Transcripts
1. Welcome!: Hello, and welcome to
this watercolor class. I'm so happy to have you here. In this class, we
will be painting this elegant Mg Dia branch using some gentle layering and a few signature techniques that really help bring
your florals to life. This class is for
all the students who want to refine their
floral painting style, and I will be guiding you through each lesson
step by step, from choosing the pigments, drawing to adding
those final details. Hi, I'm ConcanKl. I'm a self taught
watercolor artist, illustrator, and a
Skillshare top teacher. I also run a small
creative business where I design and sell my own watercolor brushes and paper that suit my
style of painting. Being self taught has been
such a rewarding journey. It's given me the
freedom to explore and develop a style that
feels completely my own. Over time, I've created a unique technique which I love calling
pulling the paint. It's a gentle blending
method that helps you create beautiful flow and
depth in your watercolor work. It's become a signature
part of Hi paint, and I have taught it across
many of my other classes. I'm excited to bring this
technique in this class too, along with a few other
techniques that really help elevate the floral
pieces like this magnonia. In this class, we will work through the project
step by step, starting with a simple sketch of the magnolia using a reference photo
that I have provided. Next, we will choose
our color palette and begin layering
the soft washes. You will learn how
to use my pulling the paint technique to
create seamless blends, and we will also practice lifting to bring
in the highlights. Before we dive into
the final piece, we will have a dedicated
practice lesson. This is where I'll guide
you through each technique, especially the dry brushing, which we will be using
to add depth and texture and delicate details to our
magnolia petals and branches. By the end of the
class, you will have this beautiful
Magnolia branch, something that you
can proudly frame, gift or simply enjoy as a part
of your creative journey. I would absolutely love
to see what you create, so don't forget to share your painting and
practice sheets in the projects gallery
here on Skillshare. If you'd like to learn more
tips behind the scenes tutorials and daily
creative inspiration, you can follow me on Instagram,
Facebook and YouTube. And for all my classes, watercolor supplies and
more visit conchencall.com. Thank you so much for
joining me in this class. I can't wait to get
started. Let's go.
2. Brushes & Paper: For the brushes, I will be using size two and size one
brush from my brand. You can use any brush that
you like round brush. Size two is perfect
for this because it's not a very big artwork. Size one, I don't use a lot, but it's good to
keep it with you. A small brush for
some details if you don't have a very
fine tipped round brush. A fine tipped round brush
helps you with details. But if you don't have that, you can always keep a smaller
round brush for details, a size one or size zero
brush if that works for you. Um, and yeah, these are the only two brushes
that you will need. For the paper, I'm using
an A four size paper. I think anything smaller
would make the artwork, more difficult to paint
on a smaller paper. So do stick to an A four full size paper,
something like this. I'm using the cold press side of my paper in this artwork. This is from my own brand, um, that I have on my website that I usually have
on my website. It might be out of
stock right now, but you can use any brand. This is 100% cotton
paper and 300 GSM, it works perfectly for an
artwork which has layers, and if you want to
add a background, then you need a
little thick paper. I think the minimum
that you can go is 300 GSM and 100% cotton
paper stays wet for longer, so it helps with, um
with your washes. But if you have a mixed pulp
paper, that's fine too. I think that should work fine
for this kind of artwork. Yeah, then we can dive into
the other lessons now.
3. Pigments: In this lesson, I just
wanted to show you some of the pigments that we will be
using throughout this class, and I'll encourage
you to explore your own palette to see what colors you have
which works well for you. The one thing that I
use the most in this is the permanent rose because it's a pinkish flower that
we are painting. All my paints are from Windsor
and Newton professional. So the permanent rose
is something like this, very bright and pink. Some of the areas I might mix
a little bit of opera rose, which is also a pink tone, but it is much brighter and
Opera ros looks like this. It's much brighter. This I will be using in
areas if I want to show some brighter areas which
have sun shining through, but throughout the artwork, I'm using it very little. Other one that I have
is for showing shadows, which is the darker areas, and this is the magenta. If you don't have magenta, you can always use
a mix of blue and the permanent rose
or the pink that you have and that gives
you the same thing. I'll show you how I mix it. You can even mix purple
or blue to so I'm using French ultramarine blue and
the pink to make that purple. You can use that as well
to show your shadows. I'm using this air interchangeably
throughout the artwork. Sometimes I use a
little bit of magenta. If you mix more pink to it, it will look magenta.
