Dynamic floral illustration in watercolours and ink | Suzanne Abraham | Skillshare

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Dynamic floral illustration in watercolours and ink

teacher avatar Suzanne Abraham, Artist

Watch this class and thousands more

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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

7 Lessons (1h 6m)
    • 1. Introduction

      1:09
    • 2. Materials required

      3:10
    • 3. Practising brush control

      18:09
    • 4. Practising line (how to use a calligraphic dip pen and ink)

      10:19
    • 5. Project part 1: Watercolour florals

      20:26
    • 6. Project part 2: Inking(give character to your florals)

      8:25
    • 7. Finishing touches and final thoughts

      4:44
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10

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About This Class

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Flowers make everyone happy. the simple shapes of flowers and leaves are so easy to achieve that most of us enjoy painting them for fun. The therapeutic experience of painting these simple yet beautiful subject cannot be replaced!

Learn to create vibrant and dynamic floral illustration that stands out with a characteristic  line and wash technique! This technique uses well define lines and a watercolour wash. It is a great medium for journals and sketchbooks and has been used by artists and illustrators since long.

I have also posted a detailed session on how to use a dip pen and Indian ink for your lines. Don't worry if you dont have a dip pen or ink, you can always use a gel pen or even a regular ball point pen for this purpose!

Class project

Illustrate a very colourful floral pattern in watercolour and ink(optional).

Please share your final illustration and progress shots with the class by uploading to the "Your Project" section. If you have any questions or need more tips, please let me know and I am happy to help!

Who is this class for?

This class can be divided into 2 parts. 

The first part consists of step by step instructions on how to paint floral patterns with a brush and watercolour paint. This is fairly easy to follow and is great for all levels; especially for beginners who'd like to explore using watercolour brushes.

The second part consists of instructions on enhancing your watercolour washes with line. There are detailed explanations on how to use a calligraphic dip pen and Indian ink. This may be more appropriate of intermediate levels. Although it is worth a try for anyone who'd like to challenge themselves!

Each one of us have a unique style. The line creates an opportunity to express yourself in a totally different way compared to the soft watercolour washes underneath.

Meet Your Teacher

Teacher Profile Image

Suzanne Abraham

Artist

Teacher

Hello, I'm Suzanne. I am an artist and I love to inspire people to paint! My favourite medium is watercolour and ink and I have been painting with it ever since I can remember! I did my post graduation in Fine art and I have a degree in History of drawing and painting, that has given me a strong base. 

My life as a full time mother to 2 very young kids is challenging. However, I have considered it as a blessing in disguise; allowing me to spend some time painting while my children sleep/ rest. I also spend time painting with them and this has given me a lot of confidence to teach drawing and painting to children. I also conduct workshops for adults online and in my local area.

I Hope to inspire more people to paint and discover their hidden talents!

 

