Transcripts
1. Trailer/Intro: Hello, I'm down. I'm an artist. Business coach, entrepreneur podcast hose. You name it with my company copy and Graco on. I'm so excited that you were taking Look at this class and considering joining us in today's class, we're going to be looking at my loose style of watercolor with your floral and botanical drawings. And in my previous classes, we've gone really more into the more detailed instruction version of the ink, along with the looser watercolor. And in this class, I'm really excited to bring you a looser style of the ink, as well as two different ways that you can add loose watercolor to your Loose Inc Floral drawing and the two together create a really beautiful, dynamic piece that really dances on the page. And I'm so excited for you to be here today we'll be going over various techniques, primarily with watercolor, the wet on wet technique, also talking a little bit about looking at colors and considering how to lay the ink on the page with this really loose, free flowing watercolor style that I'll be teaching you today. We'll also be talking a little bit about Inc techniques particularly pertaining to the looser style that will be going over today will be working on two different projects together with the two different styles of loose ink and watercolor florals that I will be teaching you. One is a cowboy Poppy, and the other one is daisies. So the two together are gonna bring you two very dynamic, beautiful styles of this loose. It could watercolor, floral and during the class, so let's go ahead and get started.
2. Materials: all the materials that you will need for this class. You will need some paper. I'm using Kansans, Bristol paper for this class. You can also use a watercolor paper if you choose. I like to use the Bristol paper because it's very smooth for the ink part of the drawing. And yet it's dense enough to take in some of the water for this. The watercolor that will be using for the class. If you decide to do a much denser watercolor version, you may want to use, um, watercolor paper and just kind of experiment between the hot press and cold pressed and see what she prefer with your ink. Although both would lend itself pretty well to this Loose Inc style that will be using in this class. You're going to need a pencil, a good eraser. Find liner pen. I'm using the 005 pigna micron pen for this class. Um, for the really loose style, I would not recommend going above 01 size. Um, you could go all the way down to I'd say probably 003 but I really like the 005 personally . It's my favorite. Um, whichever pen you use. Make sure you are selecting when that has, um, archival Internet. You're also going to need a paintbrush. This is a no name generic, very cheap paintbrush. And for some reason, it's my absolute favorite. It's just a large round brush. Um, I The round brush works just really well for this style, and you definitely want a large enough one. Um, I don't even know what size it is. Maybe a 10 or 12 to pick up enough ink and, um er pigment and water on your your brush for this style. Then, of course, you are also going to need some paints. This is just a Windsor new paint palette that I have, Um, And if you want to follow along exactly with the kind of colors that I am using in this, um, the yellows I'm creating using these three, I don't know the names of all of them specifically on. And then I'm also adding a lot of Payne's gray, also by Windsor and Newton, which I just have it ah to before. And then I just add a little bit to my palette and then create all the colors based on Payne's gray, a little bit of greens and the yellows and okra for this class, and sometimes I'll add in a little bit of blue, and then the first you just gonna need some water to wash off your paintbrush. And then I always recommend having piece of toilet paper tissue or, um, a rag or a paper towel or something. Teoh. Clean your brush off, double the excess water. That's all we'll be needing for this class.
3. Daisies: Step 1 - Pencil: so the first hour we're going to be drawing is quite simple. It's just a daisy flower, and it's one of the more simple flowers that you can draw and still practice this element of adding that loose feeling to your page to give it that movement and dynamic and sort of a dancing feeling that you're looking for with the daisy. You could be very straightforward about it. And my sheeting, one of one class. It was just a very straightforward daisy, Um, in black and white just on its own, a singular form. And in this class we're gonna be practicing a looser version of our Inc as well as our watercolor. So what I want you to think about is, how do you want this to dance on the page? It's not just one linear daisy that's growing, though. They do, of course, grow that way. But we're going to be creating movement and dynamic, so because it's a white flower, I'm gonna come in with very light pencil and give myself a general outline based on our reference photo. Whichever daisies I picked out of this reference photo, I want to give myself very loose outline um, very light aware. I'm going to have my daisies on the page. This will allow us to come in with a watercolor before we add any ink and work around where we want our daisy petals and leaves to be so Oh, it's just on a very light outline of the daisy. And I'm just gonna do a singular line of where I want it stem to be these daisies that I have selected for this class, that this reference photo, the center part, is very, very dominant on these flowers. You know, a lot of daisies, they'll have the pedals wrapping up around the center and in this one, they're folding down around it, it really exposing that center parts. You're gonna get beautiful, beautiful splashes of yellow. If you feel like adding those in, of course, it's completely up to you whether you want to at the Met or not. You know, I'm making sure that my stems are very curved. Everything is feeling loose and light as I come in. Anything, I'm gonna just have one more smaller daisy bending over here. The thing with most of the of this style of drawing is it's pretty easy to come in later and add a flower if you want Teoh here and there. Especially if you were to use my modern watercolor, um, class style that I did with the cosmos in my modern florals class. But with this one because of the nature of the white flour, Um, you really need to make sure that you have your flowers drawn before you come in with your water color. So I decided to add one more little one coming off of this stuff. Here you go. Make this one your more traditional daisy with the petals coming up around a center part so that what we'll see is just a little peek of yellow coming out. I'm doing very, very rough sketch of my flower. Um, I'm not doing any strong details. The center part is just a dome that I've drawn with my pencil, and I've just given myself an idea of where I want my pedals to full
