it's starting to rip a little bit. I'm gonna show you what you want to do without as well, and this is completely optional. I like to be able to give you guys little tips if you want to continue on or try some different things. So this is now all wet again. I'm gonna go back in with a deeper shade of that green and blue. We're gonna dark in this up a little bit. I'm gonna switch again to my around brush was gonna lift out a little bit of that dark paint right around the edge of this one pedal. I have my brushes wet. I'm wiping it off, lifting out on wiping it off again. You could take your pain out this way so I can remove that. Get it back down to that just a little bit. A little lighter, so it almost looks like it has a little glow around it. Can you have to do that while it's still wet? Blend a little bit more here. I don't want to cover up lows. Little fine hairs, too much. We had actually used the mask include for that. So that left that nice and white. I don't want to cover those up, So go ahead and blow dry. This and I can see that this paper is quite Ripley. Quite frankly so. I want to just put in, flip it over on the backside and put a little bit of water on here. I didn't realize I had a lot of paint. Still unmarried brush boats. Okay. No one's going to see the back side of this. It will be, Ah, lovely light blue shade. So I'm just going to wet this. And then all I really need to do is just put a border, have a book on that on top of it. And give that a few minutes, and that will flatten that rate out. So we'll come back to this and you'll see that it's nice in nice and straight Nice and flat once again. So I thought again, I wanted to show you just one more glaze over here If we wanted dark in this to make this look more like the original photograph, you can continue to work on these things. It doesn't necessarily mean how to be done. And I'm not sure if I like that before or after more. You guys will have to live. You have to let me know what you think but it's still an option because everybody has different tastes when it comes to art. So it's really about your preference. So this is the piece now, with a little bit a few more, uh, light washes of deeper shades in here, and you could see how much richer and darker this color convey and looks more like the original photograph now. So the last final project is going to be our poppy, but and we'll get into even a few little bit more details with that one.
13. Project 2 - Realistic poppy bud first wash: for our final project direction Going to do a very detailed poppy bud. So we're going Teoh wet the paper and I'm not sketching this one, and this one is free hand. So once again, this is not exact to the image that we've got here, but it's pretty darn close. So I have just clean water and again, so hard to tell. I'm sorry here on camera to see that clean water, but it's just that one side of the poppy and you'll notice here when I add some yellow to a available see it here. So I'm dropping that into that one side and that very nice light lemon yellow and I start with that very lightest shade. You could see a little bit of that light yellow up at the top on on this and underneath it's get a little bit darker with a darker green. So I'm gonna do this all in one step, gonna go ad the next shade of green in here. And for this one, I'm not using masking fluid. We're gonna use the whites or the sink wash for those little fine hairs for this one. Another little bit of green in here again. Just dropping it. I don't want to get too dark quite yet. They don't want this to blend too much. Even have a funeral of those hairs in the green sticking out. Just a few of them. Let's go hear him skip a spot so I don't have any water. You're going directly in with a light wash of that permanent rose. And they have a little gap here where I'm not touching it. Then I'm gonna let it bleed in just naturally down here on the bottom because it's a very dark color. Some okay with having that little bit of red in there, going of that little bit of shape at the top. Gonna leave a little bit of white space here just to separate those flowers or those separate leaves. Separate flower petals. That's what I should say. Not we used. Believes her on the outside, I guess a poppy, but has three separate little cones around it. The ones on the backside. This front ones open will do the two on the side. Now the bottom you can see where it's going to be. A very dark again. We're starting off with that very light shade. I was doing a nice outline, and then you can add just a little bit more of that red in here. So this is the lettering crimson that I'm using now because he how much darker that is. You're just using the very tip of my brush and tapping. Just a little bit of that color in there grew by. Make that a little bit smaller. There's not too much of a highlight of the white that you see here shape that bottom of a little bit more, commanding just a hint of purple and determining where my shaded areas are going to be. So let's rid sat one often, and we're gonna go back and do the other side again. Starting out with yellow. That's bleeding a little bit in there, but again, it's okay. Sometimes those little color changes make it so much prettier than if you just have a solid color in there. You can lift it out if you want. If I touch as I got too close to that one side and so all where it's wet, it's going to blend into that. What area is gonna run right to it? So if I take my brush and just wipe that off, use a tissue and lift that pain out. I worry a little bit in there. Well, let that dry a little bit. Let's go into the stem. It is quite bright yellow again. We're gonna add some