Learn how easily you can paint this colourful lavender field with the dramatic tree. Just follow me | Nicola Blakemore | Skillshare

Learn how easily you can paint this colourful lavender field with the dramatic tree. Just follow me

Nicola Blakemore, Professional Artist, Teacher and Creative Entrpren

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
7 Lessons (42m)
    • 1. Intro vid HB B

      1:26
    • 2. Step 1 HB

      4:08
    • 3. Step 2 HB

      5:57
    • 4. Step 3 HB

      5:46
    • 5. Step 5 HB

      6:52
    • 6. Step 6 HB

      14:34
    • 7. Finished painting HB

      3:06

About This Class

You can't get enough of a good thing, especially something as beautiful and healing as lavender. The fields in Provence, south of France are world famous for their abundance and colourful beauty, so here is number two in the series.

Perfect for those who wish to learn more and to loosen up their painting style. See what is covered.

  1. More colour mixing.
  2. Understand better the drying cycle of the paint with the water.
  3. Look at composition and finished appearance in a different way.
  4. Learn how to 'double load' your brush.
  5. Use the 'spattering' technique effectively.

If you would like to really go with the flow with your watercolour painting this is a great painting workshop you your to do.Full of colour and technique, you will produce a vibrant painting that has spontaneity and energy. Relax as you paint and enjoy the process.

