Drawing nature: Bring leaves and flowers to life with ink and gouache | Julia Bausenhardt | Skillshare

Drawing nature: Bring leaves and flowers to life with ink and gouache

Julia Bausenhardt, Nature Sketching & Illustration

Drawing nature: Bring leaves and flowers to life with ink and gouache

Julia Bausenhardt, Nature Sketching & Illustration

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10 Lessons (1h 30m)
    • 1. Introduction

    • 2. Tools

    • 3. Examples

    • 4. Basic techniques

    • 5. Sketching botanical shapes

    • 6. Exercise: draw a leaf herbarium

    • 7. Exercise: Draw a flower herbarium

    • 8. Adding color

    • 9. Class project: wild flower meadow

    • 10. Final thoughts

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About This Class

In this class, I’m going to show you how to draw leafs and flowers from nature with ink. We’ll add a bit of color as a second step.
We’ll take a look at different kinds of basic drawing techniques, and how you can add interest to your drawing by adding texture and details. I’ll also demonstrate how to work with a limited color palette. I’ll show you basic leaf and floral shapes and how to observe and draw from nature and simplify organic shapes in a pleasing way.

Meet Your Teacher

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Julia Bausenhardt

Nature Sketching & Illustration



Hey, I'm Julia! I’m an illustrator & field sketcher from Germany.

Join my Newsletter to get regular inspiration about sketching, painting with gouache and watercolor, and how to explore nature through drawing and painting, plus news about classes and giveaways. Or connect with me on my Youtube channel.