... See full profile

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Transcripts

1. Introduction: hello and welcome to a relaxing session off painting watercolor Clowe rooms with me. I'm Suzanne Anderman, artist. I left her inspire people to paint in watercolors, and I show simple and easy to follow techniques through my course. In today's class, I'll be showing you how to paint floors in watercolors in ink. I will also be talking about how to gain control over your brush strokes, as well as using a Cali graphic dip in with engine ing to enhance your vibrant watercolor floor rooms. This course is great for anybody who loves to play with this medium. I personally enjoy the repetitively painting off simple shapes of petals and leads that let your mind to feel refreshed and ready to take on the next challenges like throws at you. I hope you will feel the same once you dive into this class. 2. Materials required: Here are all the materials that you need for this class. Let me start off with watercolor paints. What I have here is Winsor and Newton Cotman. Reach watercolor cakes. You can also use watercolor paint that comes in tubes. What I have here is the Cotman Range watercolor beings again in tubes. And you are free to use any paint that you like. It doesn't have to be wins re Newton. It can be any brand that you like or you already have. If you are using watercolor paint from tubes, you will also require palette. Here I am using a normal ceramic plate. Um, the only requirement is that it has to be white. The next material that to me. What need is watercolor brushes? You would definitely not need all of these brushes. Um, I'm just showing you the variety of brushes that you could use. I have large brushes as well. A small brushes, all round brushes for today's class. I will be using only two brushes from this today. But I will definitely show you how to use all the other brushes in the practice session. The larger brushes are mainly for painting petals and leaves in one stroke, and for smaller details or dropping in pained, you could use to smaller size brush or just stick with the same brush that you have as long as it has appointed tip. Smaller details with these brushes shouldn't be a problem. Another material that you would require today is a black waterproof pen. What I have here is a uni ball waterproof feed prove job in. You are free to use any black pen you have. You can also use dip in if you have one with you. Andi, I will be using this depend today with the Indian ink that I have, and I will be sure knew how to use it in the next session. You will also need to jazz of water, one for washing your brushes in and the other for fresh, clean water so your painting doesn't get muddy. You will also need a kitchen tower or a tissue to wipe out excess water. And finally, the watercolor paper that I'm going to use today is a cold, pressed, 300 years watercolor paper by dealer and Romney. You can use any brand that you like, as long as it is a heavyweight watercolor Baber, and it's ready to take on a lot of water color washes 3. Practising brush control: in this session are will be showing you how to paint petals and leads using watercolor brushes that I showed you in the material section. I will also be showing you how to use a gel. Ben Onda Kala graphic depend to ink your illustrations. Later on, I'm going to start off with this large brush that I have. It is a Princeton quill, Siri's size eight. It has a great capacity to hold a lot of water on, has a fine tip and that you do the details as well. So here I am preparing my pigment by activating my watercolor cakes with water. It is ideal to spray the cakes about five minutes before you start paintings so you can activate your pigments effortlessly when painting. Here, I'm using this cadmium orange pigment, using my brush to get water from the clean jug and adding it to the thick pigment to dilute it a bit. I do not want it to be too diluted or thick, so this consistency looks good now that my brush is loaded with pained. Let's try and do a petal with this brush so we start off with the tip of the brush put it down on the paper and gently put the whole body of the brush down on D. Bring it back up to the attic. That way you're making a nice leaf or petal shape with tapered ends. So let's try that again. The tip down first. Then bring the whole body of the brush down on, then pull it a bit. Andi, back to a point. You can see how effortlessly I have made this petal shape. Let's keep on practicing so that we warm up to this movement off hand. So let's do that again. And this time, when you pull the brush back up to a point, try and twist the brush a little bit, so you get a fine point. Let's try that one more time, and this time I'm going to drop in another color on this battle. So let's see, um, balls. I'm going to drop in a little bit of more. So using the tip off my brush, I'm going to drop in some pigment on the side of the petal. Yes, you can see I'm only using the tip of my brush, dropping in gently and because that petal is still wet you can see how the two colors blends in nicely. We'll leave that to dry and see how that works out. Please feel free to try more petals and leave shapes as much as you like, so you warm up to the idea off, drawing a petal with one stroke off the brush. Eso this time off decided to play with it a little bit, and I have actually loaded my brush with two pigments, orange and more, and the petals kind of look double shaded now. So please feel free to play with your paints and pigments and see how each petal turns out . Now let's try another brush. This time I'm going to try a smaller brush size. This is actually size 12 but it's not the quill Siri's. It's a normal round brush, and the size 12 as you can see, is much smaller than the quill Siri's size eight. So I'm preparing my pained to paint with this brush. This time I'm going in for orange as Bella, some yellow, and for this I have used cadmium yellow with cadmium orange, So this time I'm going to place the petals together to form the shape off our flower that will be painting in a project. So I do the same things with this