Watercolor with Me: Loose and Lovely Flowers

1. Welcome: have you ever wanted to paint loose and lovely flowers with water color? Then this is the class for you. Hello, Welcome to my skill share class. I'm Jessica Sanders. Color me creo art dot com in this watercolor class for any level will be painting loose and lovely for ALS. But first we'll learn a little bit about flower shapes. By sketching. We'll talk about the techniques used in this class, including negative shaped painting within, wet and using brushstrokes to create our shapes. Once we have the basics done, then we can paint together a lovely field of flowers or some sketchy daisies, and that also have for you and abstract puppy and a beautiful big bloom creative with negative shape painting. Each lesson is recorded in real time so that you can see the actual process of painting and will focus on keeping it light and loose and lovely and having fun in our class. So I can't wait for you to paint with me. Let's get started 2. Supplies: for this class, you'll need basic watercolor supplies. Still need a variety of brushes, large and small. A pencil is nice to have. You'll need watercolor paints. You don't have toe Havas. Many, as I do use the pace that you have. You'll need watercolor paper. I have 100% cotton and paper from B paper company that is £140 cold pressed. I do recommend that you do have at least £140 paper, though, as it won't curl up as much when you're trying to paint. So mine looks like this. These air six by nine sheets and they're pretty nice. They're fun to paint on. You will also need water, one or two jars of water. I'm using salt. In this class, you can use table salt, silk salt, whatever salt you have totally up to you or if you prefer no salt at all. And don't forget to bring your imagination. That's the most important thing we need today. All right, let's get started 3. Sketching Flowers: Let's talk a little bit about flowers and the shapes of flowers. I have this really pretty OK. It has a lot of different kinds of flowers in it. Different colors, different shapes. So I'm going to clip a few and we'll talk about it. Are you start with this little daisy like flower. If we turn it on its side, we're going to see one shape, and if we look at it from the top, we'll see another. So it's just kind of sketched that out a little bit. So what we see here is a circle and another circle. So you just our little circle drawing a second circle around it. I'm drawing lightly, but let me draw a little bit firmer so you can see it and then in the center. Even this has another even tinier circle, and it's got some little pedals around the center. You see the detail there has these very small pedals here. Isn't that pretty? And it has a lot of pedals, better part of this outer circle. So all we would just do is just draw some petal shapes in there and leave a little space in between them. I'm drawing very loosely. We're not trying to be botanical illustrators were just playing with their water color draw . Awesome in between just little rounded shapes. They do have a little bit of a point, so if you want to, you could point it. But we're just trying to get an idea of how this flower would look if we're looking straight down at it. This is just a starting point. This is not like a finished your drawing or anything like that, because we're not even going to be drawing. We're going to be painting, but this is just to give us an idea, so that's pretty cool. That's a little cute little flower. You could put some little lines in here to sort of indicate the way the pedals sort of fold in work. That's a little depth, but basically you're going to take the small circle and a bigger circle and fill it in with your details. That's from the top, so from the side, it's still a circle shape. But we only see half of that circle, so we would do something like line here just to get that shape, the general shape and a cup so basically part of circle that's not. And then this has, like the little see this wavy this way, the area So we not have this wavy area inside there, and then the pedals go out toward the top and radiate from the center. So you could sort of visualize your pedals that way. And we do see lots of ones on this woman's turned this way. So there's sort of the general shape, and then we also have the stem, which we couldn't even see on this part. But this one we do. We see this, Tim. So just for the sake of helping you see night little sketch a little bit better that would make that smaller again, very rough sketch just to get an idea of the shapes of some different kinds of our. And if you turned it at an angle, you would still have the circular shape that it would be more looking more like an oval. So it's still the same shape that it looks different, depending on which way we turn it. So the pedals would be shorter on one side and longer on the other, or they would appear that way. They're actually still the same length, aren't they? It's all about how you see it. And then we would actually also this would be more rounded on this side and flatter. Still rounded but flatter on that area. And we would see the little little pedals here. But we wouldn't see them on the other side because they would be covered up by the center. So that's that flower three different ways. Now. I love these timing flowers, and we can turn them all different ways and see how it has. You see lots of stems this way, This way you can still see the students they make V shapes. So let's do that. Sort of. Let's look at this one also. So I'm just gonna draw little circles for these flowers and scribble inside them. Just little scribble Lee circles here there. I'm not trying to make a perfectly accurate representation is just the idea, and they sort of connect in these V shapes. And then that may go down a little bit so you could just add the script early sort of circles. So if you do this with watercolor, I mean you might just put dot right, so that's how they kind of look from the top from the side. We're still gonna have the scribbles shapes, but they're more oval shaped. See, the little bottom area here happened that also that sort of the shape on the bottom. So I'll just draw few oval shapes with, like the V shape at the bottom and then the stems out. It's not good. The stems with the small and straight down sort of like that. So for this flower, I think it's a carnation. I'm not really concerned about the names of them. I thought it was cool has this beautiful little bud. And then it has this very wavy pedals, and they're all bunched up its double circle shape and the pedals sort of circle in. But there's no distinctive circle in the middle, as in with our first flower. So let's just try. And then when I would just do is draw a wavy circle and then more wavy circles within. I noticed some of the pedals pull away a little bit, so you might wanna do you like some little folded away pedals like that just to add some interest. So that would be from the top and then this from the top is a point and me turn it so I can see it from the top. It's basically a point and a circle this little but is, and it has these lines that radiate from the point down to the bottom. It's sort of a curved way. That's really all you can see if you look straight down on this little but now return to side. I'll start with the bud here. It's going to be this. I mean, I love this shape, actually sort of us Kony shape and has a these V shaped leaves here to school, so that kind of on pointed they're pointed and round it. So there's our bud loosely sketched and then we have stim and actually has, like a little circle there and stem goes down from there. And then this one from the side is still circle, but it's flatter, so it's 1/2 circle. It's quite flat, but it's really on the top, and we're going to see those pedals going down and overlapping one another again, loose, very loose, sketchy and then cast the sort of really big fluted bottom. And it has the the same course it was a but at one time, right? So it has the same V shape or points there, and it has a second Rome. So this just observing and drawing so that we can understand more about flowers. But we're kind of gonna let it go once we get started and not worry about it. But I just wanted to talk about the shapes a little bit, so we would have an understanding of the shapes of flour. Now this one is even more complex. It still has the circle in the center and has more of a star shape. So I guess we can go ahead and do that really quick again. I'm trying to make this really quick, loose sketch. So here the star shapes do sort of have a circular outside area. So if we do this, we can see they were kind of and these air big pedals compared to our other. And they're pointed so point and they overlap and they go in every direction and some are behind the other says That's and has little pistol e things in here. And