How To Create White Watercolors | 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 (1h 60m)
    • 1. Introduction

      3:31
    • 2. Supplies

      5:45
    • 3. Reference Pictures

      3:03
    • 4. Setting Up The Palette

      2:52
    • 5. Swatching

      6:38
    • 6. Color Recipe #1 (Burnt Scarlet + Payne's Gray)

      6:34
    • 7. Creating White Flowers

      12:04
    • 8. Adding Darker Petals

      7:08
    • 9. Detailed Veins Demo

      12:38
    • 10. Outlining Flowers

      5:40
    • 11. Mixing Color for Flower Center

      2:36
    • 12. Painting The Flower Centers

      11:53
    • 13. Color Recipe #2 and Swatching (Sepia + Payne's Gray)

      5:26
    • 14. Preloading Brushes & Loose White Roses

      6:52
    • 15. Color Recipe #3 & More Roses (Rich Green Gold + Sepia + Payne's Gray)

      8:23
    • 16. Final Thoughts

      2:00
    • 17. Class Project

      16:50
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About This Class

I think the majority of us can agree watercolors are MAGICAL. The way they move around the paper without very little prompting can actually feel like a certain kind of sorcery. That SAID, they can also be incredibly challenging to navigate, as they depend on a knowledgable hand to prepare the canvas and steer the brush.

Although there are many facets of watercolor that are both wonderful and challenging, perhaps the most formidable of all is how to create and approach white watercolors. They are mysterious and fascinating, and once understood, capable of adding a layer of delicacy to your work that cannot be matched by other colors!

In this class, I will take you through all the steps needed to create gentle whites, utilizing color-recipes from The Enchanted Series from my Vintage Color Guide (More info about Color Guides can be found on my website at Rosaliegwenpaperie.com). We will create THREE recipes and apply them to three different styles of flowers. I'll also show you how to create varied consistencies of washes to create white flowers that feel loose in nature with a bit of botanical flair - that extra little something that lends character to your flowers.

SUPPLIES:

Canson 140 lb. cold press paper

Princeton round brushes, in a variety of sizes, specifically 6,8, and 10

Paint: Winsor and Newton Paints

Sepia

Green Gold (Daniel Smith) - this color can be substituted with yellow ochre if you don't have it

Quinacridone Burnt Scarlet (Daniel Smith)

Raw Umber

Payne's Gray

Lamp Black (for the center)

Sap Green

Palette (or salad plate)

Cup of water

Paper towel to blot

Meet Your Teacher

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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

