that is pine plantation, foliage green and bright yellow and this brush that has that special shape is a bit like a triangular wider at the base and ends in a very fine tip , it is a brush number 10, I exactly bought it in a Fine Arts store of the Silverline brand, the truth is that I do not know where you can find it because I have had it for a long time but this brush is very good for us to make the shapes of the leaves, elongated leaves that begin and end in a point, I will use the three colors, pine plantation green, foliage green and bright yellow and I will stain the brush with the three colors depending on where I make the brushstroke if the leaf It is on a darker area I will use a lighter color and if the leaf is in a lighter area I will use a slightly darker color, we are going to make the composition of the foliage using a bit of logic, this table l Or I am inventing I am not copying from anywhere and we have to take into account that at the bottom the leaves fall and at the top, since they are shot up, we are going to assemble the composition using logic. One of these branches has fallen on the table to the left I put a larger one and to the right only three small leaves, now I am going to use a round and fine point brush of number 2 to make small leaves, it will be a litter or some Different logical branches very very small and I am going to do the same as I have done before I am going to use different shades not all the time the leaves have to have the same color, I am using some a little lighter in some a little darker taking into account that the tips of the branches will be lighter and as they get closer to the center as they have less light, they will be darker, it is a matter of giving small brushstrokes each of them with meaning so that they have realism and they will be some twigs because they open and it is not a whole stick where all the leaves come from if not that small branches come out of the central stick and in each of those small branches there are small leaves so I start to do the composition. I am using the brush only pressing with the tip of the brush if I need to make wider leaves I press the brush harder, the bristles of the brush open and I get to make wider leaves which is what I am doing at the bottom of the vase, Once I have all the leaves finished, I will use a brush that you always ask me about, this brush is called a fillet brush, it is exactly number 6, it is a very fine and very long brush and it suits us perfectly to make long thin lines and I am using a medium called "Glaicing" also from Decoart which makes the paint more liquid, which takes longer to dry and helps us to perfectly slide the brush on the base of the canvas, and what I am doing is to unite all those leaves that I have made both the small and the large ones, the small ones have a central rod that connects each of the branches, but we have to be patient so that all the leaves include only the little ones have their little tayo. Green is a very important color in this composition, in addition to these two types of leaves that I have made, it also has some small rods that at the end do not have a leaf, they are very simple green rods, the first thing I do is mark where each one of them is going to go. them, using the fillet brush that I have previously mixed with a little glacing or medium, when I have marked where all those little twigs are going to be, what I do is give definition to the tips of the twigs , how do I do it? Well, just as we have done before with the round brush with a fine tip that depends on how we use it, one stroke or another will come out, with this brush the same thing happens if I support, press and lift, I will get this effect, I will make a kind of with a thin and elongated leaf, which is narrower at both ends and wider just in the center. Take a good look at how this brushstroke is , I press and lift support, I press and lift support and there are some fine and super beautiful leaves now we are going to start marking the flowers of our composition using a cat's tongue brush of number two, the tongue brush What is the characteristic of cat, since the tips are rounded, it is not a square and flat brush but it is round and it will go perfectly to make the flowers I will use a milk chocolate color to mark the center of each of my flowers I'm going to go looking within the composition where I want them to be in each one of them. I have already marked where I want the flowers to go and I am going to use I continue to use the cat's tongue brush of number 2 and I am using a mixture of Prussian blue with white, it is important that in the beginning the flowers although in the end it will be white , the flowers, even if they are white at all, are not completely white because they have their lights and their shadows, and we are going to use Prussian blue to make some areas of the flowers dark and not all the flowers have the same position, there are flowers that are looking to the right to the left, some are hanging, some are superimposed on others, so what we are going to do in principle is going to be to use white with blue to start marking the position of all the flowers. In some of the flowers and the position that it is going to have is clear and then I give some brushstrokes some of the petals with a more intense white because I know that this flower is going to be one more flower out in the composition of the vase, so I am creating that volume using white with Prussian blue and in some strokes I use more white and in some strokes a little more blue to give it precisely that feeling of volume and depth. Notice how the composition is already gathering volume and the flowers that are further out and stand out more and those that look deeper is because they have more blue color, that is why I am playing with the two colors. And now that I have all the white flowers located, the daisies, I am going to start with the delphinium bouquets, the first thing I do is mark the stem where I am going to place each one of them, I am using the green color of planting to mark the stem. pine tree and now with the cat's tongue brush and in Prussian blue I am going to start marking some flowers in blue without making any mixture, the delphiniums at the bottom are wider and the flowers are fully developed and at the tip The flowers are smaller and there are small petals. The first thing I do is mark the largest flowers at the base of the stems. As I get away from the base of the stem I go up towards the end of the rod and each time the petals are smaller when we reach the top we are going to use the brush only by putting the tip of the brush on the canvas and so on with the same brush we are going to make bigger or smaller flowers. I already have the composition of where the delphiniums are going to be placed and I have used Prussian blue without mixing for the moment, but now I am going to mix the Prussian blue with a little white and I am going to intersperse with the flowers that I have painted in the bottom part , of course we do not have to cover everything that we have painted in blue, we simply have to make petals in the same way as before, at the base the flowers are completely open and as we reach the end of the rod each once the petals are smaller. As you can see, these flowers are spectacular, they are super super pretty, we are going to detail each of the corners of our composition so that it is perfect, and now I am going to use a bright yellow to put in some areas where the blue flowers are especially in the center of the flowers that are open. And now we are going to give the final point of light to the daisies, we are going to use mainly white and of course the logic the flowers or part of a flower that is more illuminated or that has a position in which we have to see a more illuminated area What other are we going to give it more white, that is, within the same flower, not all the flower will be white or not the whole flower will be blue, it will depend on each of the flowers of the position they have within the composition if it is deeper or closer to us and also if it is in an area where there is more incidence of light or fewer incidences of light, we will work one by one until we achieve the result that we like. A flower and some petals have fallen on the table, I take advantage of the fact that I am using the cat's tongue brush and the colors of Prussian blue and Titani white to make these flowers that are on the table, I look at the composition again and I just gave it lights and some shadows to each of them. I already have the daisies finished, when I started to paint them I used a milk chocolate color to make the center of the flowers on that color using a fine tip brush I am going to use a bright yellow color to give it small strokes and that center will give a lot of life to each of the flowers we do not have to cover the brown completely we only have to give small dots in the central part where the flower receives more light. On the sides I have a flower that is falling downwards and then the position of the flower is not a front position looking towards us, it is as if it were half a flower and from that center the stem at the back of the flower using the color pine plantation and with the fillet brush, we are going to make the stem so that you can see that that flower is hanging, now I am going to give a final touch of light to the table as I said at the beginning in the left part is where The spotlight comes to us, so I again use the flat brush that I used at the beginning to make the background to make the left side lighter as it has more light. We do not have to forget about the shadow generated by the flowers and stems that have fallen on the table, I am going to use a mixture of Prussian blue with soft black, first I placed just the color under the figures and then I blur it so that it goes losing intensity. Now that we have finished the composition of the vase with the flowers, we are going to finish the lower part of the table where the vase is placed, the left part is receiving more light so with a dry brush loaded with white paint and a little blue We are going to give it some brushstrokes but it is very important that the brush is completely dry so as not to cover the painting that we have at the bottom, and with this I conclude this painting that as you can see has been spectacular, beautiful and very very elegant. I hope you liked it if so and you are not subscribed to the channel, remember to SUBSCRIBE and give me your LIKE. And as I always tell you, I can only tell you one thing: a very, very strong little kiss and until the next tutorial.