4. Daisies: Step 2 - Watercolor: all right, so now we are going to come in. I'm going to be using a gray that I've created a little bit from Payne's gray from Windsor and Newton. And then I will also be adding a little bit of yellow on a little bit of a brighter blue to it because I want to create, um, kind of a bluish green gray to go with us. And I'm going to do it in different, greedy INTs because I know that the leaves are, of course, green in the rial Daisy. I'm going to come in and have a sort of greener Hugh down around where my my leaves are going to be. And then around the flowers, it's gonna be a yellow, more yellowy grey. And then I will be adding yellow directly to the center parts of my, um for Daisy's. So keep that in mind as you're painting. Where are you wanting to add splashes of, um, solid, brighter color, if any. And, of course, the background that you select for this looser watercolor could be anything that you want. You could do any color combination that you want to, and in fact, I encourage you to experiment. The colors that I'm choosing are simply because there the colors that I want to choose their not I needed. You know, you could do any colors that you want to. So I have saturated my watercolor brush with water and with some of the pigment that I've created. And I'm just going to come in. And I'm doing a wet on dry technique with very light watercolor to give myself an idea of where I want the greener version greener parts of us to come in. Then I'll usually come in with some water on my brush, which I haven't completely washed off. So if they're still pigment on there, I'm coming in with a wetter brush now and doing a pseudo wet on dry wet on wet technique because I have very little pigment, and I intend to come in with a darker pigment over that. But because I added more water to it, it gives it that almost wet on wet technique. But on top of the wet on dry that I had already done and what you're looking for when you're creating, um, this piece is how do you want your water to flow What kind of shape do you want to create around these flowers To make it look like they're dancing? As you come up towards where the actual daisies are, you're gonna be much more careful going in between the different petals of the flower that you've lightly sketched in there with your pencil, Which is why we did the pencil sketch first because you don't want to be watercolor to go overdone. Now I'm going in between all of mom my pedals on these flowers as I come in with my darker grey because I really want them to be able to pop and stand out. You don't need every single pedal to be surrounded by water color for them to stand out. However, um, you do want quite a few of them to me so that they really pop on the page and you're really showing where the water color is going. And so, in this instance, we're doing more of a wet on wet technique because I came in with the wet water, Um, before I added any of the darker green pigment to my page. Even though my pigment was slightly, um, pigmented. Summary water was lightly pigmented when I came with it, and where you put your water and your watercolor is completely up to you. It depends on how dense you want your page to be, what kind of a flow you're looking for. Um, it's just so unique to each individual artists. So I'm going to show you this style that I prefer. And then you can, of course, take it from here. Experiment with different colors with different looks. You can do much more dense. Look all the way around. It does not have to be as sparse as I like to make mine. We'll look at a different technique with a different flower, where it's much more dense around the flower. And we'll also look a technique that's more similar into my ink and watercolor modern florals class as well, just with slight variation to give it a looser feel to it. So at the moment I'm liking the feel of this. What I want is to have somewhere he'd been coming up on the top side of this as well, knowing that I am gonna add some yellow in there, too, so I don't want to completely drenched the area around the top of where my flowers going to be, because I know I'm going to be on in yellow to represent the center of the the disease. Just making sure your brush is really saturated with water as well. Assume pavement on there. Your brush isn't saturated. It's not gonna with water. It's not going to flow quite a swell as you're adding it to the page, which will just give it a different look. Um, may not be exactly what you're wanting just really depends. And I got encouraging to experiment. Um, because you can see this was more of a wet on dry as my brush had drying out, and it just gives it less of it of flowing feel to it. And I like to have a combination. I do like that since that feeling as well, where it seems to flow a little bit less and have little more structure in its flow. But I also like where you just don't have any control or predictability around, um, what the dry ink is going to look like or you have less control because it's that wet on wet technique. It just pulls the watercolor onto the page. All right, so I think I'm good with my green and grace that I've added to this. And now I'm just gonna come in cleaning my brush off really well before I come in. Um and I'm gonna grab some of the yellow that I want for the centerpiece at the combine a golden yellow with more oven Okkert color just to give it okay. I don't know if that's how you pronounce it. I'm just sick of it. More of a rich tone to it. I'm just coming in. I'm gonna answer yellows, be less yellow over here because of the petals coming up. And I really want them to combine with the great is the while my yellows air still wet. I'm gonna come in with a little bit of ah gray and try to blend that in. And the nice thing is that then this yellow tone of blends in with the gray takes on a similar tone to the greens below. Because, of course, this Payne's gray has a lot of blue in it. And I had also added some blue to it do. Then you end up with that almost greenish tinge that similar to below where you still get that pop of yellow, But you're meeting it down to match the rest of the drawing. All right, so we're not going to let this dry completely before we have come in and add anything to it . And at this point kind of gives you that sense of where you're different flowers are going to be. I left a couple places slightly open for the pedals and the pedals down here on the bottom , ardently white. A long distance down here. All right, let's let it dry, and then we'll come back for our next.
