A Garden of Intention in Your Sketchbook | Jessica Wesolek | Skillshare

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A Garden of Intention in Your Sketchbook

teacher avatar Jessica Wesolek, Artist/Teacher

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

24 Lessons (3h 8m)
    • 1. Introduction Plant Your Intentions

    • 2. Supplies

    • 3. Draw Sunflower1

    • 4. Drawing Stems and Leaves

    • 5. Painting Leaves and Stems Pt1

    • 6. Painting Leaves and Stems Pt2

    • 7. Painting the Petals of Our Sunflower

    • 8. Drawing A Coneflower

    • 9. Painting A Coneflower

    • 10. Drawing A Tulip

    • 11. Painting Tulip Leaves

    • 12. Painting the Tulip

    • 13. Drawing A Daisy

    • 14. Painting A Daisy

    • 15. Drawing and Painting a Marigold

    • 16. Drawing a Rose

    • 17. Painting Segmented Leaves

    • 18. Painting the Rose Blossom

    • 19. Covering Some Ground

    • 20. A Grounded Tour

    • 21. Drawing Ceramic Planters

    • 22. Drawing a Wooden Box Planter

    • 23. Drawing a Basket Planter

    • 24. A Sketchbook Flower Pot Tour

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About This Class

This class is for you

If you love to draw and paint flowers.

If you want to learn to draw and paint flowers and places to "plant" them.

if you want to learn many non-traditional secrets from a career watercolorist.

If you love keeping a sketchbook in the life-book style, and sometimes can't think of what to put on a page,

This class begins my new series of classes on creative ideas for sketchbook pages. Keeping as sketchbook about your life doesn't have to depend on outside activities all the time. Sometimes you can turn your thoughts and ideas into beautiful illustrations as we did In my first Skillshare class called Sketchbook Stories - Illustrating Your Life

Everyone knows that when we pay attention to something, we enhance our relationship with it. When we have an intention in our lives, the more we pay attention to it, the more likely it comes to fruition. Some people even believe they manifest desired things that way.

In this class, our Project will be to create a "Garden of Intention" page or spread in our sketchbook by "planting" beautiful symbolic flowers and giving them lots of attention in the drawing and painting process. See the Project Section for more detail.


Meet Your Teacher

Teacher Profile Image

Jessica Wesolek



My name is Jessica Wesolek and I am an artist, teacher, sketchbooker, and gallery owner living in the fabulous art town of Santa Fe, New Mexico.

My classes are about the art of sketchbooking, watercolor and drawing - in real life and digitally. They are for all levels because beginners will be able to do the projects with ease, and accomplished artists will learn new ideas and some very advanced tips and techniques with water media.

I teach complex ideas in a simple way that makes sense, and have never yet failed to teach a student to draw and be pleased with their results. I even guarantee that in my in-person classes.

My career in the arts has been long, varied, and eventful. My educational credentials are from the University of Michigan, UC Berk... See full profile

