Gouache Floral Elements | Cara Rosalie Olsen | Skillshare

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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

17 Lessons (2h 39m)
    • 1. Intro

      0:42
    • 2. Supplies

      5:44
    • 3. Propper Water Ratio

      9:15
    • 4. A Closer Look at Consistencies

      0:42
    • 5. Simple & Compound Leaves

      15:53
    • 6. Fern Leaves

      15:43
    • 7. Palm Leaves

      9:32
    • 8. Eucalyptus Leaves

      10:17
    • 9. Veining The Eucalyptus

      3:42
    • 10. Berries

      9:15
    • 11. Rosehips

      12:26
    • 12. Sprigs

      4:51
    • 13. Pinwheel Cluster

      16:05
    • 14. Wild Roses

      14:09
    • 15. Roses

      9:11
    • 16. Class Project Part 1

      10:21
    • 17. Class Project Part 2

      11:20
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About This Class

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Hello, Creative Friend and welcome back to class! Today we are studying the complexity and intricacy of orchids, and finding a way to capture their essence in a loose, gestural way. I've picked a beautiful pink spotted orchid for us! After taking a few moments to gather a few photos to serve as inspiration, we'll dive into understanding the structure of this flower so it makes sense to us, providing a joyous and peaceful process.

Supplies

Gouache: Windsor & Newton, and Arteza

Paper: 325 GSM Black paper

I'll be featuring paper from The Black Sketchbook, designed by artist Niharika, who can be found on Instagram @Niharikagarg. If you don't have access to her specific paper, Legion Black Watercolor Paper is an excellent substitute. 

Brushes: Princeton Heritage Series Rounds. It would be best to have three brushes in size 6 and three size 2. 

Porcelain Palette or Salad Plate

Cup of Water

Paper Towel to blot

Discussing Supplies:

We'll take a moment to talk through what supplies we'll be using to create our elements, For a fun twist, we'll be painting on black paper which always adds an extra touch of drama to art.

Proper Water Ratios:

Gouache is quite versatile in that whether you use it watered down similar to watercolors, or thicker akin to acrylics, the results will hold either an ethereal quality or rich with texture. We'll walk through several scenarios and I'll help you figure out at what consistency you enjoy working with gouache.

Simple and Compound Leaves

Next we'll mix a color for our first set of leaves, covering two of my favorite beginner technique's: Simple and Compound Strokes.  

Fern Leaves:

Ferns make an excellent filler leaf, being both dainty and full of personality. We'll pick a new color and study a few ways to create them.

Palm Leaves:

These leaves are long and slender and add much movement to a composition when used with careful intention. They can also be utilized as more of a wild background element in lower concentration for layered paintings.

Eucalyptus Leaves:

Next, we'll learn how to paint two varieties of eucalyptus which can be used as with focal or filler leaves.

Veining The Eucalyptus:

Showing how by adding a few key strokes, you can add interest to your leaves.

Berries & Rosehips:

Look at how by using different shapes in a composition you naturally create a balanced painting. Berries are such a fantastic element to use on their own for pattern building, or to add gentleness to a composition. 

Sprigs:

A very freeform filler element that adds a playful touch to your composition.

Pinwheel cluster

Using the incredibly versatile pinwheel flower structure (as taught in previous watercolor classes) to explore a variety of flowers. 

Wild Rose

I show you how the pinwheel structure can be evolved and enlarged to make a wild rose. We'll also cover a but of layering and how by adding different colors we continue to draw the eye inward.

Rose:

We conclude our elements with the majestic rose, practicing our vortex center and the nature of the rose's "cuddling" petals. By adding leaves, we increase interest and movement. 

Meet Your Teacher

Teacher Profile Image

Cara Rosalie Olsen

Floral Designer + Watercolor Instructor

Teacher

 

Hello, hello!

Goodness, I am SO glad you are HERE :-)

A quick intro before you dive into the lessons!

My name is Cara, and I am the owner of Rosalie Gwen Paperie, an online floral boutique. I’m also a watercolor instructor and can be found teaching budding artists in the Orange County, CA area. So if you’re local, please consider joining us for an in-person workshop!

Teaching is my passion. There is something incredibly beautiful about witnessing a person come into their creativity for the first or tenth time. I firmly believe words such as "talented" do not exist when approaching the creative realm. Every single one of us has been given the ability to share our story through the vein of creation, and it's simply a ... See full profile