brush as well, starting with the tip of the brush and placing the whole body of the brush down on the paper on back up to a point again. Now I'd like to add in a little bit of orange onto this battle. For that, I'm going to use a smaller size brush. This is only because my larger brush is loaded with yellow still, and I don't want to waste my paint on Wash it off, which is why I'm using another brush to load another color. So here I'm going to drop in some orange. With this brush, you are free to use the same brush if you don't want to use another brush for this purpose . So, as you can see have dropped in some orange and you can see how beautifully it's blending in . No, I'm going to place the next petal close to this one with the tip off. It's touching the first petal, and you can see the minute I touch it. The orange and the yellow from the first petal bleeds into the 2nd 1 and This is exactly what we need to do because we need a lot of connection between the petals on. It is beautiful to have the pigments bleed into one another. So let's continue doing this and place and other petal right next to it. As you can see, amusing the larger brush for making the yellow petal because that is already loaded with yellow paint on, and I just need to top it up. And when it comes to adding in orange, I'm going to go back to the smaller brush so the colors doesn't mix, and I will not need to wash the pigment off unnecessarily. Now let's do a couple more petals here, so I start off with the yellow petal using my larger brush on. Then I go in and drop in some orange pigment with my smaller brush so you can see here that the orange is not actually blending in with the yellow as I want to do. This is maybe because there was not enough water on that pedal so I can go back in on dumb , dropping a bit more yellow pigment for it to blend all together now on to our last petal on . You can see how beautifully and effortlessly that orange is bleeding into the yellow. So I'm just gonna top it up with a bit more orange or fresh pigment. The flower that we're trying to paint here is a cornflower. So I'm just going to do the center off that flower, which is quite a big bulge on talk. So I'm using a fresh, clean brush with no pigment in it when I'm just pulling the pigment from the petals. Now, while the center is still quite wet, I'm going to drop in some bouncy and, uh, which is a brown just to show depth on that. But Andi, I'm also going to drop in some Prussian blue just to make that area a bit more darker. And as you can see here, the whole flower is quite wet. At this point, Andi, you may have noticed that I did not actually paint in a lot. I've only used the tip off the brush to just drop in some pigment. Andi, I have left the water to do all the job for me. So before this dries out, I'm just going to use a fresh, clean brush without any pigment on it, and I'm just going to pull out a few more petals in between the pages that we have already painted. So the reason why I did not take any more pigment is because I would like those patterns to be a bit more lighter compared to the pressures that are painted in the beginning. So this is why I did not use any pigment. So, as you can see here, it has created a sort of lighten shadow effect here, and I'm just going to leave that to dry and after it dries, we were ink over this flower. Now, while we're waiting for that flower to dry, let's practice painting in some Stens, then some branches. So for this, I'm only using the tip of the brush. I'm using the same big brush that I have, but only the tip off it, and you can see that I'm making very quick movement over the paper. So without applying a lot of pressure, just put the tip down on the paper and gently pull it down. And if it's done in a quick movement without any doubts, you will get a nice clean line. So let's do some leaves with the same technique that we used to pain the petals. So the tip down first with the whole body of the brush down the next step and then back to a point together. So if you are not applying a lot of pressure, you are able to get up and leave on a smaller leaves, whereas if you need a larger leave, you won't have to apply a little bit more pressure and place the whole body of the brush down onto the paper. You can also choose to paint the leaf in two steps. So I've done the top half here, and now I'm going to start at the same point and do another bottom half off the leaf as well. So that's like having two petals together with the tips touching together. So let's paint another leave in two steps. So let's start off with one side of the league. So it's the same way that we've bean doing the petals and delete so far, and for the next half of the leaf, I'm going to start at the same point where I started the first half, and I'm going to place the brush down the whole body was a brush. Grow stone and back up to the point again. On that point is going to Marge with first better that we did for the first shape that we did. - Now I'm still waiting for our cold flower to dry a little bit more so I can start and give it while we're waiting. Let me just show you another won't flower that we could be painting today composition. So for this I'm going to use the same size brush that I've been using all home. I'm going to use several Boom. So this waas flower. So I'm going to know the brush and then this flower has a sort of needle like ends to the battle. So for that, I'm going to place three shapes together in a budge. As you can see here, I'm only going to use the tip off the brush for painting these. So I've done one bunch now or one petal now moving on to the next one right next to it. In such a way that the tips are joined together. The ends off the petals are joined together. So when you're done with that, we're going to join the ends together, and we have our tiny wild, smaller it. Now, while that is still wet, I have loaded my brush with some green to do this stem off the flower. And I don't mind the green actually touching the blue, because when it blends together, it creates a very beautiful effect. So you can see here I have done a very thin stem with only the tip of