Watercolour Fruits and Floral wreath

1. Introduction: Yeah. Hi, I'm Esther, better known as Esther Peck. I'm also author, too, a guide to Floral Watercolor and lush and brooms. Today, we'll be learning to paint fruit and flower wreaths. This is a beginner to intermediate class. It includes basic strokes, such as wet on wet and wet on dry. And I'll be including basic strokes, such as comer strokes and leaf strokes. And we'll be painting flowers such as peonies, citrus flowers, and open floras. After we have learned how to paint them, I'll be demonstrating how to compose a fruit and floy together. I can't wait to share this with you and hope you'll join me. See you soon. 2. Art supplies: Hi, guys. I'm so happy to be back. For this class, I'll be teaching you fruits and floras wreath. I have some of my fruits that I have at home. I have orange, lemons, and grapes, and this is some of the fruits that we are learning. Orange or tangerine. Apricots or peaches. They are similar and I'm also teaching lemons. I had also painted some other fruits like pears, blackberries, and grapes. As usual, I will show you what you need to get ready, our supplies. For this class, I'm using Princeton brushes. I'm using the smaller brushes, Princeton Kolinski Sabre Round six, round four, and round two. I also need to synthetic brushes like Heritage Round two and six. If you have four, just get ready. As usual, we need two glasses of water. By now, you know what are these two glasses for. The bigger jar, I used to wash my brushes out from pins. I I need to get clean water, I will just get them from the jar next to it. Of course, the most important things is our pints. Let me just arrange my paints for this class. I'm using chimica pints. There's one wash required. You will see that for this class, fruit and flora reef, I need a little bit more colors. I will send you a color suggestion in my PDF. Of course, you don't have to use chimica pints. If you have pints of your own or your favorite brand, you can always substitute them. With all brushes and pins ready, we need the papers. For this lesson, I'm using stay like papers. They are 50% cotton papers. I think most of you may not have heard of this paper. They are good enough for working in class, it's co press and 300 gram. I'm painting fruits and these fruits have quite a bit of surface area that absorbs water. 300 gram is ideal. These papers are cut into A five for watches for simple samples and brush strokes. Earlier on, you saw that I have these round coasters. These are some samples paper that I received, but I think you can purchase them at any art store. They make good gifts as coasters. If you like to make your own coasters, you can actually just construct and cut them out. For those of you who have joined my class for some time, you know that I like to use the co press, 100% cotton papers. If you don't have style like 50% cotton paper, I hope you can use fibal copress 100% cotton, 300 gram papers. But again, you can always use your own favorite papers. And we don't really need the highest grade. For me, the highest grade is arches and we don't really need arches for this class. Usually, I keep that for my projects. I'm happy to tell you that I get very good results with these 50% or 100% quarterm papers. With all these materials prepared, we will be starting very soon. See you again. 3. Basic Strokes: Welcome back. I hope you have practiced the wet on wet and wet on dry techniques. Now we are ready for the basic strokes that we are going to learn. I'm using a round brush size six. I have my A five paper prepared. Why are we learning the basic strokes? Because for fruits, we don't really need to learn the strokes, but we are learning for the leaves and some of these citrus flowers over this flowers. I'm teaching two basic strokes today. One is for the leaf stroke and the other is the comma stroke, which I teach quite often in my class. I will use a green color for the leaf. But when you are practicing, you can choose any colors that you seldom use so as to balance of the colors that you have, what a trick I have, but I still tend to use my favorite colors. As you know, this is my favorite color, chronium oxide green. I hope that you are familiar with how to hold the brush and for those who have already know how to paint leak stroke, it is always good to revise again. You might learn something new. Just to refresh your memory. Green leaf, holding your brush about 75 degrees from the surface, begin from the tip of the brush and pull away from you while slowly increasing pressure. Decrease pressure as you are pulling to the end. Let's repeat again. I will load my brush fully or we call it fully loaded brush. Let's try again. Press, pull away, and release to a point. Let's do this again. Fully lo brush, press, and pull away to the sharp coin. Sometimes I do turn my brush a little to get a sharp te. Now I'm going to work on a bigger two leaf strokes to form a big stroke. Press and moving the brush a little up and for the second stroke, press and moving the brush lower and closing up the leaf. Now I have a leaf stroke. Maybe these primary big leaves and the citrus leaves. What you need to practice is you see, not every time the leaves are strip. We want some leaves that are little wavy, some go up, some go down. So leaves like these leaves, but you can turn or tilt your paper. Go down, go down. Just imagine that this is a wreath and you will have leaves that go up and down. It will be good to practice leaves that are this way small. Just for this lesson, you just practice the leaves. It's very good to practice because every time you pin floes there are going to be leaves. I'm going to touch on two leaf strokes now to form a flower. But those of you who are here and just join me, I like to show you how to combine two leaf strokes to form an open flower. Isn't it going to be interesting? I'm using the red color on my palette and having a full load again. We work on this again, one big stroke up and another downwards. This will be a large petal, which I will teach in my other lessons later on. Let's