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1. Introduction Plant Your Intentions: My name is Jessica. I live in Santa Fe, New Mexico. I am an artist and a teacher and a gallery owner. Garden. Every chance I get. Gardens are wonderful because of what they represent. In many of my sculpture classes on scheduling, we talked about icons and all the feelings and thoughts that they carry with the garden is huge and it represents growth and nature. And some people's idea. And down at NYU cycle and all this good in spring and new beginnings and so on. And so project for this class is going to be a Garden of intention. When you have an intention, it pays attention to usually pushing along very well. So what we're going to do is learn to draw a six beautiful flowers and several kinds of containers. If you would like to bring something into your life, whether it is good eHealth or Cheerios. You can take a page in your sketch Park, draw a beautiful flower in a beautiful tie and put little signs on it or skied packed or whatever about that thing that you're trying to bring into your life and all of the attention that you put on it. And while you create it is going to work to bring that tore a new. And most of us spend a lot of time enjoying the trip back through our sketchbooks. And every time that you run into and those pages, you'll be giving more attention to your intention. M bringing it closer and closer. Still not mentioned that I'm going to share this amazing painting trips with me, all my secret. And this is a long class. It's a fun class if you're very creative class. And we will get right to it. 2. Supplies: We've got ten Sketch bugging classes under our belt on skill share so far and I thought it was time to maybe revisit our sketching supply kit. It's the same for all of the workshops. I add a couple of things. Every once in a while. I have a list of them and there are links in the project section as a PDF that can be downloaded. And in the project section in the description of the project, I have live links to where you can find these. No affiliation. I just want you to find the thing that I'm talking about and find it easily. We start with this sketch book, of course, because the whole thing is about sketchbook. And so I love the Stillman and burn brand sketchbook. I just do I have a million reasons. You don't have to hear them all, but I find that they are just perfect for me. They take the water color very, very well. They take my lifting technique very well. Just a million reasons you can use any sketchbook as long as the paper is a 140 pound at a minimum. And the stolen and burn is not quite, but it sure feels and acts like it's so it's okay. We're not going to be picky on. But anyway, and it doesn't have to be watercolor paper per se. It can be mixed media. Sometimes it's called Babbitt, ask be heavy. Otherwise, your book's not gonna look like this after you've got a lot of work and it is going to look all splayed and wrinkled and warped. And who wants that? Not me. So we start with a book any size, any kind that you want. The next thing is a drawing pencil. And I loved to use a 3H or a for H and not a number two pencil. The reason is you can make very light marks with these h pencils stands for hard lead, don't perhaps harder, you will incise the page, but we do a less sketchy drawing, really lightweight touch any race. And so these erase very well. I use soft vinyl, white erasers. I love the kind that you can get the gall and the end of the pencil. It's great for convenience sake. I also love the magic Rob and also the Tambo mano. Y. Rubber erasers are soft, they don't hurt your page. It's a good thing. An ink liner with permanent ink. My favorite is the pit pin. And I've been using them for years and years and they last a long time. They give you a dependable even incline. And in my style, I like that they're not. They have a small brush pen which does a wonderful job if you are the thick, thin, kind of line, lover, but pit in it. It's my favorite Castile. So you have a book, you dry in it, you erase the bad parts, you ink the good parts, and then you move to color. A watercolor sat. It can be this small, it can be huge. I have too many of them, while you never can have too many of them. So you'll see all different things in my videos. But if you can afford a student brand the best is the Codman kid by Winsor Newton. If you can afford a professional brand, just go for it. There are so many really great ones and many sizes in many palette shapes. And you basically just need your pans of watercolor and somewhere to mix some of them. Ok, so that is easily settled. A water brush. The one that I think works most perfectly for sketchbooks is the ni ji brand in aij i made by courier talky. The reason is that a water brush works by moisture wicking continuously to this tip. You don't use a water brush by squeezing it as you pain, you have a god awful mess. You squeeze it onto paper towel to clean it, and it cleans instantly and the water is kept in the barrel right here. So you don't, you can travel with this and paint with this without having jars of water. This one does not drip and glob and I use a small tip. I find that perfect for sketchbook page work. These are regular round paint, pointed round paint brushes. This Is a Number Two and a number for which I use most the, my brand that I like, their synthetics cuz I love animals. These are synthetics made by S coda, which is one of the top Red Sable brush makers. And they made a fake Red Sable a few years back when there was an import problem about Red Sable. And I fell in love with them because they're the closest thing ever. But any synthetic pointed round that's a good brush and didn't come in a kid's paint kit. Will will do. These are watercolor pencils and I'm not going to tell you you need a whole sad. I'm not going to tell you what particular colors you might need. You will see what I do with these and make your own decision. I do a lot with these. And so you can gather colors. There are only like a couple dollars a piece probably. And you can gather colors as you go. Or if you're a color or Anki like me, you can buy as big set of colors. Anyway, this brand is also my favorite brand in super color to its by Karen dash. And they are so creamy and they just light up when you touch them with water, they're just excellent. So those are my favorite, but whatever your favorite is is fine and whatever you have is fine. And these are watercolour, water soluble markers. These are pins with flexible a little brush tips. These are great for painting in small areas and tiny areas and drawing. And they also can be used by first some of the techniques that I use, watercolor pencils. For there are differences, but if you didn't have these and you didn't have some of these, you can still do it. This time around. I'm introducing two new things. One of them is another ink pen. And I ran into this by accident not because I was looking for something better, but it's a roller ball point. The ink is about the same as the ink and the favorite Cass style pit pins. It drives permanent and won't be won't blur underneath your watercolor. What I like is I liked us especially for printing and for very fine line work. It glides over the paper. This sketchbook favorite of mine is a beta by Stillman and burn. And it is a cold pressed paper which in many cases is very rough surface, not in this case. This is nice and smooth, easy to write on. This is just easier to write on it with because it's a rolling ball. This is a little fiber tip that you're pulling along fiber on fiber. Just a different feeling and having him both as gray because these are very inexpensive. And the last edition for this time is the Hilbert paintbrush. A Filburn is shaped like little broom. Can you see that? I don't want to bring the camera and because then I'd have to take it back out there. It is a lovely around cornered rectangle. And you're going to see in our flower lessons how this is such a wonderful thing for our lifting techniques. We do. They are just incredible now or they're really expensive ones out there? Yes. Is there screaming deal out there of really really high-quality but long handles so you can poke your eye out. But guys cut these off if you want. This brand is a magic all one word and it's on Amazon and it's amazing you get a set for 1699, I think it is. You get a set of nine of these brushes. And I have been using these for about a year and a half now. I have yet to have a hair fall out. I have yet to have a thorough loosen up. They are incredible. You would think each brush was like a, you know, 12-15 dollar brush but no. So those are the two new ones for this time. And that is our complete supply kit. Now, you will need water, you will need a paper towel. When you using irregular brush with with this kind of paint, you need a little jars and water. Now a lot of people say, good one for the clean water and one for the dirty water. However, I'm a fanatic about clean color and I loved this idea. These are little crafts storage jars. They're made by low Cornell. They're available at either Hobby Lobby or Michael's for one thing, but you can search them on Amazon. You get eight of them for It's all pennies. And what I do is I went to Container Store, I got just a little one of these guys. And I keep 12 of these little jars in there. And the great thing is I have I have a dumping jar over here. So when the water gets dirty, it gets dumped. I have a bottle of water, it gets replaced. I don't have to get up and go to the sink. I'm also not picking up water with pigment in it to go to a new color. And so this is just, I've been doing this for years and I love it. And because they're in here like this, they wiggle around, but they will not tip over. And they keep you from doing really dumb stuff, like sticking your brush in in water jar and letting us stand there. We're not supposed to do that. We all know. So anyway, you'll see this pop up or I will pull a little jar ADA here and have it sitting when I don't have room. But that's how I do Walter, and I just love it. So that's our supply list and let's go and use them. 3. Draw Sunflower1: When we go to a nursery in the spring and summertime, we browse through plants in and choose the ones that we want and by them. And what we're gonna do here is we're going to make ourselves a collection of plants that we will come to, to choose from. Flowers. I might say, flowering plants anyway, will come here to choose the ones that we want to use in any particular page are spread. And in this workshop is about making a garden of intention. And so after we learn to draw and paint these flowers, which are not going to be very realistic, but they're not going to be very unrealistic either. They're going to resemble the flowers that they are. And then we're gonna have fun. We're going to look up whether symbolism actually is. So we could choose them for our garden of intention. However, first, we're going to learn to draw them. And I'm going to hit a button up here, just going to bring you in closer to the page. And I'm going to start with something that is almost like a sunflower. It's not like a sunflower because there's some chlorine has a lot bigger center, but it's enough like one that it can represent one for us. And so with any flower or most flowers anyway, anything except a tool Libre trumpet or something. You're going to start with a circle because you're going to start with the center. And most centers of flowers are circles. And this is why in my other classes we talked about drawing circles. And you want to be able to draw a circle because if they're walkie to start with, your flower ends up wonky. Anyway, we have a circle here and we're going to make kind of a fantasy middle out of it by using a spiral. So we're gonna start small with a little u. Ok, letter you ABC drawing, remember? And then we're going to bring it out and we're going to follow the same shape of this circle until we get to this circle. So what do I mean by that? Is this, and you're doing this jazz as evenly as you can until you hit the edge of the circle. Now we have a very cool center for our sunflower. Now any circular flower with petals that I draw, I get it in my head that I'm looking at a clock. And the other thing that's a really good guide is to throw in a guideline circle O, where the petals will probably end. Now that's not going to be like a mechanical dead match, but it's going to be a really good guideline is going to always help us out. The other thing that you're noticing, I hope, is that I am drawing this flower large. And I'm doing that because most people have a tendency when they began to draw something, they're going to save paper. I don't. And they may go little tiny flower. But when we come to paint that little tiny flower, we haven't gotten any room to to make our paint happen and do things. And so we may as well just be, just be large. Isn't it? Beginning? And so this sunflower is gonna go out. All I have to make is it and its stem and a few leaves, you know, so I don't need to leave a whole lot of other room. So I'm going to take in this oblong book on, ah, in this landscape book, which is his dominant burn beta, it's 5.5 by 8.5. I'm going to have only four flowers per spread. So I'm going to have a nice big reference and I'll really be able to see the action of my paint. So I am going to try a test and I start at noon and I'm going to see this is a teardrop shaped pedal. And a teardrop shape pedal can be even on both sides or not. And that gives it, if they're not, it gives them some personality. But if they are, they look a little more like this. And we talked about teardrops in another class. You can think of them as drawing a circle and putting a Don's had on top, or in other words, an upside down V. And then if you get rid of the middle, you have a pretty good teardrop shape. Ok, so that was just to show you that. And so I have a pedal here at 12 o'clock and I'm going to go directly across the way here. And you notice that when I did my test, by the time I got started out here, I mean stopped out here. I'm way past that circle, so I'm going to use up first pedal as a guide to make a more realistic outer guideline for my petals to hit. Okay, and then we'll get rid of this. And now my six o'clock. And I've drawn an awful lot of teardrops in my life at every angle. So that's why I'm not using the circle on the V. But if you haven't done, you go right ahead and and use them, then it's still with the clock. And I can't get this back far out here. Still with the clock in mind. I'm going to put a three o'clock. And. A nine o'clock, and we'll make that one straight on the three o'clock. Scott weren't personality. And the reason I do it this way is because then my paddles are pretty evenly space. I don't know if you start out and you make a paddle and then one next to a numeral, and then you get to the other side and there is necessarily room for another paddle. And so these are smaller and they're squished. And the way to get a lot of balanced going on right from the get-go is to do it this way. So then you can go in and put a paddle here between those, which is about 130. And with the clock analogy, the crest from there, across from this swine. And they're all ending sort of along the circle guideline. Maybe a little past on Sangam. So lot personality going on in this flower. I'm watching the Sunnah on a monitor that is mirroring what the camera's seeing because the camera is up here, obviously. And so excuse me if I ever slide off camera a little bit, it depends if I'm looking up at the laptop or not. Okay, I'm happy here. And I am going to clean up and I'm going to use a really nice incline and get it ready for color. And while I'm thinking of it, I like the idea of maybe a long and a short, like two lines or even three on some paddles. This shows the kinda little folding that's going on as the pedal comes into the center here. You don't want to get too crazy, but just an indication makes for a very interesting flower. Yeah, I do. I like that better. The first of two new art supplies that I'm introducing in this class is a new fine liner, is not new. It's new to me. Unit ball, I like as in your eye, inexpensive. You can get it from Jed pens or office supply places. The difference is that it has a roller tip. Otherwise, it's a lot like the small pig pen, which is my favorite. But when I found this, I've found it for printing or making fine lines. This just move smoothly over the cold press paper in my beta book. More so than this because this has a fiber Tip. And so it makes sense. This is sort of like moving fabric over a semi rough paper surface. And this was rolling a ball over a. So for this lesson I'm not giving up my pit pins, Believe me, I love them. But this is also you can paint over it. It's water resistant, it's permanent, it's black, and the point size is really similar. The line width is really similar