Control Your Watercolour Bleeds with Ease! by Pizzle Paints | Pizzle Paints | Skillshare

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Control Your Watercolour Bleeds with Ease! by Pizzle Paints

teacher avatar Pizzle Paints, Ain't no party like a Pizzle Party!

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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

6 Lessons (46m)
    • 1. Welcome!

    • 2. Materials

    • 3. Colour Swatches

    • 4. Controlling Bleeds - Loose Leaves!

    • 5. Controlling Bleeds - Loose Florals!

    • 6. Paint your loose wreath!

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About This Class

Welcome to my newest Skillshare class!


Control Watercolour Bleeds


1. to have an understanding of the relationship between paint and water 

2. to have the ability to control watercolour paint 

(that was made up but looks sort-of legit - right?) 

In today’s class you will learn how to CONTROL your watercolour BLEEDS with EASE! My friends, 'ease' is the key term here... I'm going to teach you about control in a way that is achievable, encouraging and that you can adapt to anything you paint. You will no longer be afraid to watch your watercolor subjects bleed into each other, instead you will be able to control where and when the bleeds happen! This class goes through a three step process: learn how to control watercolour bleeds when painting loose leaves, learn how to control bleeds when painting loose florals and piece them all together by creating a loose, floral-filled wreath (A4). Let's break down the class steps below. 

What you will learn:

  • What materials I used - Art Philosophy Pallets - Essence, Woodlands & The Classics - (Discount Code: Pizzlepaints15%, Silver Brushes 'Black Velvet Round' sizes 6 & 4, Art Spectrum 300gsm European rough paper. 
  • How I choose my colours & swatch them
  • How I control my bleeds through the examples of round leaves, pointed leaves & 3 type of loose florals 
  • How I construct/paint a wreath using the following steps - Statement Florals, Balance not Symmetry, Colour Consistency
  • How to detail/decorate my wreath - add veins to leaves, paint the pistils *center of the flower*, add little dots *as fillers*

Gosh I hope you enjoy this class because I really enjoyed making it. Remember that YOU'RE IN CONTROL! Don't be afraid of the paint. I am itching the see your projects and cannot wait to hear from you.

I would really appreciate if you could review this class for my own personal development.

Happy Painting! #whenindoubtwreathitout

Meet Your Teacher

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Pizzle Paints

Ain't no party like a Pizzle Party!


Hi Pizzle People!

Welcome to my Skillshare classes. 

My name is Simela Petridis and I am a self-taught watercolour artist from Adelaide, Australia. My fascination with art started at the young age of 3 but I quickly hung up my brushes until the age of 22. Pizzle Paints became my outlet from my tertiary studies, becoming a high school teacher proved to be the most challenging adventure yet. Fast forward two years, I am now qualified and work as both an artist and a school teacher and always strive to live a full, creative life. Pizzle Paints gained traction and with traction came opportunity. In 2017 I signed my first contract with Prima Marketing Inc. as a member of their Watercolour Design Team and recently signed a second contact with Viviva C... See full profile

