How to draw a Rose | Cally Lawson | 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

7 Lessons (29m)
    • 1. Introduction

      1:09
    • 2. Observation

      4:25
    • 3. Pencil guidelines

      4:14
    • 4. Drawing the bud

      4:40
    • 5. Drawing the flower

      4:42
    • 6. Drawing the open flower & leaves

      7:16
    • 7. Conclusion

      2:23
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About This Class

In this class, we will carefully observe the characteristics of the rose before drawing it in ink pen. 

You will need a pencil, eraser, smooth drawing paper and a fine drawing pen. You will also need a rose flower as your subject to observe.

You will learn how to approach your drawing by breaking it down into simple shapes before building up the detail.

Meet Your Teacher

Teacher Profile Image

Cally Lawson

“Paint like no one is watching"

Teacher


Hello, I'm Cally. I am an Artist situated in Cumbria, North West England on my family's dairy farm. I particularly enjoy teaching beginners drawing and painting, focusing on building confidence and emphasising the importance of relaxing and having fun whilst you paint. I have been teaching and demonstrating on YouTube for the last few years, where I cover a wide variety of media and subject matters. Here on Skillshare I will be aiming my classes solely on beginners, watercolour and pen & wash. Please feel free to contact me if you have any special requests for future classes.

 

 

You can see examples of my own work on my website and by following me on Instagram. I work mostly in mixed media, especially liking using ink dip pens and al... See full profile