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Transcripts

1. Intro: Hello, creative friends and welcome back to class. I am so excited to have you here today. If you have found yourself curious about gouache, what it is, how it works, how it's different from watercolor and how it's alike. This is absolutely the class for you. This is a beginner based class, so we'll start with the groundwork, figuring out consistencies and what we need to look for to achieve our desired results. Then we'll dive into the elements where we'll create flowers and berries and all sorts of little sprigs. And then lastly, we'll put it all together for a final composition is going to be so fun and so beautiful. So grab yourself something hot or cold depending on where you are. And let's get started. 2. Supplies: Okay, let's go ahead and jump into our supply list. As I told you already, we're going to be working with black paper, which I think is just going to be so extra special and fun. So I have a few different options for you. A fellow artist was kind enough to reach out with her beautiful black sketch book here this is by an artist named near her Rica. And she has created a beautiful line of black paper. So if you are able to, you may enjoy something like this. This is like a dot grid which is incredibly helpful for new and beginning watercolor wash artists. She also has just playing with Lou Fleet, loose excuse me, loose leaf paper, which looks like this. And it comes in a 325 GSM, which is a great weight for wash. And then if for whatever reason that paper specifically is unavailable, then there are a few other options. Legion makes a great paper. I've used them before. I believe The weight is a little bit less, which is fine. As long as you have something that is going to be over like a 120 pounds, you'll be fine. You just don't want the paper to warp. And in fact, this is a pretty, pretty light paper and this is the third option. This is from Amazon. And this is called the environmental art way. And this is 285 millimeters black square sketchbook. So there's just a couple of different options for you. Obviously the idea is for you to have black paper. So I would love for you to have that for whatever reason you would prefer to work on white paper. I understand that too. So everything will look a little bit different just because of the color poking through. But you're more than welcome to use regular watercolor paper tube. So that's our paper. The next thing that I would like you to have is a variety of round brushes. My preferred brand is the Princeton brush, their heritage series. People also really, really loved their Aqua Elite and velvet touch. So this is my preferred brand, but if you have different brands, that's fine. I just would really like you to have a variety of rounds because brush a bit more tricky to rinse off your brushes. And so although I do tend to make sure that there's no paint like sitting on my brush. I don't rinse them thoroughly until I'm completely done with whatever it is that I'm doing the project and paintings. So I will have three size sixes. And then I will also have three size twos. So because we're going to be creating some smaller elements and then some medium to large elements. Those are great sizes. If you have something that's more on the eight to ten round range, totally fine. You still have the ability to not go full belly when you're creating your elements. So you'll just won't have as much pressure as you're leaning into the different strokes that we're creating. So that's brushes. Lastly, our paint, we're going to be using our Tesla today. I love a lot of different brushes. I like goulash by Winsor and Newton, which will also be using one of those today. And then I also like a Corolla. And I feel like they're all pretty equal. Winsor and Newton designer wash, which we're going to be using. Their white, is very heavy, very chunky, very great quality. I use it for almost everything. Our test is so great because it, When you buy from them, they come in a variety of colors. So rather than having to buy several tubes to get that range of color, are Tessa packs in like 64 paints into a box. And I you know, I think it's somewhere in the 30 to $50 range, which is fantastic. Versus, you know, this is $12 for the veery, for the big 137 milliliters, it's $6 for the 14 milliliter. So you can take that into consideration. If you already have a gouache brain that you like, feel free to use that and just try and find, you know, some, some colors that are similar. The full line of colors that we'll be using is in the class description. So I won't cover every individual color we'll be using because there are quite a few of them. So go ahead and check back there for just all the specific colors that we're going to be using. In addition to that, I'm going to want you to have a cup of water and then also a palette. I prefer porcelain. If you've taken my classes, you know that I just loved the quality of working on the ceramic and it doesn't beat up like it does on plastic. But if you have a favorite palette that you like to use, that's completely okay to also a paper towel or just a rad. I love using my my rag over here. It makes a beautiful photo op when I'm done. So whatever you have, just something to blot off your brushes. So that pretty much covers our supply list. So we'll move into water ratios next and talk a little bit more about how to do that. 3. Propper Water Ratio: A quick note, because this is a new subject matter that I'm covering. I'm going to be taking it from the beginner's perspective. So although much of what we cover is going to be so similar to what I teach my watercolor class. I am going to kind of go back to the beginning and cover some more of the basics and simple strokes and how to basically comprise the elements versus just painting them. So if you find that you are a more experienced watercolor slash squash artist, you may find that you would rather just speed forward to the actual painting the elements. But consistency or water ratio is absolutely crucial when painting anything. And so if you don't have an understanding of what's happening with the paint, as far as it being at a lower or a higher concentration, you're really not going to have any control over what it is that you're doing. And as I've said before, painting is this delicate balance between you and your brush and paper. It's a dance and there is some control in being able to know what to anticipate and what to expect. That's what takes the tension and the stress out of the process, which is what I'm all about, which is what these classes are meant to do and provide. So painting is nothing if it cannot be enjoyable. And so that's why we start here. Ground 0 and we're going to cover what it looks like straight out of the tube and proceed from there. So anyway, just a small note. You may want to speed forward if you like I said, are more of an advanced or intermediate artist. Okay, so for our practice, water ratio exercise, we're going to be using our Tez top, one of my favorite colors. It's very versatile. I love to mix it. Am I also love it on its own. So go ahead and take out one of your six round brushes. And I'm going to show you basically the whole process. So dip into your water, makes sure that your brush is primed. That means you've loaded it in there, you've plotted off a couple times and you reload it and bought a couple of times so that it is moist. Then if you're coming straight out of the tube, it's going to be as though it's like a paste that is going to be the strongest concentration consistency. It's really not very usable in that form. If you're an acrylic artists, you'll be very familiar with that form. It's more about texture and dry strokes. But when using gouache because it is water-based, which is what makes it very, very similar to watercolor. And quite versatile medium. We'd water it down. And so I don't typically ever use it in this form, the straight out of the tube. I typically at least water it down a bit so. Again heading back in there, this has dried for just a little bit, but it's not super dry. So I'm just going to take my brush and I'm going to gently just agitate that little glob right there until it starts to loosen up. So this has probably been drawing on my plate for about an hour straight out of the two, It's going to take you maybe a couple of times of doing this. And once I have a good amount and I'm kind of drawing it out, getting it off, coming back in, back into my water. Again, laying more water on top. And you can see I'm kind of building up a little pile over here. Make sure you are rolling your bristles gently through it so that it's covering the entire brush thoroughly. That's important. So there's no dry pockets. And so let's head into our black paper. And I'll just another note. All paper is not created equal. You're going to have some heavier texture, especially if you're using watercolor paper that has more of a tooth to it, especially if the GSM is higher. Again, we're using a 325 GSM. Typically I use a 140 pound cold press. All of that to say it's a kind of medium paper. It's not like your printer paper, and it's not like card stock. It's kind of in the middle. Um, and so depending on what kind of paper you're using, there might be, you might have to do more to achieve what we're doing or do less. So that, that's the only thing that can be a little bit tricky if you're not using the same paper. So this is the loose leaf paper from the black sketch book, artists and her Rica. All right, so I feel pretty good about where I'm at with that consistency. And so this is basically the thickest form that I would use it at school. Just make a little swatch up here. And then if I wanted, I would get back in. I want to darken it up because gouache is definitely about layers two. Can go back over it to see what that would do. And again, unlike white paper, it's going to look a little bit different because you wouldn't have that black, that bold color popping through. And then I'll show you also exactly straight out of the tube so you can see the difference. One thing about gouache is that if you didn't know, put your cap back on it right away, it will dry out in it is a pain to get back to the right consistency. So word to the wise. Put your caps back on, take the time to do it or else you're stuck using one of these things which I have to jam into here to remake a little poll. So more than you bargained for, I'm sure, but hey, we all need hacks, right? I tend to get really just in the moment with my painting. I don't always put the counts back on and then I pay for it later when I want to reuse it. So anyway, just put a little blob there. You can see, again, this is where it's at its thickest form. Paste like. You can see that straight out of the tube. It's a little bit thicker. There's not too much difference between here, but you can see that it's more opaque. And then also for dry stroke, you can start to rub the brush down and get some pretty dry stroke action in there. So again, that's the form that will, you know, the highest concentration that will use it at. But typically, my sweet spot is kind of somewhere in the middle of that. I'm going to work with moat mostly three ratios. There's a lot of different processes too. I'm color value basically is what we're, we're discovering. And you can take a color and you can draw it out as many times as you like. I can typically get maybe seven to actual, actual distinct colors working from straight out of the tube and then diluting it with water. But for our purposes, we really don't need to do that. So we're just going to cover three. So here we go with the second ratio and this is like a 5050, so it's 50 percent wash 50 percent or and this is going to be used for more just kind of loose form. This is for more structure, which we're going to cover that as well. So this is our medium, 5050. And then if we were to draw it out one step further and it would be 75 percent water to 25 percent paint. It's really going to be very pale. And on white paper that could work very well on black paper. Really not so much. Unless you're doing a really washy composition. I'm going to say that these two textures consistencies are going to be the best for you. I will definitely in the future covered squash on white paper as well. I just thought this would be so much fun for us to do something so different than the typical class. So there you can see barely even showing up more for like a washy sort of feel if you were doing a very loose composition. So that's kinda quick look at color value and finding the right proper ratio. So we have basically a 90, 10, this is a 5050, and then this is a 25 to 75. Okay, so that's covers that. We're going to move into our next segment now. 4. A Closer Look at Consistencies : Real quick, before I moved on, I realized I did not give you a close-up. So most of you are probably working on desktop, but for those who are on an iPad, something a little bit smaller, or even a mobile, I did want to just zoom in here so you could get a really good close look at the consistency. It's super important that you have this information and understand it before we move forward. So again, this is a 90, 10, this is 5050, and then this is 25 to 75. So you can see there's some really, really pretty properties that are happening in all of the different textures. And when used for their different results can be so much fun to work with. If you have any questions about that specifically, you can always e-mail me. I'm always happy to answer questions. 