Learn How to Paint SPRINGTIME MELODY with Acrylic - Paint and Sip at Home - Step by Step Tutorial

hi there i'm michelle the painter from berkshire paint sip and this is paint and sip at home [Music] all right so today i'm going to be painting springtime melody and i'm going to be sipping on a little pinot noir and if you enjoy this video i do hope that you like and subscribe to my channel and that you also check out my patreon page where you'll find additional painting perks so let's get painting and let's get sipping all right so what i'm going to be using for my materials today is a stretched and primed 16 by 20 inch canvas if you're painting along with me you can certainly switch up the size but that's what i'll be using i'm going to be using acrylic paint today my colors are titanium white burnt umber which i'll call brown cobalt blue burnt sienna which i'll call rust mars black green oxide and chrome yellow of course you can switch up those colors if you'd like to but that's what i'll be using for my tools today i have a standard number two pencil and then i have three brushes i have a half inch wide flat bristle brush i have a number six round brush and i have a number one round brush and i will refer to these as small medium and large as we go through the painting process if you're painting along with me you'll probably want a cup of water for washing your brushes as well as a paper towel for drying your brushes and down below this video i will be providing you with a couple of additional resources that can help you through the painting process there is down below a link where you can purchase the same exact paint kit that i'm using from the large canvas to the palette and all that good stuff it's down there there's also a link where you can download a free image of the final painting so you can print that and use it as visual reference as you go through the painting process and there's also written step-by-step instructions down there for you as well and that's all we're going to need today all right so what we're going to do for the first step is we're drawing ourselves an outline for the piano key board area keyboard area piano keys we're not just doing the keys we're doing the whole area so piano keyboard area something like that so i'm going to use my pencil i'm going to give you a couple of markers and we're going to connect those markers and we'll have a basic shape that we'll be able to color in so on the right hand side of my canvas i'm going to come up about a quarter of the way and make myself a little bit of a mark and to know where that quarter way mark is if you visually kind of pick your halfway point on the canvas and then just go about halfway between that and the bottom of your canvas that'll give you about a quarter of the way i'm going to come down to the bottom corner and i'm going to come up maybe about an inch inch and a quarter maybe and make myself another little mark then i'm going to come on the left hand side of my canvas and i'm going to come up maybe i would say about two two and a half inches make myself a mark here bottom right hand corner along the bottom edge i'm going to come over maybe about an inch inch and a half make myself a little bit of a mark in through here and then i have two more marks that i'm going to be making in through here so these are they're about two inches apart and i would say they're about two inches above this marker so if you go about two inches up and maybe about a quarter of the way into your canvas or a fifth of the way in you can make yourself a little marker here and then go about two inches to the left of that and make yourself another marker there so you should have six marks two three four five six and then what we're going to do is we're going to connect this one to this one with kind of a curved type line i'm going to come over like this and then just up like that something like that i'm going to do the same thing with this these two top markers only this is going to have a little bit more of a wave to it so i'm going to come down in through this direction kind of come over and then give myself a little bit of a wave type mark coming in through here and you're just going to bring it to the edge of your canvas you this little marker here that was just that was just to guide you you can erase it if you want to but you want to bring it all the way over to the edge of your canvas then i'm going to connect this marker to this one down here with another wave but it you don't want it to be too too wavy just a gentle little wave will will be fine so i'm going to come up a little bit kind of come down towards the bottom of my canvas and then give myself another little bump up in through here and i'm not going to close this section off here and you'll see why in a minute but this is all i'm going to be doing for my outline so we're going to use our large brush for the next step so you can put your pencil away take out your large brush and get ready for the next step all right so what we're going to do for the next step is we're painting the base coat for the keys so i'm going to be using my large brush and i'm going to be using brown and white paint and how i'm going to do this is i'm going to have the this top portion lighter than the bottom portion so i'm going to be using mostly white on my brush with just a little bit of brown on my brush at the same time and i'm just going to paint them in i don't need it to be anything other than just a light tan color it doesn't have to be any particular brush stroke when i do get up into this area i left it open because i want these keys to kind of merge in with the grass so what i'm going to do is i'm just going to kind of bring this paint up in a messy fashion so i have almost a broken line at that at that edge right in through there and i'm going to bring this right to my pencil my pencil mark and i'm going to get the entire area covered in so if you have some spots that are lighter or darker than others that's totally fine if you have it you know darker up top and lighter down at the bottom that's again will work because we are giving the impression that this is outdoors so there is going to be highlights and shadows from various objects around the the landscape that we're going to be doing so again if you have lighter spots and darker spots that's fine you could certainly pre-mix yourself a light tan color if you wanted to but i'm just kind of mixing it on my canvas like this and then this bottom section i'm going to be using the same thing brown and white only this time i'm using more brown so it's going to be a little bit darker down in this bottom section and then we will be using this same brush for the next step so once you've got your base coat for your keyboard on here all you're going to need to do is wash and dry this brush and you will be ready for the next step all right so what we're going to do for the next step is we are painting our sky i'm going to be using my large bristle brush and i'm going to be using brown blue and white and i'm going to be alternating the colors on my brush for the majority of my sky until i get up into this upper right hand region where i want it to appear that the sun is over there so i'm going to have that the lightest so i'm going to start with all three colors on my brush a little brown a little blue and a little white i'm going to be using this long kind of crisscross type motion for my brush stroke and you might want yours to be lighter or darker than mine you might want yours to have a whole bunch of blue in it or a whole bunch of white to make it look a little bit softer whatever works for you is totally fine the only time i'm not going to really use this soft left to right motion is when i get to here which is the meeting point for the keyboards that's where i'm going to just kind of pull that color down into that section a little bit so i can get those to look almost like they're merging into one another and as i go through this process i'm not really using a ton of paint on my brush but i i want to use enough to make it so i can move the paint so you do want it you don't want your brush to be too too dry during this process so as you as you go about this if you feel that your your paint is drying on you too fast and you're not able to get the colors to blend together you might want to use a little bit more paint on your brush and again i'm just kind of using this long left to right crisscross type motion so i can get the illusion of maybe some gentle clouds flowing by floating by on a nice beautiful spring day or summer day i think i think i've designated this painting to be a spring painting because it's got daffodils in it and daffodils in the region where i live definitely come out in the springtime so this to me is is a spring painting so you can certainly have yours um resembling summer or spring whatever whatever is visually appealing or speaking to you that's totally fine and then as i get up towards this upper region i might you might find that i go back into a previous section as it's drying just you can see i'm kind of floating around my my canvas at this point because i like to keep the paint i like to keep manipulating the paint as it's drying so if it's if i wanted to be a little bit smoother i'm watching it dry i'm watching my paint dry which is always a fun thing