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Transcripts

1. Introduction: Hello, welcome to this course. I'm Kelly and I enjoy teaching here on Skillshare, beginners painting. You enjoyed this course. Today's just going to be talking about actual drawing process. And I've chosen or host because lots of people seem to think that dry nose is quite difficult. And it's one of the things that they would like to draw. And because Muslims libraries is obviously so these roses which are sum from off the front of my house and I want you to talk through the choroid of the port and on Slido original jaw open rows and about the importance of observing, because the rules I'm ready drawing each is really looking with your eyes and observing offices that not letting you might fill in the blanks, not making any assumptions. Really looking at use objects, have a little look at the measurements and have a look at the way things lying of an observed while you're drawing. So we'll get going straight away with a pseudo Arabic of holotype. I have awareness or sometimes doo-wop all a little bit TO shall get going straight away and have a look at these agarose is that we're going to be drawing. 2. Observation: To begin with, we need to take some time to observe what we're drawing. It's great to get your stuck into your drawing and we all enjoy doing that. But what's really important is to actually look at what we're drawing, because that's what makes a good drawing. We can all use a pencil or a pen. We can put a mark on a piece of paper. We write our name. And that really is a mechanical thing of making a line, making a mark and ice firmly believe everybody can draw because you've got that ability. What makes the difference between that and being good at drawing is what you do with your eyes and observe in the thing that you're drawing. So let's just have a look at this rose before we start and what makes it characteristically arose. Do apologize for these bits. We've got lots of green fire and things. So there are a few things that to my mind, make this flower very characteristic of a rose. So these spiky bits here, that case, they boots. And you'll see them there as well as they come to a little point. You've got bits of points on the edge of the petals. And then we've got the way that the petals all overlap and curl around each other. And the way the shape of the flower itself is shaped, It's very goblet like it all attaches here at the bottom where we've got this bulbous part. Again, that's quite characteristic. And if you imagine all the petals are fastened there and they've got to come up and around that flower. Then we'll look at the leaves. We got these nice serrations and then a nice tip at the end. So that makes it very roars like obviously we've got some thoughts, but this rose hasn't got very many, tends to be quite a thoughtless one. So I've got this one as well itself, the same plant, but much more open. And we can see in the center there, again, very typical center of the rose, all these little bits of seeds. And again it's been that goblet shape and then it's starting to open up. We think of making it 3D. We need to think of it as that shape, cup-shaped. It's not a flat 2D object, it's a 3D object and we need to think about making those petals look like they're coming out and around from that point there where they're all fastened. Now it was going to take this leaf off. But then I thought, well now talk, talk to you about this because this is obviously had a slugger, our caterpillar or something on it that's made these big holes in a leaf. And you might think, Oh God, how am I going to draw that? Do I want to draw that? But you mustn't forget, we've all got artistic license. We're doing a drawing or creating an artwork. We can change it however we want. We can take leaves off, we can take flowers off. We can lessen the amount of petals. So don't worry about these holes. You don't have to draw them. You've got the outside edge there to draw with these nice serrations. We know where the veins are going, we know how it is fastened to the other two leaves again, that makes it characteristic these three leaves together. So we don't need to draw those holes. We can just pretend that they're not there. So do think about using artistic license in your work as well. So before you begin, I've got a rough piece of paper here, just a cheap piece of paper. And you can have a bit of a practice that thinking about these shapes, get a nice big pencil and just look at some of those shapes. So we've got two at the site and then you've got this one in the middle and get your arm moving and have a bit of a play. And now you'll notice when I start drawing, I haven't started by looking at one of these and thinking, right, a need to get that line there and looking at the one petal at a time, I'm looking at the whole shape. So break it down into shapes. And can you see we've got that, that fits into a triangle. So if you think about that shape there, it's more or less like that. So whatever you're drawing, break it down into big chunky shapes before you start putting in the detail. So we've got to that. Obviously you wouldn't be as scribbly is this, this is just to show you. And then you've got the stems there. And then your rows is going to fit into this portion here. So have a play if you've got an old adopter, something, some scrap paper, so inexpensive paper, have a bit of a go at looking at the shapes before you start. So this one is more or less an oblong, which is going to fit into. So look at those. And then you've got that, and you've got this bulbous part here. And you consume, build on that and get rid of some of those lines afterwards, but have a play on a rough piece of paper. Spend time observing before we start, and you'll end up with a better drawing in the end. 3. Pencil guidelines: Now that we're familiar with our subject, we can go ahead and start drawing it. I've put the rose is back in some water. It's important that you keep them in water because obviously they're going to start wilting if you don't and then you draw is going to change as you're going along. If you're somebody who takes a little while to do drawing. And you've brought these roles is into a warm room from outside and they're going to start opening up and changing the shape. You might want to take a photograph before you start doing your work so that if they do move and especially if you might have to leave it to finish another day. And if they do move, you've got a record of where they were before they opened up. So I've just arranged them quite loosely in a vast justice sort of went in. And I'm gonna start with the largest of those, the most open and output down here. And that's a nice big open shapes are like I spoke about before. We're making nice big shapes. We're not