Holly and Berries - By the Book with Sweetseasonsart | Sweetseasonsart Cris | Skillshare

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Holly and Berries - By the Book with Sweetseasonsart

teacher avatar Sweetseasonsart Cris, Happy Holiday Wreath Class is Live!

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

6 Lessons (35m)
    • 1. Introduction

    • 2. Holly Supplies

    • 3. Berry and Leaf Basics

    • 4. Building the Branch

    • 5. Adding Detail

    • 6. Final Thoughts

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About This Class

Come paint holiday holly and bright red berries with me using vintage botanical art as inspiration!  This is the second in my "By the Book" Series and it's geared toward more experienced beginners and intermediate level watercolor painters.  I'll take you step-by-step in creating leaves, berries and building your branch.  Your assignment is to paint your own branch based on these lessons!  Happy Painting!!

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Meet Your Teacher

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Sweetseasonsart Cris

Happy Holiday Wreath Class is Live!


Hello, I'm Cris, the founder of Sweet Seasons.  Welcome!!   I am a watercolor artist based in Richmond, Virginia.  I love all things bright and floral and I have a special affinity for wreaths!  My style is described as loose, but I love finding inspiration from vintage botanical art and nature.  I hope you'll join me for a wreath class or maybe for one of my By the Book series where we loosely interpret vintage art.  You can follow me on Instagram at @sweetseasonsart and find my Society6 shop at www.society6.com/sweetseasonsart  Thank you for visiting and happy painting!!!      