5. Daisies: Step 3 - Ink: All right, So now our watercolor has dried on the page and we can come in with our Inc fine liner pens and start coloring in the daisy. Now, I'm wanting to practise a much looser Inc technique on this painting, given the incredible loose structure that we've created with our watercolor on the page already. And, um, where with a lot of thank fine line drawings, we would be having a very consistent line on the page, you know, using that flick technique that I've taught in my shaving one of one class, but a pretty consistent pressure on the page with our pen so that you get a pretty consistent line around where are flower petals and leaves and everything would be. And this one we're going to be really, really loose with our pen because we're going to get that very loose Inc feeling to match this loose watercolor feeling that we have on the page. Some of that will be, you know how loose your wrist iss, how loose you are holding your pen. You know, if you're really gripping, take me in your kind of white knuckling your pen. You're obviously not gonna get a very loose feel to it. You want to make sure your wrist and the way you're holding your pen is very loose. And along with that is as we're putting ink onto the page, we're not going to be doing one strong, consistent pressure on the paint. We're gonna be very loose with it, almost as though we are sketching with a pencil, which I think, um, you know, at least as I as I came in and sketched in where I wanted my flowers to be. It was a very just loose kind of, you know, skipped parts on the page where there is no graphite that was left on there. But it gives the sense of the direction of everything that's going, and we're gonna try to do a consistent are similar thing with our ink pen as well to give that loose Inc and loose watercolor feel to it. So we still have a rest reference photo in front of us so that we could see the general shape of the center of the daisy. Um, which, if you're depicting an eq, um, you know, in a very, um, more abstract way, they're just little circles and you know, almost, you know, a bit of a square, um, feeling to them in the center, just building up on each other. So I have the general shape already outlined with my pencil, which I could still see under my watercolor. And I'm just gonna come in and just very loose here. And I'm just going to do little circles or little sees building on each other, and you could make them as big or as little as you want to. You could make it as realistic as you want, Teoh. I'm just drawing the bottom where you want that to be. Now, if there's a place that you want it to be darker in the center or lighter in the center, just make the lines more dense or more Spartz, depending on the want that dark or that light in there, you can also, within each individual little circle or half circle that you've created, you can go in and add shading with in each one to, um, you know, if you want to make excuse me the right side of all of them a little bit darker, you can come in and just add a little half circle flick in there on the right hand side. If you're wanting Teoh, make each one a little have a little bit more adept to it. All right, So pretty happy with the way that looks. I want to keep a lot of white or what would be white if there was no pigment behind it on the page so that the yellow that is there is shining through. I don't want to completely color about in with my ink and cover up the yellow that we had intentionally placed there. So I'm leaving a lot of open spaces there. Then I'm gonna come in and again. This is just very, very loose for the pedals, Almost like a sketch. Sometimes it feels like you're barely even touching the page, if at all. And you're just getting that really nice, wonderful loose sense of where the pedals go without feeling like everything is really heavy in there, just a slightly different technique than with anything that you have seen in my other classes. I find that this just creates such a beautiful sense of movement in the page and really draws the i n in a way that is just a little bit different than you would find with the different types of our with the more strict, consistent lines on the page. And, you know, there is a time and place for every style of ink and watercolor, I think. And, um, this is just one more way that you can experiment with your watercolor and combinations. I'm just coming in with that flick shading technique. Just add a little bit of sense of those minds that you will see a daisy. But I don't want to color across the whole pedal because it is white and I am trying very intentionally keep that weight after anyone. If there's anywhere where you're not quite sure that you're buying is strong enough to show the difference between where the pedals, um, separate