putting a detail in to begin with. I'm standing to do this, which is going to help my arm move more as I'm drawing. So I've got a good day. Just looking at where the stems are convenient for systemd goes off behind but we can't see it. And then I've got leaves coming up here. Like I said, we don't have to draw all these leaves. Now these aren't all on the same angle. Some of them are coming towards us and some of them going away from us. So you need to think about that as well. So all I've got there is the basic shape and where they where everything sitting really. And I've got a boat going off up here of perhaps not left enough room for that, but we can just about fit our scene just made up stem slightly shorter to fit in again, like I said, it's artistic license. Some of this I am doing so you can see what I'm doing. You know, you'll have more time to plan it out on your paper perhaps, and get that to do it nice and big. Don't be messing about with tiny little bits of paper. So as I said before, this one sort of fits into a, an oblong shape, but it's facing me more than it was before, so I'm seeing the top of it. So you've got the roundness of the top and around. Again using your arm, make those round shapes. And when we come to put the petals and that's going to feel more 3D. It's going to feel more like a tube there. So we're really drawing a tube. We're not drawing a flat object. A leaf coming up here, quite fat leaf. Some of these leaves are quite round. Again, it's going to depend on the variety of roles, how round the leaves are, how the shapes of the flowers are. But in general, Nice typically honor. And I'm not drawing the boss, I'm just drawing roughly where the stems are going to leave that bottom it down there. And then we've got a leaf coming off that one across. So very, very loose. You'll see how loose this is. All I'm doing is placing objects. I'm looking at where they are observing and I can group these lines out, forget it wrong, that's not a problem. Two stems there. So that's enough for me to work on with my ink drawing. You might want to be a little bit more detailed and show one or two of the petals. So these petals are going around like this. I'm going to put all that in with the ink that you can put as much detail and with the pencil as you like because you can come along later and erase those lines. Just make sure you've got a good eraser, a decent paper. Now, I'm doing this on a cartridge paper because I just want to talk to you today about the actual drawing. And if you want to add color later on, you might want to do this on a watercolor paper and do it on a smooth on, because it's much easier to get your drawing and get the detail and you join if you've got a smooth piece of paper. But you could use, even on your cartridge paper, you could use crayons to color in or anything if you wanted to add that color, but I just wanted to talk to you about the drawing so I won't be adding any color at the end of this. Okay, so I can put my pencil to one side now and we'll go on to do the ink. 4. Drawing the bud: As I was standing to do this drone and I'm sorry, I have moved it down a little bit now. I do apologize that you couldn't see me drawing this, but I realized that was off-camera. But as I was standing and looking at the rows is over here to my right. To do this, I need to keep this position. So if you are going off to have your lunch and then you're going to come back and whatever, just make a note, either a mental note or stick something on the floor to show where you were standing because the distance between your eye on the rows needs to be the same. Keep altering your position, then things aren't going to be quite so accurate. And that's the same with any drone. If you sat outside during a landscape or whatever, you need to be sat in the same place so that your eye, and it does the same distance between your eye and the object that you're drawing. Someone starts at the top. I like to start at the top of a drone because then your hand isn't leaning on being that you've already done. And if it's slightly wet too as it's drying, you don't want to be doing that. So we'll start with this one now. I can see, and yours is going to be different because you're going to have a different flower inference via. So I can see the first, it's not apocalypse a case in, it's the green case in, and we've got that nice shape that I was talking about earlier. You'll notice our two little lines. Rather than drawing one big line. Sometimes it's the other way around, sometimes make it quite solid. But with something like this, it helps you get the shape. It's much easier to do lots of little dashes to get the correct shape than it is to try and set off and just do that whole thing. So this is the inside here, this is a pink part. And I'm not gonna talk through every single bit of the drawing. And I will speed this up in a moment, but it's just one or two things I wanted to talk about before we do that. So look at whether twisting round book every little bit of detail and really observe. And hopefully you should have more time than me to complete yours. So this is what I was talking about before. This bulbous shape of the bottom there is quite distinct. And then look at the width of the stem compared to the flower itself. Just be careful how far down you going with your stems. Stem doesn't come over this leaf that goes in front of this leaf and behind this leaf. So once you commit it to ink, you've got to be careful with things like that. You've got a little bit of a leaf coming off there and you've got tiny, tiny little bits of protocols. So going to talk about shading before we go much further and do anymore flowers or leaves. Now the red of the, because it's quite red, although it's a pink rose, it's very red. This inside here. It making that much darker than the outside case in which is the light green. And that's looking quite dark in there. So I'm going to use some crosshatching. We can see that color in there is much darker than on the outside. However you want to do your shading, you can use it quite solid. You could use dots. That's entirely up to you. And this all comes with practice and what you prefer, what your preferred style is. I'd just like to do lines. And as you go along, this is the much lighter area. As you go along. You will see more because you coming back to that same leaf or a petal again, and you'll observe something that you didn't observe necessarily the first time around. There's actually a fly sat on this one, but I'm not going to be doing that. And around here, obviously the light is not hitting the same underneath the butt. Use your pen to go in the direction. It's going round. So may you shade in round? Don't make the shading go this way if the object is going that way. And again, with the stem, I've got shading down one side, but it's actually more because it's dark colored. You'll often find in any flowers, the colors of the flowers go down into the stem cells. A lot of readiness stems. So for now I think that's enough detail. 