5 Flowers in Watercolor and Ink | Camilla Damsbo Brix | Skillshare
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16 Lessons (1h 22m)
    • 1. Welcome to Class!

      1:32
    • 2. The Amazing Class Project

      0:27
    • 3. Tools and Materials

      2:03
    • 4. How to draw a Lavendar

      4:27
    • 5. How to draw Daisies

      5:18
    • 6. How to draw Bindweed

      5:23
    • 7. How to draw Queen Annes Lace

      6:37
    • 8. And Finally how to draw a Wild Rose

      7:41
    • 9. Composing your Bouquet

      4:17
    • 10. Sketching a bouquet

      13:08
    • 11. Planning your colors

      2:32
    • 12. First wash

      12:45
    • 13. Second wash

      6:32
    • 14. Details in Fineliner

      7:56
    • 15. The magic touch

      0:49
    • 16. Let's wrap up!

      0:57
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EMBRACE AND RELAX IN A BEAUTIFUL LINE AND WASH

This is the perfect class to learn how sketch the summer flowers fast and effective. That way you will have time for both sketching, swimming and playing on the beach.

I will guide you through 5 flowers, showing you how to simplify and sketch them. Then I will show you the entire proces from reference to final bouquet. Covering how to create a great cmoposition, how to sketch on watercolor paper and how to add the wash and final details.

If you are going to watch one class on florals this summer - this is it!

The 5 flowers:

  • Daisy
  • Lavendar
  • Queen Annes Lace
  • Bindweed
  • Wild rose

So grab your brushes and come paint with me.

/Camilla

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SHARE THE LOVE

Oh yeah and I would love to see what you create! You can do that in several ways:

  • Share your project in the project gallery
  • Share on the student Facebook group
  • Share your art on Instagram. Tag me @camilla_damsbo_art and use #camilladamsboartinspired

Meet Your Teacher

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Camilla Damsbo Brix

Teaching Whimsical watercolors

Teacher

My name is Camilla and I’m a danish watercolourist. Mostly I paint whimsical flowers which I share on Instagram as @camilla_damsbo_art. Here on Skillshare I love to share my knowledge in fun and easy classes on watercolor and ink and I can't wait to see you in class.

I would deffinitly say that watercolour is the most magical kind of paint, and all you can do is just know a little technique, loosen up your brush and trust the process.

 

NEW CLASS COMING SOON!

If you plan to watch one class this summer I advice you make it this one. It will launch very soon and you will learn the very best technique for your summer vacations or staycations - Watercolor and Ink! you will learn to draw 5 flowers and then bring them into a s... See full profile

