Welcome to my flowing florals video.
We're painting over this video four project pieces that are quite relevant to everybody's
home.
First off, we have a hairdryer holder, then a liquid soap holder, an oval mirror and a
tissue box holder.
So I'm going to be painting these florals with different techniques.
So sit back and enjoy.
This is a video on project work and I've chosen four projects to do and the first one being
a hairdryer holder.
This is quite a nice piece and very useful.
It comes in two pieces and one of them is the round area that will hold the hairdryer,
which I've taken off for base coating purposes.
Before I started base coating this piece, I prepared it by putting one coat of all purpose
sealer all over the piece and let it dry for 24 hours and then lightly sanded the routed
edges and over the top.
Make sure that you don't pre-sand craft wood before you have anything on it.
You do need to put either a coat of sealer or just so or base color on before you can
ever proceed to sand.
The color that I've used is Joe Sonia base color in oak moss and it has two coats of
that over the top of the all purpose sealer.
When you are working on pieces with routed edges, remember to pay particular care to
that edge because it tends to be very furry and you need to make it nice and smooth so
that you can get a nice finish on it.
The pattern that I've chosen to put on it is a very simple pattern today, which is some
flowers and some ribbons and I have already traced this on.
When I traced it on, I used graphite, transfer paper and a stylus and using the small end
of the stylus, so I've got a small tracing area coming out on my work.
The colors that I'm going to be using today on the leaves is first off pine green and
using a number four round brush, I'm going to base coat those leaves in.
Just a little bit out on my palette using a number four round and all I'm going to do
is to go through and base the leaves in this particular color.
Now I'm going slightly over the tracing line so that I don't have to go back and erase
any of these lines that may be showing at the end.
It's a good idea to do this because it just cuts down on any tracing line showing.
Now I'm just pulling and turning this work towards myself the whole time so that I'm
pulling the color and the brush towards myself.
Just down here underneath these little flowers, there are a couple of leaves and I'm just
putting those in.
Another one just here which is going around the flower and another larger one here at
the front.
Now this just means by doing the leaves first, it means that they're going to be tucked under
any of the flowers that we put on after this and it's only the larger leaves that I'm doing
on this particular pattern.
And there are some smaller ones there but I'll come back and do them later.
Just to set that little ring aside, rinse off your brush and just set it down.
I'm using a number 8 Smooshing brush that I have slightly dampened in the brush basin
and I'm loading in pine green.
Now the pine green is just to act as a base to blend the color once I get it on my work.
I'm pushing the brush into the side of burnt umber.
Now this is the color that I'm going to be patting in which is the shadow on the leaves.
Now you are going to put shadow wherever a leaf touches a petal or another leaf, you
are shading the leaf that is on the bottom.
Just here where it's touching and it's touching on both sides here.
It's touching a flower on the top and a flower on the bottom.
By having that pine green on your brush, it gives you the ability to blend that burnt
umber in without having a definite line coming through.
Now I'm just going around and wherever the leaf touches a petal, I am putting in that
shadow around the leaf.
Now this is just to add a little dimension to your work as we move along.
At the bottom of each of these little leaves, I'm just going to pat in a little bit of shadow
just to add a bit of color.
And down the bottom here, there are also two leaves that are being overshadowed by the
petal.
So where the petal touches the leaf, I'm just putting that little bit of shadow in.
After using the smooshing brush, I'm patting in yellow oxide.
I did load my brush with the pine green.
Whatever I'm putting on this at the moment, I have my base color in there first.
So it still has pine green on the brush.
And this is the shaded side that I'm actually doing.
And I'm starting at the tip, bringing the color down and patting it across.
This again, starting at the tip, sliding in.
When you want to pick up a second color on these brushes, you slide in from the edge
of the color.
Now you can see how we're getting the highlight coming in on one side.
And that is going to be our darker side.
And another one coming in just here.
On the little center bits here where there's only a small amount, you're not going to be
putting very much shadow whatsoever or highlight.
So just a little touch in.
And none of the lighter color will go in this area.
This is just to give you the idea of where these particular leaves are.
Little tad more down the bottom.
You can always look at your work later.
And if you feel it necessary, come back and put a little bit more in.
Now I'll just rinse the brush out.
Come back and reload in the pine green because I'm still working on the leaves.
And I'm going to slide into yellow light.
Now this is going to bring a really strong color.
And it's a nice highlight into the other side of the leaf.
But make sure that you have your base color on your brush.
Whatever you are putting two colors on one piece together like this with the brush, you
need to have your base color so that you have a blending of color rather than just a line
coming through.
I'm just turning my work so that I can see what leaf is over which.
And coming through with a little, on these smaller ones here, they can be a little brighter
because they are the younger leaf.
And opening little, remember check to make sure that you have that base color which is
pine green on your brush all the time.
Otherwise you will be getting a line rather than a blending of color as we have now.
You would have a line coming through.
And I've just blended that in.
And remember these two here in the center, because they are overpowered by two lots of
flowers, they don't need any of this really light color.
Grabbing my liner brush now and I'm going to mix in a little bit of yellow light into
the pine green to do the veins on the leaves.
And I work from the base to the tip with the vein.
Now you can have this as light as you wish.
Working from the base to the tip because the veins of leaves are always stronger at the
base than what they are at the tip.
So going around, don't forget to put one or two in the center ones here that have got
no tips.
And also on the little ones, your needs from the center veins.
Now working from the base, you can come through and just put some outer veins in.
And I generally like to work from the bottom and I'm curving them towards the tip.
They give a bit of interest to the leaves by doing it that way.
Just a few in there.
Coming around this way.
Remember I'm turning my work the whole time so that I'm pulling my brush towards myself.
And it makes leaf painting very simple by having that really nice blending brush because
you can blend in all sorts of different colors without a great deal of hassle.
Now any of the stems on the bigger or on the smaller leaves that are here, I'm just going
to paint those in with my liner brush and pine green.
There are a few other stems but I will put those in later.
So you can see how the colors have come through in that particular leaf without a great deal
of effort and by using your blending or smooshing brush.
Smooshing brush is actually a brand name and you'll find probably most of them that are
available here in Australia are called blending brushes.
I'm going to base coat in the flowers now and I'm doing the petals to start with.
Now I've just loaded my number four round in a color called smoked pearl and I'm using
this because I'm going to do a whitish flower which has tinged with maybe a pink.
So I don't want to put the white on to start with because I need to have the ability to
be able to come back and make it as white as I want.
So I'm starting with a slightly darker color being the smoked pearl.
Now I'm just bringing each of these petals in towards the center.
I'm not going over that center at all because it will spoil the fall of your petals if you
do.
And by the fall of the petals it takes about a quarter of an inch off your petal when you
put your center in so it's not going to look as good with having a quarter of an inch off
the finish of the petal.
Now very quickly you can see I'm following the actual petal itself as I'm base coating
in and now you can see why the leaves were put in first because they're now just nicely
underneath my work.
Still continuing filling in each of the little flowers and this five of these.
When I design pieces I never really design with even numbers I do threes or fives or
ones so that they're odd numbers and they always look better than having an even amount.
Everything is nicely tucked underneath with the leaves now so that's going to work very
nicely as we come back and put all the other little bits and pieces on.
Now you can see I'm not going into the paint or into the water to put paint on my brush
all the time.
You can tell by the way your brush is moving on your work whether there's enough moisture
in it and even though it's hot in here there seems to be enough moisture in this particular
colour to be able to continue on and base coat the petals of the flowers in.
So that's the base coating of the petals done.
Now while they're drying we have a little bit of ribbon in there and I'm going to base
coat the ribbon in.
This is preparation work that has to be done especially the way that I paint and it's nice
to have it all done before you start on the detail.
I'm going to base coat the ribbon in now and for this I want it to be a transparent type
of ribbon so I'm going to be using stroke and blend, the colour floating and blending
medium.
Just putting a little bit out on my palette and I'm going to mix together smoked pearl
with a tad of plum pink in it.
Remember plum pink is what we call a feral colour.
If you're going to drop it on your clothes it's going to be one of those colours that
are difficult to come out.
I'm just mixing a little bit of the blending and stroke medium into that colour to give
it transparency to it but still have a nice fall to the ribbon as I'm base coating.
It just makes the application of your paint very easy by using that particular medium
and it just stops a lot of your brush marks that you can get if you don't use it.
Little bit of ribbon just in here.
Remembering this is just the base coat of the ribbon, there's shadows and everything
to go in so all I'm doing is putting that base coat in before I start.
I'm making this a very soft type of pattern that would probably go in a lot of bathrooms.
These are a wonderful idea, it just keeps your hair dryer in the place that it should
be rather than drifting around the bathroom where it sometimes happens.
Now I'm filling this in while my base coat on my flowers are drying.
You can see how smoothly this transparent colour goes on by using this blending and
stroke medium and it just means that I've got a nice transparent look to the bow before
I start.
Because it's a bit hot in here today I've decided to use flow medium as my medium for
doing floated colour.
What happens with this is it gives you more open time to move your paint around and it
will not dilute the colour.
So the colours that I'm using are plum pink which I'm just blending onto my palette with
my dagger brush and I'm going to pick up a little bit of burnt umber just to soften that
colour down.
Plum pink is one of those colours where if you add any of the earth colours, burnt umber,
brown, earth, yellow, oxide, it has the most amazing effect.
Now what I'm doing is setting up a blending strip here now that I have the colour that
I want.
Now the more you press the side of your brush down the better your floated colour will be
when you're using one of these dagger brushes.
Now if I was to go to my work immediately from here it would have a line and I'm just
softening the colour up underneath.
Now I'm starting at the base, I'm just going to add a little bit more water just in there
because it's not flowing.
The base of the leaf of the petal sorry, all the way around the centre and I'm just patting
in the pink tinge that's going to show once I start putting on the white.
Now I'm doing each petal separately, coming up the side a tad because it doesn't matter
if there's a little bit up there.
And just working around each separate petal.
Now where there is a petal over another petal it's the underneath one that is going to be
darkened as well as going around the centre.
Because that little top blossom would be throwing a little shadow on the one that's underneath.
Continuing with all of the petals, once again this is just setting up for the over strokes
and I'm going to be doing a little dry brushing on these which will keep them nice and soft.
You can see they have got a pink tint but it's not an overpowering tint to it.
You could do Payne's grey in this area, I love Payne's grey, it's a beautiful colour
to use for shadows.
But keeping this nice and soft I'm staying in the pinks.