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1. Introduction: Hello and welcome to this class about plants, flowers with ink and washed. I'm Julia, illustrator and designer for Thank You for Joining Me The Last class. I'm going to show you how to grow leaves and flowers from nature with, well, ed a bit off color as the seconds we'll take a look at different kinds of basic drawing techniques and how you can add interest to your drawing by adding texture and details also demonstrate how to work with a limited. I'll show you basic leave and form shapes and how you can observe and draw from nature and simplify organic chase in a pleasing way. Are we showing different concepts for drawing from nature and yet well combined these exercises to a bigger piece of art for your fortune. So I hope you'll join me in this class about drawing from nature with wash. Let's get solid 2. Tools: So let's talk a bit about tools and, at the very least year, going to need some kind of pen like an ink pen. And I quite like thes uni ball pens. They're waterproof when they're dry. So that's actually important when you want to add pained over your drawing later, which is something I am going to show you. So that's always a great thing. I'm going to work with a didn't pan and um, yeah, there are many different nips out there. I'm going to use just a basic drawing there for what we're doing. So I think this is a six age drawing nip, which is very rigid, and there's a little bit more flexible. Think that's a Jell O for O, for you don't really have to spend a lot of time worrying about these details. Just make sure if you want to try out a drawing them, that it has a pointy tip and that it isn't too flexible because you don't want to spend too much time worrying about how, um, you're going to to modulate your lines. So, yeah, that's what I'm going to use. And you could also use very fine Russia's if you're comfortable with it, and that's actually a great way to explore ink as well. And um, yeah, I just make sure that I don't use the same brush is that I would use for my paintings. So at least not for very detailed and long, um, drawing sessions because, especially with acrylic ink or any kind off Non Natural Inc thes brushes will wear down after a while. And you won't get being out off off this little area here at the at the end off the brush. So if you know that you want to use your brush later for very light watercolor paintings, then it's better to use a different one. And so let's take a look at being, and I like to use different drawing things and always fun experimenting with these different materials self for this class, and I'm lately I have I've come to like the these, um, shaded blue tones. So really in love with this. Indio Inc pyro on cleaner. That's a German brand that could be that it's not available in your area. But in any case, I try to make sure again that your ink is, um what a proof are at least water resistant, so it's a little bit easier to work with it when you're adding something over it later. So this is Pigmented Drawing Inc I also have here because I want to add a little bit of contrasts. Different types off Pillay conned drawing inks, and this actually a really rate yellow, I think. And then I do have different. This is CPR and Sienna. He's that homes that I'm colors that I'm going to be using later, and just to show you can also use there's there different kinds of China Inc that usually, um, acrylic based. So when they dry, they when you wet them again, they won't smudge your paper. So that's always a possibility, too. I really like this this kind off deep royal blue that this China in cares and um yeah, another thing that you could use his calligraphy ink. This one is by Winsor and Newton, and it's a really nice dark blue tone. The only thing I don't like about this, it's is that it's very sort off runny, so it does tend to to skip a bit when he using um, I didn't know Penn, but Yeah, it's just try to use what you have and see how far you can get with this. And again, I think this is waterproof. So that's what we're looking for here. I mentioned quash. So later I'll be showing how to add little pops of color to your drawing. So we're going to need a little bit off glass. You could also use watercolor pans if you have those, and we're not going to use a lot of different colors. So I wanted to show you how you can, um, make a beautiful painting with the Limited can Appellate. So I'm going to talk a little bit more about this later, but I just wanted to mention that you're going to need some wash. And then, of course, the paper. You could use your regular sketchbook for this, at least for the small studies. And as always, he can also use, um, water come up head like this one. It's really up to you what you prefer. Um, there are many different formats and types of pets, so just use what you have and what you life 3. Examples: so I'd like to show you a few examples of how you can work with ink. And, um, let's look at this page there different botanical studies and they're in different stages to So there are leafs and floral shapes that are that look fairly observed from nature and fairly realistic in a very simplistic manner. And there are also these more stylized florals that you wouldn't see em in this exact shape in nature, but they're already taking a step further. So I've thought about how I can simplify these natural shapes, and that's exactly what we're going to look at in this class. So if you have a reference or photo that you can use, then ah, we're going to look at how you can really bring out the shape and use it in in your illustration or in your painting and really make it look nice of another thing that I want to show you is basically how to do a mixture off these two techniques. So maybe not in this in this detailed way, but here you can