green on top of this. So okay to go bright. You can see when I add the sap green. On top of that, you had a really pretty shade of green. Soften that up just a little bit more. So we have our basic shape of our poppy. But in here now, again, this is very light, very airy. And there's absolutely nothing wrong with something like this as a finished painting, really, But you can continue to add layers. I just want to show you how you can get more realistic with your water colors if you choose again. You know, if you want to do realism, there's a lot of steps to it. If you like that lane airy, you can basically stopped at this point. So I'm going into a little bit darker green. Try to cover up some of that pink on the one side, and then just add just a few more details in over here because I'm using the green and the red. It's a little brown there, but that Sorry, we're gonna cover that up, going to go in a little bit darker. So another layer on top here of the paint, you can see we're still just a little bit wet on that right hand side and that just you can see where that paint just flowed right over there. You're a pretty large gap on this side. There's a lot of white up in there with that. Those little fine hairs are. But we're gonna work with that. We're getting there. It's not quite exactly the same shape, but it's pretty close. I could see that this one is tilted a lot more than the one that I'm working on. I've got a little bit wider on the outside on that right hand side. So now I am just I want to get some texture in there so I could see some highlights. So I'm just taking my brush in taking out the painter, pulling the pain out. And I could do that because this is still Wes. I could see as I do this I have some little little bit of line or marks in my paint as I do that and again, you wanna wipe off in between as you're doing that so that that paint doesn't settle right back into place and the very fine is barely noticeable. So when a darker color in here so added allude of the pains, Great to this. And because it's green, it's picking up. Those green shades could also use a variety in green. If you wanted to do that, you just need some print shades of green, and they're even adding a little bit. Ultra marine blue to your green could make a nice dark green that paints grey is very pretty color, just a little bit of that to do the stem, and I'm blending that just a little bit. It's more in that this red area was a little bit darker in here, and then it until it's a little bit wider than what it is in the picture of the photograph . Using the very tip of my brush and just creating a little line work in there. Look that out just a little bit down there to make it look a little smaller and go into the veridian green. And we just want a few different shades in here, and it's all still wet, but it's not extremely wet, so it's not leading everywhere because he it's more dry near the top, and it's still fairly wet on the bottom. So it's doing a little bit more blending down there, them in a dark in the side, a little bit more. Have it a little bit too much brown in there. Looks brown with a green, and the red blended a little bit too much there. I don't want this to blame. Put as much anymore. So let's go ahead and do a quick, dry and go back and adds more layers to this, using my feet gun Yan instead of my blow dryer. Just be careful. It's not too hot.
14. Layering more washes for realistic petals: Now, I'm gonna go in with more details. I've switched my brushes out. I'm going to be using a size zero of my micro series brush. This is a round brush, but it's got a very fine tip and were able to get some very tiny little lines and strokes with us. So almost made a really dark shade of purple. You can do that by again. Some type of dark blue look, ultra marine blue. And to go along with your reds or your religion crimson or even your her permanent rose color. But you just want a nice, dark shade of more of a purple hue. And that is this little section down here at the base. We're gonna have a little a little bit darker here. You can see where there's a nice highlight along the edge here. We're gonna use some whitewash till it lightened that up in a minute. Yeah, I'm gonna get some of those little fine lines in here. You can see how tiny those are. And now I've got some a white wash. I'm gonna lightened that up because I got to dark. Where That blood in together. So no, keep in mind when you have watercolors, Nothing is perfect. Nothing always goes the way you want to go and you can fix your mistakes fairly easy. So whitewash is one of my staples. I love this stuff, and a lot of times I don't use masking fluid. To be honest, Good. I just like the freedom of being able toe layer those highlights on top of my watercolors, if I want by using the wash and honestly I am or a I don't planet plan as much. I'm more of a, um, a person that paints by feeling more so than by exact. So I don't usually plan everything out for my paintings that you might be completely different. There's a lot of artists that love to have every step planned out before they go. But the good thing is, when I'm doing these classes, I now have a plan for you. So I hope you're enjoying this one. So I'm gonna go in with the wash and just can create some of those little lines. I'm doing this. Let's look English because you can see those little hairs. I can't pucker out of there and they're a little bit thicker at the base. So I'm pushing down a little bit more and then lifting up to get the fine hairs off the edge and then feel free to turn your paper, especially in these pads. It's really nice to have the path because you can easily turn your