Closer to the red. If you mix more blue to it, it'll become a little bit more darker. This is for shadows. I am also using Pains gray to mix with the brown
for my branches. Pains gray, something like this. I love keeping this
on my palette to mix with any paint
to make it darker. I use the brown which is this for my branch and
to make it darker, I mix it with pains grey. Then for the buds, I'm using olive green. Oolive green is little
yellowish tone to it, so you can see it is
something like this. If you don't have olive green, you can always
make some brighter green with a little
bit of yellow. Ochre. Yellow ochre is most of the time available
on the palettes. If you mix yellow
ochre to your green, a brighter green, you
get the similar color. Which is the olive
green I'm using here. Then for dry petals, I'm using yellow ochre to show that dryness and sometimes the yellow ochre might
look a little too bright, then I can mix it
with the brown, that is for the branches to give it a little bit of
brownish tinge. These are all the colors that I am using through the class. You don't have to stick
to the same pigments, you can choose whatever
is on your palette. Make sure because if you want to make something
like magnolias, um, the branches and the
buds are a little muted. Make sure they're not
very bright to give that perfect look to
it, make them muted, mix them with the
blues or paint gray or mix it with yellow ochre to make a muted shade for this. These are the pigments
that I'll be using and these are all written in the
class description as well.
4. Practice: Brush & Water Control: In this lesson, I just
wanted to show you the different terms that I
use throughout the class, the difference
between a damp brush, wet brush, and a dry brush. Let me just show you what a
wet brush first looks like. When you paint something
with wet brush, I've dipped it in water and I'm just picking up some
pigment on my brush. And I've not dabbed the
brush at all actually, which is very rare, but I just wanted to show you what a wet
brush would look like. There's enough water and
pigment in the brush and it is very easily getting
painted on the paper. Now, let me show you what
a damp brush looks like. I will dab it on the
paper a little bit. I've dipped the entire brush in the water and I've
dabbed it on the paper. Now this is a damp
brush and when you pick up the pigment
and you paint it, you get a little bit of gradient because you are just
picking up the paint on the tip of your brush and I use this technique even
for pulling the paint, so I use this all
over the class. If you have a dark area like
this and then you clean your brush and you dab it a
little bit, just one side. Your brush still has water, but it's not dripping
with and then I'm using this to
pull the paint. This is a damp brush. This is a damp brush. You can do this with a
very wet brush as well, but you'll have too much water on your brush and
you don't want that. You want a damp brush. Now, the dry brush is in which I have removed
all the water, so I have dabbed it on the paper towel
from all the sides. There is no water. It is still wet, but it's very little wet. When I pick up the pigment
on the tip of the brush, not the entire brush, I
don't ever want to do that. Then I paint with this. It has a very dry brush. Feel to it. Now the
pigment is over. Instead of dipping it in water, I'll just pick up
the pigment again with the tip of my
brush because it's still damp and it has a little bit of water
content in the brush. Then I do it so it gives you a texture that you're
looking for in a dry brush. This is the difference
between a wet, a damp brush, which I call a
damp brush and a dry brush.
5. Practice: Pulling the Paint: Before we get into the painting, I just wanted to practice
a few brush strokes. The first, what we're going
to do is just make one petal, so not intimidating at all, one petal and we'll see some of the strokes that you might want to use during this process. I just roughly making
a petal, big one. Still in the magnolia shape
petal because some of the you'll get an idea
of how to approach it. Something like this and then
let's start painting it. I'm using my size two brush and the first
layer is going to be very light and we're going to drop this paint whatever
color you're using, I'm using this permanent
rose in the darkest areas. You have to observe your artwork or the reference photo and
drop it at the darkest areas. Something like this. Then clean your brush, it's still damp and
then I'm just pulling it to the rest of the petal. When you're pulling
this, you can continue to use
strokes which are in the direction of
the petals veins. In this case, it goes like this. I'm just going to pull
it in that direction. Remember, it's a very
light first layer, you don't want to use
a very dark color. The tone of the color
will be very light in areas like the
top where you want to show the highlights,
you just keep it white. You don't have to pull the
paint all the way till there. If you've lost some paint
while you're pulling it, you can just drop it like this in the darkest areas again. So this. I love calling
this pulling the paint. I'm a self taught artist. I don't know if there is
a proper term for it, but I call it pulling the paint and I prefer it to wet on wet. I talk about this
in all my classes. If you're interested in
mastering this technique, you can watch my other classes, and then you can
even drop some for the center vein in
the shape like this. This vein has become
too prominent, so I'm just going to blend
it with the damp brush. Just touch the vein
lightly and blend. Now, this is your first layer
and you're going to let it dry before you add
any more details to it.