the brush and applying very little pressure on the brush. I'm able to make this very clean lines on paper, so going to do a few more buds and flowers on that same stem sauce just painted in the green? No, the green that I abused here is a mixture off sap green and Payne's gray. You can also use any deeper greens that you have that the colors doesn't really matter in astronomy, as you like the colors, they're going to move on to painting in the flowers on that stem. So I repeat the same process off, using only the tip off the brush to paint in Chinese noodle like battles. I'm also going to show you how to paint another style off battle off wildflower that we may be painting today. This flowers called cosmos. And if you know this flower, it's got uneven ends to the petal. It's not those clean tapered ends. As you can see here, I have painted on uneven inch to this battle, and this is how the cost most lower looks. Let's practice painting these letters a few more times, so I'm just playing around with these shapes and sort of creating unopened flower shape. Right now, you can just practice painting these battles the way you like it. Now I'm also going to show you how to place these battles together to create the cosmos flower that we will be using in our project. So I'm going to start off with painting the petals, placing them together to look like a a sort of a cup shape. So you can see here that I'm holding the brush in a very relaxed way on. I'm painting in the petals in a very relaxed way as well. This is because the patterns off these wildflowers are not so tightly structured, like the neat tapered and off the cornflower petals, so they are a bit more loosely structured, and they have uneven end as well. And those uneven ends actually create beauty to the flower. Now I'm going to paint the stem off the flowers. Well, while this is still wet, so I'm going to go ahead and take in some green again. The green that I'm using here is a mixture of sap. Green and pain scream. They drop in some green at the bottom, off the flower. I'm just going to let blend and do the work. And then, Jen, people it pull the tip of the brush down to create the stem. Now, for the leads of these flowers, they are not the traditionally shaped. They are long, needle like leaves. So for that I'm only using the end of the brush the tip of the brush again to create these small needle like shapes for the leaves. So for that you just need to use the tick off the brush to pull out a branch On Then, on that ranch, you create small lines to create these sleeps 4. Practising line (how to use a calligraphic dip pen and ink): Now let's start thinking these flowers now that they're completely dry. So for this you can either use a job in the men that I have here. Issue nipple fade proof waterproof pen in black On it is a great pen for thinking and making outlines for your water color washes. Another option is for you to use a dip pen a can a graphic pin on Gwynns Renew Gin Inc This is not waterproof, and it can get activated by water if you do watercolor washes over it. Um, but, however, saying that the Cali graphic Nick creates beautiful characteristic lines. So I'm going to show you how to use to spend to create outlines and characteristic lines for off. So after started, Teoh roughly scribble on the baker and you can see here on the type off lines that this pen is creating. So this Ben works in the same way as a brush. If you like a thicker line, you can press it down onto the paper on. If you want a thin, very fine line, you can always release the pressure on, then make very fine lines on the paper. And so this is a great way off making beautiful lines for your water color washes. Onda, telling these thickened same lines will create a lot of character to your watercolor painting compared to using gel pen. So let's try thinking this flower with Don't worry. If you don't have a dip in, you can always use a gel pin or even up all point what Ben should work. Eso Please don't worry over not having the right materials. I'm just showing you that depend only because if you did have one and you didn't know how to use it, this could be a great opportunity for you to learn how to use this as well. It does take a bit of practice for you to use this been efficiently and effectively, but saying that once you start using it and you see the results, you might just like it. Depend is one of my favorite things to use on plainly because that off the type of lines that it could create. But it could also be quite annoying as you'll have to keep on dipping it into the ink bottle. Andi also think could bleed onto your fingers and making it all a messy business so it is really your personal choice off what type of Ben you'd like to use. I will also be sure knew how to use gel pen for thinking your water color washes later on. So up just done the center off the flour with short staplers, short lines Now for the petals. I'm just drawing over the patterns that we have already painted. So there is a shape they're already on. I'm just drawing over it. And I am actually pressing down the nib on the paper near nearer to what? The center off the flower. So I get a nice, thick line, and as I come too much the end or the other tip of the flower off the pectorals, I'm sort of releasing the pressure so the lines are a bit more lighter. So this is one plus point about using this thing. You can press down as well as release the pressure you're using on the Ben to create beautiful lines in just one stroke again. As you can see, I'm just going along the battles that have old repainted. Um, I'm just enhancing the petals with these line drawings. If you're not too keen on line drawings, and you just like to leave your water color washes. Asset is that is also a new option, and it's just such a beautiful effect that it could create. But for anybody who likes to think over your watercolour washes and who likes to learn how to use thes cara, graphic in this session could be really great. So let's look at this petal that we're going to, um, Inc Now I'm going to press down my name as well as we released it half way through to create that sort of dark