Easy Spring Watercolor Floral Cards | Elizabeth Rohrbaugh | Skillshare

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Easy Spring Watercolor Floral Cards

teacher avatar Elizabeth Rohrbaugh, Watercolor and Acrylic 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

13 Lessons (1h 42m)
    • 1. Spring Floral Trailer

      1:05
    • 2. Personal intro

      0:43
    • 3. Daffodil Step 1

      8:04
    • 4. Daffodil Step 2

      10:22
    • 5. Daffodil Step 3

      9:26
    • 6. Tulips Step 1

      9:22
    • 7. Tulips Step 2

      12:02
    • 8. Magnolia Step 1

      13:38
    • 9. Magnolia Add on

      0:49
    • 10. Azalea

      10:00
    • 11. Peony

      13:37
    • 12. Ranunculus

      12:44
    • 13. Thank you!

      0:30
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About This Class

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In this class you'll paint 6 easy, beautiful watercolor florals to create original cards!

Spring bursts forth in an array of color and blossoms and is a welcome sight after a dreary winter! 

Painting these easy watercolor florals helps to bring spring indoors, and you can create a set of 6 beautiful, handmade cards to send to loved ones! Or use these techniques to create an assembly of beautiful spring watercolor flowers. Let's paint together!

Meet Your Teacher

Teacher Profile Image

Elizabeth Rohrbaugh

Watercolor and Acrylic Artist

Teacher


 

Well hello there! I'm so glad you're here!! I'm Elizabeth. I am a self taught artist with a love of painting. I primarily paint in watercolor and acrylic and I can teach you to do the same. I'm honored that you've joined me in class! 

Art school isn't a requirement to be an artist so I hope everyone feels comfortable here. I try to break down my lessons into simple steps, with just enough instruction to be helpful, but still allow for your own creativity. Remember, there really are no rules in art! Maybe that's why I love it so much! 

So grab your brushes and some paint and join me in these classes. I'd love to see your paintings too so please feel free to share them in the projects and leave me a review if you're so inclined-I'd be fo... See full profile