try again, fully lo brush with red, one stroke upwards and another downwards. I'm not concerned of the closing, which means how it closes up, whether you got a round or a sharp tip. Like this flower here, not all flowers are round. Some of them have open ends. You can practice on the leaf strokes to form the petals and later on. When we touch on the open petal flowers, you will pick up a lot faster. We need not to be sharp like this. Now we have these patterns to practice, and I'm going to quickly introduce the common stroke because later on in my pony bit class, I will be teaching a little bit more, but now I would like to prepare you on the common strokes. Again, I have to prepare the pin to load the brush fully, which is very important for this stroke. Another thing to note is that I'm using a Collinski brush, which has a very sharp point. Especially for that, I have to load it with more pin. So please take note we will hold the brush about 45 degrees from the surface, press the brush down and create a round hip. Pull the stroke to your right. Some of my online class students had left comment that they can't get this stroke and I can fully understand. This common stroke is not exactly easy, but my advice for you is that you can actually watch this very carefully and also you can slow down the speed. If you are right hander, this common stroke on this right turn is easier. But if you're going to turn to the left, I'll press and pull the stroke to the left. It's more difficult but still manageable. Let me show you a sample of brush that is not fully loaded and it will give you a thinner comer. The comer head is not as round. I just want you to take note that you do have to look your brush fully and lower your brush to a comfortable angle that your wrist feels comfortable. With a fully looped brush, you will get a round head comer strop. You can always go back to watch this again. But I can't keep repeating this again and again. The important thing that is about practice. So for today's lesson on basic strokes, you need to learn the leaf strokes, one blade leaf stroke, two blades leaf strokes, and leaves with different angles. Again, leaf strokes with red to form flower petals. And for the commerce stroke, you just try common strokes with both directions. That will probably take you some time. Do practice on this. Take about 20 minutes or more if you need to, and you need more time, it's okay. I'll see you on the next lesson. 4. Basic Techniques: Hi, guys. So glad you are back again. For this lesson, I'll be teaching basic techniques, wet on wet and wet on dry techniques. These two techniques that we have learned for these lessons, first of all, for wet on wet. As the term implies, wet on wet, it means wet paints on wet paints. I'm just going to pick lemon yellow. A quick sample of how to paint yellow. I'm going over again as my paints dry up very fast under the hash paintings. Picking up Cadmum yellow deep, I'm applying wet paint over wet paint. We call this wet and wet technique. It's very fun to try and guess what? So quickly, we have almost finished one lemon. Are you happy to know that lemon is so easy to paint? Basically for lemon, we have two colors. But for this lemon, I have some green, cranium oxide green for sheds. I will do another demonstration. Now I'm working on three colors wet on wet. I will choose vermilion, cabin yellow dip and brilliant apra rose. Let me mix vermilion and brilliant apra rose for a nice peachy color, and also some yellow. Pain two loose comer strokes. I'm working on an apricord actually. Let's pain two more larger strokes on the right. So apricot and peach are very similar. Sometimes we do get them mixed up, which I often do. Apricot is smaller and the color is leaning towards orange. This apricot has three colors mixed and now I'm dropping in a lighter value of the mix to add shades to the sides. Leaving the apricot to go back to my lemon, I will show you what wet on dry technique is and I will glaze a light value of green over it. So this is wet on dry. So let's recap if your paints are wet and you add paint on it again, it is called wet on wet technique. If your paints are dry and you add paints on your painting, it is called wet on dry technique. Two very basic techniques that I will be working a lot on. So far these two techniques, you can try them with two different shapes and colors beside the lemon and apricot. Maybe you can practice for about 10 minutes and I hope you can come back for the next lessons, which I'll be teaching on strokes. You can try this shape with red and add on another color of purple to create a small grip. This fruit and flower reef class is going to be very interesting. Of course, I'll tell you that. You can also try blue with a medium shape and drop with a higher value blue over red. I'll leave you to practice these two techniques and I'll see you in the next lesson. 5. Painting Citrus Flowers: Welcome back. For this lesson, I'm teaching citrus fruits flower. These are what I have painted earlier. I painted them with free hand. I will start with the flowers first. It's very similar to painting open five petals flowers. I'm sure you have painted five petals flowers before. Those of you who have joined my class before, you would have learned this before. I'm starting them with five dots. I'm using a light value of red With two leaf strokes, I painted a petals. I drop some light values of green on the petals while it is still wet. Work on the next four petals with the same techniques of two leaf strokes to form petals. Turn the pitch to a comfortable angle to paint. And while waiting for the open flora to dry, I'm painting the side flora. Paint of such petals in this way, one up right in the middle and two beside it at 45 degrees. I also drop some green colors onto the petals. Now I will wrap up the samples of the side flowers and painting the stock at the same time. I'll add more light value of red on the petals to give it more depth Again, while waiting for this side flora to dry, I'm working on the floral buds. From my study, I noticed that it is quite