then it has also this interesting stem that curves out and has thes long, elongated little buds on it so we could do something like that. Very simplified shape, very abstracted. Just the idea of this flower. We don't see the stem from the top, right? We can't really see the stem, so we wouldn't worry about that. Okay, let's turn it on its side. We have that trumpet shape again, but with the pointy edges, and we can see the other side so sort of complex to draw that you get the idea and it goes down really long again. And within that are these lovely little lines. And then it turns into the stem. And it has little leaves and buds and for the stim has thes overlapping. Now, these air really pretty, really pretty shapes. Fine art really doing this justice. But look at this. You can practice this way by tracing so more like that, but with a lot of depth. Okay, so those were some flower shapes that we can learn a little bit more about shaping flowers , and I were going to kind of just let go of it and go have some fun with our painting 4. Watercolor Techniques: when technique will be using today for our abstract flowers is to do negative shape painting. And all that means is you paint around the outside of your objects. So let's say you have a circle have drawn a circle here, drawing little flower shape, and instead of painting the circle you're going to paint around the circle. You'll do the negative shape, so the negative shape around the circle would be here. We didn't paint inside the circle. We painted the outside of circles negative space around it, and the same would be true for our flower. So let's say we wanted to to negative shaped painting around our flower. That means we don't paint the pedals. We paint around the pedals. Instead, repeat the space around. That's called negative space, so that's one technique will be using in this class. You want to practice this technique Maybe before you get started, at least see if you can get your head around it. Sometimes it's difficult to see the negative shapes, but we're doing simple shapes for flowers, so it shouldn't be difficult for this class. Another technique will be using in this class is wet and wet painting which is simply wedding the paper and adding our color. That means it's already wet, and you add wet paint that's called wet and wet, and it gets nice soft color and allows the pigments to move and spread as you paint. So that is wet in wet watercolor technique. And one other technique we will be using is just to use our brush strokes. So you may want to practice just moving your brush in different ways. Mainly will be thinking about how our paint is at the tip of the brush is more concentrated and how to move our brush so you'll tap your rush down. Move it around. I'll cover that another section, but it's a good idea to practice and see what shapes your brush makes before you get started trying to make some flowers from it. Okay, let's move on to the next lesson. 5. Watercolor Backgrounds: I would like to get this two ways to paint these abstract flowers. So what I want to do is create some backgrounds with flowers in mind, and then we'll let those dry and we'll come back and do some negative shaped painting and make some pretty florals on this. So I just have my £140 watercolor paper. It is. This one is 100% cotton be paper. I'm going to use my large brush wedding it really well. And I'm just going to start, I think, with a wet and wet background and I'm not gonna do the entire paintings. I'm going to drip some water on the paper. Mm. Splattering without color and drops, Um, some water across the paper. This paper will, it's or buckle a little bit, but that's OK. I'm gonna worry about that right now. And then I'm going to pick up some color. So I want to think about the flowers on painting and the colors that I'm using. And I can use any color that I want these air my flowers. I'm in charge, right. You're in charge of your flowers and so you can pick up colors you want, but if you want to be a little bit more natural, you could put in some green. So I'll put in a little bit of green here from a palette. Now what drop some in could touch those drops. That would be fine and thinking of my flower being sort of here near the center, some putting greens on the outside and not in the middle. Use the greens you like. Use a variety of greens if you want. Have some darker, some lighter. It's going to dry lighter. Remember that a little splatter greens would be good. So using this wet on wet technique, let's our colors run and move so you can see how it's pooling here. It's really light and pulling, going to leave that edge because going to make an interesting sort of idea that there's a leaf there, I said I was going to leave that, and then I touched it. In any case, there will still be an edge because the pain is flowing, and then I'm going to go ahead and drop in another color that I might want to use in a flower. So maybe I'll drop in a little bit of this warm yellow, maybe even there in the center. And just let it move around on this wet paper. This is all going to dry really, really light, which will be just fine. The thicker pigment will dry a little darker, doing little splattering that color drop in a little more. Okay, okay, Now I have one background created. Can I'm going to let this one. Dr. Let's do background number two. So for this one, I'm also going to do wedding went, But I think I'll do the entire paper and gonna win it all over. I could use a bigger flat brush if I wanted to, or I can continue to use this brush. And I'm just sort of gave this paper sort of evenly wet. There's a little bit of color in my water. You may be able to see that on camera. You may not in the case has got a little bit of yellow on there. I didn't clean my brush very well. Apparently, let's add in some pink this time. Now you can use any kind of pink you have or want to use can use a variety of pinks, and I'm just randomly putting this around my paper and it's going to spread and move with the water and just create an interesting background, less the paint. One. I'll go back to my yellow. I'm just see that beautiful color it makes with this pink Really nice dropping and war here and there. Okay, so this is going to move on the paper now. I have the yellow mixed with the pink there on my brush and you see, and being very loose, very sketchy, and it doesn't matter. The colors mix and mingle. It doesn't matter what shapes they make. Even I just want nice color in there in the background. It's going to look really pretty And like their flowers in the background, actually, what it will look like, Very muted, very soft. That's the word. I'm looking for soft. So I'm using the same yellow I did in the other one. Plus, I'm using this really vibrant pink. Um, I believe this one is actually called Rose Matter, but just use the pink. You have the people that think that you like you may want to check and see if it mixes nicely with the yellow. I have slowed a little bit more of that. And they're like the way that looks and that will be like little flowers in the background . I am leaving a little bit of white space here and there, just for fun. And I can even tilt and move my paper. So I have a little bit of color sort congregating on the edges. Something go, Just give it a tilt. Let those colors run together a little bit. It's going to be really nice. Really pretty. I like that peachy color that the combination made that yellow on that pink Really nice. Okay, background number two is done, and I will do one more background here. Look, I like the way this color is beating up here. So you know what? I'm going to tap that. So this is playtime. This is time in the sandbox. It's just having fun and enjoying the creative process. So I'm tapping that, and I have these nice little textures here. Or maybe this is just a sheet of like kitchen wax paper that I used to put underneath. My water color makes a nice sort of non porous surface, so that's really nice. Little texture scare. And now let's bring in. I mean, let's bring in some blue. Let's let's first add some water. It's sort of like we did. The 1st 1 will add water and some splashes. And maybe this time we'll even spritz it with water a little bit. That creates very interesting edges when you do that. So I'm leaving these outside edges that I tapped on to the paper with. And I'm thinking that flower is going to be somewhere in here, but I don't know yet where it will be. And then what color did I say? Blue? Of course. I love blue. Let's dio we'll do cobalt blue. I don't think you can see me mixing that. So look at that. It's really bright. Now remember, it is going to dry lighter than this because we're adding it toe water. But I think I want that toned down a little bit. So I'm going to add just a touch of orange that'll just neutralize it a little bit because their compliments right makes