to the pit. So this is the first of two wonderful tools that I'm introducing in this class. This is a Stillman and burn beta. As I said, it's a cold press paper, but it's not a real rough cold press papers. So mostly the Pitt pens, right, and print very well on it. But I'm finding that this role or ball is even as smoother move. And I will show you how we'll do a single panel and then I'll go finish them on my own. But this moves really nicely even over Heavy pencil. And it's got almost an identical size tip to the pit can EMS small size. So I'm, I, when I've finished inking this flower and get rid of all of those pencil, I'll be back. 4. Drawing Stems and Leaves: I'm back in my pseudo sunflower is all cleaned up and the next time, our next thing that I wanna do is add a stem. We're not going to be putting comments on this page. This is our plant picking page, not our pod picking age. I'm not going to say that too many times in a row anywhere. I like a curved stem. I just, there's more to it than just up and down, although you can use up and down, that's a graphic kind of thing. That looks good also. And so dry your nice sweet curve there. Not exactly the bottom between them somewhere. And then you want a second line that's parallel to that one, but that is not overly far away. You don't assume is not a rule, fat thing. And when this flower is drawn smaller, there'll be even closer together. And it's not a real sunflower, but I just went outside and I got a real sunflower leaf so that we can take a look and make our leaves. It's not science, but let's make as close as we can. This is a smaller, younger leaf. As they get larger, they have a more pronounced heart shape and they come up in the spring. This is the way that I tell my landscape assistant. If you all don't pull those particular weeds, the ones with heart-shaped leaves because they're not weeds, sunflowers. And so these can also be like angled off of your stem. Won't be this big, of course. But you want to draw a heart-shaped leaf. Now, I do that by starting with a teardrop shape like my petals. I don't know why I do it that way, but I always have. And then I put the other side on with a single line which is actually creating another teardrop that's partially behind that one. And then my stem will come down and join the stem of the flower. And it gets a little wider as it comes into the flower stone. Now you can have as many of these as you want. When I was outside, he did not notice and I should have whether these are opposing leaves or whether they're alternating leaves and I don't know, so I've, I've just, I'm gonna make it alternating because it'll help my composition a little bit. And because we're not being scientific care, it's just not what we're doing. So it's good when you're not being scientific because then you get to do what you need to do. Now another way to guide yourself into this is to start with the leaf stem line and just make a, the whole way that will become the vein and then come to the tip. Because then you have a real nice guide for adding on your heart parts, if you will. And so really that's done for our purposes right at this moment. And I'm going to ink this and then come back and show you some really sweet waves to add the color. 5. Painting Leaves and Stems Pt1: I backed out a minute here because I wanted to explain a couple of things that are helpful. I want to use one of my favorite greens on my leaves in stem. And it happens to be in my glass pellet. And so I, this is a rotating one that goes on. I usually goes on the a a Lazy Susan, but not this time because I had to take it out from under the laptop. Anyway, this is a good thing because so many people and I will go in close again. So many students have, have asked me about the exact way to get the consistency of the color that we want to use in our lifting technique. And so I'm going to show you that. And the question will be forever answered, at least in those part of this class. I've got, I'm gonna be careful here, not just grew up, so I'm going to use a Number, Two pointed round. I'm going to start, this is the color that I want right here, and this is serpentine green, which is one of the prime metallic colours from Daniel Smith. I don't use many Daniel Smith colors because they dry too much in fall out of pallets here where I lived. However, that's one that I saw for whatever it does because I really need it. I'm also going to get unsolvable little dedicated water jar here and stick it here. And I'm going to get a paper towel which we're going to need. So that's what's where I'll be dipping into off-camera, but I'm going to bring us back in again in order for you to see exactly what I'm doing. So we go and push the zoom. There we are. Okay, so I added a couple of drops from my droplet bottle in here and I give it a minute or so, although really good watercolour to re-watch very quickly. And I'm just going to start working at it. Now. I'm pulling the color down into this paddle area, but that is just too light for what I want to use. So what you're going to see is that I keep bringing the puddle area back to the cake of color. And, uh, when I pick up the paint that I want to use is going to be from that area right there. I want something like milk. Let's see if you can see it out here. No, not if it's not on camera, you can't can use Can you tell as opposed as close as I can get is like milk, milk, skim milk, but real milk. Okay, so now I've got my paper towel down here and I'm going to go in get I did not go into my water again. I went into this water. And I'm going to go get the color and the script a little bit off and leave the brush pretty full. And I'm going to come here and I'm going to put that nice milk thickness of paint on. I do one section of my leaf at a time. And what that's gonna do when we do our lifting is it is going to define the two parts of the leaf and the vein in the middle. Okay. Rinsing the brush, blotting the brush, feeding some moisture into that thick paint. We've been doing this before. This is just a close-up. And go back with your blotted brush again. I didn't go back to the water. I just went back to the paper towel and do a pick up and blend move. Okay. I don't watch as it's starting to dry, that no hard edge appears where your dark miniature light. Because the whole idea here is to be able to quickly establish all your values in one fell swoop. Then I let that dry before I come over here. Now, this method is going to be tricky on your system. So I'm going to show you, and it takes yes. Years of practice to be able to be real precise with even a number to round. I have I am not very close to the page. I am allowing just the tip of this brush and see it's going to it's going to soften my bad incline there. I'm just letting the tip fill the area and it's okay. If it doesn't fill the whole area because you'd have to squish down on your brush and then you wouldn't be controlling your edges. I don't do the side stems until the millstone is done. So again, into the water, onto the paper towel and coming back with a damped brush. And I'm feeding that new clean moisture and you'll see that it starts to pick it up anyway. Even without your dedicated going back to pick it up, feeding that moisture and is already kind of creating the round shape of that stem for us. So by creating all of our values, by picking up the highlight and letting the paint blend itself and to the shadows. Are you are establishing it that is around two. It looks like a stem, not a flat ribbon. And so it helps with your definition. Now I'm going to get more picky here and do wanted to leave stems for you. And there is a water drop on this brush. I can you see it? It's whoops, it is trouble. Always, always, always get rid of that. Because when you're doing this, that droplet is that no matter how small, that is going to travel down the brush and give you a nice water blob in the middle of what you're ever doing. It's a, it's a big enemy. Okay, I still download a couple blobs there and I'm going to show you how to fix that, but not until we're all done with this. Remember to do each section separately and let it dry before you do the one next to it. And that way, this color, the new colour, is not going to run back into the dry color and mess up your definition of your values. There. 6. Painting Leaves and Stems Pt2: My leaves are done and you can probably tell why I love serpentine green. It's just a wonderful leafy kind of color that you don't have to mix. That's called a convenience Green, By the way, purest all mixing from blues and yellows. And some day we'll look at that because that's also fun. But when you're sketching and you want to like for grass a little bit. It's fun also to just grab a hold of a two color. I'm going to point out two things here. One, I will show you how to fix if you get any, you can probably barely see this one. They can be worse. But I have three places here where there's little dot of green where it doesn't belong. And thank God, this is a lifting color and not a staining color. I'd be in a lot of trouble, but I will show you how to fix that. But the other thing I want to point out, this, look, this is a learned process. And the more you do it, the more you get a feeling for your pains and what they're gonna do when you apply them having and pick them up again. And they're all different. And so I could never sit here and say, well, if you use the low blue in this brand, here's what's going to happen because it's going to depend on your paper, on where you live, on how wet it is. Not the paper, but where you love how much humidity is going to depend on everything. So it's about you, your brush, your paper, your pain, doing it enough times as you go along, but you know pretty much what to do. Now, if you which just happened to me. If you do a section and you just don't like how it's turning out, maybe it's drying, where maybe you picked up too much paint in the middle and you got a hard line between your highlight and your shadow or for any reason you don't like it. Don't keep messing with it, trying to fix it. All this going to happen is you're going to disturb the actual surface of the paper. You're going to make a surface that isn't gonna wanna do is smooth thing anymore is just defeating. And so if you've got something you do not like, let it dry. Remember that this is watercolor and then do it over again. Do it the same way. Not lied or not darker, anything else but go back, get your milk, consistency of paint, paint that section over, and then do your lifting. And it may be a little darker in the shadow areas, but you're going to Mountain what's underneath where the trouble was. And so you'll be able to have another chance at doing a very sweet smooth blend. Alright, now we're gonna get rid of those little problems and I am getting a tissue. This can also be done with a paper towel. And the other thing I am getting, if I can find it is my water brush. And you want to make very, very sure squeeze out a drop, makes sure that water brush has absolutely no color from the last time or something. So this is pretty clean. I already tested it. So with the clean water brush and your tissue right at hand. In your other hand, you are going to be like a little surge general micro surgeon and you are going to start out further. So you don't wet that stem, you know what, that running all over the place so you don't want to really hit the color inside the stem. Just want to dampen it and press that tissue into place and look at that little green dot is known here, not on here. And I'll, when you're doing this in a few places, just make sure that your brushes clean, but also that you're not on the same place as your other little dot would have landed because what is it going to do? It's kinda like rubber stamp it onto the dampness. So I'll do that one more time here. Make sure my brushes very clean. Start out beyond the color, not right up on this line and just fudge your way in there. Clean tissue. There are no nothing's going to run because I blotted the moisture and I have just one more space or place I need to do that. I just did another dropped through my brush to make sure over the paper towel to make sure it was done. And I'm going to go after this one started out here. Make sure it's clean, power your tissue. And now my little bibles are gone. No one but you will ever know they were there and you're not going to tell R U. 7. Painting the Petals of Our Sunflower: I'm going to introduce you to the other new art supply that I've added to our sketch booking art supply kit this time around. And it is called a Filburn brush, uses a larger one. Just show you the shape. You see that shape that is not pointed like a pointed round. It's not straight across like a flat. It's this nice, rounded, beautiful soft ends. These are fabulous to use with your pointed round brush. And use these for the pickup. Use appointed round for the application and these for the pickup. Why? What's the difference when we're picking up your blending with our tip of our round brush, we have just this little tiny area that we're doing the blending with just about at the point in about a 16th of an inch bag is all we're actually using. She see that. And so when you're using a Filburn to do that, you have this in Look at how soft That is. That is just so wonderful and I'm gonna give you this brand. These brushes are so inexpensive and so much lovelier than expensive ones, I just can't tell you. But anyway, that entire area is available to you for your pickup in your blending. The other thing that you can do, and I will be showing this to you, is that you can kind of use them, but you can do it little shovel thing with them in your blending process. And you can't really do that with a round brush because all you'd have is your just your record your tip a but she doesn't have any you got a little grass like thing. You don't have a blending burrow. So these particular Hilbert brush, if you have some in your collection, try them first. But this is, this brand is called a magic, a MAG IC. And you get nine brushes on Amazon for $16. Now, anybody that values they're expensive brushes is gonna just scoff at that and they're gonna think they're just crud, you know, the hairs will fall out, the Pharaoh will come loose. Well, I've been using these for over a year. I have yet to have a hair fall out or a feral be loose. That never troubles me as much about that because I just take a little pliers and pinch it, but hair's falling out as worse trouble you can have and you don't want that happening. So these are, they don't do that. And when you experience how they were to do your pickup and you're blending, you're gonna probably faint. Now this set is law and null, which means that as a watercolor, as you can poke your eye out, I keep them this way so that I can quickly grab them from my other brushes. But you can certainly make them short handle just with your garden clippers and then no little sandpaper and little, I don't know, Sharpie to put the black bag so you can make. Short handled set, just as easy as pie. But I don't do it. I keep on long And I just watch it. I don't. Not all Pokemon is often the I. So anyway, this is our new supply and we're going to use it and what we're gonna do next. And what we're gonna do next is a two-step, very sweet trick for blended color. And the very sweet trick is this. And I need to add, I am adding a drop of water to one of my pans that is a light ochre and you can't quite see it. There it is. It's a little lighter that some workers are really dark. Depend use yellow or mix your broker with some yellow if you got too dark of an auger in there to give you a kind of a wonderful shiny blend. So this is a watercolor pencil, it's a car on dash. This happens to be the russet color, which I consider to be, excuse me, close to burnt sienna and CNRS kinda founder want. So I'm going into my center and I'm just going to draw over right inside the edge of my ink line. I, My flower's center. And remember this is a water-soluble pencil. So when I paint, we're going to be liquefying that in. I'm going to get like auto blending color. I'm also gonna go over part of my, my center. But you notice out here I made kind of a double line. Why? Because I'm going to want a little more shading at the edge. A don't want that much of the second color on my spiral. So I'm doing just a single tracing of my incline. So that's done. And I'm going to take my round brush and I'm going to pick up some of my light yellow ochre here. And I'm just going to paint in the center of my flour, starting this center go outwards because once you hit this outside edge, you're going to activate a lot of your second color hair. And it could end up being more than you want. Okay, now comes this magical deal where I am wedding the Filburn brush and damping it off just like I would to pick up with my round. And we'll pick up with this instead. And it just does a