long. Again, I'm dropping some greens on these buds as the rest. We will wrap up the buds with green too. Let's finish up this open flora that is already dry. I'm adding on the filament with a mix of cadum yellow, dip and green. I also need to quash. To add on the statements and I'm doing this by just dotting them. You see for flowers that we don't paint often like these citrus flowers, we need to practice a little. I'm very familiar with ponies buds and open flowers, but for citrus flowers, it's the first time I'm painting. I feel that the colors of these floers are a little too light. I'm adding a little more shading of light value of red on the center to create more depth. This technique is called layering. We usually can layer after it is dry, which is called wet on dry. This layering technique is wet on dry. With this open flora, side flora and floal buds, you'll be able to add a lot more interest to your reef. So look at this lemon wreath that I painted earlier. Look at the flowers and the orange floral wreath too. With the flowers, it really look a lot more interesting. So I hope you will practice these flowers. See in my next class. 6. Painting Peonies Buds: Welcome back again. For this lesson, we are going to learn how to paint the pony buds for the wreath of the peaches, and I hope you have practiced the comma strokes. In all my peony classes, students have to go through 15 minutes to practice the commerce strokes in order to paint the pony buds. After they have learned that, I will teach them how to paint puny. Today, we're just learning the pony buds like this. I have a watercolor pony step by step at Skillshare class. Do check that out if you want to learn how to paint more peonies. I'm using brilliant opera rose and erminion. I'm using brilliant opera rose and erminiu because they are very vibrant and I'm adding a tinge of cadmium yellow dip to mix them. Can you remember this color is similar to the peaches color. Now load the pain fully, pull your brush lower. I have taught this in the earlier brush stroke lesson. I hope you remember, pull the stroke from right to left for a first comer stroke, second stroke, pull more downwards, and the last comer stroke is from left to right, close up. We have a small butt and I added two smaller comm strokes on both sides and I dropped a small petal. Okay. Let me show again for the second pony, lower your brush and paint the first opposite side comer stroke and another close to it. I added the third and fourth comer strokes to wrap. And two other smaller common strokes. I'm quite sure that we are going to paint a lot of these because many of you really love ponies. You can apply what you have learned for other floral reefs. For this drop petal, you can paint the commerce stroke inward and the bigger drop petals with two commerce strokes joined closely, and we can add a smaller drop petal here. Now I open up one more small petal by adding comma stroke. I'm loving this color. Now you feel free to watch again and slow this part of the video if you have to. For the top of the peony, I'm adding three small commerce strokes. I'm adding a darker color inside, which I'll be using perra maroon and also adding depth here. Now we have this pretty peony done. But not yet, I will paint another one peony. So remember to load your brush fully and lower it to create the comma strokes. Paint them closely. For more interesting shades of peony, I pick up some yellowish mix of the color to wrap up the peony. For the top, I look a slightly darker shade with perin maroon to paint three small comma strokes. Add on more pernin maroon while the paint is still wet and also adding that at the base of the bar. So now I add smaller common strokes at the side as open petals. I have two drop petals here and add two smaller open petals at the sides for a fuller peony bad. Again, I add that with heroine maroon and to show separation, I add a little bit here. For smaller pony buds, we just paint three small como strokes in this way. Well, I just love those three brilliant bright ponies. Most days, I love mute colors. But there are times I would like to have a pop of colors to brighten up my spirits. Isn't it normal? Well, now, I also pick up a light value of green for the leaves using leaf strokes. For the bigger leaves, I'm loading with chronium oxide green and sat green, which gives you a brighter shade. With two broad leaf strokes, we paint a large leaf and also paint your leaves with interesting turning angles. Practice painting the leaves with different angles so that you can paint lively leaves in between the ponies. We have practiced that in our earlier lessons. Well, especially when we are painting wreaths, we want our waf to look lively and not just going around the circle rigidly. We want some of the leaves be outward, some inward. And I'm also painting some lighter colored leaves. I always mentioned that for wafs bouquet, we always like to have different greens to add visual interest, texture, and depth to the composition. The variation in color can create a more natural and organic look. Also with a variation of smaller leaves. Now we will wrap up this leaf I'm pretty happy with how this pony but if turned out. Hope you can paint this as a project and also add this onto your pictures for a more interesting wreath. I'll see you in my next lesson. 