and light shade on Day three, the other end off the petal. I have used very thing lines. This is because I have decided the lightest falling from the right hand side, and because of that, the area in in shade or in darkness the lines would be much more thicker on. I'm going to go over the the petals and the space in between the patrols and darkening them . That sort off helps us to make the petals stand out. So moving on to the stems and the leaves that we painted earlier, I'm just gonna show you how to think over there so one way for you to do is just to have a plane line along the side of the stems that we painted. But if you prefer, you could also add in a bit more details, like little prickles. Andi. Also, when it comes to paying them thinking over the leaves, you could again use those thick and thin lines to create a sense of depth. And it doesn't matter if your lines are a bit wobbly and they're not so clean and on. We're not looking for clean, smooth lines that you could have a bit of scruple lines and wobbly ones. That adds a lot of character and individuality to your ministrations. So just like your handwriting, your lines and your scribbles can also be different from some other people's on. That sort of creates that individual character to your illustration. That makes it. I feel that it's your work on that you're not just being copying and following the instructions. It makes you feel Asif, you've actually taken my instructions on board, and I tried something off your own. So feel free to do different types of lines like scribbles, little hunches, Onda cross caption and any sort of lines that you like to do. So here we are actually doing the course most. You can choose to leave a few bits. No again, and you can even have plane in cadence as well. So you could. Instead of thinking over the painted leaves, you could have separate leads that are just with so the some of the baby ations that you could try with your administration's. It doesn't have to be the same as what I'm doing. So now let's try using a gel pin or even a ball point pen. So I'm just going to show you how to think in the stems and the leaves that we did earlier . Again, it could create somewhat the similar effect as a dip in. As you can see here, I'm doing the same things as I did what the dip in, except that if you want a more characteristic line like a thicker and a thinner line in just one stroke, that may not be possible. However, you can go over the lines to make it a bit more thicker, and you could also try and losing the pressure on the pain. Um, if you want it a bit more thing now it might work slightly different from a dip in now, just briefly going back to this wild being flower that we inked early. Ron, um, I'm just going to use a little bit off water to sort of smudge the ink a little bit to see what sort of effect it could give. If you remember, earlier we used a dip in and any link all this flower. And I did say that the Indian ink that I hand wasn't waterproof. So when I used water, the ink sort of activated, and it has actually given me a nice, beautiful effect. So if you'd like if this is something that you like, you could give it a try as well. 5. Project part 1: Watercolour florals: for a class project. We will be making a floral pattern in line and wash with all the flowers that we've been practicing so far. So I'm just preparing on my paint. The paints that I'll be using will be cadmium yellow, a little bit of cadmium, orange, permanent rose or crimson red. If you hot and off course for green, we will be using a mixture of sap, green and pains. Great. The brush that I'm using here is appointed round brush size 12. So I uploaded my brush with cadmium yellow on. I'm going to start painting some cornflowers. So if you remember how we've been practicing painting petals in a practice session, we're going to follow the same instructions. So we start with the tip of the brush and bringing the body of the brush down onto the paper on back to a point again to create a nice, better shape. And if you can see here, I'm placing the petals quite close to each other to make a flower shape. Now I'm going to load the brush with some more this time, Andi have actually switched back to a smaller brush here, But you don't need to do that. If you're comfortable using the bigger brush that you've been using, so what? The mall. I'm just going to drop in the pigment at the ends off these petals. I'm not painting in a note because the patterns are still quite wet. We are just going to drop in a little bit on. Do let the pigment makes on its own. Now for the center off the flour, I'm going toe, wash my brush clean on with a clean brush without any pigment on it. I'm going to gently pull the colors from the petals so you can see here because the petals are still quite wet. When I pull the colors out into that center, the colors sort of bleed into that center area where have painted with plain water. Now, while this is still what I'm going to drop in some brown that's burnt sienna. Or you can even use finish in red if you have, which is more on the brown side, um, in the center, off the flour and you can see it slowly blending in. I'm also going to drop in some Prussian blue just to give a sense of depth and three d. Look to that flower again. I won't be painting in anything. I'm only dropping in pigments with the tip of my brush. And these pigments are not minuted with water. They are straight from the pan just lightly activated by water. Now, for the next step, I'm going to wash my brush clean again. You could use the large brush, all the smaller brush for the next step. With my clean brush, I am going to pull out a few more petals in the gaps off the petals that I've already painted. So I don't have any pigment on my brushes. I'm only pulling it out with just a wet brush so you can see because the petals that we painted in the beginning are still quite wet when I pull out. Other petals from the gaps in between pigment from the yellow petals are sort of bleeding into the new patterns that we painted here. I know it does look quite messy here, but at this stage, all we're looking for is a very rough