lovely job while staying friendly to the paper. Now, I got a little bubble there that I don't want. I can barely touch with this brush and pick it out. If I've got any hard edges on the line, this is small so you can't really tell what this can do. And this is an older one. It's like not stand smooth on the end. But I can just go in there like I'm a little broom and adjust everything that I want in that center of my flower. My, my film for my little 0 Filburn actually is kind of beat up and I'm going to replace it. So it shouldn't, when we were doing matters, shouldn't have their little rake effect. I'm not going to throw that out by the way because it could be good for making little grass or whatever. But I am back now. We're going to work on our petals of us are fake, some power. And I want to bring in an orangey red around the edge. I don't want a lot. Red is an amazing color in pain and pencils in anything read just goes everywhere. So we're going to be careful here about what we do. And I am just going to trace this pedal with a single line and the color I'm uses another car and dash. And if I can see it, this is vermilion. And so it's an orangey red, it's some nice color. Now if you don't have these colors in colored pencil, and you do have them IN watercolor pencil, and you do have them in a water-soluble marker. You can do this same thing. It's going to act a little differently because the markers die and it's going to run more. The pencil is pigment particles that are bigger than watercolor. So it's gonna run less. But it's worth trying because both ways work. But we are putting this in here and I'm putting just a tiny bit more where the pedal would be shadowed because it's going in behind the center there. Okay, enough pencil. I'm going to go to a bright yellow here. I think this is a Han, so yellow or, or CAD or something. I have to look at my chart. I have too many colors in my life to remember them all where they are. I have too many pallets in my life. So I have my yellow paint on here. It's really important, especially with red, to start out in the white area and work into the red. If you start at the edge is whole petals can be read before you can say the word red. And so there's my application of paint. And I am rinsing my brush in the water. I am damping it off on the paper towel and I'm gonna start my little blend with my my round because finishing the wedding hair and whatever I do, I don't want it to be large. And so I'm just using the tip of that. But for lifting. And I'm gonna come back and this time I have a Filburn That is number two. You could use a four as well. I'm wedding that in the same paint water dotting it off. And I'm going to come in and he nor so I'm using the edge to do my lifting because I don't want to Blob into the sides with a fat deal there. And I'm lifting and blending. And now here comes the cool part for these brushes. And you get a tiny dry and you just, you can just fool with your shading. I'm hoping you can see the subtlety there. And here I think it's coming out too much. So I am going to push it again. And it's just amazing how you can do that. Even if the breadth of the web brushes separating a little bit, you still, you have the subtlety. I can't turn the right way here, but to push back against where your shading is blending or to pull it out. And now if I've got too much out there in the yellow, I can still come back with that softness. And I still haven't started destroying the paper surface. And that is just a wonderful thing. So your result here is a beautiful blend of two colors without having to work with wet into wet watercolor. Which is, you know, as anybody who's tried it, it has a mind of its own and it kinda just does what it wants. And so you don't have to deal with that because you're at least one of your two. Colorblind is a controllable thing. So you try it. And I will be back with mine done, and we will proceed to our next flower. 8. Drawing A Coneflower: My petals are done in Iran into just a couple of things that you might run into. So I wanted to address them. One is when you're working with your blending and everything, if one area gets to YE or just to read or not yellow enough, you can always add more YOLO. You just take this same Philbrick brush into your bane pan. And like you would your round and just come back and dot in some more yellow. And that should bring things back. Now, if you want to increase, like the red part, don't take the red pencil into the damp air you area to increase it because what's going to happen is as the lead touches the wet flour, it makes a pretty indelible mark. It's another way to use watercolor pencils, but it's not blend a boy after it happens. So a better bet is to have your damped silver brush and you're just dab at the, the way that we do and we do vignetting. Just stab at the lead of the colored pencil, and then come in and dab to add a little bit of red that keeps everything subtle and minimal and it reduces the possibilities of you making a mistake. So I did several of these kind of fake flowers a few years back and I made a greeting card set for the gallery with them. And I called them sorta flowers because I had the wrong kind of leaves on him. They weren't exactly. So It's better than calling him full flower. So I think because there are flowers in their own right, they're not total imagination, but they're not completely true to life either. So the second one that we're going to do is the cone flower in the column flower is really neat. And if we drew it face on, we was structured it just like how we did the sunflower. Well, we're gonna do the cone flower from a little different angle because it's just gonna look neat. Now it still has a little dome center, but we're going to be seeing them from the side. So instead of starting with the circle, we're going to be starting with an oval and ellipse. And I'm making little tiny marks, like little little cloud marks, little curves to make that center. And now instead of looking right down at it like that, we are looking at it from the side. So the comb flower paddles are also teardrops, but they go the other way round rather than the points being our word. It's the round part, that's our word. And we're going to have them and they and they kind of fall down. And also they're not really, they're not really round error. I'm cheating. You see, because it lists are good. They really have a point on the end. But we're not going to do that. We're gonna do round because it is cubed. And so I am going to not going, I am making this kind of a pedal in. I'm having it come down and have personality. There's probably still one out there that we would see. And over here, and over here and over here, unlike van, I want that part fatter. And this one probably would be kind of straight on more than the rest of them. And then and I was like what happened here because I want to put another paddle there. You see, when you're not using a clock lamb or work in half. And then that's why we do it when we can do it. But it wouldn't work here because we're not looking straight down. I want that a little shorter. So sort of like a skirt. And I'm going to correct the links here makes some shorter than I have and leave song launder. And I'm just looking for personality here. Well, the side of a flower that is its petals or swooping down or falling down or something. And it's turning out kind of perfect. I don't really want at that perfect, but since that's where we are and that's what we're going to stick with. Okay. I think that's pretty much of a cone flour. And so under here would be the cap or the cone flour and our stem. And I am going to send it this way to balance on the page, although this is not my final page, I'm going to send it back toward the sun floors, so that looks good. And then the leaf of the flower is like a lance kind of so it's like if you took that shape and you stretched it out. So it's going to be long, like a arrowheads sort of and is going to have a stripe right up the middle. And they can be alternating or they can be opposite. It's all up to you and to the plant. Nobody's going to argue with you though, because they come in both varieties. And he's going to argue with you anyway, I mean, we should appointed the petals of her cone Florida. We just aren't listening. Ok. So you can have more leaves if you want. They usually do have quite a few. But we don't wanna get too carried away here. We've got a pink to all these, right? Okay, so that's our comb flour. And I'm going to ink mine in and I'm going to do my green. Now. I'm doing it the same way is this. I am not sure if I'm going to use exactly the same green color. I might move to one of the other greens on my palette. I'll be letting you know when I get back. And then we'll look at how we're gonna paint this flower. 9. Painting A Coneflower: Well, as it turns out, I did choose a different green. This happens to be Sap Green made by m gram. Sap Green is made by a lot of different manufacturers and it's going to be just as different as the manufacturers in some brands is going to look a lot more like this, serpentine like lot yellower, lot more Olive. And m gram and some others, it's going to be a deeper green or blue or green. So whatever you got you can play around with because we don't have to be true to nature. This is going to be a little bit of a different trick. And I'm still going to use the, the vermillion council that I used over here. And my goal here is I want a very vibrant red. And lots of times read is staining and it doesn't pick up as well. And the vibrance kinda can go because it can be when you lift, you can get pink. There's just a lot that happens with red, red, some very difficult color. But I am going to put two layers here. And the first layer that I'm going to be printing is a very light And I've got just a very, very light touch here of this familiar. And you can see on the cold pressed paper if you have and if you'll calf cold press paper, you'll see that it's only hitting on the top of the hills, papers surfaces made up of hills and valleys, of course. And so I have done that so that I can then take my water brush and I can fill that panel was flat color in a very orangey red. This is what what I want. Because when I put the rich red over the top and I lift, instead of lifting to white, I'm gonna be lifting to this under painting. And I'm going to pick up here, it's going to stain and won't go all the way to white. I'm gonna pick it up so it's nice and light. And I'm going to let that dry. Meanwhile, I'll just do another pedal. So you can see again, just very, very light. I'm hardly I am putting a tiny bit of pressure. I'm not just floating and there'd be like that. But I am just putting as even a code as I can because remember, you're putting pigment down here. So like you'd make a darker mark. You have just put more pigment the papers so that you're not getting the even coding that you want. I love this about watercolor pencils, how they just come alive when you hit the water. It's just a different world than what they look like dry. I never used them for dry colored pencil work for that reason because the regular colored pencils are formulated different lens. So when you lay them down, they're going to have more brilliance not being wet. So this is the idea. And then I'm gonna get a red, rich red and show you what happens when we put on our second layer of color. So my red petals are in place and they just grow so beautifully. And so this will top business. The center, if you will, is going to have to live up to that. And I am going to start with a rural brilliant golden YOLO for that. And then I am going to use my Filburn brush and a little bit different of a way. Now this is rounded up and that means a son is going to be hitting a on its rounded top. So there will be a highlight of their for sure. I'll pick that up with my my silver. And then with my silver which is down, I'm going to go into some kind of a red brown, a burnt sienna type of Brown. And just with the damp, I'm going to pick up. You see which one is? I'm just going to pick up on the end of my Hilbert enough of that color that I can kind of dotted around the base of this center here without putting too much in. And then clean the brush off and come back and push that into her blobs. It's going to dilute it. It's going to spread it out a little bit. And it's going to make it do what we wish it would do. Whereas if we had just dumped color in there, it would have run like Google Monkey into too many spots. We didn't want it. So this is the tiniest bit of paint because you didn't put water in this burnt sienna color. You just took your damp Philbrick brush and barely picked it up. Now when I look at this center, I'm disappointed in my sunflower Center. And so I am going to take I'm debating here whether to put the Golden on there. I think I will because I'm just not happy is just too flat for me. And so because that was at yellow ochre just didn't have Brian's going on. So I'm going to add that golden yellow into the middle there. And then do my same trick with my damp with the same color. And just go round where I would like the edge to really stand out from everything else. And maybe I'll just pull it around here. Now that I'd do a couple of things for dark under sunflowers center and gave it more liveliness. And I'm gonna just finish off at the bottom there. And now we have something with some real personality. I just plotted the brush. I'm gonna use the brush to do my push back thing is like if you had a push broom. So that is not too far out there. This shape of this book makes it a little difficult for me to get the angles I need. But okay. So far we have two gorgeous flowers will be able to choose from and we make regarding of intention. 10. Drawing A Tulip: Our next flower is going to be a tool of in. Before we jump right into drawing the tool up, I just want to review what I called a parentheses pedal, a P paddle, and some of my other classes. And the P paddles, awesome, because you can make like the teardrop. You can make a bunch of leaves and blossoms and all kinds of petals out of it. And it really, I call it a parentheses paddle because it is a pair of parentheses. We go back to our alphabet, are letters and our punctuation have so many of our shapes where you need. This is parentheses, but I just jam them together. Obviously, usually there might bat and then some stuff and then another one. And they contain an idea. And if you put them together, they contain the idea that there are leaf or a petal. So it's pretty cool thing. And they can be fat and they can be skinny and they can be all kinds of things. And so one of the things they can be is a tulip. Now a tool of halves of center. If you ever have them in the springs in your vase, and they open up and you see the center, it's really cool center it has little pistols or I don't know if her pistols or stamens. I never get this straight. But anyway, they stick up in there, really kinda cool. But most times you don't see them because we look at a tool from the side and that's what we're gonna do here. And so I'm going to start on a little angle. I'm going to stir higher too, because the leaves on a tulip are pretty dramatic and so we're going to allow room for them. So I'm going to put a P pedal here. And then I'm gonna put one right next to it that is partially hidden by it. And at the bottom I'm going to put a little cap like detail like this. And already we've got a tool of, but usually you see one or two of these guys from the back that are showing through the gap up here. So we're pretty tulip be there. These can be spread more part or they can be closer together. And then a tulip has a nice defined stem. And before we do the leaves, let's make another tool right here. This is going to be a two for one. And we'll make this one just a little more open so that we can see more than one of these guys back here. Okay? And we're gonna put a little cap here. And there's two loop number two. And let's bend this down this way. And then the leaves on a tool of are based on an S shape and it's a stretched out S shape, but an S-shape nevertheless. So it goes like this. And then you put another ass on this side. And sometimes this is curled up here so that the leaf looks like this. We're seeing the inside and the outside at the same time. Okay, this ash should come back out a little bit. And there we have a tool that belief from the side. If we were to C1 straight on what we have is a stretched out version of r p pedal. And over here, obviously we need a backwards S because it's facing the other direction. And we echo that is Raul. And then I'm going to put an edge on this one too. So this is going to be something and I show you when we, when we paint, is how to make it obvious is not obvious right now that that's the edge of the leaf turning over because we're just looking at line work right now. What we can do that with our pain too, and I am going to move this one. They're not ours quite the, the turnover isn't always quite so curly. So I'm gonna do that. And I'm going to go and ink. And I'll come back and I'll show you probably with yet another green, how you establish that this is turning over. And then we'll make our tulip, one of those two tone moms. And that is another, yet another trick of combination of a watercolor, pencil and watercolor. 