 Hey everybody, I'm just positioning the camera, so give me a minute. That's better, I think. Yeah, that's better. Hey guys, good morning. I'm just getting set up for those of you who are here to work on some flowers this morning. And let's see if I'm gonna be right way on the iPad. Of course not, I'm sideways. Holy cow. Well, the important thing is that I can see guys' comment. No, it's gonna flip sideways. So, before we get started, I wanted to show you guys this is, I posted on social media about this last night. This is the mini watercolor kit I made up. Hey, from England. Oh, that's on my bucket list to go visit England. Hello, Lisa. So this is the mini journal that I made. And the video is all edited and I'm gonna be uploading it to YouTube later today on how I did this. The idea for this journal is not mine. There's a YouTube watercolor artist, Kathy Johnson. And I believe she also teaches online and has some DVDs and things too. And this little journal is her idea. Although she did it big. It's my idea to do it so small. I do think that at some point I'm gonna like E6000 a button on here or something so I can just wrap these around the button. I know, isn't the mini book cute? It's made with watercolor paper. It's really teeny so you can just fit it in your handbag. And when you're out and about and you're sitting having coffee with the girls or whatever and you want to do a little water coloring or sketching you have this little journal. I made this to go with what's in here and then thought about it last night because I was up late last night editing video. And I thought about it and realized that this is cute but you don't need to have this to have a mini travel watercolor kit. So everything you need is in here. And I go over most of this kit in the video that's gonna load later but I made a few changes. I thought we would talk about first this morning. So the first thing is I added a rubber band to just hold everything closed because I have a habit of overstuffing my travel kits whether they're in a bag or a little suitcase or in this box. So my little suitcase has a fabric belly band on it. This box is gonna have this rubber band on it to keep it closed. Yeah, there'll be a video on YouTube later, Ned Beads for how to make the little journal and it and how to put this kit together. The only differences I made to the kit are that I added a rubber band to it this morning. And I put a few watercolor ATC cards in here this morning. That's, oh, and a pipette. Otherwise, the basics of how you do this are in the video. So I have a few pieces of watercolor paper cut to ATC card size. Well, one's a little bit smaller, but that's okay. I have a piece of paper tallying, a pipette, one of the Koi small size water brushes. Koi has two of these water brushes. One has a longer handle than the other. For this kit, you want a small one. And this is the medium brush nib because I think that's angel. I didn't do an angel. I thought the medium tip is the one I use the most. A little pencil. And then this little Altoids Smalls tin. If you have peer lists, you could do peer lists, but I took an Altoids Smalls tin and I made a little miniature six color watercolor palette. No worries, Debbie. I did see a couple of really great mixed media and watercolor angels this morning posted to social media. And I think one of them might have been to Periscope, but I don't remember who they were. So anyway, this whole thing closes in this box, which is from when I purchased some binder clips at Target, they come in these plastic boxes. And of course I save them because I'm a mixed media artist and we save junk. Okay, and then like this. So see, and then the whole thing like this, you could just carry, it's small, you could put this in your handbag. You don't have to go to a ginormous handbag because half of your handbag is a full of art supplies. This is little and it would fit anywhere. So it's an idea and it would make a cute Christmas gift. So the video is gonna load later today. I know if I had a friend that made, I have one now, so I don't need anybody to make me one. But if I had a friend who made me one of these, I'd be so overjoyed. It'd be the best gift, just FYI. All right. So first I thought we would try the Poinsettia because I think it's gonna be, oh, search for my name. The same as here on Periscope, Gina B. Arons. And you'll find me on YouTube, Google+, Facebook. You'll find my website. If you Google my name, you'll find me everywhere. You'll find a couple of other things too that aren't me, but most, you'll find a lot of me. So I thought we would do the Poinsettia first because I thought, and I was up late last night. A, sorry, Gina B. And then Arons is spelled A-H-R-E-N-S. And I'm a little bit scratchy-throated this morning and I have a cough drop in my mouth because I was up late last night. You know, we've got all the cinnamon candles. Yes, that's it. If you Google my name, Gina B. Arons, you're gonna find me everywhere. That's it exactly. I have a GinaB.Arons.com. If you go there, the links to everything are over there. Okay, so we're gonna start with the Poinsettia because like I said, I think it might be easier and I find, yes, Google that. I find roses challenging and I don't always like the way my roses turn out. So we're gonna do the Poinsettia first. And normally I don't know that I would do a sketch first but because this is a tutorial, we're gonna do the sketch first. So this is just a number two pencil. First the Poinsettia, so number two pencil and I have an inspiration photo that's off camera that I printed from Pinterest, a photo of some Poinsettia plants. There's lots of inspiration photos out there you can get if you just go to Pinterest or go to Yahoo and type in Poinsettia picture. There are a lot of stuff that's gonna come up. You can go to paint my photo. So I'm going to actually start with a flower that's kind of off the edge of the page here. Now Poinsettia flower petals are kind of a pointed oval shape. They're not, I saw one somebody did recently and the Poinsettia was beautiful but the shape of the petals was more like holly where they were all jagged. You know, but we're our own worst critics. So your leaves don't have to be the same but you kind of want this like pointed ovally shape. And then in the center you're gonna have all the little sort of, I don't know what there are, seed heads or berries or, I'm sure there's a technical name for them but I don't know what it is. So just sketch some little, you know, roundish sort of suggestions of shapes. Yeah, I've done a few roses and sometimes they turn out great and other times they don't. I seem to do a better job with the roses in watercolor than I do in acrylic paint. My acrylic roses all tend to come out looking like two lips. So I don't know, I don't know what the deal is with that. They look like rose color two lips. Yeah, suggest your shapes exactly. And I know this and I teach that. So it's funny that I find roses challenging and you can do, you know, more than one Poinsettia on your page of course or you can just do one. But what you wanna do like when we did the sunflowers, you wanna do layers of puddles. Now because