it a little bit more natural and a little less bright. And I had a little bit more orange tones it down, so now I have this nice blue gray color. I don't know. I just thought that's what I would go with. So that's what I'm going with. And I'm going to drop it in here and there. This is a very watery mixture. It's going to dry really nice and light and just creating that background a little bit. I'll go back to my pink that I have in here. That's going to be nice peen. So that may be a different, slightly different. I don't want that hard edge there. Something going to win it. Oh, I almost forgot about spritzing it. Let's do that Well, just and support it with water. Make that color move. It's like the cloud, doesn't it? Here we go. So that was a more purple e pink that I added this time. But it goes nicely with that blue and let me just tilt and move a little bit here. Can you can see I have left those edges and I don't know how these air going to turn out exactly. This is intuitive loose painting, and I don't have a plan for how this should look when we're done, it just want to make something that looks pretty, and I wanted to remind us of a flower. I like the way you can see this mix of colors in here. You can see the pinks and the blues, and it's kind of separating a little bit. I'm gonna leave this little white space that I'm covered up the others. It's sort of pooling in the middle, and I like that. It's going to sort of create a bloom when it dries. Which guess what? We're painting flowers. Blooms are good. Okay, so that's background number three. Now let's move on to just painting some abstract flowers while we let these dry. 6. Field Of Flowers Part 1: So you remember the flower drawings we did because we did this practice. This is sort of already in your head, so to speak. And things kind of come out naturally intuitively, if you just embrace the creative process. So we're not gonna worry about making something exactly, like where these drawings or anything like that. But we just have these in mind so that while we're painting will let them happen as we're painting itself, let's try that. So I think I want to start with a pink flower. It's for fun. A simple pink flower and in our use, a similar Peter. Why use before you can use the colors you like? And what I'm going to do is think about how my brush works. So women painting this part of my brush the body of my brush is full of water and pigment, and the tip is concentrated pigment so that it's going to release more at the tip that it does the body. So where I want the darker color on my flower is where would it put the tip of the paintbrush? So I'm going to think of say, the center of a flower is say here, doing this without a drawing could do drawing if you like, say the center. If the flower is here, so may start with some loose, scrubby pedals and see how this is darker and the edges lighter there. That's actually a really nice pedal pick up similar. Leaving the centre I'm doing sort of a top down view of how a flower might look and creating just some abstract petal shapes by pressing my brush down. Now that is pretty, but I want that more intense, even warrant its color. So I'll just drop some in here and I let the center white so super easy way to paint a flower. So let's try it again. We'll just make several flowers on here. This one sort of has three pedals. We could add more later, but let's just start there. So I'm thinking again of a center of the flower here, so I want you press my brushed down and drag it, and where I picked my brush up is going to be the darkest area. It is the tip and picking the tip up last right, and I have a mix of pink and yellow here now So let's to again thinking of where that center might be and connecting our pedals. So let's do that again, and we have a three petal flower. Let's get those right there. It's nice to connect our flower shapes liking that soft color that we have, but I'm going to drop in a little bit of the yellow, dropping in a little bit of yellow. Look here and there toward the center, in this case, maybe even on no here title. Together, yellow is pretty bossy. Color usually will push other colors out of its way so you can see how this is. Pushing the other colors adds a touch of some light. So let's paint flower number three. I did this opposite. My center is here, and I'm pressing out with things so you can see you can switch up how you do things. But if you want that darker color there, you really need to put your tip towards center and dragging that brush and using the body of the brush to create the pedal, dropping in a little bit of the Peens. That's quite a bit of the pink, isn't it? And then I'll drop in some of that warm yellow just like the way it's looking and canvas. I'd like to. I'm going to splatter a little bit here of the pink and yellow. Now, if I splatter onto my flowers, it's going to create a drop area. Basically where you dropped the water in it pushes the paint away so you may not want to splatter right now. You may wanna way totally up to you. I'm I'm liking this little composition we've got going on, so let's just keep going. Let's just have some fun painting our lovely little flower shapes again. I'm going to put the tip down there. Think about the center of my flower being in where and putting the tip down, sort of making those pedals just by pressing down my brush. Now, if you have a smaller brush, you'll have to take a wider stroke. I love how I get this loose, jagged edge. I think that looks really nice and very natural, creates a really pretty pedal shake and continuing with my theme of pink and yellow. So drop in more of that warm yellow e think I want to just sprints this a little bit just to let that color flow out a little bit more. I really like this pink and yellow together. It looks really nice. Let's paint another one here. A little bit lighter paint. This time he's her three little flowers. It just worked out that way. But I like the way it looks. Droppings me along so we'll really have a variety of flowers when we're finished. Will have this more purple E one will have light pinks and yellows and your PCI colored kind of flour. It's pain. Another one here. Have a little bit darker king. Now It's okay if I touched my other flower. So kind of actually really like the way this shape looks. And I don't think I want to paint the third pedal because it looks like a flower on its side. Remember the shape we talked about? Sort of the flat and the rounded? Well, this reminds me of that, and I I think it'll look cool when we're finished. I'm going to leave that with just those two pedals. And I think actually, I'll try and repeat something like that. This is wet, so I don't really want to put it there. So maybe over here. So just doing the two pedals as if we're seeing sort of the side of the flower. Here we go. That was kind of crazy. Okay. What? I just softened that up a little. Here we go. So it's as if this flower sort of blowing to decide there. And I like that. Maybe add a little bit of be a little my kind of in a teacher there. It's not really the center, though, is it? Maybe it is well, that is there too. Why not? It's our flowers, right? And their abstract when they could be anything we want them to be. But don't they remind you of a flower? I think they dio. So I'm going to pick up more of that yellow. I want the centers to be yellow. So now I have the yellow I'm just gonna painted in and let it touch in places. That's probably a little bit too much there. That's OK. It's going to push out into the flower and it makes it all connected. So it's all good, so I don't want to touch everywhere in this center. Just it's a little bit here and there. Make sure everything's kind of connected, and these flowers are still wet. So when I touch it, that yellow is going to run out into the other section Samuel there. Now I think this page could do with a few little buds. Remember little circular flowers that remain, and we'll continue with this little pink theme, but I'll just do like a little tack here and there. Some of them may be pay facing more up, some more down, and they're just little rough shapes that look a little bit like a bud. And it's just for fun, and you're sort of just around here and there on paper and you could even do. If you want them to be more shape, you can just drag your brush a little bit a little more grounded. Some of these have gotten a little bit figure. That's okay. There we go, a few little abstract buds and in a few little squatters. So now let's add a little bit of green. I have a sap green here, which is very natural. Use. Agree that you have. I'm going to make it quite watery, and I'll continue to use my big brush, but you might want to switch to a smaller brush. So tapping a little green, that was a lot I should have checked my rush offers. Just want to put a little green in the centers. It's