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Transcripts

1. Welcome to Class!: hi, guys. And welcome to plants. My name is Camilla and Army watercolorist from Denmark. And today I'm going to take you through one of my favorite motives and lettuce flowers. This is going to be a Superfund and like, class, so I'm going to show you just help paint and go five hours. So it's actually super easy, and then I'm just gonna have to find them into a This is the final piece, but more on that. First, I'm gonna tell you about the flowers that stays. He's been read Wild Roses, Lavenders and Queen Ainsley so different shapes and colors so we can go into how to draw the different types. I'm going to take you through the process of a a beautiful bouquet we that I picked outside . So we have a natural reference. I'm gonna show you how to sketch it, gonna show you how to take the complex flour and turn into shape. So it's easy to sketch both in pencil and later in fine line up so we can refine our sketch and then I'm going to take you through What kind of wash? One time, Second time and ink details to really make this pop and then some splatters and end. So I hope to see you in that This is gonna be so much fun. 2. The Amazing Class Project: now. I promised you to tell you a bit more about this. This is your class project. And I would love to see your class projects. Police are filled them in the project gallery. And I have a student group on Facebook so it can totally shared their and and get feedback and Commons and tag me on instagram if you on there as well so I could see it and cheerio on because I know you'll do amazing. 3. Tools and Materials: first, I want to take a quick look at materials, so we're going to use some cover paper. This is completely chief just out off the cover here. Watercolor paper and I use a brand called Cans and Heritage. It's hot press, so there's no texture. It's 300 grams and 100% cotton. You can have used another if you like, but try hot presents so far, just going to use a regular sketchbook for my pencil schedules. Nothing special. Three brushes in three sizes. This is five and seven. Za is ah, not natural hair, but acting like it and a size six round synthetic brush. They have a very nice beautiful tipped them all. I love those brushes. Then, of course, paints. I'm going Teoh, do a color scheme like this. I'll show you in a, uh, a little bit later, but it's clinic and gross and new combos. Payne's grave suffering, and that isn't so. Not many colors, and I'm gonna mix them up in a ceramic, Peddle it like this. Then, of course, we're going to use some drawing stuff here. This is a to B pencil, graphite pencil and raisel A and shrapnel just in case you need it. And three fine Linus in different brands. Serpent 05 to appoint one and Super three. The brain doesn't matter. All you need to make sure of is that it's waterproof. That's the most important. They're MicronT instead layers and, of course, water and tissue. And that is it. Now we are good to go. 4. How to draw a Lavendar: there was a lot of materials. Are you ready to go and sketch some flowers? The 1st 1 we're looking at is 11 dir and the lavender is actually super easy. It has thes small, small flowers that ah, blue and kind of in clusters along a stem. So I'm just going to start from the top and work my way down and just add a little flour here and there. But mostly just thes shapes. Um, so it's actually it's super simple when you are simplifying the shapes you consume complex when you're looking at the Levinger and there's so many details and shapes in here. But if you simplified and see what kind of shape is here, there's a all these small flowers. They're actually small circles that are kind of oval, so try to put drew that instead and see how much can I simplify this without ruin it? I'm just doing this stems and these long, beautiful leaves that are here and just doing a an extra one here because some of these Levin does have have the an extra flour attached to them. So I wanted to show that as well, and just to show that this doesn't take long. It's very quick to sketch lavenders. The reason I'm showing you this, and the reason I'm going to show you the are the flowers as well in sketching. This is, after all, a watercolor in ink class. But I think the pencil sketches a super important to get to know the flower. Is he home just getting quicker in my sketchier because I really have a muscle memory of how the shapes of this flower works. So the sketches really help create that muscle memory in your hand. These sketches really help you memorize, and they will help you be a lot looser when you are anything. Also, you can use them, and that is very, very nice as a guide. So now going in with my final and when we are drawing with a fine liner is very definite on you and very permanent. You really have to trust yourself because you can't embrace it, but the pencil line can. So if you have messed up your pencil sketch, it's just erasing it and starting over. But when you have a pencil sketch and you're happy with it, it's so much easier is going with the fine line of because you know you are happy with your sketch, and you can just fill it in with your fine line. If you have to go in with a fine line of first, it would be terrifying, and you were standing have with the white paper, and it's positive it's watercolor paper because you wanna do a watercolor and ink sketch. That would be crazy. Scary, because you have to paint with it or draw with a fine line of its never gonna be erased on the beautiful, white, expensive watercolor papers. So for all uh, if you have take anything away from this class, is that the Do pencil sketches? First it gets so much better get so much better results just speeding. This process officer can see just drawing on the second flowers well, but I'm not doing it. The that first. This is just too them. Help you not said through. It'll just erasing the pencil lines here, and we have the fine line of standing Baggins. Beautiful. I'll just give you a quick drawing guide on how to simplify a lavender first year of these ovals that are the flowers when you add a few flowers more just to give it some texture and break up the ship a stem and these beautiful long leaves. And finally, hey, second flower And that is it. Then you have a beautiful lavender. 5. How to draw Daisies: that was the lavender. And now we're ready to go a little more advanced. Not much, but a little more advanced with the Jaycee's. And I'm going to simplify. That s well for you. Just a a circle and then surrounding it with a bigger circle. And this is just a disguise for you. So we know where to place our pedals. Because this is a beautiful round flower with these pedals and they, ah, overlapping a little bit. And then they are bigger on the top, then on the bottom. Also, they have kind of a small small then to them in the at the at the tip off the flower, some of them overlapping that you go on, this shape might be a little, but this is the main thing here. Now we have it from this side as well, and that's kind of 1/2 oval. And then just these Rick early, uh, shapes coming out from it. I try to be a little nose here. You can see how high I'm actually holding this pencil. You can do with this as many times as you like, So you get the skitch sketch, right? And it's a good thing to to look at the flowers. I should go. You can find a lot of references online him on splash or picks ability or something like that. Um, and if you don't copy the images, you can also find it on Google and Pinterest. So there's a lot of inspiration out there, and also you can just if you are lucky to have these flowers in your in your nature around you, that would totally work as well. I love going out and finding references, and that's what I did for for this class. I think that's the most. The most inspiration is actually, when you see the flowers for yourself, see, this was the center of this is really big. When I looked at the flowers, they were actually buried a lot in shape and size of the sentence. I wanted to be one as well. This one is kind of from the side as well. So some of the the petals are, um, very, very small in a side view, just adding a small but