7. Painting Lemons & Oranges: Welcome back. For today's lesson, I'll be teaching you how to paint two citrus fruits, lemon and orange. I hope you have already practiced on wet on wet techniques and wet on dry techniques, which I have taught you how to paint lemon. I'm going to take my AF paper. Also, if you have your lemon and oranges, slice them into halves for references and you will study on how to paint cut lemon and orange. Firstly, I will start with lemon. For lemon, we know that it is lemon yellow. Of course. Early on, I mentioned that I use three colors for my lemon yellow, cadnum yellow dip, and a little value of chronium oxide green for shading. Now I cadnum yellow dip. For the green, I just use a light value of chronium oxide green for shading. Now we have these three swatches for lemon. For lemon, we don't really need to draw it out as I mentioned, but if you need, it's overshape and we have the remains of the star and also the flower stop called pitsal. I'm using a number six brush, so I press a very broad stroke, which means I hold my brush lower. I intend to draw the lemon free hand painting the overshape with two point tips. Study the color, the shadow will be at the bottom. So while the pain is still wet, I add the cadenum yellow dip. I didn't wash my brush, so now I drop my pins on the lemon yellow, wet on wet. I also drop a little bit of cadenum yellow dip on top. And while it is still wet, as cotton paper hold water and paints quite well, I drop in a light tinge of chronium oxide green. I will show you the manual blending shortly. I need a clean brush so I wash my brush. If you have a sable brush that holds lots of water like mine, it's advisable that you wipe off the water on the kitchen towel. With a damp brush, I blend the pin lightly. The texture of the cold pressed paper gives a very interesting texture to the lemon. Can you see that the lemon has a rough surface? Yeah, I'm sure you know. Now the lemon is semi dry. I'm adding on a little more light green, and I think we need a little yellow ochre on the lemon ends. You see yellow ochre is for shading. I've actually finished painting the lemon. You can see the center of the lemon is the place where I didn't add shading, so it's more three dimensional. For the cut lemon, it's better to draw the outline a little over shape and showing the skin and the inside of the lemon. Add on another inner ring. There are approximately ten segments, halt it first, so it's easier to count. Not to worry about the shape of this lemon because it is not a very accurate drawing, but just draw about ten segments like this and add in some seeds. The membrane walls are very thin. Now we have the lemon drawn. The colors of the lemons turn out nicely. Let's work on the cut lemon. I'll be painting the lemon skin first. Load your brush with lemon yellow. I paint the whole skin area and applying wet on wet technique again. I drop cadmium yellow deep on the shading area. I wash my brush and pick up a little bit of light chronium oxide green. It's still wet on wet technique since the paints are still wet. I hope that by the end of this class, you'll be familiar with how to paint wet on wet fruits. They are very fun to paint. As you can see, we have to paint round the lemon using a mix of lemon yellow and cadmium yellow to paint it this way. I'm holding my brush a little bit more upright to paint a thinner stroke. You can see that this part of the lemon, which is also called Abito, is not exactly white. I dilute my yellow ochre to a very light value. I paint this layer. You can actually choose to use lemon yellow, but I feel that yellow ochre is closer to this color. Can you see that it is very light? Now I'm working on the inside. Getting the right color is very important. For the inside segments, I'm using a little bit of yellow ocher, very light value, just working on each of them separately, and I know that I have to paint a few layers, leaving the seed alone. Now the paints are semi wet, I'm adding a slightly darker color of lemon yellow to shape on this part and it's still applying the wet on wet technique. I'm adding a little bit of chronium oxide green, leaving the membrane wall untouched. I'm sure that you can see the segments quite clearly now. I apply a little bit more light value of chromium oxide green, but I don't want the lemon juice to become lime juice. I'm keeping it more to yellow. Now I'm adding more cadum yellow dip onto my lemon skin for a stronger color. Dapping a little to create a rough surface of the lemon skin. So now adding more yellow to the segments again, keeping it more yellow than light yellow. At the corner of each segment, I deepen the colors with cadnum yellow deep. I also need more shades at the bottom of the cut lemon, as you can see from our reference lemon. I apply chroniumoxside green on these shading areas. Again, I tap around the skin. Using a mix of light value ocher and cadmium yellow dip to paint the center of the lemon and I paint around the seed and a lighter value of the same color for the seed. Defining the seed with a light brown. For all the colors of each segment, I add on some cadmium yellow dip to define the sheds. So we have finished the lemon. I'm so glad to see that the lemon turns out well. Next, we are painting orange and I have it cut too so that we can refer closely. I'm using cadnum yellow dip and vermillion, which is a little reddish and I'll be mixing these two colors. This mix is perfect for our orange. Let's check. Are we okay with this color? I love it. But if you like it to be slightly redder, you can always add a little bit more vermillion. But I think this is fine. Now that we get the right color, make more of it so that is enough for our oranges. With the mix, I go straight to paint my orange, holding my round brush stick lower to create broad strokes. I paint a few broad strokes up and down to create a round orange. The color is correct and perfect. Don't be too concerned that it is not too round. Now I have my orange this is called a flat wash. I need the vermilion and a little cadmium yellow dip for the shading. I'm sure that later, I will need green as well for the shadows. Applying wet on wet technique again and I'm dropping on those area that I know will cast shadows too. Wash your brush and tap the excess water away on the kitchen towel whenever you wash your brush. Wow, the orange looks good. You can see that the area that is lighter in color and the shades that makes it three dimensional. I'm adding in more vermilion for sheds. I will let this dry and now we are drawing the cut orange. Using the same orange color mix, unpainting the skin of the orange, or we also call this avido. Divide half and draw the segments, similar to the lemon drawing that we have done earlier. We have the central core and there are also some seeds. I'm painting orangy