taking over a little bit. That's OK. And then a little green by our buds. It's going to neutralize a little bit because the red and green our compliments, but still conveys the idea that these air flowers and that's what we want. And I think actually, we could splatter a little bit of green in the corners, maybe even here. All right, we have that water. Can you spell that a little bit? But it run. I think I'll pick up now a little bit of this work here. I don't want it to pool their really a little bit more of that yellow don't want the centers to be completely green. That green took over a little bit, so I'm using a little bit of a thick mixture of the yellow. It's warm yellow to just bring that yellow back over. Okay, let's let this dry and we'll see what we're going to do from here 7. Field Of Flowers Part 2: So now our flowers have dry air, little abstract flowers, and they have nice natural looking edges and beautiful color. And I just want to add a little bit of detail here and there, just sort of bringing the life just a little bit. If you like them this way, no need to add any more details there Already. You already know their flowers, right? Silicon and tell her flowers. So I want to do is at a few little dots tapping in and adding texture to the center with our same color of yellow. But I'm adding just little dots. You're in there in the center just to create texture, and I will at a little yellow to our buds. And then let's go for our pink a little more. I'm trying to decide if I want Oh, Peter, these or not. If I want to leave them, I think I want to add to some like this one, and I'm just going to drag across there inside where have already painted and I've done a couple, so I will been softened that out and let it bleed into the edges where we painted before. Okay, it's just fun makes a little wine there, there, some texture. Here we go. I'll do that again with more of the pink. So adding sugar, two areas where we already created a flower shapes. Now, if you're happy with them and you don't want to do this, then by all means don't worry about it. I'm doing it because I enjoy it because I like it. And because I want the color to be more vibrant than it is again soften within those areas . Now you could just do like a double pedal thing. That would be kind of cool, but I'm going to soften, just adding a little more depth of color to there, actually, on the But I'll do the same just on one side. Just have the yellow that we already added, which is still with. So I'm just adding some texture there, here, intolerably out there all the way out to the edge there. When it doesn't go all the way to the edge of where you paid before, then it looks like layers of petals, which is kind of cool. So here it's pretty nice, I think. Let's do that here. Kind of like this edge. I think. Just do that and soften this edge. Believe that shapes that was already there. Sounds kind of cool. Soften here. Okay. Very good, actually. Really. Like the way this is looking really like it. I love that vibrant color that we're getting Layering the colors. I also love that extra edge and texture. Really nice with that. I have even more colors. Okay, Very good. 8. Field Of Flowers Part 3: Now I will take my rigger brush, just the brush that has the very long bristles. Now, if you don't have a rigger brush, you can use your small brush or even a very tiny crush totally up to you. And I'm going to sort of create the idea that there some stems here. I will use my sap green and just pull out little stems here and there. Well, then lines and they don't have to be perfect or realistic, making go every which way, Make them connect to the top and the bottom really, really cute. Here it runs into the other paint. It's OK. It connects to something that's OK. Just really fun and wavy and organic and curvy, and you can even just throw in extra lines here and there. If you use your brush with an upper stroke and you lift as you go, you can get super fine lines. I'm probably gonna do some of that. Just looks like they're some lovely grasses growing here, and some can go in front of our flowers because that is the way they do in nature. Sorry I'm singing. Have seen Sonny Voice because of the flow of paint brush, so it makes me want to do that. That's really nice here. Different Can I add a little bit of that green just to tide of flowers together with your with your little grasses? I think all I'm going to do now a splatter e think this is finished. I think some little you all those flatter would be nice there, not much. Just a little touch, a little bit of the green. And I'm going to hit my brush Hard to make a big splash like that. She looks really nice sometimes. If you go and then our peak make sure you don't have the green on your brush when you pick up the pain going your brush really well. Otherwise, there compliments. They will get more gray. Some of these it may get on my flowers and blend a little bit. I'm OK with that. If you're not okay with the blending that wait until your pains completely dry. If you want. It's a little much there. Also, you can use a really thin version of your pain For some of the splattering that will make it pushed into the background. You can always tap it out a little too. It looks like a little flowers, I think extend their okay. Really pretty. I'll show you the result when we are finished. 9. Sketchy Daisies Part 1: Let's paint some daisies. Well, are daisies air white? So how are we going to paint daisies? Well, let's start this particular one withdrawing and I always think like to think of my daisies as having an oval in the center, and the pedals go out an oval shape. So I'll just draw my pedals radiating out from the center there, and it's sort of at an angle. I think that's interesting. So that's why I do it this way and relapse. Um, my pedals. Now this may not be an actual daisy, right? This is an interpretation. It's just a flower. We just wanna have fun here. Kind of want that to tilt down a little bit at a little curve to my pedals. Give them some character. And, yes, this pencil drawing will show a little. Now I could erase it. I could use kneaded eraser and erase it and make it not show. But I'm not worried about this. It's pretty cool to see your lines when you've drawn something in a painting or in a drawing, it's pretty cool to see. So so there's my daisy, nice drawn, and it will have a stim sort of tilted there. I'm just going to draw single line for this. Tim. I'm not going to worry about erasing anything. I want this to be loose and sketchy and abstract. Let's draw another daisy over here, sort of tilted toward this daisy that we have already. We're gonna draw that doughnut or that oval shape There. There are pedals, maybe a little bit too tilted. So let me draught. So you see, this is a very quick sketch. It's not detailed. It all just drawn some fun flower petals very sketchy and loose. And I'll draw my student there so days, even to. And then let's see being too daisies. And I kind of like that. I feel like they our friends. So maybe we'll just do to time no thankful to like a little bud. It doesn't have to be actual daisy bud, right, just to bud off. Flowers have buds, so there's a little bit and we'll put some little grasses and things, but we don't need to draw any of that 10. Sketchy Daisies Part 2: So now we have our daisies and daisies are in this case we're doing white. You're sort of inspired a little bit by this little flower a little bit. So keep you can keep that in mind while we're painting, but I think what I want to do for this is due a background, really quick of sort of sky idea. Again, it's going to be super quick, not detailed, just for fun. And I will use Blue. Oh, that's very bribery Blue. Let's do you smell her tone down blue. You can use ultra Marine blue mixed in there. I'll just do a mix of all kinds of blues and sort of go around my flowers that I Drew and I wanted to be splotchy because this is, you know, a sky and this guy can be solid and serene and and everything, But, um, let's make our sky more interesting than that. Really say I want to keep those wet edges. It's soaking actually into the paper pretty fast, so I want to fade this out a little bit here. I don't want to be solid, and I can go in and and, you know, it did get on my drawing a little bit And my worry No, don't worry. Doesn't have to be some perfect thing. I want the idea that we have some flowers and it's a nice blue happy sky You can thing that in this may be the hardest part is going between the two flowers. Don't let it scare you. He could do it. Does it matter if you go over the stem, not at all. That color is going to just basically disappear. So let's work on keeping a wet edge there and going around there flower this kind of drying over here. So let me wet it, adding more color. And here we kill going around the problem. Okay, Going to thin this out