here as well just to give it some different stages. And now we can go in and at the ink details for our final skitch, and you can see how easy it is to add these Inc details when we are when we already did it in pencil. When you're doing pencil sketches, all you need to make sure of is that you, especially if you're doing it on watercolor paper, make sure you're not pushing down to her. You want to be able to erase it. Otherwise, it'll just be annoying, consumed adding details here to texture to the center and then instantly makes this pop and after detail as well. And you're going to use this layer as well. So it's a good thing to just look at that stuff from the center and just drag it out. So you start with a thicker line on signaling. Then you can listed up. We should go. I don't have to add details. All the pedals. It'll just, uh, that could be a little too pretty. You wanna just had enough so you don't You can let the viewer, I guess, a little bit. It's always good to give this texture and that you can really see how it shapes the the pedals. It's beautiful, can give it. Give it a little courage as well. I love when I add details and ink because it just, uh really defines thes flowers. And that's amazing. You can really make some was popped this way in very short time. I know this better, so, uh, double time. But still, it doesn't take long to create something beautiful. See how easy this it's so easy when you have these pencil lines. There you go. Now we can take our racer and get rid of the guide. And we have some pure ful daisies. Stunning. I love it. And then a quick drawing guide for the daisies as well. First, you have these guides, the circles, then you're filling the the pedals very easy. Is there circles as well? Just a little oval stems. Make them a little shaky and, uh, curved. And then you just remove the guides and add some details 6. How to draw Bindweed: the third flower is a binned. We'd off bind weed, bend wheat. I'm gonna go with Ben. We, um I have them in my gun and I love them because they're so well, they're kind of all over the lawn. But besides, from that they are so pretty in light and they have this beautiful organic feel Ah, where they just flow around in the curl around. Everything I really love that could be annoying as well was so beautiful. And they really can make a beautiful detail in a bouquet. And I'm gonna use it for that in in ah, this instant, Instant, instant this time. Here you go. I have a one from this side, an open one from the side that I have a closed one. They're almost like just a very long square. Then they have these beautiful stems that are really just curved and thin and have these almost like long heart shapes for a leave. They are really pretty, very delicate, and the it can be a little intimidating to begin with, a been reid because there's a lot of detail here, and they are everywhere. But when you, uh, kind of again simplifying it and trying to look at the shapes. It's super easy. I'm going to take you through a drawing guard for this as well. But I really wanted to show you that they are attainable. And they have fun too, to draw because you can really just make some swirls and some some beautiful flow with a tweet, I'm going to do one from the very front us. Well, just putting down on over or circle in the middle of women that have these small statements and then you can just use the the lines here to show that that it has this shape. So it just make the edge a little bracket and you are good to go. Don't make it a complete circle, but, uh, make a little record and just at some stems and leaves and you're good to go now I can at the inky too. And that is yeah, you know, you know it already. I do love it, but and I know you already saw the daisies and the $11 in ink, but I am going to show you the entire sketching process off all these five flowers because I really think it matters you can totally skipped through it. If you just want to go to the bouquet, not a problem. And I am sketching there as well, so you'll see that. See it there again. But I really think this process is super important. And at that, speed it up for you. So you don't have to sit through it all. Um, but I think when you, uh if you're just starting to 22 draw and it's so important to know this process and I know a lot of you and I do it sometimes it's, well, skip the sketching and just I've writing and have really encourage you to take a break and sketch. And if it's because you have to upload something beautiful to Instagram, it's total. If I understand, then just do a work in progress photos because people love that as well. And then you can post something even more beautiful tomorrow. And that way you can encourage other what people to do. This process is well, and that would be pretty great, wouldn't it? Yeah, I think it would. It forces people to actually stop on breathing. Focus on the subject. Think that is important when we are drawing a from a flower from nature is, uh, it's important to actually no, the floor, I think. Okay, I'm just erasing the lines here. Pencil lines and there We're good to go. I can show you a quick drawing. Good for this as well. There you go. You have the drawing. And first take a look at the big shapes. Square the circle in the triangle at some detail the center in the thing that it touches a stems than a This dims, of course, And the final details and that is it. 7. How to draw Queen Annes Lace: the fourth round that we're going to sketch is a Queen Anne's lace, and that is just a beautiful flower that has a lot of detail. And we really have to think about how to simplify this, because it can look super intimidating because we have all these, all this texture and detail, and it's stunning but also scary. So I am simplifying it by doing a round, flat circle like an oval. It's a little more flat on the bottom than on the top, just filling it out with circles that are bigger on the bottom and getting small on top and just adding circles to those sort of circles of very small circles. Tok'ra create this texture. You can see how it really helps define this texture in the flower, and you don't have toe sit and do all these circles round around and round around doodle doodle doodle and you'll be totally fine. I'm going to do one here that is kind of from the top and just doing the same. Making the shape of the flower with this biggest circled and adding these smaller circles to show where I want my flower parts and then just adding these small doodles to them, and you can you can, uh, have the texture go, and then you have to add the's small lines to kind of attached him through a center like that. It's almost it's looking good. Just going to make another one here from the side. Always try to look at the flower from different sides, especially if you have it in front of you. It's good to kind of twist and turn it and see. How can we? How can we, um, get this to look from different angles and the also adding butts? And maybe if you have them withering a little bit? That's totally amazing if you can show the flower in different stages and you can see how the method is the same, but from the side you can see more off this stem situation, so that is in first. I emphasized a lot here. Also, you want to add a little more detail here on the back. You want most details to be on the front flowers book. You'll still be able to see a little bit off the flower through the stem, so add a little bit of texture. Don't overdo it, but just a little bit, too, to show there's something there, Then you can add a little leave here and there. The Queen Anne's lace doesn't have that much full ege, but you can add just a bit. Also, it's good a good to add village because it is part of the flower story to to show the full kitchen stems and stuff like that as well. I'm going in with my final in a serpent one, and you can see I'm not. I'm not painting or drawing on the round circles. That's very important. The round circles are a guide only drawing on my doodles, and that will make a lot more sense when we erase the pencil lines that were just guides. Um, I wouldn't be able to do this, I think without my pencil guides, because because it really helps me to show where I want my