5. Simple & Compound Leaves: Okay, so before the head into creating our first leaves, we're going to go ahead and mix up the color we're going to be using. So this is going to be a combination of our tests as olive green. And then I'm also going to add a little touch of Prussian blue to it. So like I said, straight out of the tube, kind of unusable. Go ahead and you can either rinse off that six brush you are using or pick up another one. And then we're going to head in here and begin mixing until we find the right consistency. So depend here, pull out some color. Here. I want to make sure you have plenty of color. So or else you're going to have to head back in and mix all over again. So be sure that you are getting enough color back into your water and getting it to about a 90, 10 ratio. Then I'm going to head into my Prussian blue and start adding it here until I have a really nice kind of green. Sort of know what kind of green this is kind of a viridian green. And we'll make sure that we're at the right consistency. We might need to add a little bit more green to it, which is fine. I wanted to show this one time because it is a very time-consuming thing so that you can see the work that goes into before putting any paint on paper. I think a lot of classes tend to just say, Okay, now we're doing this and here we're putting a leaf on a paper. And it's like there's a whole lot of things that happen before that happens. And I think it's good to at least show once the work that is required. So it takes me a while at least for me to get my paint to where I'm happy with it. And I like to do that initially so that I'm not having to do this each time. I'm, I'm creating something different and then I can just reactivate the paint once it starts to dry a little bit. Just another hack. If you're using a different gouache, you may not have that same capability. I noticed that different washes are more conducive to being reactivated. And then some you try and put water back into it and they basically peel off and they are not useful at all. So you'll definitely have to experiment with that process and see if it's something that your wash is basically going to let you do. Okay? Once we have that where we want it, go ahead and put our palette off to the side. The first leaf that we're going to cover is a very, very basic leaf. We covered it back when we were studying or watercolor elements. And I'd like to cover it again here because it looks a little bit different in wash form. So although this might be some repeat material, it's going to look different because it's squashed this time. So to create a compound stroke, it's comprised of two strokes that I call simple strokes. And basically what you do is you take your brush and you're going to have the tip of the brush, mostly 90 degree angle. And you're going to put some light pressure down here on the paper to create kind of a little tail. And then you're going to gradually increased pressure as you pull the leaf all the way through. Full belly to tip. Might want to point that out a little bit and then you're gonna come back to the base and do the same thing. So this is the first simple stroke. It is half of the compound stroke. Now, what you can do here is if you're working with black paper which, or white paper, you can leave a little space in the middle of your leaf to act as either a V01 or is it light source? I love to do both. Sometimes I like to go back in and do the vein with a different color, but I'd like to just show you the different options. So for this one we won't do it, but then the next one I will. Okay, so that is our compound leaf comprised of two simple strokes. Now if we were to do this again, again, brush is barnacle, little bit of pressure. Drag that brush through, finish it off. And then this time we're going to leave a little tiny space. And that's kind of just a fun little twist to use. Maybe nothing new to you, but just allows for more possibility. You can use that as a vein or the light source. So let's try doing the same thing, but in a different position. So let's go up this time. So we're going to create a little tail. And then we're going to take our brush, go belly down, back to tip, come back to base and finish it off. So this is basically the most simple form of a leaf. It's two strokes. It's not overly complicated. Definitely make a drill out of this if you are new to squash and just technique in general. For those who have more experience, it might not be something that you need to really pound out as often. And then if we wanted to do something bigger, again, we could start here at the bottom, come really full belly down. That's why I love the six brushes. They're so versatile and then come back and finish off that leaf. So the next thing I would like to show you is how to make a branch or like a little filler leaf element using the compound stroke, can also use simple strokes on their own. Rather than kind of thinking of it as half of a compound stroke. You do want to think of it as its own leaf because it will kind of look a little bit funky, wonky if it's half of a leaf. So for a simple stroke, I like to come again vertical and then always trying to give movement to your leaves rather than making them just straight up and down. So you're always kind of figuring out prior to painting, which direction am I trying to move this leaf? Don't want to come straight down. And then coming to the right and my coming to the left, my coming sideways. So I'm gonna show you a couple of different ways to do that. So this would be our simple stroke. It's just pushing down. And then to tip, we were to do it in the upward position. And you might want to finish it off and make it a little bit more pointy, which, and it's totally fine. You can make your simple stroke leaves longer or shorter. If you wanted to do like a chubby one, could do something like that, then you don't have the pointed tip, it's more of a rounded tip. So there's so much possibility and option. We were to do a sideways leaf. We're going to come here with our little tail and then we're basically going to create a Smiley face. And then like I said, you can kind of think of it as point. Or if you wanted to do something that was more chubby, there you go, you have your sideways leave. So it's great to understand positioning of leaves. I'm, it's, it's something I, I, I covered comprehensively when I'm teaching. Um, because movement is one of the most important aspects of creating a visually pleasing composition. Okay, So now we're gonna go ahead and make a filler element of leaves. Using both of these strokes. To do that. We're going to start by creating a stem. So we're going to start it here and we're going to angle it towards the right. Now that I made that look really easy. And maybe it is if it is awesome, but that is also the result of just knowing exactly and how to apply the same pressure through an entire stroke. If you do it and it doesn't look, even if it looks really thick or thin in some areas, not to fret. I think that that actually provides more of a loose feel. We're studying more of the structured nature of gouache today just to start because it's a little bit more simple. Eventually, I may lead into something more gestural, but for now this is kinda where we're at and I think it's a good place to start. I'm in. So this is basically completed starting with the tip of the brush and then working your way all the way through, operating the same pressure all the way through. Now if you were to do something that was a little bit more graded and you wanted some more variation. You could always kind of play with the pressure and kinda go up and down and up and down. But this is the simplest form, and it also is just a great way to provide some movement. And so we're going to think of our leaves as all pointing in this direction. They won't all be exactly facing list because then it will end up looking like a very stagnant branch. But we're going to, we're going to paint this with the understanding that this is the direction we want the leaves. Okay, so let's start with the first one down here and we'll do like a medium sized compound leaf. So we'll start with our tail and go. Second one, we're going to put a little bit higher. And the next thing we're gonna do is create an offshoot. I love these because it just gives a little bit more natural like appearance to this very structured branch. So we're going to take the brush, come up on the tip and create another fine offshoot. Just like that. And then let's create some simple strokes. And we're going to come, this is the great thing about wash, is that you don't have the first layer of watercolors poking through which some people can find unattractive, especially if they're doing more of a structured and focused composition. They don't want another leaf poking through that shows that you painted over it with gouache because it's opaque. You can basically cover up this line. A simple stroke. We'll do another one and top it off with one more very small simple stroke. So now we'll go through and finish the remainder. And again, we're just wanting to think of we're pointing the direction. We're pointing in this direction. If you have a leaf that's pointing in the complete opposite direction, it may just look a little bit funky. It would take a little bit more reworking to kind of have it all work together. Can see there I got a little bit more at the blue on my brush, some kind of rolling back and forth over here. I have both colors that playing with just kind of getting them back to the consistency I want a mat. Because obviously with every stroke you lose a little bit of the paint. You need to head back in. And so the paint is looking a little bit more blue now than it was before. And we'll come up here and we're gonna start making our lives a little bit smaller. And then I'd like to tilt the paper. It just helps to get a better access point. A lot of the times, if I'm having to bend my risks like that, my work gets a little bit sloppy. So always be turning that paper to the best, the best shape and structure for you. And then you also want to watch your hand as you're putting in strokes because this media is still wet and if you lay your hand down, you're going to smear it. So sometimes you have to wait till it dries or just be especially careful. Okay. So there we have just a very simple branch that has great movement, has great variety, meaning that the leaves are in different shapes and sizes. Some have a little vein in the middle, some do not. Some have the pointy tip and then some have the rounded tip. So those are just things to think of as you're creating your elements is providing a range of different size, positioning, and color value. Let's go ahead and do that again. But I'm going to thicken up the paint a little bit. So that's going to take me a moment. And we're going to just make a smaller one this time. I'm gonna do this facing downwards. The first thing I'm going to do is come out. And then I'm going to finish it by painting. So this would be like a smaller one. I'm going to do a compound stroke here. And I love that cute little tail on the end. And you can continue to paint downward if that's easier for you. And then you can also move the paper. So if you would prefer to work doing upward strokes, you can, I tend to feel like there's more resistance that way and I prefer to do downward strokes. But you can just kinda decide what's most comfortable for you. Again, you can kinda see the difference on, on white paper is going to look very different on black paper. I do, like I said, like more of a 5050, 910. I like to play with both of those ratios. So this one, the leaves are a little bit more, there are closer together. They're thicker and they're more consistent. Meaning that the shape is pretty much the same. There we go. We gave it a little bit of versatility there at the end. You can opt to fill in the extra space here, but then you're going to lose a little bit of that movement. So it's something to keep in mind as something to decide. You are the artist, you are the one that gets to make those choices. I'm not going to make them for you. And so for me I would see this might think, you know what, That's some really beautiful open space. And especially when I'm creating a composition that's something I'm looking forwards areas of rest. So it's just beautiful the way that it is if you want it to fill it in and add another couple of smaller leaves or another big leaf you absolutely could. So again, you have options. So that is our simple and compound stroke segment. We're going to work towards creating a different kind of leaf in the next segment. 6. Fern Leaves: The next kind of leave that we're going to create is a firm type leaf ethnic going to be botanically and atomically correct. I never really paint leaves based off of exactly what they look like. But more if you've taken my classes, you know that it's more about capturing just like the essence, the soul of the leaves. So there's room, there's room for play and exploration for mistakes and to turning it into something that's totally yours. So these will be furnish leaves. What I've done off to the side is the same thing I did and show you the video for, but this time we're using olive green and the Winsor and Newton permanent white. And so I've mixed it to a consistent, isn't 90, 10. I'm going to show you just the basic structure of what we'll be doing in the, before we put it into like an actual little branch. So you're gonna take your brush and if you're going to see you, It's going to chunk up. That's something I also wanted to address with watercolor. You're going to be able to maintain the point of your brush much better because there's not as much paint on your brush. Even if it is at a higher concentration or higher color value, it's still not, you're not going to lose the point. You'll be able to retain it with gouache because you are loading more paint, you're going to get more of a heavier tip base, which means you really have to be careful about pressure and moving lightly through your elements, especially if they're supposed to be more delicate and dainty. The chunkier aspects obviously not going to be so much of a problem, okay, Can also alleviate some of that by just blotting off some of the paint gently and making sure that you can still see the tip of your brush. So not really complicated. It's basically an up and down squiggle. You can point it at the tip if you want, have more of that Ferroni feel. And then you can even start at the tip and then work your way backwards if you want. So really you kinda have options. That's an up and down. And it's just a moving the leaf excuse me, moving the brush and the brush bristles back and forth, either sideways, up and down depending on which direction you want that leaf. And then if you wanted to connect at all, obviously you would pull through. And you could make some connections here. And you haven't really beautiful little fern leaf. So that's kind of the smaller, firm like if you wanted to just kind of create like a flower over here and then have two little fern leaves. It would look really cute and we'll put all that together. Obviously, this sort of pattern building is going to be up to you. I am more equipping you with all of the different individual elements that you can later kind of decided. Want to put compound leaf here, I want to put a fern leaf here. Wanna do a eucalyptus leaf here. You'll get to just be the artist and get to play with all of that. So if we wanted to connect it to here, which it might be fun, we could make another. And this has created not using they full consistent pressure, moving it all the way through with but with sort of FlipKey to three motions and then you have a little bit of range. And this is what I was saying is that it's not a problem if you're not able to achieve that same thickness of branch as you're creating your elements. Sometimes this looks really beautiful and being able to just have areas where it's thick or thin out. So then we'll go ahead and create another branch here. Connect this one here. And we'll continue through with our firm. So this one will kinda down, squiggle, squiggle, will come out here, squiggle, squiggle. Another one, squiggle, squiggle. I'm going to turn my paper a little bit just to kind of get a better access point. We will squiggle, not really worrying too much about the structure. You can kinda see these ones are more squiggle, squiggle. These homes have more of a looser feel