shape off the leaf, because obviously we are going to think it later on moving on to the next flower. This time I'm going to paint another yellow flower using the same cadmium yellow that we've been using for the last flower. But this time we're going to paint slightly more larger flower just to give it a sense that it is more in the foreground compared to the flower that we painted before. So here we're going to paint in slightly more larger petals for a larger flower. We will be using the same colors on the same steps that we followed for the flower that we painted it at first. So here I've done a yellow petals on. Now I'm going to use my smaller brush. Onda, drop in some more of at the end of these petals. Andi, we're going to continue this process until we finish all the petals off this flower. Just like how we did in the first flower. Now that I've finished the main petals, I'm going to wash my brush clean and I'm going to pull out some more petals in between the pedals that we already have here. So for this I'm using a clean brush without any pigment in it. Just a plot. Some petal shapes in between. The pedals were all dirty heart here. So for the wet, clean brush we're not looking for ah dripping wet brush. You can off course, take out some extra water on a tissue before you pull out. Those petals otherwise will be left with a huge puddle on that flower shape. Now again for the center of that flower, I'm going to use some bouncy in our or finish in red Onda. And this time I've actually put in the pigment straight on to the ends of those petals on and painted apology shape in the middle. And now I've cleaned my brush and I'm going Teoh drop in some water into that pigment. Even this way, it does create a very beautiful effect. And it does blend in quite well. So it doesn't matter what where you go, you wetted first or you put the pigment in first. What matters is you actually add in the right amount of water again. I'm also putting in some Prussian blue here just for depth, just like we did in the earlier flower for our next flower. I'm going to change the color and use um, Tomlin draws, so it's going to be a pink comply this time. So prepared the pain here and I'm using the size 12 brush again because of them. I'm going to do in large letters, and I'm going to repeat the process of how we didn't the last two flowers for this pink flower. So I've called outs and petals. Now for this flower I'm going to use, um, cadmium yellow. I'm going to paint on these wet petals something to between some yellow. But instead of dropping it in, I'm actually painting over these things. Flowers. So this way it creates a double shade to this flower. I'm going to follow the same steps as a followed for the other two flowers. So during the center, off the flour with brown and Prussian blue and pulling out extra petters in between those petals that are already painted and the steps remain the same for each and every flower. What these pink flowers? Another thing that I am doing here is I'm actually painting in tiny bits off Prussian blue in between those pink betters, because it sort of creates a shadow to these petals when one's it drives. This step is completely optional for you. Um, please do it only if you feel comfortable with it. And please don't panic. Seeing the colors blend into each other, even if it looks messy now is going through a really beautiful once you start thinking them . So I'm going to move on to the next flower. Now I'm going to follow the same steps as we followed for all the three powers that we've been trained to know. Now I'm going to add in a couple more cornflowers. In this composition, you are free to add in how many ever flowers that you need in here. You don't have to stick to the same number. Us I do way now, as I'm watching these flowers dry, I feel that some off the flowers are not as vibrant as I'd like it to be. So, especially with the pink ones, I'm going to go over it with some more pink pigment or permanent rose. Now, this step is completely optional. If you don't feel the need for your flowers, look more vibrant than you don't have to do this step. It depends on how you see your painting. Now moving on to painting the stems off these flowers. I'm going to prepare some sap green and pain screen. The reason why I mix these two color is because I needed a much more deeper green, which I didn't have in my planet. If you have but green in your planet, please feel free to use that So you can see here that I'm only using the tip of the brush to paint in the stems. So without applying a lot of pressure, I'm gently pulling my brush down to create a very fine line for the state. Now, for the leaves were going to paint in the leaves in the same manner as we painted in the petals. So I'm starting with the tip off the brush and putting the whole body of the brush down and back to a tip again to create the leave shape. Also, you can vary the size of the leaves from large to smaller, so let's fill these stems with different sized leaves. Make sure to step back and look at your painting, and only then decide how much leads that you need. You need stem. Make sure not to overground with too many leads. Now moving on to the wildflowers that we've been practicing, I'm starting off with the cost, Most flower that looks more like a cup with very uneven shaped petals. So actress painted one in with permanent rose, and as you can see, the edges are not fine and sharp. I've actually made them quite uneven, so I'm painting in another one. So as you can see, I'm actually letting the bottom part off the petals touch each other, and I'm actually painting it in a cup shape or bone shape. If you can see that you don't have to be too rigid with the petals, you can actually make it a bit more messy if you like. It doesn't have to hold the cup shape at all if you don't want that. And I'm also going on and doing a few more different colors, like orange and perhaps a bit of cadmium yellow as well. And also, if you can see, I have very decisive off those flowers. So I've got smaller ones as well as a large ones. Let's also paint in some blue wildflowers that we've been practicing