and where they're different from each other. Just come in and just dio a slightly darker lying there. Now there's this part down here where the pedal is completely covered by Inc our by the water color pigment on. There is a part over here that is just begging for a pedal that I haven't drawn in pencil. So I'm gonna come over and go ahead and add this, and you can either believe it like this where you have the majority of your pedals completely free of watercolor. Just a few little places that are covered with the water color pigment. Or I'm also gonna show you a technique later that I've been using lately using procreate on my iPod. After I've scanned this painting in, I can come in and erase this part in here. Um, if I want to get rid of the water color pigment in there as well, so we can look at that, too, If you're wanting to add pedals where you didn't think that you would have any after you had already added the water color. In there you can occurs also years, things like, um, Photoshopped to achieve the same, uh, the same results. But I I'm procreate just so easy to use, um, and it's just feels so much like you're drawing anyway, on the iPad, that that's just tends to be what I use for it. All right, so I'm gonna be very sparse in my drawing of my pedals as well. Just keeping with that consistency of, um, that loose watercolor where you're getting the sense of the shape and movement, just leaving so much to the imagination as well, which, like I said, just really draws you in in a different way than he would find with the other in techniques that they taught in different classes. It was just something I've really been enjoying with that looseness. Just how much movement ads and how much it draws you into the page. - All right, so using the same style, I'm just gonna go ahead and do the final three daisies at this page and you can follow along on your own page as well. Now that we've got over the general structure using our first days and way, we're done. With the exception of this, I just wanted to talk about a couple of things. One, um, I did enough adding a couple of pedals and dragging them down farther than I had initially anticipated When I added the ink in there, which I'm completely fine with. I kind of like the look that's happening with these. But like I said, you can always come back in using procreate or Photoshopped or Adobe Illustrator or something like that, and come in and add it in there and remove these bits of ink, and I will show you in our bonus video just quickly how I do that, so that you can then have that. You can also remove parts that you may have added in ink, and you may not like later. It's really pretty simple and straightforward, and it's a really easy and fun way to go in and change things up once they're already permanently on the page in a way that you obviously can't erase, since we can't erase ink. So, um, and I just saw a couple things appear to add and change a little bit because it look confusing. Soc! I had added, um, a little long over here that I had in my head was a pedal in the back, but just looking at it did not look very good. So just added a little bit more ink in there, and now it just looks like it's part of the center. I'm all about changing things to fit your needs when you're drawing and adding doing that sort of loose style. Really letters to that very well. When's Benegas dry? I'm just going to come in with a good eraser and I'm going to erase the pencil parts that I can see. Um I don't see any that are under the paint specifically because either I've drawn over it with ink or the pigment from the paint has gone over it. So I'm just going to erase the parts that I see in the white areas. And then after that, um, we can either call this done or we can add some watercolors, flashes to it. Um, that's really up to you. I said watercolor squashes. I'm talking about these little splashes that I create that I go over, um, in one of my other classes that you essentially just saturate your brush with water and water color pigment and you just flat on top of the page. I like to tap using a large round brush. Just tapping over the page on git creates these really fun spotter this really fun splatter effect. But just to give you an idea of what something like this might look like with the watercolor slashes as well, this was my practice drawing for this class, and I added the watercolor splashes and there But in this one, I really like this. This feeling, um, that we've created already, and I'm not gonna add this flashes to this page specifically, and the ones that have it all erased. I am going to either call it done or all going to prove Orel scan it and to procreate and, um, fix it up here and there. If I decide that that is something that I wanted to do for this painting, but I'm liking way.