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Transcripts

1. Spring Floral Trailer: Thank you. 2. Personal intro: Hello. Welcome to my studio. And welcome to my skill share class. My name is Elizabeth Rohrbaugh. I'm a self taught artist and I painted in watercolor, acrylic and oil. And if you've never painted before, if your brand new toe art please know you're welcome here. We're going to teach you some easy techniques and have a lot of fun in the process. If you haven't taken any of my other classes, I would encourage you to search for those. Enjoy them, leave some comments, let me know what you liked and then follow me on social media. I often leave some tips and techniques and even some short videos there. I'd love to connect. Let's get started. 3. Daffodil Step 1: today we're going to paint some spring floral watercolor cards, say that three times fast and they're wonderful to send in the mail. Everybody misses male. We are so Elektronik. Lee focused that it's wonderful to just receive something as beautiful is what we're going to create in the mailbox. So we're going to start by painting some daffodils. But first, let me show you the products that we're going to use. I love these strapped more watercolor carts. They're very economical. There are 10 in a pack. They come with the envelopes in this one, and there are two sizes so you can see this is a normal type of greeting card size, like a five by almost seven. And this is more of Ah, 3.5 by about five. If you don't want to write a book in your card, these are wonderful. The paper is really high quality. It's pretty strong and durable. You can hear it actually, so it's It's fairly heavy. We're not going to do really think washes are really heavy washes, so this will be wonderful to use the paint's I'm going to use to create the daffodils. I will include these in the supply list, but I have just a variety of yellow. You are free to use whatever you have, whatever you prefer. If you have a favorite yellow and you can see this goes all the way from a light azo yellow new gambo Sh This is Ah, Halloween orange by American journey could Acronym Gold. And this is a burnt sienna for any of the, um, detail that we want to just deep in some of the values. This is if you don't have all of those, it's fine. You can mix paint. You can use whatever colors you have or what Whatever colors you prefer. The greens that I use are typically undersea green by Daniel Smith. And this is a sap green from American Journey again. Any green that you like, you can mix your greens. Anything will work for these. So I'm going to start by, um, just thinking about a layout. I like one daffodil, perhaps pointing to the back one leaning to the side. Maybe so, we'll do a grouping of three on this card, and I'm going to start by mixing some of my azo yellow. It's a very, very light kind of a cool yellow. Um, it's actually not one of my favorites if I don't mix it with something. So it doesn't bother me to mix in some colors here on the tallit. And this is my new GAM bows. Just making sure these air wet and this is quit. Acronym Gold. It actually looks brownish, but once you deluded, it's a beautiful, sunshiny yellow kind of color. So I'm just creating a really thin wash. My palate is relatively messy, but that's OK. I want just a muted yellow very soft, and I'm going to start by, uh, creating perhaps one of the flowers pointing backwards. So we're going to see the back of the daffodil. I'm going to start that up here. I'm touching, pushing down and lifting up with my brush, and I want to kind of overlap some of these strokes. So if the center of my flowers, perhaps here it's pointing that way, and I'll use that as a reference, we can always move that aside or diluted out later, and it's okay if I leave a little bit of white on the paper. This is a very soft, um, delicate kind of spring flower, I think, and I like the really muted colors. If you have daffodils in your yard that air the really deep yellow bright ah, spring kind of color and that's your favorite. Use those colors and paint those. You'll be happier with your end result. I just happen to prefer the buttery yellow kind of color so you can see I'm kind of moving the pigment to the edges of the pedal. You can do that in two ways. Just what I was doing, or you can rinse and blot your brush and pick up. And that will pull some of the pigment from the paper and give you that really transparent kind of glow that most people love about water color. And in this flower, I'm using a size six black silver black velvet silver brush. It's one of my favorites. I'm doing it this way so that you can still see the stroke. I would normally turn my card a little bit. So again, this is sort of the back of a flower, and we're going to indicate that a little bit more by adding in a little touch of green. So if you look at the back of a daffodil where the stem meets the flower, you would see some of that green extending from the center. I'm just going to indicate that there, we'll come back and add the stem. Once some of this is dry, I don't want to have that bleed into the pedal. And if you want a deep in the edges, sometimes I like to do that. You can use just the tip of your brush and add in sort of some veins or a shadow on one side, perhaps just to give it some more dimension. I'm using very, very little pigment. At this point. It's a very light wash, and there's not much on my brush. And if you feel like the green got carried away, I want to show you some of the things that might happen so that you know how to fix them. You can always go back in with a little bit of the yellow and pull that towards the center . That will do two things. It'll increase the value of the the color there at the center, which is something we want, and it will pull some of that green back, so I don't want to overwork that too much. Let's pause there and let that dry, and then we'll do the next flower. 4. Daffodil Step 2: while that flower continues to dry. Let's paint another one here, sort of facing that way, and we'll see the center front of the flower. And I'm going to start that by using pull this down a touch of the new gambo sh just to give me an indication of where the center is is if you can see. I'm sort of dabbing some of that off my brush. I'm just loading the tip. It's not completely full, and I want to establish sort of a center. So if I think about the centre being here in the pedals going here, it's OK. If they touch, I want them to be in relationship. So we'll start with sort of the bowl of that daffodil they're, and then it kind of comes out into I'm not sure what this is, actually even called on a daffodil, but the centre extends outward. It's sort of Ah, um, to me, it's an orangey kind of color so you can use new Gamboa as you can dip into that Halloween orange, just a variety of color. They're just that's just establishing my center for me so that I know where to put my pedals so I'm rinsing my brush and then I'm going to pick up, make another wash of that yellow, the light yellow again, however intense you prefer that color is fine. I don't mind it being just a little bit dirty. So I may add in some of the could acronym Gold just to tone it down a bit and I'll pick up that color. And again, the flowers sort of pointed that way. So my first pedals are going to extend from the center out it a little bit more water and maybe one coming this way. I'm putting my brush down and then lifting up, and I want this one to sort of curve into that base. So there's a curve to the to the pedal here. Outline that with the edge of the brush, and I accomplished that. You can either do it sort of manually, or you get a little bit of a more organic kind of nature. You can put the brush down, twist it ever so slightly and then pick up. So I'm kind of overworking these by demonstrating. I wouldn't have gone over that so often, but we'll