here now Que Around that balloon, nice and loose Look and sketchy. If you want some clouds in the sky, you could just take it to shoe and sort of tap out the idea that there is some lefty clouds there. Some wispy clouds or just sweep it across like this have a cloud class, actually a sky class which, if you could want to paint glowing skies, you could take that class. So I have this nice color. I think we want green at the bottom, so bring in some of different colors of greens. I've got that sap green and more neutral green and maybe even else happen a little bit of pink. Maybe there are some flowers. Keep in mind. This will neutralize with the green if you put thinking their so you have to keep that in mind when you're painting. I just wanted loosen sketchy and servers like, I guess you might say, Let's take this green and go in a little I mean, this blue clean my brush Going in here with this blue to just sort of finessed these petal shapes a little bit. And I think actually, I will soften some a little bit, too. Like this could be softened. So with a damp, lightly damp brush, I was gonna kind of lift that color a little bit. Dropped it off some of these blues air staining. It's beginning to soften that. It's nice. Leave some hard edges. Some not cartage is It's nice to have a mix. It's not a little is it touching the background? Yes. Does it matter? No, not really. Soften that there. Not at least not with this style painting endeavor. See, these are messy edges. I think that's more fun. I'm not a color in the lines kind of person. So bring this blue in lightly. My brushes just wet. So just pulls that color around a little bit in between the pedals and adds a little bit of shadow. We can even add a little shadow on the bottom of our singer. Nice. So I think this is a lot of fun. Now we need to try. This way can continue. 11. Sketchy Daisies Part 3: painting is now mostly dry. It's a little little damp. That's okay, that's that's going to work. Just five for this. We're going to focus on our daisies now. So the thing about white flowers is they're not really what I mean, they're white, but they reflect everything around them, and so they'll have some yellow. They'll have some shadows, which would be blue. Sure, purplish looking, they'll have some, maybe a little bit of pink on the pedals, or maybe a little bit of yellow. Maybe the sunlight will make them look very warm. So I have here a really light purple, and I got this by big sing the same blue. So I have the Cobalt ultra Marine blue. Either one of those will work and a little bit of our pink that we were using. And I have a very watery mix. As you can see, not much paint a whole lot of water, and I'm also going to use that warm yellow that we've been using and make a very nice little mix of that. This is a little thicker. Actually, that's quite a bit sicker, so I will need to add more water to clean my brush and more water. There we go. Nice yellow. Nice purple. We don't need much really of either color for this part of the painting. You may want to use a smaller brush. It may be a little bit easier to control what you're doing and getting these small spaces, or you can continue to use your big brush as long as it makes a nice point. I think I will switch to the smaller one and I'll be starting with this nice purple lavender color. And I'm just going to add in some shadows around the center of the flower and along some of the pedals where the pedals may overlap. So a little bit of shadow here and here. And I'm going to just make, like, sort of like stripes, as if the pedals air folded and even a little darker a little bit wider. There worsens shadow, and I'm going to leave the tips not shadowed. So you see how light this color is, And this bottom pedal, I feel like, would be out of the light a little bit, so I'm gonna add a little shadow on the tip. There again, I'm using those lines that's when I feel like it has a fold. Sell its go around like this around this edge so you can really add depth and shape to your pedals this way. So I'm adding a little bit of roundness here. I feel like this part would be more around and this will be further down. So I had a little shuttle there. It's very subtle, and you can always go back at at a little bit more shadow if you like. Remember, we can layer or what are colors, which creates nice depth and creates deeper, darker colors. If you use a light color to start with, you can always layer over it later and create a darker color from it. So let's do our second daisy. All followed the same kind of pattern. This pedal is behind the other, so it's gonna really I actually feel like this part will be brighter. It would be darker near there, even though this brush is small, holds a lot of water, so just adding in some little texture, the shot shadows there. This pedal is all in the back, so just do the entire. This was also in the day from the top. I noticed this is already shadowed, but I could just go over with that purple a little bit. It has the background cover times, everything together when it has led. So I like it. That's a little bit of just texture. There again, this is very subtle, but it does make a difference in your finches painting. You're finished. Uh, finish finished. I don't know what that word is. Finished painting going over where that background color seeped into my pedals. I think it just adds nice depth and texture, and, um, but that will make the color of a little different by going over it with our purple color. This is mostly dry over here are ready? Same, adding another layer not covering up completely. When I've already put there, I wanna leave part that's going to create a lot of depth that way. Just layered shadows is what it is. The interesting thing about what our color is, you serve, paint everything. The light doesn't touch, you leave the light. It's very different way of thinking, sort of opposite of other ways of painting. I'm really liking this color the way it's turning out. It's really pretty what that would be in the show. So anywhere you're looking at your painting, you're thinking of sun shining down on your flowers. You would think about where the shadow would be, and all of these little spaces are going to leave hard edges and brush marks. If you want them softened, then you just go in and you use that lightly damp brush, tapped off and soften and pull that out and let it bleed out a little bit so that it's a little doesn't leave that line. But I like this effect. I think I see here, though it looks sort of jagged, and I like that so else often that so just take a look at your painting. Take a look at the lines that you're creating and see what you think about them. And if there's something you see that it's not what you like, then you come or kind of a little bit more. You want a mix of hard and soft lines to create that balance and that natural look. Now I'm going to get a little bit more of my blue too dark in this color and even a little bit more of my pink. I want a dark and it's just a little bit. So you see, it's not quite as watery as it was before. A little bit darker, but not much. I'm going to just drop that in some places where one shadow to be a little darker purple is a great shadow color. I can already see a lot of deaths happening here. I'm going to put that on the pedals that are behind the other pedals. Also just little touches. So we may be painting abstract kind of flowers. But these look pretty good, right? These look pretty real. But our focus is not on making them exactly realistic. Our focus is on just creating and having fun, so keep that in mind. So let's go to our green. I'm using the sap green. Put that here for you. So you can see it's very natural green yellowy green. And I'm going to paint some sims really quick, so I mean by really quick is literally really quick. So I'm just going to start here lightly touching and pull that stem down. And same here. I forgot about my bud. I haven't even worked on it. Add a little bit of green in there. I can even add a little bit darker on one side. There we go nice to him and we'll do the same here. Pull it down. Doesn't have to be perfectly even and adding a little bit darker Paint on the side. And now, quickly, I'm going to get my big brush and use that same green and make some thieves some tall these . I still want my paint mixture to be watery. I don't want it to be like super strong here, but it is a little stronger than it was before, so I'm just going to pull out and make the leaf shape. So you put the tip of your brush down dragon, push it down and then pull it out and sort of twist and turn. You can leave a little bit of white in there if you want just the idea that there's some leaves here. I don't want realistic leaves. Guess what looks like Leeds already. Great. A little bit of tapping and then we could actually also do a little bit of dry brush, which means lose your paint, rush with color, tap it off and then pull, and that will create some texture, like there's something going on there in the background. We don't even know what it is, and we don't even really care. I just know there's some greenery happening. Something is there. You You can use a different color green mixed in there. You can use a yellow your yellow. Just drop it in more color, just mess around with it a little bit. So our flowers are mostly dries first. Our shadows. We still don't have our centers. We don't have any touch of sunlight on there yet. So again, using your small or large brush your choice. I'm going to go back to this nice yellow that we mixed, and it's very thin still and add a touch in the center there. I'm not covering the whole entire center. I want to have some light there, So that's why I'm leaving some a little bit of white space there, and then I also I'll use my small brush to add a little sunlight, see how nice and thin that is. Just add a little sunlight to our or here there, where you think it might catch the sunlight at a little bit of yellow. It will neutralize with the gray, which means it will look more when it goes over the purple. It looked more gray. That's okay, because the purples are shadow, right? So adding a little bit of that color. 