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1. Welcome!: Hi, guys. Welcome to my control. Your watercolor bleeds with these class where we're gonna paint a loose floral wreath. It's going to be fantastic. You're going to learn how to color Swatch. You're going to learn how to control stories blades that you feel are really tampering with your confidence. I got you. I've got you covered. It's gonna be fine. Sometimes painting with watercolors can be really intimidating because we lose control. But we're in control. And I really want this cost to inspire you to say, Hey, I could do this. I'm all good. So now grab some comfy clothes, Get your brush, get some paper grabby paints, Sit down a lot of candle with me and let's paint. Molly's here. You'll see her at the end. I cannot wait to paint with you. Let's do it 2. Materials: Let's grab some materials. First up, starting off with my silver brushes The black velvet range I'm gonna all tonight between size six and full Also, I am going to use my nonstick. Matt, this is new. It costs $2. 50 um And you place on the bench and it doesn't move. There's me demonstrating not moving Next. I'm using out philosophy confections palates as my pain today using the essence The woodlands on the classics Oh, need a jar of water and some paper towel. I go through a lot of paper towel today. Don't know why Unusual paper towel is so much better than anything else. And last of all, I'm using art spectrums 300 GSM European rough paper. It's beautiful. Use whatever you lack. Let's get started 3. Colour Swatches: Let's do some colors for Ari, so I always start off with a couple labels. I've got my leaves and then I have my floors with my leaves. I tend to resonate with a few colors in particular, especially Brown's. Variations of grains have mixes of brown and black. Um, and I also like a muted color green where add white and I try to see how I can manipulate the green as much as possible to create variations of grain throughout the entire piece. This is completely personal. These my go to greens and this. These are what I will be using for today's class when I swatch. I like to see the colors altogether. But one thing I also like to do is really get a feel for my brush and what it can do. So I lay it flat. I use its point. I can see how far the color will carry with water. I really try to learn about it, that I can use this one tool throughout my entire piece, trying to use colors that complement each other that work together sometimes really tricky to do this, but you got to get a feel for it. What I do is I keep my Swatch panel nearby so that I can refer back to it and I can see what works. What doesn't I'll swatch some more colors on top. But essentially, it's what you're feeling and what colors you like now for my floor owes. I'm conscious, too. Keep within the muted tones. So I am also going forward dusty type pinks, yellers, mustard like another bluey purple. I'm just mixing, mixing and mixing and toe. I find colors that I think work well and colors that I think will look great with the florals that I'm painting today. Yep. I am happy with my color choices. I'm going to let this dry. I'm going to set it to the side so I can refer to it when I paint on. This is a really good way to just see what your pace is actually going toe look like color ones. No. Right or wrong. Here you do your thing. This is how I do it on. I found it really helpful 4. Controlling Bleeds - Loose Leaves!: I really love labels. Maybe it's a teacher thing. Maybe because I have to label everything for my your rights. But I really like labels. I like how they look on a page. Um, here. I'm just labelling what I'm going to paint so that you guys can see exactly what I'm calling everything and refer back to this as a bit of a bit of a source. Please excuse my italicized handwriting. It's quite extreme and sometimes very hard to raid. Um, but if you can't read anything, please let me know, and I will tell you exactly what it says. Well, maybe I maybe I can't read it, but I'll try. - Like I'm gonna start off with my round leaf blades. These air really fantastic as beaches auras. Phil is completely up to you what you do with them. So once you've mixed your brush, you can see the pain on my brush. Here. It's quite for one saturated. I'm going to start off with a saturated circle, unconscious toe, leave white parts in this circle. Now you can see that there is a bit of a paddle in there. So what I'm gonna do is I'm going to damping out what is in my brush on a tissue paper and with the excess water. I am going to paint another circle nearby, and you see the track of water attached to each other and it will go into the other circle . I knew exactly that that was going to happen. I'm controlling my blades here. I have dampened my brush again, and I've gotten rid of some of that water, and I'm controlling where the bleeds go. Which circles run into each other? It also creates this light and dark effect that some of the some of the soak was a lot of the than each other. So I'm conscious to add dark in places as well, so I'll go back to my colors and are darker greens. And then I start to attach them and make the little bunch grow until I'm happy with how it looks. When it dries is when you say the full effect off controls blades. - Essentially , it's like directing traffic but water You were completely in control of where the tracks go . Um, now what I want to do is I want a docking up some parts of these, so I'm going to add some brown where I can say that there's really wet, wet little parts in the circle. You'll see the brown disperse nicely because it's not too wet. It's sort of on the verge of drying, but you're seeing it now. I just dropped some of the brown in parts and it starts to disperse in places, and it sort of gives some of the circles a bit of a border, and I really, really like that effect, especially when it dries. - Now with the tip of my brush and some really dark brown, I'm going to create some stems. These is just lines, and I try to get the gaps of the whites where the circles have gaps on. I make them really, really thin. It's super effective. I love these. I love these in rates I love. Remember case I really like them. I am a big fan. Next, we're going to do the same thing. But this time, instead of circles, we're going to do pointed leaves. I'm really going to use the body off my brush here by flattening on bringing it to a point . You see me here flat in the brush completely and pick it up at the top. Beautiful leaves. You just continue to add these leaves and no eventually run into each other. You'll then add darker tones where you like and and it'll works well as a collective