to do um but as as it's drying i can say oh i can with a gentle touch i can i can soften that a little bit more but sometimes if you go about trying to get all these um colors to do exactly what you want while they're too wet sometimes what happens is you just end up mushing them all together and it all ends up as one solid color so that's why i like to just kind of manipulate them as they're drying and that way i can really control what's happening as i'm going over towards this right hand side i'm going to stop picking up my colors for a minute the brown and the blue and i'm going to get this to go really really light almost white or just about fully white up in this top right hand corner to again give the illusion that the sunshine is up in through there i still have remnants of my blue and brown on my brush so you can see it is definitely still coming off as as a little soft softness in the color so again you can certainly get this to be as dramatic or as soft as you want it to be i'm getting mine to of course be a little bit darker down at the bottom lightest up here in the top right hand corner and i'm just going to kind of keep manipulating this and working this paint as it's drying maybe if i want a little bit lighter area to resemble like a cloud going by i can certainly tweak that a bit but i am going to be uh let's see what am i going to use for the next brush actually we're going to be using our pencil for the next step so once you've got your sky on here you can put your large brush away i think i want i'm gonna keep tweaking mine just a little bit more here um once you've got your sky on here you can put your large brush away take out your small or take out your pencil and of course you can keep tweaking your sky as much as you want to and get ready for the next step all right so what we're going to do for the next step is we are drawing the line for the white keys on the piano so i'm going to be using my pencil and i'm going to give you a couple of markers and then we're just going to connect those markers and by the time we're done hopefully we'll have a nice equally spaced set of keys now mind you this is kind of on the surreal side so it doesn't have to be perfect i'm not even going to use any real math to create these but i do know that i want my keys to look a little bit bigger on this side and um to have a lot of perspective throughout the whole thing so they're all in essence going to start up in through here and then they're going to travel on this piano hill of sorts so what i'm going to do is i'm going to make a couple of markers i'm going to make myself a mark between here so i'm going to do one marker in through there and then i'm going to do another marker about halfway between here and here so you can just eyeball this it'll be a little bit to the left of he of here so maybe a little bit to the left of even here and just go straight down that should put you in the ballpark then what i'm going to do is i am going to create the bottom markers first so from here what i'm going to do is i'm just going to bring a vertical line straight down then i'm going to eyeball about halfway between here and here so for me that's going to be about here and i'm going to make myself another vertical line then i'm going to go halfway between here and here make myself another line halfway between here and here make myself a line i'm going to repeat that step over here so halfway between here and here is about here halfway halfway now i need a couple of other markers i'm going to put a mark at the end excuse me not here not here it's going to come a little bit up from this little corner here so somewhere about here i'm going to have another marker and then over on the right hand side i'm going to come up from this corner here maybe about i would say a half of an inch make myself a mark and then almost halfway between here and here i'll make myself another mark so now what i'm going to do is i'm going to connect all of these bottom markers to this central point up top so i'm going to start with my center one which is right here and i'm going to connect it to here so what i'm going to do is i'm kind of using this curve as a visual guide so i'm going to start here and give myself just a little bit of a curve something like that and then what i'm going to do is i'm just going to continue that process so the number of key bottoms i have they all have to kind of converge up in through here so i'm going to try and kind of equally space it but it's got to gradually get larger as it comes out and touches the end of the key so something like this and you'll get your your rhythm you might have to erase once or twice to get this to look exactly the way that you want it but it is definitely a fun process that is going to give us a lot of interesting elements to this painting so we're going to go one more in through here something like this and you can see i'm i'm kind of sketching my lines for me when i when i do a step like this it's almost easier to sketch it as opposed to going one straight um mark i don't know why that's just where my brain works so i'm still up here this one's almost straight down if i can give it a little bit of a curve great if not no worries and then i'm going to start curving them kind of in the opposite direction because i've got my heel is going in the opposite direction so something like this yeah this is this is fun i like doing lines i like making these graphic kind of uh paintings i've got a couple of paintings that i've done in the past that are i think i want this one to be a little bit straighter that are of more of an illusion kind of basis like this one is but then they're much more intricate so there you go you saw me you saw me making a correction in through there because i want these to look like they're coming out pretty much in a similar direction and equally kind of spaced at the bottom so here we go i've just got this one left to go and then we are going to be using our small brush for the next step so once you've got your key your white key lines in place you can put your pencil away take out your small brush and get ready for the next step alright so what we're going to do for the next step is we're going to paint the lines that we just drew in pencil we'll be painting those with our small brush and brown and black paint so how i'm going to do this is i am going to use a little bit of watered down paint so that way i can have a little bit smoother of a line so i'm going to have black and brown on my brush and i'm also going to put a touch of water on my palette as well so that way i have a nice fluid consistency to my paint and all i'm really going to be doing is painting lines on top of the pencil marks that i just had and i'm not going to be pressing terribly hard so my lines stay on the more narrow side and you can see it i i get to go pretty far because i have the water on my brush it holds the moisture within my brush which allows me to get several of these paint strokes on at the same without reloading my brush so i'm going to do those ones i am also going to do one line underneath um the top of the keys versus the side of the keys so again i just have the watered-down black and brown on my brush and i'm just following the seam between these two colors so black brown a little bit of water and following this seam so i have a shaky hand for those of you who have not seen me paint before and i tend to resolve that issue by resting my hand on my um on my easel or my pinky on my canvas so if you are attempting this type of step and you have a shaky hand as i do that can certainly help to um alleviate that that shake that you might have so again i'm just kind of following my pencil marks trying not to press too too hard so i can have a nice slender line and if you end up having a line that's a little bit wider than you had anticipated you can certainly narrow it down after it dries you can come back with some of this base color that we did and just thin out those lines if you want to and this takes me a couple minutes just because i do tend to go a little bit slow so i get my lines exactly where i want them to be and if you miss your pencil mark if you go outside your pencil mark a little bit you can wait for the paint to dry and then just erase any exterior pencil marks that you might have that are visible and these lines don't have to be terribly perfect we will like i said have um opportunity if you need to to make any little corrections but i'm just going one line at a time i like to keep my eye on the prize which is the other end of the particular line so if you if you find yourself not going smoothly along it what one of my tricks is to keep my eye on the on on the place where i'm going so for me i start at one end of the line and i am constantly checking where the end of my line is so that way my brush just kind of naturally flows in that direction and if you want your lines lighter or darker you can certainly adjust it with the quantity of um black versus brown on your brush the brown will tend to be a little bit more translucent and see through and of course the black will definitely be darker these are meant to look like the little crevices or creases between the keys so they should theoretically be pretty darn dark but if yours if you want yours to be a little bit on the lighter side just