12. Sketchy Daisies Part 4: not my little bud. So let's add some shadow to our little blood with the purple on this bottom side here, away from the sun, purple violet, her color you month and mostly all the greens derided by now. So I think, actually helped happen a little more green. Here, hold that stem down. Same here, just adding more shadow there. And I could draw in a little bit of texture for the leaf. If he wants, you could draw in part of the stem there. They're like this the veins of the leaf and and in some shadow stuff out. Stuff in there a little bit. She soften this part, too, on a more here. But there's really no need to do that in this style painting. It's just optional on Get. She wanted to do it. I'm going to add in a little bit of purple into the screen to could shadow there the top and also a little bit darker green trump in a little bit. I feel like it will make my focus more toward the flowers, so we have very loose and sketchy daisies now. There were a lot of fun to make, but what I noticed is they don't stand out from the sky very much, and I want them to stand out more. See, actually a couple of lines that maybe all the race a little in some areas where it doesn't have paint. You can do that or not that silly it to you. So back to our sky problem. That's really not a problem. I just want the daisies to stand out more, some going to go in with a darker blue because lighter lights and darker darks and I have my muted blue. Remember the blue that added some orange, too, to make it more muted. Well, that's what I'm going to add in here. Muted blue oppression, blue kind of color that I used basically use cobalt and a touch of orange. Oh, that's way too much orange. I get most of that out of there. You don't need nearly that much orange. Let's try that. Soc. I still have a blue, but it's more of a grade blue because orange and blue, our compliments. So there we go. Now what I want to do is go in right by my flowers and make that blue darker. I'm still going to be able to see the background. I'm still going to have that cloudy effect, but my sky will just be darker, which will enhanced my white. So if you noticed that already looks much brighter right there really nice and bright, and I'll just pull that color out so that I don't have a line, I wanna emphasize that shapes now of our pedals and make them lighter and brighter. That's all I'm doing and doing this and then pulling that color out so that it just blends in with the rest of the sky nice and soft. So I think you can see what a difference it made their just add that little darkness of blue, especially right there in between. We can even drop in a little bit more here, right next to a flower and let him plead out into the rest of the background. Do you have a nice, bright white now really makes that white standout it's to a little more here. Well, believe it into background here. I don't want this line. Here's your stop in there, and I actually think I had some green there like maybe there's a leaf sticking out or something. What do you think? Sounds like a good plan. Now we still have our small daisy. So I'll go back to my blue and just go right around the top edge of that. Blue has a little green mixed in. Kind of like that, actually. Now that looks nice and bright and white. That's at a little more golden yellow to our centers using a thicker mixture. Now, this one is still wet, so it's going to bleed a little bit. But I really like the way that color looks really pretty and even take a little bit of our pink or red. Drop it right in the bomb there. Barely putting an end that add a little bit of shadow and death. Too little center of our flower. Okay, So what do you think? We have some sketchy daisies. Now, we'll let this dry and I'll show you how they turned out in the end of our class. 13. Abstract Poppy Part 1: okay for our last ab shack flower. That's going to be direct on the paper and not focused on the negative shaped painting. We will paint a nice big sort of the idea of a poppy. When you look at a poppy from the side of you. It's going to be sort of a cup shaped flower, so I can draw that here. So it's gonna kinda have a cup shaped like this. And then it'll have, like a. You'll be able to see this edge and we'll have it come down sort of like this, and it has a very dark center, and then you'll be able to see where it connects to. So we will pay the idea of it and maybe have some sort of open pedals, more open pedals out to the side a little bit. Feel free to draw your poppy shape if you like. I'm just going to go straight for it, and I'm going to go for a pink nice and vibrant. We can make it even a little bit more red on a little bit of red to it. You could make it more of an orange GP. What if we had a little bit were warned to it. So you can use any mixture of pinks, reds and orange for this. Yes. Of getting some splatters. See? End of the world. No, I'm sorry. I love splatters. So we'll have this nice pink or orange. Paint it totally up to you. A red color for our poppy. Don't make this even stronger and thicker. Any more pain? So let's think about our shape of a puppy. Our poppy is cup shaped, but we have sort of a gap in the middle. Right. So let's to sort of this outside edge this paint that pedal shape. There we go. We have a pedal and we'll do one over here again. It comes down also. That way, we're gonna just soften this edge a little. Using lightly damp brush. Picked up a little bit of yellow there, that's OK. And I think actually, I'll soften this edge a little too. Just let that color flow out a little bit about that. Oh, yes. I love to see that. So we have a nice, big poppy shape here. Really pretty. I mean, just do this. I worked more paint your around the box. Now this is very wet and it's going to take a little bit of time to dry. So it's OK. Now let's do a very watery. In fact, it's practically just with our water and have the shape of a flower. I'm twisting my brush sort of an open pedal, rather twisting my brush to get that nice soft edge here. It's going to look really nice and soft and pink on that edge. Actually, we'll do the same over here. I'm not leaving a lot of water behind there on that edge. Who wanted to be open there. All right, you can go ahead and do a stim. I really don't want to do a green. I do want to be a dark. So dark. Neutral is what I'm thinking. So remember how we had this purple and we put that orange? Obviously, that's way too one right out of the blue. The orange. It's getting pretty neutral. Still kind of Warren G more blue in our lunch just to create a dark, neutral color. I want to be even darker. You could use in to go for this. You could use pressure blue recognizing dark, that is, I actually want to be a little bit purple. Some going to add my my read on my pink in there. Now look at that. Nice, deep dark pollution purple. Let me get a scrap sheet of paper and you can see how pretty. Actually, there's one from my bunny class, so let's look see what kind of it. So that's a nice deep, dark purple. I really like that. So we mixed that from a cobalt blue and orange and a little bit of our red. It will be very cohesive with our painting because we're using the same colors which ties it all together. But you could use a violent of your own. You could use premixed. You could use any dark color you could use in to go. It's totally up to you. So there we go. We're going to use that as our stem down, and I'm just going to touch it here and then pull it down quickly and an angle with the tip of my brush. I want to add in that dark. Let's work flow out there. Okay, so we