Related Skills

Illustration Creative

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Transcripts

1. Introduction : Hello, my friends. And thank you for joining me for what is now our fourth skill share class together. I can hardly believe it. I'm so excited. You may or may not have remembered that I was pregnant while filming The last closet is constantly out of breath. Well, I am no longer pregnant, and I am now the proud mom of two baby girls. So, like this very full and wonderful very disease. However, I did manage to squeak out this class, So feeling pretty proud about that when I was over on Instagram and I pulled the community as to what you guys wanted to learn next. This was the resounding request I received, so it's kind of a no brainer. We are going to be covering white water colors. There is so much mystery surrounding white water color. I get a lot of questions about whether or not do you use Whitewater color and be addressing all of those mysterious aspects of Whitewater color in this class. This is my specific approach to white water colors, so you may have seen it taught in another way, which is wonderful. I think every artist has something special and unique to bring to the table. So I'm hoping that this will help you just approach Whitewater color in a way that feels peaceful and allows you to feel confident. That's always my hope in sharing my process. I did want to make mention of two different things, the first being that we are going to be referencing the enchanted Siri's color guy. Um, if if you follow on instagram, you're probably already very familiar with color guides. But if not, you can had to my website and have a look. The color guides were basically just a very close look at the recipes behind the colors that I use in my work. So, um, for this cost specifically, we're gonna be focusing on whites. And so the Enchanted Siri's is a series that I did covering how to make all sorts of different colors that represent white. You do not need to purchase it for this class. It's only if you are having so much fun creating white and want to continue the process at home. And, um, you know, just be able to continue than then it's there for you. Um, we'll be doing three different colors from that Siri's. I picked out three. That kind of covered the whole gamut, but this is it. This is what it looks like. It's 15 different colors. Like I said, that represent kind of the white scale again, do not have to purchase it. It's just there for you if you if you want to keep going. The second thing is that this is more of an intermediate class. My other classes are definitely more beginner based. So if your brand new toe watercolors, I would definitely suggest you head back to one of my previous classes, maybe calm flowers or tulips and just have a nice go through for that because that's gonna be more of an introduction to a water color for this class. Specifically, we're not really gonna focus on the creation. I'm not gonna explain how I'm making the flowers, whereas I go into great depth in the other classes because I really did want to focus on just the making of the Whitewater color. It's a whole lesson in itself and very comprehensive and wanted to give it its due time. So those are the two things that I wanted to mention before we dive in. Other than that, I'm so excited. I think this is gonna be a lot of fun and let's get to it. 2. Supplies: so briefly, Let's go ahead and go over supply list. We are going to be using a variety of paints today, but for the most part they are Windsor and Newton. And then we also have to Daniel Smith extra find watercolors. If you, um, have talked to me about watercolors before, I get a lot of questions about what are my one of my favorite brands. This is sort of an area where you have some leeway. So if you don't have these specific brands, our colors, as long as you are using an artist grade quality water color, you're gonna be just fine. So we there is some room for some mild substitution here. Definitely not like an arts and craft watercolor, but so long as you're using quality on the colors, so long as they're similar, will be just fine. So we have Winsor and Newton Payne's gray Windsor Newton, and these are all the common except for one. So we have 10 noon sepia, we have raw number. We have lamp black and sap green. So that's all the Windsor in Union, um, of the common. And then they also have the one Windsor and Newton professional line. This is the ultra Marine Violet and then are to Daniel Smith extra fine. We're gonna use rich green, gold and quinacrine own burnt Scarlett. You want to make sure you have a palette or a salad plate, as I like to use often around here because the porcelain really does help the paints to collide a lot more smoothly, You won't be stifled by the beating that happens on plastic pallets. So I talk a lot about supplies and my other videos so we won't go too in depth here. But a porcelain, um, palate is my preference. We also have a variety of brushes here. I do prefer Princeton brush, but again, if you have other brushes at home that you love and you found that they were great, feel free to use those. My biggest brush today is gonna be a 10 and then I also have 3 66 sixes and eights are going to be the most versatile. But any of these brushes, because they have such a fine point to them, we're gonna be capable of big belly work and then also find tip work. So this 10 is gonna be really versatile for us as well. And then we need a cup of water, clean water, paper towel to blot and then optional. Here, Um, if you follow me on Instagram, you are probably already very, very familiar with my color guide, so I won't go into great depth here. However, if you are brand new and you have no idea what I'm talking about when I say color guide, um, feel free to head over to my instagram and, um, make your way through that highlight reel basically very, very shortly. I created a whole line of colors by mixing up other colors to create what you see here. Um, this is our enchanted Siri's, which focuses on whites, which is what we're here for today. So we will be utilizing this. This is optional. You don't have to purchase this, but if you enjoy just the content of what we're what I'm sharing with you today and you want to kind of expand on that and see what other options you have to create whites. This is a great one, um, to using your work as you approach white. What watercolors? There's also for reds and corals and There's one for blues and lavenders and golds and greens, and then I also have a pastel guide. I do recommend, though, if you are brand new to color mixing that you begin with the original vintage color guide because it talks about how we mix up the color. Um, and where is the other ones are just specifically the recipes to create each individual color. So all of these air mixtures What's gonna be so awesome today is that I'm gonna actually be able to show you the amount of paint and water, which is something I'm not always are not ever able to dio when we are working through digital formats. So this is gonna be incredible just for us to be ableto do this together, you'll be able to see exactly what I'm pulling out of each individual paint, how much water and adding, and um, yeah, it's gonna be a huge asset. So, um, a note about that today we are really going to be focusing on, um, the the creation of the watercolor itself. So if you're looking for more of like a floral, like how to create florals, this is probably not the class to start with. I have loose floral elements and tons of other resource is for that. We will make flowers and leaves and and definitely include that and what we're doing today . But it's not going to be the main focus of like, you know, how do I move my brush to create this pedal and so forth? It's gonna be about how do we actually make the colors? Because if I'm just being extremely honest here, um, I do more prep work on the palate that I do on the actual page, the painting part is actually quite brief. Um, once you laid the color down, it's a matter of letting it do what it does and then going back into add details and what not? But all of the important stuff is what's gonna happen right here. So you're gonna watch as I pull out color from two different colors, mix it, add more water in draw it out. And, um, that's how we're going to basically proceed with this class is just through the, um, the focus of creating these watercolors. So I didn't want to just say that and make mention of that cause if you're looking for a specifically specific full oral instruction, definitely go back to one of my other classes 3. Reference Pictures: So any time I'm working with a new color or a new flower, it's always a fun and incredibly beneficial part of the process to do a little or just take a little time to research the flowers that I'm working, whether or the color of the flowers that I'm working with. So, um, you know, before we begin a project, especially with commission work, if that's something that you intend to dio, the more familiar familiar you are with your subject both, you know, like the composition of it and the color of it, the more confidence you're gonna be able to bring to the page when you're creating, which I think is something that is so inherently important to us as artists to be ableto like come with confidence. So I really want to emphasize that it doesn't take Mom just a couple minutes for our purposes here, since we're gonna be focusing on white flowers of the first flower that came to mind for me was a white an enemy. They are such a beautiful, simple but also intricate flour. And so what I did is I just went through. I did a quick Google search and I just found a couple different positionings of flowers that I liked and just started doing some very loose compositions, which is what you know, you saw over here is doing some subside angles, some open face and then adding certain details back in. You know, once everything was dry and really just kind of experimenting, you know, just with the shapes of things again, this class is mostly going to be about how to create watercolors and how we approached white water colors. But again, this part will be useful to you and something I think that you'll take take into the any project that you're working on so it doesn't have to be a white an enemy, but that's the one that I'm going to use today. And then we're also going to dio white roses and then we will head back in and we will use our beautiful grains to accent thes white flowers again. Feel free to utilize that vintage enchanted Siri's. If you're wanting to work with different versions of white, that is totally okay. What I trying to dio if we're looking here, is to pick out three versions of the white from the enchanted Siri's that kind of cover the realm of all the colors that I created for that Siri's. So I picked out one that more of my, um, cool brown kind of a brownish black. And then I did one that's just slightly warmer than that little bore, a little more on the brown tones and then one that's more of a yellow green. So all of these tones can used can be used essentially to create whites. It's just a matter of how much you are adding on and how much water you're adding, and we will cover all of that as we move forward. 4. Setting Up The Palette: so I wanted to take a quick moment to talk about the way we set up our palette. This is something that is completely artist preference. I don't personally believe that there is a right or a wrong way to do this. I've seen artists to it in a multitude of ways, and I think it's mostly about what's gonna work for you in your process. I talk a lot about process as an artist, and and that is something that is way more important than the actual art. It is the process in which you create the art. Is it serving you? And if not, it's something that you need to change up. So I'm constantly changing the way that I do things in order to make them most peaceful and and the way that they served me. So when I'm creating a piece of artwork, I will set up a pellet differently. So if I'm just gonna be focusing on color mixing, what I'll do is I'll set up the colors that I'm gonna be using right next to each other. So I'm not having to lean across the palate on, you know, drag colors, but haven't right here being able to pull them down right here and mix is just It's a small thing, but it's something that just makes the overall process so much more smoother. So I just want you to think about those things. Ah, lot of times when we like, get to the painting part, we sort of clam up when we have anxiety about approaching Ah, blank page And, um, you know, putting the art on it And so setting up your workspace in a way that's going Teoh again serve you is just going to help you be able to focus that energy on what it is that you're working on and not, you know, trying to figure out. OK, what was I using for that and how much of that color bugging? But planning ahead a little bit is really gonna be a benefit. So for this certain project, I do have things sort of scattered over the palate, but in a way that makes sense to me. Um, I have all of my sort of my browns over here. This is the This is a red, says a quinacrine burnt scarlets was sort of in between that brown in a burgundy, and then I have the wrong number. I have the sepia I have the Paynes grey lamp black, the ultramarine violet sap green and green gold. So having things lumped in that way, Aziz faras like their temperature and color just kind of helps me know where everything is . Whereas if there's a certain way you do it, that makes sense in your brain. I want you to do that. So, um, let this stuff just sort of come with a grain of salt. I just want you to set things up in a way that's gonna be most beneficial to you. If that sounds like something that would help you go for it. 5. Swatching: before I ever lay any paint on the actual commission or project that I'm working on. It is incredibly important in my process to tests. Watch the colors that I intend to use, especially if those colors are gonna be emerging and bleeding, which is something that we cover in my additional skills share classes. We do this because the way that colors appear on the palate is not necessarily how they're going to appear on the paper that you're using for our purposes were using this cancer. And it's what I always use for more information about this paper and why I like it. You can refer back Teoh those earlier videos, but essentially, it's a great in between paper it, you know, you have hot press and you have cold press. And depending on that, the brand some we're gonna be to thier and some are gonna be really smooth. This is sort of in between paper and has just enough texture to it. Teoh really help those watercolors to rise to the surface on get that grain that really pretty grain without um causing a lot of our requiring a lot of need for constant wedding and making sure your brushes loaded, which is something that could be very frustrating for a new artist. Just knowing how much paint and water to have on their brush, you know, to get uneven stroke. So this is cancer, and I'm gonna be using their 11 by 15 but they have multiple sizes. So, um, if you have a different paper that you prefer again, this is one of those things. There's leeway there. Use that paper. If you're familiar, comfortable with it again, did want to mention that this is a very budget friendly, which is another reason why I love it as an artist. Sometimes when we're creating, we get so nervous because the paper is expensive and we don't want to ruin it. And none of that is healthy or helpful. Teoh. Bring to the equation when you're creating something, so pressure is off when you can buy a 30 page pad for $8. Okay, so, um, we're gonna be working on a little bit of tests watching here, and you're going to see exactly what is required to get one color. It's a lot of work. My vintage color guides. They are weeks. If not months in the making because it it just it. This is the most time consuming part of the process. And I really wanted to make a class that focused on this because I get so many questions about like, Well, how do I know what to add with what and how much water? And it's one of those things I can, you know? It's it's a little bit of this and a little bit of that, and a lot of bit of that. It's something you have to experiment on your own. I always encouraged my students. Just get with your palate in your paper, makes up different versions on more water at more paint a little bit of this little bit of that and come up with the color that is most appealing to you. Because essentially what I'm doing is I'm just giving you the tools, and then it's up to you to create something that you love. So but today I'm going to actually show you exactly how much water or you know there's no actual ratio for it, but you'll be able to see Okay, that's you know when she reloads her brush and whatnot. So I'm hoping that this will be incredibly helpful to you as you continue with your color mixing journey. So I am going, Teoh, go ahead on and, um, put a little water on my brush movie over here. And, um, first color we're gonna be using Is this a one more thing? And I keep saying one more thing. Um, I get a lot of questions also about how Teoh prepare your paints. Like, do you just squeeze them fresh out of the tube? Or do you put them, you know, on a pilot, Let them dry overnight again. Total your preference, But please note that if you do, I've decided to let them dry overnight. They're gonna take a little bit more reworking in the morning. You'll have to add more water to really loosen that paint fresh squeezed. Obviously, they're going to be pliable. You'll just have you'll be able to just dip your brush and slightly and pick up quite a bit of paint on your brush. So just know that it's completely different, depending on whether or not they're freshly wet or if they are fully dry, minor feli dried. So I'm going to have to kind of sit on top of this for a minute, Teoh. Get it to do what I want to dio. So I'm gonna wet it pretty well. And then what I'm gonna do is I'm gonna bring it down to my palette and just make a pile here. I always start with one color and then I add a little bit of water to it because I want enough to make a decent swatch and I want it to be pretty richly mixed. I always talk about, you know, what does it look like on I always compare it. Teoh cough, syrup versus broth. Cough syrup is what it should look like when it's at its most potent. And as you add water to it, it's It gradually shifts into more of a brothy nature. So that is our burnt Scarlett. Over here we have our Payne's gray. What I love about birth Scarlett I could just be an advocate for a moment is its versatility. It has so many different properties mixed into it. If you see on the back of these tubes, there are these numbers and letters that talk about what pigments are added again. That's a whole study in itself. But the more pigment essentially, you have more happening in that color, which is kind of fun, but can also be little challenging. So I am. I did label this class intermediate because there are some aspects that just are a little bit more advanced, and you'll need to have just some a slight study of watercolors and whatnot. Okay, so I'm gonna go ahead and add my Payne's gray. But first, before I do that, I'm going to cease the runoff here if I don't want it to at anymore. There. Okay, Pick up a little bit more again. This is one of those things. It's just about your preference. Okay, so I'm just kind of watching how this changes. I wanted to give you kind of Ah, Eagle. I look at it and then we're gonna kind of zoom in here and just go a little bit closer so you can see 6. Color Recipe #1 (Burnt Scarlet + Payne's Gray): Okay, so we're zoomed in here because I really want you to see what's happening up close. As I was saying about burns scarlet, it is such an incredible color because you'll watch as the thesis certain components thes pigments settle. You'll see these blues and these purples that are just totally inherent to this one color. So it's It's got so much promise within that one single color, and then we add in color like Payne's gray, and it, too, has blue hints in it. And so we're able to drum up this completely unique and gorgeous color, so you'll have to continue. Teoh mix this color very well before you're using it, because thes the pigments will separate and you'll get you know, if you were to just pick this up, you pick up more of the purple versus the whole color itself. So I'm constantly reworking these colors back into the color that I want. It does take a little bit more, um, just work on your end. But again, I wanted to give you guys a really good look at just the whole color mixing process and how I use color itself. So definitely that down here. And then we are going Teoh do since watching and I'm gonna do it as is I would never use this color on its own like this because clearly, it's not a white, Um, but I want you to see the way it looks at its starkest. So again, making sure this is very well next. And then I'll come appear and see what it's gonna look like. And the way the reason I do it like this moving from dark to light is because I want to see how it's going to work. I'm depending on how much water I have in my brush. Er how much water intend to add to that color so he can already see as we draw it out, it's going to be much fainter and really pick up, um, the white tone that we're going for. So you see, over here this is the color that I'm trying. Teoh match it to. This is the 1st 1 and it's still way to read. So I'm gonna go back in and I'm going to add some more pains. Great to it and just keep working it until I have a color. That's you know, close to the one that I like. And this definitely takes him. Sometimes it takes some experimentation, and I think a lot of artists will rush this part of it because it's not the fun part. But the work does suffer if you know you're not taking, you know, the time necessary to create your color. So, um, again, just picking up a little bit more, kind of eyeballing it to see where it's that mixing it back in with this red and again I'm going Teoh Swatch wearing that. Now you can see we're getting closer to that original color. And I am pretty pleased with where that's at. This is what this is dry again. Something, if you have not there are not familiar with watercolors. They look a lot different when they go from wet to dry. So keep that in mind. This is pretty darn close, and I'm pleased with it. And now what I'm gonna do is just lighten that up so you can see that Step one, Step two and then I'm gonna take this, dry it out even further into a separate pile. So down here is just a little wet. We're going to pick this up, Put it into this water. Going to add a little bit more water back in more water. Pick up more paint back in more water. Okay, so now I have something that's pretty, um, translucent. And we'll go back in for third time and see how this looks on the page. So down here, you can see it's mostly just water appearance. The most concentrated version of that. And then as I I'm sorry. Excuse me. The most potent version of that, and then as it kids, uh, we have more water. It gets lighter. So, um, I'm going to probably when I work with a white use at least two versions of the color. This is again just to read for me, but I would use this for the beginning of the flower, and then I'm going to use that version of it to head back in for details such as shading and veins. Andi, For me personally, I love to outline my flowers. So, um, it will talk about this is we actually move into creating the flower, but, um my more of a Luton ical artist, not botanical, meaning that I like loose aspects and botanical aspects. And I've just kind of found a way to merge and marry those two approaches to make something that just feels natural to me as an artist. So, um, you know, we won't be looking at the an enemy or the roses and trying to get a completely realistic flour. It's just going to be capturing the essence of it. And ultimately, that's what all loose our is is just kind of capturing the essence of something. So this is our first recipe. And, um, again, I urge you to just take some time experiment, see what you're working with. You could even do more versions of this. You could add back in even more gray, or you get out of third color if you want Teoh picking up one of these warmer Brown's So, um against Sky's the limit here. And I really just want Teoh encourage you to just, um, have some fun play around and really get to know these colors because this is your arsenal . This is your weapon, Teoh, creating something that's totally unique, unique and something that's completely yours. 7. Creating White Flowers: Okay, so we are ready to move into the creation of our flowers. So if you did take the time to gather if you inspiration pictures on reference images, go ahead and bring those out now and just prop them up somewhere where you can look at them . Um, you can use an iPad or if you printed them out, just have them somewhere within view so that you can kind of call upon those. I have the florals that I created yesterday. So I'm gonna be using those and kind of coming at the flower using, um, just position and angles to kind of give the flower itself versatility. But like I mentioned in my earlier video, this class is not so focused on, like the actual creation of the flowers. Really? The, um the structure of the an enemy is very similar to the pinwheel flour, which is what I cover in depth in that loose elements class. So if you need to start their feel free to give that class a good watch through and then come back for more of like, use that class for the mechanics and then come back here where the focus is more about the color and how we're creating the color to create the flower. So again, some of these colors are separating and settling. So I'm going to make sure that it is all mixed up. And I'm gonna use me number 10 brush for this because I want some big belly work here with the flowers and then I also want some more finer aspect. So this number 10 is great for that has a nice point to it and also a nice big belly. So I come out here and you also want to make sure that you're making up enough of the color that you intend to use. That is a very sad reality for watercolorist that we create these beautiful, unique colors. And then we work on this piece and realize, you know, quarter halfway through, we didn't mix up enough. And now we need to stop and Reese watch, because if it's just a little bit off, if you're working on something that's more realistic, it's going to be so noticeable. Loose art is quite more forgiving in that regard, and we'll actually use that to our benefit because it will look the darker it looks, it will look like it's more shadow. The lighter will look as though there is light shining upon the flower, which is how it happens in nature and such a wonderful asset toe watercolor. But again, you want to have enough of that mixture mixed up ahead of time so that you're not having to stop. So I'm gonna draw this out, adding more water, picking it up, adding more water. These look very similar. But if I were just watching again, that one would be quite darker and this one would be lighter. It appears completely different on the page, and it does on the palate. Okay, so we're gonna start with an open faced an enemy. These are, I think, dry now I can lay my hand on. I'm not something I'm constantly doing. If you're watching me on Instagram is I do some work over here and then dragged my poem through to see if I can avoid that today. All right, so for this pinwheel flower, what I'm doing is basically envisioning that there is white space in the middle of this flower. And that's where I'm or kind of how I'm working it around I'm dipping into my water cup and then dipping back into the pile, picking up more pain. So you see this? What is darker? This one is lighter. Gonna go darker here. And I'm also going to be varying, um, the size of the puddles. To give it a more realistic approach. We're going to cover a couple different ways to do an enemies. Like if you were to go, you know, look at one right now, you'll see that it doesn't exactly look like this. Um, this is kind of my looser approach to it. Wanted to start here. So now we have a nice open faced flower. You can see that these ones are shorter, these ones are longer, so it gives the illusion that it's just slightly on its side. And then we have this nice white area and here that we're gonna go back in, we're gonna add that beautifully intricate center. And that was essentially gonna make the flower itself pop. That is ultimately the fun part of white water colors is that they are in nature. Just so delicate and we offset. Were able Thio added in these incredible details which just lifts all of the delicacy of the white flour off the page. So I think you'll find that although, um, it could be a little challenging and a little daunting. Teoh, use white coat watercolors. Once you get the hang of it and are more familiar with out what? How they react on the page. You're gonna get super excited about what you're able to do with them. So So this is a nice open face flower. I'm gonna go in now again remixing that color, making sure my piles are exactly as I want them. Um has a nice brothy feel to it. And now we're going to dio a, um, side angle flower, Um, with a closed um, northern leaf. So we're gonna do a couple of different versions of this with it. Open or not, leave Lexie leave open. Um, closed pedal. This is looking a little bit dark, so I'm gonna rinse off my brush. Okay, so now you can see we have, um this northern pedal is folding over, and so it looking as though it's on its side and closed. And then we drag out these pedals here, and then we're going to do something similar But this time we're going to open the flowers so that this northern flower is this northern pedal is open. So minimal difference here, but again can use that to your advantage. We have our closed and are open and then are open face. And so we're gonna basically leave those as is and let them dry because really can't do much with them until in the middle and adding details until they're nice and dry. So I'm gonna go ahead and fill up the rest of this page with a couple different versions of this, um and then we will later on, once everything's dry moved back into the details. But I did want to just point out real quick. You can see that some really, really pretty things were happening. Thes colors, air separating here. And so it almost looks as though this is a darker area of the puddle versus this lighter area. And I think that lends such an authenticity to florals themselves. Watercolor is incredible in that way, because I'm depending on how much paint you're using, your able to create these light and dark components that really bring your work to life. So pretty cool. All right, so the next one we're going todo I'm gonna go ahead and flip around here is more layered an enemy. So again, getting back to my pilot, making sure everything's mixed up the way that I wanted to be. So now we're going to do for this one is we're gonna lay these puddles in a way that we are going to come back on top of them with darker pedals. And so there's gonna be this really light, delicate underneath area, and then on top will be the darker and then we'll go back in and out details. So just another way to approach this flower. I wanted to show you guys multiple options that you weren't just stuck doing it one way. It's gonna space these out a little bit because I'm gonna come back in and put the darker pedals on top through to leave that one, as is for now. And let that dry. Go ahead and do another kind of flower down here. Can will do another nice closed one. Look up here again. I'm utilizing both the finer aspects of this brush and the big belly components. So we start with upon the tip. And then I'm pressing down to get those nice big belly movements. No. Okay, back here. And I'm going to really let this fully dry before we go back in and out. The details I know is always incredibly tempting to just keep working on a flower before it's ready. But it will serve you well if you let it. Just sit and breathe for a minute, so we'll come back and then we will add some details to this flower. 8. Adding Darker Petals: right. So now that everything is fully dry, we are now going to, um, start building that flower. Essentially, we laid down a foundation and then with loose artwork, we can kind of decide how much detail to add or to pull out. That's kind of what makes loose florals so special for me. We all have a reason why we love it. But for me being able to say this is how much detail I'm gonna add or this is how much I'm going home, it really is kind of what makes that flower feel like mine, which is so special. So again, I've pulled out my reference picture and I just want to have, like, another look at it and just picking out for me. What's the most special about it? So, for me, it's gonna be different than what it is for you. So I urge you to just kind of look at your subject and, um, sort of take a moment to just gather the essence of that flower. Um, with this one, we're gonna be working back on top of that foundation with some smaller, darker leaves. So that's kind of what we set ourselves up for right here. These were gonna be our outer lighter pedals, and then these ones in here are going to be darker. And then once that's driving, will go back on top and do some more details. But we're gonna kind of look at this flower as a whole. If you look closely very closely, you can see that this is, um, has some grays and blacks in it, for sure, but even has some hints purple, which is just kind of super exciting. So I did decide to go in and add this to our mix. So we're gonna be doing the ultraviolet plus the land back for this, and we'll mix that up together when comes the time. But, um, you know, a lot of times I would probably just make it black and leave it at that. But I really do love those delicate light purple aspect. So we will call upon those and bring them to our flower zooming out, looking at the veins. You can see that they're just very, very light, very delicate. We're gonna be utilizing the tip of our brush for that and, um, doing some I'm gonna do a demonstration so that you can see, because this this is the part that might be a little bit frustrating. Depending on the way that you hold your brush and we're gonna be using a vertical position for this. Your lines are going to be a thick or thin, and we want variance. Eso It's good to have a mixture of both thin and thicker lines, as we see here in nature. But to do that, it does take a little experimentation. Um, they can look chunky and just not appear very lifelike, like I'll show you here. Um, I have a mixture of all sorts of different things happening. Different centers, different versions of the veins. And it's really one of those things that you're gonna have to just tinker with it and figure out what you like and how much detail you want to add so can see. Here we added a ton of different detail not my favorite flower, but super important that we take a moment to just go Ast's faras. We want to go and then say OK, that was too much. You don't like that. Let's end up somewhere around here, which ended up being one of my favorite flowers as well as this one. I like that. There's moments where it's dark and dramatic, and then there's moments where it's just very soft on this one. I opted to do a more complicated center here and then leave the vein in completely off here and go with more of an outline, which is just sort of unique to my style. So I think a lot of teachers maybe don't give asses much flexibility as ideo. You know, I think being able to direct is one thing, but ultimately this is about you, is an artist and what flowers you want to create. And so I like to just kind of get lots of different options, cover different things and then allow you to attach to what it is that you love most. So we'll go ahead and put our flower off to the side. If you wanna have it up somewhere just so you can see it and continue to reference it, that's fine. If not, and you just want to gather from memory. I do that a lot of swell, so completely up to you. So we'll go ahead and start, um, flip around and we'll continue building on this flower right here with some darker pedals. So I still have plenty of pain on my palette. I'm gonna mix that up and, um, play down. So the idea here is to, um, ladies pedals in a way that they're overlapping. So I purposely, like I said, left gaps here. We're just gonna kind of work our way around. Okay, so there you can see this is like I said, a very simple version of this. Um, But what we wanted to do was create that foundation and then go back in with some darker colors, and you can kind of kind of keep reshaping these as you like. My goal was to have them more underneath and then have this one kind of come up on top, so continue with it while it's still wet. And then we'll come back over and do the same thing over here. Created two of them. Feel free to move your canvas all around as you're working on your flower. I like to figure out what's gonna give me the best leverage. Okay, so that one shaped a little bit differently on um Yeah, we Superfund Teoh go back in and add those special parts of the flower. I just kind of keep tinkering here, feeling it in a little bit. I just want to get, like, a different feel than the one that we did over here. 9. Detailed Veins Demo: so being honest. Originally, I was not going to include this portion of the video because again, I just wanted it to focus so much on the actual creation of the white water color. But it's a part that I know will probably cause a hiccup in the creation of the flower. And so I wanted to just give a very quick demonstration on how I approach veins in a flower without oppressing them. There is definitely, like a technique to use when holding your brush. So I'm gonna show you just a really quick little demonstration so you can kind of see we'll use our practice flower over here from my practice flower that I did the other day. So I have this one right here. Um, still have color on my palette. I'm just gonna mix that back up again. Those colors air separating, you'll find that as we do the next two colors, this is not an issue, is just specific to colors that have multiple pigments in them. And again, I'm gonna draw this out always best to go lighter and then you can pick up more paint on go darker, but you cannot go the other way around. So word to the wise. Okay, So when we are doing veins in order, Teoh, Um avoid them coming out like, very chunky. Like something like that. Um, we want to elevate our brush and hold it in a vertical position. So you're almost coming up on top. And then as you want those veins Teoh, increase in thickness than you will mingle your brush just slightly. And I'm access more of the belly of the brush. I have switched from my number 10 to me. Number six. It's just slightly slightly less big. And if you have even a smaller brush, if you wanted to use a four or a to you can use that. I know a lot of people will even use ones for this part. I'm find that I'm able to do what I want to do with this Number six Pretty much I can make a line that looks like that which is basically microscopic and a little bit thicker. Well, the thicker and thicker. So you can see that with the same brush. And this is something I covered my loose floral workshop, which I have the pdf in my shop if you're interested in that. But basically, we cover brushstrokes in great depth. But I don't want to just show you, you know, you can have that basically microscopic line. I didn't even break it up. And which is something that will dio, um and this really, um, lends a certain uniqueness to your florals. Being able Teoh change the thickness and the thinness of them. Okay, so I'm gonna pick it up my paint, and here we'll start adding in some things. So this is also something a tip that I use. Um you want to vary where you're putting the veins, too, If you make them all come out of the same spot, that doesn't look natural. But by coming up here, adding a few down below um, you're really going Teoh equipped that flower with what it needs to come across is the way it does in nature. These air kind of quick stroke e I am pressing firmer down on the brush and then coming up to a more like I said, vertical position time. Um, if you wanted to leave, just you know, um, an area where there are no veins or they're very few veins again. That would be something that I think we'll add a lot of character to your flower, just doing different things. So this one we have is finished, So I'm gonna show you what it would look like to add the veins back in. Like I said, sometimes it's gonna be too much. And you're gonna look at that and be like, Oh, I think I should have probably stopped there. But for our purposes today, we're just gonna kind of keep going. And I am kind of just taking a look. Uh, the, um the picture I have for reference, but not really using it as a guide because it that trips me up as an artist because I worked mainly with loose. I really like to just kind of get the essence of that flower in my head and then give myself full permission to just come to the page and do what I love do a nice thick one here . So there's were mostly Then I'm gonna do some thick ones there. As long as they are being surrounded by a more delicate vein. It's not going Teoh press the flower she's gonna see. I'm kind of going back and forth between this vertical and slightly slam. And I look that I actually think that it didn't add too much. Too much, I guess is the right word on too much to that flower. You know, like with down here with this one. This was way too much busy work, and I just got a little carried away. Guys. All right, so let's pick up a piece that we're working on, okay? They continue with their base. Now that you have just a little better understanding of what we're doing, you can see right here. This was not dry, and I must have rubbed my palm or something through it. So let me just I love capturing this stuff on video because this is really life. And I rather than just, like vehicle, edit that out or I'll posit so they don't see the I'm in perfect and not a human being. We can just show you like Okay, well, this is what I would do in this case. I would pick up a little more paint and keep going on it, so it's gonna be a little darker than the rest of the pedals, which is totally fine with me because I love that versatility. I'll probably do less evading work on that puddle and just let it sort of rest. But make that one a little bit darker as well. Happy accidents as Bob Ross calls them. Right. Okay, so I'm gonna let that one try. I think a song as I don't forget and come back over here and at our mains start appear with this little one, and you can come down or you could go up. Whatever is most comfortable for you again, we talk about this in the loose florals workshop about brushed position and which way to approach it. But it's really a matter of what's most comfortable to you. So those were quite dark. I'm gonna rents off a little bit and come back in okay For this one right here, I'm gonna actually pick up a little bit more paint, so I'm gonna get it pretty pretty loaded because these air quite dark and I want the veins to show up for me. Often times I operate under, like, less is more because I do. And a very fund of outlining. I try not to overdo it. with the details because I really do like, at the end, back in with a nice, bold outline. Okay, so I am very pleased with that flower. I think it's looking so pretty once we have the center in this, uh, statement on, we outline it, it's gonna even pop even more. Is this what's so much fun? Layers and layers of white and then adding in those special aspects that really make the final just comfortable, do one more Over here on this site, you can see she and some of these air more, more or less markings than they are veins, which I think it's fun to. I typically will not do any up here because I like just how that looks. It's very subtle and natural. That's right. I wanted to show you, Um, basically, we can pick up the brush and out of create things continuous vein, but give its, um, areas where it it breaks up. So that's kind of fun to another. Another way to approach it is you can do this long vein, but then break it up and then pick it up a little bit higher up. Keep moving that canvas around too. Whatever is going to give you the most range of motion. That's how you want to work. Great. So that gives you a really good look at how we approach the veins for different types of flowers. Here we have a bigger one. Fold it over this layered, and then this smaller one that has four petals instead of five. That will give us some room to play around with different versions of the centers as well. So again, gonna make sure this is nice and dry, and then we'll come back in and have some more drama into the mix. 10. Outlining Flowers: so another way to easily add flair to a flower is to give it this really bold structural outline. It's something I've recently become very attached to doing in my artwork. And, um well, um, purposefully keep my pedals and my framework very loose so that it gives me the space to go in and out something that's a little bit more detailed, a little more dramatic. So but this is completely up to you as an artist, if this is something that you also find yourself drawn to so this step can be skipped if you are loving your pedals the way that they are, if you want to take it a little bit further, that's what the purpose of this video is. So we're gonna head back in again. I'm going to show you all of this because this is so important to get the right consistency and color in a mix that up. This is that darkest version, and I'll call upon this version for some parts of that outline. But I also want to have a different version that's much lighter so that I have, um, you know, different options available. I apologize for the fluctuating lighting. Oh, that is beyond my control. Unfortunately, we're working with both natural and artificial light over here on, um, it's winter ish. Spring on. Unfortunately, that means that the clouds air passing and yeah, all right, so we have this nice, lighter version will use that for the white light parts of the pedal, and then we'll come back in with some darker stuff, okay? So again, we'll start up here with this really light one. I'm gonna pick up the latest version and give yourself some room here. You really want to be able to utilize your wrist and to be able to do these quick sort of flicking emotions with it, I find that the longer you take to do an outline, it's almost as though you're like dragging your brush through mud. So, um, for white flowers, a lot of the time, I really I lean heavily on these outlines to kind of pull the white out of the peace. So you want to be able to give yourself, like, the best shot at making it both, you know, delicate, but precise. So I'm gonna kind of just operate using some quick flick e strokes. This is really very stream of conscious. Um, I'm not overthinking it. Like I said, the longer you take to overthink this part of it, the longer or the heavier your, um technique will be. And it will really kind of pull away from Justine the flow of creating art. So there you have it. We moved down to this one, picking up a little bit darker. I like to come off the pedal as well and not just stay right on top of it. Camp a little more pain folk, and then we're going to this bottom flower. You can kind of see, I did some heavier strokes, some heavier strokes down here and then some thinner and less more or less markings over here just to kind of balance that flower. That's kind of what I'm looking for when I'm creating is, does a flower have, like the kind of balance that I'm looking for, their areas that are pulling my eye? Torbert. And then there's areas that are giving my eyes rest. That's something we go over and composition when I, whenever I teach its we want Teoh create pieces that give it's like the yin and the Yang. It's a little bit of, you know, calling us in and then leading us out. So experiment with that for sure. On, um, figure out, like, what's the right balance for you? Okay, gonna let that dry, and then we'll come back in and we'll add, um, those gorgeous, dramatic inter details that we were looking at before 11. Mixing Color for Flower Center: All right, we are now going to use this lamp black and this ultra marine violent to create a very, very, very thick wash. I really want you. And I'm gonna show all of this because I think a lot of teachers skip this part and they just go to the straight, you know, What does it look like? And you don't really see what led up to it. And it can be just a little frustrating and challenging for for students who aren't just beginning Teoh understand how to mix color and what how much work actually goes into creating, you know, the pile of color that you intend to use. So if you're more advanced in the Syria, feel free to skip this and just had straight to in the actual laying down. Okay, so I'm gonna get my nice black all set up, and then I'm gonna lean into this well, joining violent, which is actually very, very faint. I noticed that yesterday, Um, I have another purple that's heavier on the purple, but because it's just a very hint. Just a very little bit of purple thistles gonna work well for us. But if you have another purple, and you want to experiment with that? Go ahead and get it out. Okay? So track that down and you can see that was freshly squeezed like orange juice. And I'm adding the black to that purple two. Great. This really smoky purple color. Just so pretty. Okay, so that's nice and thick, and we're gonna do a couple of different versions of the centers. There is no one way to approach any flower. So, um, the fun here is that we get to do different, different approaches, so you can see here. I did more of a circle with a lot of steam and work. And then here there's light hitting this one. I'm here. It's a lot less intricacy were just kind of giving a the illusion of a center along with a few statements and then down here, I did some fun work with these, um, these little markings with Marvel Wild Center. So we'll do one of each, and you can decide which one you like best 12. Painting The Flower Centers: All right. So we'll start up here with this one, and, um, we're going Teoh center brush down real lightly and kind of do this, um, curving motion with the center gonna leave some white. I'm gonna leave just a little bit of white in the actual middle. A swell just to kind of give that impression that there's light hitting the flower. And then that's it. So it's just kind of dragging the brush around, creating this sort of like splatter for this next one. I'm gonna kind of doing all over marking just sort of arbitrarily placing things where I see fit. I'm gonna come out even further and do some smaller markings, But first, I want to get this kind of groundwork feeling in that center working my way around and around until I have something that looks not too structured or formal. And as of right now, I'm just using that lamp. Black have not dipped into the purple yet. I am using my number six brush, but you can use smaller if you prefer. And now I'm just going to kind of come around here and add some little markings you could see it takes time to just kind of give yourself the space in the room toe. See it and to let it rest. Okay, there's one. You can kind of see how everything's now just being like, lifted out. The white just provides this beautiful foundation, and then you can go back in with the color like lamp black and just do some really special things. It's over this side one. We're going to dio what I was showing you before, just sort of the illusion of a center, and then we'll come out with some more markings. So I imagine that this flower is, you know, on its side and so deeper in here towards the center, we have the center of the flower, and then as it comes up, this puddle would be covering the center and then this precious. Actually, I'm using this number six. It's lost a little bit of its point, so I'm actually gonna pick up another number six that hasn't quite lost his point as much. You want to keep an eye on your brushes and just see what they're doing? Um, I could probably take the time to, like, wash it, reshape it a little bit and get it back. But that's why I have multiple six is next to me because I want to be able to have what I need right next to me and not have to go into my breast drawer. So for this, I am really saturating the brush, rolling it around, picking up that land black. And, um, we're gonna do these seeds the same way that we did the veins alternating some some thick and something we're gonna cross over having some of the areas crossover so that it just appears very natural. See if I can do it without getting my hand covered in paint. So you want to look at the flower before he start adding in seeds and looking at the way that it's coming off of the page so we can see that this pedal is sort of coming forward, and then these ones are coming at us and down. So we want to shape the seats in the direction that the flower is pointing and you're just really lightly coming in really utilizing the tip of that brush. You wanna find point. And as I was saying, if you would prefer to use a smaller brush. It that's more comfortable and gives you those thin strokes. By all means. Couple Thich ones here and there are just fine. You see, I sort of like I have, like, a fake out where, like, nothing appears. That's fine. I'm kind of figuring out how close I need to get to the page. And I'm just gonna go back around from things around a little bit and keep building that flower. Okay, so there's that. I believe that too dry for just a little bit and come down to this one, This one, We're just going to go in and out that purple. So again, coming up in a vertically Then you could dio some down here if you wanted to a little bit, but I kind of imagine this is where that pedal is folding over the most, and I'm going back in and just adding some really thin ones on top to just give that impression that summer are in further and summer out further. Okay, so I'm really happy with that. I think that looks magnificent. Now I'm gonna go back in with, um, my black and my purple. So picking up this mixture now insurance where I want it And the purple is gonna be very faint. You can add more purple and less black if you want more of ah, purple hue to yours. And this again is just about putting down some markings stepping back, seeing what it looks like. Have a look at your inspiration pictures deciding what it is that you love most about thm do some spotting up here. Leave areas where it's more open and it gives more rest to the eye and then areas where it's more dramatic and complicated and you're drawing in the eye. Okay, so I like where that ones that gonna leave that as is and then with this one, I'm just gonna kind of come up really lightly and close off this circle my way around areas where it's darker coming back in. I imagine that this is folding over a little bit, so it's gonna be darker over here. It's less dark, giving more white. You can see how this flower is leaping off the page, and you could even do without some of those earlier details. So again, you can always add more, but you can't take back So it's one of those things, depending on your style. If you like to take it as far as you can like me, I was worth the risk. But if you're a little more cautious, you can leave things off initially and then come back. This one We're gonna do the same sort of thing, but I'm gonna do more of a lighter. So these were a little bit more thick up here. These I'm gonna do more of a dotting. And I think out of all of them, this is my favorite. This side flower with the dotting. I think it's just the right mixture of detailed and subtle. But again, that's just my personal preference. So it takes a very light hand. So if you want to practice beforehand by doing like some markings of here thick and more on the point definitely do that. You really want toe? See what your brushes capable of. So give yourself time to practice this you can see those were really, really little dots, and then we can go in and out some bigger ones on top of that. Um, again, this is something that I cover in previous classes. So I try not to do duplicate material just for the people that have been following along becomes a little redundant, but concede. Okay, so there you have it. We have our three versions of flowers and, um, layers and levels of different detail on them. You'll have to tell me which one your favorite is. I really love a little bit about each one. But I think, like I said, down here, this is my favorite one. It just has a little bit of everything that I like and feels the most authentic to me. So Okay, so we're gonna leave this, and we're going to head into our next recipe on create some, um, lovely rooms. This together. 13. Color Recipe #2 and Swatching (Sepia + Payne's Gray): all right, So now we are ready to create her second recipe, which we will then use to make some really beautiful roses. I opted Teoh focus on more of a creamy sort of sepia and green toned rose just because those air my personal favorite. But you could absolutely use the color we were using before or any of the colors from the A chanted Siri's color guide to do your white roses. So, um, mostly I just wanted to get they said in the beginning give you a look at all, give you a look at three different versions of white, that kind of span over the whole gamut of white. So that's why I did it that way. But any of them are, um, are great options. So, um, before we begin, very important. What I want you to do is a water check. I was about to get started, and I realized that my water was very great tented. And so any time you get back into your water, you're gonna pull out the color that you have been using on. A lot of people will use multiple cups of water on both for warm and cools. Um, I typically just use want and just do a water check. What? I'm working with color. It really is not a big deal with White. It absolutely is a big deal because obviously, white picks up everything, and you want the color to be as close to what it is that you're mixing as possible. So if you haven't already done about your cup of water and get yourself fresh cup before you get started, All right, so our next recipe is sepia and again I'm gonna have to rework this and I'll move a little bit quicker through this Since we did such a thorough, exhausting, um, lesson with the first color. So we'll move just a little bit quicker here. Hey, Summit, pull out as much as I think I'm going to need, can just kind of coming back in there. What about that much? Then I'm going to head back into my Payne's gray and again just eyeballing in a moment here I will compare it. Teoh Thesis Watch that I made yesterday and figure out if I'm getting pretty close again, I'm going to switch this as issue can see how dark it would be. See, you would see that this is pretty dark for a white. I would never use this straight off of the palette like that. So we head back in just like we did the first time. Pick up a little bit of color and we'll start a new pile right over here. Pick up a little bit more and then pick up a little bit more water, a little bit more water. And now we have something that I think is going to be very close toe white that we're looking for. Okay, So what's great about this is that I have a color both for the center of my rose. And then I have the color for the outside of my rose, Those puddles that are coming out. So to create a loose rose, that's the way that we create depth is by doing a darker middle. And then we do these lighter outer petals, some more information and demonstrations. In my my other classes, we talked all about how to make a loose rose. So if that's something that you're not familiar with, go ahead, watch that. We're not going to really talk too much about the structure of the rose. I'm just going to show you how the white colors, white water colors make the rose. So I'm going to take the color that I did yesterday. Kind of hold it up here. So it's that second color right there and you can see again. I'm coming very close to what I have. This is, uh, dry. This is wet. This is fainter. So probably somewhere in the middle of these two is what I'm looking for. So I'll head back in, pick up a little bit more color at it here and a little bit more water. Try one more time. You can see how time consuming this would be. But again, when you're working on, you know, commission or anything of that nature, you want to make sure you have it, right. And, um, to take the time beforehand, Teoh, really get familiar with your colors. So this is perfect. This isn't between these two, Which is exactly what I was looking for. And, yeah, we're good to go. I'm gonna show you how to use this color and this color to make a rose 14. Preloading Brushes & Loose White Roses: Also, I did want to mention that if you want to again pull out some reference in inspiration pictures for a rose, By all means, please go through that whole process again. I'm not going to show it here just cause I already walked you through it. But, um, you could absolutely, you know, head over to Pinterest to find a few rooms is that you love and then, you know, experiment with different angles and positionings of those roses the way that we did with Ian Enemy. So I'm not gonna do that, but because, um, loose roses are something I'm really familiar with. It's kind of like my jam and what I do on a regular basis, so I'm pretty comfortable with those, but, um, yeah, I just wanted to get that option. Also, something else that I talk about in my classes is pre loading brushes. Basically, this means that I have the amount of paint on the brushes that I'm going to use to make whatever flower subject that is that I'm working with. So for a rose, I'm using two different versions of the same colors. So we have our Sophia and our Payne's gray and we have a darker mixture and we have a lighter mixture. So we're gonna do is I'm gonna put the darker mixture on my smaller brush right here because this is what I'm gonna use for this center on one of the lighter version on my bigger brush here for the belly for those leaves. And Petr, excuse me, those pedals that surround the center. So the reason I do this is it's a timesaver. Um, it means that I don't have to rinse off my brush, and then you get the amount of paint that I want back on it. Because when you're working with water colors, if you're bleeding and blending those colors, it's very important that you're working quickly. So, um, anyway, it's just something to keep in mind. Just one of the tips I've picked up that really helps with my process. And of course, it wouldn't be Rosalie win paper re class. If there were not some impromptu gardeners that show up on days that they're not supposed to show up insanity of my other classes, you know that I'm always contending with with gardeners and snoring dogs and now sleeping Children. So I just want you to know the lengths that I go to to get these classes to you. Um, it's pretty intensive eyes, but hopefully I am avoiding the majority of it. I at least was prepared for this and started very early so that we could get both the light and avoid that lovely humming that you might hear on occasion in the background. All right, anyhow, let's continue and start building our rose. So again, I have these two versions over here. I'm going to pick up some darker on my number six, and I'm gonna take my number 10 and pick up the lighters. All right. Again for more extensive. Look at how to create roses. Please refer to my earlier classes. Okay, that's a little bit dark, so I'm going to rent off just a tiny bit and that's naturally going toe Happen as well, because as you don't pick up more paint, your strokes will get lighter because you are using less pain. So I love the way that that's looking right now for just for purposes. I'm gonna just kind of keep adding to it. But I may even just stop there, you know, once I see that I It's reached a point that I like it kind. So now what I would do is go back in with that darker and just add a little bit of detail. Kind of feels like this Rose is on its side. And so these puddles should be shorter, and these ones should be longer. I'm not gonna add it or that it's going to start looking way to round. So as you're working on your rose, whatever sort of rose you are working on their so many versions English roses and garden roses and wild bruises um, you just want to make sure that you're looking at, um, your flower and seeing you know what sort of angle it's coming from and just continue to accommodate that. So this is pretty spot on. I've been painting all day, so I'm very warmed up, but it may take a couple roses before you're feeling like, Okay, that's that's it for me. I'm gonna go ahead and do another one, and then we're going Teoh do the same thing with the last recipe trying to do this one just a little bit differently. Picking up my number 10 that center is a little dark for me, but again, I'm trying. Teoh just show you some different options. So this one's kind of coming up. We'll do another pedal down here and you can see, like, if there was a stem here, it would very much look as though, um, this rose was kind of coming straight up. So we'll be adding some leaves and some stems to this when we come back. But again, I'm really happy with this. And if this dries, it'll get even fainter. But you could see that it's very much looking like arose. These beautiful light light pedals are just so soft and so delicate and just inspiring me all over again to use wake watercolors more in my work. It's just so much fun to be able. Teoh, combine these with all of the amazing colors out there. So Okay, so that's it for this. We're gonna come back with our last recipe. 15. Color Recipe #3 & More Roses (Rich Green Gold + Sepia + Payne's Gray) : for this recipe, we're going to be using three colors, so obviously a little bit more complicated. I wanted to end with somewhat of a challenge. Any time you add another color to the mix, you're just, you know, increasing the complexity of it, Which is not necessarily a bad thing. But it may take a little bit more tinkering before you feel like you're finally getting it . So give yourself lots of space and permission to experiment. Don't feel like you need to get it on the first try. Obviously, when I do these videos, I'm not gonna show all of the things that led up to, um showing you what I show you. That would be hours and hours. So you need to remember that when you're creating your work is that there's a lot of preparation that goes into being able to give you like a seamless look at things. So I have swatches upon swatches around, you know, on my desk that led me to, you know, the old Tim. It's watch. So for this one, we're going to use one of my favorite colors, which is Daniel Smith Rich green gold, and come right over here. And a lot of people don't usually think of greens Azaz a white, which I completely understand. However, it is a huge misconception because if you look at a lot of roses, they do have this yellowish, creamy green tent to them and people would still consider them white. So we start with our rich Ringgold, we're gonna add in some sepia. Now, I call this vitamin P anyone who's ever taking vitamins and then three hours later, this is what your P looks like. I won't charge you for that extra little bit of, um, comedy. It's on the house. All right, so now we're mixing thes two colors together to get something that's more of like an Oakar . Now we're gonna pick up that pains Great. Which again has a little bit of blue in it. And what do blue and yellow make green? So that's where the green comes in. I'm just sort of touching it until I'm seeing a color that feels somewhere between a green brown and a yellow which will make a weight, which makes no sense. But I promise it will. In paper case, I'm gonna swatch This as is. I could hear. Okay. So pretty dark probably wouldn't use this straight out of the palate except for the middle portion. So again, we'll use that for the center of our rose. And then, um, as we work outward, we lighten it. So over here, going to pick up my number 10 pick up the color and create a new pile drawing, always drawing those colors out. And I'm gonna pick up water and add water to it. Now we conduct the paper and you can kind of see that this is going to be used to create really pretty. And it's not. I mean, if you see from here to here, this greenish brown isn't appearing even closely to what's happening on the pages is much darker than that. So again, it's always important to take a moment to swatch your work. So what's your colors To make sure they're going to work for you. All right, come back around here on Come off with a couple more roses. Somebody used my number six for this, darkest the middle portion, and I'll use my number 10 for those outer petals a little bit more in here just so that I have enough to make those pedals. And now we're ready. Everything's loaded up and we're ready to go. Sand acquainted. Mop off a little bit, even more water to get some light light light pedals here and then I'll come back in and adds details. I like to do this when it's wet, but you can wait till it's dr Pick up a little bit more color. The idea is that everything's very faint, though you don't want to add too much color cause then you lose the whole appearance of it being white, so you can see that there's this drastic difference between these two colors. This one is much cooler is definitely more on the gray scale, whereas this one is much more warm. And it has those hints of green, yellow and brown. So it's really up to you which one you like. I really love them both. Um, it's just gonna be a matter of preference, and again, please feel free to, like experiment. You wanna go darker in the middle, go lighter in the middle. There's really just so many options, and I want you guys to feel like there's the freedom to continue to experiment I want to do one more. Do more of a washy rose. - Yeah , I'm gonna pick up a little bit more color, come back in with a couple details. So this is a very, very loose rooms. You can see these ones have a lot more structure to them. This is more of a loose just sort of scripting the brush back and forth across the page. A lot of people really love just sort of the impression of a rose. And don't even really like to give it that much structure. I tend to like the ones that have more structure but wanted to give you, um, a look at just all of your options, all right? 16. Final Thoughts: All right, my friends, we have reached the end of this lesson. I deeply hope that this has opened your eyes possibly alleviated some fears or concerns or questions that you've had about how to approach white water colors again. This is just my specific approach to them. There are so many ways to go about it. And I hope honestly, at the very at the very least have given you some confidence in being able to take what you've learned and then apply it in a way to your own artistry that feels most natural to you. So, um, I just had so much fun. This was such a great class to prepare. And I think every single one of you who have given me love and support along the way to create this content, I I am continuously inspired by what it is that inspires you. So thank you for that. Um, again, just looking back at what we've done, I just and so happy with the amount that we covered so many different ways. Teoh, do the middle's do the veins through the outlines. I'm really, really, genuinely looking forward to seeing what it is that you choose to put into your work and what you leave out and why. So, please, please don't forget to tag me when you post your work on instagram or anywhere else. I really want to see it and just come over and, um, love on your work. So thank you for that. Thank you for leaving a review So so much time and energy goes into the preparation for these classes. So if you could leave a review, that would just make my heart so happy, and we will be back with another class sometime soon. In the meantime, we're going to work on our class project together. So the fun is not over. We're gonna do a little wet into wet and give these flowers a little bit of leaves and, um, just keep the fun going. 17. Class Project: all right. I feel like I've cooked up a pretty fun class project for us to work on today. It's a little bit different than what we were doing earlier, but still in the same vein. So I'm hoping that will be both. A challenge on also just super fun went into What technique is something that it's just what gives watercolors that extra special something that I personally feel other mediums do not offer. So we're definitely gonna continue to explore that we do that in some of our other classes as well. Um, and just want to show you again, just like the capabilities of these colors. So for the flower, we're going to do something very similar to the pinwheel flower. But rather than waiting until it's the pedals air dry, we're going Teoh, keep them wet and allowed the color in the middle to permeate the pedals. So the first thing we'll do is to continue Teoh, mix up this pile of lamp black. We want a very, very black center, so I'm just showing you how I'm doing that so that you can see the consistency of it. Thistles, cough syrup, consistency. Whereas with our pedals, We're gonna go more of a broth so far, Pedals will use that first color that we were working with. That quinacrine own burnt Scarlett mixing that up, you hear? I have some classical music on in the background. I wish I could play my usual music if you follow me in stories and live painting. I love to have music on while I paint, but all of those artists have rights and as they should, so I'm not able to put those on my skill Strayer classes. But, um, classical music is not a bad alternative, right? Remember to really, really mix this color. You may even want to swatch it out just to make sure you have what it is that you want. Since this is a fresh pile or if you still have that color on your palate, you can head back in there just for fun. I'm going to add a little bit of this raw number just gonna warm it up a little bit. So it was quite cool. The raw number will warm it up, trying to do some different things here with this content so that you just get a really good look at all the possibilities. All right? I'm gonna switch this out real quick just to see what it looks like. Well, so that's looking a little bit to read for me. So I'm gonna go ahead and add a little bit more of that Payne's gray in there. That's really going to cool it down. Here we go. It's better. So this is how this is how I work when I'm working. Just very quick off to the side, just to see what I have. You can see lighter, lighter, lightest and gives me a lot of different options. Okay, so now that we have that all set up, we have both of our black have what is going Teoh br pedals. Gonna start with the center and note about loading your brush. I want you to really, really saturate whatever brush do you think if you're gonna use the number 10 which I recommend, this has more bristles than a six, and so it's going to take more work to get it really saturated. So when you have into this, I really want you to rule your brush around, make sure you're picking up quite a bit of paint, because in order to do what we're gonna do this wet into wet, you're going to need to have quite a bit of water and paint on your brush. So adding water back in here to lighten it up and really rule your brush around what's gonna happen if you don't have enough paint on your brush is the paint. I'm in the middle of the flowers going to go nowhere, which will be very frustrating. If there's too much, then it will pool. So again, I want you to know that this is going to take a little tinkering around. E. I want you to experiment and play. Don't feel pressure to get it on the first time again. I'm kind of making that splats. I'm going Teoh, make sure that there's plenty of water on my brush, and I'm going to touch this very lightly. There's quite a bit of witness happening here. I did that on purpose so that it doesn't dry up and it gives me a chance to load my brush. If this is dry, nothing's gonna happen here, so you'll have to play with The ratio here is well known to tap the edge of this, and I'm going to draw out the color. If you accidentally lean into this, you're going to push color in. So what you want to do is draw out, see how that color comes rushing out. That's what you're looking for. And the magic is happening. How fun and pretty is that. So I may have just wasted too much time here, but we'll see with water colors, you really have to move quickly. Can see as I'm working my way around, it's the bleed is getting shorter and shorter because this is drying up, getting back in a little bit more of my brush. There you have it. That is a pretty cool flower. If I don't say so myself. There are areas where it's much darker, and then there are areas where it's a lighter, and I think that that's something that's just super fun. Aziz. You probably saw it was dipping into my water cup quite often, picking up just only a little bit of paint. With something like this, we really want to allow it Teoh the middle to be the focus and the white, um, to kind of lay the groundwork for the drama toe happen. You can always come back in and just kind of touch up. But I tend to be one of those people that think the first wash is the best case. We're gonna do that one more time. You can see it live down here. The reason I kind of create these little divots is to give these, um, the illusion that, like the middle of the flower, is kind of coming up or coming out at a different angle. If everything's just the same shape, um, and doesn't have any variance, it just starts to look very stiff. I'm sure you know what it is that I'm talking about. If you've noticed it in your own work, Okay, so it's important that you make sure that this middle is really, really saturated. Um, you want lots and lots of paint right here, because you're gonna be drawing that paint out, that there's not enough. There is nothing to go anywhere depending on what paper you're working on, A swell. You're going to find that you have to work a little harder to pull out the color, so just keep those things in mind. Hi. Picking up the number 10 and we will begin. You can see I'm working faster. This go around. - Here we go. So we have another version of the white flour doing something totally different. Obviously this you lose some of like, the white delicacy when you allow that the black to permeate the white. But again, I just wanted to show you just another way to approach it. Superfund so gratifying to just watch those colors run out like that. I hope that that is a much fun for you as it is for me. We're gonna go ahead and add in some leafing to these and some stems and just finish it off . So for the leaves were going to use this sap green, which again, Because it's dried on my palate is going to take quite a lot of working before I Actually, I am able to get it to the color I want. But I just wanted to show you that, um What what the consistency should look like. I make sure it's kind of in between of, ah, cough syrup in a broth and, um, drag that out, and then I'm going to add some Payne's gray to it, which is going to just make it sort of this smoky, creamy green. And then once it's the color that I like will start adding a little bit of water back into it. There we go. Sort of a mossy green. I'm gonna use me Number six, brush on. I'm just going to sort of arbitrarily place and leaves in some stems where I think they might go. This is not really, you know, part of white water colors, but I just wanted to show you like how I would approach some leaves on here. So, like usually toe work with wet and toe wet, so I would probably have all of this mixed up prior and then dip into these white pedals. So that's something fun that you could try. But for these, if you look back at like the an enemy leaves, um, there's so much fun, they sort of don't have a rhyme or reason to them, Which makes me just love them all the more you feel like there's lots of space. Teoh just sort of go with it and do some like some little thinner movements, and then do some longer strokes, bring you a little bit closer. So please feel free to kind of approach this the way they you enjoy making leaves. And you can pull out the darkest version of, um, that color remixed and added to things that that are still wet and create some really pretty color here. Or head back into that Payne's gray and make it more of a black. - I really just having fun with it. Loose heart is perfect for that. You can see there's lots of moving back and forth across the palate, picking up different colors, mixing in a little bit more of something. Okay, so there you have it. You could go in and add veins to those leaves. We cover veins in a different class, or you can leave them as is. You could go in and add some bigger leaves to the to the stems, which I think would be super fun, probably would want a different brush for that. The number six is pretty small, but you could make a leave roughly about that size. So God, lots of options here. This was so fun. I'm so glad that we were able to do this together, and, um, I look forward to the next class and seeing you again. All right? Wishing you guys much love and happy creativity. Onda. Um, just a wonderful week.