for aesthetic purposes you could certainly use a little bit more brown as opposed to the black so i've just got a couple more to go here and again using brown and black at the same time on my brush with a little bit of water and you could also if your lines are a little bit too wide for you for you visually you could certainly utilize a skinnier brush if you wanted to or sometimes a brush with longer bristles will help you to get a more slender and consistent line so that those are those are tips for you um to getting the more slender lines and of course my biggest tip is just just don't press hard because that's going to be where we definitely get some wider lines and when i run out of paint in the middle of a um in the middle of a line you might know you might have noticed that i just did it a moment ago i will end up kind of starting um a ways back in the line as opposed to trying to restart that line at the end so like i'm running out of paint there so when i go to i reloaded my brush and i'm going to start a little bit in the line that will help me to keep more of a consistent edge to that line so it doesn't look like that line has been broken midstream and then i'm not going to do this top edge because that's going to be the top of the key so i'm going to leave that one without a dark line on it and then we are going to use this same brush for the next step so once you've got these lines established you can wash and dry that small brush and get ready for the next step all right so what i'm going to be doing for the next step is i'm painting the black keys i'm going to be using my small brush and i'm going to be using black and white paint so how i'm going to first do this is i'm going to lay out where i want each key to be and oops i'm going to throw my brush while i'm at it i guess and i'm going to have my keys larger on this left hand side and smaller as they go to the right hand side so i do know a little bit about the placement of the black keys that there's three together then there's a space and then there's two together so i'm going to try and lay mine out similarly i'm going to start with this one in through here and this one is going to straddle across this line about equal distance on either side so i'm going to have it i'm going to start maybe maybe somewhere about here and go something like that and then this one in through here the next one is going to be i want to leave a little bit of a space between this one and that one and i'm i want this to kind of go up you know and follow the the wave of the um of the bottom that i have so i'm going to do something like this this is going to be about equal distance on the left and the right as well then i'm going to skip one of these lines and then i have three smaller ones in through here i'm going to do one two three but i'm going to do my center one first just so i make sure i don't go too too far um over on either side so this one's going to go about half on one side and half on the other at the one on the right goes a little bit more on the right hand side of this line and this key on the left goes a little bit more on the left hand side of the key so these three lines should be about equal um width from one to the next and then i'm gonna skip a line and then i'm gonna do the two over here so these i'm going to start to get to go up my up my little piano hill a bit so i'm going to go something like this something like that those might have been a little bit close together so i'm gonna just get one of them to erase a little bit i just want a little bit more space between those two i just i'm taking a brush with a little bit of water on it just so i can have a little bit more space between those two and that this is an easy fix too when you when you um when your paint is still a little wet you can just add a touch of water to it acrylic paint is quite pliable when it's still wet i'm going to skip a spot here and my next one is going to go in through here we're just going to kind of see the the edge of this one that's far off in the distance there so now i'm going to give them each a the front profile of them and again this one's going to be bigger on this side so the profile of these keys is oh it's like a triangle but it's flat at the top so i'm going to do this left side like this then i'll go ahead and do the right side like this and then i'll square off the top and i'm going to do that to all of them this one i want it to be a little bit higher than this area here so that kind of sets the stage and then they're all going to kind of progressively get a little bit smaller so this one i'm going to go like this and i'm not paying attention to the horizontal or the separating lines that i have in between because those are going to be hidden behind the keys themselves so as long as you just keep the um shape consistent with you with these areas that's going to help to keep your um the perspective on these keys pretty good and again they don't have to be perfect so don't feel the need to make them you know like photo realistic we're just going for something that is fun and interpretive we're going for a little surrealism here so these are going to probably curve a little bit on this side so i'm going to make mine a little bit tipped so it looks like their pointing kind of towards the the object up there but you don't have to do it that way if you don't want to so again something like that and then i'm going to go ahead and make this one i don't even have a profile to but i know that i need a top to give myself some guidance as i'm as i'm bringing the key in so i'm going to color them all in with black all of these sections are going to be colored in with black and then once i color them in we're going to put a little um corner marker on each one of them so that way when we have the key traveling up in through there we'll be able to visually make sure we see each key independently from one another so this is a really um a simple way to get perspective on on objects that are sitting next to each other and to allow for the visual um cues for when people are looking at it to be able to see one piece from the other so i'm going with my front shape that i know is facing the viewer and once i have that established then again i will give myself some markers or visual reference points so when i go to create the rest of the key itself i will have i won't i won't lose this perspective that we're doing so i'm not going to wash my brush i'm just going to wipe it off on my paper towel and i'm picking up black and white on my brush at the same time so my brush is dirty and i've got black and white i'm going to put a marker on the top and on the side where i have my light source so my light source is up here so i'm going to go top and right for these keys these keys will be top and right and then as i get into these ones they might go top and left so here we go i've got black and white on my brush so i'm giving myself this corner marker and i'm going to just keep reloading my brush with black and white and if it goes too white on you don't worry about it you'll have the opportunity to make it a little bit um darker when we do the when we do the other um details to it so again top and to the right is where i'm adding this this line which can be considered a highlight or a marker of sorts but you definitely want to be able to see it so make sure that you have enough of the white on your brush and then as i get over to these ones i'm going top and to the left it could i guess in essence still be topping to the right but i know the way that i've got these keys going it's going to be much easier if i have it top and to the left and you'll see why in a second and on this one i don't really have much um i don't i can't see the end of that one so i don't even really need to do anything for that so then i'm going to wash my brush wash and dry my brush and now what i'm going to do is i am going to create the rest of the key with just black paint to start so i'm just taking black paint and in essence i'm really just taking the key and making it travel up into this never never land up in through here and you can make that top portion i think i need a little water i'm using a touch of water in my black too i like to have a nice smooth paint stroke so again these keys are going to be getting bigger or closer to you as the viewer so they'll be skinny up top and then they get wider down here so where i'm in essence going from on these ones that one was pretty simple but these ones i'm in essence going from the the top um right of these two and the bottom left these ones might just go straight back and then these ones it's going to be the bottom right and the top left so you'll see how i'm going to do this so i'm going to go from the top left hand corner you can start up top or down bottom wherever it's easier for you but your goal is to meet that top right something like that and then the bottom left so again i want it nice and slender up at the top like this and then it's going to meet that bottom corner and you just paint the key in black make sure that you leave that little corner marker that you have and you paint the rest of it in with black like this then i'm going to go ahead and do the next one so i think i have to reposition my body a little bit so again i'm going from up here i want to meet this bottom