to them. Heading back into my paint and come back this way now. Always, forever moving the paper around. Throw in some small ones for some range. Again, when you play with those three different crucial, don't even know what to technically call them. Just proponents of size, color, value, and positioning. You're really going to offer so much more interests in entry to your painting. Squiggle, squiggle. And let's go ahead and really point this leaf downward to get some beautiful movement here. Go there. You have a really pretty firm aspect. Now, what we're gonna do once we create one that's a little bit bigger. I'm going to show you some veining techniques that you can use really with all the leaves will do this through eucalyptus as well. But for those who like more of just a simpler feel, who plan to scan and edit these elements and then use them to build a pattern. You might want something that's a little bit more simple. I'll show you both. Go ahead and head back into your mixture. Load up that brush, take your time. Do not rush that process. It is crucial to creating your beautiful art k. So I'm gonna come in, just run through here and start down here this time. And we'll just carry that through. Now what we're gonna do, rather than creating the firm's straight off of the branch, we're going to create smaller branches. So I'm gonna do like an every other kind of thing. So you can see sort of just stacking. They're going to get smaller as you work your way to the top. And there you go. That's your basic structure. Like I said, it's kind of an every other thing you're just you're stair-stepping. And so now once you have your branch formation, now you're going to head in and do your whole squiggle thing. Do not be afraid to cross over lines. In fact, I absolutely encourage that technique. I think it will help to make what you're creating not look so stiff, but more as it appears in nature. And again, you're kinda stair-stepping here with the firm technique. And this is one of my favorite colors, this olive green and whites. It's really pretty, It's almost like a Naples yellow. And this is pretty structured. You can kinda see there's not a whole lot of like moving around and playing with shape and position. This is just going in the direction of the branch. If you wanted more of that, you could definitely play with bending the leaves. So I'll show you that over here. If you hear a humming in the background, if you're, well, first I should say if you're new to my class, my work, my workshops, there are always going to be noises in the background. I have a small elderly Chihuahua that snores like a trucker. I have two small children and then I also live in a community where are the gardeners come on My only days with childcare. So apologies in advance if you're hearing extra noises, it's just part of the package. Deal with me. Hopefully you will forgive me and the material will be well worth the added soundtrack. Okay, heading back into our fern. Okay, so now we're really going to kinda pull this leaf downward. Like I said, creates just this beautiful movement of inflow. So that's what we're going to really work towards us. We're creating. You can kinda see I'm really playing with different position, different sizes, different shapes, not doing just the copy paste Command V. So you can kind of decide which look you like better again, so, so many options, it's my job to just make. You have so many different ways to use these skills. So you can kinda just see the differences for yourself. So we'll go ahead and we'll just follow through. Again. Squiggle, squiggle, play with pressure to light pressure on some heavier pressure with others. Come down for the stroke, come up for the stroke. Doing that, just making those small minor changes will end up creating so much different movement. And I'm versatility. Don't be afraid, like I said, to overlap. Heading back in, you can always kinda tell when your leaves or excuse me, when your paint is drying up. Because it's not, you can see more of the black showing through. So if you'd like Outlook, again, that color value, and so you can leave it at a different colored value and it will look like that leaf is getting more sunlight or it's, it's angled at a different direction. So those are things to really like embrace and just kinda play with as you're exploring. Now again, I've dipped into my paints. You can see the difference. We have more of a 5050 ratio here versus in 1910. And as I worked through these leaves, more paint will be taken off. My bristles. Get some lighter strokes again. We are nearing the top. And there you go. Really, really, really, pretty different options. You can keep it, you know, like I said, just a little bit more simple or you can busy it up by creating something that's just a little bit more fuller and dense. Alright, so that is our fern leaf. What I want to show you now is if you wanted to add a little bit of veining to these leaves, you could pick up a different color. I'm going to use Prussian blue just because it's available and it's nearby. And this time I'm going to pick up my number two brush. And again, really want that 90, 10 consistency here. So just a little bit of water and rolling it around. Not typically a color I would use to vain my leaves, but I really want you to see. Let's go through here and add some leaves or excuse me, some veins. And this is just kind of a quick movement. You don't want to really, really overthink it, or they're going to end up kind of chunking up on you. I didn't have enough paint on my brush, so I'm hidden back in like that one. That one's a lot more chunky than I would want. It really kinda come up on the toe of your brush. And it's this balance between having enough paint on your brush and having the right position. There we go. Now I found the sweet spot. So it takes awhile. You may wanna do some practicing off to the sign. And I don't tend to get like, really, really stiff with my veins. But two different ways to approach it. And I think they're all really beautiful. You can even opt to not vein some of your leaves on the same branch. And that would be beautiful to sell. That's more Vega. Add an element with the smaller elements, I say probably simpler is best and less. Your other, either your focal flowers or other filler elements are going to be really simple because what's going to happen is if you add too much detail to every single step of the way you're going to end up with something that's just very busy. And it just, there's not gonna be any column to it. So something to proceed with. Caution. Experiment play, see what it is that you like. And we can do the same thing over here. These ones are quite small, so I'm going to do it over here. And I'm getting some really pretty dry stroke. I love the difference between the thick one and the thin one. You really start to get into your groove once you do it Tino 10 to 12 times. So like I said, it's something you may want to practice off to the side before you actually put them on top of your leaves. Just because your, your hands and your mind getting this rhythm In group and it all starts to Jive. But at first it can't just be a little bit. Know what the word is, just too much. You're putting too much thought into it. And the more you concentrate on something, I feel like the more overworked it gets. So just my thoughts and tips as you move forward. Okay. Let's go ahead and move on to the next portion. 7. Palm Leaves: Okay, the next leaf we're going to tackle is a palm branch leaf. This is another one like the firms that provide really great elongation and movement in our composition. So I'm gonna go ahead and use the same paint recipe that we used for our ferns, which is the olive green and the white. But I'm going to make it a little bit more on the green side this time, so a little bit different. You can see that we have something that's a little bit darker versus what I was working over here with was quite a bit lighter. So white is one of those colors. That is just so fantastic to really pull range through a color. You have just this basic color as you pull it out of the two. And then adding white as you go along, gradually lightens it. And it's just such a fun aspect. I, I, I taught another class where we use whitewash. And and in fact, if you're not already familiar with my gouache color guides, there's some really, really beautiful mixtures over there. I'll talk more about that at the end about what I did with that. Something you might find beneficial or just fun to add to your repertoire. Alright? So just taking my time to get things ready. And I'm going to go ahead and block off a little bit, get that point back on my brush. And how palm leaf, we're going to have quite a bit more space in between the leaves. So before we had into actually creating the leaf, I'm going to show you what the structure is going to be. Go ahead and do it up here. So we're gonna take our tip and we're going to basically pull a simple stroke all the way through until we get about two or three inches, maybe four in length. We're gonna kind of swerve it back and forth. Gradually getting tighter at the tip can even go in and add that tip at the end. Let's watch that again. Just curving it, finishing off with the tip and will come on the other side. And this time I'm pulling it downward rather than working towards an angle. There's more resistance and tension in that direction. Typically what I would do is I would do this. And in fact, I think I will do this just to show you how much more easily. I'm imagining that there is a branch kind of pulling this all together. I'm going to start right here and go ahead and create my leaf. You can see it works perfect, exactly the direction I wanted in. But rather than having the tension of pulling down, having to worry about possibly smudging my paint elements here just by turning the paper. You alleviate so much of just the stress. And that's always what I'm aiming to do for you is to give you these hacks tips, examples of ways that just make the process more enjoyable. So I had a lot of requests for more, take more samples and are examples and tips. When I first started teaching and I've really tried to make strides and undoing that for you. So hopefully you feel that. So let's go ahead and do that again. And then if we were to finish off here, imagining that they are that stem running all the way through. Go ahead and connect that now. I love making the connections. That's one of my favorite things to do. A lot of people will find that making and we'll do that next. The stem first Is just more peaceful. Having that foundation first before trying to envision where the leaves are gonna go. That's more of an advanced technique. You have had much, you know, many years of practice putting things together and just more comfortable with that. But if you would rather, you're always more than welcome to create that be structure first. I find that doing it this way, you get more of a loose, more natural nature ish, feel to it. And so let's go ahead and just finish off. And now I'm starting to feel a little bit more ease and working in this direction. So for this one, play with length, you see we have some long ones over here. These are a little bit shorter. If you look at a palm leaf, you'll notice that there really are so many different moving pieces to it. There are sites that are a little bit longer. It's not completely symmetrical. I think it depends maybe on the palm leaf that you're looking at two. But you know, with like a large palm frond, I think you'll find some more symmetry, but with the smaller ones, there is just a just more different differences between all the moving pieces. And you can kinda keep working your way down if you want to. I tend to kind of stop right there and let that be it. Again. Kind of envision envisioning where you want those leaves and pulling the branch through so that there is movement versus, you know, kinda of creating. We'll do it this time. A straight branch. You'll lose a little bit of that. So there's a way to do it when you're doing that too. But again, you have to visualize, okay. And this is where I want my top and smallest leave. This is the direction I wanted pointed in. It takes some time to really get familiar with where you're wanting things pointed. So again, kind of like our compound branch, we're going to go in the right. We're going to go towards the right. And you'll see that this branch is much more curvy than our compound leaf. Again, I think this is actually more true to nature and just a prettier overall, loose feel. Like to do this 1 first to just give me an idea, okay, this is where I'm headed. So let's go ahead and pull something off of here so that we don't lose that palmy, ethereal feel to things where angular paper. And now we can either work our way up, which is what I suggest, or we can work our way down. It really is up to you. You run the risk of, like I said, smudging as you're working your way up. But it just tend to like to do that better. You get to decide when you're painting, how it works best for you. And again, you're kinda stair-stepping here like we did with the fern. And I just loved the result on black paper. I mean, can we just get an amen for that is just so beautiful, especially when you put that whitewash into your mix. How vibrant the elements are. So just really glad we're exploring this. Now for something that's a little bit looser, you can lift up on the brush at the end and sort of drag a dry brush stroke through and not get that, you know, very, very shaped tip at the end. So again, just different things you can experiment with. And let's go ahead and curve this one up a little bit just to kinda give are I'll branch some more movement. Just be careful where you're laying your palm. So as you can see, there's still a ton of movement in here by curving that branch and really playing with bending the leaves the position and just the different styles of how you're moving that brush through the stroke. So you can do it like this where you create the leaves first and then you make your connections afterwards. Or you can create that base groundwork if that makes you just feel a little bit more calm about the process. So if you wanted to, you could even fill it in a little bit more with these kind of leaves. I really do like keeping space between the different leaves because I feel like it's just an airy It's an airy leaf and airy filler versus the firm which is just more focalized and debts. So again, you get to play with it and decide what it is you like and how you want to use it. Alright, let's go ahead and run. 8. Eucalyptus Leaves: As with our palm leaf, we're going to add a touch of white in now to our previous compound leaf mixtures. So go ahead if you still have on your palette, squirt by blob of white, and then just start mixing together a nice eucalyptus colors. So you should already have that with the Prussian blue and the olive green and then adding the white to it, you get this really beautiful kind of turquoise EC foam green that's