11. Painting Tulip Leaves: So the first part of our painting demo here is going to be about to leave how we want this to look like a light side. The, if the light is coming from this side, we want this to look like turned over and it's catching most of the light. And the other thing is it's going to make this whole area is darker than this. And especially our darkest areas shadow will be right in there where this turnover actually shade z inside of the leaf. So I decided to use two different greens for the US. And one is not really a spring green, but a little deeper like a permanent green if you have that in your colors. And the other one is Workers, which is a darker green. And so I'm going to start with the turnover part here and use the lighter green. It's also good grass green. Reason are not being more. It's a mission gold color, but because I don't have this particular palette and I'm using charted. I have it color charter, but I don't have the names written on it. And so kind of depending on my memory, which isn't there. So here we go with this. Now the lightest part of this turnover is gonna be right there on the curve of the edge. And that's going to work out well too, because that won't be in contrast to the darkest part of the underside. And that's what would really happen, is that that the most light would be caught by that edge. And inside the most light would be caught by this edge. I have to wait for that to dry for a moment. And so in the meantime, I'm going to introduce my other color on this middle leaf here. Because the middle leaf is not turned and I debated what color to make it, but it's behind these flowers. And the light is only coming at it from the side. And not fan, not frontal. And so it might well looked to be a darker green rather than the lighter green. I got a sloppy right edge there, but it's okay because we can fix it. I'm going to get even darker as it goes down here between the two stems. Are kind of hiding it and a little bit. See, I've gotta turn the book around. I always turn my book when I'm painting. And because when I don't, he saw what just happened right. But it's hard to do with the camera and this shape of a book which is kind of very wide. Okay. Now I'm going to do some lifting to make a pretty, you know, one of the leaf flat color because we don't have any values. I know that I'm going to be able to fix this against the stones because the stems are going to be green too, so I'm not not worrying about that. Her pick it up like that. And then I'm going to grab my trustee silver. I'm just gonna make that softer feather light touch. I am barely, barely touching a paint with the, the rounded edge of the Hilbert. I used the end of him to do my broom work. If you all. And the corners of them, if they had corners they rounded. It should do the soft blending when he just barely wanted to affect the pigment and now is getting dry enough. I have to get out of here. My very next move would make it too late or to streaky or to something. And I only know that because I know my paints and my my atmosphere very well. Now we're dry enough here already that I'm gonna go back and put that dark section. And we don't want this to look like just a leaf in our like we had across the gutter there. There were just looking at the two sections of it. We want this to look like it's curved inward. Like a little golly there. And again, I know I'm not at my angles, so I'm going to correct for what happened there. Okay. Wedding the brush and damping it off in out here at the edge is where the light is going to hit this further leaf. And it's going to stay very dark in there. Not quite as dark as this summer to get the film ever, again. Winning it, damping it off. And I'm going to pick up more and a little more smoothly here. And that lit edge. And now what I've got is a non blended edge between my middle tone and my light. And so I am going to do that soft corner business again with the Filburn to make that look more like you did it with oil paint and you were able to just blended beautifully. No hard lines. Then I am getting out. And often on the end of a tool of I got a little bottle there to fix, but I'm not too worried about it because at the end of a tool of leaf, when it's doing this kind of thing, often has like a little spiky tip on it, which that could be. I'll probably just fix it. Don't bring the green right up there. And so if you look at the leaf over here, where we have the two sections of the same leaf. And then you look at the leaf here, you see the difference. This leaf is cupped. And now you know how to do that. So I am going to turn the camera off and get the other colors that I need for this to tone tulip. 12. Painting the Tulip: Okay, it's time for our two tone to let. I have a CON dash pencil in vermilion, which we've already used. And I have a rosier red car, mine. And you can use in your pencils or markers if you don't have the pencils, but I do have to warn you the markers are not going to give you this controlled result. We're going to see what the pencil that'll give you a nice result. But it isn't going to be what you're going to see right now. So it might be worth just getting, if you're gonna do a bunch of two loves getting a more rosy red, orangey red. Okay, so what is going to happen? This kind of tulip starts at the bottom with a lot of rotten orange and it kinda streaks of intro golden YOLO. So we're going to start by putting in this vermilion is orangey red. At the bottom of the pedal. Going to have it become like that and not go too much further. And you'll notice I am I'm being a little darker than I was when I did the the underpinning for the rows with the same pencil edited out very lightly this time I'm putting a little more pigment down on purpose. And I'm going to take this deeper rosy red just down into voter half of that area that I did in the vermilion. And the next part is tricky. I'm going to have to flip this book around and make sure that it stays in the frame of the video. But I've got my round ready and I've got my silver ready. This is going to just be a last-minute if we want to pick up or yellow a little bit. So I'll just laid that they're mostly, I'm just working with a golden yellow and Indian yellow. Sometimes they're called, sometimes they're called Golden y'all. It's just a pretty orangey, yellow. Alright, so I am picking that up off of a pellet. It's off camera. And I'm going to start to paint it at the top. I've got a little bit too much painter at the top and I'm going to bring it, It's going to stay kind of pure up there. And then I'm going to bring it down into my reds. In your notice just with your stroking of your brush. How pretty that is that it's wedding, that red. And it's already starting to crawl up the paddle. We're not gonna let it just do what it wants to do though. So I have just cleaned off my pointed round brush and I've just damp and it off on a paper towel. And I am going to very lightly feed some of this red up out of here into my yellow and follow the curve of the, don't come with any straight lines. Follow the curve of the pedal when you're doing this. And we're going for that kind of thing that would happen in nature word it's just really blended beautifully. And I'm going to turn around and get back song my bright yellow by using the Filburn and doing a little lifting out the top there. Now you've probably going to have more time than I did here because again of humidity. But I know my limits and this is as far as I'm going to get. And there I think we have a very wonderful to look paddle of the two tone kind. And you can choose your own colors and do this chill. This works for anything you need to blend a color into and have great control over it. If, if this was wet on wet watercolor, that red would be all the way out to tip. It just travels on its own. When you don't want. The travel on its own is when you combine a different kind of pigment that's in these pencils with water Carnot tames the whole thing down, gives you a lot of control. It allows for very, very lovely little nuance there near blend. 13. Drawing A Daisy: So just like magic, all of a sudden my inking Aldon on my African Daisy. Something about that, you know, is little l. So actually I turned off the camera for another reason. And I thought, well it's off one and I just get the inking done though it announcing it. I'm going to show you a couple of things we haven't done yet. And one is a bud or above is going to open like very soon. And so I'm putting another little small stem over here now, the stem on this one, I curved it this way. It's just as real similar thing to what we were doing in these two over here. But going in the other direction, just balancing this arrangement on the page in case I was going to just keep it this way, which is one of our options. So I brought this stem down here and I'll be back to tell you about the serrated edge. Serrated, I don't know how you say it. Serrated edge. But first we're going to draw them blossom over hair. So we're going to make our stem and a blossom that's going to open house a little crop like your tulip did. And usually a little bit of that stuff. Sometimes they have little the cup has little markings on it that are tiny little leaf things. And then what you have is a bunch of baby petals. Thinking about opening up and being one of these. And they don't go over the edge or anything because they're just thinking about it. And so they stay right where they belong until nature tells him it's time to open up further. So that's our little daisy blossom. Now the leaf, they went, when they added the leaf becomes serrated. It's a different job of drawing it, but if you base it on what you already know and on the general shape of the leaf. You're in business. The real truth is this isn't a structure. There are a whole bunch of these coming out, but we don't need all of them, in my opinion anyway. So you're going to start with the leaf that you understand already, a leaf shape like so, and your little center vein. And then when you're gonna make these edges, you're going to start at the top because trust me, if you start at the bottom, you get screwy And you go the wrong way. And so you're going to start at the top knowing that all the little Pinker's point toward the top. And this Daisy doesn't have, it's not an extreme edge. Some leaves it really is, but the daisy isn't. So you want to keep making your little sticky out edge coming down from the top. And obviously you're going to ink that in the race, that guideline. But make them all point Kinda up. Have the Look enough for anybody who sees it to understand what it's supposed to be. So I'm going to add a little one coming off of here. And do that again. See that left-brain, right-brain thing really can mess you up and you can just start making these go the wrong way, but you have to stand on top of it so that you won't. Right? So I'm going to erase this and then we're going to talk about how do we do petals that are mostly white. 14. Painting A Daisy: So this ring right here was part of the center. That's the outer ring is going to be a very deep purple just because that's how they are. And so I'm getting my purple out. And I'm going to do that kind of heavier paint color that we do. And I'm picking up what I think is enough color here. And I'm just gonna go in if you don't have a purple, mix, one from a red and probably your ultramarine blues gonna give you the best. With a ruse red. It's going to stay blue that way. Roses a bluer red than like vermilion or something. And so with the ultramarine will stay more blue views, brighter red, you can get more of a purple color. So that's the darkest ring we have in. I want some texture in that, but I don't want to pick up too much of it. So I've got my my round brush and I'm and I did the thing, you know, wash it off and then dip it. I mean, dampen it on the toll and pick up a little bit of this here. Okay? And not too much because that it's actually almost black in real life. In fact, the middle is that we're going to clear our brush again, damp it off, but have a little bit of moisture in. I'm gonna do a little silly thing here, which is I'm going to wet this middle enough to allow a lighter purple to go on the inside to have, we've got a two tones center now. And that's going to look good. Not true to life because it should be black, but I don't think that would be so pretty. So now our challenge is that these petals are mostly white. So how are we going to make that happen and not have it be too much? There are a couple of ways. Okay. One of the ways and I hope that these end up looking okay together because they're going to be on the same flour. And I'm going to show you two ways. One way is to paint the pedal with clear water. Then to go and get the tiniest spot of your paint. And because purple is so staining, it might be a really smart thing to make a little wash of it and not be gone to your pan because it can overwhelm and no time at all. And I'm just touching the tip of my brush to remind purple was and is damp. But instead of going into an actual PAN, I think it's smarter to make a wash to dip into so that you're sure you're not going to overwhelm your white. That you see the difference here from the kind of thing where we're doing over here. And that's because we are working with watercolor and water. Instead of working with watercolor, pencil, and paint as the water. Here, the water has no particles of pigment in it. The other watercolor does. And they are moving a lot more freely than the colour that's in the pencils. So when you do this, you have a delicate operation. A works really well when it works. But you've got to really be careful. So that is the, that's the one method. And I've got to find a purple penciled to use. It's a good match for this. So I'll be right back. I think I found a pretty good match. And as it turns out, really, we have three methods because we can use a pencil and a couple of different ways. Now, one of the ways is to apply it dry, but you just can't put much very light touch, very little pigment for down because you don't want an entirely purple pedal. I'm going to switch my book so that I can come at this from the right direction. So we're on our way. Let's see. Okay. So I'm reading my brush in clear water and I'm going to start in clear. If I started up here, what does pencil? It'd be washing all the way down there. So I'm sneaking up on it of the white area and into a too wet it. And then I have with a liquid on the tool up a little bit of time that I can feed some of that back in. Now this is not working anywhere near as easily as the one next to it. I hope you're noticing now. But it can be done. And if I wanted a little bit down here. I might, if I do it now it's gonna make its convenient indelible. I might have put a little purple down there so that I could bring that up into the clear. So that one not crazy. Then the last one, the next one and the last one. We are going to use the pencil lead as a palette like we do when we do vignettes, if you remember. And so again, I am going to paint the pedal with clear water. To us. Clear, make sure you have an R1. And then I'm going to come over and touch that wet brush to end. Don't do this with any energy because you can splatter your page unless you want to supply to your page. Okay, so now I have the same kind of subtle blend in that I was getting from the watercolor itself. But it's going to be a little more controllable because it is pencil. And so I've got a little bit down there, a little bit up here. And letting it blend and it's still going to leave most of the pedal white. So this choice is really up to you or you could use all of the methods if you wanted to. Because there is variety in a flower, maybe you don't have a purple pencil. Same thing would happen with a with a purple marker. In fact, why don't I just show you that if I can get this purple marker, I hear knocking everything down. Okay. Here's one. I don't know if it's blue enough for us. Both purple. Gotta check it on a napkin over here. Probability of sour. Okay, so using a marker and let's get this in view. We're gonna do that thing again, paint to peddle with clear water. And the reason I'm going right next to the other one is because it's already dry. I know on non trouble. Okay. We can just touch. Now you don't want to do this the other way around. Because with the watercolor markers they blend, but it takes a lot of work to get them to blend away their edge that they