Just around the little one, small amount on that.
Now while I have this colour going I'm also going to pick up a little bit more Burnt Umber
just to darken the colour down slightly again.
And I keep putting my tip of my brush into the water because it's such a dry day it's
drying the paint very very quickly.
Now I'm going to come through and put in the shadow on the ribbons.
Now where there is anything over the ribbon it's the ribbon that is going to be shadowed.
Now I do have a little bit extra brown in this one so it's still in that same toning
but it is slightly darker.
Where the curve of the ribbon is you're shading the underneath section where it's touching
the leaf.
Get shaded out from there.
Also touching the petal here and touching the petals down here.
So I've just shaded those ribbons in wherever they've touched a petal and it's looking good.
I'm just going to put some colour onto the petals of the blossoms now and I'm back to
using my number four round brush, my synthetic brush.
The reason that I use this is that it has bounce that my sable brush doesn't have and
in this particular form of painting I do need that little bit of bounce as I'm pulling through.
Once again just following the shape of the petal and I'm just feathering it off as I
come to the bottom of each of those petals.
I'm not stopping dead, it's just a nice feathering so that you don't get a straight line.
Now the colour that I have on my brush at the moment is smoked pearl and warm white
and I am going to come back with a little bit of the titanium just to put a little bit
of detail onto those as we go.
This is a nice way of putting colour into your work without a great deal of work to
it and I like to do each petal individually and you can see how it's feathering off as
I get towards the centre so that pink tint is still visible around the centre that will
be there very shortly.
Now as I'm picking up this colour I'm gently working it into my brush that has a smoked
pearl on it so that I'm not getting a definite colour of the smoked pearl.
It's a blending of colour that is coming through.
Now because that shading is there on the ribbon I don't have to worry about going over that
because that will work nicely once the ribbon is being done.
Coming towards the centre and I'm turning my work as I go so that each petal I am pulling
in I'm pulling the brush towards myself.
And on this little one here just a small amount underneath where it's touching the petal above.
Don't cover it in totally so that you can see that there are two different petals from
different flowers there.
Working around doing all of the little petals.
It's nice to have a little raggedy edge on some of them because if they're all looking
too perfect there's really nothing perfect in nature so we're not after the perfect stroke
every time we put our brush down.
Still just putting the first highlight as I go around, the little one as well, just
a tad on the tips and going through.
So that's the first line of highlight on those little flowers.
Now we're ready for the second highlight on the flowers but instead of putting smoked
pearl on this time as the base on my brush I'm putting warm white and picking up titanium
white which is going to make the tips even stronger.
Now once again not filling in that entire area, it's just the tips of the flowers and
I'm feathering them out about two thirds of the way down just to give that nice bright
tip look.
Now if you had smoked pearl on as your base colour you would be getting that smoked pearl
coming through where I've got white basically on the tips now that's why the warm white
is the base colour on your brush and picking up the titanium and you can see you're not
getting a line coming through where the colours are meeting.
Just feathering it off at the base so that it doesn't stop in a dead line.
Coming around still a tad on each of the petals, they don't have to be too strong, it's just
enough to make those tips stand out and it works nicely.
Now this little petal that's underneath don't put any of the titanium on that one at all
because it's in the shadow there and it works better not having it on.
Coming all the way around, except the one that's underneath.
So this makes it stand out to be a white flower now with a tint of pink.
This colour range works very well with roses as well.
And there's our white flowers.
Now I'm going to put in the highlights on the ribbon while the flowers are drying and
on the darker side of the ribbon I'm going to be putting a tad of highlight in with warm
white and on the highlight side I'm going to be using titanium white so it just brings
all of your colours together.
On that little area just under there, coming up from the tip of the ribbon on the bottom
side, just putting in that little bit of highlight on the bottom or the top edge of the bottom
edge of this one here, coming around, on the bottom edge of the little bit inside and on
the back edge of the turnover.
Now I'm going to just wash my brush off, come back with titanium white and put the stronger
highlight in now.
Now this is still floated colour, still using the dagger.
Now the highlight is sitting right on top of the ribbon and as you put it in you can
see it's all starting to work.
On the top side of the ribbon, I'll just bring that back in the other direction, the top
side of this little fly away here and the round area on this side.
So now I've set up the ribbon to have any detail that I'm going to put on it.
Ready?
I'm just strengthening those stronger areas there so that they do work well.
Now while that's drying, I'm just going to put in the centres of these little areas on
the blossoms and I'm using burnt umber which is one of the colours that I've used throughout,
painting the centres in.
Now wipe off any excess colour, come back with yellow oxide and I'm just going to pat
in across the centre, just from side to side with a dirty brush and yellow oxide, not totally
filling in each and every one of the centres.
You still want some of that burnt umber showing, the little one as well.
Now wipe that off and pick up a little bit of yellow light and this will put a little
bit of light into those centres so that it stands out nicely.
Don't cover everything that you already have there, you want to be able to see little bits
of everything.
And there's the highlight into the flowers.
Now I'm going to paint in the detail of the ribbon and I have a liner brush which is loaded
with warm white and I'm going to put in the little bits of line on the shadowed parts
of the ribbon.
This does not go on the highlighted part, it is only on the shaded part which gives
you the darker look on that shaded area.
Now remembering that it's just here on the two panels, a little bit up here where it's
darker.
And once you've got that in, there the shaded areas, now I'm going to use the liner brush
and titanium white to have the strong white on the areas that are really in the light.
Around the bulk of the main bow, down the highlight side on that bow, on the main bulk
of this little turn here and that's all we're looking for.
Now to finish this off, I'm going to use my stylus and I'm just going to put a little
row of dots, two dots per dip on the outside edge of the ribbon which just is a nice finish
to that particular piece.
Sometimes if they're stronger you may get three dots out of the one dip but whatever
you feel is a good thing.
Make sure you don't pick up too much like I just did then because it's going to be blobby
when you put it onto your work.
Keep wiping off your stylus when you're doing dot work, otherwise it's going to pick up
too much paint and you'll get the dots too large.
Now when you come to an edge like this that I have here, don't take it right up the edge.
Where the detail work on the ribbon stops, that's where the detail work with your dots
stop as well.
This just makes the ribbon stand out a little bit more and gives a nice finish.
Just continue around.
It's a little time consuming but it just adds to the finished article.
A little bit on the underneath side of the ribbon just here.
Shading off, graduating off as it gets down to the bottom.
Through to the bottom on the little tails there.
You can have a graduating off as it comes down to the end of the tip of the little cut
ribbon.
Just graduate off to nothing.
Wipe your stylus because there was going to be a big blob that went on my work just then.
Coming around.
Just a little bit on the underneath section here.
Don't take it right around the top because it will spoil the fall of your ribbon just
in this area here.
And that's the ribbon done.
As I was saying before, we come back and put in any stems that have got any of the little
fill of flowers on and I'm just using pine green and my liner brush.
Now these stems are going to be a watery type of leaf on the end of them so don't do them
too heavy.
They just need to be there and that's all.
Just going to bring another little one just down into this area here and maybe just one
or two over here.
And that looks pretty good.
They're all ready now for the little leaves to go on and I'm mixing together pine green
with just a touch of burnt umber.
I want these to be a green brown leaf not a brown green.
So I'm just going to gently pull in some watery type leaves at this stage.
Just a few long ones.
These look really good, these watery type leaves.
They blend in nicely and give a nice look to your work.
Not as heavy as the others.
And then I'll just put another one in just over this side and then I'll put a little
bit of filler flower in there as well.
I'm introducing another colour now but I'm going to use it in two areas and one is going
to be the little filler flowers and I'm mixing a small amount of burnt umber into that colour
and just picking up a little bit of titanium white.
Now starting down the bottom of the little stems I'm just bringing some little filler
flowers in which look really nice and they can be graduated off to nothing.
Don't go back into your colours, just work with what you have on your brush unless it
gets to the point where there's nothing on there.
And it just has a nice softening effect to the work, the colours work well.
You can see there's light and dark coming out in them.
And I've just been through and put in all of those little stems with only the one loading
of the brush and there's our little fillers in which really soften the whole pattern down.
Now we're going to do the outer edge where the routed edge is and it's very rarely that
I use just rich gold or pale gold by itself.
I always like to mix something in it and today I'm going to mix Diox Purple into it just
to be in keeping with the colour of the fillers that I have used on the top of the hairdryer
holder.
Now using the smooshing brush I'm just coming around the edge with the colour which is rich
gold and a little Diox Purple.
You can have more purple in it if you wish but it's just a nice finish.
It doesn't stand out as strongly as what rich gold by itself does.
If at any stage you need to add a little bit more of the Diox Purple you can.
It doesn't have to be exactly the same all the way around as long as it's in that toning.
Smooshing brush once again or blending brush really works well on the routed edges, gives
a nice finish.
Really your piece will never be any better than what your preparation of it is and by
having that good preparation on the routed edge my brush just skims around putting the
colour where I want it to be.
Not only does good preparation help you with doing the routed edges, it also helps you
when it comes to varnishing because your brush will just skim the surface of your work and
you won't have to work hard to get a beautiful finish on it.
Now there is the board but don't forget that you need to put a little bit of this colour
also on the ring that's going to hold your hair dryer.
So just around that edge there.
Pop a little bit of the colour on.
Just need to come back, put a little bit more gold in.
It seems to have got a little bit dull with the rich gold and the Diox but just mix another
little bit of gold into it which will smooth the colour out.
It's a nice little piece this.
Now if you do feel that that colour is a little bit heavy you can always come back when your
piece is dry and just give it a light sand and slightly distress it.
And there is our little project, our first project on the project video which is the
hair dryer holder and it's all ready for varnish once it's dry.
I will when this is dry just give it a light sand on the edge just to bring a little bit
of that green back.
And that does look quite nice as you can see as I'm sanding around not too much but just
so that it's not a solid gold colour which sometimes is very off putting or to me it
is.
So I'm just going to take a little bit of that off with this sanding pad and I think
it just gives it more interest to the piece.
And there you are.
Today what I'm going to be doing in project number two is something that I feel would
be handy for most people and it's a liquid soap holder.
The liquid soap bottle just fits into it, the lid goes over the top of it and you've
got something nice sitting on your bench or your vanity and it looks really great.
I've chosen to paint the background today in oak moss just on your background colour
oak moss because it's a fairly neutral colour and this sage green seems to go into a lot
of areas.
The pattern that I have is this particular one and it's just a little flowing floral
pattern.