this watercolor journal is a journal of studies and experiments, thank you, you're right. I need to remind myself to do that. I'm okay with lots of sketchy pencil lines and not erasing anything. If you were doing this for a gift, you might want to do the sketching in watercolor pencils. And that way when you're painting the lines disappear. And I'm just, you know, I'm following some of the shapes I'm seeing in my inspiration photo, layering my petals on top of each other, giving myself some guidelines to paint. Yeah, I know it kind of looks like a hot mess right now because you have lots of lines. But what I'm gonna be doing is coming back in to these petals that are on top and I'm gonna be erasing a few of those extra lines that would otherwise kind of confuse me. Does that make more sense? Lost where it was. If you guys have any questions about painting flowers or anything, while I'm doing the sketching part, let me know. There's a really great watercolor artist out there. Actually, she and her husband, both are great watercolor artists. And he does really fabulous watercolor landscapes and she does a lot of suggestive florals and portraits, which I just love. And she's on the same lines of Jean Haynes, Janet and Steve Rogers. They have some DVDs over at, I think, Chief Joe's. I can't move my book up anymore. But you're seeing most of it on the camera, okay? So that's the basics of our flower. I do think that I wanna put, it looks like there's a blank spot right here. So I think I wanna put. Now, all of the leaves on a poinsettia are the same shape. And I think as they mature, they turn red from green to red. I'm not exactly sure because I'm not a botanist or anything like that, but I have to decide here. Let's see which one's in front. So when you're painting your flower, you need to decide which of these are gonna end up being the green ones and what you're gonna be the red ones. And I'm looking at my picture and the green ones have more of a little jaggedy edge than the red ones are more pointed. Thank you for the hearts, I appreciate that. And I'm just doing light pencil lines. You don't need to dig any holes to china with your pencil. Yep, exactly, use watercolor pencils. I said that already. If you don't, you know, this is a study. So in this book, I'm not so worried about it. But if you want the lines to disappear, then use watercolor pencil. If you want to accent the drawing before you even get started or after, you can take a ink pen, something that is waterproof when it dries. This is a fountain pen. I wouldn't call it making a living, maybe trying to pay for my hobby. And you can sketch. And you know, I have a problem with this pen lately being clogged all the time. I'm not, so I'm going to not necessarily sketch out everything I have on here as much as make some marks. Okay, I gotta stop for a minute and block this guy. So hopefully I blocked the right guy because that was annoying. Sorry guys, hang on. You know, I just get the sweet people. Okay, this pen's just not wanting to work for me this morning and I'm having an issue with it, now where's the cap? So I'm gonna switch to a different one. I've got two of them. You know, I just attract all the fun ones. So I'm gonna accent some of my lines before I even get started with the black pen. This is a super fine nib carbon ink pen. Yeah, if you guys can help me keep an eye on guys like that and block them for me, that would be fabulous. I'm not gonna outline my whole flower, but I'm going to just pick some lines and add some of this black pen before we even get started. And this pen will write over the watercolor, so if I want to afterwards, I can add some of it afterwards too. I like the sketchy look, so you notice that my lines are jagged and they're not, you know, straight and smooth. I like that, but do whatever's gonna make you happy. Okay, there you go. Yeah, exactly. No worries, I get lots of trolls. I don't know, I'm just lucky, I guess. All right, so now we're gonna just take a sort of a medium round brush. This is a Princeton Select number eight round. And I'm gonna start with my lightest color. And I'm gonna get my reading glove. Need these. Well, I don't need them, but it's helpful. All right, we're gonna start with a lemony yellow. Grab some water, water it down. I tend to lighten my colors with water rather than with adding Chinese white to them. I'm not opposed to using Chinese white, that's just what I do. So I'm gonna add a bit of the lemon yellow to the center here. And then I'm going to add some water. Oops, let's see what would happen. My ink wasn't dry. That's all right. We'll make it work. See, live on camera, look what happens. Let's spread this out just a little bit and blend out the edges. And I'm gonna take some of my lemony yellow and do this to it before we even get started. We're gonna take the heat gun. Hey, Brandy! And we're gonna dry this, not only to dry the yellow, but to make sure the ink is dry. No worries, we just got started. Of course, we already had one stroll, so that's just how I roll on Periscope, evidently. The trolls love me. A lot of creepy people out there in the world. Hey, Mark! No worries, like I told Brandy, we just got started, so no problem. Okay, I'm so happy they got there okay. I'm so happy you got the journals finally. All right, so we've got an interesting start here. So we're working on a point set of this morning. And now I'm gonna, so I started with lemony yellow. My ink around a little bit, but that's okay. We're gonna just work with it. Well, okay, they're available. That's one of the ways I, you know, make some money, so, you know, I'm okay with you buying the stamps. So now I'm gonna add, this is new Gamboge, which is more of an orangey yellow. And I'm gonna continue to add this, and I'm gonna work from my center out. I'm gonna add it to the parts of the flower and the flower center that would be lighter and brighter, being maybe hit by the sun or the camera flash. I'm gonna blur out some of my edges a bit, not necessarily all of them, but some of them. It's a good idea when you get started, if you're gonna add black ink to your work, to dry it with a heat gun or heat embossing tool or do the inking and then walk away from it, if you're not, you know, live on camera like me. All right, so that's an interesting start. So we're gonna continue working our way darker, and we're gonna go with some permanent red, because points that is, of course, a red, right? And I'm gonna add some of that to my plate with some water, and I'm gonna start here up at the top and go around the edges of the petal. We're gonna do one petal at a time, lay in some red, and then bring in some water and spread your pigment around. It's gonna blend with anything else on there that's wet, but we're okay with that. And this is basically, well, kind of the same way I do all my flowers. If you've seen me do flowers before, you know that. You could do that, definitely, but I like this yellow particularly. So I'm gonna skip a petal, and I'm gonna go down to this one. If you get too much water or you get too much pigment, just do some lifting, get a piece of paper towel in there or a rag or just use your