yellow, capnum yellow dip, with a little lemon yellow for the avido. For the segments, we use capnum yellow dip and leaving the membrane walls unpainted. I'm painting them slice by slice. I could smell the scene of the orange. It's so lovely. I encourage you to cut your orange to have this experience of scent while painting the orange. It's so refreshing and enjoyable. So now I have finished this orange and now I'm going to add on some sheets with vermiion while it is still wet. You need to work a little bit fast. Sometimes when I want to get more texture, I tap this way by lowering my brush. I'm adding more vermilion onto the corners of the orange for that. Some parts of the orange look a little patchy, so I'm going to add catnum yellow dip over the dried pins. This is called wet on dry technique. I'm adding on vermillion for the sheets again. I have changed to around toothbrush for the detailing part. We are defining the central core. Drop vermillion around the central core so that it will reveal clearly as you can see from the orange and adding a little texture on the segments again with vermillion. As you can see, I'm not teaching a very detailed class on fruits like painting on botanical fruits. My aim is to teach a very basic class so that everyone can enjoy and not going into full details, but at least it looks pretty good. This is a pretty orange with not much details. I have finished the orange and the lemons. For the next lesson, I'm teaching peaches, see you again. 8. Painting Peach and Pear: Hi. Welcome back to today's lesson. Today, I'm going to teach you how to paint peach and pair. We have discussed the colors that we are going to use. Earlier on, I mentioned that for peaches, we need vermilion, brilliant upper rose, and Cadnum yellow dip. So let's start with the pitches first. You can actually draw the pitch. Basically, it's this shape, not exactly round. There's a division line on the pitch, and we call this suture SURE. The shape goes this way, and this is my pitch. And I will draw the pair. If you have difficulty drawing pair, you just draw two circles, one big and one small like a snowman and you just join them up. I will clean off the marking and we have the pair. I don't have peach and pear at home, so we will have paintings as reference. I will work on the colors to show you. Let's start with opera rose and vermilion. We get a very brilliant bright color. The next color is cadnum yellow deep. These are the three colors for peach. For the pear, we have chronum oxide green, lemon yellow. Next, we get set green. We also need yellow ocher and paralleling green for the shadows. Now I'll be painting the peach. I load my brush with brilliant opera rose, ermiion for a bright sheat and I painted a broad stroke. I added in some opera rose and cadmium yellow dip. I allow this portion to dry first as it is the split of the peach. Now that it is dry, I will paint a little wash of cadnum yellow dip with the pink mix on the other side of the pitch, painting with a few broad strokes. I'm dropping in some brilliant opera rose for a fresher color. I'm closing up with a lighter wash of the color mix. If I want some pretty pink opera rose for my peach, I can still drop in. I like how this looks with the two colors sprit in this way. If I like to have some highlights, I can lift up the colors while it is still wet, which is not so shiny, so we don't need to have so much highlight. I'm also branding this portion a little with my cream them brush, now it is finished, and I'll be painting the pear soon. Let's mix the sap green and chronum oxide green. I'm mixing with a little yellow ocher and now the color mix looks right. So with the broad strokes again, holding my brush lower, I painted the shape of the pear with my color mix. With fruit, we want to show that it's three D. Observe that the bulging areas will be the areas that have highlights, and this is the part of the pears that will have highlight. So the sides of the pear will be sheets. I'm adding paralleling green onto my colour mix. While the paints are still wet, I apply parall green on the bottom and sides of the pear and keeping it clean. To add a little more interest to it, I'm adding a little yellow ochre on top. For the stem, I'll paint with a light value of raw umber. We finish the pear, you can try painting the pear and peach as I'll be teaching the peach re later on. I see you in the next class. See you. 9. Lemons and Citrus fruit wreath : Hi. So glad to be back again to teach watercolor lemons wreath. I hope you had practiced what I have taught you how to paint lemons and the citrus fruit flower. I had cut the lemon to teach you how to paint a cut lemon, too. For today's lesson, I'm teaching you how to paint this lemon and citrus fruit wreath. I'm going to teach you free hand, no drawing, but based on the design that I had created earlier. I'm choosing an A for paper. This is a 300 gram, 100% cotton paper, which I always recommend. My composition, I'm planning my lemon to be on the wanted position. The colors I have chosen are lemon yellow, cadum yellow dip, yellow ocher and light value of chromium oxide green. Let's prepare our colors on the palette. I'm using round six brush and I press a few large strops to get the overshape of the lemon. You can't go wrong with lemon since the oshape is not too difficult to achieve, but I will provide an outline drawing for those who need it. My lemon is a little bit plum, I think. While the yellow pins are still wet, I'm adding on a mix of cadmium yellow, dip and lemon yellow for shades on the bottom of the lemon and a little on the top. The center will be the highlight of the lemon. While it is still wet, I'm getting a little of my cooniumoxide green and I add more depth on the bottom of the lemon green. The colours are a little mixed with yellow, so a little dirty, but perfect as shades. I had my first lemon down. Next, I'll be painting my cut lemon besides the lemon. Loading my brush with lemon yellow, I paint a loose over outline. Paint the skin with lemon yellow, of course, with a lighter value of lemon yellow, paint