have our poppy started. Now, I I see how this edges hard kind of a hard edge here, and I don't want that to be a Harnage. So I'm going to soften that edge with my brush, just a damn brush and move that color around just a little. That may cause a little bit of a bloom for being unevenly wet, but that's OK and leaving this edge. So far, so good. Now what to make the pedal that I could see on the back side. So if you remember in our little mini drawing here, we had a pedal on the back side. You could see these pedals center and a pedal on the backside. That's what we're going for or something similar abstract. Remember, no pressure, and I want to be darker toward the middle. So I'm going to leave a little space and just brush that cross and let it connect to the other. I don't have enough pigment on my rush, so let me do that again. Same area. I don't want it to be super distinct or anything like that. Just wanted to come across. And there we go. It's kind of a lot there, so let me pick that up. Remember, for thirsty, brushy just can clean your brush and top it off. It just needs to be not as what is the paper. And then you can use it to soften your edges. Now here, where it's there, where it's connected, we're going to put our purple. I don't want to put it over here. I don't want really to bleeding that pedal. So I'm trying to be a little bit careful adjustment here with that touch together. So that's sort of the center. This is bleeding out nicely. I'll just add a little bit more our color. So what do you think? Do you like it? Are you happy? It's looking really pretty. So I suggest that you let it dry naturally at this point, and you can go either work on more of the painting. Or you could just wait and let it dry. If you don't want that, I think we can have. Personally, I think I'll continue. I'll add like a little a little small bud to the side over here, and it's pretty simple shape. That's it. There's a bud. I'll use my purple since I'm using that for the Stone Teoh, connect that, and I'll do like just a little shadow there with a little bit of my reduction. Not much. Soften the notes and splattered right there. Splatter a little with their purple. Just create an interesting effect there. And then I got will. Actually, a little bit. Kind of lets that color of lead out. I think I'm okay with that. Mm. I'll refine it a little bit later. I think there's a little clump of purple flowers here at the bottom. 14. Poppy Part 2: so are abstract Poppy. If you want to call it a puppy, least that's the idea is fairly dry, and I want you just now add in a few details that will make it make the pedals sort of stand out. So if you remember, we had a pedal that goes like this sort of in the front. So adding color there going all the way down. Do you have a very wet, juicy brush? You might not want to be quite so wet. I want this line here. It leased to be solid. But here I want to fade out and also carry that darker color right around here to create sort of that second pedal. Then we'll soft in this cell they would go and then we're a little bit more. I want to create that pedal on the bottom here, so I'll just do that little nice little line. And it's often that as well creates a shadow for this pedal. It's sort of hanging out over here, you know, blend that out just because not quite so hard of a shadow. So now we have a little bit more idea of some petal shapes, and I want also this backpedal to be darker. So I want to just get right over where we painted before. Kind of repeating the same process, but just make it little dir. Actually, this should be more like this again. This doesn't have to be anywhere near a perfect flower. We just want the idea going to this and add a little texture here. Poppy. Swerve have lying. So we're doing wet and wet kind of theirs. What's going to be fairly solved? Cool those toward that. Yeah. Now, any point in time when you feel like you're flowers finished. Please. You don't have to continue. You can stop whenever you are ready. If you didn't want to add this layer, then by all means, don't add this layer. I just don't know no absolute right or wrong here. This is for fun, for enjoyment. And this is your flower. You are the boss of your flower. So with that in mind the whole time you're Canty. It's not a soft edge. And I want that to be a soft edge. Now, One working I think I want to do is work on the but just a little bit more so I have a thicker mixture of that pink. See it just not a big totally. It's a little bit thicker, and I'll just put on this side a little bit here and that's it. And then I'll go back with my purse and to find that stem a little bit. Now, in real life, do poppies that purple stems? No, this is for fun and I don't know about you, but I'm having a lot of fun, and I hope that you are too, and I will call that finished. 15. Big Beautiful Bloom Part 1: So remember the three splotchy backgrounds that we painted with the wedding wet technique. Here they are, all three of them. I want to turn this one into a flower and abstract flower. I think it's really pretty. I love the way the paints flowing out and has lines from this area, So I'm going to make this the center of my flower. So for the center of my flower, which is where I'm going to start, I'm going to use that lovely warm yellow that we've been using that we already have in this painting. And I'm using a nice thick mixture so nice and thick and dark basically three. A really dark version of that yellow. I'm going to put a here in center her what I'm calling the center. Just like that. He's going to soften the edge a little bit, and there's a lot of Big puddle here, so I'm going to actually pick that up with thirsty brush. I don't want to be so, so much paint there. I don't want there to be a big puddle, is what I'm trying to say, and I will just work on that shape just a little bit more. There we go. So we have a nice center and I wanted to have texture, so I'm actually going to use some salt. You can use kitchen so you can use all kinds of different salt that I'm going to use this silk salt and let it create some texture. Here in the center of my flower violin, working on the pedals, This is going to be a big, giant flower that's basically taking up the entire piece of paper. And this will be the center. I think we have a good start, don't you? Yes, we do. So I want the idea that there pedals that go very far out like this. Looks like a pedal. Looks like the pedal is behind here. And then this pedal goes out. Hear, hear. So have multi colored petals there already. So what I want to do then is do some negative shaped painting to bring those pedals out. And maybe even these areas that are behind the pedals are also pedals. But I just want to sort of hinted that I think I think, let's just see what happens. Let's paint intuitively and see what happens. So I'll just do some negative shape painting here, but I don't want to be super hard line. You see that? I'm using the pink and I'll something that and I'll soften that. And now we have the beginning, a farm. It's pretty amazing how that come work. I think so have this big pedal. Remember, he said, here, flower petal. And 1 may be here. Some going to do you see Syria, Let's bring this in, but just water skip around a little bit, so there's no idea there's a little bit of overlap there. And then let's just soften. I saw a little bit. So this is just really hard to see that nice, hard line. You can leave it that way, but think I will actually soften that edge just a little here, the top sort of a loss and found edge idea. But I'm going to leave it here. Here, say's I touch it. Okay, be more careful. Then I'm going to turn this and thinking again about my pedals. This is a nice big pedal. I feel like it should come out here somewhere, so I will put. And also there's a pedal here, so I feel like this corner should also can you turn that back around? You can see more my whole painting. So let's make this corner darker Swim and again we're just covering that and let me get most of the pain this and soften this edge a lot. I'm just using a damp brush. Okay, Softened. I don't know about you, but I'm kind of excited about this. It's kind of cool already. Soften that a little bit. I think we'll put something there in that little spot and even pulled that pink in a little bit toe. Add some to mention to that pedal. So I barely have any on my brush, actually from my water. And I noticed the site is gotten this interesting thing going on, and I'm trying to decide if I want to keep that. Maybe just just budget that way just a little bit. Keep that ragged edge. I like that. I also like this sort of ragged edge that's going on there. We're not going for perfection here, remember? So have a pedal. It's probably going out like this, just this pedal going this way. And then that means we'd have another pedal going here at least in my mind. That's