let it let it go. There make a little bit more pigment and the pedals behind well again there extending out from the flowers. So if you ever feel like some of the flowers that you've painted in the past, tended to look maybe like blobs, it could be because you haven't centered yourself on where the pedal will come from, so we want to make sure that's why I put that little bull there. I want that to be my point of reference for the center and the pedals behind. We won't see quite the whole bottom, but I want them to be appropriate in dimension. I know yellow was a difficult color to pick up on the camera, so I'm trying to make them a little bit deeper than I normally would. We'll have one other big one here, so I'm stopping my stroke just short of that center of the flower. And most flowers are a little bit more appealing. If there's an odd number of petals, it seems so. This one I know has six. Maybe for this flower will create just another little one here centers in. Now if you want to provide a little bit more definition to those pedals I sort of mentioned it over here. But if you're paint dries quicker and mine is because I have a small heater running and it's under lights, the pigment won't flow perhaps as much as you want it to, so you can go back in with a damp brush. So by that I mean, rinse your brush, blotted on some paper towels, and you can softly blend some of that pigment where you want it to go, just barely touching. Okay, so let's add the third flower quickly. I'm gonna move a little bit quicker now that you've kind of seen how this goes and we'll have 1/3 1 maybe right down here. So again, I want to sort of establish a center point. And I want to allow for some space between the pedals. So maybe here we'll have it, sort of just barely facing that direction to the right, pick up my paints for the pedals, and I'm gonna move a little bit quicker this time. So it's pointing that way again. So these pedals would be a little bit for shortened here, perhaps in the front, and I want the pigment to be heavier towards the center. I'm going to turn the card so that I can make this final pedal at the appropriate angle. Don't be afraid to do that newspaper around. And now, because this is drying so quickly, I want to go back in and just move some of that pigment around and pick a little bit of that up to give the transparent nature of the pedals. They are very light. And because I've sort of lost that center, I can go back in and Dad that in. Actually, I'll go in deep in this over here because that has dried. And I don't want this center to be completely empty, but I don't want to fill it in like I'm coloring a page either. So I'm just giving an indication with some of the yellow, and we will deepen that even a little bit more rinsing. And I'm just gonna pull a little bit of that orange color out sort of towards the perimeter of the pedals just to give an indication of how the pedal falls and that maybe the veins in the center and I want Teoh deep in that just a little bit more with some of the quit Akra down gold. Now, as this is still wet, it's going to keep moving. So you can always kind of, uh, direct the pigment back in to where you want it to be. And that will kind of provide the direction the shape of the pedals is. Well, we'll have to let that dry a little bit to add some more detail like we did over here. 5. Daffodil Step 3: Now that this is dry, let's go back and add some detail and finish off the stems. So I'm going to start with, uh, slightly, uh, light wash of the quit acrid own gold. You can see that here. It's a very warm, rich yellow. It's just beautiful. It's like liquid sunshine, and I'm just getting a little It's a light wash. It's not heavily pigmented and just tell us slightly loaded brush to define some details in this, uh, flower here, I want to define where the pedals are folding. Just give a little bit of extra outline. If you don't prefer this step, you don't need to do this. I just felt that some of mine was lost in pulling that wash away. So I'm just adding this in, and I'm going to go in and soften these lines. I don't want it to look like I've colored it. I'm just defining it a little bit so that you can see which petal overlaps another, so to have defined it. Now I'm going to soften by using a damp, clean brush, and I'm just barely just barely tickling those edges on the inside. Let me go closer. So you can see just barely, and the dampness that's in the brush will soften those lines ever so slightly and give it that luminous effect. And you can do this on any number of flowers. If you feel like the line is just a bit too harsh, it's a great way to just soften that look and pull some of the detail back out. So that's a technique called lifting, and it's used by almost every watercolorist at some point. So that flower looks a little more defined, and I want to add in some of the stem from this one. So if you would imagine these flowers in a vase, this is the back of this flower. I want to have the stem come down here and down this one down here and down and then 1/3 so mix up a very light wash. Uh, this is Thea Undersea green, and I have my palate organized in my system. A lot of artists have a system that they use, and I tend to just keep my paints out all the time. So that's why I add in different colors and different spots. You can organize yours as you wish. So this stem is coming up in the center of that flower, and I'm just going to give an indication for now. So I have some direction and the same with this one. What I don't want to support to come right in between these two, so I'm just going to angle it off to the side a little bit. That kind of makes it look like it's leading a little, which is what I want and then carry that down here and then this one, but perhaps be there. So once you have that established, you can go back in with a little bit darker color and create some contrast, especially on this one, because we want this to look like the stem comes all the way up. And here, perhaps this one is in front, so we'll make that a little bit darker if you prefer the very light green. That's totally fine. I like to have a little bit of contrast in my paintings. And for this one, the green is what's providing that. So I'm just deepening that up and just widening the stumps a little bit. You could also, if you have those colors available. You could also throw in. You know, something bright like, um, purple is a complement of yellow. Or like this turquoise. I have turquoise of my brush that really makes it pop. So don't be afraid to play with the colors that you have. And don't be afraid of putting some paint on your brush. A lot of times, watercolors start out with very, very, very light colors, and it doesn't have to be that way. Watercolor doesn't have to be wishy washy. And if you end up not liking it, look how easily I just took that off. And then I can add in the green instead. So don't be afraid. Is my lesson in this one? Don't be afraid to try. It's just a piece of paper. You can always do it again, and I would encourage you to do that. So let's add a little bit more detail to this center and I think will be finished. I'm going back into the quit acronym Gold. I just want to make sure that was good and dry, and I want that it's sort of defined, but I want to just create a deeper center and have that bull shaped, pointed the other way. And again, we can define a little bit of the direction of the pedals so that they're indicated that they're kind of curved, and we'll go back in and soften that as well. If you wanted to deepen the color, you can always do that. Once the water color is dry, you can add a second layer over top just like I did there. I wanted to make sure you can see this on the camera. Big yellow is, ah, hard color to paint, have it show up. So I'm just giving you an indication of how to create some of the dimension in the direction. So I'm softening that back up, and maybe you don't want that at all. That's totally fine, too. Pull some of that color back in, and if we want to really punch it up a little bit, we can use some of the Halloween orange. It is very, very bright. A little goes a long, long way, actually get take some of that back off my brush, just get a touch and we can put that around the center. I kind of set set off a little bit watercolor doesn't have to be super realistic. It can just be an indication. And then, if you wanted to just again create a little bit more contrast, which is what I like deep in up the stems, even more, just in a spot or two on one side really makes those flowers pop. So there's your first spring water color floral. 