damp brush and work your way around your flower. If we have time, we'll do roses. If we don't have time, we'll do another broadcast with just roses. Generally speaking, the more water that you add to your paint, the lighter it's gonna be. So if you want your poinsettia to be, you know, generally speaking, overall lighter in color than you wanna add more water to your paint. Be suggestive about your marks. It'll give you something that's more interesting. And just keep working your way around there. I'm trying to leave the part of the petal that is closest to the camera, lighter or white. Rinsing my brush off in my water, which is off camera, and I have a rag which is off camera the other way. But there's not really a lot of need to clean the brush off a whole lot because I'm using, I'm not switching colors right now. I see I just made a mistake. I should have not done that one. I should have done this one. Oops, because I'm talking while I'm painting. Oh, that's all right. So this is a behind leaf, behind these other ones. So I'm gonna make it a little darker than the others. That's some dark to this one too. I'm not sure I completely understood that comment, Mike. Maybe I did, and maybe I agree with it. I don't know. All right, let's see. Let's see if I can not screw up again. Let's go with this one. By the time I get around the flower, this over here is gonna be fairly dry so I can do the other petals. And again, this is permanent red. These are Daniel Smith watercolors, my preferred brand. You should, when you're painting, have two containers of water, one that's kind of for the dirty water and one that's clean. That'll keep your colors from getting muddy because see now I screwed up, but that's all right. I'm going to put this here so I don't stick my hand in the wet paint. So now you'll see my rag. Thank you. Need some more red. So I'm just laying my pigment in the outside edges of the petals and like at the base of the petals and at the top tip, then I'm coming in with just plain water and blending it in towards the center of the flower petal with just plain water. Maybe leaving a little white spot, a few white spots. That'll just give you the hint of a highlight where the sun is shining. This one's too, I'm not sure. It's not blend enough for me. It's too, the spot's too big. And the yellow, you see the yellow that we started with is showing through and it's giving you a suggestion of sunlight. I like that. So now we're going to do this one. Again, I'm going to stick this here. So hopefully you don't get paint all over me, but that'll be short-lived because whenever I'm in here, I end up with paint all over me or marker or pen or gesso. Or something. So now we're going to come in with some water. Let me know if you guys have any questions. Thank you for the hearts, love that. So you'll notice if you've been watching me paint for a while that sometimes I don't get to the edges with the plain water quick enough and the edge starts to dry. And then when I go to blend it with the water, I get a hard edge, which I don't always want. But if you've watched me like I just did here, I go over that with some fresh pigment and fresh watercolor and then blend and then I get rid of that edge that way. Okay, so now we should be able to do this one. I want to have this one and this one be green. And I may want to add one more down here that's green, but we'll see when we get that flower done. I'm going to go into this one. Oh, thanks. I try. It's one of the things I like about these live broadcasts and even the way I film some of the YouTube now is I just kind of try to talk about what I'm doing while I'm doing it. I think I'm a little better at that than it used to be. I do still sometimes get lost in the painting, but I am a painter, so it happens. So now that this petal's dry, the paint may blend a little bit with that petal, but it's not going to blend as much as it would as if it was wet. And you'll get more of a harsh line like right here. We have a little bit of a line and we want that. Plus we've left our pencil marks in and we've accented some of our lines with the black pen. So we have a nice defining line. Now, of course, you don't have to do that as has already been discussed. You could do this all with watercolor pencil that disappears as you're painting and then suggest all your shapes with the paint. I'm going to do a bit of both here. And I'll show you what I mean in just a minute. So there you go, there's another petal. So I'm going to skip this one because I just did that one and it's wet. And I'm going to do this one. When I'm painting, I like nice, light, bright yellows. This Hansa Yellow Medium is one of my favorites. Koi has a bright, light, lemony yellow that I love. Some people like a paler yellow, less vibrant. You have to just play and experiment and figure out what you like. But definitely check out Janet and Steve Rogers. There's a few video tapes of them or excerpts from their DVDs, I think, on YouTube, which is how I found them. Okay, that one's wet. So I'm going to skip these two. We're going to go over here to this one. We're going to just keep working our way around our points at our flower. This kind of painting would be fun to do and then reprint it on your Christmas cards if you haven't done your Christmas cards yet. You can scan the image and then, you know, take it to your office supply store and have them scan it and print it for you or you can scan it and like send it to Vista Print and have them do it. Do this one that's hiding back here. Our Christmas cards have one of my birds on it that I did. I did a cardinal. I don't know if you guys remember that. Okay, this one has a lot of pigment on it because it's a leaf that's really behind this other bigger leaf. So I want it to be darker. There we go. So now we're going to do this one. Again, I've put more pigment on this one than I did the others and I'm okay with these red splotches that just happened by accident. I, you know, love the way Jean paints paints, as you all know, with her splotches and splatters and I'm not a realist painter by any stretch of the imagination for those of you who are new and don't know me. Yeah, it's a happy flower. I'm more of an impressionist painter, so. Okay, we're almost done with the red. It's a lot of red, right? A lot of red petals. Okay, so now we should be able to do this one. Feel free to share the broadcast and if somebody here is in one or all of the Facebook groups I posted to this morning, if you guys can post the PC link for the broadcast right now, for those people who don't have smartphones or tablets, I would sure appreciate that. I probably should have said that when we got started. Oops. I will, of course, be posting it to YouTube. I have tons of video editing to do today, so hopefully I can get my phone to talk nice to my computer and we can get it downloaded to, oh, thanks. Thanks, Michelle. Hopefully we can get it loaded up to YouTube sometime tonight. I can get my phone to talk nice to my computer. So in my opinion, when you're watercoloring and you're having fun with it, part of the charm of a watercolor painting is the splotches in the drips and the watermarks