girls to be. So they kind of they show me this flower shape instead of just a dueling wherever I feel like, So this really helps me shape the flower. You can do these green things, you're in the foliage, you can see I'm working really fast. Even though I know sped up the video, but I am Boykin really fast and creating these sketchy lines. I m. And that's not because it's a sketch actually worked like this also on the finished paintings, because I really like them fast schedule on the really create some life if you work there very slow and it's totally fine, but try to do it in both ways and you work really slow. You tend to get too perfect, and, uh, we don't want that. You try to speed up your process and see what here, what it does to your painting and you're drawing. I think it gives it a lot more life in character, but it's totally up to you. And if you are a slow work on, then perfect Ah, just own it and you will be totally fine. I know you'll do awesome things, and I would love to see if you were creating something with these. This lesson. Well, this class and I have a Facebook group for students. If you want to check that out and you can get feedback from the other students as well, and there is a link to it in the project description. Well, the class took a description as well. You can find it. It's easy. A quick drawing guide. And it's gonna be a little longer than the others. First you have these three shapes three round shapes, ovals Almost when you fill them with round shapes. Well, does make sense. Asses We talked about before, Remember, they're only guides now. I can fill in all the round shapes will even small around shapes. And this is why other magic happens. Because now you get the texture you want. Then you remove the round shapes of guides with your race on at a definition to that last one at the stems and the longest times. And you are good to go. Okay. You can remove the last guys as well. Now you're good to go. 8. And Finally how to draw a Wild Rose: I saved our main floor for last, and that is a beautiful roast. This is a wild grossed. And I have to admit, I love wild roses and this might be the the best smelling a class of ever done because seriously, they smell so good. So I love it. Um, I think I'm gonna do this more often. Two guides here, a center and just which is just a circle on just a smaller circle and a bigger circle. And now we can add the pedals. And this flower has four pills, four big pedals. At least that's what we can see. And there's a big piddle on the left side. And then there's this curled one here in the middle. And next to that there's a big flower. Oh, big, pitiless. Well, and you can choose to do it like this where I'm drawing as I go alone. Or you can check out my drawing gut and at the end of the video and just do it like that. But for this flower, I did choose to just draw. Look up, draw! Look up, draw! Look up! So I tried to just focus on the flower and how it looks, and that's because it is rather complex compared to some of the others. So you really have to draw this a couple of times before you kind of get a feel of it. So it's a good idea to just get some, uh, focus, which is the circles here. And then you can just draw. Look about your reference draw. Look up, droll. Look up! Just adding these statements. Look how it's already transforming into a rolls. How cool is that? No, I wanna show you a a rose, but it's very easy has these long, um, leaves surrounding the the but the actually looking pretty different than I would think they would look. So that's why it's good to have a have a reference. And if you ever think is it okay to withdraw from reference? Yes, it is. I know some people say that it's not, but it totally is. We can have all images in our head, and we can't go out and find everything in the wild, either. Sometimes it's just good to have a picture, and it's totally fine. You are not less of an artist just because you draw from a picture No way. Okay, just doing a side view as well. So we have something to choose from to throw our okay. And I really think that Rose from the side is super beautiful. So, uh, I really wanted to add that as well have these two big pedals that are kind of surrounding the flower and then I can add a bit more here. This is kind of an out of pill. Um, but when you have those two main pedals and I drew first, you can a lot easier just at all the other stuff, Uh, where it overlaps and wear. It bends and curls and you don't have to be super exact. It's is OK, that is not completely true to reference. Just get the big shapes right, And you should be pretty good. I met in thes um green small leaves that are so defining for a while, Rose, just adding with stem here as well. I'm just going to paint or draw some leaves to a thing. This is going to be the leaves I'm going to use in the composition. But later they have some this they just fill up the space really nice and uh, they were to in a real book. Can they? Actually, they are in the UK have next to me the they the most foliage is from the roughness. Because the foot house we looked at earlier haven't got that much knowledge. So this will wrote work. Really Well, now we can go in with finally and at all the details here, and this does take up a long time, and I know that. So I'm going to speak this up and feel free to pause at any time you need. But I really want to help you through this process. You're going to see me sketch this one more time on the bouquet as well. But I wanted to show you this process as well. This is a conflict flowers and said before and I would never be able to do this freehand. So the pencil sketches are so helpful here. See home that fine line. It just defines the shape Really, really nice. It's so satisfying to do this because you don't really have to think too much. You just have to add the final liner in the CTO become really, really pretty. So that's amazing. Such a cool way to draw. I wish you could draw this fast. That would be chemical, adding detail. You can see how you can get the courage of the off the pedals there, just adding a little bit of texture, but not too much in the. It's just really defining the shape of the pedals. So cool on a little bit of shadow here and there, but not too much not being so precious about this. I think this is done. We can remove the pencil lines and this is looking amazing. I have to say that that's OK. You can say that about your own work. This is really cool. I'm going to go through a quick drunk guy for this as well before we head into the okay. First we can stand with the open rose first to draw these two circles as a guide. Then you have these two big pedals that were very open and not killed. Then you can add the curled the pedals as well. And then the texture inside of the the guide here the statements that is it. No, the clothes draws is the two main pedals from the side. Then you have these behind the the main pedals in the surrounding ones than the inner details. Um, the final details and that is it. 9. Composing your Bouquet: Now we're ready to start our bouquet and combining all of these beautiful smiles that you learn how to draw. But before we are going in with our rather her expensive watercolor paper, I really want to lay down a composition for so I know wet place, the flowers that we just learned. So you can see it next to me. I have my my sketchbook. I have all the sketches that I just did. I definitely encourage you to do the same exercise and then just take a regular copy paper . This is not expensive at all. This is just just cheap paper. And I actually think my my kid drew on the backside of it. So this is just to lay down the shapes of the flowers and see how can a position them in the ah next to each other. So it works like a whole okay, and not just a couple of flowers. I'm starting with the big shapes. You can see the rose from the front and from the side. And then I have my my Queen Anne's lace as well and just putting down these shapes and trying to see if I can incorporate the different angles of the flowers. They can see how little detail I'm putting down here. There's very little detail. We don't want to overdo this. This is the daisy. I'm just putting down this these circles