6. Tulips Step 1: the next spring floral watercolor card that will create or tulips again signs of spring. They come in every color. I have selected a few colors that we will use. You can, of course, use any color that you desire, but I have chosen primarily Rose Matter. It's a beautiful magenta tight pink new GAM bows, which we used in the last lesson. Undersea green and quit acronym. Gold again, if you prefer purple tulips, um, orange. Feel free to branch out, used whatever colors you like. I'm going to use the larger Strathmore watercolor card again. You didn't see the last lesson. These air, the cards that I'm using. And I want to do that because tulips or rather, a tall flower and I wouldn't allow space for several of them. I prefer the flowers closed, so that's what we're going to paint here. And I have Rose Matter here on my palette. It's a very vibrant can see that it's gorgeous color, really vibrant, beautiful pink. So I'm mixing up a very light wash, and by that I mean more water than pigment. I'm not dipping in and grabbing a glob of the paint if you'll notice I'm allowing the water to swim next to that paint and just pick it up and create a uniform wash. Rinse my brush and I want very light because we're going to use a different technique here . We're going to use wet on wet to create some of these, and I want that really translucent, almost invisible in some cases. So let's start by creating a tool up here. We'll do it a grouping of three again, because that's very pleasing to the eye. So I have a damp brush and I'm just going to create a stem. I'm sorry, the bulb of the flower with just water. At first, you can barely see that that I'm putting down, and the reason I want to do that is because I want the pigment to do the work here. So I've created that wash in the shape. It's sort of Ah, fat egg, if you will, And I'm just tapping in some pigment and allowing that to move. The pigment will travel wherever the water is, so that's the only rule. You really need to learn about water color, and I want to pick up a little bit more because I want it stronger here at the base and I'm letting the pigment do the work for me. But this part I just love that will be really translucent beautiful color. If you want it to travel a little bit more, you can sort of push it So it's sort of a river. Allow it to flow, or you can just let it go and do the work there. I want this one to be that brilliant pink, so I'm going to let that rest. I do, however, want this edge to be very light. So I'm just softening that piece right there. That was with a damp brush. And I'm gonna let that dry. Let's make another one up here. Same kind of procedure, Very wet, very diluted wash. And I'm I'm actually you could use clean water. I'm doing this so you can see on the the camera what it will look like. So that was kind of pointing in this one. I want to point that way. Just a tad. I'm just have a wet brush. I'm touching, pushing down and picking up and again The tulip shape is sort of like a fat egg, right? A little bit of white is okay for this one. I'm going to pick up that rose matter Really, really bright pink dot That in you have to move a little bit quickly. This is already starting to dry. Depends on your conditions where you are, where your painting. If it does start to dry, you can tell I've got water on my brush and it'll it will push that pigment along so you can manipulate it a little bit. But the beauty of this is you don't want to overwork it too much. So I'm adding a little bit more to this one because I want that deep color. And for the one on the left, I not only want that bright pink, so I'm strengthening the color. This little rivers of paint are just gorgeous. That's what I love to see. I also want to add in just a tiny bet of the New Gambo. Sure, I'm just barely picking some of that up and it will mix. I'm just dotting it in here. It will mix with that pink and just give it a different level of vibrancy. It's gorgeous, so I hope when you're painting, I hope you get excited by things like this. This is the beauty of the water color having these effects. So one there, one there, let's do another one here, and then we can connect with the stems. Um, while this one is drying, I want that to be a little bit stronger, so it's still there's still a little bit of water on that paper. I'm just dabbing it. You pick up the paint with your brush and I'm just dotting. How easy is that? Everyone can do this and look at how beautiful that IHS. Okay, let's do one more start with the light pink again. There are Ziggy Gillian combinations of this. So whatever color you prefer, use your favorite colors that will make you like it. I'm going to make, um, one. That one there I wanted about here. I hope you can see all of those colors. I know it's light to begin with. I'm just adding water over top of what I've done because it's drawing pretty quickly. This one. Maybe we'll create some pedals over top, so I'm going to make this just a little bit wider at the bottom here, and this tulip will be sort of starting to open. But even if you left it at that light pink, isn't that beautiful? Okay. And I'm not going to make this one super strong in color. I'm just gonna dab this color in, and then we're gonna let these dry and come back and do the detail. Okay, Let's let that dry and I'll be right back. 7. Tulips Step 2: okay, these air almost dry. I want to show you up close, though the detail. It's just beautiful. How the paint does this variation on its own. That's what gives that organic alive nature, I think, to tulips, and you may not prefer the white highlight. That's fine. It doesn't bother me. It kind of gives some life, in my opinion. But if you don't like that, I want to show you really quickly how you can soften that. I have a damp brush. It just has clean water. And again, just go in and tickle the edge of one side of that paint. And it'll release some of the pigment and just soften that highlight so that it's not vibrant white just enough that it takes the eye away from that space. And it's just sort of looks like a highlight on the bulb. You may want to do that here, too, if that's ah, hard edge that you don't like, you can soften. It's just a great technique to have in your toolbox. It just wets the pigment just enough to carry it over those spaces. So while those to continue to dry, this one is all the way dry. We're going to go back to the Rose matter, and I'm just creating another little bit of a wash. I'm keeping this flower a little bit light. Another design technique is you don't want everything exactly the same color, exactly the same intensity that tends to make it look a bit flat in the same design. So these two sort of indicates some pedals already around the outside. I'm going to leave it that way because I love that this one doesn't really have that. So we're gonna add those those pedals in, sort of like the flower is just beginning to open. So I kind of see a little highlight here. I'm just going to follow that. And again, it's the same color. Think about how the pedal might fall on the Tulip, and I'm just going to carry that color down a little bit for the