6. Poppy: Step 1: Ink Outline: all right. So I wanted to go over a second loose ink and watercolor technique that you can use when creating your modern watercolor florals. So in our last lesson, if you will recall, we did our daisies. Where are white? Flowers were surrounded by a background of loose watercolor leaving the whites of the flowers essentially pigment free. Besides a few places where the watercolor is overlapping, which you can always remove in something appropriate in this context or in this lesson, we're going you also had a very loose way of creating, um, the inclines with the loose wrist and loose grip of your hand and the way the pressure on the page was so light that sometimes it almost didn't even touch the page if it touched the page at all, giving it that very, um, most like a folky feel to it, Um, that pulls you in to all the different dynamic loose nous that you see on the page. For this one. We're gonna be drawing Cowboy Poppy, which is another white flour, as you can see in our reference photo here, and we're going to be doing a more traditional Inc lines line. We're gonna be doing more traditional inclined drawing with that consistent pressure on the page for the outlines and just doing very spark shading on the inside. On day we will be adding that were detailed center to this piece. However, the looseness in this piece is going to come from two different components. One is the shape of the lines that you created. Of course, the cowboy Poppy lends itself so well to this because of the way the pedals are there so frilly and light and have so many different curves and, um, ways that they folded into themselves. And it's just a really beautiful flower that just really a ZAY said lends itself well to this. I have already gone ahead and for the most part, drawn, um, the outlines for this Poppy already so that I can just show you what I mean in terms of that movement and the dancing the way they fold in on itself. So you're gonna get that loose feeling with the way um, the flower is presented itself. And then we will be adding very loose watercolor within the structure, Um uh, and within the confines of the lines so you'll see that this loose watercolor doesn't just have to be splattered across the whole page. It can also be confined within your flower as well. And I think white ones or swiped flowers are so fun to paint in this style because you're obviously not going to be needing a lot of water color pigment in here anyway. But it just had so much more movement and dynamic feeling to them. And, um, I loved at Gray's yellowy grades to my white flowers to just add in a little bit of depth and movement and then idea where the shot was Mind fall on the cowboy Poppy, because of its bright yellow center, is just so perfect for doing this. So I'm gonna go ahead and draw with my ink over the pencil lines that I had already drawn. And at this point, you can, you know, pause the video, take a look at the reference photo and create your cowboy poppy pencil outline, and then go ahead and add your ink lines around the outline, and then we'll meet up again as we, um before we start shaving in the poppy. All right. So I have drawn in the majority of the outline of my cowboy poppy. So far, I've done all of the pedals on. And then I did most of the stomachs. Well, I lost a couple of blank spaces here where I have my leaves generally shaped out. But I didn't want to draw the leaves until, um, I I had a better sense of what was happening with the poppy. So and I also left the center of the poppy blank whenever I do my pencil sketch. If it's a very complex center, I will rarely drawing drawing in pencil because it just kind of gets smudged and you don't end up seeing it anyway. And it's just twice as much work for for nothing, really. So, um, there a couple of things I wanted to point out? One is all of my lines that I have created are very consistent, Um, pressure when I was drawing with the ink. So you're still getting tons of movement in the shape of the pedals, but you're getting a very consistent pressure with the pen, um, which just, you know, as a different sense to the page. Um, and then a couple of things is, you know, I said, we'll come back and shake together. But then I do have a few shaving spots here, and I wanted to point them out, because if I'm doing a flower that is a little bit more complex in terms of where things are folding in on themselves, when I'm at that spot of the flower can visualize it so well how I'm wanting to depict it. But if I walk away and I come back later, sometimes I can't quite that that Jigsaw back together in my head in, you know, so to speak. Um, and I'm not sure where I was anticipating the shadows to be or anything like that. Was that supposed to be folding over under? Or is it light filled or a shadow filled eso? If I get to somewhere where it's a little bit smaller space where it could kind of go either way, whether it's going to be out where light will hit it, we're in where shadow will be. I'll just go ahead and add a little bit of shading in there as I'm drawing before you come back in and add all of my real shadow lines just because I want to make sure that I'm staying true to my initial intention on. And that's just a really great way to do it for me. Okay, So the other thing is, um because the flower itself has so much movement to it. Um, I want this to be the center focus of my flower. And to do that, not only will I have the pigment in here, of course, and this is where 99% of the details of this image we're creating are going to lie. Most of the details will be within the flower itself. Because of that, I am going to do the pedals in the same format that I did. The daisies with very loose light touch of the ink on the page, very sparse details, if any. You can see where the you could see where the leaves are in this painting. But there isn't any shading within them. It's just more the idea of, um so I'm going to do a similar thing here because I'm gonna have no paid down here, but I want to give it a little bit of movement on bond and feeling of that same similar dynamic, loose sense that we're gonna get in are finished. Poppy, up here now, if you want to, you can, of course, come in and add watercolor down here. And I can show you how to do that as well. But I'm gonna show you. I guess I'll show you what it would look like without any water color pigment down here and then what it would look like with someone down there as well. And then you can kind of pick and choose what you want. So I am creating very, you know, they're very pokey little plants, cowboy poppies. I love them because they're so beautiful and soft. And then they have these thorns and prickles just all over them. Very desert plant. Okay. All right. So in the next section of this class, we will go over shading of the leaves and will also start looking at adding the intricate center to this cowboy poppy.