see a study that I did for another painting that I made. So so here we have an ink drawing. And I think I actually did this with a pen and you can see that I later try to get a few for the colors that I want to use. And I think it could be very fun to combine these two techniques, so to have thes simple lines in ink and then to add a little bit of kinda here and there. I wanted to show you a few more sketches that I did from reference material that I found outside. And this I think, fairly early in the year. So it's beautiful, wider flowers. And here we have a few mushrooms that I filled a page with, and you can see that I used a few different techniques to indicate the shapes and forms so he could staple these details with little dots and make lines to indicate certain textures or shade. And so there are different methods to indicate structures or, um, yeah, interesting details on your on your subjects. Then here we have a few more, and you can see that it's it's really always an experiment to try out and see if you prefer to. Regnery planned Onda and the leaves realistically, like Um and these attempts ought to have a more abstract approach. And I think an important step is to try both. And to really see that you can observe the details from your reference object from nature if you have to them from a photo, and then take what you've observed and use it in in your painting. Later, you can see there are so many different leaf shapes, their these small leaves and then these bigger leaves on dumb. Here we have this yellowing. I'm going to show you later, and I hope that you can can see this so you can also see them these leaves and then different, um, flower heads. And I think we had no, we didn't have Berries. But there are also different Berries. And here again, I tried out differently shapes and just what I found and why I could, um, finding books. So that's actually very interesting. And of course, you can make up your own leaf shapes. That's also very fun, but I think it's a really important step to try and look what what nature has in store for you first and then take it from there. So, yeah, that's that and even better, it is that IHS having some rial nature objects. So we're going to look at this in the next lesson. 4. Basic techniques: So I want to show you a few basic drawing techniques here that you can do with the depend. And, um yeah, I'm going to use this basic drawing nip. It's a six age drawing Nipsco fairly sturdy and rigid. And, um yeah, some lovely dark blue ink here. And, um, when he when you use this, um, pen for the first time, Or if if you don't use this regularly, then one thing is to make sure that you don't get a lot off Inc. When when you dip it into the container that you wipe this off if you prefer to have clean fingers, um, which I would try to ruma throughout the class. And another thing is that you don't want to have too much ink on it because otherwise it will just blob on the page. And so one method to do this is dip it in and then just remove being by pressing it on on the edge off this and this. Obviously, um, more important. If you have a big nipper with these small lives, it's it's not as obvious, but and still good practice to to have. So the first thing that we're going to look at is to make just simple strokes, simple lines and, um, try to explore this tool a little bit. So, as you can see, you can make the strokes on different widths. And if you run out off ingots going to look like this, so that's always an indicator when you have to dip it in again. And as I said, this nib is pretty rigid. So the the range of it is not as great as like for this very flexible dip nip that is also used for calligraphy. Yemen going to show you this later. So just for now, try to make different lines, maybe some that are little more curved and can try out what happens when you put them close together and father away. So you can also try out what happens when you put really fat lines close together and can also achieve different effects by letting go off the pressure on the nip so you can phase this out, so to speak, it will give it this thin edge, and you could also just make thes abrupt endings. Just have a little bit of fun with with a neighbor and obviously if you're going to use a pen, that's it's not so easy to achieve these effects. So I'm going to concentrate on these lips here. Um, but you could also try to to have these different sort of line qualities with a pen. One thing that you probably shouldn't do with us with East that nips is to work against, um, the paper. So if you push up and into the paper, then you will notice that the nip were just catch into the paper fiber, and so that's usually not a very good thing to do. And you will also have these paper five us in and your nef. So it's best to remove them as soon s you noticed them. All right, so let's see can also do these diagonal lines. And if they're very small, then they can work as small strokes for, like, shading and to indicate dark areas. You could also do these these cross hatching areas. One thing I like about dip nips is that there really scratchy and really noisy. They make a lot, lot off additional noise. So I sort of like this. Another thing that you could do is make these little dots either in line or in an area. So these are really the just the basic techniques you can see. I already got some ink on my finger, but well, never mind. So I do have Ah, um a few leaves here, these beautiful silver leaves. And I'm just going to show you how I would approach drawing the east with my nip and and just a very loose sketch. So we do have thes really thin start here, and then it goes to the leaf shape. And when you approach this approach, drawing like this, then try to look at the overall shape off at first I'm going to overlap this a little bit. But that's actually not