Transcripts

1. Intro vid HB B: Hello. Are you enjoying working with your watercolor paints? I hope so. But if you're starting to feel that perhaps you're a little bit stuck. Maybe to controlling using too much detail and not enough water. Then this could be the perfect workshop for you with me, your tutor, Nikola Late. More after lots of online courses now to me and some of the reviews, I guess a really sensational on. I've started to do some lovin duh paintings on. By that, I mean the views of loving to feels. This is the second in the Siri's and you're going to be painting this. As you can see, it's a lovely, bright and colorful picture. I recently visited the fields and provides the south of France where they produce lavender for commercial use on the colors were sensational, so I thought it be a nice study for you to look up, maybe working a bit more fluidly, more water, a little less structured, looking at your composition a bit differently. How you could look at your photograph you've taken may be on to decide to take a few risks with it. It's a super painting to do so. I hope you'll decide to join May and enjoy painting the lavender with me. Just look over my shoulder and you'll find it's really quite easy to follow Hope to see you soon. 2. Step 1 HB: welcome to this love into painting workshop thesis, the 2nd 1 in the series. I suppose that maybe some more this'd is the subject that we're going to be painting. This is the picture of a field I talk when I was over in Provence, in the south of France, and it's an interesting picture, insofar as it's very odd that they left one tree in the middle, which doesn't look as if it's particularly important or valuable. But there it is, is this one tree, and they've managed to plant their leavened around it, and I thought that was quite interesting. I thought I could probably make something interesting out of that. I locked it in various different ways. I even cut it up one point to see if I could move it about on DSI. What I found was interesting, but in the end I've decided to zoom in, so to speak. Andi, do the painting that way. So this is what I have come up with. I will trace that off and give you the drawing of what I've done. But what I have done at the moment is simply done. The drawing, so to speak with masking fluid. So what I've got up here is I'm gonna have the sky area. Then I'm gonna have the rows of the soil and then the rows of the lavender hence that little mark there to remind me. But that's the love India on. That's the trade. We're going to do a big wash over the sky and then the rose off the soil. What I thought to do the best way of attacking it is to paint it in the very pale color there we've got and then use a spattering technique to get the texture because it's quite gravelly soil that they have for the lavender fields on. Then, for the lavender, I'm going to use a technique called double loading, which is where you use a chisel type brush on you put one color on the majority off it on. Then you put another color on a long corner of it. Andi, if you does, why the courses? You're probably seen that so that's going to be an interesting technique for you to learn on. Hopefully will give a nice effect with these these sort of little bushes of love into going up. So let's get started I'm going to use a thrill Ian blue the sky Just the paint A big wash over it Down to the masking tape masking fluid Rather get my cerulean blue Nice big puddle of it bit too wet Mix a bit more in on I'm not going to be precious about this. A tool By that I mean, I'm not gonna worry if he looks absolutely spotless. Graduated mash because what I really want is a bit of of very loose feel to it all. Something that's going to be spontaneous doesn't have that well planned, detailed, drawn in to the point of perfection. This is just gonna bay a nice, easy painting. And as I say to my students many, many times, watch your motivation because that should be your fame for main focus. My motivation here is the colors. So I'm going to put even more so, really, In fact, I'm even gonna have a dash of ultra Marine up the top just to get a bit more his house. Okay, just let that I'm just gonna were in the water down there on. We'll just leave it and see what it does. It's talked a bit even more color at the top. We'll leave that to dry, and I'll see you in the next lecture 3. Step 2 HB: Welcome back now that skies pretty much dried off. I have taped the paper down, but there is a bit of a bit of movement there. But I'm not I'm not too concerned about. Okay, I haven't done anything that marking those trees there because they're gonna be in quieted a lot darker color. So there's really no need to worry about masking the area off because that color will cover the very pale of the sky. I've also changed the composition. Quite a pit. Apart from zooming in, I've raised the horizon, so the tree breaks into the sky. It will also break into the dark trees at the back as well as being on the foreground. Right. I have mixed a color. Oh, so white with something Issue red. If you don't have Venetian red, don't worry about it. Use your next best thing, Which might be a a birth sienna, maybe with a little bit of red or something. Just get as close as you can. You looking for a sort of a What is it a coffee color, I suppose. Sort of. A coffee color. Okay, so now I've talked myself, which is loving from which the soil. So all I'm gonna do is just literally run the color in in between. And it will be contained by masking fluid. Quite strong. I'm quite dense. The white will make it slightly opaque. That's okay. Add a little bit of water if you like. So this is a a painting to play with. But where If you go up to the tape around the edge or you don't, it's not especially gonna be a picture, too. Go on wall. Well, we'll see how it turns out it may well do. But the idea is for you just to have a go painting these beautiful colors on trying, hopefully some different techniques. Or, if you've already done, though, than just exploring them a little bit more on design. Always. Always tell my students, make sure you have mixed enough color before you start painting. It's quite warm in here today, so