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1. Introduction: Hi, I'm Chris. It's sweet. Seasons are welcome to the second in my by the book series. I'm excited that you're joining you today. Today we're gonna use botanical illustrations to paint some winter floral elements. So we're gonna start with some holly and Berries the book will use today is called Treasures of the Royal Horticultural Society and start just online. And Brett Elliott has absolutely beautiful illustrations. We're gonna focus on this one today looking at the leaves and the Berries and machine. So thanks for joining me. I'm really excited. Let's get started talking about supplies while we paint again together by the book. 2. Holly Supplies: So let's talk about our supplies. Anyone who's painted with me before knows that I like the arches watercolor block, but find your watercolor paper driven £40 cold press tape it down. If it's a single sheep or get a block, any paper will dio next. We'll talk about our brushes. I have an assortment here, uh, Princeton or brushes. I have some. His NR brushes here is Wallace and pigeon letters brushes. We probably won't use anything as large as an eight or 10 on this project. I'm thinking we'll focus more on six for the larger part of the leaves, and then we'll really use this to a lot for the Berries, much smaller. And we'll need that. We might do a little bit of tiny details with these little minis, just like a zero or zero slash two. So find those ranges of round brushes. I got a list of paints up for you, but let's talk quickly about paints for use or reds. They're gonna be over here. We're going to use Scarlet, lake crimson and pearling room. Those will be our main breads that we use for our Berries. These are all Windsor and Newton Paint greens we're definitely gonna use are all of these greens undersea, goring, sap green and maybe a little of these two olive, green and green gold. This will be about four greens that we're gonna use May pull in a little indigo for our leaves. I like the bluish effect on the holly leaves but will mix all those together and make some beautiful green. We may also add a little Mars black for shading on the leaves from time to time. This while and And I'll tell you as we go toe that darker last but not least, guys, we just need some water. Mine is not clean, gets a clean water and, of course, paper towels for drying your brush and blotting. Remember, ready to go, Let's go paint. 3. Berry and Leaf Basics: Let's quickly look at the photo again before we start to paint. Really gonna focus on the Berries right now What? I'm noticing our shadows, the fact that you can see some whole Berries and then some other just parts of Berries air peeking out behind leaves and they all have a little bit of shine to them. So grab your two or your zero. I think I'll probably used to mostly on these. So I want to show you some that I had painted earlier just to show the composition of the Berries, how they're clustered. But then there's some space in between. You can paint them either way, but we have to pay them one at a time and let them dry if they're gonna touch so we don't get a lot of bleeding. So let's start with our very first. Very. I'm mixing a lot of Scarlet Lake in here in a good bit of crimson. Let's pick a spot on the page and really just make so make a hollow circle to start. We want to leave some white in there to show the shine on the Berries, so we're gonna picture the light coming from the right here, so that's where it would hit the berry, and then we'll fill in the rest. It's pretty much that simple. Rounded out a little if you want. Always start small cause you might want to enlarge it and you shape it. It gets someone big, self. We're gonna add some more Berries next to it. We're not going to touch it right now, because if you do, they'll bleed together so well. Space out some of the various that will see as cool Berries and then later, when these air dry. Well, tough. Some Berries in behind. Remember your light hitting it? It's coming from the right and remember, start small. So when I go to shape it like this, you can see it gets larger, so same process each time. Make a hollow circle. Leave a little white spots on the right hand side. Think about the light hitting outside. Call it out so it's a little more around, or the shape that you like way. Think about where the lights coming from when we go back to our first ones that are still wet and drop in a little more dark pigment on the far left side that adds even more of a shadow effect. It's a light is coming from the right hand side, so you have both the little white dot of shine and then also have the very getting A little darker, as as it moves away from the light and pick up some of the pigment. If you dry your brush on could pick up some of the pigment in the water from the one side to make it lighter on that side and then drops more pigment on the other side. Let's do one more by our very first berry, and then we really need to wait for these to dry while we move on to working on some leaves . Let's look at these leaves. Barberis drive. Start with some Saptari, Mix it with some all of media and some of the undersea days. First thing we're gonna do we look at this leaf is check out the center makes one arching vein, very pale, all of the green, the beginning just going to try to mimic with pointy little swooping shapes that go around . This is gonna take practice. Just make little see shapes very fresh. Starting point at the top of the league. I make a shape that is literally sort of one side. Fill the center mostly with water. This is gonna be a wet on wet technique. Before, we were obviously just using what I'm dry because I want to drop some pigment in here and I wanted to flow around filling in shape here are not really going over my center stand very much. They're not perfect. They're not perfectly symmetrical. You can see guys, that's fine. No leaf is going to be perfectly shaped. So let's get some more darker