I've already transferred it onto the piece using graphite paper and my stylus so that
is already done so I'm just going to set those aside and get on with the painting.
The actual tracing of it is the larger pattern on the front and the back, the little sides
on both sides and the little bit of decoration on the top.
Now before I start I'm just going to get my paint and my brushes organised.
I'm going to be using a number four round and number four filbert for the little roses
that I have on here and maybe even a number two round for the liner but I'll just leave
those there for the moment.
The colour that I'm going to be using for the leaves on this background is green oxide
and I feel this is a colour that we don't use a lot of but I'm just going to put a little
bit out on the palette and I'm also going to mix just a small amount of burnt umber
into that.
So a little bit of burnt umber out onto the palette.
Now I'm not going to mix the colours in together as such, I'm just going to let my brush do
it for me as I'm putting this onto my work.
Now I'm going to be starting at the tip of the larger leaves only.
They're the only ones that I'm working on at the moment and just putting in a little
base colour into those leaves.
A little variation of colour is very nice because you don't want every leaf to look
exactly the same and I think there's about five or six or seven of these leaves so I'll
just continue around as I'm going.
There's actually six here so that's a good number.
I normally do work with odd numbers of things but because there are little leaves on this
particular piece I have just got the six of the larger ones and the smaller ones will
be put in with a more watery type brush.
So I'll just move this around.
A little bit too much burnt umber in the brush on this one but it really doesn't matter at
this stage.
A few years ago when I was painting a larger piece of furniture which had a lot of leaves
on it I really felt that there had to be an easier way of painting leaves with a round
brush and this was what I came up with and it's something that I've been teaching for
quite a few years.
When I have had a large piece with larger type leaves I use my number four round and
it gives me a greater ability to be able to get the highlight in but on this smaller piece
I've changed to a number two round and this is what I'm going to be using on this particular
leaf.
What I'm going to do is to load my brush with the base colour that I have just base coated
the leaves with.
Now I want you to have a look because the loading of the brush is very important.
I can see the bristles of my brush through the paint and that gives me the ability to
be able to pick up or side load my colour without the colour falling off.
Now remember that when you are side loading you need a very clean look to your brush.
If your brush has a clean side load as I have here it will come clean onto your work.
If your brush is messy you will have a messy look to your work.
Now I'm just going to start at the tip of the brush, move the brush about half way down
and put it down onto its ferrule.
Now I'm going to move in and out just slightly and pull it through to the base of the leaf.
Side load again for the other side, start a little below the tip, swing the brush around
and pull to the base of the leaf.
Now this gives a nice variety as I'm working to the shape of the leaf and it gives a little
interest.
When you come back to your leaf on the other side start just gently down underneath the
tip and pull the colour through.
The one that is underneath only has this colour on one side.
Now once you have been through and done all of your leaves all you need to do is then
go back and just put a centre vein in them.
They work really well, you can use virtually any colour that you wish to do these types
of leaves.
If you're doing a beautiful rose piece you may like to pick up a little pink in the rose
leaves that's all available in this form of painting.
Remember when you are doing the leaf you are coming half way down, swinging the brush out
and then pulling through to the base of the leaf.
Don't pull up into the leaf because you'll have an altogether different effect.
Around and down to the base.
And you're pulling in any little variations in the leaves that you might want and it just
gives you a nice look to the leaf.
Pick up my liner brush and I'm going to mix a little bit of that smoked pearl into the
green and from the base of the leaf just pull through a centre vein.
Now remember when you're doing the leaves always work from the base of the leaf with
the vein because it's always a little thicker at the base than what it is as it gets towards
the tip and there are our large leaves done.
Now I'm going to base coat the roses and I'm using yellow oxide for this and it really
does give a nice colour to the flowers.
Now even with the base coating remember that you are pulling everything towards the centre
point and the centre point on a rose is where the stem enters the base of the rose.
Now if you think about this when you are base coating things in as well as when you're putting
the over strokes on you'll find that you'll have a nice fall to the petals of whatever
you're painting.
It just means that you're bringing everything to a centre point.
Now the reason that I'm base coating these in is that it's a bit of an insurance policy
so that if my over strokes don't meet exactly where they should or where I want them to
be I'm not going to be seeing the green of my background through the rose.
I'm going to be seeing the yellow of the base colour of the rose or whatever colour you
are painting the rose.
Now what I've done there is just base coated those roses in.
I'll just give them a second to dry and then I'll put a little bit of brown earth out onto
my palette and using my 3 eighth of an inch dagger brush.
Now when I'm using my dagger brushes I virtually use two brushes and one is the half inch one
for the larger work and the 3 eighth one for the smaller.
I really don't go into any of the smaller brushes because they don't pick up enough
paint to be able to float colour and that's what basically these brushes do is float colour
for me.
Now I've turned my work upside down and I'm working into the flowers themselves.
Now what I find is the best way to do is to start in the middle, pull to one side, go
back to the centre and pull to the other and that is on the base of the bowl of the rose.
Start in the centre for the throat, go back to the centre and pull to the other side.
Moving the brush towards myself just a small touch where the outer petals touch the bowl
of the flower and it's set up now with the shadow.
Just putting my tip of my brush back into the water, back into my floated colour, starting
in the centre of the large rose, pulling to one side, go back to the centre and pull to
the other side.
Once again the throat into the centre to one side, back to the centre to the other side.
Now the reason that I do this is you want the bulk of the shadow in the middle, not
at the side.
So if you start at the side and pull around you're going to have the bulk of your shadow
here, not where it should be in the centre of the flower.
Little touch on the outer petals, do each petal individually so they have got that nice
fall to them.
Now they have the shadow in them ready to go.
Just rinse that brush out.
Now the brush that I'm using is a number four filbert brush and I'm going to be mixing together
yellow oxide and smoked pearl to just get a slightly lighter tone to my rose.
And I'm going to be side loading the filbert brush with warm white.
Just popping a little bit out on my palette.
Now remember you are better to put lots of little fresh blobs out rather than one large
one.
When you are doing side loading it's very difficult to side load from a palette of paint
that has got a skin on it.
So I'm just gently picking up some warm white.
Now with the white facing towards the top of the flower I'm going to start in the centre
of the rose and just pull a little colour down one side, going back to the centre, pulling
down the other side and putting in the back of this little particular flower.
And I've got two strokes in there.
Now joining up across the front just to give the round shape to the throat of the flower.
Starting around the back.
Now remember that your strokes have to start somewhere and finish somewhere and just pulling
towards the front section where the petal meets the base of the flower.
Now the little outer petals with the small roses like this there's not a lot of work
to do on them because there are only very little.
But you can see why it's important to have that little bit of base colour underneath
and if I was to continue these strokes that I'm doing they all come to the centre point
of the rose.
So remember where the stem enters the flower that is the centre point of the rose.
Now with the larger flower I'm still going to continue using the number four round brush.
Still has the pale yellow oxide on the brush and I'm still side loading with the warm white.
And in the centre of the back of the flower working to one side and pulling around the
throat of the flower to the other side.
Don't try and put too many of these little scallops in because they won't look like petals
if you do.
And I'm working in towards the centre of the flower.
Now you can have this as filled in as you wish but I generally like to do maybe three
or four rows into the throat of the flower.
Now joining up with the last stroke that I did a little wiggle across the front just
to give that join and the roundness to the flower.
Now the minute that you lose this round shape of the flower you're going to lose the whole
flower altogether because it will just grow and grow outwards and you won't have a nice
look to it.
Now anything that I'm putting on the flower I'm starting at the back of the flower pulling
around and continuing around.
This is the larger version.
So choose where the centre point of your flower is and I'll just put a little dot there with
my paint.
Now this is where this stroke is going to end.
As I come into there and come in from this side into there as well.
So it just gives a nice layering to your roses and lets the colour come through.
Starting at the back out of petal.
If I was to continue on it would come through to that centre point.
Now it doesn't matter if you can see this shadow here because it works well.
It gives a nice shadow balance to the flower.
Into the centre.
Now if your stroke doesn't meet exactly you can pull that colour.
Make sure you don't have any white on.
Just your yellow and pull it towards that centre point just to finish off.
Now if at any time you want to put a little bit of detail I always change back to my small
number two round brush for that.
Because it has a point I can get in and put little details in.
So I'm just going to put a little couple of details.
Smaller petals just coming around which just gives it a nice little finish.
Now we come to the centre of the rose and I'm going to be using the colours that I've
started off with and I'm just going to pat in a little brown earth centre.
Wipe the brown earth off so that I'm working with a dirty brush.
Pick up a little bit of yellow oxide.
Pat in a few of the little highlights.
Wipe the yellow oxide off and go into the warm white so that I can pat in some white
highlight just on that centre.
Now the yellow oxide and the brown earth work really well on this colour background.
It just is a little different to have a yellow rose rather than having the pinks or the whites.
Now with my liner brush I'm now going to go back and with my mixture of green oxide with
a little bit of the burnt umber in I'm just going to go through and put in any stem lines
that may be there.
Now all of these patterns that we're working with on the video they can all be used in
other forms other than the pieces that I'm working on today.
They can be used on any type of item that they're suitable for and if they're not large
enough you can photocopy up the details to a larger pattern so they don't have to be
painted on these little items that I'm doing.
Continuing through just putting in any stem lines that may be there before I do the next
part of the painting and this pattern is actually flowing from corner to corner but it's the
sort of pattern which would probably fit nicely around the edge of a box where you have a
continuity of pattern you can just join it on as you go around.
There's lots of ideas that you can do with them.
The colors that I'm using for the little five petal blossom is Payne's gray.
Now Payne's gray is a lovely blue color once you start adding things to it and it's one
of my favorite colors for doing small fillers and I'm just going to pull in a little bit
of warm white onto my brush.
Now I'm not base coating these flowers I'm just going to let my brush do the coloring
for me.
Now when I'm doing small flowers like this I do like to leave a small gap between each
of the petals and I do stop when I come to the center.
I don't go over that center piece at all because it will spoil the full of the petal that you
have painted.
Now I'm not reloading the Payne's gray in my brush at all all I'm doing is picking up
white for each of the strokes that I'm using.
You can see there's a nice variety of color coming through and it's a nice soft color
the Payne's gray with the yellow that I have on here.
Just moving the piece around you can see my first stroke with this is virtually a little
comma to give the shape of the petal and then I really like the way that it has a serrated
edge around the side it just adds a little bit more interest to what you're doing.