other side because I want another. I see this out sticking out here. I want that to sort of overlap, so I want to change the intensity just a little bit. Maybe even add in just a touch of that new gambo is just to change the color enough. So that it looks a little bit different, and I already see that pedal defined right there. So I'm just going to go ahead and follow that indication what's already there and have that overlap this way. So for this one, I want the pedal to be a bit darker. Kind of makes it look like it's starting to open. I don't want it split right in the middle, though that's not very interesting to me. So I'm going to carry this pedal over this way and keep all of that stronger color on this side. And I'm just adding the color by dabbing it in there. If I want to change the value even a little bit more, I can lift some of the pigment on this side so that it's more obvious. Round off that edge, bring in a little bit closer so you can see all the variation in there. Now. If you wanted to allow this to naturally get deeper towards the bottom, you could always tilt it and the pigment will flow again. Wherever the water is, is where the pigments going to go. So it's gonna gravity's gonna pull it down, and it will make it so gradual. That's another beautiful technique. If you have the time and the patients to sit and hold this, you can see how that can work for you. I'm just adding a little more pigment because I want that to be stronger there to show that it's overlapping. Okay, well, that's drying. Let's add in some stems. I just happen to prefer the undersea green. If you want, you could use a sap green or, um, gold Green something that's that's a little bit brighter, more spring, like whatever you prefer. And I like to kind of just get the direction first and then go back in and make it a bit stronger. So this one start with this one. So the stem kind of broadens towards the bulb of the flower and then gets thinner again, and tulips tend to curve just a bit. I'm going. Teoh, bring this one this way a little. You could certainly add in some more buds. Add in more flowers. However you would like to design it, and I'm gonna go ahead as long as you don't touch that, it won't. It won't lead into itself. But even if it does, I don't mind that at all. I think it makes the composition, and the whole flower looked more organic and riel, so a little bit did extend up into the red. It's fine, really. So again, I like to add a little bit more contrast. Little deeper color makes the flower stand out even more. You could add some yellow, even that the new Gamboa is. If you don't have the yellow for some variation, a little highlight, perhaps on the stem. The difference in color is what is attractive to the eye. It provides some interest, so tulips often have the big, um, leaves that accompany them off of the stem. Let's add one. Maybe over here, I'm going to press down in turn and lift. I want this stem to be just a little bit thicker to be outta. Hold a leave like that, I'm gonna add a little bit more color. So again, press down, turn the brush and lift. That's what provides that really nice curve. If you still have some of that could accurate on gold and add some of that in or let me go back to that, even the new gambo is just a little bit, kind of give that some life on variation. And if you want the edge a little bit deeper and sort of that same wedding went technique. Thes colors will just mingle and dance together. What's that? Another? It was something small on this side. Just just a light indication. So it doesn't feel left out keeping the brushstrokes kind of loose. And of course, we can put one over here, so I'm pressing down and then lifting that will give you a nice organic shape is well, don't want it to look exactly the same as this one. Even if we're using some of the same colors, we want some variation. No, extend that down. So it looks like it meets there. We can deep in these points up here where the leaf naturally would separate from the stem. And I'm just gonna go back in and deep in that just a little bit more, cause I don't like how it's split right there in the center for this pedal. I want that toe. I want that to be obvious. So I'm just adding in a little bit more pigment, soften that bottom, and that looks kind of harsh. So I'm going back in with a damp brush and again just tickling that edge. And that will allow some of that pigment to travel again. That looks a little more little less uniform. Okay, so there's some tulips. Beautiful Mother's Day card. You have space to right here. These cards are beautiful on blank on the inside. Sign your name right there and you've got Hallmark worthy greeting card. 8. Magnolia Step 1: for the next lesson. We're going to use the smaller watercolor cards that I mentioned in the beginning and we're going to paint a magnolia, bud, the beautiful pink magnolia trees Aaron bloom here where I am and I just love that color. So I'm changing just a bit. We're going to use quit Akra Doom magenta, which is a much more, um, a rich purple e type color. I still have the quit Akron own gold, some burnt sienna for the branches and some under sea green for the leaves. And in doing this small card, I may turn it horizontally so that we have, you know, a larger a larger open flower and perhaps a small bud. I'm going to kind of, um, visually. Imagine this because my neighbors have a tree just across the way. But if you needed to, you could go online and sketch something out a little bit. Um, I tend to not use sketches in my cards. I like it to be very free. So I'm mixing up. You turn the palette this way. This is my magenta. I have a very light wash that I've mixed up, and I want some pedals sort of in the background so similar to the last lesson. I'm going to start with something very light and the pedals for magnolias are somewhat wide and a little bit rounded but very simple. I want one that's even a little bit later in the back, so I'm not using very much paint at all. And maybe one more that kind of curves in this way sort of a side view of that pedal. Now again, as we did before. If you'd like to have a little bit more color, a little bit more pigment around the perimeter, you can move this this pigment around while it's wet and provide a little bit more depth of color. That way, these are leave our pedals that are going to be behind the others. So it's OK with me that they're very light and in fact, I'm pulling some of that pigment away. Well, perhaps make one very side view here and have it connect there, so this one could be a just a little touch darker because I'm seeing the side and again I'm using my black velvet silver. This is a size six if you're not comfortable and would like to go a little bit smaller. You, of course, may do that. But I would caution you and encourage you to use the biggest brush that you feel you can. When we start to get a little bit too small and tight in our work, it loses some of the oh, some of the fun nature nature of water color. I'm going to just very lightly sketch in where a branch will go because I want to let those pedals dry and we're going to add some in front of them. And I need to give that time to happen. So if I have other pedals in front of them, the center of the flower will be about here. So I'm just going to kind of mock in a little bit of a branch. And perhaps it comes this way and kind of bends around. You can use the burnt Sienna combination, add in some of the the green, the undersea green here, and maybe there's another little flower bud that kind of sticks off here. I like the combination of the green and brown. It looks very interesting and it blends really well. So a tree branch of course is not perfect. There are not Senate. It doesn't have to be and exactly straight line and especially the magnolia trees. They're a little bit knobby. They have some texture. So while that's