so. These almost touch here and then we have thes let's or so yeah, but I wanted to say is look at the overall shape off your object first and then try to be really simplistic with the amount of detail and try to do your drawing in a really in a quick menace, so don't spend too much time on on it. Just two minutes is probably maybe already too much for for this little study so doesn't have to be to exact. It doesn't have to be beautiful just to get down what this looks like and just the basic shape and the basic certain speak. Um, the basic qualities off these leaves can indicate thes thes little shadow areas. If you want to add a little bit more, more interest hurt, you don't have to do this. So I think that's it. And this how how I would approach this. And then later, in the second step, I would think about how I can take this this observed drawing and put it into a more stylized drawing so that I can take thes shapes and put them in a really decorative arrangement. So let's see what kind of lines we can make with a brush. So I'm using ah, size one brush here, a synthetic brush. And I'm actually, um, I'm actually adding I'm actually putting it in a little bit off water before I put it into the ink, because that will help to keep the brush with a little bit cleaner. So, as you can see, your lines will be a lot darker and a lot and more prominent, but also you can see that is this interesting effect that you can make when you changed the pressure on on your brush? So I think that's actually really beautiful. Um, then you could also do you lines and strokes. Also little dots. So it's really up to you what you prefer if you like. More thick lines are more thin lines. I tend to prefer the the thinner line. So that's what I usually use in my in my drawings. But I really think that this brush work thes brush lines have some appeal to them, and obviously you can use them in a very flowing and intuitive way. So if you do this, um, these kind of curved lines. Then, um, try to to take the brush in a natural way and then try to lock your wrist and try to move your arm and only your arm. So not your fingers, and not your wrist, but your arm hole. And this will give, um, really nice and lose quality, too, to what you're doing can also experiment with dry brush. And if you want inspiration for these drawing techniques, then it go look at the your originals. Go into a museum. Go look at odd. Or if you don't have access to that, then at least look into books or at Pinterest and the more you're in this experimentation face. So it's important to to get an idea how other people have have used these tools and what you can can do with ease. And again, I think you care. Of course, you can take all these thes technical aspect from this class and and watch me do it. But it's really important that you look at art that you like and and get your own interpretation off this going and to to really get some of your own character into what you're doing. So and this way you will like what you're doing a lot more because something off you will be in in that and something that you like, and I hope that's understandable. And so let's try another off piece. Leave shapes. Here you cope. Sometimes when I do have too much ink on my brush, then I make a few of these strokes and then it works better so you can see this is quiet, a bit different from what we have up here, but I think it's nonetheless it's really beautiful. And, um, yeah, very nice in its own way. So if you want to keep your your brush or your dip in a good shape for a long time, then it's really important to clean these and water and what I would do, just swipe them and then what? That dry with a piece of fabric and probably do this again. And even if you don't only make a pause for two minutes or so, this inkwell dry and, um, then it will sit in your brush or in your dip, nip. And um, yeah, you won't be able to make these nice, thin lines anymore. All right, so that's that's all these basic drawing techniques and let's look at some leaves and some flora shapes next. 5. Sketching botanical shapes: so the best thing to study nature is to sit in front of it and draw it from nature. And so I went out and brought home a few references. A few different study objects and since it's autumn here right now, Ah, we're We have some very nice Berries and these a corns and grasses and not so many flowers . So we're going to use reference photos for these later on. But I just wanted to show you that even this step off off your drawing process can be a lot of fun. And, um, yeah, I think it's it's really these are beautiful objects that will serve us well when we're starting to draw them. I just have to decide what I will start with and let's see. And again, as I showed you in, um, the last lesson where I briefly indicated how I would draw the civil leave don't spend too much time. Um, right now, it's just about getting a feeling for the shapes and the different directions and the overall nature off this, and if you want, you can set yourself a timer for this so that you're forced to work a bit quicker. than usual, and at this stage, it's really not about a beautiful drawing. Its it's about these little details, like the ASUs, this star shape at the bottom, off the berry, and there are three Berries and here again, three Berries on this little stem little stalk. You don't have to make exact lines, either. You can correct your your line if you want, then we have to leave here. If you're not sure about a shape, then you can indicate it first with a few dots and add the the line later. And there's another leave here that I've forgotten to. Abso This will actually overlap a bit, but that's not so bad. So more Berries You can see this can get complicated fast, so try to look at your reference often and try toe work so fast that you can't I think too