6. Practice: Dry Brushing: The next technique we are learning is the dry
brushing technique. In this technique, you have to have a brush which is
dry so it's not damp, it doesn't have a
lot of water on it. So you dip it in the water and still dab it on the
paper towel to remove all the water and then make sure your paint
is already activated. This is already wet and
you use only the tip of your brush, not too much paint. I'm just dipping the tip and
my brush is pretty much dry. Then I'm going to just drop
it again at the darkest area. For example, here, I want to just define this
and you can see it's very pigmented paint
because there's barely any water and the
brush is dry as well. I'm going to just
drop it here as well on the veins
and the dark areas. Now I'm cleaning the brush
completely and dabbing it. Now again, it is dry. I'm just pulling this
with a dry brush. To give those veins. Now in this, I'm very
gently picking up the paint only the tip and you can
use a small brush for this. This brush that I'm using a a very fine tip
so I can use that. You can use this dry
brushing to even make very fine veins,
for example, here. I want to make these veins
like this to show the hedge. I can make them here as well. Very, very likely, you can use this drib rush to
add finer details. I'm just using this dribrush
to pull it, blend it. There's barely any
water in this actually. You see some dimensions
started to come into this petal because
of this technique. This is usually done at
the very last layer. Now, if you want to make
a brownish tinge to it, if you want to show a dry petal, again, I'll just use
the same technique. I'm using yellow ochre and
I'm dropping this on top. I'm just making this as a final layer and
with a dry brush, I'm pulling it all over. This final layer is very
dry and the brush is dry, the paper is dry and I'm
just dropping this paint to give that little bit of brownish color to show
the aging on this petal. You can even hear
the scratching of the brush on the paper
because it's so dry, but it gives a very
beautiful texture and realistic look to this. If you feel a brush is very dry, then you can always dip
it in water and dab all the water out and
then pick up your paint. Yellow ochre again and then do the same thing just with
the tip of your brush. This gives a nice
beautiful texture and depth to your artwork.
7. Practice: Lifting: The next one we are learning
is picking up the paint. I don't use it too much
during the final project, but it's good to know
just in case you have added too much pigment to your paper and you want
to show some highlights. What I'll show you is again, probably a petal here. In this petal, we will do the picking up the
paint technique. Let's take some pigment
onto your brush. Again, I'm doing the same thing. I'm putting it in
the darkest area. I'm not even following the
reference, to be honest. I'm just looking at
it for some ideas. Now I'm dabbing with brush and pulling the paint
just like we did in that. I'm pulling the paint
throughout the petal, but I'm doing it a
little incorrectly in the sense I want to show
you how to lift the paint. I will probably pull
this all over the petal, even areas which need
to be slightly lighter. What you do is pick
up the paint now. You again clean your
brush completely and dab out all
the excess water, and I want to show
this highlight. I'm just going to press
it and pick it up. You get that highlight back. Again, dab your brush clean your brush in
water and dab it on paper towel to remove all the excess water and
then press and pick. That way you bring
your highlight back, which might have been
missed by mistake or you prefer this technique
of showing highlights. If you want, I can just
pick up here as well. It needs a little
bit of practice to do practice this technique. I don't use it a lot
during the project, but it's just good to know. The three things that we
learned was pulling the paint. Then we learned how to dry brush your details
on the final layer and we also learned how to show highlights by picking up some of the pigment
with your brush. I think we're ready
to actually dive into our final project
with these practices.