what it would work. No, I just want to do a little bit here and just soften that. I feel like this is darker. Pedal there. Pick that up a little bit. Too much there. I don't know. This is just fun. Me. I hope that you're enjoying it, too. So this pedal, it's very big here, and I just want just captured a little bit there, capture a little bit of light there, and I want that edge to be. I'm rough and not what super smooth way have some smooth edges, right. But I don't want that part of the federal to abuse me. So let's just do that. Can low soften this Wow, Look at that. We have a really pretty flower already. Just by painting a few of the background areas, I will drop in more dark color here to really kick that engine. And this is a good opportunity to bring in that yellow that will mix in with that paint and make that lovely, peachy color. So do that. There's will. So we have a nice and negative shapes. Pedal here, soften this edge a little. You want what they call lost in Vantage is so this is a found edge, right? Because it's is that 1.2 the brush. This would be a found edge because it's a nice hard edge, and then you go here and how you lost the edge. That's what they mean by Lawson found. Just it's what that is. So we want a mix of those. Okay, very good. I love this color. It's looking really pretty nice and vibrant and beautiful. Drop in a little bit more here. It wasn't even with wet. So was looking careers. You notice the darker darks make wider lights. It's looking nice. I feel like this edge is not quite right. Maybe I'm over analysing it, so let's just work on that a little bit. Just soften it. Pull that color in. So while I have some pink on my brush lightly. Do you want to know how dark your pink is tested? See how dark it is? That's not what I'm going for. Salemme. Add water. There we go. More like that. That's what I'm going for. So this lighter, brighter pink, I'm going to just pull out texture here, my brushes quite wet. So Now I'm going to dry it and full back into that in. Just make it softer and at little texture too. And do this well, im doing. I'm going to drop in more color here. It sort of lines maybe a little bit. If it is darker than you want to, you can always pick it up. I thought there. Do you remember that it is going to dry lighter? That's the nature of water touching them. Have a nice edge there around the center of flour. I like that. I like it. So now I will go in. I like that pink. But I want to also help peachy color of my flower where the colors mixed. So I have my yellow and Pete, but I'm gonna put pink in the not going to mix it completely. Just park. And actually also, I'm going to add more water to that. I want to be lighter. See that flight? That's nice. Okay, so it's basically do the same thing. This pedal, he's just pull spittle out there. I do not want to touch this. That's going to run straight into my pedal and I don't want that this point softening I'm just trying to add a little bit of death Amusing the side of my brush. You're picking that color of and pulling it all the same time. Here we get. So I have a nice hettel. We're building up our flour little by little. Let's work on this little now. I think I'm gonna add more yellow to that. I'm going to go back in with that pink I wanted. I want some sunshine. Basically, it's a pull out that's connect that to your center a little bit. There you go. Nice, nice, nice. It's often when I since off there, this one is covered in sun like that. Oneness. Very good. So super easy, right? This pedal goes over here and under here so I don't want to do is contact just the straight pink on this side Can working into my center a little, but leaving son following the contour of that little It's a pointless pedal goes out there , but I don't know where exactly. I'm just going to soften that away and I'll clean my brush and just pull this out this way and it goes over the top of this one. So I'll just call that pink over that tonight petal shape here 16. Big Beautiful Bloom Part 2: I'm going to do a little bit word negative shaped painting with this flower, and then we will call it done. So we'll take our pink. I think we can just do Dark Peak main quickly, Just too dark. Okay, So, Well, do you really think mixture of our peak? That's what we'll do to finish off our negative shaped painting in the background. So I kind of like the idea that there are more pedals behind these pedals. So what I want to do then, is sort of do the idea that there's another pedal here, some painting around what I would think is the edge of that pedal in the back. But I wanted to be nice and soft. I think now if you get a too soft, you won't be able to tell that there's a pedal there. So it's kind of a fine line between softening that edge and making it where you can tell that there's actual line. So I softened it. But now I'm going to add in more color, dark in that up a little bit. It blends right and with our other cover that we already have their. So we have this idea that there's maybe even another pedal in dropping more color commune. Drop in a little bit of her yellow there. This may be coming down like that and what we're doing that, but you'll peek dark and a little skip it down through there. I definitely saw from here. I feel like here it feels like there's a pedal folded a little bit, I think darkened a little bit here. Now these air, just my new details. So stop. Any time that you feel you're finished, I will soften that a bit full of texture. Here it was because I like texture. I'm using the pink for that and more texture, any more texture here. I'm using a dry brush just well, mostly trying and in just brush really is a dry enough. So I needed to wipe that paint off a little bit. Okay, here we go. So I believe I will call this done. We'll let it dry and I'll show you the finished results. Along with the other paintings. I realized I forgot something, so I wanted to add some spatter right around the edge of the center, so I'm just loaded my toothbrush up with this yellow color, and I'm going to point much pressure down and spray that color right onto my fainting right around that edge. You're quite a bit of control with splatter when you use a toothbrush and you turn at the angle. And then I will also do that with pink, right on the edge. There too much is going to mix a little bit with the yellow. That's okay. There we go. Okay, now we can let it dry. 17. Project And Thank You: Let's talk about your project for your project. It would be fantastic. Every paint, one of the paintings that a demonstrated for you in the class or a variation of it. I don't expect your toe look exactly like mine. So we have a field of flowers. We have our wonderful sketchy daisies. They just such good friends. I love them. We have our abstract poppy if, and we have this beautiful big bloom that was painted with negative shape painting, so any of those projects would be great. I kind of considered this one a challenge project more than a regular project because all of that negative shaped painting is a little bit to me, a little bit more challenging than the loose and lovely other flowers that we did. So I would consider this a challenge project. If you did this one and then any of the other three would be normal. A normal project would be, I don't know. It's just they're all for fun. No matter which ones you do or which thing you do, they're all for fun, so be sure and keep that in mind. When you're working on your project, don't take it too seriously. Enjoy your watercolors. I that's my biggest desire for you is that you would just enjoy the painting process, enjoy the water colors and play and have fun. So I know I say that a lot, and I'm going to keep saying it because that's what is amazing about painting. So there is that I also encourage you to spend a little bit of time practicing. Practice your negative shapes. You may not need to pit practice wet and wet. That's something we do all the time. We do it a lot. Try out your brush strokes, see what brushstrokes your brush mix and see how you can use it to create floral shapes. I just have a wonderful time exploring and practicing, so I cannot wait to see what you do. I'm so excited about these beautiful, loose and lovely florals, and I really appreciate you taking my class. It's been wonderful having you here with me. If you have any questions, please leave them in the discussion below or catch me over on Instagram. You can catch me there most any time, and if you enjoy this class, please leave a review. It helps me to know whether things I'm doing right, the things I need to improve on and whether you're enjoying the content or not. And it helps skill share to know whether students are enjoying my classes or not. So really appreciate you leaving a review. So thank you so much. I will see you in the discussion in the project section and around on social media, but by