pace. If you don't like the pool of color in the leaf, you can grab your brush without water and lift the paint just by pressing the brush in the leaf. Honestly, your brush becomes your best friend when you water color paint, and you really, really need to learn to understand what it's capable of because it's really important. Think about brushed. No, no. Think about leaf direction. Here you can see the leaf on the right is slightly tilted. They're not all going up. I sort of like that, that it's a bit different like that. I cut them into each other leaf direction. - As you start a liar, this branch you can say the different tonalities in the watercolor paint, and I think that's a really lovely As it starts to dry, you can see different dimensions on. I like to use things like that in my final pieces. I see you at the next lesson where we look at four rows 5. Controlling Bleeds - Loose Florals!: okay? No. What unto the flowers? These are my four peddled round flowers, but we're going to start off with a wet on wet technique. I'm going to create four circles off just water. Not touching. Not in these circles. I've purposely left the water dirty so that you can actually see the water on the paper. You can see that there is a slight puddle in the pedals. Now what's gonna happen is because of that puddle, and because of the layer of water on the paper, the color should disperse quite nicely. And if it doesn't, that means there's no enough water but to help the wood a move. I'm just going to wash my brush. And just with water, I'm going to start shifting the color that I've just placed there. And you can start to say this, Grady, in effect, in the pedal. And it's almost like it's a bit tie dyed. I then go back in a docking up where I initially put the color, and I also docking up some of the outer parts of the pedal. And when it drives, it looks really, really nice. I just keep manipulating it until I'm really really happy. Now I'm going to show you how I join a leaf to weigh a wet flour. I've purposely put the leaf in this position so that it catches on to the pedal and it bleeds into the leaf. I really want the colors to merge in that part, and I'm gonna do it again on the other circle and you can see it just bleeds in, just pleads in. So you need to get it. You need to get the flower at a point where it's not dry, but not too wet. Just in between, you can see me, him and the plating, the leaves. But I'm really, really happy where the bleed is. I have full control over what's happening there. I just continue to manipulate the leaf. I'm adding brown on the borders of it, and then I'm blading the brown out with border so that it actually creates a boarded liner on the leaf when it dries. And this is really, really effective. I'm just manipulating whilst the the leaf is still wet, and you can see that when I drop color in it, it disperses nicely, so similar to the techniques that were used for the round peddled flower. We're going to do the same. But instead of round pedals, we're going to do diamond shape pedals with water not touching here. Make sure they don't touch. This will just help out during the next stage. But I've left the woulda dirty again so you can actually see. I'm just mixing the color up. I I really want this Tripoli type Blackie color just so I could really see what the colors are like. And then I can get a feel for how I wanna present my flowers in my final piece. But this flower turned out really, really nice Her like this flower again. If it doesn't disperse, you can manipulate it with water like I'm doing now. And then you can change the shapes of the pedal, make them bigger maketh um no smaller, but make them look nicer together. I then add darker colors on the tips of the diamond. This sort of brings it all together, brings a flower together And while my pedals us to a smidge wet This is where I do my strategic bleeds my controlled bleeds. So I'm going to do I flat leaf on the left hand side pedal really flattening my brush said I could get a Grady in effect in the leaf. You can see that there sometimes. If you can achieve that, you can just die about the center of the leaf. So don't panic. Um, but if you like that more bold look than then leave them as is next. I want to show you how you join two flowers to loose flowers together with the strategic blade here. I'm gonna do a ah flower just around flower. I just I like doing these and add stems to them, but you can see where I've got my first flower, the yellow flower. I'm just joining them ever so slightly. But my bleed is a little bit out of control in the yellow pedal. So what I'm going to do is I'm going to grab I clean brush that's quite dry, and I will pick up that red that is bled in the pedal and take it out. Alternatively, you can dab it out with a paper towel. Summers definitely. So you can interpret. This is two flowers if you like, But what I'm actually going for is one yellow flower and to sort of bulbs, Bowlby type things. I tend to paint them a lot. I don't know what they are, but I like them. They look effective together. We can say just that small blade. And then I had believes now very controlled. Just slightly hitting that pedal there. Very controlled. You can see just a smidge of that leaf bleeding into the pedal. Exactly what I wanted. You want in control, Remember that you have got it. So now I'm gonna show you how to do a combination of the two using the leaves on the florals. Always always, always start off with your statement of florals. That is a pistol paints tip. Police start off with your statement of Flora's. It will help tremendously with aesthetic. So I'm going to paint four Pet does rounded petals with the water on the right. Realistically, I should have used a smaller brush, but that's OK. And then I'm gonna drop my colors in. My bleeding is a little bit out of control here, so I'm gonna go in with some paper tower and dubbed that out Silly pixel. And then I can manipulate what else is left. That's looking a little bit better now. Perfect. All right, I'm gonna leave that there. And now I'm gonna mix up my grain, and I'm going to start doing why Rounded circles unconscious to make sure that the bronze Show, the rounded leaf branch is sitting behind the flower. So I'm tryingto position it correctly here using that technique I taught earlier where you take out the paint and water from the brush and used the excess. And then they sort of create a track together and doing that around here, see me scooping some of that moisture out. Don't be afraid to do that. Keeping in mind till leave some of those circles with white as well. It adds a different finish on the round circle, so I like it. I like having