7. Poppy: Step 2 - Shading: No way, man. And at the center part of this poppy, everything stands out from the middle, and it's the center is almost online, with a little circle at the top is what the middle of this farmer looks like. If you zoom into it, I just have a little statement, but in the center as well. Um, which on my experiment practice drawing for this class. And he drew it in there. And, um, because of the density of the ink, it didn't really stand out that much. So I'm gonna go ahead and leave it out of this one. But if you want to add it in your more than welcome to Well, as I mentioned a couple times, you know, I did some practice drawings before I did this clash. And when I did those ones, um, it's kind of, you know, you got to experiment with different ways of drawing, um, center, different ways of painting in the water color. You know what style you want to use for each section so you can really mix and match and experiment? My, uh, you know, practice wrongs were very similar to these, but they have a very different feel to them. You know, I showed you in the last one when I was talking about, but this was my practice. And then this was the one who ended up created creating in the class. So it's very different feel, but the same techniques. When I did the center part on my practice flower, I just did a line in the circle at the end. And then this one, I've decided to add a little bit more structure to the stem part of these middle bits and that I was like, this center to be a little bit darker. So I'm just coming in and tapping doing some stippling right in the middle. Um, to just add a little bit more depth in there before we're going to come in and add any water color. You know, you would have the shadow of these center hurts. You know, you would have the shadow of the centre parts in there. Um anyway, creating that death and shadows from the pedals. Um, so just coming in and adding little bit of stippling just to give the I sense any idea of that, then we're gonna go ahead and start adding in our shading just using a flicking technique, making sure I'm thinking about red. The light and the dark might fall in the direction of the pedal itself as well. If you're wanting, um, more detailed instructions on how to shade using ink, please take a look at my shading. Wanna one class because that goes into full depth into every technique and things that you may want to consider while you're shaving in with your ankle highlighter pen. Of course, the biggest components you want to consider are the direction that your Panelists falling because that's the direction that you want your lines to go where your light sources. Where is that light coming from? Where is your shadow going to fall? And then, as I mentioned in my shaving other one class you with the line drawing, you want to make sure that you're coming down from all these little crevices or knocks where it kind of comes down to a notch to give that sense of movement and dynamic feeling and flow to your Johnny as well. Essentially, with this loose style of shading with an ink fine liner pen, you're just accentuating the movement that's already there. Um, you know, there are techniques where you are coming into thinking you're really creating the shadows and the movement with your shading on. That's not really what this style is about. The style is more about, um, having very sparse shading lines to accentuate the movement and tell your viewer what direction you're a flower and your paddles air movement moving, especially with a more complex flower that's folding in and having all kinds of bends and twists and turns to it, Where you as the artist may not even know necessarily what direction your flower is folding and turning, you want to make sure that you are giving your viewer that information. Otherwise, um, they aren't sure what they're looking at, and you want to make sure that you can tell them this is the direction the pedal is going. And when you're using such minimal lines in such a minimal, um, shading within that you just really want to make sure you're getting the direction of your shadows right. - I will add more lines if it's a place that's very obviously going to be in a lot of shadow. - If you're unsure of the direction that you were mine should go. I would just recommend that you come in without even touching the page. You can even put the cap on your pen and start at the center and just find the path that you need to take to get to the top A packs of your your puddle. So if you're starting here, how do I get to the middle center or the tallest point of my pedal? Um, that also goes with the outer curve of of the pedal. Because, sure, you could do a straight line right up there, but then that wouldn't show the curve of the pedal. So how do I get from here to here following, um, the most dominant outer line that is nearby? Essentially, uh, you know, just following along those lines, how do I get from here outwards? And then you can kind of give yourself a sense of where you're supposed to put your lines are where they should fall. And as with everything in our it all takes practice, you know your style will change your I will develop. Uh, mine is absolutely still developing. And every time I sit down to draw something, it's just practice creating those shadow lines and where I want something how I want it to look. All right, So the puppy thing California Poppy has, as I mentioned earlier, a lot of pickles on it. So I'm gonna come down to the system, and I'm just gonna do little half circles where we want the prickles to come out of the thorns that are coming out of this flowers. And I don't just dio, um, flick line off of that very strong pressure so that you're getting a good strong. You know, this part of the flower is not soft and loose. This part of the flower is very dominant. If you, you know, take a look at the reference photo or if you see them in person. Um, it's quite a contrast to the soft pedal that they have, all right. And because of that, the only shaving I'm really adding to my stem is red at the top, where it's very much in the shadow from the pedal. All right, so now I am going to let me eat dry completely, and I will go ahead and erase any of my pencil guidelines, and then we'll come back in in the next section and I'll show you how to create that loose watercolor within the confines of your flower.