8. Project: Drawing: To get started, we are going
to first draw the magnolias. I'm going to show you
how to draw one of them and most of them will
follow the same process. To draw the magnolia, first, we just make the outline
of the shape that we want. This magnolia that
we are seeing first, I wanted to have some shape like this and then we will
define the petals. It's more like a leaf, I would say,
something like this. So I'm just drawing the outer shape of the
magnolia first. Then let's start
drawing the petal. First petal is here
in the center, and it's a mini shape of the bigger shape
that we had drawn. We'll just draw that.
Then from here, we will just draw one more
petal, which is coming here. There's another
petal here which has a beautiful turn in
the petal as well. First, we draw the white areas. I'm actually marking them so
that I keep them untouched. This petal has a little
bit of a turn here, we mark those as well, and it goes down into the bottom here.
Something like this. I always say you don't have
to be exact with the drawing. It's more like a reference. You don't have to copy it fully. It's just for your guidance. I'm now making them center
petal and I'm also drawing, the prominent mid vein for the Then there are a few
petals here and some here. There's one hiding here
in the back as well, small, something like this. That's my first magnolia and I won't make
the branches yet. I'll first make my flowers. The next one I want to
place somewhere here, it has a very similar shape to the one that we made earlier. I'm just going to make again the outline first,
which is like this. Then I'm going to
draw the petal out. The center petal goes like this, and then there's one here. There's one here.
This flower is a bit more closed as compared to
the one we made earlier. There's one here hiding
in the back as well. We'll make that I always encourage my students to draw the flowers themselves. I feel like that gives this
unique perspective and the way you have perceived the artwork or the reference
that you're looking at. I don't usually provide
tracing or drawing. I feel like that takes away
from the way that I paint. I like to draw on my own the way my eyes capture the
the reference photo. I'll make another one here now. This one is slightly different, but I'll still follow
the same process. I'll just make the
big outline first, which I see, and then I'll
make the petals in it. There's one petal here.
Which goes like this. The more you draw, the
better you get with your drawing skills as
well. Don't be afraid. Initially, even I used
to be and I would only stick to loose florals because
I wouldn't want to draw. But once I started drawing, I realize it especially
flowers like this. They're not as
intimidating as they seem. Once you try attempting it, and I'm sure you'll
be able to manage it. We have three here. I want
to make now some branches. Now I'll usually I
paint my branches, um directly without
drawing them. I go a little loose
with the branches, but I want to make some
buds behind the branches. I just want to know
approximately where the branch will fall.
There is a bud here. Again, I'm just roughly
putting it out there and um I'm going to make
another branch here. So again, be very
rough with the branch. You can always change it
when we are painting it. They have these green
buds coming out and it goes something like this. Roughly main branch and I want to make this one flower which is behind this as well. What I'll do is again
draw the shape out. I will provide you with a
reference photo for sure, but not the line drawing
because usually I really encourage my students to draw them or draw
it on their own. There's another one here and
it has a branch as well. I'm just going to roughly
make a branch coming out from here and another one up here. This one is behind this branch. I'm going to make the shape
roughly of this flower first. Again, it's just a reference, so don't be hung up on
drawing something exact and use it as a reference. All right. So I have one, two, three, four, five. I've made five of them. I think it covers my page pretty well,
the paper that I have. And if you have space,
you can add more. Otherwise, you can just
leave it as it is as well. Let's get with the painting now.
9. Project: Layer 1: Before we start painting this, I'm going to take
a needed eraser. Basically, it's a
eraser which can just pick up some extra lead. So all the artwork that we created the drawing
is a bit dark. So just roll this needed eraser. To pick up all the extra lead
from the paper that way, it helps blending with the
paint once we start painting. Especially for lighter colors, it makes more difference. Otherwise, it'll peek
through your artwork. I've just removed it.