the one consort of start to see the positioning off that flower with the branches with the the bushy type thing. I don't even know what to call it. The round bush behind it. It looks nice. I'm adding some brown now to darken up those be. It's similar to the example before, and then I'm gonna add a stem. I'm cleaning up my pages. I Greg's I'm getting excited and I'm spluttering everywhere using the tape of my brush. Really, really nice. Brush it. Hold its point. So it's a good, good brush. I'm going to create stems and make this look like a really, really cute brok. All right. Next I'm going to try the leaf with the flower combo. The diamond leaf. So again, statement of Florida's number one leaves number two. So here I go, creating my shape with my water. Four pedals, no touching. Disperse the color in those pedals manipulator. If they don't move like you want them to beautiful stocking up those pedals on the outside so they dry nicely. And now, adding my leaves, I always tend to go on the left side. I always add things on the left side. Negative it of a habit. So I'm mixing up my green and then I'm flattening my brush to a pig. I've got that paper paper tower handy just to about the moisture from my brush so I can just go back and forth with whatever there. It's really important, but you can see this small blades that I'm putting in the pedals Strategically, I want those in there and then adding a stem, adding a truck and that looks pretty nice. Imagine this on a big scale, like really cool, really cool. Really different. You can add DACA parts as well. If you want to. A brown stem as a personal grain stem. See, that's nice. Those to bleed in those top pedals. Nice. Happy with that. Two very different finishes, but so effective, so effective. All right, let's pain our race. What we writing for? Let's do it. 6. Paint your loose wreath! : Okay, Now, this is a little bit tedious and will require patients. But please be kind to yourself and take your time here. So I'm just using a plastic plate as my, um my stencil. It's a really good size, I think I just got it from the supermarket. I'm also gonna rub out that line. It's a little bit too, Doc. I don't want a really stock line. I just want it very, very faint. I almost forgot my mat. Honestly, guys, this makes a humongous difference. For some reason, something taken me three years to realize that I need a man in my life. A total of 50 from dicer. The Japanese love it. I'm a slipping slaughter. This prevents. It's wonderful. Okay, so now what I'm gonna do is I'm going to start off with my statement florals. I have a composition in mind. I'm going for an asymmetric pattern with diagnosed flow rose on either corner off the circle. So I'm going to start off with my four part of flour. I'm gonna dispersed a color in that, and then I'm also gonna do the same diagonal to that flower, keeping in mind my paces and never symmetrical despite my efforts, but I sort of like that they're not symmetrical because they're a little bit different. So here I'm just manipulating my painting, my pedals. They look really nice, solid, and I'm going to start the plant. Strategic bleeds as I progress. Try to enjoy this part. This process, although it's hard to picture the final outcome, enjoy painting and saying things flowing to each other. This bulb that I just painted is gonna bleed into one of those pedals, and that's exactly what I wanted to do. - I'm just gonna let you be for a little bit and allow you to watch me plant the blades where I want them to guard. It's important to see exactly what I'm doing, so I'm going to keep it in real time. Please just keep an eye out on where I put things. I try to do things cleverly, and I also tried to make sure that it's not a bleeding mess. So I tend to paint something and I go elsewhere. That's a good tip, but enjoy this process. If you're planning along, take your time. This is meant to be therapeutic, very fun and enjoy it enjoy your blades. Control your blades, but enjoy your blades with so once. I'm happy with my statement for Ozai. Then start to plant the leaves around the place to stop filling up the reef. You can see my my leaves are bleeding and the pedals exactly how I want them. I'm dubbing out some parts because maybe there's a little bit too much of a bleed, but I'm putting them there on purpose. I then start to create structure in the wreath. You can see the floor is starting to take shape with those leave strategically placed leaves to help create structure. It's so important. - This next thing was meant to be a flower, but I really didn't like how it looked, so I then turned them into leaves so you'll see them turning toe leaves. But initially I plan to put a flower there, but it just didn't turn out. So leaves it is Philip. Nice is leaves actually implant on using this color as a leaf color, but you know, you go with the flow, but I need to be conscious off my colors, and I need to be conscious of balance in my race. So if I have this color there. I need to have it somewhere else so that my wreath is a balance. It doesn't matter if it's symmetrical or whatever, as long as it's balanced. And I doing that by ensuring that there's the right thickness all around the race and also the right amount of color around the reef way. I'm conscious to know overpower my statement floral. So I'm going to help them out by adding filler flowers. And I'm doing this just by flattening my brush with alternating colors from my color palette. These are really, really effective. And all I do is out of stem at the end. But honestly, all I am doing is flattening my brush. Use your brush. It is your biggest tool way timeto add our Bunches, and I'm using my bunch here as a connection. It's a way to connect my wreath together, and it is so effective. But I'm conscious toe also make sure that they're everywhere, so I'm gonna put them here. I'm gonna put them in the left hand side corner up the top. I'm gonna put them everywhere, - continue to fill out your race, continue to add loose floor owes continue to flatten your brush here and there. Continue ad dots. Just feel feel, feel feel until you were satisfied. So now the better dropped my tripod and phone on my head. So one second by charger was weighing it'll down, but I couldn't believe it. Hit my head so hard. Now start to add the final date house with little dots, some veins in your legs, Anything you like. Really Anything goes here, but your race is going to look spectacular. And you should be so, so proud of your efforts. Thank you so much for painting along with May. And I cannot wait to see next time at my next skill shed class. Have a beautiful week and I'll speak to you soon, - okay ?