left hand corner and if you can keep some of that white keys showing in between that's great so i got this going down to this bottom left hand corner i overshot that a little bit but that's all right and then i'm going to go ahead and get it also to meet the top right hand corner on this one and then i will fill in that little space leaving my highlighted corner marker like that i'm going to go right on to the next one so this one i probably am not going to have much because i'm going to most likely just go from those top little edges because it is almost straight on so i wouldn't necessarily see much of the side so this is just going to kind of travel right up the center i almost just stuck my hand way in the wet paint so something like that i might smooth it out just a little bit definitely um bracing myself with my pinky because of my shaky hand and of course you will definitely probably sit and tweak them until they're as perfect as you want to be so the next one i'm going from the bottom right and the top left and i'm gonna i'm doing a similar type motion so my goal is to get it nice and skinny up the top so i can again whatever marker is the easiest for you to start it at so something like that and i'm trying to keep it um for dimensional purposes in a similar angle as the as the um separating key lines that we we did originally it's going to get a little bit wider there we go and then i'm just going to color in that mid section and again once you get it on here you might find that you want to you want to tweak them a little bit but we are before we leave this step we have a little bit of a highlight that we're going to put on the top as well to give it a little bit more a little bit more dimension so again i'm going to start bottom right hand corner and travel up and top left hand corner and again i'm watching my neighboring lines so those lines that we had put into place for the um for the separation of the white keys that helps to give me visual cues as to where this line needs to go as well and then again i'm just going to fill in that little gap and again we're going for a surreal type painting so if yours is not mathematically perfect i would not be terribly concerned about it and then i'm just leaving my little corner edges visible because i'm going to need those in a minute as a as another cue for me to put the um the highlight on the top of the keys and then i've got i've just got these two left here so this one you might not see much on the top but if you can get a little sliver great if not no worries and again i'm just kind of going for that goal of getting this key to travel up into that the the beautiful flower that we're going to be putting on in a minute and this is just i'm using these other lines as my visual guide to get this to go up up and away something like that and then i'm going to color in this entire section with black paint and again you might not have much on the top but if you of this particular key but if you do great just color in a little sliver and then i'm just gonna color this part in with black and the next key is a fun one because we it hides behind the one that we're working on right now so you'll see how that's how that's going to work out i just want to make sure that i get this one to go all the way up and away like we've got the other ones so again this is one of those steps that you you get your groove you might have wanted to um do it in pencil first it or just go for it like i did with my with my paintbrush and then i have this last one so this one's going to kind of hide behind this one i'm going to use this line here as my visual guide so i'm going to do this to this bottom left-hand corner and then i'm going to use the the top of here as my guide to travel up because i want this to almost just hide behind there so i can't really i don't have much on this left hand side there's really at the angle it's at i wouldn't really need to start there so i'm going to start from this upper right hand corner and i'm just going to get it to to travel up up and away and it's probably going to um hide mostly behind this one but it might end up covering this whole edge of the hill so or a hail i guess that's what i'm calling it it's a it's a surreal daffodil piano hill so something like that and then i'm just going to color in this entire section so i did not give myself a q in through here with a light line but you'll have the um information of this corner and this corner will be the edge to that particular key so or you can leave a little sliver of unpainted um canvas in between two so you know exactly where that that marker is we're going to put a highlight on it in a minute but just in case you um are nervous to lose that that informational piece so now that i've got them all colored in black what i'm going to do i'm just wiping my brush off on my paper towel and i'm going to put a highlight on the top of them with black and white so the tops are going to be kind of flat and the highlight is coming from my light source so with some black and white on my brush i'm going to start over here and i am giving myself a little highlight on the top so black and white on my brush the brightest part i'm going to have in this corner here and i'm going to take it and i'm giving myself a bright spot on the top of each key so something like this and it almost kind of just fades up into into the into the daffodil tree or the daffodil bouquet so like this i'm going to give myself a little bit of a highlight on the top of here and then you can just pull it back and if you feel like you've done too much just bring a little bit more black onto your brush this is just meant to be a visual um bit of information that makes them look a bit more three-dimensional so this one i'm just gonna be having this front part with the highlight so i just put my black and white and i'm just going to kind of pull it up until it almost fades into that area so again my brightest part is at this this corner so you can just pull that up and then give yourself a bit more of a highlight in through here and you don't even have to go super high up wherever your comfort zone is is totally fine so black and white give yourself this little corner and then add a bit more of a highlight on that front of the key or the front top of the key and then just bring this up like that and then we just have these two over here so this one's going to be this corner here is going to give you the highlight to that one and again this is just the sliver of the top of it and if you feel like you really want something in this corner just bring a little bit of gray down into that corner that will help you to keep that separating visual effect you could even if you feel like this is showing a lot from the light source you could add a bit of a highlight in through here so again you can really steer the um the intensity of it looking like a photograph by by putting those those brighter highlights same thing with here if i feel like this would catch a bit of that light source i can certainly put a little bit more of that highlight in through here and then we're going to be using our medium brush for the next step so once you've got your black keys in place you can put your small brush away in your water cup or wherever you like take out your medium brush and get ready for the next step alright so what we're going to do for the next step is we're painting our stems and our grass i'm going to be using my medium brush and the colors i'm using are brown green and yellow so i'm going to start with just brown and green on my brush and i'm going to start with the main stems for the flowers so these daffodil flowers typically have a pretty straight stem like a straight stem and then it bends a little bit before it gets to the actual flower part so that's how i'm gonna do the actual stems and then when i go for the grass it's gonna be really fun and carefree so i'm starting with just green and brown on my brush i'm gonna have one coming somewhere in through here oh and i'm going to be painting it right into and merging it with this with the piano keys themselves so you'll see how this is going to go so i think i'm going to have maybe one in through here this one i'm going to have a big flower here so you're not actually going to see this stem bending then i'm going to have i'm going to have a big one coming up in through here so this one you'll see the actual stem bending a little bit so i'm going to go maybe somewhere out like that and then i will bring it back down like this and i'm going to have these main stems of the bigger flowers that i'm doing maybe about a quarter of an inch wide you could certainly have yours thinner or thicker whatever works for you i am using quite a bit of paint on my brush right now just so i can have a nice thick area i'm going to um bump this this little part that's going to meet my flower out just a bit on this particular one so just get it something like that make sure that i've got this little bumper rooney where it bends a bit there we go that looks good and i i paid a little bit more attention on on the main ones that i'm doing and then when i when i go for the littler ones it won't be um too too much involvement so i'm going to do another one over here this one i i don't think you oh maybe we'll see a little bit of that bend something