drying, will go back to our Kodachrome magenta to that light wash. And I want to add in just a few. You know, this is a little bud that's just starting to open just a little indication of color. Okay? And while that is still drying because this takes just a few minutes, I'm going to keep going and add in. Maybe a little leave just a tiny little indication of a leaf in places. And for that I'm using the undersea green. You can use a light or medium wash, and it's just a simple leave shape wherever you might want to add in just a little bit of variation in color. If that branch isn't dark enough for you and I again, like a little bit of contrast, can add a little bit more color in places and make that really pop. That kind of adds to the variation, too, so it doesn't look like a single painted in line. I can check the back of that with my hand. If it feels very cool, it's still wet and you don't want to paint over it. So now I want to have some stronger color in front. I want that really light color in the back, so I'm picking up a little bit of a heavier wash. It's still a wash. You can see the water is still moving, but I kind of feel my brush. And if you turn it, then you can get that really nice sharp point, and I want to add in the front pedals are perhaps around the same size. Maybe this one over here is open a little bit more, and we'll start here, and I'm going to cover that up as it comes to the branch. Pick up a little bit more paint. I want that to be really bright again. As the paint is wet, it will move. So if you want to push it a little bit to the perimeter so that you have some transparency in the center there, that's fine. And maybe this one is a little bit lower so that we can see those in the back at some visual interest. That way and the beauty of the magnolia petals are It's basically a leaf shape, and this color is just gorgeous. Eso let's balance and have another one sort of over here. That kind of opens up and it really provides some contrast to those in the back and to sort of offset that because it looks like this is a little bit too heavy over here. Maybe will have another that floats off this way or another in the center here, Um, you kind of want to think about the design, has your working or maybe, you know, balance over here, what's lightened this one up? Just a tad, because they all look very similar. So I'm lifting some of that color with a damp brush and that will provide some interest to . So if you ever get stuck and everything looks too much the same, that's one option, and I want to add in some more color down here at the bottom because I want that to be carried up along the edge of the pedal, and I'm gonna do the same over here. I don't want to add another pedal here because this isn't quite open yet, so I'm just adding a little bit of interest to what's already there and changing the the value of it. It's really dark at the edge here where it meets the stem. That's exactly what I want if you have it available and you would like to add a little purple or something deeper. I didn't include that in the discussion in the beginning, but you certainly could, and that will provide some variation as well. So if you just want to add in, that really makes it strong at the bottom. Just a touch. I don't want my whole magnolia blossom to turn into purple, so gonna be a little careful with that, but it adds a lot of depth down in there. So let's go back and balance this one out just a little bit. Maybe there's one peeking out over there. That kind of makes it look like it's opened just a bit and a little bit more balanced on the page. You could even add in just a tiny a little touch of color down in here and soften that just a tad. We'll do the same there. Add in some of that deep red and very quickly, you have a completed magnolia. Now, if you'd like, there is sort of a vein that runs through the pedals. You can add that, as I am here, just with a little strength of color, just stabbing that in in the center and we can soften with a damp brush. Just that edge kind of gives it a little bit more dimension. And again, no offense to target or Hallmark. I love both of those stores, but there you have an original beautiful little note card descent. 9. Magnolia Add on: one quick addendum to this card. I mentioned the quota Crotone Gold at the beginning, and that's because it's just always on my palette, and I happen to love that color, and you can use that here. I think it provides a really nice balance to the purple of the pedal and add a little bit of that now that this branch is a little dry. Had some of that to the leaves, it brightens it up just a bit and sort of where the pedal attaches to the branch. Maybe it's just nice to see that contrast. If you don't prefer that color, you can be finished with the last step. 10. Azalea: for the next card. I want to use similar colors. Of course, you can use whatever colors you prefer. I'm trying to keep a limited palette in these tutorials, but if you prefer an orange or a purple, of course, supplement those in. I have my quit Akron Oh Magenta, My quit Akron own gold and sap green, and I want to paint an azalea bud again. My neighbors. Thankfully, I have wonderful neighbors that have beautiful plants in their yards. And as I was walking the other day, I noticed an azalea bush was just getting ready to bloom in this quit acrid. Oh, magenta is just about that color, so we're going to start with that again and have blossoms and some of the buds. So for the blossoms, I want a slightly wet wash, and those flowers are so beautiful and free that I'm just kind of going to add in some organic shapes, if you will, they kind of break forth from the plant, and that's one of the things I love about them so much. They are a rich. The ones that I saw were rich, beautiful pink, so because we can always go darker I'm going to start sort of with a lighter color pink, and I'm twisting my brush and lifting, pushing down twist and lift. And if these don't look exactly like mine, yours don't look exactly like mine. There is absolutely nothing wrong with that. These flowers are so organic and free, and I think that's what adds to the beauty. So I want to have some lighter areas just for visual interest. So I'm going to lift a little bit of the pigment in some places. Now they do all meet at a center so you can tell the center of the flower is here. They all the pedals all point outward from that, but it really, truly is a very organic kind of shape to deepen the colors in places. I'm going back into my wash now, and typically the center of the flower is a bit darker because there's just a higher concentration of color. So I'm going to just dab that in and allow that to move while the water is still present on the paper and it's going to move very organically if you want to give it a path to move in with a damp brush. You can kind of pull the water or pull the pigment in that direction. Additionally, I mentioned the quit acronym Gold again. It is one of my favorites, So I'm going to add just a touch of that for some. Interesting to make this pink just a little bit more vibrant. It really doesn't take much, just adding that at the edge of where that pigment is moving, we'll give it a very organic nature all on its own. So I have a couple of blossoms there. I want to add in maybe a really. So this is going to be a branch will fill in some leaves a really strong colored bud right here. And if you'll notice I put my brush down, I push and I'm twisting and turning it and then lifting. There is a little bit of a white space in between. That's fine. Kind of gives the indication that it's starting to open. I'm going to pull that. I wanted a deeper color. I just want this edge of it to not be so strong. So I'm pulling a little bit of that pigment back out. Okay, then, to start the branch, I'm going to kind of. I sort of sketch in where my branch is with a