made. She is not even that easy when you do it this way. You're trying to blend the water into it, get it to blend back, not make the whole petal purple. And it's not as easy to pick up with your Filburn either. So you're kind of going to be stuck with what you got. I don't like that edge there. I can't seem to get that to run a blend away. So I think of all of these methods and like the original about so I think I'm gonna do my parallels with that. That was clear water and feed in a tiny, tiny bit of purple and then blend. So here's my African Daisy. And a couple of things came to mind when I was doing it, but I just want to share with you. One of them was I wanted a little transitional thing here were the, the petals tucked behind the dark center. So I just went back with the tip of my brush and the tiniest bit of the purple watercolour paint and just barely added that circle. And the other thing when I was painting these leaves of the series edge, I, I did a stroke and fragrant. Remember now I was doing it and I felt like I had a show that I had my my brush just filled with the green. I went back to the green wreaths on the sunflower, the serpentine. And instead of like coming down like this, I painted this as stroke from each of the points on the edge. And this blended as we went down and it gave it a kind of dark and light texture, which I liked. And so I maintained it as best I could. But instead of just going down like that and then trying to go back and do the corners. Just like this. Brushes dry just like this, like this, like this, like this. Only with paint on your brush. And it fills it in and it's just a different way. So we have two more flowers to do. And the first of those is America gold. 15. Drawing and Painting a Marigold: There are gold is around flour, the centers there's somewhere, but not always really visible. And so we're going to start with our center, which is going to be actually made of pedals. Because that's really what it's like in there. And the petals are kind of a corn kernel, look, if you will. And then we build petals out from there. And you can just keep going as many times as you want to around a circle. Because at some point, these become the actual petals of a flower. And so each circle gets larger. As you go. I didn't have a guide here. You see what happens, right? I'm afraid I was getting way too carried away here for a sketch book version of a merry gold. So I just came back and simplified the whole thing by just making this kind of indicated pedal circle around this center. Because we were gonna do this. We're not going to paint every pedal separately, so this is going to work for us just as well. And it's not going to take us as many years to do that. I don't want them anymore than that. About three layers. But don't want to even than it off a little bit because it should be pretty much around circle. And then we're ready for Incan paint. But let's add our stem first. Let it come this way now. And I'm going to put another smaller Mary gold over here because they are not usually found rye themselves. Usually there are a lot of them. And this gives you a chance to just see how you could draw another, refer one. Okay, so the leaves of marigolds are there not as perfectly shaved as one over P pedals? With the, they occur and long stems. And we're gonna make them P or P pedals, because we're gonna be able to deal with that better. I don't want to get into all kinds of detail on tiny leaves. But the idea is that each leaf stock. Has several leaves. The ones on the sides are actually smaller than the one that Sonny end. But we're not going to worry about that either. Because this is more of to be an idea than it is to be a perfect botanical illustration itself. You can do as many or as few of these leaf branches as you want. And I think that I'm going to wear, I'm done. Good. So when I come back, I'll have ain't the blossoms. And we'll look at yet another approach to our blended colors that we're using on our flowers were going to use just watercolor on these blossoms and use the technique wet and wet, which everybody knows with that is because every single watercolor thing you ever take starts out teaching you about wet on wet. If I could give things when you're a long enough, it's going to be wonderful. You are going to probably don't have a problem unless you live where I live, or Arizona or something. And then it dries so fast that you don't get quite the flow that you can get in other places, but we're gonna go for it. The first thing we're going to do is to paint the entire blossom with a nice golden yellow. This is the yellow that is found in your goals watts probably why they have the name gold. Okay. And I don't want it too dark, and I do want it wet, so I've got to hurry up here. I'm going to add just plain water just to get the pigment to spread out and stay wet. So I will be able to add my center in. Thinking about what it is that it's hard to our work really quickly with it and still stay in your boundaries. And so you're mostly is suitable to very loose style, which of course I don't have. But I am going to add orange to the center and let that spread out. And I don't want it all the way to the edge because I want some of it. Some of my marigolds just stay. The golden yellow. So it was pretty miss in and I'm picking some of it up. But I still want wetness. So just to find water, brush right there. And then I'm going to get some red and put that right in the center and let it run into the orange. So read into the orange, orange unto the golden yellow. And I might even add a dab of a darker red right on that center. When it gets done drying and spreading, sore fall over. It's has a, will have a very nice, very good luck. And if you're pigment hides some of your inclined, you can always go back and add on top of the paint. So there we have our marigolds. Before funny thing happened on my way to my miracle getting done. I went back first of all and I took a permanent fine tip, dark red marker. And I outlined the middle and I took a deep red like a little brush tip marker and made the middle, you know, more red. And I thought, okay, that's a little better. But I still done it did not have life. And so what I ended up doing on the big one here, I took this same marker and I just closed all those paddles closely again. And it's like right back where I started. But the paint had knocked back the ink line somewhat. So I'm not gonna say I wish I would have put all the inclines because I would have just had to do it again over the top of the paint. And I left this one so far so that you could see the difference in one pops off the page and one does not pop off the page. And so I think it was a good choice and I'm going to do it to this one. But I want to just show you first. And the other thing I did was the same kind of a fine tip colored marker, permanent. Although it wouldn't have to be permanent. And actually in either case, because all your paints dry, you're not going to be painting over this. So if you only have a fine tip marker in the color, but it's not permanent. You're still fine. Ok. I also used a colored marker to do the stems that were not large enough to paint over. This was the only one I had room to paint on, but I didn't really, because it's tiny. So that's our Marigold. 16. Drawing a Rose: Finally, our sixth flower that we'll be able to choose from is going to be a rose. And some people draw roses really simply. They just make like a spiral like so. And you can do this and it's so easy. That's kind of the style the illustrators use of Mary am hurling, of very famous illustrator. She would do roses like that all in her illustrations there were Darling. So you can be that simple. But we're not going to be of course, because I'd like to teach you some things. Okay? So a rose symbolizes love in it makes sense. We're gonna start our drawing with a heart shape. And I'm going to darken it here for you. Working on camera is pretty darn Raph. And thinking on your feet and sketching some kind of free doing this. So that when I turn the camera on, I can just do it for you without me being confused and therefore confusing E0. So this side of your heart is going to continue down a little bit and loop back up to make a capital u, the way we did in the middle of our sunflower center. The next line that we will make, we're going to start with our capital U. We are going to come around to the right and up past the point of our heart and then create a stylized kind of question mark. It lands. If this were a plaque, it's landing about 730 or eight o'clock. The next line, we'll start right at the top. Were the, were the heart comes in here at the top of that circle and will come down to the same point that you met there with the bottom of your question mark thing. And then we're going to bring a little S curve here on that side of it. Our next line will come out here like a stole, like a links tool, fake mink, income right over to that same spot again. And then from this color right here, we're going to just make a curved line to say that this entire bud is inside of this heart. Also come right up here, put a little tiny line there, and a little tiny line there. And this is the center of our rows. So we're going to build on from there. The next two lines are like another mink stole wrapped around the heart itself, come off of this curb hair back down to there. Coming in for a landing known the blossom completion. Add a small curve line right there, which is going to create a shoulder there on that leaf shape pedal. That's one to a strange stretched out S curve coming down, bringing the bottom of our heart down further as you can see here. And then on this side, match an S curve that goes like that. Not at real match, but I mean it's a match to be in an S curve. And that would be OK by itself. It we like that folded over rhos lip look. And it's going to be fun painting. So we now add that foldover and a chess can be like just a crooked, smoothly, crooked curve line in here. Let's go like this. And that is the blossom part of our rows. Now, generally speaking, roses have some little petal things down here that they're sitting on. I think it's the parts that came open to allow the blood to be there. And then we're going to bring our our stem. Then I just about there, I think, and therefore I'm going to move that one. So it looks a little strange. You can style on as these little petals and make them a little bit better. And there's our rows down. We're going to skip all of the thorns that might be there. I'm going to bring a Leaf Line, leaf branch up here and add a leaf. And they're basically shaped like this. But they do have a serrated edge, not extreme, but definitely not smooth either. And rose leaves have side veins like so. And they grow off of any leaves below this would be coming off this down before the leaf starts leave a bottom doesn't touch that stem. So here we have this one. And again, a center vein and some side veins. And this is odd a balance unless we come up and add another leaf over here. Do your come from the top down during your serrated edge? I can do it from this angle. I told you your brain will take you the wrong direction if it gets any chance at all. And I don't think I actually want to add any more leaves to that. Now, when you put this in a pot in your little garden of intention, you know, you don't usually just C1 rose growing as you do. They're picked, right? So they're not long for this world. But we are not being completely realistic. We are being figurative, if you will. And so this is our rows. And once I go and ink my rows, I will be back to show you the loveliness of the painting method will use for this and we'll make an absolutely beautiful. 17. Painting Segmented Leaves: All linked up and ready to paint. The first thing I wanted to show you is how to do a segmented leave and give it so much personality since we have these divisions. Anyway. Painting segment by segment is just a great way to put a whole lot of life into Lief. And I do that by alternating segments. I'll show you what I mean. So I would paint this one. Undo my lifting and I nuanced shading, if you will. And then while it is drying is when you can do alternating leaves. And having said that, I'm going to show you. So I wouldn't do this one is next to no wet paint. I wouldn't do this one. It's next to wet paint. So I will just come to the every other on the other side and stroking in from those serrations on the edge. Serrations, whatever. And it looks kinda weird for awhile because you gotta green and white leaf, which isn't too realistic, unhealthy plant and anyway, can happen, but it's usually a sign of trouble. And if I get enough lift on a my brush, I don't need to bring in my film Albert. But if I don't, I always have it to back me up a little more right there. And a little more. In that segment, I got one more on the first pass. And then one of the good things of bone all fast, everything dries here is that everything drives really fast. So when you're doing something like this, you like that. Because by the time I get done down here, I can go and start my other side up here. I hope I cannot. Now that I said that watch I'll go in and no bleed all over the place, but pretty sure I've lost the sheen and therefore it's dry enough that it's not going to give me trouble. And sometimes to go even a little more quickly. I take this chance. Usually not this. In. I'll do two sections at once and then come back and do my lifting on both of them. As long as they don't get to dry in the interim there. It's a nice little timesaver. And just two more to go on this leaf. Now fancy stuff. You can make white vein lines on your leaves and you can go a whole lot further. Notice there could be a lot more petals on your rows. Could just keep going until you felt like you had just gotten as exciting as you could get. But you can also do, it's a pretty enough design that you can stop anywhere along the way and it's still gonna look good. There's my last segment, and I pick up from that. And there's a leaf was so much more personality than it would have if I had just painted in in as a solid color. 18. Painting the Rose Blossom: Painting the rose is challenging. And the reason it's challenging is that the definition of the rows is going to really depend. And all of these upper edges being light and the inner parts of the petals being dark name remember on the leaf of the To live. We, if I can get it over here, we did something like that and that's kind of thing that we're going to do with the rows. We're just gonna use the one color. But if you mess up, it's best to mess up having to bring the dark to light. And so first of all, you want to choose a nice red that has a lift ability. A lot of lift ability that's going to be really important. And I chose a Daniel Smith color called Quinn red. And they have a Quinn rose as well. But this coin Red is a nice rosy red, which is why I thought that I would go that way. And so I was filling my brush with that in a milk consistency like we do because I want the color to go down deep. And I'm going to do my darks first and barely lift. And that way I'll keep track of where my dark areas are supposed to be. Hopefully, never know. And by doing all of them first, I'm not going back and forth between the dark and the light in the dark and the light because that's where you really can lose your mind. So this right here is an outer foldover pedal catching light. This is the internal part of that pedal. So here we are going to apply the paint nice and dark and not pick up very much. I'm not going to use my filter at all. I'm just going to use my barely damped brush and go back and just make it alive, you know, wanted to be flat color. And right in the center would be where it's white, it's a little bit of light would be. So like, so. My, my next dark shape is right here. This just like a coloring book really, or paint by numbers. I loved that about it. It echoes our childhood and it makes everything seem easy for sort of easy. Next dark shape, this is a collar coming over. So the dirt shape of that pedal, the inside of it is there. And again, barely adding some light in their next arc shape. We could be having a quiz, right, is here. Because again, that's a pedal wrapped around the middle. And toward the middle make it a little darker because not very much light is getting in there at all. And the next space would be this in here. Actually, depending on how many lines you drew. It could be actually other line and near. It should be here. And then it's going to be over here. So I am not going to join things up there because I didn't put a line. A should have. This is going to work. Who's going to argue rate? Alright, and if our lights coming from the left routers have it coming from, This is lighter than these two because the light's coming this way. And then next dark area would be this one right here. Let's see our edge or