to say that this is a daisy from the front. This is a daisy from the side. That one is a from a side as well. So these are very simplified shapes. Gonna put some of these here as well. There's some more, More like a detail flower. So we have the Queen Anne's lace and the roses, the main flowers. Then we have these filler flowers, detail flowers in the in the daisy. And I'm gonna put down some lavenders and see have just, um, flipping through my sketchbook to find the flowers that are the one I'm putting down on the on the paper. Just adding the lavender here. I want these two peas, um, off the flowers. That kind of give life to the composition and really puts, um, at some beautiful detail with the lavenders. They're just trying to see if I can curve some of the lines as well. When you're doing this composition, you want to think about where you want the focus to be on your on your bouquet and also think about how to create some life movement, almost like hearing a song in your head and trying to see if you can get those flowers, too, to the hence to the music. I I'm not sure if that makes sense, but I think it does. Um, at least I always hear music in my head when I I draw. I'm just doing my stems here and see how I'm curving some of them and you have. We can do a a little bit off gathering and then just adding some. It's worlds from the been tweet and some some leaves us well, his mostly leaves from the roses, but also the leaves and the greenery from the 11 as a super pretty. So trying to incorporate that as well is he just very rough sketch, But this is gonna be so useful, so make sure you do this exercise, and I think we're going to call this sketch done. Keep this next to you, and we can take a look at some colors 10. Sketching a bouquet: who we made it so far. We looked at how to draw. We looked at the composition. We did a beautiful composition sketch and we lived looked at the color. So now we can finally dive into this artwork. And I am Oh, I'm overly excited about this one because I think but heaven combining watercolor injures one of my four days. So I really ah, I can't wait to dive into this. So I will start out by sketching totally like we did before. And now we have the sketches linger next to you so you don't have to think too much. You just have to cover what you already draw Drew in both pencil and in ink. So you actually did these shapes twice already. So they should be a bit in your hands now so I can do them pretty pretty fast. I am not. I'm not doing any detail work, and I am pressing very lightly on the page. And the reason I'm doing that is because we want to get rid of that pencil line when we don't need it anymore. And I am. I'm actually using hot pressed paper. And I said that earlier in the materials a lesson. But when you're doing hot pressed paper, you haven't got in texture, and it's ah, it's great to drawn, and it's great when you're using a fine liner, but it can be a little unforgiving. So we really want to make sure that we don't push, press down on the paper and ruin it and risk risk it being a little hard to race. And then you have to push harder with their razor and it'll ruin the paper so we don't want that. You can see I'm actually doing the exact same sketch as as it did before with the with the composition. But this time it's a little more detailed, and that's because we wanted to use it as a guide for our fine liner. As I said before, when you're going in with a fine line, I really want to trust yourself because it's it can't be erased in any way but to help yourself. It's always a good idea to have a pencil sketch. I know so a little bit off work is quite a lot of sketching in this class, and for some people, that's totally unnecessary, and you can just dive in with your friend liner and create some beautiful things. And I applaud you that some pacing. Um, I prefer to have some guides like this, so definitely, I advise, especially if you're gonna go with a pencil sketch first. But this is all we need. I think now we can go on without fine line up and I've chosen a 0.1 fine liner, and this is now It's really guys. This cannot be a race. So now we're just doing this in a a little bit a little fast. It's still fast because I want that sketch you look for for my drawing. But I still wanted to be like I wanted to be, so try to work pretty fast, but follow the guides that you feel comfortable with and that you that you think are placed in the right way. Then they can go completely wrong. And remember, we have removing the guides, so just follow along and create some beautiful lines. You can see how it really comes along already. I think it's I love when you're at the fine line, it's just beautiful, and you can see how easy it flows here. on the on the hot press. If you had been using a cold person, you could totally do that as well. But it would tear a lot on the fine liner and, well, it could be a little bit expensive in fine liners. If you're only using cold press or rough paper, I could see him. Actually, I actually haven't you added a lot of detail here to these Queen Anne's lace, and I had a little bit too little. So I have to go into make these circles. Otherwise, I wouldn't be able to create the texture within the circles if I hadn't had the circle, so I wouldn't go in draw a circle with my fine liner than that would look really, really stupid. Um, so I have to have the guide to create this texture and a Swiss it before it's totally removable, just doing a little bit of texture here behind, just to show that this is a Queen Anne's late from the side and a little bit from the bottom. No, I'm just adding my day. See here this is the first daisy and this is sped up a little, and I am not. I'm not drawing this fast this double speed at moment. Um, otherwise, it'll take. It would take a long time. Um, I wouldn't have you sitting around sitting watching that. You've been watching a lot of sketching already. So I did speed this up quite a bit. So just take your time when you're doing this and I feel free to do it in whatever speed you like. But I do encourage you to try to do these sketches pretty fast because it gives a nice flow and makes it look more natural. That way, you can see I'm not even finishing my my lines, Amir keeping them light and broken in some areas. And I'm not doing too much detail either. You can see I'm just doing our lines at the moment, doing a little bit of texture here and there. But it's not much. And that's because I want to do that after I put the paint down. When you're putting the paint down on the fine liner, you risk getting a little bit not smooshed, but a little bit, uh, faded. Faded is a good word. You risk getting it a little bit faded, so I actually like to go in with the fine line again after I I do my my paint it just adding a little a sketch pencil sketch for my Queen Anne's lace. Here you can see how that texture really makes the big flower of the Rose pop because you have this tiny detail next to a beautiful big flower, and the contrast is amazing. That's why you have to think about the flowers you combine. Don't want toe combine only contra small details. Hours. You wanted to have both these beautiful statement flowers and then some, some stunning detail as well, just adding the lines here for my Queen Anne's lace and doing some some lighter strokes in the backgrounds. Who can see this? The one in the front a little bit thicker. And then you have the ones in the back that are light and very thin in the lavenders. It was almost like filling in the blanks, but I do have to apologize if you can hear a weird sound. It's just because started raining, and I hope it's not too annoying, but sometimes you just have to to the sound when there's time and the kids are sleeping so that's no. Hopefully I am going to listen to this afterwards and see if I can. If I need to edit it, don't worry. See? And now I had to add you and more pencil detail, and it's totally fine, too. Go ahead and do the sketches as you go, as long as you put down the big flowers first. So kind of have the composition nailed down, and then you can totally going and do some more sketches and that so thrilled about how this is turning out. I think it's beautiful. You know, I