very reminiscent to eucalyptus. You may, if you didn't have enough, um, I need to add more olive green and blue to get it to the consistency that we want. So feel free, like I said, to pause the video, take your time to do what you need to do on the back-end so that as you're painting, you're able to just move along. I'm going to show you two different kinds of eucalyptus tissues we're going to use. We're gonna do more of like the silver dollar, the big expressive eucalyptus. And then we're also going to do that more like chain like eucalyptus. So if you know me, you know, I love to go to Trader Joe's and pick up a bouquet of flowers every Sunday. And those are two of my most favorite fillers to my bouquets is the, those varieties of eucalyptus. So let's go ahead and do the chain like eucalyptus first little bit smaller. Startup here. We're going to curve our branch. We're going to turn our paper. And the motion for this is very similar to our fern. It's kind of an up and down motion and we're really playing with the different directions of these leaves. And so you'll see what I'm saying. And just the pressure with which we're creating these leaves. So with a eucalyptus, because all of the leaves are pointing in different directions, like there's some that are on the, behind the stem. There's others that are kind of curving up. There's others that are coming down. There's some that are crossing over the branch. There's so many, there's so much possibility to create something that's just rich with variety. So let's go ahead and start down here with that very similar burn like stroke. So doesn't really look like anything. Yeah, just kinda looks like a simple stroke leaf. But if we were to now go across the branch and kinda come up, now we're starting to see a little bit more of that eucalyptus shape. And now we're going to do more of a vertical. We're counting on top of the leaf. We're going to have it something pointed like it's curving. And we're going to come down right here and then create a tiny little bit on this side. So you can see by having different ways in which we're positioning these leaves, we start to build up that shape. And so this is nothing more than what we've already learned. It's just using different parts of it. So simple stroke and then just a really tiny squiggle. Let's go ahead and keep building it. I have a really tiny one in there. Another thing to think about is the spacing in between. We want some that are closer together and then you also want there to be some distance. Again, all of these things lead to just so much more interest and intrigue. And then those at the very top are really just kinda like chubby, simple strokes. I'm going to add just a little touch right there just to kinda give it more of a eucalyptus fields. So you can see we have some really beautiful variety of things happening here. So you can do that again and really just change up the whole feel of it each time you don't, you try it. It's just so great that this, this kind of structure really lends itself to so many different results. Okay, let's go ahead and do the bigger silver dollar, eucalyptus. So we'll use the length of the page for this. And we're going to start down here at the bottom and we're going to pull that stroke all the way through. So it's kinda along here. And if you've seen this filler in real life, you'll know that it's, it's long, it's very long. It's drapey and droopy and it's just so, so beautiful. I would really need like a large piece of paper in order to give it the space that it needs. So we'll just kind of make do with what we have, you know, using this nine by 12 piece of paper. The reason I say this is like more of a silver dollar shape is because it does have kind of that coin I'm shape to it and then there's like a little tip at the end. So we'll have to do a little bit of shaping. But if you have a bigger brush, you may want to use that even an eight or 10, I'm going to stick with my size six brush and just all do a little bit more work, making these leaves a little larger. But if you want something that's more of a immediate shape result, you can use a bigger brush. So with that it's really two stroke. So a compound stroke and then kinda coming up at a point at the end. And not all of the leaves do that. It really depends on the angle that you're looking at. I don't have eucalyptus Whitney here this week or else I would lay it down next to us, you can see. But it really depends on kinda how you're like twisting the branch to feel that the feel of the actual branch itself. I'm gonna kinda pull one around the side, which is fine. So we're going to take our tip of our brush head here and we're just gonna kinda pull it around. Load up my brush a little bit more. And that's take the beautiful and this is a very simplified version of eucalyptus. But it has this beautiful tendency to just kinda do a dance on the page. And I'm really having to load up my brush here off to the side to being back in because I'm using that 600 using an eight or 10, I probably wouldn't have to dip in so much, but I just like to make myself work harder. Makes me stronger. Come up here. And we're gonna just kinda give different shapes to the leaves now for these are again, I've just compound and simple strokes. I'm either finishing through and in, finishing off the leaf with the tip or I'm coming up I guess prematurely and keeping it more of a rounded shape. Here I crossed over the branch, which is just really beautiful and being able to like show the movement. And this is more of a 5050 ratio that I'm working with. You can see some of those bleed propensities which if you're familiar with watercolor, That's probably more of a familiar result to you rather than something that's opaque and does not show a whole lot of color variation. And I'm going to head back into my white and just kinda load up chunky fie, my consistency. Just to kinda show you how much range there is. So look at this leaf versus this leaf. And if I were to add worn by, there'd be even more arranged. So yeah, you have so many different ways to approach this. Really, really give your, the end of your branch some movement here by pointing that leave downward. That is a easy, easy way to really give some movement to whatever element you're working with is to just pointed in the opposite direction that you originally have it pointed in. So there you have it. Two different varieties of eucalyptus. Really both beautiful. I hope you'll have fun playing with these. These are some of my favorite elements to use. Sometimes I'll use them more structuralist like this. And then sometimes I like to make it like super gestural. On the only thing we're gonna do is I'm going to take a hairdryer to the eucalyptus now. And that way we can add a little bit of some veining back into it. So I'm going to take a quick break, do that, and then I'll come back and we'll do some veining of the eucalyptus. 9. Veining The Eucalyptus: So for the color of the veins, I'm really just going to use the same exact color mixture that we were using. I'm just really going to put some emphasis on the white now. So you're using basically what's left here of my white and making sure it's at that 90, 10 consistency. You're going to want to utilize the tippy, tip, stealing tippy tip of your brush to get those fine strokes. Or else you're going to get something that's a little bit more chunky, which is fine, but it might not be the look that you're going for. We're also going to do a little bit of outlining here. So we'll do a little variety of, of both. So the first thing I'll teach you is just how to do some kind of looser outlining. So you can take your tip of your brush and you could just kind of go around the outside of it like that to give it some structure is already pretty structured itself. But just giving you an outline two things can just be such a fun way to add some interests. And then to go in, you can even do some more veins. And really create a very busy, busy leaf itself that might be too much. You might love that it kind of just depends. So we wanted to just do a vein here. You might like the look of something like that butter, whereas a little bit more simple. Or if you wanted to do like a really, really thick outline, you could do something like that. And so you have just so many different ways that you can play with, gosh, for different results. Couple more veining options. And I just kinda like to play with different techniques as I worked my way through it. When I'm working on like a something like for a painting, for an actual piece that I neither commissioned or building a collection. I'll make sure that there's some consistency between the techniques. Like I wouldn't do all of these different things within one. I might do a couple, but, you know, you don't want to overwhelm because this is just one element. If you're isolating this and this is just going to be like the focal of the painting. That's, that's something you can really kinda lean into the details. But if it's just one aspect of your painting, you want to be sure that you're not overworking things. So there you go. Just kinda some really fun different outlining possibilities for you. I wouldn't do that with the little ones. What I might do is go back in and just add a little bit more drama to the stem. So you can kinda had in there and just play with some shadowing that. And if it lightens up too much, you can always add in some more light and just kinda play with the thickness of the stem through and give it some, some chunkier aspects and then give it some finer, so many different ways you can use it. Alright, heading in to our portion. 10. Berries: So berries are probably one of the funnest most playful ways to just add some cute factor or even elegant factor to a composition. I love using berries. I use them as many pieces of I possibly can good, just think they, you know, with that circle shape to them, they, there's such a great way to diversify a composition. And so if you have flowers that are all kind of looking just a little bit too similar berries are a great way to just like I said, diversify whatever it is that you're working on. So for our berries, we're going to be using the sky blue in our Tessa. And I put it off on my palette already. And just make sure that you have a clean brush that doesn't have any of the orange on there or you're going to end up getting something akin to Brown and varies or super simple. It's just a little circle shapes, so we'll kinda play with how we can use them. Mixing it up until I get that 90, 10. So I'm going to use my number two brush. And the reason I chose these colors because it goes excellent with this color. So if we were to do like a little berry cluster, we might start it right here with the circle. And then if you wanted to kind of create like a light source in your buret, you would just leave like a little tiny dot of space. And this just kinda helped your viewer to understand, okay, I see what's happening here because things were being overlaid. And it's just always nice to give your viewer a little clarity of what am I looking at here. And you don't have to do it on all. And you want to make sure that you are playing with different sizes here. So Samir barriers should be a little bit bigger, so it should be smaller. And then facing different directions. There might be some shape, some different shapes. You might have some that are a little bit more oval. You might have some that are a little bit more round again, is all of these things just how to help to bring some interest. Just sort of building it up. Curving it this way. A little bit of water on my brush. And maybe one more down here to make some connections later. Then what we could do is take our brush again using that olive green mixture. Go ahead and make a stem that runs through. And you start making some little connections here. No, you got it. Just a really cute little isolated berry elements. Such as simple and easy way to add just so cute or elegant NAS to whatever painting that you're working on. I like when they're cluster like this and you can even like take it out further and just kinda continue it. Or you can kinda keep it small like that. You can also play with different color values. So let me show you. You already use your 90, 10. And then you are to dip into some water. Just kinda start playing with you might want to blot your brush off. So this is kind of more of a loose feel. This works really well in watercolor as water colorist will know. But also because washes water-based, it can have some really pretty results as well. Don't try and get to shapely with your circles. I think when you try and make a perfect circle at so not true to nature and it can end up just looking very overworked. Then we'll put it in a couple of more darker ones so you can kinda see how overlaying I'm just really benefits the whole piece. Same thing. You would take your brush and come through to make some connections. And then if you wanted to. If you were just kinda doing, if you are isolating it again and it wasn't kind of a, a moving piece in a composition, which you could do is give the berries some leaves. So I'll show you here on this one. Try it around just to get a little bit more motions. This is just super cute. Just equate acute way to add a little bit more life to your berries. These are just simple strokes, just really tiny ones. See how cute that is, my goodness, I'm, I'm enchanting myself as we go along. It's been awhile since I've played with this format. Everything I do these days is pretty loose, but this is just so fun and I could see this on. So like a range of things like children's clothing and it's just just darling. Let's go ahead and do the same thing. Right here. Sorry, I moved out of the frame. And we'll do a little branch here just to kind of create some pretty movement. Aren't goes darling, My goodness. Now if we wanted to do something similar with the rose hips, we could do that too. So down here, do some more like that. Paul, me feeling because these are half there's more of a longer feel. You could do something shorter like you are over here. But I think this is just a little bit more true to the shape of what we're doing. So again, you just taking the tip of your brush, starting it and then just kind of back and forth. And if you need to, you can always bring that stem down, thicken it up a little bit. We are not losing too much. A gardeners are back at it again, I apologize. Might have to take a brief break if they start really going at it. So you can see it just getting more interesting, more fun as you move through. And like I said, you have to just be mindful of what it is that you're working on. How much of this detail do you want to add? What is it leading you towards all things to be thinking about as a designer? Can do it on these as well. Really pretty filler page. Let's come on top of that so you can actually see it all as a whole. And you can see how these colors just really, really worked beautifully together. And you have some fun things