paper. If you need to help yourself with the direction that you always want the directions of those fine hairs, you can see they're all going one way. So if it's easier for you to turn your paper and hold your hand a certain way, then definitely do that, it certainly helps. May make makes it much easier for me to do my paintings even when I'm drawing. I want to bring some of those little hairs up around here and in hide some of this little area cuz I'm see I'm doing a lot of really quick little strokes with this. And then I got a couple little highlights in the lines in here, and we're going to shape this up just a little bit inside. Remember, it's a little difficult when you were working with a white background. It's hard to see those hairs if I were to have a background on this would be much easier. So a lot of times I will do the opposite. So instead of having it bright way, I'll give it a little bit of it, a yellow tent or green tent, and it really will pop out and adding a few down and here in the stem as well with your white wash from this has come around the corner here as well. You'll also notice that whitewash will tend to pick up colors from underneath. Have said that I think many times in many of my classes, so if you're using whitewashing, you want to be bright white. Make sure you're underneath layer is completely dry and try not to go over the area too many times because what happens since watercolor is transparent, Gua sh is more opaque, but if you haven't really wet, it will actually start to lift some of those underneath colors. So it's going to pick up that red and become more paint, or it's gonna pick up back green and have a green tint to your white will also depend on how much water you using the more water you use with your wash more translucent it will be the career pain is the more opaque it will be again. If you want that real bright white, you're gonna use less water. I'm gonna go in with another layer of orange in here just to brighten things up a little bit more, a little bit closer to the color that's in the photograph. And again, my underneath layer is completely dry. So I could do a wash right on top of this to brighten things right up when you see how it really makes it pop. He was a little odd dimension in here and those other colors underneath still come through . No, I think I mean you to go a little bit darker. We're here and maybe about the top was filled in a little bit of that whitespace. A deeper shade of red. Do you want to leave some of that white up here? It gives a little bit more texture and then I can go in with a little bit more that darker shade in between. You can see down here again at the bottom a little bit deeper green just on the underneath . Here, all these little one marks here. When Mark there can really make it pop. I'm still gonna I'm just going to delay sheet over that white. That white just seemed a little bit too bright there. It's often just a little bit of put a little bit of a soft paint on the top of it. I think it may be a little bit a few of those little soft pink colors in here. If you look really closely at some of these little fine hairs, they have just a little bit of pink on the ends. And why last touch up? I just want have a little bit more of the yellow back in here is gonna brighten this up. You can see it's quite yellow on the photograph. Just a little bit more of a highlight in there. I think we're finished. At this point, I'm gonna go ahead and I wouldn't actually sign this with no softened a little bit more. Lend it just to go over a little bit. You could say that soften. If it's too bright, I'm gonna go a little bit of yellow on this side as well. They're now happy with it. You can go on it on forever. That's one of the things about painting and always a great tip is if your eyes are tire and he's not quite sure what's wrong with something is always put it down, step back and then go back to it with some fresh eyes, because your eyes do you get tired. So I'm using my micro brush and I'm just gonna sign it right here with the red. So there we have it. You have your finished, more realistic looking poppy, bub, and I hope you enjoy this. I'm getting excited about seeing your project, so we'll talk about that next.
15. Outro: So thanks so much for joining me. Today is now your time for Farraj eggs. So grab all your supplies that we've covered in this course, and let's get ready to have some fun. If you like this course, I have a bunch others lots of Alcohol Inc ones, water color and even that's, um, resin classes. So make sure you check those out, too. Don't forget to post your projects. You can tag me on Instagram. You can tag me on Facebook. Don't forget to join our special exclusive Facebook group that I have. If you have other questions and things like that, it's a great place to post it. There's a lot of folks on there now and way love to share and share ideas on their super helpful. So head over there. Check that out of your feelings for that as well. Don't forget to check out my YouTube channel, where I do new videos every single Tuesday at 9 a.m. Eastern standard time, so make sure you click that subscribe button. Make sure you click that bell and that will give you the notifications. Every time I got a new video, you will see it And if you have the chance, please don't forget to leave a review that let others know that this might be, of course, that they would be interested in as well. And finally, if you have some ideas for classes that you would like to see, let me know. Thanks so much for joining me again today, and we hopefully we'll see you again real soon.
Kellie Chasse, Sharing Art with 100,000 students & counting!