much about it. Just try to get this bunch of the paper, and this is definitely something that practice will work wonders on. If you do this more often than you will get better did so It's great practice actually to do these kind off quick drawings every day for just a few minutes and you will see that in a few weeks that you will get you out. You will be already a lot better and maybe a few off the veins on the leaves and these other things that we're really looking for here. Details like how these veins sit in the leaves. And, um, you could also kind of like, if you're looking for specific shape off leave than could look at this like this on DSI that this ISS probably a bit more round than this. So if you want to indicate this first, then it's perfectly fine to do so then here are these little teeth and just let me. Okay, now I have a better idea off how this leaf works, and I'm going to to draw the second time just because I think it's good practiced who to do this so again, just indicate very quickly the main characteristics off what is in front of few. So now a little bit more. I like this shape more than than this one, obviously, because these lines are not in the correct place. Um, then we have these little veins here and now, As for Berries, you can see I'm already spending a little bit too much time on one object. I'm going to do a few more later, but, um, I think you can get a lot out of one one reference, one object. So let's see, this time I want to focus on how these Berries sit on their little storks on these actually over lab. And then we have this star shape here, and it's actually yeah, I think it's a five star shape, so try to draw this in. And these are the kind of details that you can also use later when you make a more stylized drawing. So let's take a look at the next one. These are oak leaves here, and the leaves are a little bit there already. There was already someone who chewed upon them, so I don't think I'll be drawing these at this time. Um, could try and make a small oak leaf, but for this I think I prefer my botanical reference book, and you can see that they do have different leaf shapes in there, which I really find very practical, and I think I'm going to to do a mix off thes two so not see we have thes. He's sort of fingers that come out of the leave, and these are sort of indented again, and I'm going to keep them a little bit more simple like this one. So don't worry if you're drawing overlaps, it's just a study. So I think this will work. You already have a nice shape, a nice recipe to simplify this for later on and can look at the veins for this leaf. They they're not, um, parallel to each other or not. They don't start with same and point. So they go something like this. Obviously, you don't have to be this this diligent and this accurate, but I find it really helps. And it's really fun exercise. So no for this, this grass, I'm not decided yet. Should I use this one or the other one? I think I will go with this one. So I'm I'm trying to do this. Ah, slightly smaller here, Andi, just end the cage where these elements are sitting, you don't have to do the whole thing in a study. It's just to get the characteristics and to to learn about the plant so that you can render the most important characteristics later, preferably from what you learned when you looked at it. Maybe one more off thes little maple seeds. And, um so we have this long shape and then this round, and this is actually this is almost symmetrical. So I'm just going to indicate the myth. So let's take a new piece of paper and we're going to look at some different leaf shapes next and some for all shapes. So this grateful warm up. As I said, I only have thes thes Berries and dried leaves here. So to get a better feeling for some floral shapes were going to use thes reference books on , um So there many, many, many different kinds of flowers, and what I want you to do is take a few that you find interesting or that you really like and try to draw them. Obviously, you could also get a nice bouquet and, um, draw that. So there are many different ways to to get a cool reference in front off you. So I don't have that at the moment. And I'm going to use this reference here. And as you can see, I'm really simplifying it already on the way you would do that is slip again, look at the main characteristics and then decide what you leave out and what you would usually leave out is any kind off detailed shading or detailed line work. Just try to focus on the main shapes and the main characteristics that you want to include , like this little Poland dots and obvious year, the the shape off the flower. And maybe at the end, you can indicate a little bit off. Thes these lines just a few, but they shouldn't overpower you. You're Floro. And then in a second step, what you could do with this is take it even further and think about how it would look really from the side or from the front. And, um, for example, this one could look like this from the side. And just like that, you have a very simple flop floral shape and that you can work with later. And obviously I've forgotten all about the leaf. So let's do a quick leaf on these flowers have thes very detailed, very fine leaves, so trying to indicate this year later, when you do your project, you can, of course, combine differently shapes with each other. They don't have to refer to the same flower. They don't have to be taken from that. So that's another freedom that you will have. Okay, Now, let's have a look at thes um Campanella's. So what I want to do is find simple shape for these. So obviously they have thes thin stalks and then they go something like that. Um, on we have thes little thicker part year on, then swim. Then they have five of these and I'm just going to indicate thes vertical lines. So I'm going to draw one