How to paint a loose floral painting in acrylic | Clair Bremner | Skillshare

How to paint a loose floral painting in acrylic

Clair Bremner, Professional Artist

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4 Lessons (41m)
    • 1. Floral art 1

      5:29
    • 2. Floral art 2

      13:21
    • 3. Floral art 3

      8:22
    • 4. Floral art 4

      14:12
40 students are watching this class

About This Class

Follow these simple steps to create a floral artwork in acrylic paint. Suitable for beginners, I will take you through the step by step process of creating a floral bouquet without using a reference image. 

Materials used

- Acrylic paint (I have used Matisse brand paint in the following colours but you can substitute)

       - Cadmium Orange, Australian Ghost Gum, Magenta (quin violet), Australian Salmon Gum, Nickel Azo Yellow, Primary yellow, Prussian Blue, Titanium White

- Brushes:  a selection of soft acrylic paint brushes, at least one 1"flat 

- Surface : either paper or a stretched canvas

Transcripts

1. Floral art 1: Yeah, details of all of the points that I'm using our in the nights. So I'm using the taste pain, but you can use any point that you like. It doesn't need to be this brand. You just need to have a nice selection of colors. Even if it's not the same color I'm using. You need to have at least a blue some kind of red or pink and the yellow, but the colors are off chosen, um, are listed in the notes. So the first thing that we're gonna dio is we're gonna cover the base of the campus in some random sort of abstracts conned of colors. This is just Teoh. Get rid of all this scary what for a stop and also create a nice background for us to build up l painting on So you can actually start without Prussian Blue. It's going to a few dabs of question blue in here. You don't need a huge amount of point. I'm gonna add in a little bit of the cadmium orange. That's just a little bit here and there. This is gonna mix with the Prussian blue and Mike, a greenish sort of color. I'm also gonna add in a little bit of the Australian ghost gum just toe washing up What's going on? Because I don't want the background to be too dark to start with signs dried up a little bit. Sometimes this happens when I'm not very good at putting leads back on my paints se join up with me up there. Who would ice? Okay, so now just going to get a nice, big fat brush, dip it in the water to make it a little bit more west, And I'm just gonna starch lending these colors together or the canvas you want to create, like a nice sort of interesting, hard put hodgepodge color background when a nice layer of paint you don't want it to be to think. But you also don't want to be too keen. You want all of the what canvas to the coverage. Just add a little bit more earthy. Guys come down in this color on this corner, I should say just a lot of his. Okay, so now that we have this bisque arch down while it's still kind of wet, we want toe sort of add a bit more texture to this because this is gonna make it your pretty little bit more interesting later on because these bits and pieces are going to show through. So I just added a little bit of back Garce come into the palace and with a nice wet brush, I'm gonna make a nice watery mixture of these lot of color. I'm just going to scratch and drink. This lot of color are about because the pine times make it's still a little bit which who noticed that he's actually going to absorb some of the color that's under day. And that's what we kind of watch. Oh, Letta, also going to get a little beauties cadmium orange, switch it into their and then did the same thing with this color. What was a good one? I want this to be quite Missy an abstract. Okay, that's a good start. So now you want this to completely dry before you go any further? Totally dry, no Whippets at all. So I'm going to pause the video. I'm gonna drive us with a hair dryer, and then I will be back 2. Floral art 2: So now you can see this is completely dry. It's a few little wet patches here and there, but that's not really gonna bother me too much. And so now we're going to be adding in that some random foliage colors. So by college, I mean some greens, maybe some blues just to sort of fill in this space, because, remember, this is a bouquet. There's going to be some foliage in behind the flowers, so you want to put all that sort of stuff in first? So this is again Prussian blue, a little bit of pressure blue. I'm just gonna make a couple live nice grains. This here is a primary yellow. It's actually a new one. So I need to sort of punch this open. You could also use cadmium yellow or yellow locked. Put some more of here as well. Okay. And I'm going to get a little bit more of this some cadmium orange as well, just to make a slightly difference. I agree, and I just need to get one more. So it's a really ugly. This is another one I'm going to use just to make some slightly different colored greens, so I put