happening here with the different color values versus the ones that are more opaque. So, yeah, so many different options here. I hope you are enchanted with these little fillers as I am. 11. Rosehips: Okay, So one of my most favorite little additional filler elements to play with when I'm building a pattern is rose hips. They come in so many different shapes and sizes. And really there's like sky's the limit as far as how you want to do it. But they have such a pretty reddish orange color that just kind of pops off the page, whether you're using black paper or white paper. So I thought we would add them here. And you can kind of decide what style you like best. We'll play with some details as far as adding some finer aspects to them. And then also just kinda covering the basic shape. I didn't want to go over mixture with you just because it's a little bit more involved, but it's a mixture of three colors. So this is orange red from our Tesla. This is scarlet red, and then this is burnt umber. And then I'm also going to add an, a touch of the white here just to lighten it up. Just a smidge. Still want it pretty dark because I'm going to be adding some lighter aspects to it. But you can kinda see it's a really pretty like pumpkin color, not quite as so dark and Auburn as they are in real life. But, you know, that's just artists liberty right there. So that's it, a really thick consistency. And so the first thing too, is we're create some stems for them. So I'm going to dip into that olive green and white mixture and just create a few different steps for them. Now if you imagine there's probably going to be shooting out from like some focal flowers or some leaves here. So isolating them on themselves kinda looks a little bit odd unless we were to just kind of focus on a rose hips. So we'll do a little bit of both. I'll show you just kinda shooting out the way that they would in a composition. And then if it was just strictly an element that you were using for a specific pattern. Okay. So those are kind of some really a variety of strokes. You have something and I want this one to look on its own. So a variety of different shapes and movements. This one's a lot thicker. Not necessarily as thick as I would use it, but there you go. And so rose hips for me the way that I do them because I keep it pretty simple and keep it oval-shaped. Kinda like Barry rose hips. Not even really like I said, anatomically correct. So just moving it around until I have something that I like the shape of the oval. And then I would give that a minute to dry before I did anything else just to make sure that I'm not running into color here. So as it dries, it'll get a little bit lighter. So you may want to do another layer on top of it. Or you can just let it to be a little bit more. Fate. It's really up to you. So I'm going to add just one more little batch of color. And then while we're waiting for that to dry, I'll show you more of like an isolated as well. To start with just a little branch here. And we'll create some off-shoots. So kind of the same sort of thing. Turn my paper around to get a better angle. Or creating some ovals and make them a little bit smaller. Since their moral be isolated, like I said, element. And that's the wonderful thing about gouache versus watercolor, is that it's much easier to edit and clean up. With watercolor. Things are bleeding and so they're running into the paper. And it's hard to figure out where exactly you want to cut off the graphic. Whereas gouache is opaque. And so it's, you know, it's very easy to see where your boundaries are. And I'm just mixing up a little bit more paint over here, starting to get a little bit too transparent for me. So there we have some pretty variety. And then what I would do here now, the set one of my brushes off to the side to create something down here. And just kinda start making these little connections. So pulley and a little bit closer so you can see just sort of some cute little stemming at the bottom here. Try that again. And then what we could even do if we wanted to draw that out to them further is a thin sort of palm like leaf at the end. And kind of see, those are really cute and those are basically just kinda flicking that tip of the brush around palmy like to get some really pretty detail. And then we could repeat and do the same thing down here. A little bit wet. It's okay. Turn that around a little bit. That when you kind of have as though it's facing away from you. So you can play with the positioning of where you do those little extra leaf tendrils. And really play with where that the rose hip is facing you coming on top of it. Are you coming behind it? Is it to the side? Yeah. So again, something for you to get some reference pictures. You study them, figure out what positionings you like for them, and then tackle it. So you have kind of two different kinds of approaches here. Something a little bit more big and more for painting and compositions versus something that's a little bit smaller that you would paint in conjunction with like different elements. So the other detail that I would like to add, so we're going to pick up another toothbrush. If you're just working with one set of six or two, you may just want to make sure that all of the color is wiped off from your brush. If you have multiples and you haven't used yet, then obviously it's going to be a fresh color. So go ahead and dip into your white and then pick up a little bit of that color mixture so that it's just a slightly different lighter version. Not slightly. You want it to be a pretty significant I shouldn't say slightly. And take your time to get it to the right mixture, right? Consistency and color. You can always pause this video as you're doing this stuff off to the side. And then what we'll do is we'll put some lines running through the rows have which not really something you would see in nature, but just a fun way to add some details. So you want to make sure that you're looking at the shape of the rose hip just because if you start painting lines through everything and it doesn't really line up with the positioning is going to just look extraneous and gratuitous, just something to be there without it's serving any greater purpose. So just look at what you're doing and figure out, okay, this is the direction things are, are facing. And really be sure about the pressure that you're using. You want to make sure that you are using a brush with a really nice tip to it. And that's going to allow you to make those finer strokes practice off to the side if you need to. And we're going to start here at the bottom and just kinda come up and create some pretty lines. Just a pretty little extra on top of these steps. And I'll do the same thing down here. And you might like this extra little stuck, or you might think it's just too much. I like the way it is. Not completely up to you with the smaller ones. Definitely. You have to be sure you're using that really, really tippy tip. And to get some fine. And even this too doesn't really do it for me. I would even probably use like a spotter brush that's like just kinda teeny tiny to make these lines. But I want it to show up. Painting in a little bit bigger. There you have that really pretty colors here too. I love this mixture of this psych pumped guinea orange, red, along with the, the lightened olive green. It's just really fun. So you might want to take some time and just kinda play with those mixtures to see what other possibilities there are. Okay, Then next thing we're going to do is Barry. So we'll move on to that in the next portion. 12. Sprigs: So the last little filler element that we have, I don't even really have a name for it, but I love it so much. It's so dainty, it adds so much rich personality to like a cute little pattern bill like this. It's these kinda, kinda like a lavender shape to them. Obviously not the colors, but they're so easy to do and they're just so much fun. You can kinda see there's a lot of really fun texture there. And while on their own, they may not be all that eye-catching or intricate when added to another element, they really do just sort of pop and come alive. So we're going to do those. I'm just real briefly together and and it works. Okay. So go ahead and grab you, still have that olive green and white mixture on your brush. Go ahead and reactivate it. And then go ahead and make your first little stem here. And then we'll do another one right here. And then we'll do our last one right over here. Okay, so for this, the only thing that is important is that you have that nice 90, 10 consistency. It will work if it's, if it's lighter on the base. But on the top layer you definitely want to make sure that it's chunkier. So we'll do kind of like a 50, 50 or even 25 percent wash, 75 percent water on the bottom and then we'll do more of a 90, 10 on the top. Okay? This is just real intense stuff right here. You're gonna take your brush and just dot. Which was a joke. Of course, there really is no rhyme and reason to this at all. Just kinda start making little dots. Nothing fancier than that. And you want to make sure the only thing is to just kinda have them pointing in a dramatically different direction. So that's all that's the only thing I would say like, okay, make sure you're adhering to that. And then this one can even kinda come down here. And then just still sort of playing here, just little dots and squiggles. And then we'll kinda give that a second to drive into a big one right here too, so you can see what it looks like bigger. Just a fun little aspect. And then go ahead and block off some of your paint and then pick up a little bit more of the white and then dip got back in like so, until you just have a lighter version of this color, make sure it's significant enough so that you can tell the difference. We're going to go ahead and just start laying on top. Not really thinking about it too much, just kinda playing. One of my favorite ways to paint. Just very loose. You can see that this is much lighter, so I'm gonna go ahead and add a little bit more of that in here too. And again, when it dries, it'll be a little bit lighter too. And finish off this ray here. That's all there is to it. Go ahead and do this one so you can kind of see what it looks like. Big. And then obviously you would have your stem right down here. There you have it. Just a cute extra little filler element that pause, just kind of interest, drama, intrigue, whatever you wanna call it, to a better build. All right, let's move on. Our next portion is flowers. I'm so excited. 13. Pinwheel Cluster: Okay, so the next little filler element is one of my absolute favorites. I use it in multiple, multiple forums in my own art professionally and then also as a teaching foundational block. And it's called the pinwheel flower or the cluster flower. And it is probably one of the most versatile flowers that I've come across as an artist. And I love using it in different ways to express different sort of feelings in my composition. So if you've taken any of my prior classes, then you'll already be familiar with this flower, which is great. If not, it's very simple in structure, which sort of allows and gives us room to make minor changes to create something new and different. So we'll kind of go through that together. And as far as color, really, you can use any of the colors that we've already worked with. I'm going to use that really pretty habit over here on my sketch book as well. This up pretty auburn kind of pumpkin II color, which was a mixture of the orange, red, scarlet red and Bird hopper and then a touch of the white. So for our pinwheel flower, give me just a moment. As you can see, I'm busy over here. I get it ready, and then I talk for a few minutes and then it's just not quite where I wanted. It can be a little bit of a perfectionist in that regard. So forgive me. And I am sort of aggressively mixing here, which is resulted in some shaking the camera. I apologize for that too. I'm using a great mount, but occasionally I just get a little too excited and everything's are still walkable. All right, so for a pinwheel flower, it looks like a pinwheel and that's why I named it that. So let's go ahead and just do our first stroke here onto our next one. And these are basically just simple strokes put together. So very, very simple, very straightforward, but there's so many different ways you can alter this to make it more complex and more intricate. There's just, there's so much possibility. So I'm going to dip into a little bit of the white as well. Because we're going to be using multiple colors to create our low flowers here. Alright, so let's see that again. And this time we're going to aim for a little bit more of a, a shape versus this is an open face pinwheel. So now I'm going to do the same thing. We're gonna kinda have it on its side. So you see how we're shaping that. So that here's the negative space in the middle. And then these petals up here are longer and thicker. This one's just slightly smaller and then these two are the smallest. So you can see by doing that plane with petal shape, you have, you know, not unknowingly because you're doing it on purpose, but created something that has more of a shape to it versus something like this that is just everything is pretty symmetrical. The shapes are the same and the lengths are the same. Let's try that again. And this time, we'll do shorter over here and longer up here. So now you have one that looks as though it's kind of tilting this way. So you can play with this very, very simple structure to create so many different results. That's why I love it. And you can see here, this is the same color just used with different degrees of the whitewash. Fun and play with that. And you know, what I usually do. And we'll create this together and a little bit is I'll paint in that darkest color and then I'll take this color and overlay it and create some really fun little special details. So just for now though, let's make sure that we've got our structure down. Just kind of taking them, the brush, guiding it around to create our pinwheel. Can even do thinner strokes. If you wanted something thinner, this obviously would be more petals. So many different ways to approach it. Alright, let's go ahead and create a cluster of these panels, which is one of my favorite little elements. So we're going to start doing that without the stem. So we're just going to create the flowers first in a variety of positions. So there we have kind of an open face. These are simple strokes where it's a little bit chubby, you're here than R. And then I'm just sort of guiding it around, leaving that open space in the middle that I can either leave blank and just provide some clarity to the painting, or I can later fill in with a different color. Now we're going to have one right on top, just kinda poking out. Oh darling, is that. And we'll just kinda keep working our way, imagining that we're shaping this cluster will do kind of one that comes off to the side here. That one's more of a closed