of thes in a more realistic way for useful that you can see where this is coming from. So and I almost feel like for this exercise, it would be great to used photographic reference because that's a little bit more complex, and you're going to be forced to to adapt from that one. So again, what strikes me about this is the shape So, uh, five sort of star shaped forms than this middle stock and the's once and then this bit more thicker and it goes down into and again. These lines and the leaf saw this one are quite simple. just these long Nancy would like things. Another floor shape that I'd like to explore this kind off hanging flower. And, um yeah, just going to use part of this for a little detailed study. So again, very quick. Study off what I see. So if I weren't who sum up the characteristics of this one, then we would have thes hanging parts. Let go like this. And the I'm just trying to find ah more simple form for this. So And this is what I want you to take away from this class that by doing these more detailed and slightly more realistic sketches which don't always look so beautiful like this one, it's it's barrier recognizable as the flower that I had in front of me in the book, you can come closer to, actually to a nice botanical shape that you can use in your illustration later 6. Exercise: draw a leaf herbarium: So let's do a quick, practical exercise here and fill the whole page with as many differently forms as you can find. And I think this will be a lot of fun. So just start at at the top, and I the take leaves that you have found a nature and just arranged them next to each other. And don't get too detailed. Maybe add a few off these veins like you can see here and then continue on to the next leave on. Make sure you're very the shape a little bit each time and then continue on to the next one . And by doing this, you will build, um, sort of reference library for your own, um illustrations later, sir. Think of this as a drawn her barium. - Okay , I think that's a pretty good collection for a quick sketch. And you can use this in the future s your reference for different leaf shapes. And of course, you can do a study like this again and again when you happen to come across new leaves, our new shapes that you like and include them in your sort off sketched herbarium 7. Exercise: Draw a flower herbarium: So the next exercise that I want to do is similar to the other one with the leaves, and I want you to Philip age with few a few interesting flower shapes with floral shapes. So let's see what we can come up with and actually using this about inky this drawing Inc by over and Klingner Andi, you will see that it has this nice and you go color. And like before, I I want you to look at the main characteristics off the flower and just indicate the shapes, the main shapes off it. You can leave out the little stems if you like. If that makes it easier, just think of it if you were looking on it from the top. So just like if you were pressing flour and an album and then herbarium, you can see I have to apply this ink with an eyedropper because the opening is too small. But that's no problem. That's just the way these different in containers are if you want. If that's easier for you, you can indicate the shape off the flour before you start thinking it. And, for example, if you need a round shape and then you know that you maybe want five hards in that shape. Then you could indicate it like that. I sometimes do that when I I know that my shapes are little bit more complicated or detailed. Like if I have sort of these cramp Lee leave shapes. Um, it's a little bit easier to work with lines that you couldn't draw for yourself as a little help. - Okay , I think this page is full on its looking. Not too bad. There are many different floral saves and let's see what we can do with ease and the next step. 8. Adding color: So let's combine some of thes leaf shapes and these floor of shapes with a little bit off color. And as you might remember, I wanted to show you how to add Wash. Two are drawing to add a little pop of color here and there, and I'm going to do this with a very limited palette. So only some yellow and blue and maybe a reddish tones. So not too many colors. And first, I want you to take another page, another small sketchbook page and fill it with a few storks. So just to make a quick study of what's possible with this technique and leave a little bit of space between these, so on, I want the flowers to be in wash and color. So I'm just drawing a few different leaves that, I think might nothing look nice. And I leave space at the top here. You can also try and make these hanging flowers. Mm, don't forget to add the details to believes. So these little lines veins. Okay, I think that's enough. And now I'm going to mix a little bit off wash for you, and we will not need a lot of cash for this class. So let's just try and stick to. I'd say no more than 3 to 4. Colors are fine and try to make them a little like a little color palette. A little diversity. It's nice. I mean, you could also go for a monochromatic approach so that you have only reds and different shades. That's also very nice. I'm going to go for something like autumn palette. So I have this nice, dark Parisian blue, which I hope will complement the Indigo. Then I have some flesh 10 years and flesh tones, a light pink with a little bit off yellow energy. Then, um, permanent yellow, which is similar to a cadmium yellow. And I have this meta lake red, which is a dark red, and I really like that shape. So let's see how we can add a few floral shapes here. So with wash you off always want to add a little bit of water, too. The pain that's just right out of the tube or the container so that it won't be too, um to think. And I think what I'd like here iss something quite big and fun, so you can