a little bit of that in here with this one. Right? So now what gets a nice, soft, flat brush? I'm going to mix off some grains. You don't want them to be too dark. But you also don't want them to be too locked to begin with because we are going to be adding more lights onto this. You just want to come around your canvas. Not really thinking too much about composition at this stage. I was gonna add in some of these green colors. That's maybe just have fun with it. Have fun splashing the paint down, not come out. We hear Mix up one of these. This is really in blue. Sorry. I just made the palate up so you can see what I'm doing here. Might be better there. Okay. All the way to the edge. You know, Try not to sort of stop everything right here. Come all the way up to the edge because we want this broke eventually to to fill the space , leave some of these areas that you had before they are not cover up everything. Plenty of water on your brush. And we can come in and we can do some more of these splashes that we did earlier. If it's nice and watery, adding a little bit more, this splashy texture we'd slightly different color little dots here and there. I'm gonna come all way down to the bottom as well. Someone makes up a slightly more yellow green. Come on, come old by down to here. So to cover the whole the whole canvas, you said lummox and short mocks. Give me some super dark bits here and there. I don't want to lose that Texas. I'm gonna bring it a little bit more of those little splashy shake. Some just makes up. It's a lighter, more this lot of orange color. Maybe a little bit more and again, another way to sort of get this sort of clicky ticks show. Make sure it's a little bit more watery. It's just tacky. Brush onto your hand. See how that sort of spread some things. Okay, this is looking pretty good. Now again, we need this letter to completely dry. That's a bit of a thick patch there. Saw what sort of use my fingers to spread that little bit out of it. You don't want it to chunky. So that was a bit chunky. Bill and recommend Let this completely dry again while the music hairdryer to dry it. And then I'll be back and we will move on to the next part. Okay, sorry again. This layer is dry. So the next step that we're gonna do is the fun bit because we start to sort of bring in our idea of what our composition is going to look like, but adding in the background. So at the moment, you probably looking at this and thinking that looks like a bit of a hot mess. But once we start bringing in this background neutral color and toning down this composition a little bit, it's going to make a lot more sense. So what we're gonna do you is you want to sort of choose a color that's fairly neutral. So you don't want anything that's gonna compete too much with what's with the flowers and the leaves and things that you're gonna put me. So I always start with a Philly pile color. So this is just straight watch. I'm gonna add just a touch touch touch of that cerulean blue in it just to make sure you see what I'm doing here just to break up that whiteness a little bit. So it's not totally what it's now like a really pale blue. So that makes up plenty of water with this mixture, because you want the pain to be kind of like a feat cream or like just melted ice cream so it's quite smooth. It's creamy. That's the texture that you're looking for. If you find it paints to dry, then just keep dipping your brush in the water until you've got the right consistency. It's now I've got this flat brush loaded up just to drift a little bit on these pining. But that doesn't matter. Just answer the texture, so never got my brush loaded up. What I'm gonna do is I'm gonna sort of start down in one side. I'm gonna work my way around the outside, so this is a form of negative painting, So what I'm gonna be doing is actually going to be pointing the space that's left behind the lease. So if you think of your brok as casting a shudder, you're painting around that shadow, and by painting around that shudder you were creating the positive spice of off the bouquet of flowers. So I'm doing this free hint if you're not quite as confident with what you're doing, is what I am. You can sketch this out, but I find that when you do it freehand, you get, like, sort of more random, you know, unplanned compositions, and it makes it a little bit more interesting. Now you don't have to go all the way inside to this brocade because it's gonna be flowers and things here. So I've just worked myself around this bottom section. I'm going to imagine that this brok is actually going to come off this campus, so I don't really need to do too much off the sides here. I might do like a couple of little patches of light coming through here and there. But I'm not going to go into too much detail because I want this area to be filled with flowers. But as I get to the top of the bar, okay, I can start to bring in some more of this background. I'm also ignoring