in the paint. I love that and I love, like, right here. I love using that to suggest my painting in my paintings. I'm not all about blending it out perfect. Oh, good mark. Thank you so much, Ned. Ned Beads. Yeah, don't be ashamed of your art. You guys are all doing a great job. Those of you that I know, Nancy. Oh, Nancy, see, Ned. I'm just gonna keep calling you Ned Beads, Nancy, unless you tell me what your name is. You guys all think of these clever, like, screen names and stuff. When I first got started on the internet, I could never decide on a good screen names or a good business name. That's how I just started using my name. I guess it's good because I don't have to worry about copywriting and it's my name. Okay, so right there we have kind of, oh, okay, that's good to know. Right there we have kind of an accidental light spot, but you know what? I like it, so we're gonna leave it and we're gonna let all of this dry a little bit and we're gonna put a base coat on our leaves and kind of decide if we want a third leaf, which I think in the interest of balance in the painting, I think we do now that I'm looking at this. So let's just put one in and then let's take our black pen and just suggest a little bit of a lot. Excuse me, a line, wow. I think like burping on camera. All right, so I'm gonna go in with a, I think I wanna go in with a green gold. I'm gonna listen to my instincts. I'm always telling you guys to do that. Then some water. I love the green gold because it's more of a olivey green or less bright green. Then I also have phthalo yellow green. So you have this one, which is more intense and then you have this one. I like the green gold is my favorite piece of fuzz, okay. So we're gonna do the same thing with the leaves that we just did with the petals. And this is just a base coat of color. Now, whether you're doing a poinsettia or a rose, I use a similar technique. So the only difference really is the sketching, the shape, you know, because you're sketching the rose. And there's some really great photos out there on both paint my photo or Pinterest or, you know, just go out to the garden and take some pictures and use those for your painting. Or, you know, if you're out and about over the holidays and you're at a church service or a friend's house and they've got some pretty poinsettias on the table, you know, just bust out the smartphone really quick and take a photo and then save it for later and use it as inspiration for your paintings. Just don't do like I usually do, which is get so absorbed in the photo, taking that I knock over table centerpieces and glasses of wine and, because, you know, my middle name is neither patience or grace. Didn't we discuss this on Monday with Monday with decor? I think we did. So it just depends on the effect I'm going for. Generally speaking, if you guys have been watching me for a while, I usually start with my paint on dry paper like I am right here. And then I add water to help the paint spread or blend to the areas that I want. I feel like I have more control that way. If I'm doing a background, I'll do wet on wet. You know, if I'm doing sort of an atmospheric background, something sort of Gene Haynes style before I even get started with the drawing or anything, then I'll just get the paper wet and I'll lay down a few colors that blend well together. See, Mark? So just take some pictures. You know, while it still looks pretty and save those and you can use those for future reference because the best way to get reference photos or to use, you know, any reference photos, of course, is to use your own. Now I want to take a little bit of the same color green and I need to get some more. And I want to put a little bit of it into the center because these little center things are, thanks, gotta put the red here. Have some green in them. So we want to put a little bit of green. And then we're gonna take some water. Watercolor painting, you know, is all about controlling, you know, part of the joy for me of painting watercolor is about trying to control the uncontrollable because watercolor really just has a mind of its own. And I kind of like that. So I love this and you could definitely stop here and there's nothing wrong with this but if you want to really keep going and make it pop then you want to add darker tones. And these are great highlight colors but we're gonna go back to our flower petals and we're gonna go with Alizarin Crimson which is a dark, dark red. This is Permanent Red. This is Alizarin Crimson. You could do Quedachronome Red. You could probably do Quedachronome Magenta and we may add some of that. Or I'm thinking I might even add the Alizarin Crimson with a little bit of Magenta. These are your poinsettias and you can add whatever colors to your flowers that you want. You want to make them turquoise, make them turquoise. That was a little bit too much Magenta. Try that again in a different spot. I might use that purple for something else but that was too purple. That's better. So now we have this color that's gonna be a nice dark shading color for our leaves. That looks like that. It's a nice color. All right. So now just like we did before we're gonna start in our front flowers and I'm gonna add this color to the base of the petal. Hello. And then I'm going to take my brush with some water and I don't want too much water. And I wanna be more controlling now. Oh, good. I wanna be more controlling now about where the pigment's going. So I'm gonna be careful about how much water I put. I don't wanna completely cover up all the other colors I put on there but I wanna add some darkness at the base of the petal where it would be going into the flower center. My daughter's a photographer so when I need pictures of something, good photos. I usually ask her to take them for me or ask her if she's already got one in her stash. So that's already giving our flower some depth. So I'm keeping to the dry parts and skipping around. Yes, I'm giving it a pop for some effect. Giving it some more deeper darker reds in the shadows. And doesn't that just make that start to pop? Whether you're doing a poinsettia or you're doing a rose or a daisy, I use the same techniques. I have this purple color on here now and I keep trying to grab it. So that might mean that it's gonna end up in the flower at some point. Let's just grab a tiny teeny bit of it. Cause you know, if I don't like it, you can't take it back. This is watercolor. There's no back seas. Okay, see, I like that. So in these far back petals, if I take this kind of reddish purple that I accidentally made and I add just a little bit of that into the dark where it's wet, look at that pop. So with watercolor, especially if you're using professional grade watercolors like the Daniel Smiths, you can do a little bit of lifting but you cannot take it back completely. It is gonna be there. Look at that. Isn't that pretty? So then you have to do that all the way around the flower because look at the difference between these petals and these over here. Nice big pop. So I'm gonna start with the darker red color that I made. It adds dimension exactly. We're suggesting shape and dimension with the color and I'm more about suggesting shape and dimension with the color than I am actually drawing it cause that's not kind of the kind of artist I am. Making me sit here and draw a realistic poinsettia makes my brain hurt. So I don't know how else to describe it. My sister Karen on the other hand cause we're both artists and creative types. Actually all of my mom's kids are, mom and dad's kids are. She loves to do realistic stuff, me not so much. So think, one thing that Jean Haynes teaches is getting you to think about shading with the unexpected colors like purple. You wouldn't have thought, especially when you're starting out to shade with this purple color. Thank you for all the hearts. Look at those. I'm getting drips and splatters everywhere. Good thing I'm okay with that. I do too. Can you smell it yet? I don't wanna smell it. It probably will make me wheeze. So that might be a bad thing. All right, so let's go back over here and you just wanna bring out the shapes of your petals by putting the right color in the right place. It's all about when you're, especially when you're doing it in impressionist type paintings. Really is all about getting the right color and the right mark in the right place to suggest the shape that you want. And this might be a little bit longer broadcast because I might wanna just finish this whole thing on camera. You guys wanna stay and join me? That's cool. If you can't, that's cool. Just, you know, put me playing while you're wrapping Christmas gifts or whatever you're doing. I am so glad I mixed that purple color by accident. Yeah, I finished one more of my 2015 journals yesterday, the collage journal. Those videos are coming soon too. They're all edited, I just need to download them. So if you're having problems with your watercolor bleeding, it's all about where you're putting the water and controlling where the water is because the paint is gonna go where the water goes. Now if you let like this dry before you put more color on it, this may move a little bit, but it's gonna move a lot less than if it was still wet. I am the queen of impatience, so I understand not wanting to wait for things to dry. Believe me, I do. But with watercolor, you really, I think one of the things I like about it is that you have to be more patient. And I know as somebody who suffers from anxiety disorder, that that is good for me to practice exercises that force me to be more patient and calm. They help me. So now I'm adding the purple. So I'm going in with first the red and then the purple. So with one of the things I love about watercolor, and I think why I will always, it will always be sort of my favorite medium is that I can dry it with my heat embossing tool. So I don't, when I'm home at least, so I don't necessarily have to wait for things to dry. And I love that. I use my heat embossing tool a lot. You guys see me use it a lot. It's funny I had somebody ask me about it. It's just your standard every day over the counter heat embossing tool from Michaels. I wish there was a portable cordless version, but there really isn't a good one. Yeah, I love that it's transparent. I do have gouaches which are more opaque, but I honestly, I have a whole palette of gouache and I almost never use it. A hairdryer would work. The heat embossing tool works a little faster, but I know when I'm traveling, I use, I just use my hairdryer when I'm in the hotel room. Now I'm gonna go in with a purple. You know what, another color that would be good for a dark shadow color on the poinsettia that would mix well with the reds is like a Prussian blue. You could use a blue, that would actually be pretty. As long as it mixes with the red and you did it when the red was wet and it didn't end up too blue. So just go around your flower, do one petal at a time. Don't be in any rush. A lot of times when I'm doing this and I'm not on camera, I turn up here. Okay, so I drew this first free hand in the beginning of the broadcast from an inspiration photo I found on the internet. And I frequently use blue as a shadow color on the leaves. My two favorite shadow colors are blue and purple. Oh, Ireland. Oh, that's on my bucket list. I so wanna go. My grandmother's family was from Ireland. Grandpa's from Scotland, so visiting both is on my bucket list. At least they claim to be from Ireland, but I think some of them were criminals, so I'm not exactly sure where they're from. And the Scottish family got kicked out of Scotland, so I kinda stop asking questions when I found that out. I'm not sure. I know that the Scottish family was from Glasgow, I traced them back there. The Irish family never did say, their last name was Champlain, and wait, Champlain, which is English, and then Nugent. The Nugent side of the family is from Ireland. Ted Nugent is a distant cousin of my mom, if you know anything about rock and roll. Yes. Although I think he doesn't acknowledge the fact, but yes. Or my mom doesn't, I'm not sure. So I love using my watercolors as part of Mix Media Works. I love, if you've watched my collage videos, you all know I love my gelatoes and gel crayons, and they mix really well with watercolor paints. So besides the base of the petals, the petals, generally speaking, are gonna be round like this. So the parts that are far away from the viewer are going to be darker. Yeah, it's a pretty common name in Scotland, so I'm not sure, and I haven't done any genealogy in a long time, so I don't know. But yes, we're related to Ted Nugent. So wherever he claims to be from, yeah, that's where we're from. So I'm just going in and doing the tips of the flower petals. Yeah, Texas. I actually have cousins in Texas too. My mom's family has been in America for a long time. So we have cousins everywhere, and my dad is Italian, so again, cousins everywhere. Big family. I think I have cousins in almost every state in the union. So now I'm just going in and taking some of my leftover color on my palette, and I'm adding it to the flower tips, the petal tips, and just darkening up some of them. Doesn't that start to like pop, really prittling? So this is a Princeton Select round number eight. I love the Princeton brushes. They have the Princeton Neptune and the Princeton Select line, and I love their brushes, they're synthetic, so they're not, no animal hair involved, and they're affordable. So I like that already. I am going to put a little bit of this because looking at the inspiration photo again, there's a little bit of the reds in the flower center. So we're going to add some. Now we're going to, and I use the purpley red because it looks like, according to what I'm seeing in the photo, it looks like the one that would work. I'm blending the little dots to paint out just a little bit, not too much. And I missed that last comment because I was painting and not looking at the iPad. Okay, now we're going to go in and we're going to do the leaves. And I'm going to use Cascade Green, which is a more of a blue-green. This one here. I feel like I need another cup of coffee, so I don't know what to tell you. I haven't done the PDF yet, I know, right? I'm so behind on the PDFs. The inspiration photo is from Pinterest. So I'm not sure I'm going to be able to put it on the PDF, but I will put a copy of this on the PDF. And I just last night figured out how to pull stills out of these Periscope broadcasts. So I can go back to last week's more faces and pull a few things out to add to the old faces PDF. Anybody who's purchased that, you'll get an updated copy as soon as I get that done. And I'm going to, after the fact today, create a point set of PDF, and I'll pull images out of the broadcast and I'll be able to crop them and zoom in so you won't get all that extra stuff around the frame like you usually do. Now on the stills, I can't do anything about the video. I optimize it as much as I can. I promise in the new year to be a bit better about the PDFs. Oh, thanks. I really do wish I had like a secretary that could just do this and she could create the PDFs for me because there are pain in the neck, to be honest with you guys. Yeah, that's a good idea, Mark. And I can link to some of those. Yeah, and I can give you guys some suggestions for websites. Paint My Photo has some great images. And like I said, I can give you copies of my painting. I missed the last comment because I was painting again. And I keep talking to the iPad because you know, I'm thinking you guys can see me on the iPad. I really do feel like I need more coffee. Okay, no problem. I'm gonna just blot that just a bit. That's better. Yeah, it does me too if I have too much of it. Plus I get a stomach ache. I might drink some tea though. I might make some tea after the broadcast is over. So this is called Cascade Green. This is a Daniel Smith color. It's more of a blue-green or, yeah, it's more of a blue-green. I almost said true green, but that's not true. The truest green I have on my palette is Sap Green. Another one, if you have it in your palette would be Hooker's Green. This is more blue on the blue realm. I'll show you in a minute. I always usually include a copy of my palette that we're working from in the PDF. So you guys have a complete listing of all the 52 colors that I have in this palette that I work from usually when we're broadcasting. I have a number of palettes. This is my favorite one. Okay, so I'm gonna come in and I'm going to get some Prussian Blue. Yeah, 52 shades of Daniel Smith watercolors. And I'm gonna mix the Prussian Group blue onto the palette plate, but you can't see what I'm doing. Right into the greens that I have on there. And it's just gonna darken up the greens. Remember in your paintings that, you know, to have it really pop, you want some light lights, but you want some dark, darks too. And if you're painting with all bright colors, then you want to make sure you have some neutrals. So neutrals will make the bright colors pop. And if you're doing this as a color launcher, I do not as much as I used to when I was learning, but I think I've got three of them around here somewhere. You need to practice with your colors and practice mixing with the colors that you have. A good example of that is this here. So I was working on, I think, a Gene Haynes assignment. And she used Cavendium, Orange, and Indigo, which I don't have in my palette. So I was seeing, I swatched them from my samples that I have from Daniel Smith, and I was seeing what colors I have in my palette were close. I found that if I mix Payne's Gray and Prussian Blue, I get a nice dark Indigo color. And that my Pryroll Orange was pretty close. And if I added a little bit more yellow to it, that it's not, I didn't do it on here, but if I added a little more yellow to it, I got something that was pretty close. So use what you have. But when you do the shadow color on the leaves, go with a darker blue, or mix the darkest blue that you have with your greens. And I shadow color for the petals, obviously, that we used as violet. When you look at your color wheel, you have your blues and your greens. They're cool colors, the violets. And the, you know, I started with a set like that, nothing wrong with that. The violets, the blues, and the greens are nice cool shadow colors. The reds, the oranges, the yellows are warmer colors. And if you are wanting to paint impressionistically, then you wanna paint in cool colors for your shadows and warm colors for your highlights. So that's not bad. So the one thing I wanna do here is add some of this green. Thank you so much. You know, I have a couple of the expensive brushes and I like them, but I prefer the Princeton Select. They're frequently on sale at my local art supply store. If you have an Aaron Brothers Art & Framing, these are on sale frequently. And sometimes buy one, get one free, or buy one, get two free. They have the Princeton Select and also the Princeton Neptune. Princeton Select is for acrylic or watercolor. Princeton Neptune is recommended just for watercolor and they're my favorite brush. I have a couple of really expensive like $70 brushes and they're great and all, but I'm really hard on my brushes. So I usually don't spend that kind of money on brushes. So the last thing I would probably do on this, yeah, they cost a pretty penny. Let me tell you. So I wanna, oh, see, but I like that. So I would leave that like that. I like that. And this journal is really all about experimenting. I have some, what is it, Raphael Soft Aqua. And I don't think that's how you pronounce that. Pull the water from it. I don't know, what do you mean exactly? So in this journal, because this is a mixed media journal, I have lots of different kinds of paintings in here and I frequently do stamping and writing and use this as more of a mixed media watercolor journal. I don't always, but this one, in this particular case, I think I'm gonna leave it. Oh, no, I'm gonna leave it. One of the joys of being a mixed media artist, in my opinion, is learning to work with the unexpected. And I actually like that large drop there. And actually having that large drop over there and these drops over here balance all of this craziness that's going on over here. And it's gonna dry a lot lighter than it looks right now. We didn't even get to the rows, it's been an hour. To do the shading, you see me do the shading on here. So it's the same type of shading, but let's at least do a quick sketch for a rose. So here is my, that journal has a lot of roses in it already. So this is my fluid watercolor paper, Cold Press Block. And I have, you can go and find me over on Pinterest and I pinned some of these pictures to my watercolor inspiration board, by the way. Somebody asked earlier about photos. I gotta rearrange my clipboard. No, I went to school, I went to college for a study early child development and counseling. I was gonna be a, I wanted to be a counselor for troubled teens. Let's go for art. But then I had, I got married and had a kid and life gets in the way. So now let's do a sketch. I've got my photo here to the side and the shading is done the same way, but first I almost always do a sketch. Now when I do, I draw every, every day. You can't get pregnant. I do this. This is what I do now. My daughter's 20, so I don't, I don't raise kids anymore. Thank you. So I start from the center of the rose and work your way out using your inspiration photo and just copying the shapes that you see. Rose petals are roughly and uneven. They kind of have softer edges, but they're definitely a bit on the jagged side. And you know, you want, you're using your inspiration photo for inspiration. You're not, you know, we're not looking to make an exact copy or anything. And they're really, it's really just about a series of petals that are wrapped around each other. Oh yeah, see, because I'm doing it like, you know what, let's do it in ink. I know somebody's going to go, what ink? Let's do it in ink. This is a Stedler pigment liner. All right, so I'm going to start back in the center. There we go. So just drawing the shapes I see on my inspiration photo, starting in the center of the flower and just, I'm just working with the edges of the flower petals that I see. And of course you wouldn't do this in pen. You would do this in pencil or, you know, watercolor pencil or just standard number two pencil. You wouldn't be crazy like I am right now and do this in pen on camera. Unless you're doing a tutorial. Okay, I lost track of what I did. I missed the one before or your Jane Davenport. Oh, or yeah, that's true. I actually use, my phone is mounted on the shelf above my table with a dollar store phone mount, to be perfectly honest. Yes, of course it's okay to ask a mixed media question. I'm sure they do, I would go to Amazon and look. So again, I'm just looking at my inspiration photo and I'm copying the shapes that I'm seeing or at least a close proximity of the shapes I'm seeing. So I think so, but if I wanna have sparkly paint, I generally just honestly, if I'm working with acrylics, I mix glitter right into the paint or I use iridescent medium. This is a Stadler pigment liner. This is from Staples. They come in a set of four and different nib sizes. This is the biggest one. So there would be our rose. I generally speaking, don't draw the leaves. I am going to use, yeah, that sounds familiar. I'm not sure where I heard it though. Thank you. I am going to use a flat brush. Now this is a Princeton Neptune half inch flat. This is my favorite flat brush. I love the size of it. It's not too big. It's not too small. And also I love the plastic handle and the fact that it's got a pointy end so you can scratch into the watercolor to get some different effects. All right, so I'm gonna just use the colors that are on my plate here that we have. And I'm gonna actually just go right for the purpley color. So the trick to this is of course, keeping the inspiration photo handy is to lay the color in to the parts of your rose petals that are in shadow. So starting, and I'm gonna turn this upside down because it'll be easier for me. So starting near the center and sort of painting around your rose petals, you can use a flat of course, or you can use a round or you can use a combination of. And I'm gonna just leave that there for just a second and it's gonna soak into the paper. And I know that, but that's what I want. Then I'm gonna come in with some water and just plain water and I'm gonna pull that pigment up a little bit. It's gonna follow the water. It's gonna leave a shadow, a darker color, a suggestion of a shadow in the crease of the flower petal. The rose petal. And you're gonna be pulling a lighter version of the pigment up. I haven't added any more colors to this. It's just the purple. So this is one petal, right? And we've already put color on it. And this is the upper edge of that petal. So it should be white, but this right here where I have the brush now is the bottom of the petal behind it. So that I want to be darker. And it's always good to keep your inspiration photo handy in case you lose your track of where you are. And with roses, because they have so many petals and they can be so complicated, it's easy to kind of lose track of where you are, okay? Now, if you get too much of the pigment moving up, come in with your damp clean brush and run it along the upper edge of that petal and just do some lifting. I'm gonna pull, I need some more paint. So this is almost the same colors that we accidentally made. This is a rose of ultramarine. I'm gonna lay it in the base of the petal. This is a nice color. It's a cross between a purple and a pink. Don't be afraid to turn your work either. I'm actually gonna switch to a small, a different brush. This is a Princeton number four pointed filbert. Just because these center petals are a little tough to get into. Whoops, see too much water. That's all about getting the right color in the right place and controlling how much water. There's tons of different ways to do flowers, roses. This is how I do them. I keep trying other ways and I keep going back to this way. This seems to be the way that makes me happy. I don't think there's anything wrong with that. Go back into the center here before we go too far. I wanna make some of this darker. And it's a really fun experiment to do this using only one color. It really teaches you a lot about control in your watercolor. If you're not focused on color, you're just focused on layering down a right amount of that color in the right place. So the pointed filbert has a pointy end. So it's kind of a cross between a flat and a round. Yeah, it's all about control. And working with these paintings with just one color teach you a lot about control. You know, I was gonna lift that but I think I like that dark splotch. So then you just keep going around your flower and working your way all the way around. Like I said, this is a great exercise in control. I do recommend it. What's the worst that could happen? You make an ugly rose, been there, done that a million times. I feel like, ah. I miss that, whatever that was. I was painting. I wasn't looking at the screen. Something about dirty dancing. Well, I'm glad it made somebody laugh. I missed it. Yeah, you know, I have lots of stuff in my journals, ugly, ugly work. It's part of the process of learning to create art and, you know, it's part of the adventure in creating art. Well, I'm still here, Brandy, so no worries. I decided to just keep going and to paint this rose after we were done with the point set up. So this is gonna be a longer broadcast than normal, not that my broadcasts are ever short, unless I'm getting past the brush. So I'm only using, you know, the one purpley color, the Rose of Ultramarine. You're welcome, Nancy. Hey, I like silly putty. So you just keep going and going, we're almost done. And getting those darker and lighter tones with just the one color of paint. Oh, you're welcome, thank you. Have a good day. Is a challenge, but it's a fun challenge. So you can come back into some of these areas and make them a bit darker, again, with just the same color after you get that first layer of paint on. Make your dark spots darker, leave your light spots light. You know, that just depends on the mood that I'm in. Most of the time, if I choose to make pen marks on my paintings, I tend to leave them and let them help me suggest the shapes that I want. And I don't necessarily try to cover them up. Because I put them there for a reason. But that being said, you don't necessarily want these black marks to be up against the light pastel color. So now I'm taking the Rose of Ultramarine straight out of the palette, which is really dark. Hello, put a little bit of it down and then pull in some water. And you notice I'm not blending it out completely. I'm letting the water go where it may. I'm good. If you're going to be a troll or be nasty, you can just go away. I'm always wary of people that ask me how I'm doing since I had the sex box on my channel. So again, we're just, you know, I haven't, I'm not using any other colors of paint. This is just the Rose of Ultramarine. So laying down some pigment and then putting in some water before it gets to, I don't know what to say to that. Rose of Ultramarine. It's a Daniel Smith color and I think it's a unique color to them. They have a few unique colors. This is one of them. And it's one of my favorites that they make. They do have a color sample chart that you can get from Daniel Smith either directly from their website or on Amazon, a dot sample chart that includes a dot sample of all of their 238, I think, colors of paint. So you can try them before you buy, you know, the whole tube. Their tubes run anywhere from about like $11 to, I think like 20. It depends on the color and the, you know, the kind of the pigment. I started collecting them by just buying one tube at a time. Oh, thanks. I hope that's a good thing. So there's our rose and that's only with the one color. I haven't put any other colors in here. This is just the Rose of Ultramarine. And you really could just keep going, making your dark parts darker, leaving your light parts light and not getting them, letting them get too dark. Okay, I just blocked somebody else, you guys. All right. And so I haven't done anything else to this. Now you could come in with some green. Again, I'm just going to use what's on my palette because it's here. I wouldn't be too concerned with painting leaves exactly. Just suggest some like greenery around the flower. It just makes it, you know, kind of pop. Do it in three places. Three places are more interesting than one place. Add some water, let it flow, you know, do some lifting. See, so I would go hit a sale. Don't tell me about it because I have enough paint. Yeah, yeah, yeah, I have too much paint. But definitely if there's some kind of sale going on, go do that. And I do recommend, you know, get the colors that you're attracted to buying, like the Rose of Ultramarine. But it's handy to have the color dot chart too, because if you run into a lesson for something that uses a color that you don't think you have, you can swatch it and see if you can mix that color from what you do have, which is what I did. So I don't know that I would do too much more to that. That's kind of cute the way it is. I do think I would make me make the greens a little bit darker by just pulling in some sap green water in the direction that I want the green to go, which is away from the flower petals. And then I might even do this, which puts some, you know, marks in the paint. Um, no, no. Boy, I don't think so. Hang on a second and I'll look at my color chart and my dot samples and we'll look, but I don't think so. You have to mix it. Generally speaking, it's usually better to mix flesh tones than it is to use out of the tube. The ones out of the tube are generally slightly off, not in a good way. Most of the time they're too pink. I had an art teacher once that called it penis pink instead of flesh tone, FYI, just, you know, don't mean to offend anybody, but okay. So there we go. So that's a rose. This is, I took my Daniel Smith cards and I cut them apart so they fit in here. And they have Hansa Yellow Deep or Naples Yellow, which are flesh tone kind of colors. There's a clean brush, maybe. Thank you. So this is the Naples Yellow, which is a flesh tone-y kind of color. So you could use, definitely use that. I think it's closer than the Hansa Yellow Deep. I don't think they have anything that's specifically called flesh tone. Looks like peanut butter, exactly. So, you know, in part of the faces video, the first one and, no, first one was mixing flesh tones and actually a downloadable copy of that video and the PDF is in my Udemy course. It's also free on YouTube, the video of course, but these are all the different colors of Daniel Smith paint. That's the closest one they have. That's one that you wouldn't have to mix. I don't think it's exactly right. And of course, it's just, you know, a Caucasian, you know, pale, or what I call pale Irish pasty skin color. I think it's nicer to learn how to mix colors and learning how to mix fleshed. If you can mix a good flesh tone, you can mix any color. And this is the little book I made with all my sample little charts in it from Quar and Daniel Smith. Here's our rose. And I'm gonna try to catch up on the PDF thing, you guys. I'm sorry, I didn't do the pre-video with the PDF. So I'm gonna try to do it actually from this broadcast and pull stills from the broadcast and then do the PDF for, and it'll include the point set and the rose. Oh, you're welcome. I, you know, go back and look at the faces video and or if you've signed up for the Udemy course, Lisa, the PDF and the video from the Periscope broadcast is in there. And you can download it on your computer and just practice mixing your flesh tones. Cool. It might take a while to download because that video is a really long video, but just, you know, like set it to download like one night before you go to bed or something. And what I would do is keep some of those things like on a flash drive or burn it to a DVD. And that way, if you're out, like you're on vacation and you can bring a portable DVD player with you or your laptop and you can watch it on vacation and you don't have to go fishing around on YouTube like I did recently and use up all your data plan watching one video. Been there down that and I know better, holy cow. All right, you guys. So roses and point set us. I'm not sure what's next, but we have a list of suggested Periscope watercolor Wednesday broadcasts over in my Facebook group, a life of art and self-expression. If you want to suggest a video, please go over there and find that file and add something to it or add something in the comments and we'll get it in there. I think the next one, I know galaxies are coming up. I keep saying that. I do know they're coming up. I don't know if it's next or not. I know, I've lost track. And I don't think now there's gonna be a broadcast for two weeks because this isn't next week Christmas. But, so I hope you guys all have a happy Christmas. Yeah, like space. I hope you all have a happy Christmas. I hope you all have a safe Christmas. Yeah, we're a borealis. And yeah, I will get the, I'll try to get all the PDFs caught up and loaded to Etsy before Christmas. Hopefully I'm laughing. I have so much work to do. All right, you guys have a great Christmas. Happy and safe one to you and yours. And yeah, I've been eating too much Stalin, so I've got to go walking. All right, that's it for right now. Have a great day. Go out and play, experiment with your paints. And that's it for right now. All right, bye guys. Do something nice for yourself because you deserve it. All right, bye.