always indicate um, like I did here with a floral shape with a pencil where you want your your flower to go. I'm just going to to do it this way. Of course, working with the brush feels a little bit different now after all this drawing with the deplete pen. Okay, so I'll just take the colors in in any combination in any way that I like. You don't have to think about this too much yet. Um, who actually think that this lied pink? This flesh pink is really nice for these small bellflower shapes here. Really delicate and small. As you can see with quash, you can paint over your your inclines, so that's always a plus. If you use watercolor, that's a little bit more complicated. So that's why I like toe use glass. For these exercises, you might need a second neyer of paint, but usually it works really well and maybe a big, almost like a tulip shape. Think I'd like that and you will see that by using the brush for these, you're already forced to simplify the shapes a little bit more. If you use an even bigger brush, then the effect will be even more prominent. Okay? Asked one little one Little's flowers left. Let's see, maybe just small, round and different kinds of different brands off wash half different covering abilities. So usually the more pig men you have in your wash paint, the better it will cover up, um, the layers below it. And the more inexpensive pains who has more pigment usually means it's a little bit pricier . The more inexpensive pains won't do the same. Good job on uncovering up you're drawing. So I think we do have a nice, um, color study here, and I think you can see what appeal to this technique this. So I think it's a really interesting combination. You could go in after this has dried and at a few more details to to your florals. And I'll just try to demonstrate this in a way so that the drying process won't be disturbed. So you could add these dots to to these little bells here. Oh, maybe this is actually not in the middle, so it should be around here, but only a study, so it doesn't matter that much. So you could at these little details, and I think I'll actually add another pair off leaves up here and also give them a little bit more detail. I think this is a very nice combination. So these bold color pops combined with the the elegant lines and the really fine drawn detail. So, yeah, have fun with this. An experiment a little bit, maybe on several pages, and I'll see you again for your project. 9. Class project: wild flower meadow: so far the clasp project. We're going to draw a workflow meadow, and we're going to add some color pops for the flowers like just like we did in the last exercise. And I actually want you to incorporate the things that in the basics that we learned in these past exercises into your project. So I'm going to leave that as a reference, and I'm also going to use thes same colors, this limited color palette that I used earlier because I think it it's quite fitting. It's It works quite well, so just going to place it up here so that I can take a look at it. And I've already sketched out my piece so that I have an easier time working on the different it's It's a little bit more complex, so I'll have to make sure that I know where the ink ALS and where the flowers where the glass paint goes. So I'm going to be working with my Indigo Inc. And I'm also introducing this Yellow Drawing Inc. Which I think will have a really nice contrast. 10. As I said, I'm going to be using the same colors that I used earlier in the exercise. So let's see, I've also decided to change my dip lips. So I'm I'm using, um, slightly different model. And I'm going to show you the kind of lines that you can draw with this one a little bit more pronounced. They have a little bit more line wage to them, and I actually I think I prefer this to the very, um, thin drawing it that I used earlier. And if you don't know if you can see this, this papers actually has a little bit off a texture. So I think to avoid the skipping off this never, um, this will work best. So let's just start with drawing in some inclines and leaving out the parts where we'll have goulash later and also where parts overlap. So I can already see that I'm getting ah, very pronounced a very thick line here. And I actually think that this will work quite well for well, at least I hope it will work well for my beautiful wildflower meadow on. As I said earlier, I think off the different leaf shapes that you want to have in the piece. When you sketch, would I think of the floral shapes and then just combine it all together in the fun way. I don't have to draw every line that, um, we'll be there in the painting. You can always go back later and add more details just about laying down the basic shapes for this. So I actually forgot to have the stock here and YouTube. So one way to get a thinner line with a thicker neb is to turn it around, and then you get the chance to make some really thin, crispy lines. Just I'm really excited to see how this will turn out. So my Andy going is almost empty. I hope it will last for this project. So I think this is everything for the Indigo Inc. At least for now that I can see. I'm going to go back in later and at more details. And just now I'm going to add the yellow ink. I'm really excited about this card, really looking forward to see how this will add some color. So have to be a little bit careful. I'm not sure how much this has dried here, but I just Let's just see, I actually thought that I want to at thes and yellow grains to the mix, so this could be in grasa. So this could be for autumn or summer theme. And I really think that this will make a nice addition. Okay, that doesn't look so bad. I'm going to switch to wash paint now on and let's see what we can work with here. So I'm going to start with these Little bell shaped flowers can see that I left a little bit off space for my flower shape here. You you don't have to to close up every gap. You can leave it as it is. That actually makes it a little bit more loose and lively. So if you're free to leave it like that, you could also go back in and close the gaps just the way you like it better. Now, let's see. Maybe these metal lake red star shaped flowers next that's such a beautiful, beautiful color here can see I'm trying to keep it fairly. Lose, at least for my standards, usually are much more of a detail person. But for this exercise, I think it's nice to let go sometimes and just go with the shapes and the colors. So we do have another one here. I'm going to switch to a bigger brush for now. And I want to take this yellow. And I want to do a flower shape that's similar to this one. And I actually want to try to do it just with my brush. So just like this, you can see you can good, very nice floor role shape with this technique and really quick too. You can always go in touch up the areas that you don't like. And again down here, I have another one. I actually have to figure out it sits upon this stem, so I have to keep that in mind. And now we have thes blue shaped flowers here. So I actually like that. You can see the structure off the paper here. This slight texture. I think it's the backside off the paper, though not really sure about. Anyway, I think it's it's sort of nice. Uh huh. I really like it. I think we need a little bit off, um, account counterweight, for example, for this red one, it would be nice if we had a little pop of red up here. And I think I'll just add single read shape and I'm going to add a stem later. But I think this will add a bit more interest. Um, yeah, similarly, maybe another one up here. And I had indicated a little shape that I didn't know what to do with, but I think this will work. And I think I will. At these two, maybe in yellow, maybe in blue. I think I will make this one yellow and make another one up here. You could also make thes sort off double Onda just at, uh, another blue shape here. So this is to make sure that your colors don't just clump together in in one point, which I should have thought about earlier. But you can see that when you work quickly, they're always thinks that you could do better. So maybe another blue one down here and we're going to need some smaller flowers on our meadow too. So this just working out, okay? What? I want to add some more details to my medals. I hope my India ink will enough for this. Um I think I do want another leaf like this, and it should go here as you can see it has to go behind the yellow part that I already drew. And I work very nicely that way. So just like this in the capital off veins. Okay. Yeah, That's really, really nice. I really like that. Um, few details on these leaves too. I want to make these a little bit different from I've done up there. So just think about how this could look. You could also make these veins so that they're not opposite off each other so that they have different starting points. Just remember what you did in the last exercise. Oh, yes. And I think what I want to add to ISS these little I don't see her for my sales. And actually, why not add some more dots in general, I think these gift the painting a little bit more interest at a little stem here for these parts as the last thing I'm going to add some details and white. I'm going to use this, um, Ph Martin's believe proof belief. Plead proof. Right for this. Just taking a little bit off the white and for example, apply it here in the middle. Okay, that's not so bad. I think one last thing. I guess I have said this already, but I think these little flesh tent of these pink bells, they're looking a little bit. They could use a little bit more detail. So just going to add this little read hits? You can see it doesn't work with every nerve to to work on top off thes wash pots. Who, um, going to use this very sparingly. But with sometimes it works. And with some, it doesn't sue. You'll have to experiment a little bit with that. Probably works better with actual pens with real pens. Yeah, I think now it's nice and balanced and has enough detail for me, too, to, um, quit working on it. And yeah, I hope I will see your wildflower meadow in the project gallery soon. And I'm really looking forward to seeing your results. And if you can, And if you want to, then use your own color palette. Use your own from floor forms and your own leave shapes. And yeah, I'm really looking forward to seeing what you've come up with. So see you in the Project Gallery 10. Final thoughts: So I hope you enjoy this class about painting leaves and flowers with ink and wash. We're taking a look at drawing techniques and rules on. We've explored a limited color palette, and I've shown you a few plants and flower shapes and how you can draw from observation and simplify these these very complex details. So I hope you've been inspired by this class to extort drawing a bit more and to experiment with any injury actual sir. Also, I believe the observing from nature and breaking down what you see into simple shapes isn't important. Basic exercise for any ashes. So it's a good creative helped build. I really love to see the wildflower meadow that you've created, or even just some sketchbook pages with your herbarium. Please upload your illustration or sketchbook page to the project Calorie. I'm really looking forward to seeing your results. So thank you so much for taking this test with me. And I hope you drugged your pay while painting time to give. Make sure not to follow me here on skill share to get notified about Newcastle's and giveaways, and I also have to hear what you think. So I'd be really happy. If you could leave a review for me, I'll see you in the classroom and I hope you will have a fabulous day by