the colors behind, even though there's a bit of a green patch here. I don't have to make that into a leaf, necessarily. Don't bring it down into here a little bit just to Craig, but more of an interesting negative spice couple of stems in here, and I'm gonna work my way around this little corner is well, someone will have that laid off into here. There could be some stems adding a few little touches. And I'm just making this up, up, up as I go along. I'm not working from a sketcher plan, But please, So you can see now that I've added in that background, we suddenly have the shape of a bearcat. Now that we have this basic shape of the bow, OK, we can start to work out where we're gonna put some flowers where we're gonna put some more leaves. And the contrast that you've created with the background color compared to these darkness really lifts the painting and it's gonna make it look really, really nice much about its symbol flowers in. So you want this background to be fairly solid in color, you don't really want it to be wishy washy. If it's too transparent and wishy washy in color, you'll kind of lose this contrast. Look that you're trying to go after, and it will make it really difficult to see what's happening. So I'm going to just make sure this color is quite sickly painted there. Never. I've done the basic shape back in community and refine it a little bit and maybe adding in some slightly more complicated textures in the in the leave shapes. But I don't want to get too fussy with it. It's meant to be quite spontaneous. And the Ranjan like that. Oops. Okay, so now that again, now that we've got this basic shape of our okay happening, I can start coming in with a little bit more lighter color foliage. It's gonna mix up. I'm actually gonna use this background color and mix up. I don't know if that's even in the shop. No charge makes up a bit of a lot. A lot green color, a little bit more water, I think. All right, there we go. That's what I'm looking for, the color mixing that I'm doing right now. I'm not going to really describe the proportions of paint I'm adding because the paint that you use at home is going to be different to what I'm using anyway, So I just mix up my colors as I'm going and I have a bit of a play around and see what works and what doesn't work. So I recommend that you do the same thing with the points that you have. But what we need to do is just bring in a little bit more lightness and another layer off foliage into this so I might need a little bit more yellow again. This is the problem of yellow again. It's a really nice, vibrant yellow. Now I'm not painting leaf shapes. All I'm using is the brush and the paint on the brush. So I'm just letting the brush do the work for me just to sort of get to be the definition between some of these shapes that we have here. Otherwise, everything is gonna look kind of the same. I don't want to cover about everything that I've done. So I still want to keep some of these this green and blue that's already in here. But I do you want to vary it up a little bit that down in this area where there's going to be some stems, I also want to bring in a few different greens in this area as well. Maybe a little bit up. You two. Okay, so now at the stage where again? I need to let this dry before I can go much further. It's really important to dry layers of acrylic paint between stages. Because if I was to work directly on top of this, there's a chance that that color is gonna lift back up again. And I'm gonna make a big mess, and I'm gonna make mud. So I need to let this dry, and then we're gonna move on to adding some flowers. 3. Floral art 3: Okay, sorry. Again. This layer is dry. So the next step that we're gonna do is the fun bit because we start to sort of bring in our idea of what our composition is going to look like, but adding in the background. So at the moment, you probably looking at this and thinking that looks like a bit of a hot mess. But once we start bringing in this background neutral color and toning down this composition a little bit, it's going to make a lot more sense. So what we're gonna do you is you want to sort of choose a color that's fairly neutral. So you don't want anything that's gonna compete too much with what's with the flowers and the leaves and things that you're gonna put me. So I always start with a Philly pile color. So this is just straight watch. I'm gonna add just a touch touch touch of that cerulean blue in it, just to make sure you see what I'm doing here just to break up that whiteness a little bit . So it's not totally what it's now like a really pale blue, so that makes up plenty of water with this mixture because you want the pain to be kind of like a feat cream or like just melted ice cream. So it's quite smooth. It's creamy. That's the texture that you're looking for. If you find it paints to dry, then just keep dipping your brush in the water until you've got the right consistency. It's