like that and then this one's going to just kind of merge right into my piano keys i guess i got rid of that little bend that's all right and then i'm going to do let's see i think i'm going to have another little one coming in through here i'm going to have a couple of tiny ones off in the distance over here so again right now i'm just working on where i want my flower stems to go and in a minute when i am done with those i'm going to be super carefree with where i want all of my grass to go but i'm paying a little bit more attention because i want some of these to be in strategic spots to to give myself some good balance throughout the painting so that's why i am taking a little bit more care and attention on these ones and you can see i'm giving them that little bit of a of a bend uh where before it's going to hit the flower part i think i'm going to have a couple over in through here and then that's pretty much i think all where i want the actual flower stems to be so now i'm going to be super carefree when it comes to my grass so to speak so i'm going to have maybe a big piece of grass in through here give myself a bit more green i'm still right now only working with green and brown i will be um utilizing the yellow in a few minutes but right now i am just utilizing green and brown so that way it gives it a nice almost a darker more solid base to it before i start adding those highlights on i want my this all to look kind of like it's merging up into my flower sub right now i'm just using green and brown and i'm doing just these little squiggly marks down here at the base providing myself with enough of a distance for those the flowers themselves when i go to put those on there so again just green and brown is where i'm still working with right now and i i'm not doing anything fancy for the grass i'm really just kind of bringing it along the piano keys and then just making it really messy come coming up off of them so i'm i'm utilizing the wetness of the paint to provide me with some softer areas or some um more kind of see-through type areas i suppose if you wanted there to be individual pieces of grass you could certainly do that and take a little bit more time and and care and attention but i am just going for almost like an out of focus type look in through this background where it's meeting the the actual keyboard itself and again you can certainly make yours with little individual pieces and stuff and now that i've got the green and the brown on there i'm just going to start picking up some yellow without washing my brush and incorporating a bit of yellow into my stems into the grass a bit maybe i've got a bigger piece coming out and through here you could certainly use a bit of white as well if you wanted to add even more um of a sunshiny kind of look to it i will probably utilize a bit of white when i go to to put on my my final little details but right now i'm just utilizing a bit of yellow on that brush and then we are going to be using this same brush for the next step so once you've got all of your pieces of grass and stem all nice and fully realized you can wash and dry this medium brush and get ready for the next step all right so what we're going to do for the next step is we're doing the first layer of our daffodils so i'm going to be using yellow and white on my brush at the same time you could certainly pre-mix yourself like a little bit of a lighter yellow but i like to have the diversity in the colors so i'm going to use both on my brush at the same time these flowers have the top portion of them is almost like an upside down bell that has little ruffled edges along the side and then they have these big petals at the bottom of that bell so what i'm gonna do is i'm going to make my bell portion first and then i'll put the petals around that so i'm gonna do one in this vicinity this was one of my stems into here i'm gonna go maybe about a half of an inch to an inch away from that bell or the stem itself to make my bell my bell is going to be almost like a little bit of a horseshoe kind of at the bottom almost like a u and then as i come up towards the top of it that i'm going to be flicking out the edges of it so it gets a little bit more narrow before it starts to spread out and again yellow and white are on my brush and then the edges are going to be kind of ruffled so i'm just going to make myself these uneven little edges to the exterior of this particular little bell and then i'm going to color it in with my yellow and my white on my brush at the same time so again what's going to happen is some of these are going to be a little bit more yellow some of them are going to have a little bit more lightness to them they will have a bit of diversity in them which to me makes it look a little bit more realistic so i think i'm going to just bump that little part out a bit more i'm going to put my bottom petals on it and i want these petals to be pretty darn large and i think there's maybe six petals um on the bottom it could be it could be off on it but i think there's six so i and they're gonna be pretty big think of them almost as big if they were closed up they'd almost take up the height of the um of the actual bell part i know i'm probably not doing accurate terminologies for this but i i it's what it looks like to me so i'm going to bring this one all the way over to this one and then i think i'm going to have a big one coming down in through here so again yellow and white i'm going to have this one coming in this direction and if i went over my stem a little bit that's okay i'm gonna have a big one coming over into here and these are just really big long like floppy kind of petals they're pretty darn huge and they're just they're just they're thin and delicate too which is it just kind of interesting to me i'm gonna have one coming behind here maybe maybe poke that out just a little bit more and we're going to add dimension to these later so don't worry if yours don't look super awesome right now i'm going to have one coming out over in through here as well this is going to be on the other side of the flower so i've got that one in through there and once we get these main ones taken care the littler ones are going to be much easier to do because we're just going to give the impression of them so i'm going to start this one with my bell again i'm going to start a little bit away from my stem so maybe about a half of an inch or an inch or so so maybe something like this and i'm going to do this one in a bit of a different direction so i'm going to have this one going like this and then just kind of steer it out towards these corners once i've got that i'm going to give it a really rippled edge along the top so i'm just kind of poking my brush out giving these little um bits of information these petals are just so delicate and like little pieces of fabric or something along the edge they're really pretty cool this one i'm going to have kind of in an open fashion so i think i'm going to bump out a little bit more in through this area there we go and then i'm just going to color this whole um bell section with my yellow and white on my brush at the same time so i can get good coverage the white helps to make it so it's not so see-through we definitely have much more to do on these flowers but using that white will help you to make it so it's not so see-through especially if you had some darkness behind it or something from your sky and then i'm gonna um do the petals coming out of this one so i'm going to have maybe a big one coming in through here this one's going to be a little bit wider like that and then i've got one maybe we'll have this one in through here this one's going to be at a little bit different of an angle than we did this one so i'm going to have my petals more kind of off to the sides we've got this one maybe going in through here unless i have a little a little bristle stuck to my to my canvas that's all right we'll just paint right over it and then i've got maybe a big one coming in through here this will be the one that's kind of coming up in the front so i guess something like that and whenever i'm doing petals uh my brain consciously is telling me where are they coming out of so if this one's coming out of here it's coming towards me so it's going to look shorter than the ones that are on the side so i try and keep those um that information in my head as i'm creating these shapes so i i'm just trying to tap into my logical side and say okay well if if it's growing out of here how is it going to bend and and and be shaped and again if you bump into your your stem don't worry about it we can we can rectify that later so i've got another one coming in through here so i think this one i'm going to have a little bit of a different angle i'm going to keep go a little bit away from my stem so something like this and kind of kick it out over here and over here and then give myself those little rippled edges along the top color it in and then i'm going to go ahead and do my my little petals coming off the side and again as we get into these smaller ones it's going to be a little simpler you know to do the the information or the you know the petals and such so we've got that one and then i'd have a tiny little one over in through here that we put a stem for so this one i'm gonna have just and again right now now that i'm getting into these smaller ones i'm really just thinking okay i need a little a little puffy top i need a couple of the impression of some little petals coming down at the base and that's all i'm going to do and same thing when i get to here yellow and white is going to be my my colors i do my little bell i do my little pieces at the top and then i do my petals coming out the bottom so you'll you'll get your rhythm once once you've um established how that shape goes you might just kind of cruise right along with with um the rest of them and let's see i've got a couple tiny ones into here so again i'm just going to give the impression of them because they're so tiny when they come when they're down in through here just a little wider top maybe a couple a little wide base to to give the viewer the information that there is maybe some um some petals at the bottom and when we add the shadows and the highlights later that's definitely going to help sell the story of these ones that are off in the distance being a little bit more um natural as well and then i've got the ones that i want to actually look like they're a little bit in focus i'm pretty good with with where they're at right now and then what i'm going to do is i'm really just going to add a bunch of little yellow dots all all along the rest of the area because i want there to appear to be a full field of daffodils so right now i've got yellow and white on my brush and i'm just kind of tapping it here and there to give you the impression that there's other little daffodils maybe sneaking up around um the bend of the hill and then we are going to be using let's see what we're going to use next we're going to use our small brush for the next step so once you've got your first layer of your daffodils you can wash and dry your small brush and get ready for the next step all right so what we're going to do for the next step is we're putting the shadows on our piano keys so i'm going to be using my small brush and i'm going to be using brown paint so for me a shadow is meant to look like the surface it's on only a little bit darker so i know that my brown is nice and translucent so i can get away with using that if your brown is more on the thicker side or you've gone with more of a whiter key and want to go with a gray color or something like that feel free to alter that a little bit but i am just going to be using brown paint with a little bit of water on my brush so the first one i'm going to tackle is the shadow that's going to be right underneath this edge of the keys so i am just going to be doing maybe about a quarter inch of uh brown paint along the along this edge and i am having my shadow be what i refer to as on the cleaner side which means it's got some nice solid edges to it along um along its edge which you can have a couple of different types of shadows you can have shadows that have soft edges or you could have shadows that have a clean edge like i'm doing the difference is going to be how far or close that light source is so i am just making mine with a little bit cleaner of an edge because that's what i perceive that they would be on this particular object so i've got that now i've got to do my shadows for my keys my light source is in the top right hand corner so my shadow is going to be on the bottom and left of of these ones and then it's it actually it's probably going to be bottom and left on on most of them so i'm going to just give myself a little line in through here with my brown paint and the brown is going to be see-through so i'm going to be able to see those lines in between the the separator lines that we put for the keys earlier so those are will be visible right through my right through my brown paint but if you're again if yours is thicker and you can't you're painting over that line and it disappears for you you can certainly just add add it back on top but for me i know that mine is going to be very visible so and again i'm just kind of following following what i feel the the shadow would do uh if if you're just learning how to do shadows i do like to recommend that people practice with your own setup like you can take a a couple of objects put them on a table put them next to a wall and just use a lamp and just kind of move that lamp around and you can see what direction the shadows go it's a fun exercise to just get your brain operating properly and understanding what happens when the light source is hitting a particular object because the shadows can be long or narrow they can be dark they can be lighter based on where that where that light source is coming from and how far away it is and stuff so it's fun to it's fun to learn these kind of things but once you once you've kind of grasped the idea of it it's um it's fun to just execute all of your head because you you've got the gist of how it's going to work so this one i think would have a little bit of a shadow on this left hand side and i'm traveling right on top of my black right now because um my brushes is making me do that but i know that it's going to be see-through anyways and if i needed to paint over some of that black again i would i think there'd be a little bit of a shadow in this crevice in through here so i'm just bringing that shadow down like that and again if you feel like you need to alter things maybe there's a little shadow up here i just am putting them where i feel that they where they would be cast from that beautiful light source so we've got this one in through here and then i have one more on that last key over here this one's going to be pretty big and this i guess would be a great time to clean up your piano key edges if you feel like they need any assistance in being um visually as perfect as you want them to be or as painterly as you'd like them to be and then oh i missed one look at that i just kind of skipped right over this one all right so i need this one right here because i was yeah i don't know my brain just skipped over this one i guess so this one's going to go right in front and i am also trying to line up or get these from one key to the next i want it to look like they belong together because a piano keyboard is so perfect every every key is lined up exactly with the others so i'm trying to consciously make sure that they you know make sense next to each other and then let's see we are going to be using this same small brush for the next step so once you've got your piano key shadows on here you can wash and dry this small brush and get ready for the next step all right so what we're going to do for the next step is we're doing the highlights on our piano keys so i'm using my small brush your piano keys might be white at this point and if so you're not going to be able to add a highlight but if you have them a little bit on the tanner side like i do i'm just going to be using my small brush white paint i want to highlight and get rid of i can see my pencil mark on this side so i'm just taking a bit of white paint and making sure that this is really nice and vibrant in this corner here and i'm just rubbing that paint into the tan color that i had originally used to create the base coat for the uh for the keys and i'm also going to be doing a highlight in my head the edges of these keys are catching the um the light from the light source so i'm going to be putting a highlight on the edges the front edges of the key this will help to add more perspective to it and it will help to of course tell the story of how bright your sunshine is so really i'm just taking white paint at this point and i'm just doing a this was this area was where i spent a little bit more time but these ones i might just be able to get away with doing a bit of a white line it can be right at the edge or right a touch away from the edge a bit because i know that the edge of a piano key has a bit of a rounded um edge so if you want this to be even more realistic you can put it just back just a tiny bit from the edge so once you've got that if you need to do a little bit of blending with that tan color feel free to do so and then we are going to be using this same brush for the next step so once you've got your bright edge on those on those keys you can wash and dry this small brush and get ready for the next step [Music] all right so what we're going to do for the next step is we're adding the shadows to our flowers i'm going to be using my small brush and the colors that i'm using are brown rust and yellow and how i'm going to do this is i'm not necessarily i am concerned about the light source for these shadows but i'm more concerned about the contours of the flowers themselves where they bend where they dip in where a petal is that's where in my head those shadows are going to be going as well as on the opposite side of my light source so you've got shadows coming in many different directions so we'll take this one for instance or for example the flower itself will have a little ruffled edge around the top so i know i'll get i'll have a shadow underneath that edge as well as inside the top i'd have a shadow in essence at the bottom of this bell part where it meets my petals and i might have a couple of shadows underneath some of those petals same thing with here i'll have shadows here i'll have shadows inside the center underneath the ruffled edge and maybe on some of those petals i don't want to go too too dark so i will always probably be using yellow in my combination as well and that's going to help me to get it to blend in with the flower itself so i'm going to start with a touch of rust a touch of brown and a touch of yellow all on my brush at the same time and i most likely will just be alternating those colors or using them simultaneously simultaneously with one another i'm going to start with this one over here so you can kind of get the gist of what i'm going to do this is where my shadowy area is in my opinion at the bottom instead of picking up more of the brown and the rust in order to get it to blend in with the yellow i'm going to pick up yellow with my dirty brush while this paint is still wet i can just kind of almost pull it up those edges and you can always use a paper towel if you feel like you have too much paint on your brush to just wipe it off in that blending kind of process and we will be doing highlights as well in in a coming step so don't feel that if this isn't perfectly blended at this point that that the the deal is over you'll be able to add more to it in a little bit so again i'm reloading my brush with rust brown and yellow to get a shadow i'm going to have a little shadow underneath this rippled edge of the of the flower so i'm adding a little bit of ripple in through there and then i'm going to just blend it in with my yellow so i just picked up a bit more yellow just to make sure that i've got this blended in the way that i want to i'm going to have a little center to this flower as well so rust yellow and white is what i picked up on my brush and i'm just going to add a bit of a a little center in through there and i don't really need this to blend in too too much because i know that i'm going to have some highlights and stuff on there i want a little bit of a shadow between some of these petals you don't have to put it between all of them just maybe where one would in essence maybe rest upon another one or maybe coming out of that center a little bit so you don't you don't need a whole heck of a lot when it comes to the shadows on the petals so i get them on there and then i just picked up some yellow paint on my brush i'm picking up a touch more rust i feel like i want this one to be a bit darker over into here i feel like this one is casting a shadow upon that one so we're gonna make this one a bit darker in through here and then i'm just continuing to pick up yellow paint in order to get these shadows to just blend and do what i want them to do and again i know that i'm going to be utilizing um the highlights in a in a bit to add more dimension to this but this is where i'm starting i'm going to go next to this one so i'm reloading my brush with rust brown and yellow and again i'm using these multiple colors on my brush at the same time because i like the diversity that it gives when it's um when it's working its way off of your brush onto the onto the object i'm wiping my brush off on my paper towel right now picking up some yellow to get this shadow as it's um drying to blend in with the rest or the main area of that of that flower so something like that i'm gonna do my bit of a shadow up at the top underneath where i'm gonna call the lip of the flower so i'm gonna put a wiggly line in through here wiping my brush off on my paper towel just to bring pull this down just a little bit i'm going to pick up some yellow now and get that shadow to blend in even more with the with the actual main section of the flower this one's going to have a bigger center section than i had for that one so yellow yellow rust and brown are my colors this one i think i'm going to have for this one's going to be pretty big this center area so we're going to have this one come in something like that and then i want to just make sure that it blends in the to me this is going to be a clean edge here because it's that's where the the flower is folding out towards us and then it would blend into this upper area so i didn't mention that on that one but i'm mentioning it now so hopefully it'll make sense to you so we've got this like this and i'm just continuing to pick up a little bit of yellow paint so i can get this to blend with that more vibrant area and that's looking pretty good to me so i'm going to move down towards the petals on this one so in through here yellow brown and rust are the colors on my brush and i'm not going to have too too much of the shadow in through in through these maybe a little bit there maybe a little bit on this side maybe on a little bit under there a little bit here a little bit there and then once i've got my shadows on just wiping my brush off on my paper towel and then blending it in with the neighboring yellow so that way we've got some some good um tree a nice transition from one area to the next and if your paint dries in between like i put this paint here and when it did some other stuff and it dried a little bit you can really just if you need to pick up more of that shadowy color to keep it wet while you're um trying to get it to blend in that's looking pretty good i'm going to go ahead and do this one yellow rust and brown i'm going to put my shadowy area down below make sure that it is blended in with my yellow so i'm wiping my brush off on my paper towel picking up a little yellow and you can see i'm doing them all pretty systematically for the bigger ones the more um in focus ones but in a minute when i get to those smaller ones down below i will be much more carefree with my with my paint application so just getting this little shadow underneath this lip maybe this one's got a bit of a interior in through here that's looking cute we've got a couple along these petals just so you can see a little bit of separation happening between the petals i don't even think i really need to pick up any yellow on there and then i got a couple more down through here so these when i get down to these smaller ones i'm probably not going to be um needing as much detail so i i'm just going to really go i'm you know shadow here shadow underneath here maybe a little shadow between some of those petals this one in here i don't even think i need anything but just carrying like that rust color that you're using here if you carry it into a couple of the bottom flowers even though you're not adding much detail just carrying that color down is going to continue to make these ones look more realistic as well so if the flowers are too small to add the full on detail just carry a little bit of the that shadowy color down into the um into a couple of the flowers and that's going to help to sell the story and then again i've got just a couple more over here adding my shadow down at the bottom maybe a little bit underneath that little rippled edge and then i don't really have much on these ones to do so i'm just maybe picking up a little bit of the rust and the brown and just adding a couple little tweaks here and there little dots here and there and then i'm going to use my small brush for the next step so once you've got that accomplished you can wash and dry your small brush and get ready for the next step alright so what we're going to do for the next step is we're adding the highlights onto our beautiful flowers so i'm going to use my small brush i'm going to be using mostly white but i'll probably end up using some yellow as well and if i feel like i need to do any tweaking on my shadows maybe i'll use some of those colors as well but predominantly it's going to be white a little bit of yellow so this is where i am certainly considering my light source so my light source is over there so i want to catch the edges of all of my petals that are going to be closest to the to the sun or where i feel would be catching it the most so like on this particular one i realize those top edges are closest to the sun but for a three-dimensional effect the top of this side of these petals would catch the the the light from that light source so that's where i'm going to predominantly put the white paint is on this edge i do know that these are ripply type of um petals i don't even know if it's one petal in this i think it is one petal in the center of a daffodil it it's this is one consistent piece i hope i'm right i think i'm really right on that one and then it's got these six along the edges so i put that brightness in through there and then if i want i can add a couple little pops in through those edges as well i definitely want a big brightness over here where this is going to catch that sunshine as well as over in through here wherever i feel like it's rounded and leaning towards that sun and if you're not able to get the it to blend in with the neighboring yellow that's when you start to pick up a touch of yellow on your brush as well or if you have an area that is just needing a second coat it's not it's not vibrant enough for you or whatever you can certainly add a bit more of that yellow i feel like this petal is leaning over this way towards us and it would probably be the lightest in through here catching that bit of sunshine so i'm gonna put my highlight in through here and then i'm gonna just rub it out into the neighboring area of that particular flower or that particular petal so you can keep elevating that that curve of the petal by making that one area that's popping out the most continuing to make that brighter and brighter and that will tell the viewer that that is a rounded object and that it's um certainly the closest to us i can see my stem underneath this petal so i really want to get rid of that so i'm going to add a bit of white in through here i might have to come back to this petal in a minute but that was driving me crazy so white acts as like a primer coat so if you have a see-through spot like this you can always add a bit of white on top of it to provide you with a stable under color and then let it dry for a minute and come back and put your color on top of it so i'm really kind of just going one petal at a time this one i feel would be the lightest over on this top left hand side so that's where i'm adding my white and i want it to look like it's curved so if you use a curved brush stroke as well that will help to again speak to the the form of that object and then i have this one in through here so i feel like that that one would get the most highlight up here on the top left and maybe in through here maybe it's curved over a little bit so i'll leave this tip a little bit darker with a little bit more of the yellow and i'll put this brightest spot in through here and again you can play with um telling the viewer where what stuff is just by placing that highlight in a specific um spot i want to just get this to blend a little bit more so just adding touch of that and if you if this disappears next to this you can always pick up a bit i just picked up rust to add that bit of a um more dimensional element you can also pick up a little bit of brown if you don't feel like your shadow is making it pop enough so you can keep tweaking this as you see fit i'm gonna move on to my next flower which is over here so i'm gonna do the same thing where do i feel that that light source would hit the most definitely along this edge and through here so i'm adding a whole bunch of white along this edge it's just totally catching that sunshine right around this edge as well as maybe in through here to sell the story of this kind of tipping over um and having a little bit of roundness to it and then i'll get a little bit on these edges maybe they're catching the it from the other side and i definitely want to make sure that i have good coverage so i'm noticing that i have a couple of aries up in through here that are not fully painted so i'm just adding a bit of yellow and white because this would probably catch a little bit of that sunshine as well and yeah that's looking pretty i'm adding some more yellow to my brush so again my colors are yellow and white predominantly making sure that i've got these bits of highlights that are catching the area from the the sun maybe this has a couple yeah i like the sunshine kissing the edges of these these flowers it just it brings them to life you know you you you can put the shapes on and you can get it to to look nice and you know realistic with the shape oh you might need an additional um coverage in the center here if you want that to pop out a little bit more use your yellow and white and if you want it to have a bit more dimension you can add a bit of a highlight in through there but like i digress for a second here what i was saying a minute ago was once you start adding these final highlights oh these flowers they just come to life and it makes me so happy because you know you work at all the other details and getting everything into place and then it's like this is almost like the icing on the cake when you when you put these little tiny bits of information and i spend a little bit extra time on these um on these larger flowers because of course they are they are part of my my focal point on here so i might end up taking a bit more time and care on these than i do on the smaller ones i'm going to go ahead and work on these petals here definitely going to catch some light in through there maybe at the tip of this one and then this one maybe catches it a little bit in through here i have a good amount of white paint on my brush right now so these are gonna stay wet for a second for me gonna catch this one a little bit on the edge and then once i've got my highlights on there i'm going to just start to rub them in and get them to blend with the neighboring yellow paint and again if i needed to pick up more yellow paint in order to make it blend in you can certainly do that but you might be able to just get away with going with just the white so depending on how translucent or your paint is or how perfect you want your petals to be totally up to you i just added a bit of yellow and rust on my brush to make sure i get these edges to close off the way that i want them to and then i've got these two little petals over here to contend with so a bit of white so again mostly i'm using yellow and white but there have been a couple of areas where i've gone into my shadow colors my rust and my brown just again to make sure that i've i've done everything that i want to do and then i've got it to look as blended in as i want or as complete as i want i've got this little guy in through here so just using some white paint to get those highlights in the places where i feel that they would be i think we'd have a little bit in through here a little bit over here and again as we're going into these smaller ones it's not going to take as much effort just pop in those those bright little colors that's looking pretty good i think i need a little bit more yellow on my brush just to make sure again i've got this fully painted i just added a bit more rust as well because i feel like my interior of this is not as complete as i want it to be so i'm just tweaking it as i go and again you might find that some of these take two seconds to do and others take a little bit longer yeah that's looking pretty maybe maybe just a touch more touch more down here yeah there we go and if you want those those petals to separate from one another doing a little separation between them will help to sell that story and then i've got the ones down in through here so a little bit of white on my brush and again these are these are going to be a lot less um detail i'm really just kind of doing a series of polka dots right now dots and dashes is what i'm doing i'm just adding these these little bits of sunshine just throughout my grassy area and i'm going to go ahead and do the same thing on the other side hitting the more prominent flowers that i have that have a little bit more detail on them i think this one needs a little more yellow on it too it feels a bit pale to me so i'm adding a bit more yellow on this one yeah there we go just needed that one to pop a bit now i'm gonna add i got my white back on my brush now so i'm just i'm doing my series of polka dots right now and this would be a great time if you felt that you needed to add any more grass you could add little highlights to pieces of your grass this is definitely one of those steps that you could you can utilize the um the impressionistic style that we're doing in this in these flowers down below you could certainly utilize that for your grass if you again if you wanted more blades of grass to show or more highlights feel free to feel free to adapt this dot and dash technique to those as well and again i'm just kind of getting this little guy to have a bit more detail with my white giving some of these petals to kind of pop out of the page and then we're gonna just do a couple on these over here and then we have one final little step left to go and it's going to be with this small brush so once you've got your beautiful detail on all of your daffodils you can wash and dry your small brush and get ready for the next step alright so we are on to the final step this is the final step of every painting which is to sign it so i'm going to use my small brush i usually sign mine in the bottom left or the bottom right but i kind of don't want to sign this on because i feel like it's going to take away but let's see so we'll make it really discreet i'm going to go with my small brush i'm going to go with brown paint and i think i'm just going to make it look like dirt or stems or something in my grass so i'm going to do just my initials you could certainly do your first name or the date or whatever you'd like to be your identifying mark yeah there we go i'm just making it kind of squiggle into my grass here so so you almost can't tell that i did it but i really did do it and that's going to conclude this painting i hope you enjoyed the process i hope you painted yourself a beautiful musical springtime image and i look forward to painting and sipping with you again sometime [Music] you

Channel: Michelle the Painter

Views: 34,801

Keywords: how to paint, paint and sip, acrylic, painting, tutorial, beginner, simple, easy, painter, class, step by step, learn to, how to, paint, sky, landscape, realistic, peaceful, beautiful, best, top, instructions, black, ontop, country, on, white, flower, floral, single, one, large, up, stem, leaves, yellow, green, open, stunning, plant, nature, natural, petals, petal, summer, day, inspirational, over, sun, pretty, art, wall, piano, keys, keyboard, surreal, dali, surrealism, hill, music, musical, daffodil, daffodils, perennial, narcissus, clouds, morph

Id: 5T4VToNNGL8

Length: 89min 43sec (5383 seconds)

Published: Sun Feb 07 2021