It's a bit lighter. I'm not making it too light
because I do still want this to show up for you to see, but for your own artwork, you can make it even
lighter if you want. So I'm using size two brush
from my own brand of brushes, and you can use any
size any brand brushes. Make sure it is medium sized, size two round brush. This one has a nice
fine point and I really think it
makes my artwork. The process of painting much
easier having that fine tip. So, um, let's get started
with the painting now. So first, let's
paint this flower. What I like doing is, I'll first take the
permanent rose on my on my brush and I'll drop
it at the darkest areas. I see that the darkest areas
is here in the reference. I'll just drop it at
the darkest areas. This is the first layer. Remember that, you don't
have to make it too dark. Now dip your brush in
the water and remove all the extra water from
your brush and just pull this I call this
pulling the paint. I don't know if there is
official term for it. I am a self taught artist. After all, I created
my own terms, and I'm just pulling this paint to the rest of this flower. I don't usually do wet on wet. I think I find this
method easier and I have quite a few classes on Skillshare in which we are
just focusing on this method. One is to paint vegetables
and now next one is here. Again, I'll just put it
on the darkest area. So something like this. And then clean your
brush again and pull this with a damp brush to
the rest of the petal. All the small details we
add in the next layer. I feel that this can be
increased a little bit. And so this. I see that there's a little bit scope to increase the width of the
flowers. I'm just doing that. Now if you paint in this,
it'll be wet on wet. You have to be
careful, your paint will just start
going everywhere. You have to be very careful once your petal is wet to drop more paint before you do that. Make sure either you're
well versed with the wet on wet or you know
how it's going to behave. So be careful with that. Now I'll do the center petal. The center petal is
just very light color. What I'll do is just
pick very watery paint and drop it with a
damp brush all over. I'm going to leave a very, very small gap
between these petals. That shows us a highlight
when you finish your artwork, very, very tiny gap. This petal has a dry
brushing technique, which we will do in
the second layer. I'm just going to
leave it as it is. Now I'm going to do the same for this petal as well,
the center petal. Again, I'm just
dropping some paint and just pulling it all over and leaving a really small
gap between these petals. The tip of my brush is
quite fine and that helps with this keeping a gap. If you don't have a very
fine tip round brush, you can keep a bigger gap for now and then when
we do the second layer, we can try and reduce
the gap a little bit. Dropping some here. It's a little dark here on
the edges like the shadow. I'm dropping this is wet on wet. I'll just drop some paint here. Thanks. Now, I'll take a
little bit of magenta mixed with my rose, permanent rose and make a
slightly darker petal behind. I'm just going to spread this. Again, keep the paint very light and watery because
this is the first layer, like I said, and we
are always going to add another layer
for more details. Now, this one has a bit
of a bluish tinge to it. I'm using a little
bit of paints gray to mix with my permanent rose and I'm going to
make that petal behind. Like you see, even little pain goes a long way in watercolors. Now I'm just going
to pull it with a clean brush to the
rest of the petal. That's the first flower. Now let's repeat this for
the other flowers as well. In this one, again, we'll start with the darkest. I have my permanent rose and
I'm going to place it here, which is the darkest area in this flower and clean the brush and just pull it
to the rest of the flower. Like I said, I have other
classes on Skillshare which covers this basic technique
of pulling the paint. I use it a lot in
all of my artwork. I feel it's very easy to master as compared
to wet on wet. Again, I'm just placing it in the darkest areas which is here, and then I'm going to clean my brush and pull
it to the rest of the petal. I have a free hand magnolia as well that I have painted
in one of my classes. It's called the classes for
painting spring flowers. This one is a bit more detailed for students
who like detailed work. Again, I'm going to place
the dark shade here, I can see and then clean
my brush and spread it. Keep a small gap between
the petals as always to prevent it from blending and it looks like a nice highlight coming through. Now, again, I'm taking
that paints gray and permanent rose mix for the outer layer or the outer
petal which is behind, which has a bit of
a darkish tinge to it and for this
petal as well. Now for the center one, again, very light shade of dilute or paint and just
make the center petal. Then the next layer, we will add more details. I feel this can be darker and narrower here to give
it a bit more shape. I'm just dropping. Now, let it dry and
while it's drying, we will go on to paint the
other flowers. All right. In this petal, you see
that the top part is a bit light and I have
put some paint there. What I'll do is damp
brush, actually. It is not completely dry, it is damp and then I'll just pick up some of that
paint to show that highlight. To show that highlight. Let's do one more this petal, it has similar thing. I'm just going to
first drop the paint and spread it across
the entire petal. Very watery diluted paint. I am keeping that gap
between the petals still. Now I see that it is
highlighted on top, so I'm going to again take a
damp brush and pick it up, then clean your brush again and then Then you can drop a little paint
in areas which might have been lightened. I'm just going to drop
it in the shape of the petal the way I want the
veins to look. Let this dry.