now I've got this flat brush loaded up just to drift a little bit on these pining. But that doesn't matter, just adds to the texture. So now they've got my brush loaded up. What we're gonna do is I'm gonna sort of start damn in one side. I'm gonna work my way from the outside. So this is a form of negative painting. So what I'm gonna be doing is actually going to be pointing the space that's left behind the lease. So if you think of your brok as casting a shudder, you're painting around that shadow, and by painting around that shudder, you were creating the positive spice of off the bark of flowers. So I'm doing this for a hint. If you're not quite as confident with what you're doing, is what I am. You can sketch this out But I find that when you do it freehand, you get, like, sort of more random, you know, unplanned compositions, and it makes it a little bit more interesting. Now you don't have to go all the way inside to this brocade because it's gonna be flowers and things here. So I've just worked myself around this bottom section. I'm going to imagine that this brok is actually going to come off this campus, so I don't really need to do too much off the sides here. I might do like a couple of little patches of light coming through here and there. But I'm not going to go into too much detail because I want this area to be filled with flowers. But as I get to the top of the bar, okay, I can start to bring in some more of this background. I'm also ignoring the colors behind. Even though there's a bit of a green patch here. I don't have to make that into a leaf, necessarily. I bring it down into here a little bit just to Craig, but more of an interesting negative spice couple of stems in here. And I'm gonna work my way around this little corner is well, we'll have that laid off here. There could be some stains adding a few little touches. And I'm just making this up, up, up As I go along, I'm not working from a sketch or a plan, But please, So you can see now that I've added in that background, we suddenly have the shape of a bar. Okay, now that we have this basic shape of the bow, OK, we can start to work out where we're gonna put some flowers where we're gonna put some more leaves. And the contrast that you've created with the background color compared to these darkness really lifts the painting. And it's gonna make it look really, really nice much about its symbol flowers in. So you want this background to be fairly solid in color, You don't really want it to be wishy washy. If it's too transparent and wishy washy in color, you're kind of lose this contrast Look that you're trying to go after, and it will make it really difficult to see what's happening. So I'm going to just make sure this color is quite sickly painted there. Never. I've done the basic shape back in community and refine it a little bit now, maybe adding in some slightly more complicated textures in the in the lave shapes. But I don't want to get too fussy with it. It's meant to be quite spontaneous. And the Ranjan like that. Oops. Okay, so now that again, now that we've got this basic shape of our okay happening, I can start coming in with a little bit more lighter color foliage. It's gonna mix up. I'm actually gonna use this background color and weeks out. I don't know if that's even in the shot. We'll try. Makes up a bit of a lot, A lot green color, a little bit more water, I think. All right, there we go. That's what I'm looking for, The color mixing that I'm doing right now. I'm not going to really describe the proportions of paint I'm adding because the paint that you use at home is going to be different to what I'm using anyway. So I just mix up my colors as I'm going, and I have a bit of a play around and see what works and what doesn't work. So I recommend that you do the same thing with the points that you have. But what we need to do is just bring in a little bit more lightness and another layer off foliage into this, so I might need a little bit more yellow again. This is the problem of yellow again. It's a really nice, vibrant yellow. Now I'm not painting leaf shapes. All I'm using is the brush and the paint on the brush. So I'm just getting the brush, do the work for me just to sort of get to be the definition between some of these shapes that we have here. Otherwise everything is gonna look kind of the same. I don't want to cover about everything that I've done. So I still want to keep some of these this green and blue that's already in here. But I do you want to vary it up a little bit? That down in this area where there's going to be some stems, I also want to bring in a few different greens in this area as well. Maybe a little bit up. You two. Okay, so now at the stage, where again? I need to let this dry before I can go much further. It's really important to dry layers of acrylic paint between stages. Because if I was to work directly on top of this, there's a chance that that color is gonna lift back up again. And I'm gonna make a big mess and I'm gonna make mud. So I need to let this dry, and then we're gonna move on to adding some flowers. 