tunes. Let's get darker, sad and some dangle Smith Undersea green gonna kind of outline the see shapes that I just did bring out Maybe the points a little bit At each spot of my top of my sea Bottom of the sea I'm just gonna outline what we did with this darker green We're still in Not all the way to that centre V, but right up to it. Add some pigment in here. I want to leave the very center of this section of the leaf light. If you look at the example, you can see how they're highlighted along there. So in a really dark and along the centre vein to add depths and then under the dark in a little along the edges to and I really like the way it's bleeding towards the center. I love that effect, so I kind of like just how that half a leaf is looking. So let's go ahead and try to put in the second half of the leaf here, so same process will make thes now backwards. See shapes. I don't have to actually match up exactly to the other half leave. I just want to bring it out to a point at the tops. It's cool that out a little. You can see they don't match up there. Close. Do the same process of adding water in here, right up points drop in the pigment, just just like we did. So fill that up. But don't touch the other side of that. Makes sense. Don't have the water touches glued together, trying to keep these as separate halves of the leave, so we have a very clear demarcation down the center. Again, we'll add in our deeper, deeper greens along the edge. Seven point if you get too much water just just pull it out. It's fine. Dry up your brush and pull out some of the access. One. Tip your points little better as you go, so some light flick kind of it along the edge fill it a little more of that dark right a center quick. See how it makes the center of the leaf look like it's indented. Almost right. So it gives you that since so I like how that Leavis looking. It's one of these leaves. You can see the whole thing. We will come back to tucking in some leaves later and maybe add some feigning in some detail. But I think for now that one's good buries air about dry. So I want to start back in with adding in some of the Berries that are tucked away, you want to use a lot of the pearly. This is a darker, much darker to. Now we're gonna tuck some very easy. So just picture where the Barry would be right. Picture the shape of the very falling and behind you can get kind the height, shape and again start small. I almost trace a line sort of thinking about where the very would be to paint this one fully right. Not leaving shiny parts. Have it so tucked away, right? And that just shows you the depth so moved to your zero. If you want you on these, you're gonna be a little bit smaller. You don't wanna pay over a year prior Berries that this will give you a little more ability to do tiny detail. Just fill that out. So whether talks more in picture where they would fall look a little bit at the inspiration . So this one sort of 3/4 showing in the light, the lights heading it so dot commune in the darker pigment, it's tucked behind the two existing Berries. So let's just continue to build our clump of Berries, picturing the light from the right and building out a way. This is gonna be our stock coming out from left to right. So let's just build up our Berries and remembering to drop in some shadow. You still have some what pigment? We can add that shadow back in. I don't really plan this out before I start. I just kind of see how the Berries arrange themselves. And so let's just keep doing that in building out our Berries as we go, I wanted to show you guys a separate example from the same book has just a little bit different arrangement of the Berries. You can see they go a little more along the branch line here. I just let it be fun to see another example still looking at the shape of the Berries and the shine on them to continue building our branch. Let's add in some of the shadowed leaves or parts of leaves that we can see along this holly branch. So I'm gonna work on getting a bunch of my sap. Green and Daniel Smith do these shadow leads, so they're gonna have to be darker to show where they come out again. We're just gonna start with our base, which is gonna be center vein. I'm gonna do this leaf exactly like we did the other, but we're really going to see a portion sets tucked underneath here. You concealing a vein that this is where are Scooby sees every start from Picture it where they might come out from under other leaf same processes before sleep is turning a different direction. Obviously, what we're going to start off. We're gonna build our center line. R C shapes do the process when we fill it in with water. But that's okay. Just keep going with slow it out is movement. I turn what wasn't planned into something that looks natural. This happens every time I paint. It's totally normal, and now we'll just work it in. Work it right into the painting that this league has a lot of movement out of the tip. So now we're gonna go with that very, very dark pigment. A lot of the undersea green, mixing a little sap with it if you like. Get the green the till you You like prayer for your hol. If you want to add in some of that indigo along here is where it's tucked under the other leaf, so this is definitely going to be a very shadowed areas. Load up, Load up your brashear pigment. Let's go in right along the other leaf. It's nice and dry right along the points of the other leaf and really darkening in the shadow that our first leaf it's casting one second. Remember going dark in along our center bain, but it may be open to take that all the way out to the tip. I'm just gonna continue unless darker pigment longer. But you guys now have all the techniques right that were used to do the leaves and Berries and to build out our bridge. So in our next segment, we're just going to keep doing what we've been doing. Keep layering in our lives, and then we'll go back and add additional Berries to bridge. So flush out the points of this leave, get the rest of the coloring, and then we're really going to start to make progress. I'm building out our whole bridge. 4. Building the Branch: Now that you guys are experts on leaves and Berries, let's build our branch out this way. Gonna tuck a leaf like days right in here. Between these two first pain, it's a little center vein who have it heading in this direction. Imagine where the outer edge would start because it's tucked under both of those leaves. Get to a point and again picture where it would go on the other side. It's gonna disappear behind the Berries. So we're going to have to serve, use our imagination on what part of the leaf would show and how would flow underneath the berry, so to speak. So think about that and then pull out your C shape Here, you can meet up, need up at the point up here. So let's fill in the one side and then we're gonna work on other. So as we work our way on this side, we're going to get to the point where the leaf is tucked underneath the Berries. We're gonna get this area nice and wet all around here, and then we're gonna shadow behind the Berries, just like we shadowed along the centre vein or under the other leaf we'll need to shadow here because the Berries would cast a shadow. So add your darker tunes to the edges underneath the Berries and then down at the base of the leaf, where it tucks under the other two. So you can see we're just using the wet on wet technique here to drop in pigment right in those areas where he wants shadows. I want you guys to see on these leaves that there is a little bit of this green Goldy color that we talked about before. I would just add a little more interest to our leaves if we put a little green cold in there. So as this leaf is what I'm gonna drop in some color at a couple different places, just kind of ad, although the little warps to it, I think so. These leaves don't get too cool, and it makes some variation some other leaves that we you can ask them in the beginning. But you need to go back with some water and sort of gently brush it in those air dry. It's not too late to add a layer with some other color, but you'll just want to lend it a little bit with your brush, and you can do that by blotting off your brush and then blending in the paint to the dry areas. So I think it's time to add another leaf, and I think we'll add it between the Berries here. So this will be interesting from a shading perspective. But just put the vein here, maybe carry it through this way again. I'm not making the veins really straight, cause I like some of the movement to the leaves. So let's add our next leave here on the end. - I'm gonna add more green gold to this While I'm thinking this is gonna be maybe the underside of a leaf the way it's kind of flowing off the end of the branch. Maybe you're seeing the flip side of this one, so I will add the darker tones around the edges and a little bit as we get closer to the center. But I'm gonna leave the underneath side of this, leave a little bit lighter with a little more green golden. So I think we're ready to start our next sleep talking into this empty space here and it will turn down. Let's do the same process that we've done before. - I want to show a little bit here how we'll attach the Berries just now that Seles is dry. Just to show you how we'll add some stems in here. We will do a little more this in our last segment, which will be on the details we add in actual stick part of the branch, so to speak. I just want to show you how we do that. And now we need to add some more barriers to this. Definitely need some more red. We have our one clump out here, and I think we're gonna add some on the top side here and then down below. So let's paint those in the way. We paint the other ones one berry at a time, starting with the whole Berries, thinking about again where the lights coming from on. Then we'll wait for those whole Berries to dry. I will tuck the other ones in behind them. Do a couple up here in this side, our original leaf on our problem descent down below it as well, I think maybe three clumps of Berries. That's a nice sort of odd number. Would you like to do an odd nobody believes is. While it keeps, I sort of moving through the piece. So let's for on adding in additional additional clumps of very ciric in hiding some behind the leaves. Now I only see sort of a portion. You gotta think again whether the light would be hitting maybe still on the tip of that. Now, instead of shading the leaf where it's tucked under, we're gonna shade the berry where it's tucked under the leaf. No ads, um, dumbbell on this side and again, we'll hide and tucks, Um, as we go have a nice, cheap Berries I like. I need another leaf here. Maybe maybe down below here. I mean, they're with me one more time. I feel a little unbalanced. And I think this leave here will help just round out our bridge a little bit. - I think we need to go and adds more Barry's to this clump down here. It'll fill in this white space a little and like this group of Berries a little bit more substantial, we won't do either one of these as large as our initial compro Berries. That's going to be sort of more of the center, but we'll added a few more as we go and as they drive okay, I just want to slow things down really quickly. You can focus on tucking Berries back behind the others. Take a minute to get that dark crimson in there and finish off. The last last few Berries here were very close to the end of this segment, and our final segment will be to add in some of the final details. Those will be your choice. Whether you want to add those in, put the stick part of the branch in will add some stems for the Berries, and we'll talk a little bit about vain ing and washing Elise. 5. Adding Detail: Alright, guys, let's start looking at the white space along here where the leaves come together and thinking about how the branch would actually lay in here. I think this branch has sort of a swooping curve to it. You're going to start off with some very watered down or raw number just gonna lightly, almost like shade in where I want the bridge to be with water, good mix and greens and with our brown's, so they blend better with brains. If that makes sense, we mix in a little of the greens you've been using with the brown toned. Then you know they're gonna coordinate the other brown tone. I'm gonna use this soup, AEA, but I'm going to use that along the very edge of the bridge. It's a darker tone, and it will give the effect that the branch is rounded will look like the edges. Air farther away will be darker, so your C p. A. Is more for just among the edge of the bridge. And then maybe to pull a little insane Victorian child. Some remarks and variation on it, like a riel bridge would have what's move along the branch through the leaves and think about where a little part of it might stick out. As we add in some of this detail while it's wet along the edges because it bleeds. Think about how it flows down towards me, and I don't think you'd see it many places. So I'm going to be sort of particular about where, where it shows behind the leaves. Maybe the way you've paid to do relieves or the angles that you're leaves are going more of the branch might show, which is fine. Just fill in those areas, thinking about the shading a little bit, but it really does add something to the peace. If you have the little details, like like the branch peeking through and a couple of areas we won't spend, Ah whole time of time on that. But I do like to show it where it might be and to remember to add a little off the c p A to the edges. I'm keeping the we're very center where you can see it light again, thinking about the light, heading it, warming about me, a little more court number. Use the brown, so you like them. Some people might like a little more true, Brown simply might like a little form. I think we need to make sure we're attaching the rest of our Berries here to the stock. So go ahead and think about where those little branches might come out. They're not missing in a show or comes straight off of the main branch, probably going to come off these branches that are behind the leave. So think a little bit about the angles of your Berries and how you want the stem to attach . Not every Barry will have its own separate stem, either there growing next to each other, and they're sort of attached to each other, and some of those stems will be hidden. Now I'm just taking a little CPF and to add a little extra detail to the burying, putting a small little dot on the This makes him look a little more natural. And again, you don't need to do this. If you don't like it, don't add the dot. Leave them just with the red and the shine on them. Add in some more shadow. If you wanted. That's totally up to you. I kind of like it adds a little more botanical illustration. Look to it. But if you like it with just those nice round reds than leave it alone, by all means. So now that those were on let's talk about veiny, I don't need to vein your leaf. I think I'm going to do it. I'm not lightly. Sort of Put a few in here and see if I like it. Our inspiration definitely had some vein, so I'm gonna put into very short flicks. I like it. So I'm gonna maybe dark in them a little. This is sort of picking a spot and looking your brush out. Like to sort of make a little dark dot and then flick the brush. You can see that motion zoom in If you need Teoh are stop and pause and rewind and look at it again. But pick a spot on the center and flick it out again. This is personal preference whether you want it or not. Kind of like it doing a little bit on most believes I won't do it on the leaf that we're looking at the backside. That woman. So the last thing I'm thinking as I look at this is that some of these air pale, and I'd like to judge it up a little, so I think I might make a wash. No way I'm gonna make my wash is with the green gold and a extreme amount of water. See, I'm using a larger brush here. Six. And I'm going to really mix the green gold a lot of water into the undersea green, but I really want to keep it. Very light and tail just wouldn't add a little extra color so you could do a wash. When anything is dry, just add in a little extra something. A lot of times it's called a yellow wash. Will do in yellow be over an apple or something You're painting. It just brings out the reds a little more brings out the colors. This is pretty subtle, but I just want to add a little more color to it. A little warmth to it. So I'm gonna take my green gold and just wash over these leaves. Now you want to make sure you're getting to the points that you're really covering the league with the whole wash so you don't leave lines and marks. You can dry and get some of it off if you want to add a highlight or if it's just too much color for you. But I think it's a really nice affect, and then when it's wet, you can go back in and touch up your shadows. If you with This leaf is tucked underneath in those things, and since you have wet night, can do it more wet on ladder. Not dark enough in the centre. I'm gonna wash each of these leaves, probably with this bright green gold wash and then maybe again deep in a few of my shadows . That's up to you guys. I think the bridge could stand on its own the way it is, but wash it and see if you like it. I think it's a nice effect. Well, if you have stuck in here with me through this guys, you have done it. We painted your branch, your Berries or leaves your shadows, and I'm so proud of you. And I really hope that you like the way you're painting turned out today. Join me for some final thoughts 6. Final Thoughts: thanks so much for paying me today. Help you. I really love to see your projects. Please post them with the class. I love to view them. I love giving feedback and I love answering your questions. I appreciate your pain with me today. Help you put these elements together in your own way and make something special for the holiday season. Thanks. And I look forward to the next time you pain together.