10. Project: Branches: All right. Now we will paint the branches before we get into the details
of the flowers. Let's start with the greens. I'm using a color
called sap green, which is on my palette, go with a lightish deep
green and nothing much. I'm just putting
in the greens to mark um the ends of
these buds, basically. I think we can add
something here. Again, it doesn't have to match exactly with our
reference photo. Now take a little bit brown, feel free to choose
any shade of brown. My brown is a bit light
on the lighter side. I'm going to mix it with paints gray to make it a little darker because the brown in the
reference photo is quite dark. I'm going to just mix it to make a little darker
shade of this brown. Again, just roughly
place it around in the artwork and place
it on one side. What I'm going to
do is again use the wet on wet technique. I'm going to use the pulling
the paint technique. I'm just going to put
it in the darker side. Stuff which is inside would be darker and the areas which are on the outer
edge would be lighter. First, let's just
place the paint in the darker edge like
this very roughly. Then clean your brush and just pull this on the
lighter edge as well. Don't make straight lines. The branch is pretty crooked, don't make straight lines. If you feel like some
areas have gotten lighter, you can just add some
more paint to it. I would do that with
all the branches. Of course, like I said, this is just your first layer, we can always make it
darker in the second layer. We can always add more
details in the second layer. I'm going to leave
a little bit of gap between the painted
and the paper. It looks like a highlighted
area here as you can see, gives a beautiful effect. Let's do that here as well. Again, just placing
the dark colors here. Then pulling it to
the rest of the area. Leave these little white spots to give a little
bit of uneven look. Oops, you can see some paint
has dropped in this area. We can correct it later, we can incorporate it into the artwork. Don't worry about that. I'm just going to incorporate
this into the artwork. And perhaps paint a
little bud there. I'm going to go very loose
and quick on this one. This is seeing me correct
my mistake, actually. I wasn't planning to
have this bud here, but I will now that I
have dropped some paint. I'll keep it very loose. I was looking at the
artwork and I find this area to be a bit empty. What I'm going to
do is again paint a little bit of bud here. It is already there
in the reference. I'm going to just paint that
and use very light paint, basically very diluted
paint to just create a bud, which is very similar to
the decretd here actually. Okay, now I find this to
be a bit more balanced. I do feel that this area
is looking a little empty in the reference, there is a proper flower there. There's a big flower there,
but I added a bud instead. I might go ahead and
add a flower actually, and this might be very different from the way
your artwork is looking. I want you to be the best judge
of where you want to add, whether you want to add or not. I feel this artwork
requires something. I'm going to quickly draw it out and there's not enough space, so I might just make it
look like it is hidden. This looks much better. I really like the way it is
getting balanced out now. And now let's just
wait for it to dry. So my suggestion would be
to keep taking a picture to see if you're looking at it as a third person at artwork, do you feel like it is balanced? Do you feel some areas
which might be empty? Like I said, this area
was looking a bit empty, the flowers were looking sparse. Of course, in nature, it is not defined that they have
to be all together, but aesthetically, do you
feel like it is balanced? Do you find some areas which might need a little
bit more flowers? Balance it out by
looking at it and understanding the way I have
drawn, place the flowers? Now let's meet in the next lesson where we start adding the
second layer to it.
11. Project: Details: All right. Now let's start
adding some details. I'm going to continue using
that same size two brush, I'm going to do a lot of dry
brushing techniques now. So when I say dry brushing your brush
should not be too wet. You can pick up
some paint and drop it with a damp brush and then clean the brush
and clean it nicely on the paper towel and
just pull this. Just pull this paint
with a dry damp brush. You just have to take the
paint right at the tip of your damp brush
and then pull it. The paper is dry
and the brush is not wet but damp and you have
the paint only at the tip. Now I'm going to pull
it in the shape of the petal like this.