4. Floral art 4: so again. Now that this is dry, we're going to start adding in some flowers. Now what I said, we're going to add in some flowers. Really? They're just gonna be blobs of color because the great thing about this technique is that the way that we've built up this background means that any color that you go and put on top of this your brain is going to interpreted as flowers. So you don't really need to do anything that too fancy with these flower shapes. You don't need to go into too much detail. You can just basically put blobs of color down and they're going to be interpreted this flowers, so I'll show you what I mean. So I've got a couple of sort of peak colors up here. So this is magenta, and this is a beautiful color by my taste called Australian Salmon gum. You can see that it's a bit of a missy Missy palette, eh? So what I'm gonna do is I'm gonna make a few different flowers in these colors. Someone's gonna get to start with the magenta, a teeny, tiny bit of what, and I'm just going to come in and I'm gonna adding some little where are roughly wants that these flowers to guard. So I'm just gonna put these loose blobs of color. I like to cluster flowers somewhat. Put some more little buds up into this area here. Then I'm gonna come in with this lot of pink. I'm gonna add a few in that with this one as well. So at this stage, you consort of just used these colors to balance out way you're placing that your flowers maybe put a few more little ones up here and these colors, you can do these, look with yellow flowers or you know, anything you like. Really? So now that we've got this basic sort of blobs down, you can already see that your brains interpreting that as flowers even though they're just blobs of color. We can push these flowers a little bit further Dari by creating a little bit of contrast and adding a bit more detail to this shape. So all I've done here, ourself just added a little bit off white into that magenta just to locking up that color. And I'm gonna come in holding my brush quite loosely and just at a few little Debs of that lot of color. Don't completely cover over the darker pink underneath because you want tohave that contrast. But I'm gonna add a few little Debs so you can see just by adding in that lyta color on top . Suddenly these flowers attacking a little bit more form. And you can be really, really loose and exaggerating with this style as well. You don't have to be really fussy over it. So in and of Aberdeen, I'm gonna add a little bit more. What? To that same color again? Make sure there's plenty of water on your brush, so it's not too sticky and gonna come in with just a lot of highlights. Every now and then on these flowers, let me be a mobile patch. Just step dub, letting the brush do the work. I'm gonna do the same thing with the Lotte with a lot of flowers. So I want to get some of that someone pink and add a touch of washing to it so nicely. Now, if I wanted to, I could change the shape of these flowers as well as I'm going. So I might make these into more sort of kanashimi taught flowers. And by doing that, all I'm gonna jury is again get the brush to do the work for me and just flushed down some depth of color when they come around in a circle. I'm not being too precise, you know, I'm not making sure that peddles Airil the right size or the same number of petals. I'm just creating gestural shapes. Maybe we could do a couple little buds of them up day. So again, never loved on that first lie. I am going to come in and a lot in that cover up again, so I'm running out of my pellets. So I'm going to move over here, locking up that color again, please. More what she was planning kind of a brush. We're gonna come in every now and then and add in a lot of color. This is just gonna help create that sort of, you know, three dimensional kind of look to these flowers. Maybe a little daughter of it up in here. Maybe there's something I forgot that one. So we go with them, see how simple that Los super. So now we're gonna sort of resolved just quickly that dissenters of those flowers. I'm gonna get slightly smaller, flat brush come into that hair in the way that's orange, greeny, orange that we made the full. And just to a super simple little a little touch of orange in the centre of the it's maybe do you want little cinches in him? So while I have this, a range of my brush I can feel in some of these other spices we've So I guess Philip Flowers, I guess you could call them. No, that could be just shapes and dots and things to fill in. This by system has already been of these orange background coloring here. I can enhance that by just adding in some little touches off this orange, still picking in three here as well. There's even a little bit coming down in here. Maybe someone here just use your own