the center of the cut lemon. Don't worry too much about the shape. Paint the segments with loose light value of lemon yellow. I'm painting this free hand, but feel free to draw this with pencil or refer to my outline drawing for tracing. We have discussed in our earlier class to have more value of paint over here, which I use cadnum yellow dip. Create that shade. Add more sheets when necessary. Painting free hand is always enjoyable as most of my students will tell me too. Yes, I heard that a lot. Without washing my brush, I'm adding chronium oxide green for the sheets on the bottom of the cut lemon. So I have finished this cut lemon. Wait for the lemon to dry, add yellow ochre on both the tips of the lemons. One called pisa, and they are the flower stock and remains of the star. The fun part of painting is that I also learn a lot through research. These names are not often referred to. So now I'm painting the stock and the leaves are so much more fun to paint. Yes, especially free hand. Add the higher value of chromium oxide green on the base of the leaves. I add leaf strokes to paint these leaves fun and relax once you know how to do it. I will have another lemon here later on and adding on two more leaves. Painting with two leaf strokes. I will have a turn leaf here. We will have a lighter color first and the next leaf is sub green and yellow using the leaf stroke to. Adding another leaf below. Let's just wait for them to dry and we'll come back to them again. Now the fun part, I guess every part is fun part. Now I'm going to paint the citrus flower, choosing pink, which is a light value of brilliant opera rose for aesthetic reasons so that it will look refreshing on this piece. My flower bud is here with just two leaf strokes and while it is wet, I'm adding leaf onto it. Now washing my brush to get a clean green for the sepals and stock. Not forgetting that I have a hidden lemon here. Yes. My lemon is somewhere here, painting with a mix of cadinum yellow dip as it is behind the cut lemon. It is darker in sheade. So if you are not confident to paint free hand, I suggest that you draw the outline first again. When you are more confident, try to work painting free hand like me and you will see that it's really very satisfying and enjoyable to paint them wet on wet. With this, I'm adding on the shading. I hope by now you will have the understanding that anything that is behind an object will have darker colors as there's casting shadows on it. Adding more reddish color or some green since your palette has all these colors. Very subtle shades behind, keeping the whole painting clean and fresh. Yellow occur on the pidiza of the lemon and more sheds. And we have this almost done. Now we have to move to the flowers. Working on the dropped citrus flower here. Choosing a very light value of brilliant opera rose, I paint three large leaf strokes for the petals and quickly wash my brush and load it with chronium oxide green. I wrapped up the flower and paint a siple and stock. The colons look refreshing. And planning my painting, I will spread the wreath with more leaves on this side. I would love to add a rectangle frame later. Loading my round six with light value of loose brilliant opera rose again, I paint two large leaf strokes for the flowering citrus buds and below with three large leaf strokes for the citrus flowers. Quickly wash my brush and add on the simple again. I did a research for this lemon citrus flower and it's fun painting them as I usually teach roses and other open flors. It's fun to learn and teach something different and I hope you love this too. So now I'm painting the open flora like this and I will paint the leaf strokes with five large leaf strokes again. The colors the light, add green and yellow for some depth. I will leave this to dry. In painting, we need to learn to wait for red tuming to paint. It's called wet on dry technique, which you have learned in my earlier lesson. While waiting for this to dry, add more depth to my earlier citrus buddings and also adding more depth on the lemon with light value of chronium oxide green. I'm adding on more shades behind the in between leaves area as they cast the shadows. Now that my painting is dry, I can paint the turn leaves. Somewhere here is the fool. Let's imagine I'm painting a darker value of frien. Can you see the fool now? For this leaf, I will paint it this way, adding the darker green. My fool is here, adding more shading on the inner side of the leaf. As for this leaf, I will create the fool here, adding more shades of sap green to make it more interesting. I'm sure you can see the fool and I will add a little shade on the shadow area of the folded leaves. Even for this leaf, I can create a fold by adding a darker shade of green value. Well, once you learn this technique, it will really make your painting a lot more interesting with different angles leave, flat and folded leaves. Now I add the details of mid rib and veins using the sharp tip of my round six. But if you have a round two, you can switch to a smaller brush, either around two or around four. Getting a mix of yellow and green, I paint some secondary leaves spreading the wreath. Now we are back to the citrus flowers again. I need a light value green to paint the stamens as the flower is dropping this week. I'm adding more depth of di shade on the center of the flower. Radi shade could be the vermilion or the brilliant opera rose colors that are still on my palette and adding some outlines and more shading on the center of the flower. Let me link this flower with the stock, starting with a higher value of green and joining to the lighter green. Well, we actually need more leaves since there is a flower here. We can't leave it empty. Again, two large leaf strokes for a leaf and layer with a darker shade of green and more leaves behind, applying the same technique again. Yeah, over here, I make the conversation a little more interesting, busier, but still with light tones so that it will not steal the limelight for the center of the cut lemon. I decided to add more colors and adding