lighter color. So the branch perhaps comes up through the middle. It connects to this bud this blossom in this blossom and then continues on. So it is a bush plant if you're not familiar with the azaleas and several of the buds will grow from each stem, so I want it. I do want to show some connection. I don't want it sort of just floating out in space, if you will. So that's some greenery I'm going to use. The quit Akron own gold mixed with some of the sap green that I noted at the beginning of the video, and just deep in that branch a little bit that provides a little bit of the harmony in the color. A swell, then to add in some leaves. The sap green is a little bit brighter, and the leaves are rounded. They do have a vein in the center, so perhaps there's one here. They're about as big as the the bud, not quite as biggest, the full flower. Some of them you want to be lighter than others. So in terms of the same with the pedals You want some variation in the value that gives some visual interest could even create one that's a little bit more yellow and smaller. Maybe if you down in here. That kind of carries the I up and these concern into some leaves up here, maybe one that kind of falls down there now is that dries. We can go back to the magenta color and deepened some. Or, if you prefer, build that connection there. And if I want that pedal in particular to stand out just a bit, you can add some more color right there. And I want a deep in the green, just a tiny bit in some places. So here's where you could add in the indication of the veins as well. I'm using the same brush through all of these tutorials. If you're more comfortable, you can move to a smaller brush. So I do have a Richeson, and this is a size zero. If you want to provide a little bit more detail, give the indication of some veins X, then that France just a bit. It really doesn't take much a little bit more contrast, and I think we're finished. Beautiful little card in less than 10 minutes 11. Peony: one of my all time favorite spring florals are peonies, springtime or otherwise? It's one of my favorite flowers, and that's perfect for the larger size card. I'm using my number six black velvet silver brush again. The colors all choose for this one are Rose Matter, New Gambo, je and sap green. A very simple combination, and I'm going to start by creating a light wash with the Rose matter. I want a slightly lighter background pedal than I do the foreground, so I'm creating a light wash and I'm going to just load the tip of it with a little bit more pigment, the tip of the brush, because I want to create sort of a crisp edge with this floral and I'm going to make to pee . And he's one sort of facing that way one over this way, and I'm going to push up for these backpedals. The pne pedal sort of has, ah, a rough edge. Not really rough, but it's It's certainly not rounded and smooth and a rinsing, and I want to pull some of that pigment out because I like that variation. The very tips of some of those pedals can have a little bit more color, but I want it to be really organic in nature. I like the the fresh, natural things that happen. That transparency is what makes the watercolor beautiful, in my opinion. So I'm just lifting up a little bit of that pigment there, and I'm going to add just a tiny touch, very light of the new gambo je just sort of along the edge. And that will sort of play into that bro's matter as it blends out while this is still wet , I just want to highlight just a little bit of the tips in the back here so that there's some uniformity because we're going to create the front pedals will be a little bit stronger in value. Okay, and then let's move on to the second flower while that one dries same thing, create a light wash, and maybe this one is just a little bit lower. And you can see I'm kind of pushing my brush up to get those jagged edges. And that's also what helps me, uh, get that stronger edge of pigment. I just happened to, like, that kind of effect, and I'm pulling some of that pigment down and back up. And then again, I'm going back in with a little bit stronger and just touching the tips just in a couple of places. Allow that to work. And I think what I like about the new Gambo je mixed in here is it just kind of warms it up just a little bit. If that's a little too strong for you, just like before. Can always go back in and sort of tickle those edges. Get that pigment moving, and then it'll blend very nicely. Same with this. That was a little bit strong right there. You can do a lot with the pigment as it's drying and create some sort of veins very faint in those backpedals, So this one is almost dry already. While it's finishing, I'm going to mix up just a bit stronger wash. So again, that's a little less water, more pigment, and I'm just kind of pushing the water into my paint to create that wash and loading mostly the tip of the brush and these pedals air going to fall across the front of the flower. So I'm going to use the same technique sort of push because I want the stronger color up towards the top, and it's okay to have a little break in those pedals. That gives us a little visual interest right there. And the PNE is sort of a ball shape kind of flower, so it's going to sort of finish here. But there's typically another pedal that or two or more that kind of coming out of the front so you can see I'm centering or grounding the flower. This is where all the pedals extend from right here, and you'll have to pay attention again. How quickly the paint dries, where you are. I wanted to just pull a little bit of that pigment away from here to have that transparency . I like to see a little touch of that there, and even here, you can pull some of that down. So I'm working rather quickly, and there's likely another pedal that will meet there. So you see how fast and easy that came together, and you can manipulate it a little bit while it's still moving. I don't want that hard, hard looking kind of edge there, and I want to pull some of that pigment out here and again while this is still just a little bit damp. The highlight Some of those edges of those pedals, the majority of the color. I want centered here in the flower. And I can add some interest again by putting in just a a little of that new gambo. Jules, let that play around just makes it look really vibrant. And for the stem, we'll use our sap green just a tiny bit to start. And I'm just going to kind of given indication right now. I don't want to complete this because I don't want that mixing too much in this flower. I just want to kind of give it a place to land. Okay, So again, while that's still wet, I can go in and play a little bit. If you don't want to. Quite that yellow, you can add a little bit more of the pink. The hard part, like usual, is not fussing too much and just letting it dance where it wants to go. So we'll do the same over here, create a wash, and I'm going to push up. The faster you go, the easier this is. Actually, I wanted to go slow enough that you could see what I was doing. But if you move quicker, the paint actually reacts a little bit better, at least for me and no two flowers or the same. Of course, so, however, these pedals end up, perhaps there's one swooping in there, and if it's trying a little too quickly, you can always re wet your brush because I want this to have some movement, and then you can always pull some more back out so that there is some variation. It's a pretty vibrant color rose matter, but it's beautiful than once. It dries as well. I didn't just touch of that. That new Cambo is just really lights it up, so I would encourage you to play with some combinations like that, find what you like in terms of those kind of combinations and add in a little touch. I often have turquoise in my paintings just because it's a favorite color, and it it really can make a difference in other colors. Popping