Wash your brush off with brown earth on my number four round I'm just going to paint
into the center this brown earth color.
I'm staying with the colors that I'm using throughout so that there is a continuity of
color through the piece so working virtually with a limited palette.
Now because these flowers are actually facing down into the corner I want to give the effect
that they are doing that.
So on the edge of my number two brush I've picked up and loaded brown earth on my brush
tipping into yellow oxide.
Now on the base of that flower I'm patting in around a standing area of this color which
gives the impression that my flowers are facing down.
Across the back of this rather than put the brush down I'm just going to put some little
dots around only on that particular one there working still with a dirty brush coming back
and just all the way around putting a little white dot on the tip of that flower and a
little directional dot and it doesn't matter what side it goes in just to show that it
is facing down.
Just a few little white dots around this way and a little directional dot in there and
you can see now that the flowers are actually facing down towards the area that it is hanging.
The little fillers that I'm actually putting on this are going to be smoked pearl and titanium
white and I'm using a number two round brush which is a smaller brush to give me the ability
to be able to do these smaller flowers.
I'm loading my brush with the smoked pearl picking up some titanium and just gently pulling
in the petals on the little fillers.
It just gives a nice bit of variety to the color.
You don't have to load that smoked pearl on your brush once you have the one loading on
that's all that's necessary.
And I'm just going to pull in a couple of little petals just up on this one here.
As I go around just pulling them in towards the center, once again not going over that
center area so I'm not going to spoil the fall of the petal.
Place the brush out, load up, still that number two round with burnt umber, with brown earth
and I'm just side loading a little bit of yellow oxide onto it and a little sea stroke
onto these.
Just gives a little variety of color, wipe that off and then come back and just put a
little white dot doesn't matter where.
Still working with a dirty brush and I'm just going to put a little directional dot in the
center which just takes a nice little look to or gives a nice little look to those little
flowers.
Now back into the green oxide and I'm just going to go through and put in using a number
two round these tiny little leaves on the end and they're just little touch leaves that
are like three little leaves coming into one point.
I am going to put a little bit of burnt umber into that just to give a little variation
of color as you go.
Try not to pick up exactly the same color each time that you pick up your brush because
variation does work very well.
There's a few of these around so I'll just continue and put them in.
Just start from the tip and work towards the center.
That's why I don't like mixing my colors too much before I start by having the colors sitting
side by side that I'm using.
I'm then able just to pick up a little bit and get that nice variation in the color that
I really need.
Now I'm going to change to my lovely Raphael 8404 brush because I want to do some really
watery type leaves on this particular piece just as a few little fillers here.
Now I am mixing a fair amount of the burnt umber into my green oxide.
The reason that I've changed back to my Raphael to do the watery leaves is I find that they're
much nicer done with these lovely sable brushes.
It just gives you the ability to be able to put nice stroke work in and have them coming
through the way you want them to and not have a lot of pulling that you get with a synthetic
brush.
A lot of people do use the same brush all the time but I feel that there's different
strokes for different folks and I like to use brushes that are going to make life easy
for me.
Now all I'm doing is just going through and pulling in some of these watery type leaves.
You can add any that you feel may be necessary as you go along which I am just here.
There are a couple of areas that I will probably put a couple of these little leaves.
Only sit in concrete when you're painting and you can always add a few more bits and
pieces as you go if you feel it's necessary.
Now I'm just going to go into my um number four or with my number four round and I'm
going to go back into the Payne's grey and this time I'm just going to tip a little bit
on the tip of titanium white.
Just come through and put in a few little fillers.
They don't have to be anything in particular but I just like the fact that it brings the
color back in again and it tends to work well when you've got all these little colors working
for you.
I'm just going to put some just here.
Maybe a few just small ones hanging down to give the appearance that they are hanging
and these are the little touches that make the work your own.
A few little darker ones as I get down towards the bottom and there's the side of our piece
done.
Even though the decoration is finished at the moment it seems to be just floating around
this particular piece and I just want to show you the difference that a line around the
edge of this would mean and I'm just using my finger as a guide to pull in the line and
this line will anchor the design to that side of the soap holder.
Don't forget to go around the base.
Now even with that chalk pencil line around you can see the difference that that does
make to keeping that design enclosed on the side of the piece that we're painting.
Before you start with your liner work just gently go through and rub out any of the chalk
that is a little heavy because that chalk will stop your paint adhering to the piece.
Take off any excess of the chalk before you start with your liner brush.
Now I've got the liner brush that I'm using is a number 0 brush and it's just a long liner
and I'm going to be doing this line in titanium white.
Now I'm making the paint fairly moist so that it's going to run off my work.
Now when you're working with a piece like this you don't have your hand running down
the side.
You have your hand anchored onto the piece so that you're actually moving your hand on
the same level as your brush.
So just starting down the bottom, just pulling through by having your hand on that same level
as your brush you're going to find that you will get a fairly good line each and every
time.
Through to the bottom.
Now if you've got to do it in a couple of goes it really doesn't matter.
It will still work exactly the same.
Just stop there for you to have a look at.
Now when you join up again, don't join up where you actually finished, go in a little
bit and join up as you come around.
And there's the difference that the line work around the edge can make.
It actually anchors your floral design onto the piece where it should be.
Now that we've finished the front of this little piece we're going to continue on the
side and working with a number four round again and the colors are green oxide and burnt
umber.
I'm just going to base coat in the leaves.
And these are only the large leaves remember that we're doing because the smaller leaves
are going to be a watery type finish on them.
While I have this color working I'm just going to go back with my liner brush and put in
any of the stems that need to be putting or painted in.
And there's a fair few on this side, it's a little flowing design on this side.
And I'm just going through with the color putting in any stems so that they will be
tucked under the flowers when I start painting the flowers.
And also they're set up there for the little fillers that are going to be popped in right
at the end.
So a little bit of vine work on the end here just to join everything together.
You can see that there's a few little vines going down here so it's just not sitting in
mid air.
And once they're in just rinse out your brush and get set for the highlight on the leaves.
Now I'm going to do the highlight on the leaves and I've put out onto my palette some smoked
pearl and I have my number two brush loaded with the color that I've just base coated
the leaves.
Remember don't put too much base color on your brush otherwise with the side loading
it will just slip off.
Side loading the brush once again a clean side load on both sides so it's going to be
clean on your work.
Coming at the tip swing your brush around on the ferrule and pull towards the base of
the leaf.
A little underneath the tip swing the brush around and pull towards the base of the leaf.
Remember this is a nice stroke but when you're doing it don't scrub your brush too much otherwise
you'll get too much of a blending of color and you won't get the nice highlight coming
through.
Just pull a little bit on the edge of that one.
So that's the three leaves in.
There's only three of the larger leaves on this side and with my liner brush I'm just
going to come back and put in the center's vein on the leaves.
Clean your work so that you're working from the base to the tip.
Now I'm going to continue base coating in the three little rose buds that are there
and I have out of my palette some fresh yellow oxide and I'm just going to start base coating
these little flowers in.
Remember that this is an insurance policy so that if you don't have the right strokes
you're going exactly where you want them to be.
Just continuing with the base coating off the petals of the little roses that are here
on the side.
This is a really simple little pattern but it could work well on a lot of areas.
There's a lovely little potpourri holder around at the moment and this would work well on
that.
So once you have them base coated just let them dry and then you are ready for the shading
on these little roses.
Remember when you're working you work from the center of the flower to one side back
to the center and to the other and the same goes for the throat of the flower, the center
to one side, the center to the other.
And then just a little shadow on each of the petals.
Make sure that you put them on individually which keeps the petals separate and that continues
through all of these little roses that are on the side pattern of this box.
A little bit into the center and it just gives you an area on which to settle your strokes.
And it gives you a rounded area for the bowl of the flower.
Now I am working down into the flower.
You can see that I'm working from the top of the flower down putting in the shading.
And you can see I'm going to my palette and just picking up a little to refresh the color
and that was a little too much just to refresh the color as I'm putting it on to the flower.
As you can see I'm pulling or working my piece around so that it's comfortable for me as
I work.
And that's the shading on the side of the holder.
The highlights on these roses, I now picked up my little number four filbert and I'm going
to mix into that yellow oxide a little bit of smoked pearl just to soften the color down
slightly for the over strokes.
Out on my palette I've put some warm white and I'm now going to side lay my brush with
the warm white to do the over strokes.
Remembering when you start at the back of the rose you are filling in the round shape
around the back of the throat of the flower.
Now everybody is always after the perfect stroke.
Believe me it doesn't exist.
You can try and you can try but to get that perfect stroke every time you put your brush
down on your work it really does not work.
It's a lovely look that you get at the finish that really helps your work become what it
should be.
Now I'm just going around the edge of the rose and putting in the outer petals.
You can see on this rose that you can see some of the shadow cummings real and it does
work quite well for you to give that depth of color in your work.
So it's worth putting in the preparation for these little flowers before you start so that
it makes the finishing of them very, very easy.
Now you can see the roses actually growing as you are painting them.
They are getting a shape to them with these over strokes and I'm now just going to put
in the outer petals.
It's very easy with a filbert brush because you actually have an edge that you can side
load.
If at all you don't reach where you think it should be you can always go back and just
pat a little color in to fill in.
I started the outside ones first.
I've just wiped off that white on my brush and just gently pulling down the color and
just pulling in with that one.
Some of the little flowers you may need to pull these strokes in because they are very
tiny and there's one more little rose to go and the application of that is exactly the
same as we have been doing.
Starting at the back, the top, coming around the throat of the flower, back to the center,
around the other side.
Remember you can make these flowers as tight in the center by doing lots of layers as you
wish but because they are so small I think the two layers of stroke work around the throat
is sufficient.
Now the little outside petals.
As you can see I start on one side and I'm still working towards the center and then
back to the other side and work towards the center again.
Now if at all you want to fix anything up do the entire stroke again.
Don't try and fix up half way through.
Now there's the three little flowers done on the side and all that's necessary now is
to using your number two brush patting a little bit of brown earth into the center of each
of them.
Wipe your brush.
A few little yellow oxide dots as a highlight.
Wipe your brush again and pick up a little bit of warm white to put in a few little white
highlights onto the center.
Continuing the theme of the yellow and blue flowers that we did on the front I have some
Payne's gray out on my palette and using a number two brush I'm just brush mixing a little
bit of white into my brush and just bringing in the petals of the flower.
Now remember I'm not going back into the blue again.
I'm just moving the piece around and picking up white where necessary.
Don't go over the throat or the center of your flower.
You are stopping your stroke as it gets to the center and we have a nice variation of
highlight and color coming through there.
Now back with your number two brush and loading into brown earth to just paint in the center
of that particular flower.
Wash your brush off and I'm just going to turn my work because this time the throat
is facing down.
I thought it was actually facing in a different direction but it's not, it's facing down.
So on the base and I have my brush loaded with brown earth and a tip of yellow oxide.
Now across the base of that flower I'm actually patting in a little raised area.
Just little dots, not the patting area, into the top of it.
Picking up some white and putting a little white highlight dot around the top of that
yellow oxide and a little directional dot in the center.
And that's just in keeping with what we have already done on the front of this piece.
Now it's time to paint in the little fill of flowers up near the rose buds and with
my number two round loaded in smoked pearl and tipped into titanium white.
I'm going to gently paint in the petals.
Don't load again into the smoked pearl but if necessary tip into the titanium white.
This just gives a nice color coming through rather than having them totally plain white.
Now there's just a couple of little ones up the top there and I've just painted those
in.
Now just checking on the front, the colors that I have done on the centers is with your
number two brush brown earth with a side load of yellow oxide and into those centers is
just a little C stroke.
Pinch your brush and come back with the titanium white to put in a little dot which just changes
the look of the tiny fillers and adds a little bit of detail.
I've just changed to my Raphael 8404 to do the little watery leaves that are around and
I'm mixing, brush mixing green oxide and burnt umber together and with a watery consistency.
Don't have this too heavy.
You don't want them overpoweringly heavy and I'm going through with this brush putting
in some watery touch leaves just as I go along.
There are quite a few of these around here just to make it stand out.
Now all that there is to go on this little side is to put in some of the little blue
fillers that we used on the front.
So with my number four round and pain spray tipping a little into the titanium white,
I'm just going to bring in a few of these little fillers here and there so that the
sides do correspond with what's going on with the front.
If you pick up too much white, just pat a little bit out of your brush onto your paper
towel and remember a variation of color in these is very nice.
It works well.
You don't want them all to look exactly the same.
Maybe just a few coming up here at the bottom and there is the side of our piece finished
except we have the little boxed area to go around before it is finished which just holds
that decoration onto the side.
Now that that side is finished, just continue painting your pattern around the back and
the other side of your piece before you continue on the lid.
Now we're going to work on the lid and the lid being a smaller area with a hole cut in
the center, it doesn't give you a great deal of area to work on.
So I've gone for a very simple design with only two corner design which I'm going to
join with some line work.
There are none of the really detailed leaves on this particular area because it is such
a small area.
So the first thing that I'm going to do is with my liner brush and a mixture of green
oxide and burnt umber, I'm just going to go through and put in any stem work or any of
the little line work that I have here which is going to be joining all of the areas together.
The leaves on this edge are going to be very watery leaves so they will work well and not
overpower what we have.
Turn your work around as you're working so that you're pulling the brush towards yourself
the entire time.
As you can see I tend to wipe my brush a lot on my paper towel to get off any excess paint
that I don't feel is necessary.
And I'm just pulling those little waspy stems out as I go.
The little white filler flower is the next and I have my number two round loaded with
smoked pearl and picking up titanium white and just turning my work as I go to make the
strokes easier and I'm not after an exact little pattern the whole way around.
Each of the leaves or the petals I'm painting individually not coming over the centre leaving
the centre bare so that you do get even on these small flowers a nice little fall to
the petals that you have painted.
There is some nice colour coming through with a little bit of the smoked pearl showing through
there.
Three flowers on either corner and it is not a mirror image.
It's very rarely that I do a mirror image with my work.
It's a symmetrical versus asymmetrical and I tend to like the asymmetrical look which
means that it's not exactly the same all the way around.
I have to tell you mainly because I don't draw symmetrically and it's how it comes out.
Now there are the three little basic flowers in each corner ready to have the centres.
The colours for these flowers are the same as were for the sides and I have my number
two round with brown earth and a little side load of yellow oxide.
Into the centres I'm just putting a little sea stroke which brings out the two colours
that you have loaded on your brush so that you're getting a little bit of brown coming
through and a little bit of the yellow which just gives a nice finish to the centres and
a bit of depth.
Wipe your brush, tip into the white and just come back and put a little dot into the centres
and you can see the difference to those centres once that dot goes in.
Doesn't need to be overwhelming but it just seems to work.
On the end of some of these little stems that I have here I'm just going to put some little
smoke pearl and white dots so loading my number two brush with smoke pearl, picking up a little
white.
Just to add a little bit of variety to the ends of this area that I have.
And once again not picking up smoke pearl for every time but I am tipping in the white
and there's a few of those little ends in.
Before I do the leaves I'm just going to put a few little blue fillers in just to bring
the colour onto the lid as well.
Remember when you're doing a piece with lots of sides don't forget to have a little bit
of transference of colour because you need to have colour from the main area brought
onto any smaller areas that you may have.
With my number two brush and paint spray on my brush picking up just a small amount of
the titanium white, just putting a little bit of blue filler into this area before I
add the leaves.
And the same on the other side, other corner.
Don't forget a nice variation of colour works well and there's the little blue fillers
bringing the colour from the sides to the top.
For the leaves I've changed back to my Raphael brush and a mixture of the green oxide and
burnt umber and these are just the watery leaves to go into the corner and these are
a two stroke leaf so that you can just put them where you wish them to be and they're
not overpowering to the small pattern that's on the top.
All that's necessary now is to do the line work which joins all of these together and
there's only just a small amount of line work necessary to bring the pattern into one and
I'm just going to pull in the joining line.
For a little interest on these lines I'm just going to put a little bit of squeaker work.
Just adds a little bit of interest on the top because there's not a great deal of pattern
and there's the top finished.
On the edge of this lid I'm just going to put a little bit of gold but I'm going to
mix a little bit of clear glaze medium into the rich gold which will soften the colour
down and make it easier to apply.
If you've used metallics before you know that they can tend to be a little heavy so by mixing
it into the rich gold into the clear glaze medium and using my smooshing brush I get
a nice soft colour as I put that gold edge on so that it's not overpowering for the rest
of the piece and it's just a nice finishing touch to the edge.
You can see how easy it is to put the colour on using the smooshing brush and the clear
glaze mix.
It's not a strong colour but a nice soft metallic look to the edge that works very, very well.
Thanks to the lack of long bristles in this particular brush you're able to control exactly
where you want the colour to be and you don't have to go back and do any clean up with it.
Here's our little piece finished.
It's not varnished yet but when I have left it 24 hours to dry I'm going to give it three
coats of the Josonia Satin Varnish and that will just give it a lovely finish to sit on
a nice vanity or anywhere that you want to put it.
It's a really pretty little pattern and I'm sure you'll enjoy painting it.
Here we are on our third project and this project is a mirror frame and I have base
coated it in a mixed colour of Josonia Background Colour Soft White with the addition of a little
bit of Josonia Background Colour Sky Blue just to take that white look off.
It's a neutral type of colour which is verging on a bluey green, very pale but it would fit
into a lot of areas and this has got a double pattern which is exactly the same on one end
and turned over and on the other end.
I have already transferred the pattern on and we're ready to paint.
Now I'm putting out on my palette some teal green, some burnt umber which is going to
be the shadow on the leaves and also some moss green and this will be the highlight.
So those three colours are out, ready to go and with my number four round brush I'm going
to base coat in the leaves on the top pattern.
Starting at the tip of the leaves, pulling it through and there are going to be other
colours on these so just one coat is all that's necessary.
The thing that comes with experience as you're painting is to know the amount of water to
have on your brush as you go and it's not something that I can tell you about because
all paints are different in their texture and the weather has a drying influence on
the paints as well so it's just as your brush is flowing and the paint is coming off you
can proceed but the minute that it starts to drag that's when I like to just put the
tip of my brush into the water again to continue before I start painting.
Moving the piece around so that I am pulling the brush towards myself the whole time and
just continuing on to pull in the colour on these.
The only leaves that I'm not going to actually base coat in are these tiny little leaves
down here near the fill of flowers because they will be watery type leaves when I finish
doing the pattern.
Starting back down this side working towards the centre it just means that I'm not working
over wet paint the whole time.
Filling in as I go.
So before I start putting anything else on I'm going to come back once I've finished
base coating these leaves and put in any stems that are there.
It's nice to get those out of the way while you're painting the initial leaves because
they will be in the colour that you are putting in as the base colour.
Using the teal green on this particular background tends to work very well because it has the
bluey colour in the green and that's why I've actually chosen this particular green to paint
the leaves in.
Stands out nicely but it can be softened down as we go with the moss green.
Four more to go just finding them in the pattern.
Just these being an unusual shaped piece I'm actually working from the base of the leaf
on this towards the tip so that I don't have to turn it too much.
And there are three little leaves just on the top here.
This is the boring part of painting is the preparation but unless you prepare your work
really well before you start it's never going to look anything so all of this does have
to be taken into consideration when you start painting that there is preparation time in
anything that you do and that you want to do well.
So by the look of it that's all of the leaves done so I'm just changing my brush now to
my liner brush and I'm just going to come through pulling towards the centre all of
the stems that are in this particular pattern.
Turn your work as you go because it's an unusual size and a shape piece you have to be aware
that you're pulling the strokes towards the centre for it to have a nice flow to it.
Remember there are a few little leaves there that you haven't base coated at this stage
but the stem work can go in for those as well.
Okay, thanks.
As you can see, I've been through and base coated all the leaves on the piece, and now
I'm using my blending brush or smooshing brush, and I'm just putting some water onto the bristles
of the brush, and I'm going to load the brush in my base color, and that's the color teal-green
that I've been through and base coated the leaves with.
Now I have on my palette some burnt umber, and I'm going to slide my brush in from the
edge with the burnt umber, and using that right on the tip of my brush, I'm going to
go through on the particularly large leaves and pat in where the leaves touch the flower
some darker shadow.
I'm not so much going to do it onto the smaller petals and the leaves that are there, but
where there are the larger leaves, just patting around the edge of the flower to add a little
bit of shade there.
Now you can go back into your teal-green at any time, but slide into the edge of your
burnt umber so that you don't get that color all over the tip of the brush.
You just want enough there to be able to put that darker color into where the larger leaves
touch the petals of the flower.
Just going through, patting in that darker color on both ends, setting up for the highlight
to come through onto this particular piece.