Let's try it again. In this case, I want to
make the vein first. Let's take some more paint
on the tip of your brush. And just draw that vein and use this dry brush to mark
these veins very lightly. You can see it's
a very dry brush. If you feel it's too dry, then you can dip it in
water and wipe it on the paper towel and
then just pull it. Now, I want to keep
this highlight here. You can see it in the
reference as well. I'm just dropping this paint at the edge of the highlight. Then take some paint on the tip of your brush
and then drop it here. This will really bring
out the white highlights. Now again, take some damp
brush and just blend this out. You can always play some darker shades
and just pull them. Like this with your
damp brush, blend it. That's two petals with
slightly more details now. Now let's continue this. Again, I'm using
a damp brush and just the tip of the brush with some paint activated paint. This paint it's wet, but it's not watery. That's how you want the
paint consistency to be. Now I'm going to
mark the edge of this and mark that in
Again, dry brushing. I'll just place the paint
first in the dark areas, clean the brush, dry it, and then just pull
this with a dry brush. This time, I don't have too
much water on the brush. I'm just beautiful details
to this petal as well. Now let's do the center petal. Again, I damp brush, take the paint at the tip of my brush, mark the center vein. Clean the brush
completely, dry it. Take very little paint
at the tip of your brush and do this pulling technique. Dry brushing to
make these veins. Now, this petal has
a little bit of a turn that I want to show what I'll do is I'll just dry
brush and make some veins. Let's add some paint
to the back as well. This one is a little darker
purply magenta shade. To show that it is
turned it is inside. I'm going to make
it a little darker. Then we have, of course, this blackish shadowy
petal at the back. I'm going to again
make it darker. Again, I'm dipping my brush
in water, cleaning it, and picking up some
paint at the tip of the brush and I'm dropping it
again at the darkest area. Clean your brush right on the paper towel and
then just pull this a little bit more defined
to make the veins. Using the tip of your brush or if you don't have
a fine tip brush, you can use a detailing brush
as well or a small brush, maybe size zero to do this. No less to the center. My brush is already damp, I'm going to take the brush and just drop the center vein. The darkest areas as well
just retouching them. Clean the brush, damp and
just pull this to merge. Here, I'm going to
do a little bit of purply magenta shade. It might not be obvious
in the reference photo, but I'm just dropping this as a shadow to different to add a different
dimension to this. Now, this petal, you can see
has a little bit of brown. It's actually turning
a little brown. It's drying up. Take a little bit of the
brown and your brush. Let me clean up the brush
and take some brown. Again, it is a dry
brush technique, you need to clean your brush and pick up this activated paint and mark this center petal, some details with the
tip of your brush. You could also mix this with yellow ochre to give a little
bit of yellowish tinge. It's not completely brown. I'm just making these lines
with the tip of my brush. Excellent. Now take
the magenta shade, the darker purple mixed
with pink or the magenta, if you have it and just drop it at the edge where the
petals are meeting. It gives a nice definition. Make sure you have
a very small brush or your tip is really fine
when you're doing this. I'm just dropping
it at the edge. Basically, I'm just
outlining the petals actually to define the shadows, which is different
from the pink. It has to be a
little bit bluish. The shadows are always bluish. You either mix a
purple or blue to your pink or use a
magenta, if you have. And that gives a beautiful
pop to your artwork. Let's do that here as well. I'm just dropping it right at the meeting point
of all the petals. I know we have the
white outline, but that white will
really pop with a darker area around it. With a really fine
brush, if you do this, it'll really make
your artwork pop. All right. We've done two, and I think
the rest of the flowers are very similar way
of painting them. I will speed this up, but I'll encourage you
to paint it on your own with the learnings that you had from
these two flowers. First, we go damp
brush with the paint, the tip of the brush to mark the darker areas
and then pull this with a damp brush
to mark the veins, and that's how you show the
details of your flower. I'll go ahead and paint
the rest of them now.
12. 13 Final Thoughts: Thank you so much for
joining me in this class, and I can't wait to see
what you have created. Don't forget to post your class projects in the
project's gallery below. Even if you haven't completed
the entire project, just the practice lessons would be a great
encouragement to everyone, and I will be here to give you my personal feedback as well. Use the discussion Sab below
if you have any questions. If you like the class,
then do leave a review. It really means a lot. For future class updates,
tips and tricks, follow me on Instagram, Facebook, YouTube,
and on Pinterest. Until next time, Happy Creating.
Kanchan Kaul, Artist and Illustrator