creativity. She sort of adding touches of of color here and there. Now, with this smaller brush, I'm gonna introduce a little bit more grain as well. Some of the coming leaves the, um sorry. Got Prussian, blue, Russian, blue, yellow and a little bit of what is gonna create this sort of pale blue color. I'm gonna come in with a few little touches of this slightly different green, and you can choose any grain you like. It's just needs to be Something is different to what's behind. If you keep creating the same green over and over and over again, then you're not really gonna get any variety. You're painting as faras values and colors and turns got. So you just want to make sure that you and in whatever color you adding on top, it's different to what's already there. Some are at a few more little stalk. Stand here is well in this color getting that Just have fun, have fun playing around, adding in different touches of these thin that to build off a feeling of fullness in your Barkero flowers and a little bit of highlight onto these orange areas. They can see a quick pint does draw doc out. So you can say that even as these flowers here a drawing the cover is getting a little bit dark. So I feel like I want to sort of bring it a little bit more of a highlight on to some of these areas. So all that means is that Just go back to the color that you had a minute A guard. Lighten it up again. And if you feel like it needs it, adding a few little touches of a lot of highlights somewhere you don't need to do every single flower like that. Like sometimes it just pays to do a little bit here and there on a few select flowers. Yeah, that extra lie just lifts it up again. So I'm just gonna keep working around, adding in that some different watts and docks. The first thing we do is this Grain needs to be a little bit more citrusy. Someone added a lot more yellow to see if I can come up with the color. That's a little bit more of a vibrant green. My end, A little bit of watches. Well, I don't know if you can see the pallets. I don't really have a lot of room. Yes, so we'll see how we going. But you're gonna say that color is much more fresh so I can come in and I can do different shapes as well. I don't have to do just the same leave shapes over and over again. I can adding largely smaller leaves, different texted leaves. Just a feeling spices that seem like they need a little bit of something. Just feeling Stephen, like up in this Don't forget, you gotta work your way around the painting stuff. Forget areas up in here. You can see that I'm creating this painting as a whole. I'm not just focusing on one area and then move into another area. I'm painting everything as a whole. So Well, when I have a certain color on my brush, I will work my way around the painting, making sure that I add that color green to a few different places so that it's not sort of lift out completely on its own in just one spot of the painting. Because that's gonna help balance you pointing start we are getting. I think this is looking really, really pretty. The only thing I am going to do now is I'm gonna adding a little bit of a water highlights in the background here and there just to make it appears that this small lot leaking through here and there chance to put some highlights back in the to the bark high itself in the area. Same little doc refined These refine these areas a little bit as well. - And very last thing that I like to do is adding some super super dark color. So I'm gonna go back to that on the Prussian blue. I'm just gonna use the strike Prussian blue, which you can see. It's a very dakhlallah. And I was gonna add in little touches of this here and there. You see how adding in that darkness can make everything else pop out. So even if you adding Cem, little runs off some darker shapes coming out of the burke A. He said, DACA stems. Maybe some things in between these flowers maybe, but one over here and they're gone. Done. Sorry. You can have a lot of fun with this technique you can. It's amazing how many times you do it and how different it happens every single time because we're not planning at all. You know, we're not working from a specific reference bartering weaken go crazy with the imagination so I could do this hope fighting again and I would look totally different. I could change up the color of these flowers to be yellow. I could make some bigger flowers, larger shapes again, it's gonna be totally different. So I hope you enjoyed that. A little taste of my Floro painting technique. And, um, I would love to see your example. So if you do you follow these end point something like this from this video public down in the comments so that I could have a look because I find that fascinating because other people will find it fascinating to, uh, generally because everyone's pining is gonna look a little bit different a little bit unique and original. So thank you for joining me again. And I hope you have a lovely day.