I’m using a couple of chinese brushes, one of which is an old brush head taped to a chopstick, which works in the same way as taping charcoal to a stick and holding it high up the ‘handle’ to make unexpected and less controlled marks works. I’m also using it on its side to paint the larger leaves, for the same reason, the result is less careful and more spontaneous looking marks and shapes. Also a Prolene sword brush, a bamboo pen, a mapping nib pen, all for the finer stalks. I drew the vase because I’m terrible at symmetry, but otherwise go straight into drawing with a brush. Colours: burnt sienna, raw umber, transparent yellow (PY150) opera pink, cadmium red, ultramarine blue. As with all these videos I am working fast wet into wet, but on dry paper. When it gets to the point of nothing more to do without fiddling I let it dry then come back in with the deeper tones for the shadows-finding negative shapes- and the detail on flowers and leaves.