have this round shape you I'm just gonna app this oneness. Well, so just to break it up a little bit and now I can do my been tweet here. Is it called Ben Tweet or bind weed? I have no idea. So I do apologize. A fire mispronounces that in Denmark it's called A and s nail, which is totally different. So I have no idea. Okay, I'm just adding that and you can see I went outside my sketch and added some some leaves set up in tweet us Well, to some detail here. Not too much just doing that now. I can see. I have to been tweets that are very similar in the left side. On the right side, I'm just adding some swirls and some leaves up here, so it's not looking completely the same. We don't want that would kind of ruin our composition. Just doing some leaves here. Some rose leaves making sure I have My racket itches, so it actually looks like a roast leave. I'm can't kind of winging those, but still have my guide to follow. No, we can add some stems and trying to see how they would attach to the flower. Just adding a little bit of greenery on this stem. A swell. This is the rose, and now the other roasts go touching the flower or the leaves There. Now we can just add more and more stems because we have a lot of flowers here, so we want quite a low stems. And at this point, I actually forgot that we want to put a small threat to hold them together. So this is going to be a little bit of a thick bunch, but I'm going to put it in there. I think it works. Just adding some more greenery, and hopefully that'll make it look ballistic. You can see how I'm really doing a doing its sketching on, not following any guides, just being a loose and sketch and adding what I feel is needed. When you get to this point of the composition, it's easy to wing it now. I'm gonna take my eraser and erased all the pencil lines and really make sure you're being careful in doing this so you don't ruin the paper. You don't want Robin Robin drop and get holds in the paper. That would just beat too bad. So make sure you are being super careful in there. Don't push hard on your with your pencil and should be fine. If you are uncomfortable doing this, try with a small piece of paper first to see how much pressure you need to do. But look how it looks when all the pencil lines are gone. It's so beautiful I can't wait to dive in with some paint. Now I am so excited. I hope you are excited to. I am seriously excited. Okay, Crazy excited. That's it's a little bit embarrassing, actually, I do apologize. I will see you in the next video 11. Planning your colors: Now I want to take a brief look at the colors we're going to use in this painting. First is a beautiful quinacrine and rose from Daniel Smith. This is stunning, by the way, is a cool, cooler red. It's almost rose. Well, it's called Rose, but almost the pink. It's very beautiful rich color that's gonna be combined with a pains. Great. This is all this colors for the flowers that I'm showing you first, I'm going to keep this very limited palate. Eso is only going to be a few colors, and I'm trying to use them. The few wants to mix in be beautiful together. Hopefully that will give it a very calm look, So I'm just mixing the rose with the paint scrape, so get a purple, and this is mostly used for the lavenders, and I know it's not blue like a traditional lavender, but the bluish tone in the Paynes grey will create a blue like purple. So I do like that. Nothing. It'll you'll be good in the color scheme. Of course, you can use blue as well, but it's always good to to use, um, some of the same colors in the painting is a new combos because you help write that is compared to the others. That's stunning. So that's gonna work really well. It's a warm yellow so it can use another one if you have anything laying around than a Seth Green is a warm green leaf greens. Beautiful color, uh, but saccharine. When it's stands alone, it could be a little bit bright and very a little bit boring. Actually, I'm going to combine it with first e a. Payne's gray to give it a bluish doc tomb. Put that down here, also going to combine it with a little bit of the rose, actually, and that's because they're complementary is in the It just gives us a Mahdi kind of green, and I think that could be really useful. And that's all the colors we need 12. First wash: Now we are ready to go in with our watercolor. And this is the point of been looking forward to to have a complete sketch just to paint with beautiful color. I'm just doing a combination off wet on wet and wet on dry so you can see I'm wedding, these big pedals on the side rose and just dipping in some paint here. And for those of you who are into botanical illustration, I have to warn you, this is not that type off illustration we're going to do here is more a loose on light interpretation. So I'm just putting down some paint and letting it flow into the water and creating a beautiful texture and make sure you leave some white space. You can see I as areas off this piddle I didn't really pain on. And that way we create a beautiful lightness and now we can not touching it too much, just moving ahead to another flower so that the other one first one dry a bit, not completely, but dry a bit and just doing the same here. I put water on it on the pedals so much that there's a sheen but no puddles. Um, if there were puddles, you would create a and some annoying blooms. We don't want that. We do want this just the water to mingle with the paint and create some beautiful texture, so make it shiny. The page shiny but not puddle wit. I'm just adding a little bit of Payne's gray to the Rose. Like I said in the in the color section that I wanted to use the pains. Great to kind of creates, um, some contrast in the Rose. If it was only a rose, it would be a little bit boring, even if there's all these beautiful tones in the in the in the rose from very dark to the very light, almost white, pink but even see how the pains great really just creates a beautiful shadow. Be careful when you are going close to the center I am. I'll show you in a second what I'll do with the center. Don't worry, but for now I'll just know that you have to be careful not to touch it too much. Hey, I'm just doing a little more, and I'm trying not to touch too much on the the pedals that I just painted. If I touch them, of course, the the paint in there will flow. Insulza piddle. I paint now, so try not to do that. If you do, it's not a catastrophe. Don't worry. You can just add more paint, but it will dilute the pain in your previous painted pedals because it will flow into the 3rd 1 Kind of makes sense, I think. See, I just painted the inside pedals haven't done the overlapping parts yet. You can see how it touches there on the right side and on the left side flowing. And I wanted to show you what happens, which is adding more pain here. And there's no harm done. And we are going to do a second layer of pain. So if too much pain would have spread, then uh, it will be okay. Now I can see the center here. I'm just using a final brush here and just adding yellow new composure to the spots that I painted with the fine liner and just putting some in a sentence well. But the interesting thing is that it's spreading into the pedals that are still wit and creating this beautiful tone off Newcomb bulge into the pink and there that gives a beautiful color play. So you have to add the color of the centers to welcome the culture of Senate. Before the pedals are completely dry. See the outside of the overlapping pedal Here I'm adding that wet on dry just to get some some, uh, lines going, you can see here a swell. So these are actually hard lines compared to the very flowy and beautiful nous off her beautiful nous off the pedals. Not sure that's a word. Sorry. Yeah, this op arose. Has dried been. So I'm just adding water to these shapes. I'm dipping in some paint and see how very little I'm actually doing when I'm adding paint . I'm just putting down my brush and kind of guiding it where I wanted, but not more than that. I'm not mixing or anything on the page. I'm just letting the water do the mixing. Hagen. I'm just putting down a little bit of color with the side of my brush, and you can see it was very sketchy, just doing taking a little bit of new composure as well. So it has this beautiful yellow tone as well Now I'm putting some water down on my Queen Anne slates, and I'm taking some pains great and putting some water in it and just it's very likely dipping it into the water. Queen Anne's lace is our white, but they reflect all the colors in the surrounding areas, like white flowers to some adding some of the rose and some some Payne's gray that really just works really well for white flowers. And I have to actually have a class completely on white flowers, white and Germany's. If you aren't interested, then you can look forward. And after you watch this test, doing the same here with this Queen Anne's lace and with this as well and some queen and slays is actually have some some red in it and some purple. So I think it works really well with these roses, and I actually really enjoy this limited color palette. It's always good to have very few colors if you if you can limit your color palettes because you have get a lot more harmonious look than if you would if you would have a lot off colors. Often it can be can be tempting to just dive into your palate and grab all the colors you have, but I really recommend you keep it to a minimum. There I just painted the centers off the off the daisies and just wedding the pedals a little bit. So some of the white can run into the pedals and just adding a little bit of Payne's gray as well, to the tip off the off the pedals there. So that'll their flowing and mingle with the new compulsion. Try this a couple of times. You have Teoh kind of hit the right amount off wetness, so it's a good idea to practice it a little bit. You can see I just added the centers as well, just adding a little bit of Payne's gray and some water and can see how, how lose on being here. Um, I'm really, really losing this, and that's great because you really get a beautiful loose feel that's very light. When you do not overwork your you're painting and you can see I switched the brush to a synthetic finds hip brush in a size six, and the reason I did that is because very that's where detailed work here, this lavenders and the This is a very small, so it's a good idea to have something that has a fine tip to it and uh, can help you with the details. A natural hair brush or something similar like I have is that's gonna be hard. It can work, but it is not. It's not easy to work with the natural hairbrush when you have details like this, so try to see if you can get a whole get hold off a synthetic brush with a very nice tip. I'm just gonna mix up some green and you'll see when I do my greens that I am. You saw the mixes that I did earlier on the color palette, but I'm It's not like I'm OK now. I'm just in sap green. Then I will use some saccharine with Payne's gray and just kind of planning like that. I am very much going up going, going with what is in my palette, and then what I feel is missing. So right now I'm just adding a little bit of Payne's gray, and I can go in and use that color for a while, and when I run out, l do another mix and I'll never actually get the same color, probably than I previously mixed. And that's totally fine. I don't want that. I want different tones in my painting, so this works really well. And that's actually also reason why I never clean my palette. Um, I think the okay, I do clean it when I have to when I'm filming. Otherwise it'll beat super hard to see what I'm mixing. But otherwise I don't clean it because I do like when there's, ah, a little bit off something in her that I have no idea what is a guestbook. Sometimes it's just hard to to to guess it. So either way, it muddies up the colors a little bit. And I do like that. I'm just adding some more details here. You can see how this is coming to life, and I really love it, and we're not even done yet. How cool is that? It's amazing. We campaigned and actually really enjoyed the process, and I I think with this class is just This is just fun for me because I really, really enjoy this way of painting, doing some lines up here. These greens, well, there's a lot of green. And of course it is. Those make sent makes sense, but Okay, I said it. That's a lot of green. I think if you have been doing a bouquet lie geeky wedding bouquet or something like that, you might want even more green. Um, and then you have to plan even further because that's actually not a lot of green in this. Okay, but, uh, I think it would totally be possible as well to do that in in this stylus. Well, just keeping it loose and fresh. Modern. I think it would actually be a really cool white souping name. What? OK, now that I mention it. So I am getting inspired by myself. It's embarrassing. It's OK. Just, ah, attacking you darkening and little bit off the leaves here. But I think I'm going. Teoh, leave this to dry now and we can come back to it for a second wash 13. Second wash: Now it's all dry. And if you it's habit, it'll, uh, if it's off course. If that you get paint on your your fingers, it's still not dry dry. And if it's cold, it's still not Dr. But if it's not, you're good to go. I'm just gonna use the second late at some little bit of detail in a little bit of shadow I can see I just painted a little bit off off a darker color in the areas where I have overlapping pedals and what I have bending pedals. That's kind of the two main things that I'm looking for, where have something that overlaps conceive. This is bending and overlapping the the piddle underneath, so I'm just gonna put down some color there and softening with my brush. So put down some color and the dip your brush so it's not completely wet, and you can soak up some of that paint and create a beautiful soft itch as well. And I'll actually show this in detail. How to do that in the other closet. Talked about about painting white. If you are interested in that, yeah, I'm just heading a little bit of detail as well with the tip of my brush, I'm still working with my find tip Synthetic brush Just adding shape, shadow underneath the pedal and just adding a little bit of shadow, huh? In some of the curves off the leaves for the pedals, it's called pedals. Have shadow Here is well, and you can see how it instantly makes this flower pot when you add some darkness to it. And don't be scared of darkness. And you, of course, you can always go. Docker and the A really encourage you to try to push the docks further than you may be normally would, because oftentimes that's what really makes a painting pop. That's when you add shadow to to the painting and also have these wide spaces that kind of get emphasized when you're at the shadow. See, that shape got weird. So I'm just gonna softening that out with a thirsty brush. Just gonna add some more texture here. And the reason I'm adding shadow here is because all these things beautiful roses have a lot off texture, actually, and I'm going to add a lot of texture to with the fine liner. But sometimes it's good to add some with the pain as well to avoid having a very flat shape . And if you have trouble getting this look, it might be the paper that is, um, missing with you. It can be hard to control a hot pressed paper. And, um, I think it works really well. It can create some beautiful texture. Oh, non texture. It can grate a beautiful softness to it. And the fine line us just gliding right on it. But it can be a little hard to control. So maybe if this is the first time you are trying hot press, try to maybe do a a practice peace first. Or if you're doing this on Corpus, I would love to see it then posted in in the student gallery and the the Project gallery. And a lot of see also used the the Facebook group for students and and posted there. That would be amazing and also a learning experience for other people. So I think that would be great. I only tried this on hot press, so I would love to see her looks and corporate or even on rough. That could be really cool. Sorry, I'm a nerd. I do like my paper end her paints and brushes. So I guess, uh, it's kind of a yeah work thing that you just kind off get soaked into it. Get all nerdy. Might be the reason I'm actually doing watercolors in the first place. I am a nerd and I love it. Okay, Battle painting Just adding more detail. And I'm doing this very softly, just adding small touches here and there. I think that leaves a little bit flat, so we're going to work on those just adding not more. It's not like we're going to define the more, but we're going to add more color to them, so it just add a little bit of color and you get that depth that you want in this rather lose painting. We can always add a little more detail to the leaves with the fine line if you want to. But mostly I want the focus to be on my beautiful Rose that's open. So try to avoid too much detail on the other things, especially the green reek and just be the guests player here. I think this is the first time actually working this big with watercolour and ink in the combination or one of the first times, and I love it. This is not going to be the last. This is so cool. Yes, you can see how it creates some step that you get all these tones off green in in the foliage. I'm just doing a little bit of shadow here on the stems as well. Just working with the tip of my brush to get thes fine fine lines. And I think we are done now that's at some ink detail. 14. Details in Fineliner: nots town. Time to really define our painting here because up till now we've done the big shapes, of course, in the finer. And then we have done our water car washes to really it would make them part with with color. But now we need all the details that really makes this beautiful. I am starting up with a syrup point, Cyril five, but I can see that it's too small. I have a rather large sized paper, some actually going to switch it. And the tick a sore 0.1 instead. Yeah, they go when you are choosing, choosing your fine Lina. You want to have something that works with the size of your paper? It might be obvious, but it might not. So I wanted to say it. Anyway, If you're working on a big size paper, of course you need a thicker find. I know unless you want something that is so detailed that even almost not see it. But if you're working on a very small piece, well, it makes sense to have a smaller size fine liner. Um, I think the sewer 0.1 works really well here. So I'm going to go with it and I might switch it up with a bigger size is, well, let's see how it goes. But for these birth tiny details that I actually know the veins and the curls and the small small texture on the leaves in the pedals, this very fine fine liner is perfect. Um, if I'm going to switch it up, it's not going to be on these details. And that's going to be because I want something that's defining some off the shadow areas a little more. But I'll show you in a a little bit. This is the time where you really want to just go and take your time and relax and maybe have a cup of tea next to you because this is so, so meditative and you really you did all the hard work with the big shapes and the colors. So you really want to just soak up this process of just adding detail and defining these shapes because every time you add a detailed to the pedals, it will show the courage on the and the texture off the pedal. So this really why you are going to define the shapes make this come in life. I'm going to get closer in second and do the days is on the left side, so concede a little bit easier. When you are closest to the center. You wanna push down more, and then you kind of lift the the fine line as you go out. That way, you'll get a thicker stroke at the beginning and kind off, sending it out of when you are. Have moving it like you would do with a brush. Actually, if you would make a if you would like to make a stroke with your brush that is thinking one side and not so think in the other side. You know what I mean? Hopefully, although I was just asking the comment the opposition you have just adding some multi till up here, and that's mainly on the on the lower side. Off the off. The Queen answer is just to get it, get it a little more shadow on just defining these strokes that are closest to us. Also just putting a little bit of shadow on one side off the lavender. You see, I'm just mostly painting on the left side of the lavenders of that kind of gets a little more definition. I want my focus to be on the roses, so I'm not gonna be extremely detailed on the other elements. I want him to kind of lead the eyes to the roses because that's the most important thing here, says Oh, main flower. So I'm putting quite a lot of detail on the roses, some details on the flowers surrounding them and not that many details on the Leafs. And that way we can kind of lead the viewer in to the area where you have the most detailed , which is the roses. So think about that. When you are making your composition, why do you want the viewer to look? What is your main attraction and how can we leave the viewers eyes into map? I'm seriously in love with these roses, by the way, I love it. Love it. Love it. Um, this is the first time doing a okay like this. I'm just exactly OK. You can see how I'm doing. The days is very close. Just giving them a little bit of it's extra human there, starting from the center and going out just lifting, defining the shapes of the pills not sorry. The leaves a little more and you can see home just jumping around this page, just adding think, details where I feel like I ended. And I encourage you to do the same because that's it's a lot easier to kind of take a look at the whole picture if you're working on all of it. And if you are in doubt, if it needs more than take a break and go for a walk and come back often, we actually done way. So nothing within. And if we continue after that point, that's when when the overworking starts to happen and we don't want to do that, um, it's much better to give it a rest and just see what goes when you've maybe slipped on are just two people. I'm going in with a pick, but bigger one. Here it's a syrah 10.3 and see it's another brand, and that's totally fun. It's Ah, waterproof like the microns, so that's the most important. The Bryant doesn't really matter. Even though the microbes are super popular on Instagram, you can totally go with something else. Just make sure it's waterproof. Oh, not that I'm putting that much water on it here afterwards. But what do you never know? You can see I'm just adding a little bit off this fit land to some a few places, and that's just to define them a little more. I'm just give it a little mocha character and, uh, a bit of shadow. And this is very careful because I really don't want to overdo it a little bit more there. I think we are about to say this is done. I'm going to add my final magic touch in just a second. And that'll be That'll be the last of this painting. I'm so happy about this. I hope you will join me in painting. 15. The magic touch: Are you ready for the final touch? Guys? This is one of my signature things. This is splatters. If you ever saw a class from me, you'll know what I mean. I'm just going to take my brush, it's wet and dip it in the paint and then I'm just gonna stab it right off the paper. Here you go. This is a roast that I used in the painting, and I'm gonna load it with some new composure as well. Always use the color said you already used in the painting. You don't want to go anywhere else, but that that would just ruin it. But just go with the same colors, and I'm just gonna use a little bit of clean water to spread some of them out. And that is it. Now we have a final piece of artwork, and I am so excited about this one 16. Let's wrap up!: Thank you so much for taking this class, mate. I had so much fun filming this and drawing. So I really hope that you learn something as well. If you like the class, please leave a review and the hip profile button up here or there. If you want to know about more classes, I have a lot of classes here in skills. Yes. So go check them out. I have one on another one on the 1000 Worker and Pincus. Well, it's a bit older, but it's great as well. And the please find me on social media That would be great than you can share your work. And I would love to see it in the project gallery and on social media. So go find the find me there. You can find the links in the six below, and I think that is it. I'm just gonna say thank you for watching, and I will see you next time