more shades in between the membrane walls with a mix of light value green and lemon. The cut lemon will have a more distinctive color. I'm adding stigma and enter with this special guache color, Indian yellow over the dried painting. Guash is an opaque color, so it works well over watercolor paints. But if you don't have guach, cadm yellow dip will be possible too, but you have to wait for the painting to dry thoroughly. Well, it really looks a lot more vibrant and interesting. So my citrus lemon flour. And changing to a round two brush, I'm adding mid rib and veins to the leaves that are already dry. I should add some shadows behind these leaves using cadenm yellow dip. This is wet on dry technique, which I have applied very often. I think I would love to frame this up with a thick outline. I have a thick paper to paint the lines and my four brush. But if you have a flat four brush, you can always choose to use a flat four brush. It's easier to use. I will choose a medium value yellow and with my round four brush, I have my paper to guide me to crack through for a straight line. Well, it need not be very accurate. I wouldn't suggest that you use a yellow marker to frame this if I'm reading your mind. Yeah, because my students always asking for shortcut. Yes, but I will politely tell them. Well, a brush is still better than a marker because honestly, watercolor flow is more natural and you can actually add on other colors later on. While it is still wet, you can add some cadmium yellow deep or chronum oxide green under painted lines. This looks lovely. We have the next line, loading my brush with the same meat value lemon yellow and adding green and cadnum yellow for a stronger and vibrant frame. For the next line, check carefully again before you pin loading with a loose flow of pin and join the lines up. I love how this looks natural and loose and no perfect straight lines. Now for the last line, I think I'm a faster this time. Let's add a little orange. Pink and green around the borders. Let's check the borders. I think we have finished. Very quickly, I see that I need more leaves around the top border to have some protruding leaves. That will make the whole framing looks more interesting. I had done some research for lemon branches and I see that they have plenty of leaves. I'll make sure that I do not overdo this. But yes, it looks so interesting with the whole lots of primary and secondary leaves. I truly hope you enjoy this lemon and citrus florif as much as I do. I hope you'll come back for my next lesson. See you soon again. 10. Orange and Floral Wreath demo: Hi, guys. I'm happy to be back to teach you orange and flora reef today. I'm working this piece on a landscape format, and if you have oranges at home, we like to have them to refer to the colors, feel the textures, and for the other orange, cut it to examine the segments, the central core, and orange juice vesicles. In my previous lesson, I taught you how to paint the oranges, cut orange, study the light source to determine where to leave the lighter color. Start with cadmium yellow deep and erminium mix, paint a few common broad strokes to form the shep. Add more verminium at the bottom for sheets. While it is still wet, drop some greens for more shadings. Using your clean them brush, lift out some paints for highlights. Now, I will be painting another orange behind. Just make sure that the first orange is dry before you start painting the next one. Using the same mix, paint the orange, keep the top with lighter value. For this wreath, I will not be able to paint the whole wreath because it is a big wreath, the earlier one that I painted, which require an hour to finish. But I will include the flora and cut orange in this wreath. Again, we are using broad commer strokes to paint the orange. Paint this card orange freehand with the same mix cadmium orange deep and vermiu. This part of the orange is called vedo. The inner part of the orange is Abdo. Quite a number of things to learn. This is a lighter value of lemon yellow, and sometimes you may drop a bit of cadnum yellow dip if the color is a little too light. You can also switch to a number two synthetic brush for blending. The smell of the orange is so refreshing. As I'm painting this, I'm enjoying every bit of this lesson. I hope you can feel it. Now, I'm going to paint the central core and work on the segments and spsicles with a mix of cadnum yellow dip and a tinge of vermion. Draw each segment and leaving a small gap in between, fill up the segment with the same color mix. Makes a bit more vermilion to paint the juice vesicles by tapping some brush marks on each segment. Add more brush marks for more textures on some of the segments. I think the segments look good. Let's add some more touches to strengthen the colors. We'll just leave it and see if we need to add more colors later on. I'm working on the navel of the orange by adding a mixture of yellow ochre and you can observe your orange closely. We can see that there are some lines, which we can paint with the thin lines with the same bunt cena and yellow ocher mix. Now we can paint the stock. I'm painting the leaves with sap green. Painting the two leaf strokes for a large leaf, I paint the leaves at different position for a balanced look while it is still wet, add on paralleling green for the shades. You can also add on a lighter green or yellow leaves to add interest to the leafy bunch. Yes, orange bunch has a lot of leaf, so we will add on a lot more different greens and different sizes of leaves. With a light value of red, paint these floral buds and add more values to strengthen the color of the buds. While it is still wet, wrap up the sepals with sap green. For the drop side flora, I paint three large leaf strokes. Can you remember we had learned how to paint this side citrus flora in our previous lesson. Again, wrap up the saples with sap green. I think I will paint more floral buds at the other side of the reef with a light value of red, and I will add sap green on these sepal areas when the paints are still wet. Paint the stops of the