in a practice session , So if you remember, the are tiny flowers and we actually painted them with the tip off our brush, so making very small lines with the tip off brush, placing them together to make a bunch for each flower. Now, while these are still wet, I'm going to paint in some green stem, so I'm using the same green color. I have actually joined the tips off those flowers to make the bottom part of the flower, and once I've done that, I'm going to pull out a few stems. So at this stage, because the blue is still wet on when replaced the green right next to it, it might bleed into each other. Now for painting in the thin long stems. I'm using the tip off the brush, and I'm pulling it very gently without applying a lot of pressure on the paper. So making sure that only the tip of the brush touches the paper and gently pull the brush down to make quite long, slender stems for these wild flowers, the leaves off these flowers again are very thin, needle like shapes. So for that I'm again using the tip of the brush and pulling out a branch from the side of the main stem. Andi, I'm just going to make those leaves just by using the tip off the brush again very lightly without applying a lot of pressure, making sure only the tip of the brush touches the paper. Make sure to place these blue flowers evenly on to the paper so it doesn't have to be crowded in one area or just on the top. You could have a few off them sticking out in between the larger flowers. And the reason why I have chosen the blue collar is because it sorts of cools down all the other fiery colors we have on this paper. So the yellow and the orange on the red all complements the cool blue on eight balances the whole picture again. You can vary. The size is off the flowers. This makes the composition looks more interesting on also creates a sense of depth. Now I'm going to go on and plays a few more needle like leaves for all the wildflowers on this painting Assess. You may have noticed I had only done a few off those tiny leaves on Do we have are not off those broad leads in this painting, So just to balance the whole thing, I'm going to place a few more tiny needle like leaves for all the wild flowers that we have painted so again, When you do this, make sure to step back and look at your composition on, then decide how many leaves you need. So after you have finished placing on the leaves and the flowers on this paper, another optional step that you could do is to add in a few splatters. So for this I have loaded my brush with green, and I'm tapping the brush with my other hand. So this platters off pigment falls onto the paper another way off. Doing this is to Notre Brush again and to flick the ends off your brush. This platters that has created why you flick your brush is completely different from the ones that you get when you tap your brush. So you can see here that the splatters that are created while afflict the brush is going in a particular direction, so they depends on from it depends on what direction you are, holding the brush and clicking the ends of the brush. If you want splatters in the opposite direction, you may have to turn your painting around and then flick in some pigment, so it could be any color that you like. It doesn't necessarily have to be green. It can also be the other colors on this paper. The choice is yours. The reason why I chose greens splatters is because I wanted to create a sense off from leagues spread out in wild garden. And all these platters to me personally creates that sense of depth on a feeling that there are lots more leaves in the background and there are lots more flowers in the background. So with this hour watercolor wash off, these floors are completed. You can choose to leave your illustration at this stage. Or, if you'd like to enhance thes with some ink, please go to the next video where I'll be showing you how to use ink over these water color washes. 6. Project part 2: Inking(give character to your florals): in this session, I'm going to show you how to draw lines over these watercolor wash is that you have done. Make sure that you do it only when the painting is completely dry. I'm going to use a kala graphic depend on Winsor and Newton Indian ink. If you have any other brand interning, you are free to use that as well. Or if you want to use a normal gel pin or a ballpoint pen, please feel free to do so. So I just dipped the nip into the part. And as you can see here on the Web, there is a small hole on when you dip the pen into the port. Make sure to cover that hole because that's how you get a flow off Inc From your name saying that you may need to dip the pen into the port quite often while you are drawing with it, because that is how this spend works. It doesn't have a cartridge, but if you want to do that, you can try using a founding Ben. I'm not really sure how are Fountain Pen would work with Indian ing, as interning is quite thick in consistency and it could damage your fountain pen. So now I've started drawing over this corn flour that we painted before, as you can see, have started with the center of the flower and doing little lines and staples for the center off the flower. And as you can see here, I have placed a lot of staples on the darker area off the flower where I had placed Prussian blue early Ron and towards the lighter area where I think the light is coming from . I have placed very few staples and lines. I think this way I can depict light and shadow in the flower. Now moving on to the petals. I'm going to vary the pressure on the neighbor, so I get thick as well. Last thing lines where I need it. So I'm going to place thicker lines in areas where there in shadow on, and as I move out towards the lighter area, I have made the lines a bit more. They know, so it gives a sense that light is falling on that petrol. Now let's continue to do the same for each better on this flower, and you can also darken the areas in between the petals as well. So the petals actually stand out. Now, looking at this particular petal that I'm working on, you can see that I'm actually giving an extra few lines off shading on that metal just