dark. Or Edge or dark. It's kind of like a puzzle. So you see why you could mess up if you are going back and forth. And I do have a bubble of there that will be fixed by one trigger another. Set yet the i1. And to get all my deep areas defined, this is one here. And now would be a pretty dark oneness down in there. So far, so good. Now I need a dark here, but it has to be even darker. Last one. This is catching more light up here. This is going into the deepest part. So is this right here. So I am looking for a deeper red and I'm fond of IR0 crimson right next to this in the palette. And it's not too orangey. It's a nice dark. And we'll see how it holds up against our Quinn read. And I think it's going to work very nicely. And it's just going to give us a little darker bit there. The contrast. And we're going to need to do that in here as well. Because that is deep inside getting very little light. And is there anywhere else probably down in there that needs a real deep. I'm going to use this to fix my obama loves her just because. And now we can set our contrast. We already have going on with the white. But I am going to set you on your wages by showing you the difference in pick up so that you can create a difference in value that creates that light and shade on the rows. I'm going to have a little bit lighter application. Not extreme or not like GameMaker wash or something. Because most of the difference is going to be that I am going to pick up so much more of it. Instead of being subtle. Like I was on the darks, I'm going to be more heavy handed, so I'm going in with a wet brush not to, you know, blob everything but not just a damped brush because I want to bring up my pinks in those top edges. Now that I am going to go to my film. And just make sure that I have the maximum pickup that I can have. And there is that light edge. The pedal is the same color as this, but it's got a lot more light hitting it. And so it is quite a contrast. And I will do one more. I'll do this one out here and then do the rest off camera so that you can work on yours. And I can show you what it looks like when it's done. There's pedal out here is getting a lot of white. It's on the side, the lights coming from. It's largely folded over facing the light. Now I'm not making excuses, but ordinarily, I would turn my book at the time so I wouldn't be doing these little going over the edge things, but I can't because there is no room. So you have to give up some things some time, right? So I barely blot off my brush and I'm bringing kind of a lot of water back in here. But just be careful it's not too much. Want to wash all of the drama of the color away. That's where the danger is in heavy pick up, heavy lifting. Now I think that's what they mean when they talk about heavy lifting, but it's what I mean. They're bringing up a lot of light and I'm going to switch to my film hurt. I'm bringing up even more. And we're giving it time as I go along to soak up the paint, not just buzzing over the top. And I just damped off this film ever cleaned it off. Dumping the paint that is already picked up and letting it be thirsty for more. So this gives you the idea of how to create your turns in your petals are new rows. When it's done, it will take your breath away because it's just really beautiful. And I will be back when mind is finished. 19. Covering Some Ground: So we have created six Beautiful flowers. Adapt will be in your little collection to choose from. Anytime that you want to make a page and plant in idea or an intention. Figuratively, not literally too. But in by paying attention to it, maybe make it grow and make it come true. Each of these flowers is most flowers do has a symbolism. And the symbolism of flowers comes from culture, of course. And the, it comes from cultures all around the world. And so you can have several different meanings for a flower. The sunflower faces the sun and is usually about happiness and health. And the rows that we talked about is love and passion. That cone flowers strength. You don't have to scurry and write this down because what I will do is I will give a, give you a printout. I'll make a PDF with the symbolism for each of these flowers. So when you go to choose which one you'd like to plant for your specific intention. You can look at the symbolism as well as the beauty of the flower. So they're all gorgeous. And now we need to decide what we want to plant them in. When we plant them. And it was we're gonna do the same thing as we did here is I learn how to draw just a couple of ideas that are going to be in our choices of places to plant our intentions. The first and most obvious place that you could plant something is in the ground, of course. And there are a couple of ways to indicate that. And usually there's some kind of a horizon line. It should be horizontal, but it shouldn't, it doesn't necessarily have to be a totally straight line. And then wherever the plant is gonna go, you printable couple of lines like so because it interrupts the dirt and it goes into a hole in the ground. So I'm gonna paint this like ground. But you're not gonna wanna paint over this little area that would be where your plant is going to be planted because you don't want dirt behind your green there on the bottom of our flowers, we have some stems. And the stems will be what will come out of the ground at that little place that we made. So I'm going to ANC, not my stem line, but my ground line. I hope you can see this. Along the horizon there. And oftentimes, there are some other little wines as well. And then this little indent. And I'll get the paint out and show you how I met color that in. I would usually use probably a raw sienna for those. And and then maybe I'll drop a few other little colors into it. But in this might not be might be my my white adobe. Yeah, it turns out to be, but that's okay. The raw Sienna is going to come on right behind it because we're going to put its not going to just be one color round. And this is more than ground where I lived and the ground where you live. Because slotted Green and the rest of the ground around the country. This country anyway. And now I'm gonna get some of my deeper color. And I'm gonna put it behind these mounds. Give it a little shading in their little to Tom business. And I might have a blob in a little darker browns. Just to be interesting. And this is just one way to indicate the ground where your plant is planted. It is like behind these little helix. Hill arcs. Were the darks for the kicker. Come back with a damn brush and just kind of ground this all out here, adding water. And so there is a blend of color. And I'm gonna go back right behind this hill here and behind this one right here. And this is accentuating the place where our planet will actually be planted. And you can do this after the fact. You can create your flour and then come back and do this around it, around the base of it. And the other way to do this is also using the vignetting technique with the watercolor pencil. But you're just creating some dirt. And this is nice light-colored dirt. And you're not doing it halfway up the page, of course, good. You're gonna do it down by the ground so that your planet can go in it and you're able to see that it goes up and have its leaves and has its flowers. But there is one version of some ground in which to put your plant. And I do have a little bit of brown on the bottom of the stem that I probably am not going to want it to be there. And so I'm just going to take as much of that out as I can. So there's one version. Another thing you can do is just have plain ground like that and paint it any color you want to and have your plants to him just coming out of it. That's if you just don't have a lot of time and tolerance for her for the dirt part. But what I like to do and I ordinarily would not ink the horizon line before I did this. I like to make grass like so as if there are other go both directions with this, all they are is a couple of parentheses facing the same way. So this is not a growing and barren dirt noun. You'll see how that can look. So the first thing I'm gonna do with this is I'm just going to put a nice wash of green on everything hair that would be low this artificial horizon. And we'll let that dry. And then the rest on these, on these grass blades, I'm going to use a paint deep and pick it up technique, but I have to let this dry for a second before that's going to work because it'll be spreading all over the place. I'm back as promised. And after the ground is dry here, your grass cover is dry. Go back with your dark green and paint in the lift and give each little piece of grass some personality there by doing the lifting. And it says if other plants are planted there growing along with the 1AU, with your star, the one that you are planting to make something manifest in your life. If you believe you can manifest things. I believe that, but I also really believe, like I said at the beginning of the class that what you pay attention to kinda works out. It comes to be or doesn't, depending on whether it was a good idea I suppose. But one way or another, it resolves itself. And so you can continue this grass painting along hair and that looks kind of nice. Now I added another example of this where you wouldn't need to establish in a ground line at all. We use this at the bottom of our mailboxes when we did, we did our spot illustrations. And it's just, it's a really nice thing to do. And then something that you tend do to make it indicate that it's more ground cover than it is once these are dry. His comeback and smooth them on the bottom. That is not a word. I just made that up. But you see what happens here. And you kind of lose the hard line at the bottom, which should never have been Street by the way, you always want to end. These are off a little strophe. And so that makes this a little easier. And that's a perfect base for your plant of intention to be growing from. 20. A Grounded Tour: Now that we've covered a little ground here, hahaha upon, I wanted to show you some pages from some books of mine finished and not with some different ideas on this kind of a treatment when a plant is going to go into the ground. And this is something I'm currently working on and I'm trying to adapt some Buddhist principles about bringing things into my life. And so I thought that I would do that with a garden of intention. And so in this case, whether I will put color under here or not, I don't know, but I established a ground line. And then I also want each of these plants to regrowing from a seed. And I just chose to have a generic seed for each one. Because if you plant flowers, you know that some are like little pepper bits and some seeds are big round black circles and, and all of them come open and build a plan or grow plan. But I wanted some graphic symmetry going on in this. And so the flowers of probably would be mostly fantasy. And they go below the ground and they're coming out of an open seat and there are some roots. Then this says, may I feel safe And this one man, I feel joyful. And if you know anything about Buddhist practice, which I don't know enough, you say these things to yourself as often as you can think of it. And with that attention, then you may feel more safe or have more joy and so on. This is going to get finished one of these days, if I ever do my own sketching instead of all this teaching stuff. Alright, and now let's see another, another example of the same kind of idea. I'm just studying a sunflower here. And I got some information down about them. But this time, I know were to sunflower seed looks like and decided not to have it open yet because because of this symbolism of Illinois and my yard, there are as many sunflower seeds as her, some flowers and the birds kind of take them from the plants and then the birds plant them and it's just a perpetual cycle. And so I have my full sunflower seed down here, and I also have a root system for the sunflower. And there is the dirt in there is the sky. And this is not realistic because of horizon would be not be that low, but nobody cares. And this line was not Street, it was done and more organically. This one is really stylized. And it was part of the lesson in one workshop or another in the flowers. Or you can see right here, this is not a, it's not important. It's the flowers look like that. They show that they're really, really a symbol. I and so, and we have along in my, in my first class when we did our, turned our thoughts into things in our sketch book. We did this with kite strings, if you can remember. Well, this is the same kind of thing. Planting something that you want more of in your life. This is patients understanding Greater Wisdom. These are very stylistically coming out of a Explore like an ear bud, but it's supposed to be the'd. And then this ground cover is just a series of stripes of color. Sort of like, you know, the hill roles, roles in not rules. Who'll roles? Rose, Farm. My gosh, I haven't been on a farm in a long time, I guess. But you get the idea that symbolizes, that these symbolized the flowers and the thoughts. These symbolize stems and leaves, the symbolize seeds. You don't have to be all realistic. It's more like doing something that looks pretty on the page and that does what you wanted to do. That gets your attention onto some things that you want to manifest. Now if I stack anymore books on this pile, it's gonna go out of focus. We don't want it in this last one I'm going to show you is not a plant growing, but it's, how are you elaborate, you can get with a little plot where something is growing. This is my favorite sculpture in my garden. And this goes around and birds sit on and it's really delicately balanced. But it's like, no matter how hard the wind blows, this thing never blows off. It just really love it a lot. But anyway, it's stuck in the ground. Just like one of our growing plants would be growing out of the ground. And I just got elaborate down here with what's growing at its base. These are some Xenia is, and this is this fern tan z that I grow because it gives a lush green feeling to even desert garden. So anyway, all of this, how to grow stuff out of what looks like ground, more elaborate, more simple. Your choice. 21. Drawing Ceramic Planters: Well, sometimes you're not going to want to do your page with your plant right in the ground. And so the obvious next choice is a pot of some kind. And the most common pod is a Terracotta pot. And I have a whole class on terracotta pots because they can, more you can do with them. But I'm just going to show you quickly here a really nice trick to make a Terracotta pot or any pot that is flowerpot shaped. And the trick of bottles and pods and bulls and everything else. It has symmetrical sides is getting besides symmetrical because until you have a lot of practice, you're not gonna get the same slant on one side as you do on the other when you're trying to draw a pot. And so to make this really, really easy, we're going to the ABC method and you make yourself a nice big old V, capital V, tall, as big as you want it. And we already have, because we know how to make a v, We already have are symmetrical sides. So look at that trick right now. Just choose along mat v, how fat you want a bottom of your pot. Make a line there. And how tall is your pot? Make a parallel line. They're not again, an ice cream cone, right? Anyway, get rid of the rest of the V because you don't need it. And you have the base of your very nice symmetrical flower pot. Now this is straight from the side and it's the easiest way to do it. Just had duly racing there of extra pencil. The collar on a flower pot is another, if you're looking straight at it this way, another parallel line right there, or some of them have really thick callers, you know, whatever you choose. And then comes another choices can be just a rectangle. Especially if you are paying upon directly from the side drawing and painting a pot. It can be a rectangle and that's fine. You can also echo the slant of the sides and that is also fine. So they're from straight on, is a typical flower pot. The difference, if you don't want to look straight on, is going to be in just a couple of places here. And we're going to start with another nice big old capital VI. And when the V looks right to you and not lopsided, you know, you have some symmetry going on. And this time we are going to pick where we want the top of the pie. And we are going to make one of our loose, loose ovals, right? That established where the top of the pot is. The bottom of the pot has to echo the same curve as this. Because that's what happens if this line here is parallel to this line. Then when you tip it, you start to see the circle at the top. So you see curved lines, that parallel relationship does not go away. So in this case we are going to make the bottom the same curve as this. We're gonna get rid of the rest of our v because