buds at the same time. Now I'm going back to the five petals floor, painting them with two large leaf strokes to form a petal. Add on some higher value of red or green at some areas. The edges of the floras, while waiting for the flora to dry, I'm checking on the orange to add more depth on the orange juice vesicles. We call this wet on dry technique and layering. This layering definitely adds more interest to my cut orange and I love it. I add more depth to the center of the orange just a little by adding a touch of sat green. It's very subtle, so probably you can't really see it. Now I go back to the flower and work on the filament with green and add yellow guash for the stigma by dabbing some long dots. Have you heard of long dots? Well, I have finished this orange and flower wreath. Before we end, I will add details on the leaves. Using my round two brush, I add tend rib veins on the leaves. When you're drawing these veins, try to draw with curves and not just straight lines. Well, I hope you have as much fun as I had in painting this orange floa reef. You pose your projects so that I can see your work. I really love to see them. See you again in my next demo lesson. 11. Peaches and Peonies buds: Hi, Dan. For today, I'm teaching pictures and peonies wreath and I have my A four paper in a landscape format. I'm just using my circular object to draw this circle just very lightly for ourselves to see the guideline. Again, for the peach, I'm going to paint free hand. As we have discussed about this earlier, brilliant Opera ros, vermilion and Cadman yellow deep, and we mix them together as we want a vibrant color. I'm going to work on this part first, the three peaches. I will start with the broad commerce stroke and with a higher medium value of this, now I will add the permanent car in for shading. I'll blend it lightly and we'll let this dry. I'm working on another pitch with the same technique of broad commerce stroke with bright color mix. Again, I drop the permanent came in for shading and I just let it dry. One pitch here, another pitch here, and another one here where I will be painting with the same technique. I'm spacing them out. With the same broad stroke again, I'm adding the permanent came in for shading and leave it to dry. So my first peach is dry and I'm loading with the light value of my mixed and leaving my highlight area. I will lift out some pins, but not exactly that much shine. As peach, as we know, is not too shiny. Now I will shade a little at the sides. I should be able to work on the second pitch and taking note of where the highlight is, I load my brush with the mid value of the color mix and the highlight area with a light value. For the edges, I add on more opera rose for a brighter color. We have learned about wet on wet technique in our earlier lesson, we are applying this now. Well, now I can work on my last pitch with the same technique, and I hope by now you are familiar with the step. We have a little slide overlapsion, not exactly that much, so that it looks a little bit more interesting. Take note of the highlight area again and keeping a color lighter or we can lift up the paints a little. I'm adding opera rose into my peaches again so that my peaches will look more vibrant. Finally, we have finished the three pictures. Next, I think I should be painting the leaves first and loading my brush with a mix of chronium oxide green and paraline green. I paint with the two large leaf strokes for broad leaves, which I have taught in the earlier class. I also mentioned several times that we need to have different color shades for more interesting wreath. So I'm adding lighter green with yellow for this lighter leaf. And I add on the stop at the same time. Behind the peach, I decide to have more leaves with darker sheds. For pictures and leaves, I really like to paint them free hand. Some of my students also know that and they really enjoy painting leaves free hands. My peonies we have Opera rose and Cad Nam yellow tee. We have learned in our earlier lesson. Remember the comma stroke? Yes, we are going to paint the peonies with comma strokes. So I will have four como strokes of different shades of opera rose plus cad them yellow deep. And for the top, I added two smaller darker strokes. And here a few smaller drop petals. Turn the paper to a comfortable angle if you need to. So I'm painting a drop peony here. I mean, that's my decision. This peony will be opera rose with four common strokes and a smaller one at the side. It will be a bad. I will add more shading with permanent coming. I have smaller lighter green leaves around the peonies. I think the leaf is looking good so far. My peaches are bigger and my peonies are smaller. Now I think to balance, I will paint a few more peony buds with a lighter value of opera rose. I'll pick up a light value green for the Calass without washing the brush. This dirty brush mix of color looks lovely. I'm going to paint the mini buds. I'm spreading out the wreath with smaller and lighter value leaves to give it a soft touch. On this side of the wreath, I'm adding in a lighter value of my opera rose plausibly mix for an extension leaves. I like how this turns out. You see every time you paint, it needs not be exactly the same as the one that you paint earlier. Every wreath vary, even though you might be the same artist as this can prove it. Now, we add on the details like the mid rib veins. I'm still using my number six round brush as this Kolinski saver brush has a very sharp tip. But you can always switch onto a number two round brush to paint the details. Now we check through the wreath and see what other details we like to add on. I like to add on more shadow leaves here for a slightly fuller look. I hope you can paint a waf like this and post it as a project or a smaller one if you wish to. This will be my last reef demo for this class. If you'd like to paint pear wreath, you can refer to my PDF sample design as I already taught how to paint pear and open floors. I hope you really enjoy this class of fruit and floalRaf and see you in my other classes. Bye.