pinwheel. So we imagine that this one is on its side, kinda like this. But rather than having that center in the middle, we have it so it's completely facing over, so we wouldn't see its center at all. Again, just another way to play with the pinwheel. And I'll turn my paper around just so I can get better angles. We'll do one on its side here with kind of a Smiley face stroke. And then to that when we have in the pointing down direction. And there's not much open space. There's we would only see like a little bit peekaboo of the center poverty now. And then at the very top here, we're going to paint some buds. So these are just really one stroke or two. And these are closed so that there are no center would be seen. So there we have a really beautiful structure of this sort of cluster flower. Next thing you would do is go ahead and pick up your brush that has the olive green. And now we'll go through and we'll make our connections. We're going to start the stem off to the side rather than coming in the middle and tell you why. Because if we were to come through the middle, we're gonna get some really beautiful structure. But if we come over here, we're going to get even more by giving this Twitter dramatic S-shape. And we'll just start making our connections again, like I said, this one's closed. So we have our little stem here and we connect that right through there. And another stem this way. And coming through here, popping through the back and carry it through this one, we can pretend that it's facing in this direction. So rather than having it open based, we have it kinda facing flat way so that the opening would be on the other side. And there we have our buds making some connections through here. And are really cute little cluster. So that's just bare minimum. That's really not doing anything. It's just doing the pinwheel shape and making a connection through the branches. So if we were to want to take it the next step, which I do, we are going to add a little bit of yellow ocher to the center. So grab one of your number two brushes if you need to. Clean one off, go ahead and pause the video and take time to do that. And now we're going to head into the middle here and just add one little kinda dollop of that yellow ogre. You're going to use it at the 1910. And really kinda take your time to just look and see, okay, where do I want to place this so that it feels like this is what's happening with that flower. This has just a tiny little bit there, and then the rest of them are closed. Very easy, very simple way to just kind of keep adding some really fun value. The overall painting. From there. If we wanted to, we could take another brush. Could use your number 6 or you're number two depending on what's available, what's clean, what you feel is the most points, either all of those important things and then can dip back into your Scarlett lake. I'm gonna go ahead and put that on my palette right now is show you and mix that up. Mixing that into my little pumpkin color. Not really to pick up that color, but just because it's the space that I have available. So if it mixes together with it, no problem. If it's separate, that's fine too. Okay. So if we wanted to add just one more further degree of interest, we could kinda come in here and add some fun little detail lines. So you can kind of see how that adds some really fun interest. And then what we could even do is add a few more buds in this dramatic color. Sort of just kind of carrying, I'll bring you in a little bit closer to so you can see carrying it through all the way to the end. And then we'll take our olive green and white mixture and come on through. So there we have a pretty detailed little cluster flower. We can even take it further. There's always the possibility that I think that's a good place to leave it. And then what we can now go in and do is to add some leaves like we did with our blueberry cluster. So let's go ahead and do that. So adding just some cute little offshoots there, I'm going to keep the leaves very dainty. So just like a quick little symbol stroke. Just sort of adding some richness to the overall cluster. Filling it in, making it dense in some areas and keeping it like loose and open and others come down here and do the same thing. This is a combination of those longer palmy, not quite so long, but just longer stroke along with the disc, the chubby, simple stroke. Just making sure I'm not adding things to add things that actually benefiting the overall shape. So I think that's a really good blend of there, some beautiful open negative space there. And then there are some areas where things are also denser. So I really feel like we played with just possibility if we wanted to even add a touch of the orange red on top of the yellow ocher. That would be one step further. It just be one more layer to just bring the eye inward. But again, you have to be careful as far as how much you're adding and just being careful not to overwork something. So we'll go ahead since we have these sitting right here, just finish off these as well. You can kinda see what that looks like. And it doesn't have to be yellow ocher, you could do anything. And these are really cute all on their own. So if you were to have like a pattern where you had this and then you had some that just were sort of free standing with some leaves. That would be a really cute way to put it all together. Show you you take your tip and your simple stroke. And you just start figuring out what am I looking at? Where would it be best to have some movement? Because that's always what we're working with, are making patterns. See how cute they sought. Those are just free standing. And then you could even do like a coupled together if you wanted to, and can make some connections there. You could go one step further and then mix this color up, either darker or lighter. So you could add white or you could add a little bit more of that Prussian blue to it and create some veins, and then you'd have even more. But I honestly think this is just an office, my own personal opinion. But yeah, feel free to just kinda play with it. And again, working with different water ratios, you have some that are more transparent like with watercolor, and then you have those like this that are more opaque. So again, play with all of that and really decide and define what, what you're drawn to. Okay, so that is our cluster or pinwheel flower. We're going to move on to The next portion. 14. Wild Roses: Okay, So come on piggy backing off of the pinwheel flower, we're going to create a wild rose, which is actually just the same structure. It's just bigger, it's blown up and with a few minor changes. So once you have a firm understanding of how to utilize the pinwheel, you'll see that sky's the limit because it works for lilies, it works for sweet peas, dolphin, free Asia there. So if you look at the structure of many of the flowers, it's just a variety of different pinwheels versus the summer or shorter petals. I'm at longer petals. Some are our 45 petals structure. Some are more in the six to 10 range. And so, you know, being able to utilize that to your advantage really helps to give you the confidence to move forward and tackled different flowers. So I'm going to use that seem really pretty peachy color. It's the red, scarlet, red, orange red burnt umber, and white. And like I said, any degree of that mixture is fine. I have this really pretty pink color mixed up. But if yours is a little bit darker or lighter, That's okay. So we're going to do because something that's just a little bit less structured. So we're going to still do the pinwheel shape, but we're going to do it in a way that has a little bit more free form. So start first and we're gonna kinda just scrub our brush, scrubbing rush. That's a pinwheel petal, but it's more of an a scrubby way. Again, scrub your brush. And again scrub your brush down here. And again. So there you have a basically evolved version of the pinwheel flower consisting of five petals, although two of them are touching each other. And if you look at wild roses, some of them have more of a curvy petal shape to them. It really just kinda depends on what variety of roses you're looking at. And I wanted to just show you something very simple and straightforward to start with so you can kind of see how it works and then we'll play with some different positionings as well. So again, let's go ahead and do a Wild Rose will do scrubbing. On its side. We have a flower the head a little bit more structure is not quite as so open faced. And pick up some more color here on my brush because it's getting a little bit transparent. So give me a moment to add a bit more white, which is not bad, but it shows up a little bit better when it's more opaque. And I really want you to be able to see, especially with black paper that has a coding authority of struggled to see. I'm lucky I'm working with a cloudy day and not having to guard the paper against the sun. If you've ever tried to photograph black paper, It's a nightmare. Okay. There we go. So give that a minute to dry. If you wanted to do something that was a little bit more structured in nature, just a bigger version of that pinwheel. I'll show you that here. Basically our simple compound strokes. So there you have something that's a little bit more structured. It is more curvy and soft versus these that have more of a rough crinkly edge to them. So we have a couple of different ways of approaching it. There we go. Who can be really hard trying to get the right angles so that the son likes the paper. All right, so now we're going to pick up a little bit of that yellow ocher. So I have it on my toothbrush and will come in again. And that center, and this time we're going to do kind of a center that fills out the entire flower. You can fill in that space because we're in a layer on top of it. This is just to get a kind of a two dimensional feel here. Again, we'll do it over here. And you can leave a little bit of space in between there. I love that as is, to be honest with you, I think that looks really, really cute. There's plenty of negative space in there so that you can see where there's some definition, where there would be some depth. That's super important when you're creating florals is to leave that space, especially with watercolor and wash. Now with quests, you could go over things and make it a lot more outlined and refined. But like I said, they tend to use them more like I do watercolors loose and not so structured. Ok, and we'll do this one as well. So now we have three working flowers. And the next thing I'm gonna do is rinse off my brush. And I'm going to pop down a little bit more of the orange red onto my palette. I've had my cap off for awhile, so of course, the paint is chunked up on me. I have to pop it through. All right, Here we go. So there I go on my palette, I'm going to just work it into the existing color so that it's kind of a cross between that red and pink. I'm going to go ahead and layer this on top of that yellow. This one college RIAA. So we'll start here. Kinda has a little daffodil field to it, to be honest, not really using the colors of a Wild Rose, which are more browns for the statement, but just really wanted you to get the shape. It's really cute little daffodil field to it. And you could opt to leave that alone. Or you can come in while wet like this still is. And create a little bit more structure. Again, this one too wet, which is fine. So really pretty glaring happens. So these are kind of three different fields. This is more along the outside of the flower. This is more on the inside of the flower. You can kind of see the difference here. And then this one's more of a thick middle. Now I'm going to put a little bit more of that scarlet red on my palette and we're going to create some detail lines. Still using that six brush, just rinsing off a little bit and reloading with that scarlet red right here. Really make sure you're utilizing the tip of the brush. Make sure you consistency that 910. And I love these little lines because that provides a lot of structure. So if you wanted to do something that was really super loose and didn't really have defined petals. You could use this technique to give some clarity to the flowers if that makes sense. So I show you There's just nothing cuter than stripes. I tend to just be a huge proponent of adding the details and sometimes can get carried away and overwork my paintings, but I always feel more rich for the experience. And again, you wanna kinda turn your paper around so they get the best access points. So you can kinda see that's a cute little field to it. Works really well in pattern building. Again. Cute little lines. Not really trying to think about it too much. But you can see what started as a very simple flower can, if you wanted to progressively get more complicated, we wanted to do something different here. We could add the red in the middle, and then we would finish it off with some leaves. So go ahead and get back into that olive green and white mixture. And we'll go ahead and start making some connections. And we'll give it some really cute little compound leaves. And you can use elements like this that are created to be on their own. But then you could take this whole little piece here and use it as a combination. I do that a lot when I'm making my cards all create single, single little elements here that I can clean up and use as kind of fillers. And then I'll create bigger elements like this that I can kinda twist and turn and repeat. Just trying something different with these leaves not quite as slender, thicker, really using the belly of the brush, giving us some really pretty movement. So you can kinda see that there's just so much potential and possibility. Always wanting to bend your stems and your branches so that things were facing in multiple directions. So that is our wild rose slash daffodil shape. You can do this with a variety of colors. And it would look more like a particular flower. So if you had a reference flower in mind, you can use this structure to do something that's more similar to that color palette. But this gives you an idea how it all works together. 15. Roses: Okay, To conclude, our floral portion of the element building, we're going to do a rose, which is, as you know, if you followed me on Instagram and just make journey in general, I love roses. I think they're just one of the most beautiful flowers to Pete. And I think instead of doing them in the reds and pinks weight will opt for doing them in this really pretty top. So it's that color that we used at the beginning that we practice water ratios with. So you may need to pop a little bit more on your palette and reactivate it and get it to that point where it's nice and opaque. So we're going to start with that 90, 10 ratio in the middle to create our board texts. That's what I call the center of the rose. And to do that, we create these tiny little C shapes. And they're basically just cuddling each other. And want to play with the thickness and the thickness of the strokes, then thick to really give it some variety, then you want to start kind of turning your paper, working things in different directions. Look for openings. This is an opening right here. To create a larger petal. Again, you're working in around for me. Here's my hack. I don't really visualize which direction I want the rows sometime they do if I'm working with specific compositions, but I love to just let inspiration just kinda happen. And I, I really do embrace the happy accidents. And so I see what shape the rows kinda wants to be. Which sounds like really like whoo, like new-agey and I don't mean it to, but I just I go with it. I'm, I move with the painting rather than trying to control everything. So this one wants to go in this direction. So I'm going to work with that. I'm gonna do my largest petal here. I'm going to come out and just kind of finish it off. And you can see we have a really beautiful rose. I'm gonna kinda just look at it for a moment, feeling like we're pretty close to having it done. Maybe just a little bit more there. I think we're good. You got to see this rose is on its side. We could add more right here. In fact, I will just to kinda show you what it would look one step further, but you can see it's already looking really beautiful. So that's if we wanted to close it off a little bit. There is a whole lot more on road structure in my other classes. I'm not going to cover it in great depth here because it is a lot of repeat material. But I just wanted to show you the difference between the watercolor and gouache row. So let's go ahead and do that again. We'll start with a little thinner bit. Come in, Connect that. And just kinda make these C shapes move quickly. Try not to overthink it. That's really the death of anything loose. This one wants to face this way. So I'm going to allow it to. Now we're going to start making our bigger petals. So there you go. You have something that is just a little bit different in shape and composition, but still it's that range of thick and thin. And just sort of cuddling that vortex, that center of the rows. You could even draw it out one step further if you wanted to do like one large petal here. So we start with that sort of sideways line and fill it in a little bit. And just make that rose really colossal. You go, now you have something that's a little bit bigger. So some more possibilities and options. For a rose bud. I would do something a little bit smaller. Basically taking my brush, pulling it down here. We'll do one over here. Simple stroke, coming over something thinner. Come up here for some back pedal. Maybe one more little line right there just to kind of connect at all. And just some really pretty shapes happening. Let's go ahead and add our leaves. Use our again, our olive green. To create some leaves. So let's come out here. And some really pretty big compound leaves could do the same over here. And make your connections with your buds. And there you have a really pretty little element that you could isolate and make for a pretty pattern. If you end up making a pattern under these elements, I would love for you to tag me on Instagram. I'm at Rosalie when papery. So I can see how we'll do the same thing here. Come out here, make some little stems. All right, so there you have our rose, pretty simple. There's ways to make it even more complicated using multiple colors to create the rows. But I think that's a good place to start giving you enough material to work with. We may cover that in a future class as we move forward with just dark wash study. But I've given you so, so much to think about and consider. I'm going to pull all the pieces out here so you can see everything that you've done. I've been really an amazing experience. I haven't. So like I said, studied this form in quite a while. And so it was really great for me to just revisit something that really led to where I'm at now with my style which is Something more loose and gestural. But this is, this is ground 0. This is where I began and I just loved being able to share it with you and hopefully inspire you on your journey. So let's pull you back here so we can see all of the beauty that we've created today. Before we work on our class project. We have our eucalyptus. We have our cluster flowers, and our wild roses. We have our rose hips and berries. And our little sprigs. We have our ferns. And we have at the very beginning, our compound and simple stroke leaves. So many beautiful things that we did today. I hope you've enjoyed every little aspect and just learning a little bit more about guage, how to use it, how versatile it is, how to maybe already just combine it into what you're already doing with watercolor. Because again, those mediums are just so compatible in something that you can use together. All, let's go ahead and dive into our class project where we are going to pull so much of what we did today to make a really pretty composition. 16. Class Project Part 1: I'm so excited, I can't wait to start pulling things from all of our practice today to make a really beautiful floral composition. So while we won't cover everything, we will pull from a lot of our practice pages and I absolutely encourage you to continue on your own and to explore more ways to put it all together. And just embrace the process of exploring everything and adding different colors and different techniques. There's just so much room for potential here and I hope that I've given you, like I said, plenty to think about, plenty to play with. And yeah, I'm excited. Let's put this together. We're going to begin with the way that we left off, which is with our top roses. I like to begin compositions typically with the biggest elements first, so we'll go ahead and we'll start with the roses, and then we'll add some wild rose. We'll do a little cluster, and then we'll finish with some berries, will be using the majority of the colors that were already on our palate. So just one last look here. We have TO, we have the orange red and the scarlet red that burnt umber, the white to make this really pretty pink. We also have Skype blue, yellow ocher, and then we have this Prussian blue and all of green mixture mixed in with a little bit of the viridian green. And the middle here we have the olive green and the white. So this will give us our leaf colors. And then we have a variety of other colors to play with. Berries and yeah, our other fibers, right? Put on a little bit of classical music in the background. Hopefully just kind of calm us down and make the process that much more peaceful and enjoyable. All right. Let's go ahead and mix up that top off to the side over here and we'll begin with that for texts right in the middle of our page. Make our next rows over here starting with the outer petals first. And then we'll gently start to curve it in Word. Just really working with the cutting nature of these petals. K. So that'll do it for our rows. Now we're going to do a little bit of the Wild Rose using that scrubby brush technique. So rinse off your brush or pick up a new 6 brush and dip in to that pinkish red. Again, because we're working with collage, it takes a little while to get the consistency where you want it, even if you've already created your piles ahead of time. Can't really use the loading. The brush technique was just kinda my game changer with watercolor because it dries and you just have to figure out how to get it back to where it was. So it takes time in between the steps, which is totally fine. Enjoy it. Turn the paper upside down. And we're going to create that open faced pinwheel for our cluster, for our Going over that layer one more time with a bit more of the desires. Winsor and Newton wash and permanent weight. Just to create a little bit more of an opaque feel. Now, with structure in regards to structure, I'm just trying to create a balanced composition here. So we have these two roses that are stacked on top of each other facing different directions. This really helps to kind of just show that there's some clustering happening here, which is what we would find if we were to arrange a bouquet. So that's the reason I do it then. And then I like I said, I like to work with the biggest elements and then kind of work my way outwards with the smaller, I'm more detailed elements. So now that we have something that kind of creating this beautiful S-shaped, we can kind of start to fill in the other areas, being mindful that we're working with a rectangle and we don't want to come up to close to the edges. Are we going to really lose the composition? Right? The next thing that we'll go ahead and do is create our PNL. So I'm going to dip into scarlet, red and the white. And I'm just going to create a darker version of this color. Now we're clustering them together so that we can tell that they all sort of belonging to each other. Giving them that pretty pinwheel shape, whether it be open faced or closed. And then also creating some buds here at the very top. Go ahead and do the same thing on the other side. Turning the paper to get easier access points. Okay, Now we're going to pick up our two brash and the yellow ocher. We're going to ahead and add some centers to our flowers. Just kinda scrubbing the brush along. Not trying to make things too structured. Do the same thing for our cluster flowers. But we'll use more of like a cute little button dot just to give it a different feel from our wild roses. Go ahead, grants off your number two brush or pick up another toothbrush and we're going to go ahead and add our berries. So again, that color was sky blue and our tie-dye. 17. Class Project Part 2: Using the same brush, just make sure that you've read stuff. All of that yellow hair, you're going to get something that's green. So that's what I'm doing over here on the side. All of my toothbrushes have other colors on them. So take me just a minute. I'm going to do is I'm going to add some berries and then I'm going to stop. And I'm going to add in the leaves because I really want to make sure that I give leaves a proper attention and I'm not just slamming and crushing them in there at the end, they really should have their moment and their time. That's why I'm leaving lots of different potential places to put them and giving them room to breathe. So I'm going to stop there and now I'm going to start making some connections between the cluster of flowers adding leaves and some bigger leaves as well. And then we'll fill in if needed at the very end with more of the smaller filler elements. Let's go ahead back into the olive green and the white. Or you can just straight use the olive green either way. Let's start here at the top. And I'm just going to be careful not to smear my poem through for berries. Make sure when you're making the stems that you are being mindful of which direction everything's facing in. Just being mindful of where I'm placing things. But everything has a nice flow and movement to it. He started unless one direction and then you're pulling things down in another direction. Can really see that our piece is coming alive here. Now you could connect these berries if you wanted to. And it give them like a whole little clustering feel oriented, just leave them as is. So it's really up to you what you wanna do. I come to like them just sort of hanging out on their own. Not really tethered to anything but just like a loose sort of feel. So I'm gonna go ahead and just leave them as they are. And I will start putting in some bigger leaves. Now, let's start over here where there's this big, beautiful pocket of open space. And I'm going to kind of just to be respectful of that open space and not crowded. Now you see I've drawn my leaf this way. I'm going to pull that leaf down to create even more movement. And then you can create some smaller offshoots here. I'm going to pull this through so that there's a connection. And then I'm also going to create a connection right here. So that you can kinda see it's all being gathered towards the center. Not everything will connect. I think if you try and do that with a loose form, you end up with way too much disparity. And there's not enough clarity to the piece for people to really understand. And we know m is stem here and we'll add a couple more leaves. And go ahead and turn it upside down. Simple strokes to create a few more leaves here. Then what I'm going to do just to add an extra little layer of interest, is to dip into the Lydian green, which is a color we have not used. Show you it in. It's to just add a little bit more playfulness to our leafs. Not unnecessary step, but just wanted to show you, if you wanted to add things to the playful. This one isn't quite dry yet, but that's all right. There you go. Don't have to do that to all of the leaves. In fact, I would not encourage it just because it starts to get a little overwhelming. But here in there at these little touches of adding more color, just really give so much more interest in range to the piece. So you can see that all of these colors work really beautifully together. You could even had in here with one more degree of colors. You could plop in that orange red or that scarlet red and really make those centers pop. Or you can leave them as they are, just sort of resting softly. This is a very soft piece. It didn't go for much boldness here. The blue and the red together make for a really harmonious composition. If you've taken any of my other classes or taken my resource guide and purchase my resource guide, which I talk about why colors work together and how to build a composition, basically the art of streaming together different elements in a certain way. I really walk you through the whys behind all of my decisions here. So if that's something you're interested in learning more about, you can head to my website and under artists resources, there is so much information. There's a watercolor supply guy. There are watercolor color guides, which is just basically all of the recipes to the colors I use in my work. And then I also might newest creation or the quash guides. So basically the same thing where I show you all of the different potential between Mitch mixing colors to create a beautiful palette, vintage inspired swatches. So lots of different things that you'll find there, along with a few more classes. So all in all, I think we did a really great job covering a ton of information in a limited time. I said I'd hoped to revisit a lot more of wash in the future with more focalized classes where we have like one subject matter that we can really explore together. This is like a mishmash, everything kinda showing you basically the potential. But I think in the future we'll kind of get back to more of our specific study lessons where we will be able to really closely examine a flower and pick out what makes it so special. Thank you so much for joining me today. I really hope you had a great time. Please share your projects with me on Instagram and I would love it if you would take a moment to leave a review, be creating to you my friend.