8. Poppy: Step 3 - Watercolor: Now it's time to add our lovely loose watercolor and this we're definitely going to be doing, um, wet on wet technique because I wanted to stay within the confines of the lines of the anger we have created and doing what on what is going to help me get that. So I just have a wet paintbrush with just saturated in water only and then just coming in with some yellow, just dropping that yellow pigment into my painting right into the water. They're gonna come in with, uh, poker color, a little bit of death. Now, one thing I want to be sure of is to keep that middle part from his densest possible, because I want to make sure that my watercolor is not going over. Um, the black bits, the dots that we had created with their sibling in the center. So this point added three different yellows, um, to my center, I'll just coming in away from the very middle. Now comes the fun part, and I'm going to do it. Gonna add some water to my paintbrush and just come in where I think I'm going about my graze to be and I'm not gonna wait. Um, necessarily until my, um I'm not gonna wait until my yellow has dried because I don't mind if that gets pulled into it, because I'm creating a kind of brownish, grayish yellow anyway, So I'm mixing my Payne's gray a tiny bit of Payne's grave from Windsor and Newton with a little bit of yellow, a little bit of poker, and then you just have to experiment from there. It really depends on what you're looking for. But I always like to create a grave that has a lot of the colors that are in the drama in the painting. Already we just come in very, very light. It is a white flower, so we definitely don't want to forget that this is a white flower. Um, you know, we're not wanting to fill it in completely, but we want to give that sense of shadow and movement within the flower and great meeting do that is with this grayish color. And then I'm just gonna come commit a dab it wherever I think, Um, a shadow might be paintbrushes still quite wet, and then I'm gonna rinse it off. And with a wet paintbrush, I'm gonna come in on, loosen up the lines that I've created And then just, um you know, any extra pigment, I'm just gonna dab onto my It is tissue that I haven't, man, But I want the grays to have a little less of that, um, strong outline that could come as the pigment dries. And I also want to make sure that I'm not putting really dark, dark color on the page. Now, if you're pigment goes outside of your lines, you can come in with a clean brush and either just pulled up, picking up where you can dab with a, uh Q tip with the clean part of toilet paper, paper travel or whatever you're using. And I think I may actually combined with just pretty dense grey and just add a little bit. Agree to that center as well, home just straight. Payne's gray at this point, because I want to make sure it's pretty dense compared to the other Grace and that will get pulled out of it since it's still wet in the middle. I just want to really had that, all right, so that's what it would look like if you just added the water color to flower if you're also wanting to add a little bit of loose watercolor to the stem and leads me to do that as well. So I'm just coming a little bit of water. We'll be very sparse down here is well, the green that I'm gonna use for this is one that I just kind of constantly have mixed on my palette. Um, it has a combination of three or four different greens, yellows, greys, um, blues kind of varies now and then on what's in it. If I need to add a little bit more yellow to it, I'll do that are, um, just depending on what I'm painting. But it's just this combination that I kind of created. I honestly have no idea workers into it, but I like the color that comes out, Tom, and it's I can change it, depending on what flower and drying at any given time. So experiment, you know, play with the colors that you have in your paints that play with the different pigments. If you don't already. The best way to get a good understanding of how colors mix is by mixing and experimenting and seeing what happens. All right. So I like that the way it is. Um, my green has gone outside of my stand a little bit, and I can decide either to embrace that. Try to get rid of it, or I can come back in later, um, and clean it up a bit more appropriate. So I think I'll just leave it for now. It doesn't bother me too much just because of the loose style of this. And there you have it. That is the second way that we can create a loose watercolor and pink floral. Um, that is very similar, Eddie out different, Teoh. The one that we created initially. They're both white flowers, but they're very different results.
9. Editing in Procreate: all right. So I wanted to show you how I quickly come in and edit my drawings and procreate. I begin by scanning it on my scanner into my computer, And if you have a scanner, you want to make sure that you scan it at least 300 d p I. And if your scanner is capable of doing more than I highly recommend you do more, that's just gonna be the, um we'll give you the quality that you want in a product for you to print it onto any sort of product or anything like that. So I we had talked about going in and looking at this one and kind of cleaning up in amongst the pedals, but I kind of like the way it looks. So I'm gonna go ahead and leave this one, and I'm gonna show you how I'm going to come in and clean up where I have some smudges here , um, and show you really quick and easy way to edit your product. Once you have finished any, scanned it into your computer. So go ahead on your iPad. You want to open up procreate. This is after I use you can certainly use something like it will be illustrator or Photoshopped to also edit your stuff. But I just find that this is just so easy to use and it's almost like drawing so on your main screen of procreate. If you're gonna go up to the plus button over here and open up a new canvas, we're just gonna select a four for this. And then over here there's a wrench. And if you click on that one and hit the add button, you can insert a photo. So I scanned the photo onto my computer, and then you can either airdrop it to your iPad or, um, just select. You know, however, if you say that into your images or however you like to do it, two hits in sort of photo, and then you can select the photo that you wanted insert, and that just goes ahead and puts it right into your canvas. Um, over here we have the layers on