out provides a great contrast sometimes, so I want to deepen this quickly just in a couple of places, and then we'll let it dance. I love to think of it that way. That's what is happening here on your page, creating some dancing flowers. Stop before you think you're finished, and then you can always go back and look at it later so I can, deep in this just a little bit, maybe add in a fuzzy leaf. It's wiggle that up, and then we'll add in a stun here. Same thing. I'm just kind of pushing down with my brush. When I'm creating that, I'm just wiggling and pulling it up. And if you wanted to add a little yellow, the stems or leaves for some interests can do that as well, more dark in it. In some places, I tend to like a stronger contrast of green. But if we stick to the stop green, it gives it a really nice, springy kind of feel. And I might just add just a tiny bit more of the Rose matter to deepen some of these areas . I just want a lot of contrast there, a lot of punch, just a that center point, and it will still move a little bit while it's wet. But that really makes it bold and gives you the contrast between that and the light area in the back. There you go. It's a nice fresh peonies 12. Ranunculus: the last spring floral that we're going to paint is a ridiculous. There is a beautiful golden orange color that they come in that I just find astounding and works really well with this combination. So are in ungulates, if you aren't familiar, is sort of a tightly folded kind of arose shape. Um, so we're going to use a rapping tech technique with our brushstrokes, and I'm going to use my trusty number six silver black velvet brush the Rose matter. The new GAM bows in the sap green again. So again, keeping the palate a little bit limited helps Teoh create. You can create a wide range of florals, even with just a few colors. So I'm going to create a wash of my new Gamboa is to start. Put that down to slow, and I want the first layer to be somewhat light. So it is more water, then paint, and I'm not going to make long stems, even though that's what ridiculous look like. I want just the focus centred on the the flower, so I'm going to load my brush, bring it to a point and kind of make a swirl shape. So I'm going to put my brush down and raise up and back down, and I know that's very light, but it will get darker as I work. It's sort of of thick C shape, and I want that because the center of this flower is pretty tightly wrapped. So I want to exaggerate some of that that shape. I am leaving a little bit of white in between some of my strokes and that will be exaggerated as I go is well, so if you concede e I pushed down, twist and lift. Do that again. Push down, twist my brush and lift. Now I'm doing that rather slowly going to speed up. I just wanted you to see the technique, and these strokes do kind of connect. This could also be used to create a rose. So if you feel that this ends up looking more like a rose when we're finished, that's fine as well. I'm using um, as a photo reference. A neighboring flower shop had a photo that I saw recently, and I like I love the color of the flowers. So that's what I have in my mind. And the one that I saw was open. We're going to paint a bulb or ah, bud of this flower as well right next to it. And I'm I'm keeping this a little bit wet because I'm going to add in the rose matter to sort of accentuate the folds of the flower in kind of, I know yellow is a little bit difficult to see, but this combination of color is just It's great. So if you are at this point, you might look how is it balanced? Do any just another little peddle somewhere, just a sort of rounded out. Maybe you don't want this to necessarily be a circle. Oh, but it should have, you know, obviously a flower shape. So before all of this gets to dry, I want to make a quick mixture of these two colors. You can almost already see how the rose makes that new gambo has really come alive. And I'm accentuating the inside of my strokes. I'm not putting this color everywhere. I'm just kind of adding on the interior of the flowers. So this the center side, I want the center of this flower to be darker, and then as it extends outward, I want the pedals to soften, so I'm not going to put the rose everywhere, and it's blending a little bit as it goes. If you want to accentuate that a bit, you can create a blend yourself before you put it down. And if you wanna softened just a little bit, load your brush with a little bit more of the new gambo je. I'm kind of pull that up towards the center, and as that dries, I'm going to go back into the center a little bit more and deep in the color. I wanted these outer ones to be softer, so I wanted to make sure that I applied it where it was still wet. And if you'll notice, I didn't put the Rose Matter everywhere, so some of these petals don't have any and I'm going to vary. The amount that I put down in the centre is well, and this will take some practice. It's just like in anything else. If I I was trying to describe to you how to ride a bike and I could even show you some video and give you a book, you still would have difficulty doing that the first time you get on so the best thing to do to learn to paint better with better technique is to just keep painting. You just have to keep practicing. Nobody ever likes to hear that when I say it, but it is the truth. So you can see as this color blends and works out with that new gambo je. It's really brilliant. It's such a pretty color, and it's a great combination. So if you wanted to paint a whole flower without mixture, it would be beautiful. I kind of like having the varying degrees of it. I like seeing that variation. So as you evaluate where everything is, I don't want every pedal to have the same amount, necessarily, some kind of just dotting a little bit in here there as it's drying. And if you felt that it was too heavy in any place, you could certainly lift some and then dry your brush off, especially towards the outer petals. Might prefer to have a little bit softer. Look there, okay, and I'm gonna let that continue to dry, and we'll just create a little but over here, and I'm going to use the mixture to start with, because the but is a little bit more tightly wrapped. So I went this center, you know, sort of sort of small. And then they're just kind of concentric circles. Just a few wrapped around there, and that's about it. I don't want to really overdo this. I wanted to be simple. I do want the color to be a bit stronger, because that would imply that it is the pedals air still wrapped tightly together. So I'm I did makes up both colors together, the Rose matter in the new gumbos. Just pull that around, see how simple that is. And it's just the indication we're not really doing a realistic flower, so it's fine, and this continues to blend. I love when there's a very Gatien like that, so the leaves of these flowers are not very full, so I'm just going to give a slight indication with some sap green just to kind of fill this in. You don't really want the flowers floating in space necessarily so to just kind of blend them together. I'm just going to create some really thin type leave shapes, really not much at all, but it just kind of centers at a bed Internet, please. Some here and just like before. Varying colors varying the value. And some could be very thin. Just enough and again from here. Just enough to give it a place if you wanted to. You could also just add any amount of detail. Obviously, if you want to just add a little bit more greenery, whatever feels right to you. I do like a bit of contrast. Near the pedals near the flower that kind of sets it off a little bit. So I will often go back in and deepen that color just a little. There you go. I'm gonna bring this closer so you can see the variation in that That main flower is not beautiful. Really quickly. There's our last card. 13. Thank you!: