How to Paint Loose Watercolor Tulips | 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

8 Lessons (53m)
    • 1. Introduction

      3:16
    • 2. Supplies

      11:29
    • 3. Creating Multiple Washes

      2:50
    • 4. Shaping the Flower Heads

      10:33
    • 5. Adding Stems and Leaves

      6:10
    • 6. Putting It All Together

      4:19
    • 7. Creating Elements For A Pattern

      13:29
    • 8. Final Thoughts

      1:10
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About This Class

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Do you LOVE playing with watercolors? Do you LOVE flowers? Perrrrfect. I've created a class JUST for you.

Together we are going to learn how to paint these darling loose tulips in a loose watercolor style. As I will mention in the videos, there are several branches of watercolor, with styles ranging in the very tight and controlled, leaning toward botanical, and those that are looser and more carefree. The latter is where we will focus our efforts today!

I cover a good deal of information in this class, so I've broken it into six segments. 

  • SUPPLIES - this is where I will show you everything I use in my work and what you will need for today's lesson!
  • CREATING MULTIPLE WASHES - watercolors are ALL about layers and washes. I will show you how to create different water to paint ratios to build up intensity in your work.
  • SHAPING THE FLOWER HEADS  - using very simple strokes, I will instruct you on how to use your brushes to create different a variety of flower heads. We'll also start the blending two washes together.
  • ADDING MIDDLES, STEMS AND LEAVES - once we have thoroughly covered building flower heads, we will move on to learning how to add a stem and leaves into wet paint to create a "bleed" - a controlled disruption of merging color. This is where we will practice wet into wet technique, which is a matter of timing and being mindful of how wet the paint is.
  • PUTTING IT ALL TOGETHER - next we will practice putting everything we have learned together in one seamless motion, using multiple washes and brushes of varying sizes 
  • CREATING ELEMENTS FOR A PATTERN - lastly I will show you how to create multiple tulips, in different stages of growth, which you can later turn into a pattern using photoshop!

BONUS: I will ALSO show you how I mix two colors to create a new color featuring my muted tones. More on this process can be found in my "Color Guides" which are located on the website! Rosaliegwenpaperie.com. This will be fun for those who especially love vintage, earthy colors!

Watch My Bonus Videos On Instagram

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

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Fine Art Creative

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Transcripts

1. Introduction: hello and welcome. Only gonna say I'm so excited. For months now, I have been asked to teach a class on skill share, and it's something I wanted to do but haven't quite have the time to do it. But it's done. We did it. I have an amazing class for you. But first, I just wanted to say thank you so much for being here. And thank you for letting me be your teacher. I think we have a great time. Um, if you're not already familiar with who I am, My name is Carol Rosalie Olson, and I am the founder of Rosalie Gland Paper E, which is an online floral boutique. I sell a lot of floral artwork and just recently have got into spreading my wings and doing a lot more. Resource is for those who are as passionate about watercolor is I am one of those avenues being teaching. So I am just so excited to be here. Um, I think that watercolor is a very special medium, and I say that because there's just so much versatility and range and what we can do and not to say that there isn't a lot of love to be had for other mediums. But watercolor is the one that speaks truest and purest to me. And I'm so excited to pass on a little bit of that love, um, beyond being a teacher, I am also a wife and a mother of a very rambunctious 2.5 year old and with one on the way, I don't think you can quite see that. But we're very excited to be growing our family. And, um yeah, so let's get started. So, Teoh, have something really special plan that we are going to learn how to paint thes darling watercolor tulips. Um, this is sort of a beginner slash intermediate workshop, I would say, Just because there are some multiple movements that we dio that require some foundation of water colors of your still brand new, I would say maybe take a beginners, beginners watercolor class. But if you have some practice that I would say you're ready for this, um, we're gonna be covering several techniques went into wet technique, how to create a bleed which is a controlled disruption of color and also learning how to shape these flowers to add water when things were wet and just create something that's really beautiful and free and loose. And I talk a lot about that in a description about what loose watercolor is and how it differs from botanical artwork. So that is where we will be focusing our efforts today and then after we have learned the foundation in the basics of like how to shape everything will move on Teoh learning how to create ah pattern, which you could then use to scan and edit and play around with in photo shop in turn into anything you make a pattern into wallpaper or bedspread, or just simply to hang it up in your home and just be proud of. So I'm super excited to share all of these tips and secrets with you and without further ado, let's get started. 2. Supplies: so the first thing we'll go over are the supplies that we're gonna be using today. Starting with the paper. I am a huge fan of cancer sins, watercolor parents. They are extremely inexpensive, and they come with 30 pages. This 11 by 15 pad right here on one of the discount sites that I shop either on Blix or Juries. Adirama will cost me be $11 sometimes even $9. So if you're beginning painter and you don't want to spend too much money on your paper because of one, it's just expensive. And two, it's sort of promotes fear of messing it up, which is something that we artists all struggle with. This is a great paper. You won't feel so guilty ruining things or starting something and then trashing it and starting over. I do that. A lot of my work so highly recommend this paper. It is £140 cold press, and that comes in several different sizes. I do like the level 5 15 blocked or pad. Excuse me. Just because it does allow for lots of playing room. Um, the paper is a medium texture you can kind of see, hear that it's got, like, a rippled surface. The other side is gonna be a lot smoother. I always suggest painting on the rougher side of this paper in particular. That's not always the same thing to be said for other brands. But this brand. I definitely do recommend using that textured side because we want to draw out as many of those beautiful watercolor aspects as possible. Secondly, um, my very official palette here. This is not a traditional palate. Um, I use salad plates. I love the, um, just the convenience of having something that small, and I love having lots of playing room. You will just have to find what works for you. But if you don't have anything, a salad plate works splendidly. Also, I do recommend using ceramic. I just find that the paint doesn't beat up. You don't have to work it so hard with so much water. Um, so that's just something you know, when you're in the moment, you're mixing up paint. It's nice to have that convenience, so some sort of ceramic device would be awesome. You also need a cup of fresh water, and you also need bushes. Obviously, um, my preferred brand of brushes is Princeton brush for several reasons, the first of which, being that they are budget friendly, they do have a more premier line called the Neptune Siri's. I typically use all of their Siri's, but the heritage works great, and they're extremely inexpensive. They have great flex and they keep their shape, and you can make beautiful points as long as well as making beautiful bellies of leaves. So lots of versatility with these brushes, and they will not do any harm to your budget, which is I'm always a fan off. I'm gonna recommend having four brushes. They don't have to be in the exact same size. The only reason I recommend this is because we're going to be working with wet into wet technique, and this is a tinny technique. Excuse me. That requires a little bit of practice, and it's all about timing. So we're going to have our Russia's loaded up previously with color and water, and we're going to be ready to add in certain elements while we're painting and I'll explain more as we go. But it's gonna be important that you have several brushes because you will not have time to take one brush, rinse it off, pick up another color before the paint dries. That's kind of what we're working with is that, um, paint is drying at a rapid speed, depending on where you're located. If it's, summer could be drying very quickly. If it's winter than it's colder in your house and you're not worrying about that so much, you kind of have to figure that out and play around with how quickly the paint's drying. But even so, I still recommend having brushes. I'm going to have a number three for the little is details this the, um, this statement or the centers of the flower. I'm going to also be using a number 10 for our leaves, has a great point, and also a big bellies will be able to make some really beautiful shapes. Show you what I mean. Just you can kind of see how it tips here now. Then it makes these big, sweeping belly movements as well, and then a great medium brush is a size six or a size eight thes or both sides. Six is this is the Princeton, Neptune, Siri's, and this is the Princeton. Neptune travels that. So take a look. See what you have. Obviously, you don't have to use these exact brushes. Those are just my thoughts. And other than that, the only other thing you will need is a paper tell to blood off on. So that covers our supplies. Oh, no, it does not. I completely forgot to mention what paints we're gonna be using. Well, lookie there. So again, there are so many different watercolor plans out there, and, um, a lot of them are created equally a zonas you were buying artist. Great pains. I think you're gonna be just fine. So if you do not have Windsor and Newton specifically, which is the brand that I will be using today, Please don't stress what you have will work fantastic. But if you are in the market to buy some new paints, Windsor Newton again, like Princeton brushes a great brand because it is budget friendly. And you can buy typically one of these smaller tubes for around five or six and one of these larger ones for around 11 or 12 which he's literally last me years. So definitely take that into consideration. Um, I also going to be using one color from the Daniel Smith line. As you can see this to his duty Biddy. It is also very expensive and not budget friendly, so I use it sparingly. But it is a beautiful, rich, lush color, and when you're in the market for splurging on yourself, definitely check out Daniel Smith because he makes a fantastic paint. But whether Nunes great to specifically we're gonna be using permanent Rose Van Dyke Brown . Um, kid, Cadmium free red. You can read up a little bit more about that. Cadmium is just a mineral that they put in paints. Um, and their Newton came out with Academy and free line. Stephen kind of do your own research. If you're trying to avoid toxins, then this might be a great line for you. Daniel Smith. Rich green, gold and sap green. So those are the colors will be using if you do not have those exact colors again, no worries. As long as you have something sort of in this family, you will be just fine. Just a little side note. If it sounds to your ears as though I am out of breath or even kind of panting in the background. Let me just assure you now that I am not also running on the treadmill while teaching you how to paint watercolor. There are, in fact, two wonderful reasons why I am out of breath. One of them is that I am 21 weeks pregnant while filming this class, which has its challenges of its own. Um, and also it is the dead of summer here in Orange County, California, which means that it's incredibly hot in my studio, which is closed up with the moment to avoid the alarmingly allowed lawnmowers that are happening outside. The gardener's decided to show up completely different day than they usually dio because they knew that I would be filming this class and wanted to make things he especially challenging for me. No, that's not true. I don't know why they're here, but they're keeping the grass Mycenae, so I will not try not to complain too much. All right, now that that disclaimers out of the way, a little side note about loose florals if you are just kind of coming into the wonderful world of watercolor and don't know a whole lot about it, there are definitely different branches of watercolor, some styles being incredibly tight and controlled and all about waiting until layers have dried. And then there is the loser side. And this is a more kind of playful, spontaneous in the moment kind of work with what's going on on the page type of style. Um, we're kind of going to be working with something that's in the middle of that. We're gonna have fun and we're gonna play, and we're just going to learn how to makes some simple strokes to create a very loose, loosely inspired version of a tulip. As you can see, they don't look exactly like tulips, but it's just sort of giving the impression of the shape. So that's loose watercolor. In a nutshell, I teach several different variations of water color in floral workshops. You know that I teach in person and then also on my website at Rosalie gwen paper dot com. So you are always welcome to check out additional classes for just different styles. But I didn't want to just kind of make mention of what this is and what we'll be doing here today. Um, as I discussed in the overview, We're going to be working with several different techniques, one of them being that we're gonna mix colors for a muted palette. So this color specifically this permanent rose. This is not the exact color straight out of the tube. It is a mixture of this color and the Red Rouge. So I fixed these colors together to kind of create something that's a little bit more vintage, a little bit more vibrant and unique. This kind of, um, my whole stance. Actually, I teach ah lot on color value and color theory, and I have a whole line of color guides where I mix all different colors of all different brands and I create an entirely different palette of muted palette is what it's called. So we'll be doing that. Um, we also are going to be working with wet into wet meaning that we're gonna make a stroke, and then we're going to immediately get back into that wet stroke with a different color or a similar color to create something that you see here, this rich pink sort of melding with this lighter pink and again up here, the greens colliding with, um, this pink. So it's basically what it is, it looks like it's like, Oh, what happened? She had a mistake here. No, not at all. This is all about what's so wonderful about loose are this is a control, disruption of color. So we're gonna really play with that and just be uninhibited and give ourselves permission to just explore color and have a lot of fun making shapes. So that's that. And then, at the very end, what we'll do is we'll add some sort of, um, outline details you can see right here there's this darker shade of pink. It's just again thes two colors mixed together for a very thick cough syrupy version of this color. So we'll be mixing out que paler. Washington will also be mixing out a darker, thicker wash. 3. Creating Multiple Washes: Okay, so the first color that we're gonna be mixing up is this permanent rose mixed with this cadmium free read whatever sort of bread you have worked. Great. So I already actually have a little bit on my palette Here. This is the red right here. And this is the permanent rose. So I'm just going Teoh wet this a little bit, Just kind of reactivate it. Watercolors air so great that they can fully dry on your palate. And all you have to do is just wake them up with a little bit of water and they become brand new again. So some acrylics do that. But not also. We're going to continue to hot water until we get a pretty thin pale wash. Add in a little bit of the red now, and I want you to have something that sort of looks like this. This is gonna be our base color, the one that we use a Zwiers shaping the heads when he use, um, I'm gonna be using these two size x brushes. I talked to you about that because we're going to be immediately dipping into the second version of this color to create the bleed. So one of these brushes should be reserved for this lighter wash, and the second brush should be reserved for the darker wash. So again, I'm just going to mix these two colors right here, kind of just creating a new color in between them until I have something that is quite dark . And officer is usually the consistency that I like to say. If you hear that noise outside my window again, I apologize. The gardeners were supposed to come on Wednesdays. It is a Tuesday, and so we're just gonna kind of have to work with it. So once you have something that looks a little bit like this could bring it down right here . And you now have your two piles either the same exact colors. You just have one version that's paler in one version, that's a lot thicker. This takes time. As you can see, toe wet the paint and create a pile of Don't feel like you have to Russia, give it some time, let the color come together. Okay, So the first thing that we're gonna just practices just shaping the flower heads and we're gonna be super loose with this and just not overthink it. If you have, like, um, some inspiration pictures that you want to kind of just have up around you, or even if you want to get a bouquet of tulips to just kind of glances, then they'll be great. But again, we're just going to sort of take with what we have in our heads and just imagine these tulips, if they were just free and loose and totally carefree. 4. Shaping the Flower Heads: Okay, so first thing I'm gonna do is step into my pale color Here, load up my brash, and then I'm going Teoh also pre load my second brush with this darker color set. Have this kind of just loaded up and set off to the side on your paper towel. And then we have all right, they said our initial color is this very watery pink. Okay, go ahead and set that second burst down. You're just working with the one number six brush. We're going to practice our flower heads now to create thes again. It's one of those things that if you kind of overthink it, it's just gonna come out really stilted and stunted. So I want you to just kind of imagine something in your head and then try and make that happen on the page in the most authentic way that you know how I'm using these quick upward strokes. Gonna create the side of the tulip, create another side of the tulip. And then I'm going to create the top of the tulip here. So as you can see, not an exact representation. It's loose and carefree. Now we're picking up that second brush the second number six dipping into that color and were immediately going to create a bleed to go here at another bleed and do another one right here, as you can see. And as I explained earlier, you're working with paint that is drying, so you'll have to be sort of conscious about what's try and what's not. Okay. I decided to take a quick break and let the gardener's finish, because that racket, I'm sure if it was distracting me, it was distracting you. So I think they're done. About five minutes has passed. I haven't heard anything, so hopefully that is the last of that. So we're just gonna do this same little Siris of movements that we just did on and just kind of practice getting the concept of working with two colors. So we have both of our number six brushes. We're gonna dip into that pale wash, and then we're gonna also load up our second brush with that darker wash so that it will be ready if you're comfortable holding to brush is in your hands. Um, go for it. If that feels like there's just you don't know how to, like manipulate everything. No worries. You can just put it off to the side on your paper towel. So again, we're just gonna do some upward strokes here. I'm gonna try and make each one have, like, a different feel to it. Um, some will have be more open. Some will be a little bit more closed, and then we'll add details to at the very end. So now that we've dipped into that darker wash, we're going to come down here at the bottom, create that bleed, work with everything While it's still very nice and wet things feel like they're drying a little too fast. You could always go back in and just kind of encourage that color along. Okay, let's do that again. Repetition is going to be our friend here for sure. Do one facing this way now que dipping into that darker wash, we're just gonna gently touching the paint. You don't have to add the red up here. I'm just doing it just for being able to see sake so you can kind of see the shape of everything so you could see that one's more closed, and then when we would go in tow ad the gold. It'll even be even more obvious that that's the center. So again, really just kind of give yourself permission to explore shape, start with different sides And you just wanted to work somewhat quickly so that you can take advantage of that wet paint. You can see this one's kind of opening up like that two up at the end of its cycle, for sure. And if you want to go in the third time, um, and just darken ups that initial bleed definitely do that. So I'm just gonna mix up a little bit more here on the side and go back in third time and touch that this is actually still quite what over here. So I could do the same thing over here, and you can see how beautiful that looks as it's drying. And again if it things dry up on, you can just kind of go in and encourage it. Dry it out a little bit. So let's do one more of those and then we're going todo the third step, which is to add the green, the stem and the leaves. Okay, so dipping into that pale wash, I kind of imagine this is coming out on its side, dipping into that dark wash you can kind of see things were actually already starting to dry up a little bit on me. So I will definitely go in and encourage that along just gently encouraging, not adding a whole lot of water. Just kind of seeing where might be pretty to add some darker elements. Gosh, it is the day for rackets. Okay, So if you hear that soft little snoring in the background that is my £7 Chihuahua, va. Who is just trying to stay cool in this crazy weather. So, um, I'll try and wake her up and see if we can quiet her down. Hey, a little love. You gotta wake up, baby. Yeah, we're doing a video. Okay, so now we have kind of a bunch of different shapes. See, we can kind of use thes as references. The next thing I want us to do is to go in and do that third step. So put these two off to the side. We're going to pick up our number ton brush and again. And I like this brush because it has a nice fine point on it, and it also has a big belly, so it gives us a lot of versatility. So let's bring our palate back of here. This time we're gonna be mixing up a little bit of sap green along with the Van Dyke Brown , so that I'll just put their right on my palette. Go ahead and put the van dyke brown right next to it, mostly going to be green. But again, this is all about mixing colors to create a new color. I home Well, I'd never say never, but I rarely if ever, used a color straight out of the tube. It's just very vibrant and does not suit my creative preferences. So I am just kind of mixing these two colors together until I have a color that I like, sort of. A mossy green is what we're going for. And again, I'm going to have this darker part of the color right here. And then I'm gonna add water and gradually make it just a little bit lighter so that we can do some lighter elements as well. So you can kind of see it's darker here, and then it's lighter here, and that is just adding water continuously. Okay, so now we have the three step action, so it's a little bit more reading one more step to the whole mix. So go ahead and load up. Thought number 10 brush with green, set it off to the side and then we're still using these to number six brushes to go ahead and continue to load those up. If you need to take a moment and mix new paint, go ahead and do that and we will get started. 5. Adding Stems and Leaves: Okay, so we're going to create that far had the exact same way that we did with the other ones. This time we're just gonna leave some room for a stem. So we're gonna kind of imagine that our stems coming up this way. And so are tulips gonna be facing this way? You were dipping into that darker color. Now, using some flicking motions to create that bleed can put it in here if we want Teoh. Although I'm gonna be showing you how to use the gold as well. Okay, so while that's still wet, now we're going to pick up our number 10 brush, dip it into that pile of green that we just created. Now we're gonna be making our stem are gonna start here at the bottom, actually tend to do kind of ah, in between thick and thin. And we're gonna let that touch and milled with that red right there. As you can see, there's some really pretty things as those two colors merge. And then we'll go ahead and add some leaves while we're at it. But it gently just poke at the side of this. Allow that color to kind of just sit in with this one. We're going to you hold our brush at an angle, create a small stem and then press down firmly and draw out that leaf to a point. Come back here at the beginning and create the end of our leaf tulips. Have the It was really pretty, um, long, Long stems. So we're going to kind of try and honor that, but not be too rigid. Then we can kind of go back in here again, poke it that a little bit to create that beautiful bleed and kind of just leave that one alone for now. So let's do that one more time. Go this way this time picking up that second brush. Create that bleed. This time I'm not gonna add any color. Appear. We'll add a little bit of gold at the end and picking up our number 10. We will now make a stand. This time I'm going to come this way. Touch it here and come down Well, leaf here again, holding your brush at an angle, starting with the tip. Come out tip again, flattening to the belly all the way to a tip and come back to the beginning tip to flat to tip. You can even pick up a little bit more color, go back in towards the middle, creates and pretty bleeds in there. Now we will add a nice big leaf over here where it's still nice and wet again. We're just gonna sort of poke out it, pick up a little bit more pain and can just gently bringing our brush down to a point me back that aside for a moment, get a better angle. Don't be afraid to turn your paper around to whatever angle you needed at all about getting the wrist action. So okay, content to see how beautiful that all looks as we're starting to come together, the next step would be to add that rich green gold into their. So I have that color right here. That's the Daniel Smith Richard Rich Green Gold. You can add that wall, it's wet, or you can choose to add it afterward. So everything's kind of dry up here. So I'm just going to kind of go in with my brush and just lightly touch the wet parts and create an illusion of a middle. This is not something you have to dio, but looks pretty. I think just the more details to this loser style, the more it just kind of capitalizes on the free and whimsy aspect of these florals. Okay, so we're gonna do that one more time. And this time I will load up my fourth brush, which is what I just showed you with the Daniel Smith rich Green Gold. And I'm gonna lay that off to the side so I could do it all in a seamless motion. So put everything that we've learned together doing it all at once. 6. Putting It All Together: Okay, so I have all of my colors already all mixed up on my palette. I'm going to reload my brushes just so that their fresh with paint they haven't dried up on me. That something else that you want to make Sure you're staying mindful. Love is just how wet the paint is staying on the palate. You may need to go in and out a little bit more water and reactivate it. Um, and you may need to go back in and darken up that that second color. It's amazing how much paint it takes to create that soupy, soupy cough. Syrupy wash. Okay, I have everything else loaded Oppa's Well, my number 10 with that sap Green and Van Dyke Brown putting that off to the side. And then I'm also using my smallest brush. The number three loading that up with Daniel Smith. Rich Ringgold, That color you street out of the two. That is so pretty. Um, no amendments required. Okay, so we're gonna kind of, um, interact with this little tulip we have going on right here. So do one going this way can going into that dark wash kind of flick her brush up and and we have the bottom of our pedal when I go in with my little tiny brush at the rich green, gold and just kind of touch, maybe get some little bleeding action there. There you go. Doesn't have to be a lot. Could be very minor. I'm also now picking up my number 10 brush going to create that stem and create that beautiful bleed. Gonna touch Pope down here and kind of create some interlacing leaves here. Don't be afraid to go over your other leaves should be pretty dry by now. If it's wet, those colors will blend. It's not than it will sort of just be the sheer overlay. I really like the look about, so definitely play around with what you like. Do another one appear Tip Belly Tip Valley. You can see how beautiful those two look together with one that's kind of more closed in another that's open and again, if it feels like it's doing so much at once, it is. It's absolutely a rhythm, and it's gonna take some time to feel like that all happens in one fluid motion. So that's why I highly suggest just starting with an initial two colors, creating your flower head, adding in that darker Richard color and just kind of playing with the shape of the flower itself, especially if you're just sort of beginning. You're beginning watercolor artists and just beginning to understand florals. And then, once you feel you're confident there, take that third step with the stem and the leaves and then move on to the fourth step, adding that center while everything still wet. So again, it's one of those things that the more you repeated, the easier it's going to get, and it becomes a lot more fun. You stop thinking about it so much and just becomes an active play. So in the last video that we're going to cover, I'm going to do, um, these in several different positions and kind of create a pattern which you can later use. If you're familiar with photo shop, you can always scan this and edit it and turn it into a pattern. If you want to use it for anything in the future, 7. Creating Elements For A Pattern: Okay, so again, just one more time. We have our four colors already mixed up here. This is the sap green and the Van Dyke Brown. The permanent rose in the rouge mix to two different washes. And then our Daniel Smith rich green gold here. So that is ready on your palate. And then we also have our four brushes that we're going to pre load and start making her pattern. So I'm not sure if you've had any experience playing around with patterns. There are a whole lot of fun. And there's so much potential if you wanted to turn it into something, especially if you do scan and edit, you can change the position of things you could add a background color. So I know there are other artists here on a scale share that teach how to take a pattern and turn it into something using that program. So definitely consider that if some you're wanting to kind of take it one step further. All right. So I'm gonna load my brushes again. Just really want that second color to have that nice cough, syrupy consistency. So mixing it up until it's quite dark. And then I have just that paler version right here. I'm trying to be thorough was showing you each duck because I remember when I was beginning , I'd want to know, Like, Wait, what she doing off to the side. How much water? She adding, What's what should it look like? So I'm hoping that all of that is is helpful for you. Is your moving along? Kind of that We have our fourth little brush right here. Daniel Smith. Green Gold. Putting it right here. Kind of an in between wash. All right, we're ready. Feel free to turn on some music and just kind of enjoy it. Let go. Try not to overthink it, and we're gonna have some fun. You can see I'm really having fun with these leaves. I'm not taking them too seriously. They don't look exactly like to live leaves. So really feel like feel free. Teoh, take some liberties with everything that you're creating. I don't want you to feel like it has to be too tight to control. Okay, so that's how it all kind of looks together in that one seamless move. Now we'll do another one fixing a different direction if you need to turn your paper around like if this is too confusing, Um, feel free to do that. In fact, I'll do that right now, even though I'm going at a different angle. Sometimes it's nice to just turn it around and actually see what direction you're working with. I've done the zone so many times now that it's just sort of second nature for me. Just be sure that you're not dipping your hand into what's happening over here. I cannot tell you how many times I've done that. And goodness gracious, it's kind of a nightmare back around, so I can kind of see what angle were working with. Come out here had a nice little darker element there and again, just a loosely based to live, nothing to exact coming in with that Van Dyke Brown. I just realized we were supposed to be coming down right? That'll be the next one. I get so caught up explaining things that I forget what I'm doing. What I had planned to dio. Sometimes the best plans are ones that aren't the ones use originally set out to create. So again, just coming at an angle tip to belly to tip. Take advantage of this little wet area here and just create something looking to give this whole shapes emotion, creating that beautiful bleed. Come back in, touch up that middle if you want to create a bit more of that bleeding to kind of see what happened over a year, that's really beautiful when that happened. So don't be afraid to go back in when things were wet. When will start the process all over again? Try and do a nice closed one. Now we've done a lot of open face to lips. Just a hint that gold in there and picking up that number 10 may well create our steps. We were just kind of poking at it till we create that initial color around being mindful of where my wrist is, that I'm just gonna leave that one alone right there, steering a bigger when this time one that's facing straight up are not perfectly straight up, but a little bit more kind of imagining that leaf is going through the pedal and then coming out the other side there . We'll do the same thing over here, imagining that it's coming out coming down and you can see how it all looks so beautiful together. I forgot to do the gold so this might might have a dryer feel to it, which is definitely okay. And like I was saying earlier, if you don't feel like that initial color was quite dark enough, you can always go in again and just darken it up my pink. The gold is actually, um, mixed a little bit with my pink, and so it's turning it more of a peach color. Which happens, and not anything that I ever get too fussy about. I love when all the colors kind of start to do their own thing and take on a life of their own. It's nice to experiment with different angles. It really gives your work some serious versatility. I'm going to kind of give this little guy some encouragement there. Since I'm working with very hot weather, everything's drying up extremely quick, which means I have to work even quicker. You can kind of see, as we continue building the pattern, how things overlap in her lease as we create this pattern. So this is something that you can continue to add to um, a lot of times it'll do when I'm wanting to create something is I'll paint a whole bunch of it and then I can pick out my top favorite four or five, and then I'll do is to, uh, to create a pattern. I'll turn those into different directions and have them face a different way. So if you know you create 12 2 lips on a page like this, and you only like four of them, that's fantastic. You can use that and just play around with the different shape and movement and still come out with a really great looking pattern that has a whole lot of variation to it. So there you have it and add a little bit more gold to this. One can see how pretty that that became with that green in that peach touching. Um, it is a world of possibility when you start to just really let go and embrace watercolors and what they do and not hold tight to everything having its proper place but just kind of giving into the nature of loose are 8. Final Thoughts: Well, I can only hope that was as much fun for you as it was for me. I hope it didn't feel overwhelming. I really tried to break it down step by step, so that each step kind of felt complete in its own before we moved on. But again, don't feel like you can't go back and just watch the first video several times before eight . All just starts to click, and I assure you it absolutely will click. It's one of those things that as you do it, you create muscle memory and your brain detaches from your hands, and you can stop over thinking about it in your hand. Just sort of take over and know what to do. It's a really beautiful process, so I hope you enjoyed it. And I would love to see what you created if you decide to post any of this, so if you are not already, you can follow along at Rosalie Gwynn, peppery on Instagram and then, if you're interested in any more like instructional videos or watercolor resource, is like the color guides I was mentioning. You can head over to my website. Rosalie gwen paper dot com so make sure to put both of those links in here. And, um, I think that said it until next time. And I just wish you happy painting Happy creating. Have a wonderful day.