our, um, appropriate super great puts everything in layers. So if, for example, you wanted to draw on top of this, so say I wanted to come in and I thought, you know why it's not dark enough in the center for me. You can hit the little plus button and add a layer. And then anything that you draw onto this flower on this layer, um, is not on the original image. So let me give you an example. So Sam were to come in. We have a fine tip pen, and I'm going to use just black here. And I wanted to, and I made sure that I was in this blank layer or not the layer that has my image in it. Then I could just come in and start putting some stippling in whenever I wanted. I'm just a kind of dark and not up a little bit more. And then if I didn't like it, I couldn't remove it just by uncheck ing that, um, box. You may not be able to see that quite as well. Um, but just to be more dramatic saying, wanting to dio funny little spikes coming out of my flower if I decided I didn't like that , I could either erase it or if I don't want that layer at all, I could just get rid of the layer altogether. Um, and if you want to undo something. You just use your two fingers too tap on the screen, and then one does everything. So if we go back to the layer that we imported that has our image on it, we can go to our A racer up here, and you can select which ever type of eraser you want to. You can get some really cool effects by using different types of erasures in here, but I don't tend to use the script because I find it is very clean. And then I'm just gonna use two fingers to zoom in, um here, and we'll come down here because it gives a few examples that we can use here. So I can then come in. I can change the size of the race of brush that I want. And then I could just come and draw over little spots on the page that had maybe, you know, best from my scanner or just on the page themselves. And then I can come in and clean up these lines really easily and really cleanly, and you can get in as tight as you need to in here so that you get really, really really specific and clean lines. Um, depending on what project you're working on. So if I have a project where I need to have really clean lines without any overlap, I will come in and do this and procreate. Um, it can actually be really kind of mind lesson sort of soothing. Um, if you're listening to music or something like that watching a show, what you're doing, it kind of oddly enjoy it. Um, just clean up phase, and it's just so easy to dio, um, and just it feels very natural. So anyway, you go through and clean up wherever you want to, um and just got that really clean line that you need to, um And if you need to do something again, you just double top your finger feel went over somewhere. Another thing I really like to dio and another way to kind of clean up the page is safe. For example, here, my, uh, looks like my hand shook a little bit while I was drawing so I can come in and a race that live. And then, um, come up to your brush library here, and you can select any brush that you want to. So I could use this fine tip. Um, and select the size that I want, and I will if you want toe pick a color that matches with what you have on the canvas already. Um, are INC was black coming out of the microphone pen, however, sometimes gonna get scanned in. It has a slightly different shade of black than just straight black. So I'll just come in. And if you pick a spot and you hold your finger down on the color that you want, it automatically populates that color up here for you and then you can come in and redraw that line big you committed redraw that line, which is something that you would not have been able to dio. Um, just using, you know, straight income paper. And so then when you come away, you can't tell that that was the digital version of it. Um, it looks like it blends in perfectly with everything else. And then once you get this cleaned up on your however wherever you want it, Teoh, um, you can expert that in whichever format you want, you can do other things with it. In Adobe Illustrator Procreate or anything like anything like that are not appropriate, Um, photo shop or anything like that. And if you want Teoh on your layer, you can also come into adjustments and go down to hue, saturation and brightness. You can have a lot of fun even either increase the saturation or decrease it. If you want to, you can change the brightness. Um, and if you really want to, you can also change the color. So if you decide that you want to do something a little bit different, you can always adjust it kind of like those purple flowers. You can always adjust it in here, um, to your liking. And then if you don't want to do any of that, you can just click reset, and it brings you right back to the color you were at initially. When you're ready to export, you just go to the wrench and hit share, and then you can share the image in whichever file format that you want. Teoh. You can also share the layers, which is a new feature, that appropriate test. And that is how I quickly at it my drawings before I send them off to um whomever I am making the drawings for and have a really clean digital file of it, um, kind of takes away that stress if you're not needing to use the originals. Kind of takes away that stress of, um, you know, keeping everything perfect. And, oh, you made a mistake and now it's totally terrifying and you have to start all over anything like that. So I really enjoy doing it this way, and it's just really quick and easy, and hopefully you guys will have a lot of fun, DRI.
10. Conclusion: way to end how exciting it is my favorite part to make it to the end video. I just wanted to say thank you so much for joining me a class today. And now you have two beautiful loose floral and styles that you can take with you and apply it to you whatever your subject is. And I'm so excited to see whatever you create, whether you create a specific project from this class or you create something using the styles that you learned in this class, please tag me if you post anything on instagram so that I can see what you're creating and also so I can share what you are creating from the class in my stories on instagram and definitely upload any of your projects here in our project Section two so that other students could be inspired by your beautiful work. And thanks again for joining me a class today. And I look forward to seeing you next time
Isa Down, Illustrator, Writer, Nature Lover