I have rinsed my brush, and I'm now loading the same blending brush, and it's a number
10 blender or smooshing brush that I'm using, and I'm sliding into moss green.
Now with the moss green on my brush, I'm just going to be patting in a little bit of highlight
on the tips of the leaves.
Not going too much because these leaves are going to be very much into the background.
Once I start painting the flowers, it's just a bit of light into those areas.
On the leaves that don't have the shadow, just pat a tiny amount of the moss green in
the tip, coming down on those as well.
Very simple leaves because the flowers are the things that are going to stand out most
in this piece, and I'm just patting that color into these leaves.
Now what I'm going to do is to come back and put a little bit of vein work on them.
As you can see, I'm just tapping in on these smaller leaves here a bit of color as I go
so that you have the color coming through.
On the larger ones, tap a little bit more onto it, and the more you press down with
this brush, the better the blend will be of the colors.
You won't have one color sitting on top of the other.
The reason that this is blending well is that I have the base color on my brush before I
slide into the highlight color, which is the moss green.
It's a very muted color that's coming through, which is working very nicely.
Remember you're not after exactly the same look on exactly the same leaf.
I'm not taking any notice of what came before.
I'm letting each leaf work out itself.
Some of the shade coming through, some of the green coming through.
It doesn't really matter.
Very quick and easy way of putting color in, but all you have to remember is to have your
base color on your brush before you pick up your highlight.
On the smaller ones, just pat in a tiny amount of the color.
We're continuing on with the leaves, and I've mixed some moss green into the pine green
with a little bit of warm white.
On the larger leaves, I'm coming back and putting in some definite veins, working from
the base of the leaf through to the tip.
On the smaller ones, just a little center vein is enough on those just to give a little
bit of detail.
You're not putting too much on the small ones, just a little of the color coming through,
the paler color, just to give a little bit of detail.
It's only the large ones that I'm putting the center vein in from the base, coming through
with all of those little veins up the edge.
We're continuing on putting in the little single vein from the base of the small leaves,
just to give a little detail on them, remembering that it's only the large ones that are around
the larger flowers that I'm putting a lot more detail, which is the center vein and
the smaller veins coming off it on all of the leaves.
Now, these leaves will be popped under flowers or around flowers, so it's good to get them
out of the way before you continue on the flower painting section of it.
There's all the leaves done, top and bottom, ready for the application of the flowers.
Continuing on with this piece, I'm now going to base coat the large flowers and the rose
buds that are here.
I'm using smoked pearl.
Now, remember, when you're base coating, just go slightly over the edge of your tracing,
and it just saves you having to go back and scrub out with an eraser any of the lines
that are left.
It's just a time-consuming thing if you have to go around and erase any of your tracing
lines when you're finished.
Sometimes those lines can be a little hard to get rid of if they are too heavy.
Just by going slightly over those lines, you'll find it really takes away the hazards of having
to do that.
Now, I'm just base coating in a light coat of smoked pearl.
And if it's light enough, you're going to be able to see your tracing through the base
coat.
But if not, don't worry, because you can always come back and lightly retrace on any of the
lines that you think might be necessary for your painting.
So just base coating in the whole area, and working with the petals and the center.
I'm not just going over and coloring in the whole thing.
I am working with the area that I have there so that each of the areas are separate.
And these are the little buds that are going in as well while I'm working with it.
Just pulling in the smoked pearl.
I'm doing all the same color background because I'm going to put different tints into these
flowers so that they will be different colors with the glazes that are going to be going
on.
But you do need a background color down to start with if you're going to be putting different
floated colors on.
And that's exactly what I'm going to be doing with these.
So all the way through, it's the three large flowers that are in your pattern and the round
buds that are also there.
Just so that they've got a nice base coat on them ready for the floated color once that
is dry.
Now, we're ready to put some of the glazes on the larger flowers and on the buds just
to give them a bit of color.
Now, I'm using the dagger brush at this stage just patting off the excess moisture, picking
up some plum pink and a little bit of brown earth just to soften that plum pink down.
And mixing it together on my palette with my brush, being careful not to take the color
all the way through to the end of my brush.
If that happens, just take it to your paper towel, pull it through to yourself on the
wedge and go back into your color.
Just putting the tip back into the water to make sure that it's going to flow off my brush.
And I'm just going to float some color around the outer petals.
These are going to be white flowers with this one a pink tint and doing each of the petals
individually so that the shaping is there right from the start.
Around the bowl of the flowers starting in the center, coming to one side, back to the
center, to the other.
And then I'm going to go down into the throat of the flower just to get a bit of color in
and around these petals.
Now if when you come to do this floated color and you can't see your tracing, you can lay
your tracing back over the top and put this little bit of detail back in so that you have
something to follow.
It's not a problem by putting your tracing on again.
But this smoke pearl that I've base coated in is soft enough to be able to see the tracing
through the color so I don't think that's going to be a problem.
Turning my work around, I have yellow oxide onto my palette for the next one and also
adding a little bit of brown earth to soften it down.
And once again, I'm putting in the shape of the bowl of the flowers starting in the center,
working to one side, back to the center, and working to the other side.
Down around the petals in the throat of the flower just so that I'm setting up the shape
of the petals to come and then each individual petal is separately shaded.
Just moving my work around so that I'm pulling the color towards myself all the time and
I do have that control.
Now while I'm at it, I'm going to put a couple of these little buds around the base of the
bud, a little bit of shade down into the throat.
And I'm going to do two of these around, actually three I'm going to do because these two are
on the one stem so they're not going to be two different colored buds on that one stem.
So I'll just put a little bit of shadow on both of these, going back to the pink that
I just used.
While I have it on my palette, I'm just going to put the bud in down here with that pink
and a little bit of shadow in there as well.
Still setting up the color for these flowers as we go.
Now so that I'm not going to have contrasting flowers too heavy, the next color that I'm
going to glaze with is a mixture of the plum pink and a little bit of the yellow oxide
in it, which will give more of an apricot color but won't be out of tone with it because
we're using colors that are already in the piece.
Now with that apricot color, which is a mix of the plum pink and the yellow oxide, and
remember it's not going to clash with the colors that we already have on here because
it's a mixture of the two that we are using.
So any time that you can do that, it does work very well.
Now that all the glazing is done on this piece, what I'm going to do is to come back and put
some of the overstrokes on.
I'm using my number four round, but this is the synthetic one, not the saber one because
I want a little bit of a bounce in the brush as I'm working.
So I'm loading the brush with smoked pearl, which is our base color, and then I'm picking
up a little bit of titanium white.
Now I'm starting in the center of the flower and I'm just gently pulling down some of that
color towards the center, picking up a little bit more white, gently pulling it around,
not covering all of that glazing by any means, gently just pulling it in towards the center.
Now with the smoked pearl still on my brush, picking up a little side load this time as
well as what I have on my brush, I'm just going to pull down towards the center and just gently
pull towards the center point.
Remember the center point is where the stem would enter, the flower, and everything that
you put on this piece is going to come towards that center point.
And a little side load once again because I'm joining up just here, pulling towards
the center point and just gently pulling down, not covering all of that color at all.
Going back into my smoked pearl and pulling in the side petals.
Now if I was to continue through, it would come straight through to that center point
there.
If you feel that you're losing any of your glazing at any time, you can always go back
and add a little bit more when the whole thing is finished.
Nothing is set in concrete and it can always be added too.
If you don't feel that there's enough of the white there, you can always come back once
it's dry and do a little bit of dry brushing.
But at the moment, we're just pulling in the petals towards the center point.
And by doing that, you get a nice fall to the petal as you go.
Continuing in the same vein as the first one, we're going to paint all of the flowers, the
larger flowers that are here in that manner.
Gently just pulling the color in and feathering off as I get towards the bottom, not covering
the entire area of the flower that we have glazed, joining up with coming through to
that center point.
As you can see, I'm taking my brush to the paper towel to wipe off any excess of the
white before I start pulling in because I don't want a lot of white coming through.
It's just a small curl just to finish off the stroke into the center.
Now the outside petals, press your brush down and lift off as if you're coming towards that
center point.
The next one, exactly the same.
Coming towards the center point, wipe off any of the cut of your white to just gently
pull that through.
This side, still running the same.
And also the bottom two petals that are here.
By going slightly over that tracing line, slightly over the edge that you have, you'll
always end up with a really nice shaped flower and it will be the size that you actually
traced on because by working inside those lines, you're cutting down the size of your
pattern.
And there's the two flowers now with the lovely tints coming through.
And you can continue on doing the rest of the flowers.
Now that all the flowers have the first highlight on, what I'm going to do is to go and do the
little buds that are here.
And I have my number four round and I have it loaded with smoked pearl and side loaded
with titanium white.
And I'm putting in two commas, one on the side of the throat and then just coming around
gently with another one.
Coming into the center point, joining up with the last one that you did into the center
point where the stem meets the flower.
Just pull in a little bit of highlight, wipe off the white and just pull down towards the
center point.
And that's all that's necessary.
We'll come back and put some centers in that very shortly.
Now the same continues around, just a little comma on the side and a little round area
joining up.
And in towards the center point, wipe off and just pull any areas down that need to
be pulled.
And once again, the same on the other side so that you just pull in the little areas.
Turning around, I can then do the pink one on this side.
Still continuing with the little separate one inside, wiping off any excess white because
you don't want to pull white down in the areas that are not too highlighted and pull down
towards that center point all the time.
Just continue all of your rose buds in that manner until they're all finished.
Now we're just going to pop some centers into the flowers and I'm using Brown Earth.
Just patting the centers in, they're going to be highlighted.
So this is just the shadowed area of the center.
Make sure it's a little bit rounded at the top on the larger flowers.
I'm using my number four round just with Brown Earth, a little bit into each of the buds.
It just gives them a nice little touch, a nice little finish.
Wipe off your color.
A little bit of yellow oxide into that center as well.
Just pat a little in for highlight.
Little bit onto the buds as well.
Don't put too much.
Wipe that out of your brush and then just come back with a tad of white just to give
a little white highlight over the top where the yellow was.
Just pat it through.
That just makes them stand out.
Now we can re-glaze these little flowers to give a little bit more color if you feel that
you'd like a tad more color in them.
But please wait until they're dry so that you can go around the centers.
Now we're going to float some color onto the flowers just to give a little bit of color
back to them.
Now these are going to be the pure colors.
There's no white in them.
So we go back to the mix of yellow oxide and plum pink for this one here.
It just gives them that lovely glow and takes away the really white look to them.
It's just a very light amount that you're putting on.
But you can see how it's just changing the color slightly to give a little bit more color.
The same with the yellow one.
Now when you come to the pink, it's just plum pink this time.
There's absolutely no brown in it because we want to keep the colors pure.
But make sure that it's very gentle plum pink when you're putting this on because you don't
want it to be too pink.
So it's just a little pink tint that is going on around where you shaded first.
And you don't want any of the brown colors in it because it's going to be shading too
much.
You're not going to get that glow coming through that you have when you just use the pure color.
And there is the shading on the three flowers, the yellow oxide and the plum pink mixture,
the yellow oxide by itself and the plum pink by itself.
I'm going to continue with the fillers now.
And the first lot of fillers is the daisies, which are here.
Just a little one here and a little one over here.
And I have my number two round brush, which I'm loading into Titanium White.
But I'm also going to tip into it, which gives me a double load.
And by doing it like that, you really get a nice strong color coming through.
So I'm just pulling those strokes in towards the base of the daisy.
Some of these are only little half daisies, but they work very well when there's a pattern
that is hanging down or looking up, depending on what way you're looking with this particular
one.
So I'm just pulling those towards myself.
There's no need to load your brush with the white all the time, but I do like to tip in
the white to keep that strong color coming through all the time.
Remembering this is Titanium White that I'm using, which is the super white.
So it does stand out on this background.
And pulling in the strokes as I go, keeping the colors soft so that they will go in virtually
anywhere.
And with the assortment of colors that we have on this piece, it should work in a lot
of places.
So that's our daisies done.
And we need to put some centers in these now.
So I'm going to load my number two brush in Brown Earth, side load a bit of yellow and
a little pink onto this one, and just gently put a C-stroke into the center of the daisies.
And I'm just going to pick up a little bit of white, put a little directional dot into
the center of them.
And I will come back when I'm putting a little bit of extra green on and just put a little
bit of greenery around the bottom there, which will just finish those off.
I'm just going to work on these two little flowers in here.
And to keep them in the color, I'm going to be using my number four brush loaded with
Smoked Pearl.
And just picking up a little bit of Titanium White as I go.
Just pulling in the petals.
Now when you're doing multi-petal flowers like this, make sure you leave just a tad
of a gap between each petal, and it does stop them from becoming a blob.
Just to pull the petals in towards the center.
If you've got a nice irregular edge on them, they seem to look and work a lot better in
your design.
I'm just going to put in a little bit of Yellow Oxide into the center of these.
Just a bright yellow.
And once they're dry, I'll come back and put a little bit of shadow on with Brown Earth.
Now back to the center.
I've got some Yellow Oxide on my number four round brush.
And I'm just picking up a little bit of Brown Earth just to put in a dark edge semi-circle
into the center of that.
Now with my liner brush, I'm going to come back with Titanium White on my brush and just
put a few little dots around that center.
Just around the center, just to give it a little bit of interest around there.
Just takes the plainness off it.
And that's the little ones done.
Now all we have left to do on this particular piece is the little fill of flowers, the really
tiny ones and some watery leaves.
Now the fill of flowers, I'm using Diox Purple with Burnt Umber mixed into it just to soften
that color down.
And into that, I'm putting a tad of Titanium White, loading my brush with that, tipping
into white and just pulling in petals on these little flowers.
Just pushing in those flowers.
Some, if you don't want to have them too white, you can just pick up more of the color, which
works really well without the white on it.
If you're going to use the white, just brush blend it a little bit into your brush.
These are only just little forget-me-not type flowers.
And you just continue through putting these in.
These just bring the whole piece together.
Just as I go through cutting the color in.
Still I am keeping the petals separate so they don't become too blobby in this little
area.
And these, the little flowers are in.
Now the centers for those, I'm going to do Yellow Oxide with a Burnt Umber side load
just to give a little bit more color.
And it's a little C-stroke that's going into these.
And once again, a white dot into the center of the flower.
I'm just going back into this area up here.
And I'm just going to put a little outline, which really gives a nice little finish to
these flowers.
Using a liner brush and the base color that we had, which is Burnt Umber and Diox Purple.
Just a little casual outline and it just gives it a little bit of a shadow, which will take
away that beard look from them.
Gives them a bit of detail work.
Now you can just continue doing all of the little ones of these all the way through.
And then once that's all done, we're going to come back and put on the watery leaves.
Join up any of the stems that we don't have and finish off the piece.
Now we're back to just finish off the little filler leaves and put any stems in that you
need to put in at this stage.
I'm just putting some little squiggles in that are on the original pattern, but they're
much easier to put in freehand than what they are to pre-trace them on.
Because you're not trying to cover a particular area when you're doing it.
You're not trying to keep up to where the original tracing was.
So it does work out a lot better by putting it on freehand because you do have an idea
of where you would like it to go to.
Just brings the two patterns together.
Now changing to my number four Raphael, putting out a little bit of the Burnt Umber onto my
palette to mix with the teal green.
Adding my brush with a mix of both of those colors, teal and Burnt Umber to give a dirty
green just so it's a little bit different to what we already have on the piece.
I'm just going back and putting in little touches underneath any areas that may need
it.
Some watery leaves which really are soft compared to what we already have on there.
Now remember anything that you need to erase can be erased once all of this is dry.
Just turning my work.
You can see how that particular brush has a far nicer appeal to it with these softer
leaves than what the heavier one does.
And it just brings everything together.
Any little stems that you wish to put in, this is the time to do it.
Any little joining areas underneath your rose buds, just a little touch of this color under
there will help bring that together.
Just going to put a few little watery leaves just here and there just to soften the whole
thing down.
Turning my work around so that I can get into this area up here.
A few little softening leaves here there.
A couple of stems that I've missed, they can now come through and that's looking pretty
good.
I'll just continue on with the other end and then I will just do the finishing touches to
the routed edges.
I'm just continuing around the edge using the swooshing blending brush and a mix of
clear glaze medium, diox purple and the rich gold.
Just so it's not a solid gold color that's going on.
It can tend to be a little heavy and overtake florals when you're using it.
And this is just a nice touch.
So just continue around the inside as well and continue around until you're finished.
Now that this piece is finished, you can actually see that when I traced this section on rather
than just going and tracing this section, I actually flipped the pattern over.
So it's an asymmetrical pattern.
So this side here is actually this side up here.
So I feel myself that you get a better overall flow by doing that.
This is a really pretty pattern and I'm sure you'll be able to use it on lots of different
items.
Remember, if it's not large enough for the piece, you can always photocopy the size of
it up to suit whatever you're doing.
Now here we are with our fourth project and the project is a little tissue box cover.
And this is the pattern that's in the video ready for you to trace on.
I've already traced the pattern on here using a stylus and transfer paper underneath.
One of the good ideas when you're getting these patterns is to put it onto tracing paper
so that when you are tracing the patterns on, you can lift them up, have a look where
you are.
If you do get disturbed and they're taken off their piece at any time, you can easily
replace them when they are on the tracing paper.
So go through and put them all on tracing paper and then you've got them nicely done
for when you're ready to use them.
This one here is going to be a single rose on the side with just little daisies as the
fillers but the little daisies are going to be little Easter daisies done with a liner
brush.
So first off, I have my large smooshing brush and I'm going to put an edging around all
of the work before I start.
And the colors that I'm using are green oxide and burnt sienna.
Now with the color on my brush closest to the outline of the tracing, I'm just gently
going through and patting in a frosting around the edges.
This works really nice when there's only single flowers involved and at other times too but
particularly in this situation because it sets up a background on which everything's
going to sit.
If you start getting the little water marks in it like I am, just rinse your brush off
or wipe your brush off on your paper towel to soften that color down and get rid of some
of that moisture.
But all I'm doing is going around the outer edge of the pattern with this smooshing brush
and patting in what I call a frosting.
And I don't know why I call it frosting but it seems a good thing to call it.
And just putting a little edge around the pattern.
And that just takes away, when there's just a small pattern like we're using on this,
that takes away the plainness.
It can often be there when you've only got one of something on the piece.
Now I have out on my palette some pine green and with pine green, just a little touch of
the bird's sienna in it.
I'm just going to go through and base coat the leaves.
Pull the brush towards yourself.
It's much easier and you have a lot more control if you do that.
This is a really nice color, the pine green and burnt sienna.
And it just takes away that real limey look that you can sometimes get with pine green
by itself.
All of the leaves, they're the large leaves that we have here.
There are some smaller ones but they will be done at a later stage.
Now the pattern is the same on the four sides of this.
So continue around, have all of your tracing on and continue around, base coating in as
you go.
I just have a couple here while I've got the color out.
I'll just do these as well so that I have the two done.
Now you can see by doing the smooshing brushing around the edge for the frosting, they're
all not going to be exactly the same but they just have a nice feature to them once your
floral work starts to go on.
It's just not a pattern sitting in the middle of a square.
So all of the leaves are now painted.
Now make sure that you do cover all those areas that you have gone around when you are
base coating in so that they're all sitting nicely.
I'm going to use the smooshing brush again on these leaves and I'm picking up some of
the base color which is a mix of your pine green and burnt sienna and then just picking
up a little bit of burnt sienna to pat in where these leaves are touching the rose.
It wouldn't be a video unless I had one of my roses on it and I thought I'd just do it
on this little piece.
It's a very handy little piece.
These are wonderful pieces for presents and it's good practice for you to have pieces
like this where it's got the same pattern all the way through because by the time you
come to the end you're really good at what you're doing and you've got a choice where
you put it so you can always pick the good side to have looking out the front.
Now I've just loaded my brush again into the pine green and I'm just going to come back
with a little bit of yellow oxide as the highlight on these leaves.
Just pushing the color in.
Nice little autumn leaves these are.
Don't let it get too heavy.
I just wiped that lot off because it was going to be very heavy down here at the bottom.
Now when you are doing a rose and especially if you're using white filler flowers you can
be a bit flamboyant with the leaves because they're not going to overtake.
When you're doing patterns it really is the leaves are very much in the background when
it comes down to it.
Once the flowers start to go on and everything starts coming together they do blend into
the background quite a bit so it doesn't matter how strong you have them to start with.
Now with the liner brush and my mix of pine green and burnt sienna I'm just going to mix
a little bit of warm white into that to come back to be able to put some veins on these
leaves.
I think the veins are really important but you want them to be able to stand out so that's
the reason that I'm using the base color with the white in it because it just has that nice
little finish to it when you're putting these veins on.
Keep them nice and fine.
Don't do them too heavy because it's only one flower so you don't want them too heavy
on this.
The brush that I'm using is a number 0 liner and it just has a nice look to it when you're
using that and there's the veins on the leaves.
Now I am going to show you this brush because it's one of my favorite brushes.
It did have a really long handle on it which I've cut off but it's a number 8 imitation
sable filbert and for doing roses it's a really beautiful brush to use.
I'm just going to wet the brush and go into my smoked pearl and just base coat in the
rose to start with.
This is the bowl of the rose which is the bulk of the flower itself.
Now I know when I first started painting, painting roses was one thing that I really
really wanted to do and I never ever thought I would have a flower that people could associate
with me with these roses but believe me it does take a little bit of work and time.
We can show you what to do but we can't practice for you as teachers and it's really important
that you do practice painting because there's a lot of brush control that goes into being
able to paint a rose.
And as you can see I've just base coated the whole thing in and I'm just going to wait
for it to dry now before I come back and put the shadow in.
Now I've got my dagger brush and I'm really saturating the bristles just patting off any
excess moisture and I'm using the beautiful color magenta but I'm also toning it down
with a little bit of burnt sienna.
Now I'm going to start in the center of the flower, pull the color to one side, go back
to the center and pull the color to the other which gives you that nice strong color at
the base of the rose that you really need.
The same for the center, putting the throat in, turning the work as you go so that you're
painting each of the petals individually.
Magenta is one of those beautiful colors that mixes so well with so many other colors and
I'm just going to turn it around to this side to do this one as well so I can show you again.
You're going to start in the center, bring your floating color to one side, go back to
the center and bring it to the other side.
The throat is exactly the same, the center to one side, center to the other and then
just gently pulling the top of the petals where it touches the flower itself.
Just gently pulling that around so that you've got a nice shadow there.
Now there's also a little bud that I haven't base coated just up here at the back so I
just put that base coating before I continue painting the rose.
Just putting it in on both of the little pieces that I'm painting.
Now going back to the number eight fill bit, just going to turn my piece like that so you
can see it, loading my brush with smoked pearl and I'm going to put a side load on it and
it's really easy to side load with a fill bit or a flat brush because you do have a
side to be able to put it on.
So a nice side load starting at the back of the rose and just pulling some strokes around
throat of the flower.
Another layer coming through.
This time I started a little off center because I don't want that joining line to be exactly
in the same place the whole time.
Some nice little strokes just going around just filling in that center area.
Now with my brush on the side, I'm just going to join up across the front and maybe at another
time, two rows, maybe even three.
Just depends how much area you're wanting to fill in there, there's how many rows that
you should put in.
And as you can see, you've now got the throat of the flower and the back petals of the flower
looking really good.
Now remembering where your center point is, is where the stem comes into the flower and
I know that because I have four petals on this, so it's in the middle of the flower
and I'm still loading my brush with smoked pearl and side loading with warm white.
Coming back around with my brush on the side, I'm just going to bring that around to that
center point and pull off to the bottom.
Bring it around to the center point and pull off.
Now when you're pulling off like that, don't cut across the area.
Pull off squares so that you've got a nice finish, a nice rounded finish to the rose
bud or the rose.
Continuing with the outside petals, touching as I go, just gently pulling it towards that
center point.
Now wipe off any white and you can gently pull any color down towards the center that
you want to be there.
Going back into the smoked pearl, side loading again, starting at the top.
If it was to come down, we'd continue on to that center point.
Just going to wipe that color off my brush and anything that you put onto this rose,
you are pulling towards the center point.
Now you can see that's the set up for it, but I'm just going to grab my smaller brush,
which is the number four, and I'm just going to put another couple of little smaller petals
over the top of those.
Before I come back with my filbert, I'm just going to go back into my base floated color,
which is magenta, transmagenta and burnt sienna.
I'm just going to place back in the shadows so that when I put a second layer of petals
over, I'm going to see a shading coming through underneath it.
You can see I'm just using a gentle color here and also just a gentle color around the
front area of that rose and down into the throat.
Just setting up a nice color in there.
With the number four brush, I'm just going to come back and put in another couple of
little details on this rose and another little petal just coming in on that side.
When you're doing these, just because you can do them, don't overdo it because you can
have too many.
I'm just going to bring down on one side another couple of little detailed petals just to bring
them in.
While I have the magenta, I'm just going to put a little bit of shadow in the bud itself.
The fingers work really well here to get off excess little bits.
Using my little filbert, I'm just going to fill in the little bud.
The same principle as the rose itself, joining up across the front and then a couple of petals
that haven't unfurled yet, which are joining here at the front.
Looking at this rose as I am upside down, it feels as if I should have something in
here, which I'm going to put in.
I'm really going over the top now.
I'm going to put another one in here as well.
If you've got it, flaunt it.
The center I'm using, the burnt sienna, into just padding them in.
Wipe it off.
Have a little bit of yellow oxide, just a tad on the top for a little bit of highlight
and some warm white just to finish it off, just in there.
If you feel that it's a little bare just here at the front, just as these colors come down
into the throat, you can get your number four round brush and really press it down into
your white paint.
Just put a little bit of dry brushing down into that throat area, which really softens
it down.
But remember, start right at the top of that last stroke and you'll find that it really
softens that center nicely.
I'm just going to put in a few of the little stems that are still there and using a mix
of pine green and the burnt sienna.
Any stem lines that are there can be placed in at this stage.
If you wish, you can put in a little calyx underneath the bottom of the rose bud, just
using your liner brush.
We have some little Easter type daisies on this one.
I just need to get my pattern.
Because I've put that frosting around the edge, I really don't know where the flowers
are, so I'm going to refer to the pattern that I have here.
I have that on my palette and I'm using my liner brush for these Easter daisies because
I want the petals to be really nice and fine.
I'm loading my liner brush with titanium white and tipping into titanium white and pulling
in the little flowers.
It's a little half one that's there.
What I like to do is to do one side of each and every one that I have to do before I turn
it around to do the other side.
There's a few of them just in here.
I'll do all those sides, turn it around and then I can do the opposite side on all of
them.
There are some little petals or some little leaves in there, but I will do those later.
Over here, there is another little one just in this corner and that's a little half one
and there is also another little full one just in here.
Remember, go around halfway, turn your work and then you can come back and put in the
rest.
There is another little one up the top.
They're not difficult to paint, so you can really have a look at where you're going
on your pattern and gently pull in the petals.
That's all of the little daisy petals in and there are a few little fillers that I'm going
to put in around and these are also white or some of them are white and the rest are
going to be the leaves.
Using a number two brush and a mix of yellow oxide and magenta, I'm just going to go through
maybe a little much magenta on those, but you can soften it down using the yellow oxide.
Now, these will only go into the full daisies.
They won't go into the little half ones because I'll just fill those in with some green, which
is just here and put in a little calyx.
That one has a little touch, too much water in it, so I'm just going to wipe it off and
come back and put those in.
That one as well, just a little half one.
Using that color while I still have it, I have a couple of little stems to put in and
also while I have the lime brush, some little white dots into the center.
The reason that I chose the magenta for the centers is because I have that as my base
color on my rose and I think it's just a nice transference of color out from there.
Now, with the color of pine green and burnt sienna on my brush, I'm just going to come
through and put in a few of the little leaves that are here just to fill in.
I'm still looking at the pattern to see where I do have the leaves.
Just the little fill in leaves and there is the little pattern done.
Now we're going to continue on with the top of this little box.
I've got my liner brush again, loaded in titanium white and tipped in titanium white.
I'm just going to pull in these little daisies into the area just here.
Once again, I'm doing all of one side before I turn the box around to do the other side
of the daisy.
If you're continually turning, you sometimes tend to lose track of where you are.
Now that I've done that side, I'll just turn it around to continue around this side.
Some of them I'm making half little Easter daisies and some of them are the full ones.
Now these are very simple little flowers, but they're really effective on a piece such
as this where the focal area is the roses on the side.
The centers I'm using the number two round.
I'm loading in yellow oxide, picking up a little bit of magenta and a little sea stroke
into the center of those flowers that do have a center in them.
The little ones, the half ones up here will have green ring, so they're not necessarily
done now.
It's virtually the three little ones that are closest to the opening for the tissues.
And then the white dot into the center of those.
Now until the greenery goes on these, they won't look anything.
The green really does bring these flowers to life.
We have some pine green, a little bit of the burnt sienna, and I'm just going to pull through
the little stem and the calyx, and I'll come back with another brush to put in the leaves
on this particular pattern.
So that's all the little flowers are done now.
Now I'm going to just mix up a color to do the little bit of scroll work that we have
there, and the color that I'm going to mix is the magenta color with the burnt sienna
and a little bit of white.
Now when you're doing scroll work like this, a good liner brush is really necessary, and
I don't go in and put any dots on anything until the whole thing is absolutely finished.
So with my liner brush, I'm starting at the base of the scroll, just bringing it through,
and I'll go around and do all of those to start with.
So in the one direction rather than change direction mid-stroke, I'll go and do all of
the same, going in the same direction.
And it stops you having to think about what direction you're going.
And when I've done these, I'll come back with all of the commas or the scroll work going
in the other direction.
By doing it like this, you get a nice flow.
If you have to stop and think where you're up to, you tend to not get a good flow with
your work.
Now onto that, I'm just going to get a stylus and put some little dots in, but I'm going
to mix a little bit of extra white into one corner so that the dots are going to be a
little lighter, in keeping with what we already have on here.
So I just have a little stylus that I'm going through and putting the dots on the appropriate
scrolls.
By having them slightly lighter, it does work quite well.
Now you can see as I was going, I was tipping for every dot because I wanted that little
continuity of size going through.
Now if you want to, you can also use just a slightly smaller size on your stylus and
put a little row of joining dots which are graduated.
And I'm just going to put them across this little line here.
Now this is the same pattern that goes around all four sides of the tissue box, just a continuation
of what we've done this morning.
And I'm going to leave this stand for another 24 hours before I varnish it and I'm going
to be putting three coats of the Joe Sonia satin-based varnish.
It'll just give it the ability, if it's knocked around, and that not to damage.
We've come to the end of the four pieces that we're painting today and I do hope that you
enjoy them when you sit down to paint them yourself.
The pieces that I have painted on are very handy to have around the house and remember
that all the patterns that you receive in this video, you're quite welcome to photocopy
to fit any other item that you want to do.
So I say to you, happy painting and I'll see you next time.