we don't need it now. And a lot of flower pots are just like this. They don't have a collar on them. If it does have a collar, then you're going to do the kind of a little slanted line there. These have to be parallel to these. And then the bottom of the collar will parallel the curve over the top of the color because it has to again give can't escape, can get loose. So there is your fancy flower pot. But it's not too fancy. A lot of flower pots have designs on them. They have colors. Some terracotta pots are partially glazed. So part of it's terracotta, part of it's a really bright color. Some pots are totally glazed, and so the whole thing would be a bright color. I paint these with the method of putting the paint on dark and lifting. When you lift highlights, you need to follow the contour of the pot. All right? Whether it is straight on or whether it you're looking down at it a little bit. Now, if you're looking down at your pod enough, you're gonna see the dirt that's in it. Let me think about this for a minute. Turn the pod so you're looking right straight down and seeing the circle at the top of it. The dirt inside that circle is a circle two. So what that tells us if we are seeing the top of the pot as an oval because of our angle, we're going to see the dirt the same way only we can only see the back edge of it. So you're gonna put during your pot, there it is. Sometimes if you're seeing more, you know, you put a little mark in like we did over here where we're growing out of dirt. But you don't have to. And then you plant your planet that you're gonna draw your flower, that you're gonna draw, coming right out of that dirt. A lot of times AIR shaped, like let's make capital U now. And again, our brain knows is cemetery because we know how to make a capital U. I'm Boeing mine a little bit. On each side. It's not a straight up and down you you can use the straight up and down you. And the reason this one isn't because we're going to look at it from an angle like this, flatten them bottom a little bit so the thing won't fall over. And then your top again is going to be a nice loose oval that you're going to draw like this until it takes its shape that looks right TO. That's the only way to do this because ovals are symmetrical, no two ways about it, neuroscientific ways to cobalt finding that out, but the best way is your hand and wrist. Motion will go there. If you're doing this, it's like those drawing machine pendulum things. You know, if you let them along, they will go into a rhythm that makes the right oval. And the same thing is true of your hand and your wrist. So that you've got that kind of a pod and those are pretty fancy. 22. Drawing a Wooden Box Planter: You've got planters that r square. And of course I'm starting all of these to high on this page to grow a flower out of them. But I'm doing it so that you can see this would be a square planter. What if you were looking at the square planter from an angle? Okay, now let's remember what we did in other classes when we drew a box, because it's going to be a box at an angle. So let's bring back and angle. And this angle is got a parallel that and just let it be as long as it wants to, but it has to parallel that one. These are true verticals. And this is parallel to this. From wherever you want this to end. Back here, you drop a true vertical line and you make your backside of your plantar, I should move that line over. You make your backside of your plantar with a wine that is parallel to the front side. And do this fuzzy like I do so that you can correct as you go. All right. And then all we need I shouldn't have put this in first. I should have decided where my vet corner us. There's my back corner and then this line that goes through here has to parallel the top because all of these sides are rectangles, right? So their sides are all parallel to each other. And yes, it's going back and yes, parallel winds get closer as they go away and I renamed, this isn't going that far away. Right here. On your patio. Back edge is there. And so dirt would be a box inside of there and woodblock that part of the back edge. And there you have a planter in which you can put one of your wonderful flowers. Sometimes these are made of wood. And I'll show you how you can do that pretty easily to. They usually have a framework. So what you want is a rectangle inside of this one. And there is a slight slant to these. There's not quite as straight as you straight online. So you're gonna do a little adjusting here and he did it wind up and I don't have it right. Yeah. Dad less erasers. And that's going to parallel that. That's going to parallel that this line needs to be stronger. This is going to parallel it. This one's going to parallel that one. And the bottom is going to parallel all of them. You're gonna do the same thing. Over here. That line has to parallel the top. This line has to parallel the bottom. This one has to be a true vertical. This one has to be a true vertical. So now you've got a framework on our planter. And sometimes there are cast from concrete mades it you'd be done. Sometimes they're made of pieces of wood inside their framework. If you want to get fancy and if you wanted to look really good, you could do what we did with the segmented leaf and paint each section separately. This did not get cut out of a square of wood. So you're going to have one or two things happen in its construction. It's either gonna be monitored at the corners like that. And again, it's your choice. Or the two uprights are gonna go right up to the top. And in that case, the cross the cross bars would be screwed are nailed behind this. Okay, so there's a planter bugs in a couple of ways. 23. Drawing a Basket Planter: We can have, we can do a basket and I'm gonna start a wooden oak barrel kinda basket. And let us start with an oval. I could've actually started with my capital V. You can start with a capital V and then top it with an oval. Then you're going to come down here. You're gonna make your base. And then these are usually held together with a couple of metal bands up here and down here. And these lines have to parallel each other and they parallel the curve of the top here. So just keep your eye on that and correct where you need to. And this one down here will be like this. Now at this point you could also have a metal, metal, you know, what do they call them tens? I can't think of the name of them but, you know, they they have all of this is a basically a raised line and the metal and they have a rim on here. Galvanized like a galvanized pot. And yes, I made a terrible angle here, see what I'm doing, but I can see where things look off in the curve is not paralleling. And I just go back and fix it. And that's why I sketch and pencil. Alright, so good. Let's say that this is one of those oak barrel baskets. When you put your lines in this way, this is just a little bit tricky. So the best thing is to start dividing it right down the middle because that is the only one is going to look to you like it's going straight up and down. And then work between this side and this side. And I often will divide that in half. And this line right here is going to be, and this is the tricky part. It's kinda halfway parallel to this and halfway parallel to that. You have to just picture how a basket slants like that. And we'll do it over here too. And we're actually done. If you wanted to get nuts, you could go in and make your slat smaller. The trickiest thing here is to follow the shape of this basket with the edges of your slats. And that will take some practice is something that you look at it, get a model and look at it, do whatever you have to do to make that happen. Now of course, these slats or back here to and if you put in some dirt. You'll be able to not see all of them and it's a good divide or two for the eye to put in some dirt there. And then you don't have to have all those lines hidden each other. I'll set sorry. Now you just grow some of your flowers and plants. So I'm going to go and find a couple of really fancy pots that I have put on two pages of minds. I collect pods and so I get all excited about him when I buy them in the eye. You sketches of them in my books. And I'm just going to show you for the sake of you knowing the sky's the limit as far as what container you use when you make a garden of intention page. You might want to just to be fancy as can be, or you might want it to be, have symbolism on it of the thing that you're trying to grow. And that brings me to the fact that that thing you're trying to grow can be anything from a little sign. Sometimes I make a little sign on a stick like you would a plant identifier. The plant stick a plan. What do they tell us? I don't know. Anyway, suppose I was trying to bring more love in my life there. Or you can write it right on the collar of a pot. If you're going to write it on a curved pot, just remember that you need to make guidelines for your letters. That parallel guideline for the top and for the bottom. They're parallel that shape of the pot. So we're gonna write, I'm gonna write joy on here. But it's not a straight line. It's the j and the y are higher than the OH, because it's going around that same slant. Once I ain't did, I'd get rid of my guidelines and the word would look okay though, on the shape of the pot. And this one obviously you could just put it right on the collar and straight down letters. This one you probably wouldn't want to write on this kind of one, but you could have, you could do it all kinds of ways. You could just have it printed down here what it is that you want to happen. You could do that. You can't see that Can, you could print it right down here and make guidelines and put your word. You could also do a seed pack is a fun thing. And you get even put a little picture on the seed pack of little Many of the flower that you're growing or some kind of any additional little detail or a little cute creative thing. And stick that right in the ground now you know how to stick it in the ground right. Now, you could put your intention on that. You could also do a little tent card. Okay. How you do attend card, where you start with the top of it. And then you put the two lines that come down and this has to parallel the bottom line of it. There's a front. And then the back of the curve would go like that. You're not going to see all of it because it's going to be hidden. It actually looks like this. But we don't see that because it's behind. That's another way to put your little message with your flower. The tent card could sit in the top of the pot, or in your planter, in your planned her box or in your wooden oak barrel planter. You can get is carried away as you want. But the point being learned to draw these things and draw some for yourself to come and choose from. When you are at anytime wanting to do a page about something that's important in your life, that you want to plant that thing and you want that thing to grow. 24. A Sketchbook Flower Pot Tour: So this is going to be a little guided tour of some pots and containers. I have painted in my sketch books. Just to let you know that you can get as fancy as you want to get when you choose a container to contain one of your flowers in your garden of intention. So this comes from my skill, SIR, class on terracotta pots. And I got every kind of terracotta pot here that you can imagine. You can check that class out. It was one before this to find out exactly how to paint terracotta pots and wonderful colors and to get lots of ideas of other ways to use them in your sketches because they can contain anything and they're very, they're very iconic. They represent growth. They're a really good thing. So you can check that out. And I'm going to show you that sometimes pots are so wonderful that they deserve a page of their own. In which is the case here. I first, I met my first linen wrap pots at terrain, which is a garden store that is a part of anthropology. And instead of being fired, these are clay pots that are wrapped in a Lennon and they're sort of buried too dry. And when the clay dries, it has crackles and patina and such that are just beautiful and I fell in love with them and bought them for my for my orchids. My mother actually bought them for Christmas present for my orchids. And when I got them home, I had to paint them and draw them because they're just like absolutely stunning. Was madly in love. And it was a wonderful challenge to try to match the earth tones. And the patina tones and laws is little advanced, but you'll do it with practice. You can get, so you can imagine anything. These are tell overo pottery and they come from Mexico, Pueblo, Mexico. And it's a special clay with a white glaze. And then there's folk paring down on it. And I made mine too neat because usually it's sloppier than this. But I had a set, the set of pods and when I just thought they were great. And so I celebrated them in a sketch book page. Here is a blue ceramic pot. And I have five of them and they go in a very special plant. What do you call it? It's plant holders. So like wire baskets hang from this wire tree thing and no match anyway. And that some metal or bronze bird that I stuck in there. But if you have a pot, this is just don't straight on from the side, but it's still do a lot of drama. So if you have a favorite spot for one reason or another, it's fun to use it in your sketch for your garden of intention. And while we are here, just as an aside. Like I made a note to myself, never leave masking fluid on for a long time. This masking fluid is here forever, it is never coming back. And my only choice is going to be too probably pink, like Jeff so over it or something and give myself some kind of surface to redo the flowers. But I learned a lesson, was well learned lesson. I had always painted on a 100% cotton watercolor paper when I'd use masking fluid. And this is not as wonderful paper, but it is not 100% cotton. And leaving that on there just meant that that's going to be on there for history. There is one time that I I planted some poppies in hopes that they were going to make it in a container and they didn't. And they didn't because the mice loved him and so they were eating them. But these pots are very special to me. They were purchased are ceramic and they're large and they were purchased just before my favorite nursery, Santa Fe greenhouses closed several years ago now. But every time I use these pods for anything or I draw them, I remember that amazing nursery and all the wonderful times I had there. Okay. This was my vacation rental and doing the yard and color coordinating and this is actually a resin pod from lows, but it was really cool and it is like this. It, it changes color and I'm very not a brushy way but not totally blended either. So that was kinda tricky to do that. And you know, when you're doing your, when you're planting flowers, there's nothing wrong with putting in trellises or any other kind of garden cool thing that you around either. And finally, these are very rare bird houses that I'm going to be finishing. But every year I put out a bird's Home Depot in my front garden. And I put husky for n, I put reclaimed nesting material from the year before, and I put twigs and feathers, whatever I find. And the birds come and they shop at this induced, just the coolest thing in the world. I have videos of it and I'll put them somewhere in one of these days that people can see them. But these pots I have had for 27 years, I think they came from restaurant restoration hardware when restoration hardware was a brand new cool thing and they're stone where and they have a speckled non glazed body and then they have a glazed around. And I love them and they have been great. They've been, I don't know. I have like six of them. And they've been a bird Home Depot for many years and before that they had other lifetimes. So this is all in showing you that you can get as elaborate as you want to get, go around your house and find all the pods that you have and see if any of them speak to you. They want to be used in one of your garden of intention drawings. And then the idea is that every time you feel like, first of all, I don't know what to make a page of. I want to make a creative page. Then choose one or more of your flowers or other flowers. You know how to draw and plant them in a chosen pot. And then pay attention the whole time you're doing it to the idea of the thing that you want to nourish in your life. And all that attention will, will come to harvest for you. I hope to see some of these pages over time. Obviously. I don't expect you to do all these flowers and all these things at once. You can put several on a page if you want to, but this is an ongoing idea. So for your project, do one, do one page, one intentional flour and posted and show us. And if you feel like just taken off and doing more great. And if you do more in the future, come back and show it to us too.