to show that particular area is in the shadow for the shading off the petals, you can choose to leave it. Asset is, and the watercolor washers will do the job. Or you can go over it with in lines Onda. With the pen lines, you can make different types off lines for shading, so the lines can be very scribbling ones or straight ones. It can be hatches across hatches. It can even be staples. Eso, whatever that you feel that is good for your illustration do only that you can also leave it ass it is and just do the outlines off the flower if that's the type of style that you like. So keep trying what your style is and do what you're comfortable with, because this is your illustration and you get to decide how it needs to look. Now let's move on to the stems. The area right below the flower, as you can see here, I'm making it much more darker, and it has more lines on it. You can also add tiny prickles off the stems on it. These are little details that you don't necessarily need to add on. Was your happy to do so again? The leaves that are right under the flowers are also in a darker area, and hence you can see that green is already quite dark, so I don't really need to go in and put in a lot of lines on it. Whereas if my leaves were a bit more lighter, I would probably go over it with a bit more deters with with the pen again moving to What's the other areas of the stem? As you can see, they have lesser lines on lesser details compared to the ones just the load of flour. Again, you can choose to leave these flower than leaves and stems without having any lines on it. If that this the type of style that you're looking for now, let's think all the other flowers and the leaves in this illustration. We're going to follow the same steps for all the flowers on the leaves here on and as well as the stems. The only thing that you need to remember while thinking your flowers and your leaves instance this that way usually give darker lines or thicker lines for the areas and shadow , and we give a lighter line, or probably no line at all for the areas that are in light. So before you start thinking your flowers and stems, please, please think off where you want the light to come from. On that area will have lesser details are less up in lines compared to the area that is in shadow. And also, when you do the stems and the leaves, the same rules apply. The area right below the flower will be much darker compared to the areas elsewhere, so the leads understands right below the flower could have more lines on it and could have more shading on it compared to anywhere else. Recording the shading off your flower patterns and your stems. You could use any sort off line that you were comfortable with. It can be shot lines, staples, scruples, cross hatching or just plain long lines. Anything that you feel is good for your illustration. The track off lines that you use shows your handwriting or your style off drawing, and that is unique to each and every person. So try out different types of shading that you may like to do then do that in your illustration, Which is why we had a practice session before we stopped at this illustration so that you can practice your different styles of shading and your lungs before you actually start the project. I hope it has been helpful for you. And, um, let's continue thinking these flowers and stems and I'll see you in the next session for some finishing touches. 7. Finishing touches and final thoughts: Hello again. This step in the video is completely optional. I'm actually going to link the other wild flowers on this illustration. Some people may like to leave a few watercolor washes as it is, and some may want you enhance it with some ink. You don't necessarily need to do this step if you feel that you need to leave off you off your water color washes passages without any ink on it. However, I will go on and show you how I have been told these wild flowers. Um, it is kind of similar to the things that we've been doing for the corn flowers. However, I have made my lines a bit more loser for these wild flowers. And, um and I have put very little details on these wild flowers, mainly because my area of focus on with illustrations are the large corn flowers on the wild flowers. Just end runs the whole illustration, and which is why I have decided that it may not be necessary to actually didn't each and everything on this demonstration again. This is my personal view. You may like to illustrate a bit more, and you may like all the pain lines. Or you may just want to leave the washes past cities, so please do only water that suits you. - Now if you noticed that I have only inked in the larger wild flowers, and I have left the tiny blue flowers as a taste for me personally, I just feel that the blue calls down the whole demonstration on. I'd like to keep that quite simple without any inky lines over it. But if you feel you need to have a bit more inky lines on those blue flowers, you are free to do so on for the finishing touches. I'm just going to go back to the corn flowers, and I'm going to enhance all the lines a little bit more, just just just to make sure that they really stand out and the other focus of the demonstrations before you do, and more enhancing on your corn flowers, please make sure to step back and have a look at your illustration on Catherine. Decide if you really need to go in and harms your lines. If you don't feel like doing Nejedly Stern, do it because that may ruin wall illustration. Sometimes a little bit. Let's lines night look really good instrument, having a lot of lines crowded together in one in frustration. I hope you have enjoyed creating this floral illustration with me. The simple shapes of flowers and leaves are comparatively easy to achieve, and hence it makes a very therapeutic experience for many people. Also, Flowers makes us all feel very happy. And I hope I've been able to make at least some of you feel happy with this colorful illustration. Please post your Florida illustrations in the discussion section and please do not hesitate to ask me any questions that you may have regarding this class. Happy painting, everyone.