it's drawing off quite quickly. Muddy A bit more water, a bit more water just to get if you drop it in lock, it will do interesting things with your your paint. It'll settle, explode and push the color out a bit more. No, what I want to do. He's just that one here. My myself, Which one I am doing? I'm actually going to like that off a bit because I suddenly thought five to tell her than I go. We want this toe. Although we haven't got the same staggeringly obvious distance as we have here, it is still going in the distant distance. Yeah, so keep keep that top end a bit paler because, as you know, things get sort of a bit misty as they go further away and we'll bring more cut down here, Which, of course, we will do when we okay. Excuse me a minute while I get this out. We're about the open because the love interest going to be pretty strong. I think so. This color is going to be more intense than near it gets to you. I'm just using a number eight brush. Those of you who want to know, then that's true. Strong for a badness. Take it out of it, then start down here because it's not very clear on that photograph. What back trees happening around that tree? I expect it's just a bit of scrubby sort of soil. Okay, That probably should have been a narrower line to get more perspective. But what I'll do is I'll make that yet that would be better. I'll make that adjustment when that's dry, our rope, that masking fluid off and I'll make that a steeper line. So it really does look as if it's going to be more like right. I've got some color left in my palette, So let's just put a bit more on this end. And it's quite interesting because the Venetian red is a very strong pigment, those of you who have it or something similar. You know some pigments more strongly than others, and it's really you see how it's creating, separating and creating quite an interesting line that take it off, Put it back there so you can lift it a movie about it, because we're not more amenable. People think once you get used to them, you know, like those lines there when that's really dry, I will take them asking food off and then we'll do the love. India 4. Step 3 HB: welcome back, right? I completed putting the brown onto the soil, the soil area. Andi. I also decided where my light was coming from. It's always good to make that decision because thes loving Guero's will be mounds. They'll be like that if you've ever seen up into growing. It's in a little little ball, so they will, in fact, car shadow. So I've decided that decided that the light is going to go from that direction. So any shadows are gonna be on that side. Okay, So with that in mind, I also put a little more dark color into the edge where the lavender will be casting the shadow. So the way we do this, this some Slattery is with a toothbrush. Andi, it's very effective. You need a big Paul of color because the toothbrushes going to scoop up quite a bit so mixed a big blob of color on you. Just there we go. You just put you to push it, let it soak up some of the color and then carefully point it down on blob it. Now I'm using this technique because I don't want a little dots to be equal. I want them to be fairly different sizes because the soil that is is what the loving grows on has lots of little stones in a lots of gravel. So that's the effect I'm going to use. So what I need to do now is a mask off the area that I don't want the sputtering todo. And it doesn't matter if it's not too precise because we've got the loving to do. Yet it will be a lot more fine tuning and such like So, as I said before, this is coming towards us. So we want the darker color this end. So I'm going to do more of the spattering, this end, and then they do tight going that way. Okay, Take that off. See what we got. Okay, I'm gonna just come out a little bit there. I mean, you could, if you wanted to be very precise, cuts a shape according to where you want it to go. But that's not always sometimes convenient or possible. Okay, that's good. Right? Let's do that. One that's a bit more obliging with shape that No, we won't do that. What will go right over this side? Because that is drying isn't it. Let me just strip Good. Got a good idea before to slightly slightly jagged edge. Okay, the brush into the liquid. And then I wanted more this end pointing it down, trying not to get it all over you. And away we go now I've smudged it there with my piece of paper. But don't worry, because you could go over it again if you want to any strike. And as I say, we've got the loving to to do Onda and various other bits. So there will be a lot of fine tuning going on. Let's just put a little bit so you can see that's working. I quote to nice effect. I'm not happy with that. I seem to have managed to catch. See, it doesn't matter what color can be quite forgiving if you have you got a problem. Just go back with visual absorbing paper and rectify it. So that will be the start. I'll have to let that dry and up do the rest off camera. I have them being looking at the shade off lavender that I might use. I have I mean, you could make lavage of that the other lap into painting that I've done. The 1st 1 I mixed my lavender, but I do actually have a tube off violent paint, and that's it there. So I think I'm probably going to use that. But I'm going to need something else as well, because I want to do a double loading technique where we're going to get the the shadow built in by the action off the brush. So I'm gonna let that dry off, and then I can mask that off and do the other rose. So I will see you in the next lecture. Thank you. 5. Step 5 HB: Welcome back. You can see I've been rather busy and I'm very pleased with that. That brush has really made a lovely effect. When I've done it, I put a little bit darker. Brown bit of rule. Remember that, IHS onto the soil to create mawr shadow effect There, it's see, seem to need a little bit more. And I wasn't too happy about some of the white lines. I mean, I don't want it to be exactly or joined up. I wanted to be fluid, but it just looked a bit off that there was this white line down there. Um, so, yeah, I just continued in the same vein. I could probably do a bit more. Megan