5. Drawing the flower: We'll leave the little boat for now and go over to this one. And again, you can actually see this part of it because that's underneath. So this again is going to help us with this 3D thing of what we can and can't say. And again, that's what we're thinking about is looking at what our eyes can see and not what our brain is imagining to say. Because we know that that's got this bit underneath but we're not drawing it. And then we've got one coming towards us, which again is quite difficult to draw because you've got that foreshortening is coming towards us, Laila, and you'll see I've got two lines there because you see in the edge where it's slightly curved over. So really concentrate and think about where these lines are going. We've got a package that's kind of coming out. And like say it's got that distinctive shape. There is a little kinks. And this is where it gets slightly complicated. We've got one goes all the way around. This is the outside one I'm doing now and then it's talked back in. So this is what we were talking about earlier. The way things are, the way the petals are tucked around each other. To take your time. And this is very distinctive, this center part. And why we need to stop and think. I'm okay every line. I guess it doesn't matter if you miss one petal out. It's getting that shape. And the fat that is like this. And they overlap as they go around here. They overlap and wanted to have those little edges. And it's got a much darker in the center there. Okay. So we've got that without She got a book Behind. I've made it too big there. So you'll see that I'm correcting these pencil lines as a guide to show me the general direction I was going in. And actually now we're altering them quite a bit when move it a bit further down. Gotten slightly too big. So this is a boat behind that we've just seen. You could have actually left that one out if you think it's a little bit distracting from the flower, but you know, it's there. I would do it. Again. This is bending over, so you've got that shape there. And then we'll put the stem in. And again it goes behind this leaf here. So you've got to be careful not to go over where your leaves are. And then again, we'll look at the shadow. So we've got the shadow under here. I've got several light sources so that makes it difficult. It's not just casting shadow on one side. It's next to the window. But just by putting that shading down the side of the STEMI, making that more of a round object. Got shadow cabinet. Here. Again, it's got light from behind, so it's casting shadows on itself, each petals casting shadows on the petals. And by putting those any sort of get the distinctions between the petals as well. Again, look at the direction that they're going in. And under here, it's very dark. Whereas this one's nice and light coming out will just put few lines to show the shape of the way that that's going. Again, this is in shadow here. And the darkest part really is in here. Well, you're not getting the lights, just not getting in there. Don't forget your petals as transparent. If you do come to put paint on, you probably want to do it quite loosely and not to solid. You've got the light shining through them and it's a delicate objects. You don't want to overdo it with you. You shade in this petal here is much redder. It seems like an older petals somehow it's sort of I don't know, part of the case in or whatever and it's a lot different to the rest. So let's make that dark against that leaf there. 6. Drawing the open flower & leaves: Now I'll quickly talk about this one before I go on and complete all the leaves and everything else. So it's very much around shape. We've got this other one coming across it. So again, we're going after the fact. What I'll do is I'll do that first. So very quickly I'll just place this boat here. Otherwise we are going to be drawing across it, which won't be good. So you've got the case in there. We've seen it from a very different angle to this one over here. And it's actually a little bit chunkier than that one. So don't just go ahead and do the same shapes. Really look. 7. Conclusion: I'm going to leave my drawn there. What happened? We house turned out because little bit good. So the roses and sars for the base commanders bit more forward. Some packet is a little bit depth to draw it. I could go further with the shading and with the tea towel. Again, as upsetting various tutorials. Really that depends on you and your style on striking things leaves and a little bit less detail. If you're a details person and you want to promote flooring and carry opportunity, you could spend all day doing this is so much to observe that each little line on the leaves, etc. So I carried on a CPU more and more shading a, and you'll see our coursework missile continuing with the drawing after I left you. And it was just more of the same way really located, keeping that same position so that the distance between these objects and the I is always the same. If you keep altering that, you keep moving around and you draw, it's going to be a little off kilter end. So I hope you enjoy doing those rooms is our general roses. You paid for your own thousand. Also, maybe from a shop if you haven't got setting and if you haven't got access to roses, don't forget, you can go online and violence and woman post-class, I would recommend Pixabay. And because the free license, free to age often worry about the copyright. And of course, like I said earlier, you want to go ahead and muscle dry once you've finished as another nice thing to do, I will put a black and white PDF version of my finished drawing for you. Just have a look at animal also put the photograph that I took of my flowers as well to have a low calcium you wanted to use them in anyway. Just feel great. You can use those. Compare ivory as well. So any questions, anything that's all it wants to ask, please don't hesitate to contact me quite easily through Instagram, instagram Messenger, that's probably the easiest way or by email, just Outlook, mobile side, you see all the links that and I do look forward to. So when you're uploading your work for us all to take home and calcium are both getting all your pictures on seeing the difference, different styles. It amazes me how unique they are different now considered evil at the same source material and all work in the same projects. And that's a little bit to say simply do the work if you get the chance. So thank you very much for taking this course. I'd like to say to getting contacts, if you would like to. Bye-bye for now.