will win. I've done everything else. As I always say, it's a good idea to go backwards and forwards backwards and four was adjusting things that you go. For example, the sky decided, looked very flat and rather boring in comparison to this. So does somebody just excuse may just a splotch a bit more color on it, and I think that that works. That's good. So what am I gonna do next, then? Well, I think it's gonna have to be these trees at the back on If you look a bit closer, let me just zoom you in Serie roll away There was a little mounds where the love into goes up So I'm gonna leave those little man's If I can You must have a look of the year have into Are you down there? Oops. No moved to come round. Sorry about it's not one thing. It's another right. I've got a green already mixed in this palette actually spoon from last love into painting I was doing. But I'm going to add a little bit more hope for marine blue just to give you a blue tinge because it is further away. Let's just how low can see. How are we good? It was gonna be much, Doc. Not, I think, just using this birth. Nothing special again. We're just implying that they're awesome. Disparate trees. See, I'm going to keep those little minds of lavender. And as I always say to my students, if you're right handed, have everything on your right. What we got here? I'm very excited. Not any trees that somebody would say. Oh, that's a so just gently gently work your way along. You see, I'm leaving. I'm leaving that tree still and try not to fall into Patton, which often happens. People go. Did you did you get so I'm trying not to do that now. I'm not gonna put a massive amount of tall trees behind this simply because we are interrupting the tree. That the sky on the loving with that tree Where is here? You see, the tree was, in fact, within the field itself, so I'm not gonna put too much there. I might do a bit more of that. Let's just see how it how it goes. It looks like I've got a bit of soil to address that. But I think until I put that tree in, it's gonna be a bit difficult to see exactly where we want that to go. Right bit more blue and especially at the bottom. Where is dog? A bit of peace from May chattering. I'm usually talking all the way through these things. It's been that still needs to be a bit darker looking. Yeah, looking at that. Although we are closed up to it because we've zoomed in. But I still think we want to make it darker to get the color values right. We want it darker, so the love and to really leave. So we know. Wow. Yeah, court is loving. And if you really wanted to fiddle about it, you could put a few 20 bits in. What I mean by tweaking bits is implying that there is a branch joining that green to those little Christensen leaves. But I don't know withdrawal do that. Anyway, I think that is enough of that. For now, we started to get an idea of what we've got. So the next thing to do is my friends to let that dry off completely, Then rub the masking fluid out where the tree is on. Then I'm gonna have to address some of the soil. Can you see through the where you could see the soil in the lavender between the branches will have to address that, And then it to be a question of just sitting back, looking at it and deciding what else what other colors need balancing out. So I'll see you in what will probably be the last lecture 6. Step 6 HB: Welcome back to this last lecture. As you can see, I have taken away the masking fluid off. I like the way that love it has worked. I think that's looking really rather lovely. And I may well, just tweak a little bit more, uh, Mr Bitter masking before I post up the final photograph. But now we are to the tree. So let's zoom. You can again. So what have we got here? Difficult to see, really. I think it's just a lot of rocks and some scrub e bits of grass and a bit of a bush there. And then this very dark dead tree. So what I'm going to do to start off with is take always be organized before you start. Take a little bit of this brown color just to put in a few sort of rock bits. Gonna have to make this up to a certain extent. But that's what your imaginations for, isn't it? Um, okay, it's approx there. It does seem to me that that tree is there because this is said earlier, it doesn't look a particularly significant tree. Perhaps they just thought it was too much trouble to try and get it out. Okay. Not quite sure about that. Let's have some green flick, okay? We've definitely got a bush. Some sort of Rather. So I'm just gonna go there. Heatly, Blob Supreme. Just like for now. As I'm always saying, Start liked. You can always go dark later. Okay, Now, looking at that tree, I've got a sort of, well, mixtures role Roberts and Payne's gray here. The light is coming from that way. So I want to have some white areas on part of this tree trunk on part of the theme. The other painting of the loving duck, which isn't available workshop is this one on? You could see how it's like driftwood. It's just if it's been bleached by the sun over many, many years, the sun in the wind has just dried it out. So I want to keep some light. Otherwise, that just gonna look like a black. You know what? That tree poetry. So I'm gonna try and keep some of the white on the left hand side. So with that in mind, I'm going to start with that bit rolled down the tree trunk, and I'm gonna use this very fine number one brush a longer, carefully. If your hand is not that steady, remember, you can use watercolor pencils as well. That's absolutely fine, too. So I think that is going to do the job, because if we just as a safe, we just put the dark dye on it. I think it would just look a bit well, Not very clever, not very convincing. So let's do this first because remember, if I don't like it, I can always change it. Bid on the line is going to vary in thickness because of the shape I even could have take a few little a few little extra Twix off. Why not? This is probably the only part that is a really sort of thought out detail bit. The rest is very, very loose. As I said, I wanted it to be a loose up. I used to work, gets me Lucinda part there. So this is the only bit you're allowed to be really control off. Yeah, that's going to be good. Okay, that's continue in that vein. That's good over to this side. Oh, take it doesn't matter if it's not always right, because if you look at this one from the other workshop. You've got all sorts of things going on. You got the split there and different colors. So just use your imagination. Let a little bit let the brush do a bit of its own thing as well. So wished a little tweet coming out of her. That was definitely the right decision. Starting from the top. And I see we get a nice cross over there. It isn't the wrist. Always a right and a wrong way of where to start with the painting process. People often ask me this when they got it all mapped side. They've done that practice. They've got the colors and all the rest of it, and they're dying to get started. So well, where shall star? Which bits should I do first? Well, I have been saying it's up to you, but if you got a scar, you must do this guy first because you'd almost much it, you know, do some work down here and then go up. You're gonna smudge it. So just think about the practicalities of it. Really? I'm a bit concerned about that. That's going a bit acute. It might be all right. Don't panic immediately. Because it's not until you've done everything else that you're going to be able to really make a call. I'm going in front of the on. Yet. Behind that work is he is thes little things that really made the difference. These little touches, that's gonna have to be darker. It's gonna have to be darker to stand out against the sky. You see, truffle? No. Pay a I got it now. Okay, More as if it belongs. Okay, see up. Mix some more. Put more pains. Grain to that. Excuse me. I'm going to sneeze, I think. No, no, no. See how I'm resting my little finger? If I can't risk the whole hand, Rest out to make you hand study right now. I got a bit of something very strange going on here. What? I don't know. I don't know what I was thinking off. It looks like Is that trouble something? OK, we'll concentrate on getting this tree going down into this main section. It might be that I don't use that I can paint over it. I can fill it with soil and more lavender. If it doesn't look right. I don't think it's gonna look right. So if we concentrate on getting the rest of this tree done, I could fill in the gaps. Alright, It's got this getting a bit chunkier, so don't worry if you change your mind, but she go along really isn't a problem. Go. OK, let's get a bit. Got a bit more pain going back to that brush there just to get if I work that in a bit, so to speak, and we'll get a better idea of what I want to do with that. But, uh, actually thinking about it, I need to put, um, masking fluid everywhere. Although it was a good job, I did that to get those white highlights. Yeah, I think I'm gonna lose that. I don't really think I like it. Let me just go do that. Sica sharp slight changing cover that fret about it. Okay, What I'm going to do, you know, is I have made my decision about that. Where's my daughter? Seeming maneuvering. That paint there that was put on it was put on yesterday and it's still I can still manipulate it, so I've got to do some brush effect on that. Okay. Um Green Actually, I think this group in a bit. Just you have to come back and do a bit of work on that. Some? No, no, I'm gonna Okay. Changed my mind. I'm entitled to is my picture. Remember that you don't have to be a slave, so whatever issue doing okay, That needs to dry out. Okay. This isn't going to be the final lecture. This is lying artist at its best, people that's gonna dry out that I'm gonna do. Smile more work on that, not to do some more work on the tree. So I will see you in the next lecture. Thank you. 7. Finished painting HB: welcome back to what really is the last lecture. Okay, I've made a few changes. As I was saying in the last one, I didn't like this. What was happening right here. So what I've done is that has dried out. So I've since fill that in and redone. It asked the love India, and I think that works much better like that. So I've created a sort of rocks and grass Rubley area around the tree. I've also made a change on the trees. Refer back to the lecture. You'll see it. It looked a bit like a stump. With all these branches coming out, it was far too even. Things have got to be less bless structure to, you know, nature's natural, not designed. So what I did was I lifted some of the tree out here, put loving during and likewise there. So it looks like there's been a lightning split. I'm just going to just notice that just like century, that a little bit more and I decided that some of the twigs, the finer branches, were to white white. So I put a pale, a bit of grey over parts of them, and I think that looks much better. So that was quite changed to do that. So I hope you're appreciating now that you can make changes with water colors, a bit of clean water and a bit of absorbent towel, and you consume. Do it. I've also joined up a few gaps where that the masking fluid had left this white line behind in between the lavender on the shrubs on. I've put a bit of dark in here to ground that road so you can see the definition between the tree and the love India of that room of shrubs or whatever it is. So I just seeing things as I talk to you, I'm thinking you just do that one. I'm here. And of course, it is knowing when to stop. Um, but just, you know, the old earth, er, tweak here and there. Let's do it. But I do appreciate that you can make changes, and I hope with this you've learned to create a composition that isn't exactly what you have been given. So you start off with something like that on this could apply to any of the photographs that you take. You want to make a painting off. Start with that. But then you could mess about with the composition. Change it. I decided to zoom in on that one. And I think that's has worked out rather well. I am really rather pleased with that. And I hope you're pleased with the version. You do a swell. So I'm going to take the first girl from post. That is the final picture. And I'd like to thank you very much for doing this workshop with May on. I hope that you will do a lot more. Thank you. Enjoy your painting, remember?